• Conservation Science in Museum
• /
• v.12
• /
• pp.25-34
• /
• 2011

This study examined conservation process of white porcelain bottle with phoenix and peony design poly chrome, recovery of golden powder painted porcelain being damaged and colored, and recovery material and conservation methods by using a variety of experiments. Not only traditional method but also modern method can recover golden powder painted area being damaged and/or peel off, and suitable recovery was found out by using experiments. The golden powder paint of pattern edge was recovered not by traditional method but by modern method of golden powder paint with acrylic paint and binder.

• Journal of Digital Convergence
• /
• v.14 no.8
• /
• pp.399-406
• /
• 2016

Drawn-on-film animation technique is one that neither is actively used nor receives attention in any video content area. This paper means to strengthen animation genre's future direction and aesthetic aspect by seeking to newly discover previous experimental techniques through this paper. Taking into account the details of paper, it was intended to systematize and introduce results and experiential information obtained by researcher from applying drawn-on-film animation techniques in actual educational arena and utilizing these in learning and newly created techniques and the like through this. Production processes were comparatively demonstrated after suggesting an alternative digital production system in this process. And ultimately, a study and proposal was made so as to be helpful in developing the techniques of animation genre.

• Journal of Conservation Science
• /
• v.28 no.2
• /
• pp.101-112
• /
• 2012

The Donggwanwangmyo Shrine was built in the period of Joseon Dynasty in 1602. There are Clay Statues (Gwanwo, Jangbi, Woojanggun, Juchang, Jojaryoung and so on) enshrined in the inside of the main hall. Original color of these Clay Statues are deteriorated by inorganic pollutant like dust. And the origanal forms were damaged during several process of restorations and repaintings. This study carried out XRD, SEM-EDS, P-XRF and chromaticity measurement for characterization of pigments which painted on Clay Statues. As a result, cinnabar, hematite and red lead were used to paint in pigments for the red and brown colors. Light red pigment was made by gypsum with these minerals that make colors. Graphite and gold were used to color of black and gold pigment, respectively. Green pigment is identified of malachite, atacamite and glauconite. Blue pigment which is clearly painted on Clay Statues is interpreted a morden industrial pigment that were painted at repair work. White pigments are detected calcite, gypsum and silver white. Orpiment and litharge were used to color of yellow and light yellow pigment.

• The Journal of Korean Institute of Communications and Information Sciences
• /
• v.26 no.8B
• /
• pp.1161-1167
• /
• 2001

본 논문에서는 칼라 영상에 대한 인간 시각 특성과 무채색으로부터 정보를 추출하여 칼라 정지 영상에 효과적으로 워터마크 신호를 삽입하는 방법을 제안하였다. 워터마크는 이진 워터마크를 사용하였으며, 일반적으로 인간 시각 체계 특성에서 무채색(achromatic) 신호보다 유채색(chromatic) 신호에 대한 변별력이 떨어지는 특성을 이용하여 입·출력 장치로 획득된 RGB 좌표계의 칼라 정지 영상을 무채색 성분과 유채색 성분으로 완벽히 분리되는 다른 좌표계로 변환하여 워터마크를 유채색 포화도 성분에 삽입한다. 워터마크를 검출하는 과정은 원영상을 사용하지 않고 유채색 포화도 성분의 변경 형태를 추정하여 삽입된 워터마크를 검출 가능하였다. 실험 결과 특히 비가시성 특성 부분에서는 기존 방법들과 비교할 때 향상된 결과를 얻을 수 있었으며 강인성 또한 좋은 결과를 얻었다.

• Journal of the Institute of Electronics Engineers of Korea SP
• /
• v.38 no.3
• /
• pp.11-11
• /
• 2001

일반적 칼라 출력 장치는 제한된 범위의 색만을 재현 할 수 있다. 특히 프린터와 같이 색의 재현성이 부족한 장비에서는 하드웨어 특성에 따른 채색 면적이나 인쇄에 사용되는 용지의 특성에 따라 염료의 확산 등에 대해서도 고려해야 한다. 특히, 색을 프린트하기 위해서는 출력 과정에서 색의 선형적인 증가와 감소가 이루어져야 하며 또한 정확한 색의 모델링이 가능하여야 한다. 따라서 본 논문에서는 이를 위해 프린터 출력시 실제 채색 면적과 시각적 색감을 고려할 수 있는 디더링 방법을 제안한다. 제안된 방법은 실제 채색 면적을 고려한 패턴 데이터 베이스를 만들어 이를 디더링 패턴으로 이용하게 된다. 그리고 이 데이터 베이스에서 정확한 패턴을 선택하기 위해서는 인간시각의 색 인지력을 모델링한 대조 민감도 함수를 사용하게 된다. 따라서 본 논문에서는 저해상도의 칼라 출력장치에서도 고화질의 색을 재현할 수 있게 해준다.

