• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.138-153
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• 2018

The purpose of this study was to analyze , which was made in the late Joseon Dynasty to specify the vegetation landscape of the Donhwamun Gate area in Changdeokgung Palace. The study results can be summarized as below. First, based on "Jieziyuan Huazhuan(芥子園畵傳)", the introductory book of tree expression delivered from China in the 17th century, allowed the classification criteria of the trees described in the picture to be established and helped identify their types. As a result of the classification, there were 10 species and 50 trees in the Donhwamun Gate area of . Second, it was possible to measure the real size of the trees described in the picture through the elevated drawing scale of . The height of the trees ranged from a minimum of 4.37 m to a maximum of 22.37 m. According to the measurement results, compared to the old trees currently living in Changdeokgung Palace, the trees described in the picture were found to be produced in almost actual size without exaggeration. Thus, the measured height of the trees turned out to be appropriate as baseline data for reproduction of the vegetation landscape. Third, through the Rubber Sheeting Transformation of , it was possible to make a ground plan for the planting of on the current digital topographic map. In particular, as the transformed area of was departmentalized and control points were added, the precision of transformation improved. It was possible to grasp the changed position of planting as well as the change in planting density through a ground plan of planting of . Lastly, it was possible to produce a three-dimensional vegetation landscape model by using the information of the shape of the trees and the ground plan for the planting of . Based on the three-dimensional model, it was easy to examine the characteristics of the three-dimensional view of the current vegetation via the view axis, skyline, and openness to and cover from the adjacent regions at the level of the eyes. This study is differentiated from others in that it verified the realism of and suggested the possibility of ascertaining the original form of the vegetation landscape described in the painting.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.61-70
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• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Journal of the Society of Disaster Information
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• v.16 no.2
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• pp.374-382
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• 2020

Purpose: Recently, structural defects in old safety management facilities have led to the collapse of buildings and facilities. The purpose of this study is to develop guidelines for the installation of regular monitoring systems that determine the optimal sensor location for monitoring exhibition space building sensors equipped with visual elements in order to analyze the risk signs of exhibition space buildings and develop measurement technology. Method: The components, installation locations, alarm criteria, and management measures of the instrument are presented. Result: A measure was proposed to determine the location of sensors, secure signal processing technology for analysis by having unified visual perception, and configure optimal 'risk sign detection' based on sensor monitoring through test-bed operation. Conclusion: The results of this study can be prepared against the disasters that may arise from the collapse of exhibition buildings, and contribute to strengthening safety management capabilities.

• Journal of the Korean Society of Safety
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• v.32 no.3
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• pp.15-20
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• 2017

This study presented the strength of the materials and parts for smart distribution board fabrication, and developed a work operation process chart for smart distribution board fabrication. This work operation process chart for smart distribution board fabrication complied with SPS-KEMC regulations, and the applicable range and object are less than 1,000 V and 1,000 Hz for the AC distribution board and less than 1,500 V for the DC distribution board. The power supply is 3 phase 4 wires ($3{\Phi}$ 4W), divided into a single phase circuit and a 3 phase circuit. In addition, the circuit was configured so that the leakage current flowing through the distribution line of the load could be monitored in real time by using the sensor module installed at the rear end of the circuit breaker. Therefore, the administrator can easily find the risk factor of the load since engineer can check the leakage current of each distribution line. In addition, if a leakage current greater than standard value flows, it is possible to generate an alarm against a short circuit and cut off the leakage current. The work operation process chart for the smart distribution board fabrication consists of the following steps: raw and subsidiary materials, sheet metal work, tube making, welding, painting, busbar fabrication, assembly and wiring, product inspection, shipment, etc. Moreover, symbols, ${\Delta}$, ${\nabla}$, ${\bigcirc}$, ${\Rightarrow}$, etc. were used according to the type of work and work progress so that workers can easily understand the progress of the work.

