• Cross-Cultural Studies
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• v.29
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• pp.25-53
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• 2012

The attitude of observer in the painting of history is to exclude a prejudice and a subjective view of an artist and to introduce a photograph, which is a record of objectivity, in the process of painting. Its ultimate intent is to redescribe the fact of an event's image intactly without any prejudice and to represent the event as a proven evidence that it was. The representation of history based on fact had already been conceived in imagination of renowned artists such as Francisco Goya or $Th{\acute{e}}odore$ $G{\acute{e}}ricault$ even before cameras were invented. What they portrayed was their own truth of reality which is gained through their observation, not a history that have corresponded to political ideologies, for all reliance on a limited tool of representation, painting. Furthermore, history was necessary for 19th century impressionism artists to be represented under proven fact in a neutral perspective excluding all subjective prejudice, not based on the representation with imagination. Edouard Manet in particular reconstited an instant moment on the basis of real proof of photograph without personal prejudice or opinion as if today's photojournalism. The catastrophic series by Andy Warhol and the photographic painting by Gerhard Richter show another role of painting in the realm of art, each of them implying information distortion and abuse by current media and intentional deformation toward history as Manet's painting of history. Today, the representation of an historical event that we experience in the era of the Internet and social networks having a great deal of information already came to be the exclusive property of the cutting edge mass media. Nevertheless, the attitude of observer which is realistic and contemplative in the realm of art is the crucial point in terms of artists' act as ever.

• Journal of the Korea Computer Graphics Society
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• v.8 no.2
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• pp.31-38
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• 2002

This paper presents a method for real-time 3D Sumi-e rendering us ing normal graphics hardware. Sumi-e is one of the traditional oriental painting styles. Most research on Sumi-e paintings has focused on 2D or :2.5D Sumi-e brushwork simulation. On these systems. complicated user's hand drawing is required to generate the image of Sumi-e effects. and it can render the 2D or 2.5D Sumi-e images only. We present an automated rendering system for 3D image of Sumi-e painting. It uses 3D common object as an input data and does not need any additional input of user brushwork. Especially for the real-time rendering. hardware-accelerated algorithm for Sumi-e rendering is newly suggested in our system. It is designed with efficiency for customer level graphics hard ware. The results of this paper show that the features of traditional Sumi-e painting are successfully modeled and that 3D Sumi-e painting is rendered in real-time effectively.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Corrosion Science and Technology
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• v.18 no.6
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• pp.253-257
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• 2019

A deep learning based real-time painting surface inspection algorithm is proposed herein, designed for developing an autonomous inspection drone. The painting surface inspection is usually conducted manually. However, the manual inspection has a limitation in obtaining accurate data for correct judgement on the surface because of human error and deviation of individual inspection experiences. The best method to replace manual surface inspection is the vision-based inspection method with a camera, using various image processing algorithms. Nevertheless, the visual inspection is difficult to apply to surface inspection due to diverse appearances of material, hue, and lightning effects. To overcome technical limitations, a deep learning-based pattern recognition algorithm is proposed, which is specialized for painting surface inspections. The proposed algorithm functions in real time on the embedded board mounted on an autonomous inspection drone. The inspection results data are stored in the database and used for training the deep learning algorithm to improve performance. The various experiments for pre-inspection of painting processes are performed to verify real-time performance of the proposed deep learning algorithm.

• Journal of Advanced Navigation Technology
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• v.22 no.2
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• pp.163-167
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• 2018

Probabilistic approach is applied to the experiment of Probability Density Function to get the information. Especially this method will be useful to make the montage to compare similarity. But in the case of art painting, it is more difficult than montage image. In this case, we should study the habit of painter with characteristic point in the paintings. Especially we will study characteristic point in the oil paintings to decide truth or falsehood in this paper.

• Journal of Information Technology Applications and Management
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• v.29 no.1
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• pp.29-45
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• 2022

The Fourth Industrial Revolution era requires people to have the ability of integrated thinking, critics, sensitivity, and creativity in an integrated manner. Therefore, teaching methods are expected to become more suitable for the trend. In this belief, current teacher-leading education method should move to students' self motivating one and consist of programs in which students voluntarily involve. In this reason, this study suggests FPBL educational method model that is combines project-based learning with flipped learning by analysing preceding research and digital painting tool class was designed by applying it. As a result of applying the designed class model to the class, all of the class satisfaction, effectiveness, and interaction were evaluated positively. Problems such as limitations of project classes due to non-face-to-face classes, large amount of learning before class, and reduced concentration during class were found. Therefore, when the FPBL class model is conducted non-face-to-face, it will be necessary to further strengthen the role of the instructor, provide lecture videos summarizing the core contents, and improve concentration by providing active participation and fun using various digital tools. The result of the study looks significant by confirming the possibility of applying FPBL model not only in design education but also other educational settings.

• Journal of the Korean Institute of Telematics and Electronics A
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• v.28A no.5
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• pp.398-406
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• 1991

This paper presents a graphics accelerator for fast image generation. The accelarator has three major functional blocks: linear interpolator, multipliers and Edgee Painting Tree. Linear interpolator with coupled binary tree structure interpolates functional values of two end points. Two multipliers compute input values of interpolator in parallel. Mask pattern which removes out invalid data is generated by Edge Painting Tree. The proposed architecture in this paper is responsible for 64 pixels and can process about 5,900 10x10polygons per second.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.205-210
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• 2023

Stone cave paintings are continuous interactions as independent mediums in places such as text, images and stone cave architecture. Unlike Buddha statues, the narrative of the text always fascinates and guides the viewer to the timeliness of the image, that is, the narrative. In particular, in Buddhist art, Buddha statues are never simple images, and murals are never simple paintings. Before the Tang Dynasty, most unknown artists were artisans, and many artists still worked on murals in temples and palaces, and independent paintings such as scrolls and sides became an important form of painting after the Tang Dynasty, changing the mechanism of painting creation. In this paper, the graphic creation process prioritizes dedication and service, but we can still feel the creativity of the painters strongly. The historical resources of how to paint these paintings, the clues to the copies, and the precursor to the foreground, encourage the painters to constantly try to resemble each other and discover problems...Therefore, in this paper, it was confirmed that reinvention and creativity are very important, and that Dunhuang Buddhist art is the basis for artists' creation and the source of vitality.

• Journal of Drive and Control
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• v.19 no.1
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• pp.1-7
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• 2022

Recently, a re-painting robot was developed to semi-automatically conduct blasting work in bridge spaces to improve work productivity and worker safety. In this study, a vision sensor-based monitoring module was developed to automatically move the re-painting robot along the path. The monitoring module provides direction information to the robot by analyzing the boundary between the painting surface and the metal surface. To stably measure images in unstable environments, various techniques for improving image visibility were applied in this study. Then, the driving performance was verified in a similar environment.

• 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.