• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.207-222
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• 2015

The purpose of this study is to set up the theoretical foundation for neon colors by recognizing them as important elements of sensitive design and by comprehending their existence as a color fashion responsive to psychological and social background. As the subject of the present the researcher has selected important oversea collections of these five years during which neon colors have fully emerged as popular colors of fashion. The procedure of research was to examine the concept and traits of colors and investigate the utility of neon colors in various fields. The important facts which are acquired from the present study are as follows. First, the analysis of frequency has found out the following color arrangements: neon color only-8.6%(35), neon color+colorless-58.3%(236), neon color+ colored -14.8%(60),neon color+colorless+colored-18.3%(74), and others. The case of neon color used as monochromatic (color) was distinguished into two: single neon color all through and the same color used differently. Color arrangements were divided into analogous arrangement, separation arrangement, dominant arrangement, multi-color arrangement, and accent arrangement. Second, the internal significance of neon colors expressed in fashion can be interpreted into three: emphasis, optical Illusion, and amusing. This study has attempted to raised up the aesthetic value of various color expression and to expand fashion image by interpreting the trends of color fashion together with the traits and aesthetic meaning of color in fashion. The future study intends to expand the expression area of fashion design and to interpret molding beauty through the image of color arrangement and through fashion style utilizing neon colors.

• Journal of the Korea Computer Graphics Society
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• v.13 no.1
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• pp.15-24
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• 2007

This study is focused on fellowing two issues for simulating colored paper mosaic. The first one is paper tile generation, and the other one is arrangement. At first we define the paper data as two layered polygon. Then, generate paper tile from paper data, and attach it on the best location of canvas according to energy value. The proposed method in this study has some benefits like follow. First, we can obtain more natural shaped paper tile because the phase is similar to real process of fearing paper. Second, if we redefine the structure of paper like newspaper, magazine and so on, the result can be generated with the variable type of paper. And lastly, by adjusting parameters of energy function, we can control the position of the torn paper.

• The Korea Journal of Herbology
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• v.20 no.2
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• pp.77-82
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• 2005

Objectives : A morphological classification among Achyranthes japonica Nakai (produced in Korea), A. bidentata Blume (imported from China), and Cyathula officinalis Kuan (used in China exclusively) was made through microscopic observation. Method : The slice of the tested material made by paraffin section technique was colored with Safranine Malachite Green contrast methods, and then observed and photographed by olymphus-BHT. Result : 1. Korean A. japonica Nakai has slim roots, whose diameter is $1{\sim}5\;mm$. 1) Most of its intersection is stele, which includes a lot of vascular bundles. The inside of vascular bundles shows the arrangement of $2{\sim}4$ cycles, the innermost wheel of which is divided into two parts. 2) Parts of parenchymatous cell include Crystal sand of calcium oxalate. 2. The diameter of the roots of Chinese A. bidentata Blume is $0.4{\sim}1\;cm$. 1) The xylem in the vascular bundle in the middle of its intersection is rather big, around which the inner parts of the vascular bundles are arranged in the shape of $2{\sim}4$ cycles around. The most outside part of it is small, and the middle part is gathered into $2{\sim}3$ groups. 2) Parts of parenchymatous cells include Crystal sand of calcium oxalate. 3. The roots of Chinese C. officinalis Kuan is thick, whose diameter is $0.5{\sim}3\;cm$. 1) Vascular bundle of its intersection is spotted, arranged in the shape of $4{\sim}11$ concentric circles, whose center is divided into $2{\sim}9$ groups. 2) Parenchymatous cells include crystal sand and square crystal of calcium oxalate. Conclusion : It is concluded that Achyranthes japonica Nakai, A. bidentata Blume, and C. officinalis Kuan have different shapes in both external forms and internal intersections, so that they can be easily distinguished from one another through microscopic observation.

