• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Journal of Fashion Business
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• v.6 no.5
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• pp.48-58
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• 2002

The purpose of this study is to analyze four separate elements-sublime beauty, elegant beauty, mysticism, ornament-which appeared in materials, patterns, colors, silhouettes, details, and accessories, laying stress on luxurious, brilliant, mysterious feelings on Gorgeous Images appeared as trend theme of modern fashion by mixing religious mysticism of the Byzantine Empire. Mysticism element is using the effect of splendid and gorgeous colors from the Orient rather than forms. And a philosophy of abundant colors in mosaics, which are seen in art forms such as architecture, paintings, etc., shows that it creates some visual rooms for religious spirits. Influenced by the fashion of the Greco-Roman style, the elegant beauty element is expressing abundant comfort and elegant feminine lines that are from creases, and it is also emphasizing natural beauty which seems to slip down by displaying the splendid images of Gorgeous as drapes that fit a body. Ornament element was reflecting an inspiration from the splendid and brilliant culture of religion in the Byzantine Age. Therefore, it was appeared as a style filling the whole with bulky silks, splendid ornamental materials embroidered in gold or silver thread, the complicated geometric patterns that are two-dimensional and dignified, and so on. It was decorated with crosses which represent Christianity as a motif, and also it emphasized the splendor of the Byzantine and dazzling splendid images of Gorgeous by using accessaries decorated with various jewels. The elements of sublime beauty are showing the beauty adding humble and majestic images to it as designs sought by spiritual values or intrinsic values. Those designs, so to speak, have pretense which does not allow to expose a body and plain pure feeling, so that they are showing some abstinent styles in a solemn atmosphere, with most details removed. We can say the Fashion Theme appearing in Modern Times is the result from representing by combining various factors of the times with formative beauty through creative works for aesthetic expression. The moderners are requiring new designs which is possible to meet their individualities, in addition to their outstanding fashion senses. From this point of view, a variety of textiles, patterns, and colors in the Byzantine have a great meaning to fulfill people's various desires as interesting elements.

• Fashion & Textile Research Journal
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• v.9 no.5
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• pp.538-544
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• 2007

We usually try to accomodate ourselves to our nature surroundings interacting with nature. There fore I've decided to apply nature materials, esp. the pine to Hair Art as a way of expressing our feelings from Nature. 'Hair Art' is a follow-up study based on the various artistic point of view. There has been various works of 'Hair Art' with nature materials. However, it is rare to see a work of 'Hair Art' with the pine. That's why I've decided to study more about this. This study is a new experiment in 'Hair Art' against a conventional idea "Hair Art values practicability." Therefore, the primary goal of this study is to do much for the cause of learning in 'Hair Art' and encourages some development of 'Hair Art' industry. I've researched an image of a pine tree in art of Joseon Dynasty and contemporary art. Then I've tried to apply the image to a work of 'Hair Art'. First of all, in a view of expression technique for the symbolism of the pine, the artists in Joseon Dynasty drew pictures of a pine tree with a paintbrush but the modern artists make a new attempt from the thought of Modernism. We can find it in some photos. Next, to express traditional oriental idea such as 'unconventional and elegance', comtemporary artists chose the symbolism of the pine tree as an object of their works like pen and ink sketches from the thought of Modernism. Third, in a fusion style picture which contains features of both oriental paintings and western paintings and in a sexualism style picture that depicts a harmony of a male and a female as a shape of a pine, we can find colorful images of a pine tree and Their figurative beauty in art. Those are another symbols of the pine. In conclusion, the implication of the pine tree still hasn't changed even there are differences of drawings of pine tree in the past and the present. I've tried to combine these symbolic ideas of the pine with 'Hair Art' and made 5 hair styles. Throughout the process of researching this topic which is 'The Study of Hair Art Using The Symbolism of The Pine', I've realized that pine trees make it possible to express intrinsic tough spirit of human being and abundance in color and figurative beauty in art. I hope this can contribute to the field of 'Hair Art' and would become an important educational resource for further study.

