• Journal of the Society of Naval Architects of Korea
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• v.46 no.2
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• pp.179-188
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• 2009

WIG crafts are a high speed vessel with features of dynamic supported craft. These crafts, which are predominantly of light weight and operate any substantially greater speeds than conventional craft such as bulk carrier, tanker, container ship, etc., could not be accommodated under traditional maritime safety instruments. It means that there is the need for risk and safety levels to be assessed on a holistic basis, recognizing that high levels of operator training, comprehensive and thoroughly implemented procedures, high levels of automation and sophisticated software can all make significant contributions to risk reduction. To response this requirement, the Interim Guideline for WIG craft(MSC/Circ.1054) were developed in the view of the configuration of WIG craft, which fall between the maritime and aviation regulatory regimes. This paper reviews a safety assessment process and methodology to be used in the design phase of a new ship. The process and methodology is based on the risk-based approach and is applied to safety assessment in concept development phase of small WIG craft in the 20-person class.

• Journal of the Korea Furniture Society
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• v.23 no.4
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• pp.407-414
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• 2012

In order to develop the end use of cylindrical laminated veneer lumber (LVL) such as wooden crafts, the light resistance properties of natural dye-colored and finished cylindrical LVL was investigated. The study results were as follows; The cross section of LVL showed the higher light resistance than its tangential section, and the light resistance also increased with surface coated. On the other hand, LVL specimen were colored by 9 natural dyes of amur cork-tree etc., and the natural and apparent hue harmonized with wood was found after coating and light resistance test. Particularly, The dyes extracted from amur cork-tree, persimon and sappan wood showed orange color, reddish brown and red color respectively, giving an accenting effect to original wood color.

• Archives of design research
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• no.16
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• pp.149-158
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• 1996

Personal ornaments designing has a great influence on present-day life and culture and allied industries, but the current collges fail to provide its productive and creative programs because it is considered as just a part of metal crafts. Most colleges present programs only for producing items of pure fine art crafts, and therefore fail to present the programs that help the student to understand the related industries and their management. This study seeks to point to the problems of current personal omaments designing education in order to help to find its remedies, and tries to present long-term and short- term plans for them. I belive when the colleges develop their own suitable programs based on these plans, they will strengthen their ability to survive in this privailing open-door compryiyive world, widen their opportunities to contribute to related industries, and help the students to play better roles in the society.

• YAKHAK HOEJI
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• v.50 no.6
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• pp.403-408
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• 2006

1-Amino-5,6-dimethoxyindan hydrochloride was synthesized from 3- (3,4-dirnethoxyphenyl)propionic acid by intramolecular Friedel-Crafts acylation, oximation with hydroxylamine, and reduction with an overall yield of 74%. 2-Amino-5,6-dimethoxyindan hydrochloride was synthesized from 3-(3,4-dirnethoxyphenyl)propionic acid by intramolecular Friedel-Crafts acylation, oximation with isoamylnitrite, reduction in NaOH and reaction with HCI to form 5,6-dimethoxy-2-indanone, which was reacted with hydroxylamine and reduced with an overall yield of 42%. 5,6-Dimethoxyindan-1,2-dione-2-oxime, which was catalytically hydrogenated to afford cis-, and trans-1-amino-5,6-dimethoxyindan-1-ol as 3 : 1 ratio. This mixture was treated with Li and reacted with chloroacetyl chloride. Cis isomer was acylated and cyclized to synthesize rir -( ${\pm}$ )-7,8-dimethoxy-4,4a,5,9b-tetrahydroindeno[1,2-b][1,4]oxazin-3(2H)-one, but trans isomer was just acylated to form amide.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.72-79
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• 2024

This study focuses on combining traditional craft lacquer thread sculpture and augmented reality (AR) technology to develop digital educational content. In this way, we not only make it easier and easier for children to learn and understand the traditional craftsmanship of lacquer thread sculpture, but also finds a new direction for traditional craft education. First, through literature research, the production process of traditional craft lacquer thread sculpture is summarized. Through an in-depth understanding of traditional craft lacquer thread sculpture, it provides a theoretical basis for subsequent AR digital content development to achieve educational goals. Next, we used AR technology to design and produce the digital content of the traditional craft lacquer thread sculpture. This study proposes the application of AR technology and the design and production methods of digital content. It is hoped that the methods and experiences we have proposed will not only provide reference for the development of similar digital content in the future, but also provide new educational methods for the inheritance of traditional crafts.

• The Research Journal of the Costume Culture
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• v.32 no.2
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• pp.299-320
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• 2024

Traditional culture contributes to the diversification of modern fashion design and the inheritance of local cultural identity. This study aims to identify the characteristics of traditional handicrafts reflected in modern fashion design in India. For this purpose, it focused on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar, who are currently leading the Indian fashion design field. The methodology involved conducting literature research and analyzing case studies. In the literature, the techniques of Indian traditional crafts such as embroidery, dyeing, and weaving were examined and five design elements of traditional crafts were defined. Through content analysis of 30 images from the three designers' Instagram accounts, the design characteristics of traditional handicrafts expressed in contemporary Indian fashion design were derived: cultural inheritance using traditional Indian clothing items, traditional materials and practices applied to contemporary clothing, craftsmanship that artistically improves complex details using embroidery techniques, various combinations based on the traditional meaning of colors, and narrative expression using patterns containing India's cultural identity. Incorporating these traditional handicrafts into fashion design, closely linked to everyday life, aids in conveying and enhancing their significance. The cases demonstrate the successful integration of conservation into contemporary fashion design. This study sheds light on the application of traditional culture in modern fashion design.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• The Journal of Fisheries Business Administration
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• v.1 no.2
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• pp.1-22
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• 1970