• Journal of the Korean Society of Costume
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• v.6
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• pp.121-143
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• 1982

Many studies have done on Egyptian Clothing because its unique characteristic culture. However, I was facinated by the exhibitions of Tutankhamen burial treasures which were shown in San Francisco and New York in 1978 and 1979. I found out myself that there are several interesting aspects of clothing to compare 18th dynasty king, Tutankhamun and other dynasties in Egyptian culture. Therefore, I tryed to analized the Egyptian clothing including accessaries with theigr symbols durin 18th dynasty King, Tutankhamun. The most of people were shocked and amazed when they toured the exhibition of Tutankhamun articles which were the most incredible burial treasures in existence today. The body of the King has been embalmed, bandaged and fitted in eight layers of coffins with pure gold mask to represent the god Osiris. Among eight layers of coffins, one is pure solid gold in mummiform, two of mummiforms are made of compact wood covered with sheets of gold and inlaid with multi-colored glass-paste and semi-precious stones. The Egyptian belived that the soul continued to exist throughout eternity if it had passed on examination of its deeds on earth at a "Last Judgement" presided over by Osiris. They also believed that the mummified body could exist in the tomb as a habitation that the soul could revisited. Thus a proper burial was vital for a full existence in the hereafter. They buried dead person in the sealed vault of the tomb with some of the possessions he had used during his life time, such as his furniture, clothing and jewels. In this studies, I've tried to research to various clothings, and accessories with their symbols used during 18th dynasty king, Tutankhamun. The studies are shown as: I) Clothings of Tutankhamun dynasity of Kalasiris, Sheath skirt. Gala skirt, Loin skirt, Hike and Dalmatic. The Dalmatic was first seen in this dynasty. Probably the Roman Christian borrowed the Dalmatica from Egyptian Dalmatic. No where has the same design at the period. II) Egyptian of 18th dynasty Tutankhamun wore big headdress, broad collar necklace passium, pendants, armlets, rings and earrings with very beautiful, exquisite handcraft. They seem the first people who wore earrings in Egyptian history. III) The symbols of decorated items vulture, lotus...Upper Egypt Uraeus, papyrus...Lower Egypt scaravaeus, Nile Riber...rebirth man(Ankh), +...eternal life solar disc, gold...sun ostrich-feather...nobleness God, Horus' eye...protection against enemy IV) Also Egyptian prefered the straight line and a right angle which were the basic principles of architectural arrangement.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• The Journal of Korean Academy of Prosthodontics
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• v.47 no.2
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• pp.191-198
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• 2009

Statement of problem: Ceramics have been important materials for the restoration of teeth. The demands of patients for tooth-colored restorations and the availability of various dental ceramics has driven the increased use of new types of dental ceramic materials. Improved physical properties of theses materials have expanded its use even in posterior crowns and fixed partial dentures. However, ceramic still has limitation such as low loading capability. This is critical for long-span bridge, because bridge is more subject to tensile force. Purpose: The wire reinforced ceramic was designed to increase the fracture resistance of ceramic restoration. The purpose of this study was to evaluate the fracture resistance of wire reinforced ceramic. Material and methods: Heat pressed ceramic(ingot No.200 : IPS Empress 2, Ivoclar Vivadent, Liechtenstein) and Ni-Cr wire(Alfa Aesar, Johnson Matthey Company, USA) of 0.41 mm diameter were used in this study. Five groups of twelve uniform sized ceramic specimens(width 4 mm, thickness 2 mm, length 15 mm) were fabricated. Each group had different wire arrangement. Wireless ceramic was used as control group. The experimental groups were divided according to wire number and position. One, two and three strands of wires were positioned on the longitudinal axis of specimen. In another experimental group, three strands of wires positioned on the longitudinal axis and five strands of wires positioned on the transverse axis. Three-point bending test was done with universal testing machine(Z020, Zwick, Germany) to compare the flexural modulus, flexural strength, strain at fracture and fracture toughness of each group. Fractured ceramic specimens were cross-sectioned with caborundum disc and grinded with sandpaper to observe interface between ceramic and Ni-Cr wire. The interface between ceramic and Ni-Cr wire was analyzed with scanning electron microscope(JSM-6360, JEOL, Japan) under platinum coating. Results: The results obtained were as follows: 1. The average and standard deviation in flexural modulus, flexural strength and fracture toughness showed no statistical differences between control and experimental groups. However, strain was significantly increased in wire inserted ceramics(P<.001). 2. Control group showed wedge fracture aspects across specimen, while experimental groups showed cracks across specimen. 3. Scanning electron microscopic image of cross-sectioned and longitudinally-sectioned specimens showed no gap at the interface between ceramic and Ni-Cr wire. Conclusion: The results of this study showed that wire inserted ceramics have a high strain characteristic. However, wire inserted ceramics was not enough to use at posterior area of mouth in relation to flexural modulus and flexural strength. Therefore, we need further studies.