• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.65-72
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• 2006

The purpose of this study is to show the development process of space concept by studying on the Louis I. Kahn's painting as pre-architectural thinking. Generally the idea of an architect is represented with lots of mediums, and the architectural thinking is developed through the process. In his early days, he, as an architect, made many travel sketches of Europe. In these clays, painting was the most significant medium to him. Since 1950's, he also left lots of sketches affected by abstract painting in addition to travel sketches. The results of this study were as follows: He found the image of antiquity from his painting and he made this image into abstraction in the facade. And the image of ruins was translated the layered space which was the transitional space. And he presented 'marche' through the series of painting of various view point. The Concept of 'marche' was translated into the connections of repetitive mass in the architectural space.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.906-917
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• 2012

The purpose of this study is to examine the characteristics of expression and their effects of New painting in fashion illustration since 1990s. This study is focused on searching for the development in expressional techniques of the fashion illustration on the basis of various techniques of New painting. New painting as a trend of new expressionism in America was developed in opposition to the minimalism in the 1980s when the discussion of the post-modernism was most widely. The artists of New painting attempted to resurrect figure through the representation of figure and concrete image, rich in color and strong in image. They also expressed the realistic scene of life with the various kind of medium, materials and styles and appropriation of image from mass media and popular culture. The representation of fashion figure and image through the various kind of painting medium, techniques and styles can express the realistic and sensitive image and increase the communication ability in fashion illustration. It could also deliver the fashion message more clearly through the appropriation of image. These findings indicate that fashion illustrations accept variety by interacting with fine arts and expand the scope of expression.

• Journal of Korean Society for Quality Management
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• v.34 no.1
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• pp.1-12
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• 2006

This paper presents a six sigma project for improving gate painting quality in a medium-sized automotive part company. The project follows a disciplined process of five macro phases: Define, Measure, Analyze, Improve, and Control. A CTQ(critical to quality) is determined based on COPQ(cost of poor quality) analysis, and a process map is utilized for identifying process input variables. Three KPIV s(key process input variable) are selected; Painting Temperature, Painting Quantity, and Painting Viscosity, and DOE(design of experiments) is utilized for finding the optimal process conditions for three KPIVs. MINITAB software is used for data analyses and DOE. The sigma level of defects rate has improved from 2.93 to 3.66.

• Plant Biotechnology Reports
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• v.3 no.4
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• pp.277-283
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• 2009

One of the limitations to conducting maize Agrobacterium-mediated transformation using explants of immature zygotic embryos routinely is the availability of the explants. To produce immature embryos routinely and continuously requires a well-equipped greenhouse and laborious artificial pollination. To overcome this limitation, an Agrobacterium-mediated transformation system using explants of type II embryogenic calli was developed. Once the type II embryogenic calli are produced, they can be subcultured and/or proliferated conveniently. The objectives of this study were to demonstrate a stable Agrobacterium-mediated transformation of maize using explants of type II embryonic calli and to evaluate the efficiency of the protocol in order to develop herbicide-resistant maize. The type II embryogenic calli were inoculated with Agrobacterium tumefaciens strain C58C1 carrying binary vector pTF102, and then were subsequently cultured on the following media: co-cultivation medium for 1 day, delay medium for 7 days, selection medium for $4{\times}14$ days, regeneration medium, and finally on germination medium. The T-DNA of the vector carried two cassettes (Ubi promoter-EPSPs ORF-nos and 35S promoter-bar ORF-nos). The EPSPs conferred resistance to glyphosate and bar conferred resistance to phosphinothricin. The confirmation of stable transformation and the efficiency of transformation was based on the resistance to phosphinothricin indicated by the growth of putative transgenic calli on selection medium amended with $4mg\;1^{-1}$ phosphinothricin, northern blot analysis of bar gene, and leaf painting assay for detection of bar gene-based herbicide resistance. Northern blot analysis and leaf painting assay confirmed the expression of bar transgenes in the $R_1$ generation. The average transformation efficiency was 0.60%. Based on northern blot analysis and leaf painting assay, line 31 was selected as an elite line of maize resistant to herbicide.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.35 no.3
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• pp.79-84
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• 2003

Oriental painting paper (Hwaseonji) was prepared from various kinds of plant fibers and its physical properties were investigated. The fibers used were classified into three different length of fibers; long fiber (<1.8 mm), medium fiber (1.4-1.8 mm) and short fiber (>1.4 mm). The fibers were mixed in the ratio of 15% long fiber, 25% medium fiber and 60% short fiber. The Hwaseonji prepared from mixing of the bamboo or rice straw pulp as a short fiber with the long and medium fibers showed excellent physical properties with a high smoothness and uniformity of Chinese ink blot. Mixing with LBKP as a short fiber was resulted in low physical properties, smoothness and wide ink blot. The properties of Hwaseonji, such as ink absorption, roughness and smoothness, may be predicted from the correlation of density with Chinese ink blot and smoothness.

