• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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• 2003.11a
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• pp.249-271
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• 2003

The purpose of the present study is to identify the drying cylinder model in paper plants and to analyze characteristics of process responses for changes in input variables. The model developed in this work is based on actual plant operation data and the steam pressure applied to the cylinder behaves as one the main variables. It is found that heat transfer coefficients from the condensate to the canvas could be represented as empirical relations based on heat conductivities and operation date. The effectiveness of the cylinder model is demonstrated by the measured moisture contents and web temperature. Using transfer functions derived from the cylinder model stability of the drying process is analyzed.

• Journal of the Korea Computer Graphics Society
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• v.12 no.1
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• pp.9-15
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• 2006

본 논문에서는 점묘화를 생성하기 위한 회화적 렌더링 기법을 제안한다. 신인상파(Neo-Impressionist) 화가 쇠라는 캔버스위의 독립 색채들은 망막위에서 재조직된다는 이론을 바탕으로 점묘화를 제안한다. 이는 색의 병치혼합과 보색대비를 이용해 빛의 가산혼합이 회화작품에 적용될 수 있도록 하기위해 브러시 스트로크로 작은 점을 이용한다. 이러한 점묘화를 표현하기위해서 쇠라의 작품과 동시대의 색이론 분석을 통해 색의 분할과 병치혼합의 이론적 배경을 알아보고 이를 통해 점묘 스트로크의 색상, 모양, 방향등을 결정할 수 있는 알고리즘을 소개한다. 먼저 신인상파의 팔레트 분석을 통해 칼라모델을 설계한다. 그리고 입력영상을 영상분할 기법을 이용해 공간적 구도를 잡고 각 분할 영역의 관계를 고려해 색상을 할당한다. 각 할당된 색은 보색과 함께 정의된다. 각 분할영역은 해당영역에서 표현될 수 있는 색상의 작은 점묘 브러시 스트로크로 렌더링이 된다. 이때 입력영상의 밝기정보를 유지할 수 있도록 점묘 스트로크는 색상이 결정된다. 점묘 스트로크의 방향은 입력영상의 에지방향을 따르도록 보간법을 이용해 계산한다.

• Korean Chemical Engineering Research
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• v.45 no.1
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• pp.17-24
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• 2007

The purpose of the present study is to identify the drying cylinder model in paper plants and to analyze characteristics of process responses for changes in input variables. The model developed in this work is based on actual plant operation data where the steam pressure applied to the cylinder behaves as the major variable. It is found that heat transfer coefficients from the condensate to the canvas could be represented as empirical relations based on heat conductivities and operation data. The effectiveness of the cylinder model is demonstrated by the measured moisture contents and web temperature. Stability of the drying process is analyzed based on the transfer functions derived from the cylinder model.

• The Journal of Art Theory & Practice
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• no.15
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• pp.137-165
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• 2013

The prefix 'bio' with the meaning of 'life,' has been used for biotechnology, biochemistry, bioengineering, biomedicine, bioethics, bio-information as well as 'bio art' since 1990s. Bio art is an art as life itself and a kind of new direction in contemporary art that manipulates the processes of life. Bio artists use the properties of life and materials as scientists in laboratory of biology, and change organisms within their own species, of invents life with new characteristics. Technologically and socio-culturally, bio art has been connected with bioengineering. This essay is on the bio art that use vegetables, and on the specified gaze of so-called 'Sci-Artists.' Not only the genetically modified vegetables like works of George Gessert, Ackroyd & Harvey, and Eduardo Kac, but also the works made from the critical viewpoint like those of Paul Vanouse, Natalie Jeremijenko, and Amy Youngs, have 'the molecular gaze'(Suzanne Anker and Dorothy Nelkin's concept) of the genetic age in their art works. As the art history have showed, artists' gazes have insights about social problems that surround us. Bioartists' gazes reveal their insights about social and ethical problems, possibly concealed by science itself. Those problems are about results from practical discoveries of the sequencing of the genome, genetic engineering, cloning and reproduction of human and animals, body transformation, and the commercialization of cell and genes etc. We can find the significance of bioart in the molecular gaze about those problems, and we can rethink the identity of human, the reception of social influences from bio-technology and medicine.

