• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• Fisheries and Aquatic Sciences
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• v.8 no.4
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• pp.195-200
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• 2005

This study optimized the mixing ratios of seafood sauce with blue crab for maximal sensory attributes using a response surface methodology with central composite design. It evaluated sensory appeal, nutritional value, and some rheological properties. The optimal formulation appeared to be 252 g of tomato paste, 78 g of chopped garlic, and 519 g of blue crab block; this ratio resulted in a predicted sensory score of 5.7 (on a 7-point scale) for overall acceptability. Addition of blue crab block increased moisture, ash, and protein contents in various sauces, but fat contents were similar in every sauce. Major free amino acids such as glutamic acid, phospho serine, asparagine, and arginine composed about $60\%$ of the total amino acid content. Standard and optimized sauces were red and light yellow, and those color values were significantly higher than in American-style sauces. Optimal viscosity was half the value of American-style sauces; more blue crab block added to the sauce resulted in lower viscosity. Adding this sauce to seafood dishes will likely aid development of flavoring substances.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• Journal of the Korean housing association
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• v.21 no.6
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• pp.31-42
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• 2010

Korean Folk Village was founded in 1974 as the first open-air museum in Korea. It consists of over one hundred traditional Korean houses and buildings. Most of structures in the Village were reproduced or newly constructed in traditional style. Some houses were used as craft shop and folklore performance. Preservation of vernacular architecture by the government began in the late 1960s in Korea. The development of the Village was initiated by the central government for the sake of attracting both the foreign and domestic tourists. Park Chung-hee administration focused on national culture to justify their dictatorship. The government drove a very rapid economic growth in the 1970s and Korean society was in the midst of modernization leaving many traditional landscapes behind in the memory. The Village was aimed to appeal the Korean people's nostalgia and at the same time to combine their folk into the modern nation.

• Journal of Korea Society of Digital Industry and Information Management
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• v.6 no.4
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• pp.237-250
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• 2010

The present paper focuses on the comparison of user experience of mobile phone keypad and touchpad. Mobile phone has recently adopted a touchpad keyboard style and it gives users advantages and disadvantages as well. This paper examined usability, usefulness, affect and attitude of those two keyboard styles and disclosed interesting outcomes. First, keypad is better than touchpad in usefulness and usability. Second, touchpad is better than keypad in affect. Finally, touchpad is better than keypad in attitude. Overall, although touchapd is evaluated as worse keyboard in usability and usefulness, test subjects favored touchpad keyboard because it is more emotional and affective. It implies new digital device including mobile phone has to get more affective appeal to the young users and emotion will be a key point in digital consumption.

• Korean Journal of English Language and Linguistics
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• v.2 no.1
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• pp.123-147
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• 2002

As far as the recent ELT research concerned, it seems to have been no hot ‘theoretical’ issues, but ‘practical’ ones in general: e.g., learners and learning, components of proficiency, correlates of L2 learning, etc. This paper focuses on the theme given above, with a special reference to the sub-title: specifically, 1) World English, world Englishes and world's lingua franca; 2) ENL, ESL and EFL; 3) Grammars, style manuals, dictionaries and media; 4) Pronunciation models: RP, BBC model and General American, Network Standard; 5) Lexical, grammatical variations and discourse grammars; 6) Beliefs and subjective theories in foreign language research; 7) Dilemma among radical, canonical and eclectic views. In conclusion, the author offers a modest proposal: we need to appeal to our own experience, intention, feeling and purpose, that is, our identity to express “our own selves” in our contexts toward the world anywhere, if not sounding authentic enough, but producing it plausibly well. It is time for us (with our ethno-cultural autonomy) to need to be complementary to and parallel with its native speakers' linguistic-cultural authenticity in terms of the broadest mutual understanding.

• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.128-140
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• 1999

The Psychology of putting on clothes has close relation with sexuality, and eroticism is important in clothing. Present article aims to understand eroticism correctly and to make it evaluated as an art in modern fashion and as an aesthetic to express woman\`s beauty. Modern eroticism in fashion may be divided into direct, indirect and symbolic expression made. The result are as follow: First, direct made, a representation of desire into direct, indirect and symbolic expression of body or physical curve with tight garment. Second, indirect made, a see-though technique using association, represents sexual appeal by imagination on body area hidden by clothes made of see-through material. And third symbolic made express sexual libido by representing body area or clothes which symbolizing woman\`s sexuality using materials like fur or silk. Eroticism in modern clothing, therefore, should be understood as a beauty that is expressed by human artistic desire. Further studies are needed to explain the characteristics of eroticism in every culture because human nature is apt to from diverse kind of cultures.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.812-825
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• 2008

This article analyzed fashion representations in France posters, especially the late 19th century France when mass consumption cultures arose. That was analyzed by consumers' sexuality supposed in advertisement contents. Female models mainly figured in posters of the late 19th century France made a role to promote consumption, in which female models were emphasized on fashion, for example, erotic robe, unusual hair style and etc. Posters' type in this period were categorized in three types by presenting style of female body and fashion style. The first were targeting female consumers, and that posters represented bourgeois fashion styles and life styles to clear consumers' social status and to present women's consuming power. The second case was targeting male consumers, and that posters figured female models such as available products. In this case, poster artists emphasized female models' sexualities and used fantasies against eroticism of the legs and feet. And third case was targeting female consumers and males', in this case, two different aspects were required to appealing to consumers. One was to use a female sexuality to appeal for male consumers, the other was to modify female models as transcendental being such like a muse admirable and mysterious, through fashion styles for female consumers. In the late 19th century, female body and fashion were spectacular elements in visual arts specifically. This study clarified representations of female body and fashion in the late 19th century posters according to poster's contents and target consumer's sexuality. This was one of the aspects characterizing early advertisement media.

• Korean Journal of Human Ecology
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• v.16 no.5
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• pp.1061-1068
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• 2007

The study has sought to explore how fashion emerges as a comprehensive tool of dress for increasing its brand appeal and express one's artistic sense and fashion by using everything from make-up to hair to trappings. Therefore, when it comes to fashion trends reflected in collections, the study is designed to improve understanding of make-up as one of the elements of total fashion and to help create diverse ideas in expressing creative and free make-up that can help perfect fashion concept in harmony with all the other elements. The study has pondered upon collection, trends and fashion make-up through literature study, and has gathered image data via the Internet. It also has conducted analysis of Ethnic style reconstructed combining past and the future, East and the West, and futurism style using asymmetrical forms without no defined patterns and hi-tech textures, which emerges as a result of post-modernism. The results of the study are as follows. Ethnic fashion that pursues strange and exotic beauty is characterized by its simple and idyllic images of traditional costume in Asia or primitive clothes in Africa. Make-up represent images of matt and pale skin, tanned yellow, glossy and thickly powered squeaky white skin. Point make-up highlighted eye lines, red chick, small and voluptuous red lips. Hair and accessory seeks diversity combining various ethnic styles together such as oriental, Indian, Islam and Africa. In addition, future-oriented fashion of the 21st century, twists in texture, various kinds of materials and changes in technique help give impressions of freedom and bizarreness.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.193-196
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• 2005

The value of all goods and services produced in the economy divided by population has risen from $7.355 in 1998 to $12.646 in 2003. In other to maintain higher standard of lifestyle, people are 'hungry' for time. The idea of saving time and money by providing many different types of products altogether in one space was implemented with the advent of large warehouse style discount stores. These type of retailers grew in size and popularity during the 1990s and 2000s, causing a decline in sales in the old, traditional downtown markets. From ancient to twenty-first century, the role of the grocery store has been that of the social center of the community; a place of unity and interaction of people. The experience a customer engages in at a grocery store is comparable to that of a museum. Not only is the grocery store a unique, physical space to visit, but also a rich collection of fascination items. The layout of the interior space is meticulously planned for the efficiency of customer circulation and the success of product exhibition. Eye catching graphics and attractive lighting also add to the appeal of the grocery store's high style. Shoppers are no longer satisfied with just buying good products at a lower price. Shoppers prefer to spend time in an entertaining environment. The Hanaro Mart project in this study propose the idea of warehouse style discount stores which can satisfy all the demands of customers and their various activities. This study will open up unique dimensions of aesthetic expression and experience in the interior environments. Shopping for food is an unavoidable task. If food shopping is enjoyable, more people will spend more time at it.