• Journal of Conservation Science
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• v.33 no.5
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• pp.345-354
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• 2017

A mural was discovered in the Ssanggyesa temple located in Jindo island, during repair of the Daeungjeon Hall. A study was conducted to determine the binding medium used for preparing the mural. Pyrolysis/GC/MS and IR spectrometry were used to analyze a painting specimen. Direct approach and on-line methylation approach were attempted for the pyrolysis/GC/MS. In IR analysis, the spectra of the specimen were found to be different from those of Asian lacquer, yellow lacquer, animal glue, and acrylic emulsion resin. They were also not identical to the standard IR spectra of drying oils such as linseed oil. Pyrolysis/GC/MS results of the specimen were different from those of Asian lacquer, yellow lacquer, animal glue, and acrylic emulsion resin. In the mean time, palmitic acid, octadecanoic acid, nonanedioic acid, and octadecenoic acid, which are characteristic pyrolysis products of dried drying oil, were detected. In addition, the pyrolysis/GC/MS chromatograms of the specimen and dried drying oil were also very similar. Therefore, it was concluded that the painting was prepared using drying oil as a binding medium.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.123-127
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• 2024

In the early 20th century, Walter Benjamin analyzed the changes in the value of traditional art forms under the industrial era and the changes in the aesthetic attitude of the masses. A century later, in the contemporary multi-art world, the traditional medium of shelf painting is once again experiencing a similar situation as the last century. Emerging technology display modes such as digital virtual reality and digital immersive experience can achieve digital reproduction of paintings on shelves and reach a certain level of performance, which once again shocks the public's aesthetic perception. This paper attempts to illustrate the outstanding characteristics of the new art form after digital reconstruction by exploring the transformation and sublimation of digital technology to shelf painting. We predict that art research on future reality and augmented reality according to the artificial intelligence era will be conducted in depth in the future.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.361-373
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• 2014

Oriental painting lesson is considered neglectedly, because of pressure on teachers and troublesomeness of preparing and using for art supplies. However, change of medium can solve pressure on teachers and students for Oriental painting lesson enough. Therefore this study will present composition of Oriental painting lesson planning using photoshop program as a way of overcoming weak points, increasing students' interests and giving effective composition lesson. We developed composition of Oriental painting lesson planning using layer of photoshop program. Then We surveyed 60 students who are two classes of the first grade in G high school to know the effect and possibility of the lesson planning and analyzed the results. The most(75%) of the respondents answered that composition of Oriental painting lesson planning using photoshop program was appropriate. The more than half (58.3%) respondents wanted to participated in lesson regardless of any subjects. That shows highly interest for photoshop program. The respondents answered that the merits of this lesson using photoshop program are less pressure for drawing(33.3%), possibility of variety expression(30%), not requiring art supplies(26.6%). So this study shows using photoshop program for art class can solve weak points of Oriental painting lesson.

• Journal of Conservation Science
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• v.30 no.1
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• pp.55-65
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• 2014

On this studyed, the Wibongsa BoGwangMyungJun BaekEuiKwanEum wall-painting was conservation of Scientific research ahead. This study carried out Grain size analysis, SEM-EDS, XRD, P-XRF, FT-IR and ultrasonic exploration for wall-painting. As a result, walls layer used to mineral particles size was mixing the medium-texture and fine texture. painting layers pigments used to base paintings was ocher, white pigments was hobun, red pigments was suckganju, green pigments was suckruk. Also BackuiKannon wall-painting walls damage reason of that was long-term physical shocks. painting layers damage was include detachment or powders. it is affected by temperature and humidity. Therefore in the future conservation of wall-paintings through scientific analysis based on such data, conservation processing is performed through the preservation and enhance the stability of the paintings as a basis for the conservation of management can be utilized.