• Journal of the Korea Computer Graphics Society
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• v.24 no.3
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• pp.101-109
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• 2018

Recently, the improvement of virtual reality and augmented reality technologies leverages many new technologies like the virtual study room, virtual architecture room. Such virtual worlds require free handed drawing technology such as writing descriptions of formula or drawing blue print of buildings. In nature, lots of view point modifications occur when we walk around inside the virtual world. Especially, we often look some objects from near to far distance in the virtual world. Traditional drawing methods like using fixed size image for drawing unit is not produce acceptable result because they generate blurred and jaggy result as view distance varying. We propose a novel method which robust to the environment that produce lots of magnifications and minimizations like the virtual reality world. We implemented our algorithm both two dimensional and three dimensional devices. Our algorithm does not produce any artifacts, jaggy or blurred result regardless of scaling factor.

• Journal of the Korea Computer Graphics Society
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• v.14 no.1
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• pp.1-10
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• 2008

In this paper, we present a novel method for creating a hand-painted painterly animation, starting from a video input. One of the most important aspects in painterly animation is to maintain the temporal coherence of brush strokes between frames, which plays a vital role to warrant a smooth transition between frames. Our unique utilization of motion areas enables users to produce a smooth movement of brush strokes. The motion areas are the parts where objects move between frames and they are categorized in two main types. A strong motion area is the part where the movement of real edges and hidden edges is determined by the motion vector between frames. The real edge is the outline of an object and the hidden edge is the boundary to represent the direction of a grain of intensity in the areas with gradations. A weak motion area is the remainder after subtracting the strong motion area from the entire motion area. Temporally coherent painterly animation is achieved by re-painting the brush strokes on the canvas using two motion areas, resulting in a natural and hand-painted appearance.

• Journal of Korea Multimedia Society
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• v.12 no.11
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• pp.1640-1651
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• 2009

In this paper we introduce a new approach to stroke based rendering using brush stroke profile. Our proposed method, based on image retrieval method, is a simple but flexible and scalable method to create various painting styles, for which scalable database constructed with the collection of real stroke data is used. Input image is reproduced with combinations of brush stoke in the database, when a search process to determinate appropriate brush stroke and a judgment process to decide whether to draw the retrieved brush stroke on the canvas or not are presented. In addition, this paper suggests a new brush stroke model and a depiction technique in order to utilize effective height information which allows natural texture depiction, or good visual effect, without carrying out physical simulation. Our method is able to create diverse variations of painting by controling various user parameters. It also provides scalable framework that can produce various painting styles with different artistic media by changing the stroke combinations of stroke database.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.16 no.6
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• pp.1312-1317
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• 2012

ZSphere of ZBrush can be added to the canvas, and most of all, added to the existing ZSphere as mobile geometrical objects. For example, arms can be produced out of the globoid in the progress of an intermediate step. characters with multiple limbs can be produced easily in this way. With Zsphere, several Child Spheres can be produced out of single Sphere, then these can be parents spheres, and can connect other Child Spheres. In this paper, by making each form through these processes, 3D characters were modeled to shape easily and rapidly. Since 3D objects can be added, rotated, and moved, they can interact smoothly with Z-depth of campus. To place these objects on the screen, paint, build fixed perspective image, smerge pixols and transform 3D objects, diverse transforming tools and sculpturing tools were used. The characters were designed in the way that first, the finished 3D characters were transformed into poly, then each side was restructured rapidly with Topology.

• Journal of Korea Society of Industrial Information Systems
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• v.21 no.5
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• pp.41-54
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• 2016

Because of the recession of the world economy, small businesses face with many problems in securing their required labor force, capital, technology, among others. As an alternative to address those difficulties, there is a research to introduce the "sharing economy", which shares and changes resources. However SMEs have difficulties in actually introducing the sharing economy and the introduction of inter-company because sharing economy business models do not exist. This research has presented the business model for the sharing economy that is necessary in the introduction and operation of the said economy among SMEs. In order to design the business model for the B2B sharing economy, this research has drawn the components needed to design the business model through a preceding study on existing business models. Based on this and the preceding study, this research has presented the business model, which can be introduced to the sharing economy among SMEs. In addition Business model presented in this study will be a guideline for introducing shared economic conditions for each SMEs.

• Cartoon and Animation Studies
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• s.24
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• pp.49-64
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• 2011

Comics is sequential art. In comics, the story is developped by its sequential panels which have their own sizes and sites. Accordingly, comics is closer to 'space' art than text. The reading order in a page of comic book follows the human long-standing reading habit, and it is the same as that of textbook. When we read a korean comic book, our eyes run from left to right, and downward on the page. But some factors related to panels or comic structures can change the typical reading order. Meanwhile, breaking the typical reading order is easier in the "infinite canvas" by reason of unconstrained spatial composition. This paper introduces the factors that change the comic book readers' reading order and proposes a tablet PC comic book layout which includes an arbitrary reading path using interaction