• Journal of Food Hygiene and Safety
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• v.18 no.3
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• pp.95-100
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• 2003

Competitive direct enzyme-linked immunosorbent assay(cdELISA) of aflatoxin $B_1$ ($AFB_1$) in deonjang(Korean-style soybean paste) and kochujang(fermented hot peppersoybean paste) and the level of $AFB_1$ in modern or traditional style deonjang and gochujang, produced in Korea, was surveyed by cdELISA. From the standard curve of the cdELISA, the detection limit of $AFB_1$ was 0.2 ng/m/. The average recovery of $AFB_1$ was 71.5% in the range of 1~100 ng/g after spiking $AFB_1$ into deonjang and it means that it could be possible to detect the $AFB_1$ in these range by the cdELISA in deonjang. Among the 30 kochujangs tested, no $AFB_1$ was detected in kochujangs. Among the 30 deonjangs, $AFB_1$ was detected in 6 ones in the range of 1.0~6.0 ng/g. The occurrence of $AFB_1$ in deonjang and kochujang tested in this study was less than the Korea Standard and Specification of aflatoxin in foods (10 ppb).

• Journal of the Korean Home Economics Association
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• v.19 no.2
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• pp.11-24
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• 1981

The objectives of the study were to determine 1) if energy consumption and conservation vary in clothing, food, and housing with independent variables-size of household, homemaker's age, employment, and level of education, level of living, type of house, electricity use, and all energy use, and 2) if there is a correlation among energy conservation practices in clothing, food, and housing. Questionnaires wee given to the randomly selected homemakers in Seoul in July, 1980. Data from 620 responses were analyzed by F-test (Analysis of Variance) and Correlation. The results are as follows: 1. Clothing (1) the scores of the conservation practices I clothing were generally high. /However, it was found that a) they did not practice in wearing heavy under clothes and behavior outer clothing to cope with cool room temperature in the winter, b) they did not use bleach for laundry, but they used boiling method, and c) they did not have enough knowledge on Permanent Press finish. (2) energy conservation practices in clothing were significantly related to level of living and homemakrer's level of education. a) The higher the level of living, the higher scores in the knowledge were found. b) the higher the homeakcer's level of education, the higher scores in the knowledge and ironing were obtained. 2. Food (1) The scores of the conservation practices in food were generally high. However, it was found that scientific cooking methods were not performed such as a) to use measuring spoons, cups, and timers, b) to practice a simple method in using solor energy for warming water, c) to use thermos for the hot water tea or coffee, but they boiled water whenever necessary, and b) to use the pressure cooker whenever possible. (2) Energy conservation practices in food were significantly related to homemaker's employment and type of dwellings. a) The scores of full-time homemakers (not gainfully employed) were higher than gainfully employed homemakers. b) Families in traditional Korean dwellings revealed higher scores than those in apartment or western style dwellings. 3. Housing (1) The scores of the conservation practices in housing were generally high. However, it was found that a) they did not install fans in the kitchen, bathroom, and attic in the summer, b) they did not install a humidifier for tolerating a lower room temperature in the winer, c) they did not practice to make plans for the door of the refrigerator remained open for the shortest time, d) they did not install or use a local lighting with a general lighting for reading and cooking, and e) they usedaluminum foil without the knowledge of the heat reaction of its shiny and dull sides. (2) energy conservation practices in housing were significantly related to homemaker's employment and level of education, economic status, types of dwelling, and all energy use, a) Full-time homeakers had higher scores than gainfully employed homeakers. b) the higher the homemaker's level of education and economics status, the higher scores were obtained. c) Homeakers with their own house scored higher points than those with rented houses. And families in apartment or row houses scored higher points than those in traditional korean or western style dwellings. d) The higher the consumption rate of electricity and all energy, the higher scores were revealed. 4. correlation there was a significant correlation among energy conservation practices I clothing, food, and housing.

