• Analytical Science and Technology
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• v.33 no.3
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• pp.115-124
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• 2020

Marker pens belong to school things that are controlled by the regulation system called safety confirmation under special act on the safety of products for children with the formaldehyde criteria of 20 mg/kg. With nine marker pens available commercially, formaldehyde in marker pen ink was analyzed by present test standard where marking on a fabric swatch with a pen and extracting the swatch in water and derivatization with Nash reagent followed by UV/Vis spectrophotometeric measurement (Nash-UV/Vis method), giving not detected results or a false positive result in case of a colored water extract. However, the contents of formaldehyde in ink of nine marker pens were determinded to range between 3.2 ~ 93.2 mg/kg with three results above the safety criteria of 20 mg/kg by HPLC/DAD measurements on DNPH derivatives of formaldehyde (DNPH-HPLC/DAD method) in ink dissolved directly in water using an ultrasonic bath. Therefore, the DNPH-HPLC/DAD method with the extraction of ultrasonic dissolving ink in water is proposed as a proper method for analyzing formaldehyde in ink. The proposed method has advantages of lower detection limit and accuracy with colored extracts as well as a simple and fast extraction. The accuracy and precision of this method was estimated to be 90.1 ~ 105.4 % and 0.6 ~ 3.3 %, respectively by spiking tests in the ranges of 20 mg/kg and 40 mg/kg using matrixes such as highlighter pen ink, board marker ink, chalk marker pen ink and painter marker ink.

• Journal of the Korean Society of Safety
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• v.23 no.3
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• pp.79-86
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• 2008

In the manufacturing industries using HDI(hexamethylene diisocyanate) product hardeners, exposure to HDI is common to spray painters in terms of inhalation and dermal or ocular contact. Due to a lack of information for spray painters in automobile and furniture industries, a questionnaire survey was conducted for the prevalence of adverse health symptoms(33 spray painters and an unexposed group n = 91) to assess the importance of personal controls. Despite the small sample size, common health symptoms were reported, such as skin symptoms(dry cracked skin-61% and dermatitis/skin irritation-33%) and respiratory symptoms(phlegm-49%, asthma-21%). In addition, other adverse health symptoms were reported, such as skin rash(12%), cough(39%), shortness of breath with wheezing(30%), chest tightness and difficulty in breathing(30%). No significant eye symptoms were reported. It was founded that the adverse health symptoms reported in this study were related to poor personal work practices and inappropriate PPE use. Therefore, appropriate personal controls like PPE use, work practices, regular training and education are suggested to minimize the risk of health symptoms. In addition, medical examination will also be suggested for individual health effects.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.8 no.1
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• pp.69-78
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• 2013

Settled lifestyle as important to health and healing to medical tourism and wellness tourism in the 21st century has emerged as the best promising service industry. Jeju Island has a variety of local resources, and the directions was considered to spa industry promotion application it. Jeju Island has a variety of local resources which can be used for spa industry promotion. Jeju Island's beautiful natural environment, mineral resources, water resources, biological resources, agricultural products, traditional folk remedies available in Jeju's spa treatments. Using the local resources of Jeju, 'Jeju specialized spa treatments' can develop of 12 kinds of spa treatments. Namely, thalssotherapy, stone therapy, black sand poultice, hot-floored therapy using volcanic soil, thalassotherapy, drinking therapy, hydrotherapy, herbal/medicinal plants poultice, forest therapy, Spa cuisine, facial beauty, diet therapy. 12 kinds of Jeju specialized spa treatments development and service to the local resources of basic research on the physical and chemical characteristics, product development, clinical trials, efficacy studies should precede. In addition, customized spa services programs should be developed considering the propensity of customers, customer needs, and a spa type. And standardized program of spa services and need a manual painter. Medical tourism and wellness tourism in conjunction with efforts to be considered in order to increase the competitiveness of the spa industry in Jeju.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.11 no.1
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• pp.17-25
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• 2001