• Journal of Conservation Science
• /
• v.29 no.1
• /
• pp.81-92
• /
• 2013

In the past, European material and method were applied to conservation of Buddhist mural paintings in Korea. At that time, there were inadequate to selection of materials in consideration of porosity and hydrophilicity, therefore insufficiency to assessing their suitability for materials. The treatment result of mural painting are dissatisfied with consolidation of painting layer using synthetic resin. Therefore, it has experimented on applying fixative for reinforcement of painting layer on Buddhist mural painting in order to establish the effects of conservation. In relationship of binder's viscosity, adhesion and penetrating depth, adhesion increased in high-viscosity specimen whereas it decreased in low-viscosity specimen. While the binder's penetrating depths show similar patterns, the surface's response and combination adjacent to painting layer have differences. Animal glue and methyl cellulose (MC) shows excellent performance in their reaction with soil and painting layer. It is estimated that the fixative penetrates deep into soil to produce a stable fixing effect. The viscosity of polyvinyl acetate resin (PVAc) and acrylic resins are low, and thus penetrates well into soil, but they adhere poorly to soil.

• Journal of Conservation Science
• /
• v.34 no.6
• /
• pp.557-568
• /
• 2018

The manufacturing techniques were studied by investigating a precise analysis on wall structure, features of materials and the painting layer of the bracket mural paintings at Daeungbojeon Hall in Naesosa temple. The wall frame is a single-branch structure, and The mural paintings are composed of 3 layers which are a support layer, a finishing layer and a painting layer. The support layer and the finishing layer are an earth wall that sand and clay such as Quartz, Feldspar, and etc. are mixed. The support and the finishing layers have a combination of medium particle sand and smaller than fine particle sand in the approximate ratios of 0.8:9.2 and 6:4, respectively. Therefore, the aforementioned ratio of sand with medium or large particles is relatively higher in the finishing layer than the support layer. As a result of a precise analysis on the painting layer, it has a relatively thick ground layer for painting which is maximum $456.15{\mu}m$ by using Celadonite or Glauconite and the paintings were colored by using pigments such as Atacamite, Kaolinite or Halloysite, Oxidized steel, and etc. on it. The manufacturing style and the painting techniques of an earth wall are included in the category of the Joseon Dynasty style that have been studied up to now, but the facts that the finishing layer has a high content of sand and a middle layer and chopped straw have not been identified. These are remarkable points in terms of structure and materials, and can be crucial in the evaluation of the state of conservation of mural paintings or preparation of a conservation plan.

• Conservation Science in Museum
• /
• v.24
• /
• pp.117-132
• /
• 2020

The painting layer of Payathonzu temple mural paintings in the ruins of Bagan Myanmar has been damaged due to various reasons. In this study, the applicability of Neem resin, a traditional Myanmar adhesive, as a fixative on the painting layer was examined. Cow glue and Paraloid B-72 were selected as fixatives in the comparison group, and pseudo-specimens with conditions similar to the original mural paintings were produced to examine the changes before and after applying the fixatives and according to the deterioration experiments. As a result of conducting the experiments and comparing the fixatives, it was found that changes on the surface such as smudge, yellowing and gloss are greater with the application of higher concentration of Neem resin than with other fixatives. However, such changes were relatively small under the condition of 4% concentration. It was also confirmed that chromaticity and glossiness vary greatly between before- and after-application of the fixatives but that such discrepancies tend to decrease at 4% concentration compared to other concentrations. As for fixation strength, it was found that the fixation capacity of Neem resin on the base and painting layers is overall higher than other fixatives as the concentration is increased. Therefore, the applicability of 4% concentration of Neem resin as a fixative on the painting layer was confirmed considering the low surface changes according to environmental factors, low color discrepancy and glossiness, and characteristics of excellent fixation strength. It is believed that the findings of this study could be used as basic data for the preservation of Payathonzu temple mural paintings in the future.

• 소프트웨어세계
• /
• s.2
• /
• pp.32-33
• /
• 1994

• Journal of the Institute of Electronics Engineers of Korea CI
• /
• v.45 no.3
• /
• pp.149-159
• /
• 2008

We present new methods which transfer the color style of a source image into an arbitrary given reference image. Misidentification problem of color cause wrong indexing in low saturation. Therefore, the proposed method do indexing after Image separating chromatic and achromatic color from saturation. The proposed method is composed of the following four steps : In the first step, Image separate chromatic and achromatic color from saturation using threshold. In the second step, image of separation do indexing using cylindrical metric. In the third step, the number and positional dispersion of pixel decide the order of priority for each index color. And average and standard deviation of each index color be calculated. In the final step, color be transferred in Lab color space, and post processing to removal noise and pseudo-contour. Experimental results show that the proposed method is effective on indexing and color transfer.