Our fisheries protucts industry has developed rapidly during past 10 years ; production was about twice: fihing fleets increased twice in number and 3 times in tonnage ; export was 5 times. Govermment is trying to develop deep sea fisheries in order to surmount the depression of coast fisheries. At present more than 270 deep sea fishing boats are working with superior skill to other country at the South Pacific, the Atlantic, the Indian, and the North Pacific Ocean. Our deep sea fisheries is consisted of the tuna long line and the trawler. The tuna long line of them has 230 crafts in 1969 ana the deep sea trawler has 40 crafts, too. Comparing to 1962, the number of the deep sea fishing boats has been increased highly to 54 times, 7.71 times average per year increasing rate. The rate of the tuna long line to the trawler at the end of 1969 shows 85:15, More than half of them are 100~200 (equation omitted), if we classify them according to (equation omitted) or boat craft. 70% of them has less than 5 years ships age. The Korean Marine Industry Development Corporation has more than 1/3 fishing fleets, with 91 crafts, if We consider it according to corporation. Considering it according to the financial resources, dependence upon foreign loan is as high as 88%. Catches was 74, 450 M/T ($24, 663, 000)at the end of November in 1969 and it was increased to 113.5 times in catch amount and 118 times in value, comparing to those of 1962. Considering it according to the ocean, the order is arranged to the Pacific, the Atlantic, and the Indian Ocean. The average production amount of each craft is 250~400 S/T a year. The result of export took up 1/3 of total fisheries product export with $ 22, 398, 000 at the end of november in 1969. Employee cost of fishing coast is 8% higher than other fishing. The profit is highest in our fisheries. Most of the products except the trawler fishing are sofa at the fishing grounds to the processing company, and they lose much money. They buy most of bait from Japan, giving $8~10 for 1C/S(10kg). Fish price is $390~520 according to the kind of fish for S/T at the fishing grounds, and the rapid frozen fishes brought to Japan are about $ 800 for S/T. There is much difference. in price. Problems 1. Want of self capital. 2. To get the refrigeration boats enough. 3. International Fishing Regulation. 4. To get high price and to secure consuming grounds. 5. To get home-production of bait. 6. To exploit new fishing grounds. 7. To get larger boats. 8. To get mariner enough. When the problems mentioned above are solved, the Deep Sea Fisheries of oun courtry will be developed more largely.

• Journal of Digital Convergence
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• v.10 no.7
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• pp.237-243
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• 2012

Human beings were constantly developing and using tools. This implies the history of humans have been creatively maintained and developed. Humans put its utmost efforts to the development of civilization to lead better life at the same time constantly pursuit to the cultural development such as formative characteristics for the satisfaction of aesthetic needs. Gyubang crafts are regarded as extremely feminine and contained emotions of Korea while being classified as a genre of Korean culture & art. Gyubang crafts were created independent & unique formative beauty on the basis of then social, cultural, religious background, in which those sewing kits being called friends of ladies express the emotion of arts contains cultural depth of its appearance of life as well as its spiritual world of happiness, anger, sorrow and pleasure of ladies. And it was aimed to sought the possibilities to start itself in various ways under the assumption capable to be expressed detail & contemporary taste of the sewing kits that lived together with the ladies in their historic life through linking with ornaments arts with convergence and harmony of formative image. As stated, it could be an opportunity to rediscover the formative characteristics, harmony of convergence, elegance, delicacy, aesthetic beauty focused on sewing kits among Gyubang crafts filled with ladies' scant and spiritual hope and to be re-understood the excellence and the aesthetic beauty of traditional culture & arts through personal ornaments.

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.160-171
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• 2014

The provision of support for the art of making these items needs to be considered with the focus on the following factors: the local situation of the areas where such traditional handicrafts are still made, the craftspeople involved in their production, and their communities. So far, discussion about how to reinvigorate traditional handicrafts, including those mentioned above, has been concentrated on the measures taken to promote them as part of the handicrafts industry and the allocation of the government's budget for important intangible cultural heritages. The government runs a traditional handicrafts management system and provides financial support for the craftspeople and spaces for exhibiting their work. This form of support has led to systematic management of traditional handicrafts and heightened public interest in cultural heritage, as well as publicizing the country's traditional crafts, but has made little progress in the following areas: the fostering of young people willing to learn traditional skills, diversification of the types of skills to be maintained, or establishment of the networks of collaboration among the craftspeople. The most important aspect among the efforts mentioned above is to maintain cultural traditions that are unique to each region by encouraging local craftspeople to engage in their work with a solid sense of pride backed up by financial support. This study was carried out in connection with the need to reinvigorate the art of making tanggeon (horsehair crown), manggeon (horsehair headband), and gat (black horsehair hat), which few people wear as they are used only for ornamental purposes nowadays. This study examined the circumstances surrounding the artisans engaged in the production of horsehair handicrafts prior to their designation as a cultural heritage, and the changes that occurred in the local communities associated with their production after the designation, in order to assess the status of inheritance of this tradition.