The purpose of this study is to substitute water-based painting materials for the current solvent-based ones used in motor-repairing process to minimize the exposure of organic solvents to the painters. This study assessed the exposure of organic solvents to the painters using water-based and solvent-based painting materials and compared compositions, painting processes and the health hazards of the application of these alternative painting mate rials. The results of this study are as follows. 1. solvent-based painting materials used in motor-repairing process consist of various organic solvents, which consist primarily of toluene, xylene, ethyl benzene, ethyl methyl benzene, trimethyl benzene, ethyl acetate, butyl acetate, methyl isobutyl ketone, 2-ethoxy ethanol, 2-ethoxy ethyl acetate and toluene-2,4-diisocianate and the others. These organic solvents are known as health-hazardous substances. But water-based painting materials are high-solid, low-solvent one sand consist of such two organic solvents as 2-butoxy ethanol and 2-heptanone and the others. 2. The painters us ing solvent-based painting mate rials in motor-repairing process are exposed to various organic solvents which consist of toluene, xylene, ethyl acetate, butyl acetate, methyl isobutyl ketone, trimethyl benzene, 2-ethoxy ethanol, and 2-ethoxy ethyl acetate. But the painters using solvent-based ones are only exposed to 2-butoxy ethanol and 2-heptanone. 3. By using water-based painting materials in stead of solvent-based painting materials containing health-hazardous organic solvents, the exposure of such organic solvents in the painter's breathing zone can be largely prevented. 4. This study recommends water-based painting materials as substitutes for the current solvent-based ones used in motor-repairing process to minimize the exposure of organic solvents to the painters.

• KOMUNHWA
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• no.69
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• pp.91-111
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• 2007

This paper deals with the cultural and ideoligical background of the landscape designs on Joseon blue and white porcelains in the late Joseon period, and involves the government painters in the official kiln. Dongjeongchuwol-design (동정추월문), painted the full-moon night scene of Dongjeong lake on Jeseon blue and white porcelains, was in fashion in the late Joseon period. It didn't reflected the entirely realistic subject comparing to the painting circles at that time, but the principle and aesthetic appreciation of Royal family who leaded the official kiln. And Sansuinmul-design (산수인물화). painted the man of great caliber in the ancient history with mountain scenery, was similar to the painting manuals such as Gossihwabo (고씨화보) and Dangsihwabo (당시화보). It was a counterpart of Dongjeonchuwol-design on Joseon blue and white porcelains in the late Joseon period. These designs were painted into ogival-shaped frame (릉화창) on the blue and white porcelains in most cases, and adjusted to shape of porcelain. The landscape designs on Joseon blue and white porcelains became stereotyped, involving subjects of folk painting in the late 18th Century and the early 19th Century. This essay will be just a start to research into the landscape designs on blue and white porcelains in the late Joseon period, even though we seldom find works providing strict chronology among some works to the public.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• Lingua Humanitatis
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• v.1 no.1
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• pp.141-157
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• 2001

In his discussion of some desirable tuning points in comparative literary studies, Henry H. H. Remark has emphasized the importance of literary approach to other forms of art. Understanding the significance of such a method of comparative literature, the present study focusses on three contemporary Korean poets who have transferred Mark Chagall′s paintings into their poetry: Youngtae Kim, Chunsoo Kim, and Sunghun Lee. They are usually evaluated as surrealist/modernist in our literary circles. In transforming Chagall′s paintings into his poems, Youngtae Kim has incorporated a variety of surrealist mosaic techniques such as montage and collage. The resultant peculiarity of his poetry makes it hard to lay bare the correspondence or similarities between his poetic world and the world of Chagall′s artistry. It is nonetheless possible to see how Kim, as a poet and painter, had interpreted Chagall′s world with a bird′s-eye view of it. Chunsoo Kim′s "Snow Falling on the Village of Chagall" relates specially to one of Chagall′s paintings, "I and My Village." The present study has taken notice of this correlation in sorting out some basic elements of poetic transfiguration. One of the techniques employed in the poem under discussion is that of juxtaposing the Russian village of Chagall and the Korean village the poet visualizes, with the effect of putting two national traditions in contrast. A reading of the poem reveals that it is not so much the result of a detailed analysis of the painting as a revival of its lingering impression as a whole. In Sunghun Lee′s poetry, surrealist techniques are again a hallmark. But his method of transferring the images of the paintings into his poems falls somewhere between those of Youngtae Kim′s and Chunsoo Kim′s: it is akin to the ′bird′s-eye method′ of the former and shares the impressionistic touch with the latter, but at the same time Lee is analytical by disposition and opts for concrete descriptions. ′Love,′ ′farm,′ and ′time′ are the keywords that are brought under discussion in the present study. There is a growing demand in the current international comparative literary studies for broadening the area of comparative literature. This study hopes to be a small contribution to endorsing the importance of comparative approach to fine arts.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.359-369
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• 2018