• Korean Journal of Occupational Health Nursing
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• v.10 no.1
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• pp.74-92
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• 2001

This study was carried out to investigate the types of health documents for nurses, the content of informations in the documents, and writing behaviors of occupational health nurses. Health documents were collected from 7 nurses who were working in 7 group occupational health agencies (GOHA) located at Seoul and Inchon area in Korea. The collected health documents written in January to June 1999 were analyzed, and revealed the following results. 1) The occupational health nurses were using 9 to 18 different types of health documents. The contents of the documents were considered quite similar to each other with slightly different headings and items to record. Among different types of health documents. Health Management Card for Workplace', Nursing performance sheet and Workplace environmental checklist were in common among nurses and were used for content analysis. 2) The 'Health Management Card for Workplace' was the only formal sheet of small-scale-enterprises (SSE) for health management, in which health and safety related information was recorded. The information on nursing services were recorded on the Nursing performance sheet, which has slightly different names on each type with similar contents. The Workplace environment checklist was for the information on general work environment management and mainly status of workplace hygiene. This checklist is to be used by or with nurses among the 3 types health professional team such as doctor, hygienist, and nurse, but it seemed not being used frequently by nurses. 3) Analysis on recording tendencies of nurses revealed that the writing styles of occupational health nurses were associated with 'memo' using a few number of words and short sentences. The amount of information by this kind of recording style was considered not enough for health management situation. The possible reasons for nurses to use this writing style might be insufficient time for recording and improper designed format of health documents. Because nurses working in SSE spend more time on the roads to visit workplaces, nurses may not found enough time for recording properly within their working time. In addition, the health records were designed to focus on the frequency of nurse's performance in certain types of work rather than on the method they used to deal with health problems. In conclusion, this study suggests that some steps are necessary to develop health documents and recording system which is appropriate to occupational health nurses. The educational need for nurses on appropriate recording behavior is also recommended.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.309-326
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• 2004

There are some methods such as fatty acid analysis and microscope analysis of parasite egg and pollen and genetic analysis of ancient bacteria from ancient soil. The fatty acid analysis can examine whether some materials is human feces or animals. This is important thing to reconstruct ancient toilet culture pattern. The methods using TLC and GC-MS as organic chemistry is able to confirm ancient diet life style and nutritive conditions. The microscope analysis of ancient soil is able to confirm ancient parasite egg and pollen. It is possible to analogize ancient human diseases from this analysis. Also, genetic analysis is able to confirm genetic diversity and variation pattern of ancient organisms in archeological soil. Most of all, it is convinced of carrying through genetic preservation of exterminated ancient organisms. If archeological soils should be analysed through the natural scientific methods such as organic chemistry, soil science, microbiology, molecular biology, and genetics, this is helpful for us to understand and interpretation past historic event. And it is expected to perform an major role for understanding origin of ancient human and life style.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.7 s.144
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• pp.897-908
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• 2005

The purpose of this study was to search for the effective design process model f3r mass customized clothing. Therefore, this study was to propose two models of mass customized fashion design processes which were different in the customized degree and to compare their efficiencies and appropriateness with those of the existing fashion design process. The data was obtained from a survey of 150 females in their twenties and thirties living in Seoul and Gyeonggi during April in 2003. It was analysed by frequency, $X^2-test$, crosstabulation, correlation, t-test and multiple-regression. The results of survey were: Many respondents$(62.0\%)$ preferred mass customized products and mass customized design process model which suggested more choices to presumers. The mass customized design process was considered to be applicable to the present domestic clothing market. In the case of the whole respondents, color was a very important design element in mass customized design process model; because of this, the opportunity to choose colors will be essential in mass customized design process. In the case of respondents who have higher preference on mass customized products, textile(texture) was a very important design element. In the cases of both(whole respondents and respondents who have higher preference on mass customized products), style was the most important design element in fashion design process. To summarize, it proposed that to accept the mass customized clothing will be possible in this study. What is more, the guidelines to develope mass customized fashion design process model were suggested in this study.