• Journal of Ginseng Research
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• v.8 no.1
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• pp.57-64
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• 1984

In order to clarify an effect of seedling weight on the growth pattern of ginseng, seedlings ranged from 0.4g plant to 1.8g plant were transplanted, and then the characters of 5- and 6-year-old ginseng were investigated. The characters of root and leaf, such as length and diameter of main root, root weight, leaf area, and leaf dry weight of 5- and 6-year-old ginseng originated from large seedlings were superior as compared with those from small seedlings, and percentage of missing plant was increased with the increase of seedling weight. There were, however, no significant difference in stem length, stem dry weight, number of seeds per plant and number of palmate leaves and leaflets per plant in 5- and 6-year-old ginseng and these characters were not affected by the weight of seedings transplanted. Root field per unit area was higher in seedings of above 0.6g/plant than in small seedlings.

• Hwankyungkyoyuk
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• v.24 no.4
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• pp.41-50
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• 2011

This study examines how literary experiences cultivate environmental sensitivity. In this study we have 3 children(6th graders) to experience 3 selected literary works. The experience of 3 children focusing on characters is divided into 'sympathy', 'identification' and 'hostility' by empathy types. In literary experiences, children naturally support the values pursued by main characters. The experience focusing on plot events is consists of 'sympathy' and 'advice'. The children agreed with the way how the characters solved environmental issues while involved in the events by offering advice to characters whose actions they did not agree to. The experience focusing on topics is divided into 'assimilation' and 'reflection'. The children experienced the assimilation process. Furthermore, they reflected on new environmental issues. This result suggests literary experience subserve children to reflect value through empathy and cultivate their intention toward pro-environmental behavior by generating environmental sensitivity.

• Journal of the Ergonomics Society of Korea
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• v.28 no.4
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• pp.1-7
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• 2009

The purpose of this study was to evaluate the legibility of one-syllable Korean characters with the participation of sixteen subjects. The experiment considered nine factors including age (young and old), gender (male and female), illuminance (150lx and 600lx), viewing distance (50cm and 200cm), material type (paper and LCD), typeface (Ming and Gothic), thickness (plain and bold), color contrast (black letter/white background and white letter/black background), and complexity (simple, complex, and number) to examine main effects with a $2^{6-3}\times3$ fractional factorial design. The dependent variables were minimum character size of 100% correctness, maximum character size of 0% correctness, and minimum character size of comfortable reading preference. The results of analysis of variance (ANOVA) revealed that age, illuminance, viewing distance and complexity were significant for all dependent variables, except gender which was significant only for the minimum character size of comfortable reading preference. In general, the young could see twofold smaller size letters than the elderly. The subjects could see smaller sized letters with the illuminance of 600lx and viewing distance of 50cm than 150lx and 200cm, respectively and also with numbers, simple characters, and complex characters in that order. The findings of this study could be characterized about the legibility of Korean characters and be good resources for developing its standard.

• Journal of Fashion Business
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• v.19 no.3
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

• Cartoon and Animation Studies
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• s.40
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• pp.243-260
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• 2015

Being a symbolic image to let traditional 'mother wonlee' contents characters known widely, need to be made in a way that can deliver the powerful message of korea An-dong traditional local contents and the value of regent story. As for the contents character develope methods and the scope of the study, an theoretical study was conducted based on literature review, and, factor plus fiction field surveys, and the legend story and then an effect of character marketing on global contents with original identity. 'mother wonlee' pre-production plaining have been analysis with creative described based on the ancients features and the classification of ancient original characters, and the situation and the concept of An-dong local place. as a results this thesis is show up how to make up a main character develop processing and make a features design processing of the characters who different age and a scenes. as a conclusion is drawing about a 'Wonlee' and 'Eungtea' both main Character plaining processing and graphics; traditional face, all clothes, body proportion, etc. Also we trade to traditional patten with character planing. it will be a high value industry which facilitates a variety of industries in conjunction with marketing traditional source characters in global. Recognizing the value of traditional story main character design and graphics marketing and utilizing the value through various media will create infinite value, enabling the global marketing.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.113-122
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• 2013

The movie "Beautiful Mind" directed by Ron Howard is about a genius global mathematician, John Nash's life. In the movie, the main actor, John Nash is a schizophrenic patient who suffers from hallucination and delusion, and his illusion appears as three distinct characters. Each researcher has had a different opinion on the interpretation of these three characters, but many parts of their opinions are losing consistency. Especially the girl is assumed to be a character from the main actor's hallucination because she is ageless or there is no interpretation of the girl. Although the director Ron Howard did not adopt Aldous Huxley's theory "the more you know the more you see" for the movie, he analyzed the characters in the way of his own with thinking that he can analyze them in accordance with the knowledge level of audience. The imaginary characters come out from John Nash's head and who he wants to be. They are the basic human needs, earthly desire, sexual desire and the desire for honor. John Nash minutely reflects these three kinds of desires in an imaginary world through the three characters. This thesis is to newly suggest the symbolic meaning of the imaginary characters in the movie by clearly analyzing the meaning of the controversial three characters.

• Proceedings of the Korean Society of Tribologists and Lubrication Engineers Conference
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• 2001.11a
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• pp.356-363
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• 2001

Piston seal is a device designed to prevent leakage in split connecctions or between relatively moving part. Contact force, critical pressure at which extrusion occurs, leakage rate, fluid film thickness and friction force have been analyzed for some design parameter such as clearance between cylinder wall piston, depth of rectangular groove and pressure of sealed hydraulic fluid. In this paper, we analyze displacement and stress of Wearing by finite element analysis to understand Contact Behaviour Characters.

• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.219-230
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• 2009

The purpose of this paper is to study characters' make-up coordination that changes the narrative of the fantasy movies to a visual fantasy, especially it focuses on the post-modern features from the works of Tim Burton, a post-modernist. The contents of the study are, firstly, studying post-modernism that influenced the works of Tim Burton, secondly, researching (1988), (1989), (1990), (1992), (2003) and (2005) and their main characters' make-up design. Thirdly, analyzing the otherness and plural-code that are the post-modern characteristics expressed on characters' make-up coordination of fantasy movies. The otherness means the division of the middle and the surroundings and the rise of the outsiders. Fantasy characters that scares off human such as ghosts, aliens, apes, kidults, mutations, man-made men are in the middle. The plural-code takes the symbolic and pluralistic dimension in to the movie, mixes the sign system, and which natural and supernatural system cross over. In the movies, Beetle Juice who was both ghost and devil expresses life and death, Bat man, Cat woman, Penguin man expresses human and animal, and Edward means human and inhuman. Willy Wonka's makeup makes him look younger, but his grown-up-like clothes show doubleness. For that matter, make-up coordination is the mirror of reflection of period and human being's inner life.