When expressing Christ visually in the medieval Christian painting, the most important issue was how to express the divinity as Son of God and the humanity as attribute of human in a balanced manner. The purpose of the study is to examine both formative and symbolic characters of divinity and humanity on the Christ's body and clothes in the Medieval paintings, Transfiguration of Christ. In the paintings, Christ's body is definite evidence to show both his divinity and humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the Transfiguration of Christ were as follows: Blue, gold, purple, white and bleaching effect are the emblem of divinity, and red and color contrast effect with a high chroma stand for humanity of Christ. In addition, unstructured wrinkles of clothes reveal Christ's divinity, on the other hand, structured drapery shows his humanity through emphasizing volume of the body. Finally, divinity of Christ is shown on the gold clavus and red clavus intensify his humanity. Medieval Christian paintings are products planned out to express Christ's dual nature. There is a significance that the paintings represent the profession of painter's faith and the dogma of the era. Furthermore, they suggest the importance of the image to deliver the abstract concepts by visualizing.

• Safety and Health at Work
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• v.7 no.1
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• pp.63-71
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• 2016

Background: Construction painters have not been studied well in terms of their hazards exposure. The objective of this study was to evaluate the exposure levels of total volatile organic compounds (TVOCs) for painters in the construction industry. Methods: Activity-specific personal air samplings were carried out in three waterproofing activities [polyurethane (PU), asphalt, and cement mortar] and three painting activities (epoxy, oil based, and water based) by using organic-vapor-monitor passive-sampling devices. Gas chromatograph with flame ionization detector could be used for identifying and quantifying individual organic chemicals. The levels of TVOCs, by summing up 15 targeted substances, were expressed in exposure-index (EI) values. Results: As arithmetic means in the order of concentration levels, the EIs of TVOCs in waterproofing works were 10.77, 2.42, 1.78, 1.68, 0.47, 0.07, and none detected (ND) for indoor PU-primer task, outdoor PU-primer task, outdoor PU-resin task, indoor PU-resin task, asphalt-primer task, asphalt-adhesive task, and cement-mortar task, respectively. The highest EI for painting works was 5.61 for indoor epoxyprimer task, followed by indoor epoxy-resin task (2.03), outdoor oil-based-spray-paint task (1.65), outdoor water-based-paint task (0.66), and indoor oil-based-paint task (0.15). Assuming that the operations were carried out continuously for 8 hours without breaks and by using the arithmetic means of EIs for each of the 12 tasks in this study, 58.3% (7 out of 12) exceeded the exposure limit of 100% (EI > 1.0), while 8.3% (1 out of 12) was in 50e100% of exposure limit (0.5 > EI > 1.0), and 4 tasks out of 12 were located in less than 50% of the limit range (EI < 0.5). Conclusion: From this study, we recognized that construction painters are exposed to various solvents, including carcinogens and reproductive toxins, and the levels of TVOC concentration in many of the painting tasks exceeded the exposure limits. Construction workers need to be protected from chemical agents during their painting works by using personal protective devices and/or work practice measures. Additional studies should focus on the exposure assessment of other hazards for construction workers, in order to identify high-risk tasks and to improve hazardous work environments.

• The Journal of Art Theory & Practice
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• no.8
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• pp.89-119
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• 2009

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun's paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun-Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.