• Journal of the Korea Computer Graphics Society
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• v.7 no.4
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• pp.9-18
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• 2001

There was much previous work to represent effects which are used in the real world paintings. In case of Western paintings like as watercolor or oil painting, largely conversion techniques from photo images were researched. However, in case of Oriental paintings, the development of a conversion technique is not easy because a few strokes are used to represent objects. Then, model-based approach was studied to draw Oriental paintings. In this paper, a model-based approach for Oriental paintings is described. In our model, to represent the diffusion effects, LEM(Local Equilibrium Model) is proposed. LEM is a method to calculate the movement of water and ink effectively. Also, a layer model for paper is proposed to discriminate wet or dry state. And a brush model to draw strokes is described.

• Archives of design research
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• v.16 no.4
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• pp.37-46
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• 2003

About 18th century in the late Chosun dynasty, various kinds of 'Min-Wha' had played a significant role and had an important meaning in the lives of the people in that period. Therefore, both in material and in technique, so many diversified 'Min-Wha' were mass produced in that time. Starting from those backgrounds, 'Hyuk-Wha', is considered as one of unique style of expression. Though, 'Hyuk-Wha', in techniques, was originated from 'Bibaekseo' classified as one of the style of expression in Oriental drawing and writing art. 'Hyuk-Wha' shows and expresses visual differentiation from rough 'Bibaekseo', in substance, written by brush made from the skin of a willow tree or the stem of a sort of reeds. 'Hyuk-Wha', in mode, has very dose relation to the process of the development of 'Min-Wha'. Judging from this point of view, 'Hyuk-Wha' has deep relationship to Taosmic character painting of 'Gilsang: an auspicious sign' or Confucian character painting of 'Hyojae: filial piety. Accordingly, 'Hyuk-Wha' has been developed to that character painting designed by another type of creative differentiations. For these reasons, 'Hyuk-Wha' which significantly shapes and contains the meanings of Chinese Character also has been esteemed to have interrelation with Pictography in application of Word mark or Brand logotype in graphic areas. 'Hyuk-Wha' which was prevalent in use of home decorations for the people existed in the past has been ceased to exist nowadays in use of home decorations by appearance of all sort of decoration articles. All these days, 'Hyuk-Wha' which was diversified as a part 'Min-Wha' and developed together with oriental drawing and writing art and character painting is to be necessarily relighted. And 'Hyuk-Wha', which is also vigorously in practical application in Western Europe is desirable to be reconsidered.

• Proceedings of the Korea Information Processing Society Conference
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• 2019.05a
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• pp.475-478
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• 2019

Although the work of neural style transfer has shown successful applications in transferring the style of a certain type of artistic painting, it is less effective in transferring Oriental paintings. In this paper, we explore three methods which are effective in transferring Oriental paintings. Then, we take a typical network from each method to carry on the experiment, in view of three different methods to Oriental paintings style transfer effect has carried on the discussion.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.268-276
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• 2023

Ukiyo-e, a pivotal facet of Japanese art, had a profound impact on Western art during the 19th century, contributing to the emergence of Impressionism and Post-Impressionism. Notably, Katsushika Hokusai's "Great Wave" remains an enduring masterpiece. Ukiyo-e's historical trajectory is intricately linked to the socio-cultural context of its time. Japan's early artistic influences derived from China, evolving through the Nara and Heian periods. Ukiyo-e emerged from the Yamato-e tradition, characterized by its transition from religious themes to secular subjects. Zen Buddhism's influence during the Muromachi Shogunate shifted focus to ink wash painting, which eventually became accessible to the masses. The Azuchi-Momoyama period introduced lavish, colorful works. The Edo Shogunate upheld Kano School for the elite, while folklore painting gained popularity among the commoners, leading to the creation of Ukiyo-e. Ukiyo-e diversified its subjects, including beauty, geisha, sumo, landscapes, and more. The Asakusa district's "Shin-Yoshiwara" added to its vibrant themes. By the late 19th century, Ukiyo-e transcended its roots, encompassing landscapes, wildlife, and beyond. I explore Ukiyo-e's aesthetics and its influence on Impressionism, focusing on "The Three Masters of Ukiyo-e" - Kiyotagawa Komaro, Katsushika Hokusai, and Utagawa Hiroshige.

• Journal of Science of Art and Design
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• v.12
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• pp.97-124
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• 2007

The paper examined whether the fine arts education needed concept of 'Yu' that was suggested by, 'Soyoyu' of Jangja, a representative philosopher of Doka. At first, the paper defined concept of 'Yu' of Jangja as well as background and needs of the fine arts education, and investigated values of 'Yu' of the Oriental painting in aesthetic way to examine whether today's Yu concept can be applied to modern Oriental fine arts education to express. Chapter 2 examined concept and thought of 'strolling (Yu)', and Chapter 3 did background and needs of the fine arts education. Chapter 4 examined an access to practical technique education of the Oriental painting through 'strolling (Yu)': At first, the chapter investigated 'Heosil' of space concept that was researched at Chapter 2, 'Pilmuk' of expression technique, and 'Saeui' of state of spiritual canvas of painters. The findings were as follow: Firstly, when relation between Yu and Oriental paintings was investigated based on formative idea, 'Heo' reminded appreciators of association of ideas, hint and imagination, etc by, 'Sil' that other objects disclosed intrinsic attributes so that it indicated border of positive forgetfulness expressed by artists to have same border between 'Heo' and 'Yu'. Therefore, both 'Heo' and 'Sil' could build up expression as well as appreciation ability by experiencing formative idea to develop creativity and to build emotion and to cognize needs of the fine arts education. Secondly, the artistic state of 'Shin', 'Ki (Simjae)', 'Jeonshin' and, Saeui', etc could be expressed with strength and weakness of both Yin and Yang of Pilmuk. Therefore, the Pilmuk were linked even with creation of both Hyeongsa and artistic form of Saeui. Therefore, freedom at border of spiritual 'strolling' could produce creative power being expressed by thinking, natural appreciation ability, and education that could judge values of aesthetic culture. Therefore, cultivation of aesthetic eye, development of creativity, build up of formative ability and education of human nature, etc could keep identity of the Oriental fine arts education at various modern fine arts.

• Journal of the Korea Convergence Society
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• v.11 no.8
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• pp.123-129
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• 2020

Since the artist considers the space to display the work, the artist evaluates the exhibition space after using the exhibition space. Since this can be different depending on age, career, and genre, this study analyzed the difference in exhibition hall satisfaction according to the characteristics of artists using Marketing Mix 7P. The results of the study are summarized as follows. First, the product satisfaction of 20's and oriental painting artists was high. Second, the environment satisfaction of oriental artists with 5-10 years of experience and 40 years of age was high. Third, the promotion satisfaction of more than 21 years of career and 50's was high. Fourth, the exhibition manager satisfaction of with 20's and oriental painting artists was high. the process satisfaction of 5-10 years of experience and 40 years of age and other was high.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.965-981
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• 2007

Since the latter half of 20 century, in Korea, there are many discussions on the identity of Korean itself in several divisions, in which the discussion on the identity in the part of the costume or the part of the art reflecting the life, is the subject which must not fail to be noticed. So, we try to study the common structure manifested in the Korean painting and the costume as a part of basic recognition of problems and the way of problem-solving for the research on the Koran formative characteristics. The method and the process of this study is first, to consider the characteristics of the plastic and style of the Oriental arts and the Occidental arts by discourse implicate the difference between Oriental and Occidental view and the recognition of the body in the two worlds. And in the study we try to apprehend the dynamic modern artistic value of Korean style through assimilation between the Korean style and Baroque style according to the theory of $W\ddot{o}lfflin$ about the classical style and Baroque style. We will describe the Korean identity by analyzing the Korean plasticity with the Occidental style of dress and paintings reflecting the Occidental culture and thought and the Oriental things, and modern paintings and dress in the present age. As a result, we can try to recherche the way of use of new design for the identity of Korean style, in the concept of the ellipsis, repetition of the retrait, obscur silhouette, and superimposition.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.125-134
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• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.137-146
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• 2011

Development of mobile devices such as smart phones and tablet PC and increased usage for mobile contents make researches of mobile computer graphics noticeable. However, previous non-photorealistic renderings such as an ink-and-wash painting with thin colors are almost designed for desktop platform and not well-matched for mobile devices. In the result, mobile-specific rendering techniques are needed to create 3D mobile contents with non-photorealistic graphics. We introduce processing techniques that are especially ink-and-wash painting and oriental thin coloring in mobile devices. Through the result of this paper, it is expected that various 3D mobile contents with non-photorealistic styles are made. Proposed work also can allow mobile devices render it in realtime using proposed preprocessing techniques and rendering pipelines.

• The Journal of Art Theory & Practice
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• no.3
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.