• Journal of KIISE:Computer Systems and Theory
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• v.37 no.4
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• pp.239-245
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• 2010

Previous painterly rendering techniques normally use image gradients for stroke generation. Although image gradients are useful for expressing object shapes, it is difficult to express the flow or movements of objects of objects. In real painting, the use of brush strokes corresponding to the actual movement of objects allows viewers to recognize objects’ motion better and express the liveliness of the objects much more. In this paper, we propose a novel painterly stroke generation algorithm to express dynamic objects based on their motion information. We first extract motion information (magnitude, direction) of a scene from a set of image sequences from the same view. Then the motion directions are used for determining stroke orientations in the regions with significant motions. Where little motion is observed, image gradients are used for determining stroke orientations. Our algorithm is useful for realistically and dynamically representing moving objects.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.85-97
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• 2009

This study aims at applying Photoshop functions to digital make-up(DM) for aging effect based upon the knowledge of phrenology, comparing the result with that of the real or off-line make-up(OM) and identifying any possible difference between two methods: which contributes to understanding the potential and problems of DM at application level. This study aims at suggesting a method to apply computer graphics(CGs) to special effect make-up for aging effect through a case, contributing to attracting academic concerns and building theoretical frameworks for DM. It used 'Aging Process' in Adobe Photoshop CS4 Extended(CS4E) to change a young girl into a senior lady. In the process of DM, the study applies various tools and methods to making face wrinkled, finds the most effective way among them for each area of face, suggests a method to integrate the ways and shows the result of the method. Compared with OM, DM using CS4E is the less constrained work regarding procedure and time. Specifically, it can save the time tremendously because the reiterative operation of work can be omitted, when the same work is repeated, using 'Action' function which memorizes the history of the work. Once a DM work is produced, since it is durable, reusable and convertible to various images with additional operations, it seems very economical as well as highly promising to market the work through on-line sales. Regarding face features and skin, it reviewed literature in make-up and phrenology while it used Photoshop CS4 Extended tools to demonstrate a case of aging effect by combining and painting pictures of a young lady and a senior citizen.

• Korean Journal of Human Ecology
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• v.18 no.3
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• pp.799-807
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• 2009

When analyzing make-up trends of figures shown in portraits of different eras in Chinese painting history, you can see that red color was used much. This can be because the red color is the most outstanding among all the colors and was most preferred by ancient people, as the color of the sun, the blood, and the sacredness. The women in the Tang Dynasty was especially using the red color much. Though Seongrihak (Neo-Confucianism) in Song Dynasty was the governing ideology, it had an influence even upon its aesthetics. Thus, during Song Dynasty, the beauty of logos appeared too. This phenomenon showed a conservative tendency even in make-up as well as in costume, thereby the concept of clear and elegant beauty was emphasized. The real figure in the Ming and Ching Dynasty, was so young and weak as a sample of a delicate woman that a woman who had feminine beauty was regarded as an ideal type. The feminine image had been gradually generalized from the literary works in the latter half of Ming Dynasty. However, the painters in the era still preferred the beauty of a healthy woman. That tendency probably had an influence even upon make-up culture that was shown in portrait. As an analysis result of make-up culture in Chinese portrait paintings, it reveals that ancient make-up trends much reflected the social and cultural phenomena of the periods.

• Smart Media Journal
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• v.1 no.3
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• pp.29-35
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• 2012

A depth image-based rendering (DIBR) technique is one of the rendering processes of virtual views with a color image and the corresponding depth map. The most important issue of DIBR is that the virtual view has no information at newly exposed areas, so called dis-occlusion. In this paper, we propose an intermediate view generation algorithm using the Kinect depth camera that utilizes the infrared structured light. After we capture a color image and its corresponding depth map, we pre-process the depth map. The pre-processed depth map is warped to the virtual viewpoint and filtered by median filtering to reduce the truncation error. Then, the color image is back-projected to the virtual viewpoint using the warped depth map. In order to fill out the remaining holes caused by dis-occlusion, we perform a background-based image in-painting operation. Finally, we obtain the synthesized image without any dis-occlusion. From experimental results, we have shown that the proposed algorithm generated very natural images in real-time.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.8
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• pp.1252-1261
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• 2007

The purpose of this study was to grasp the utilization of traditional Korean Patterns used for fashion cultural products. To achieve this purpose, this study examined the range of fashion cultural products through literature review, previous researches, and market surveys and analyzed the situation of fashion cultural products and the kinds, expression methods, expression techniques, and repeat styles of utilized patterns. The analysis results are as follows. First, in the use of traditional pattern, the most frequently-used fashion cultural products were small and inexpensive accessories, followed by fashion apparel, miscellaneous goods, and living cultural goods. Second, the most frequently-used traditional patterns were plant patterns, especially flower patterns. The next frequently-used ones were mixed patterns, especially in the mixture of flower and letter patterns, and $cloisonn\'{e}$ and flower patterns. The next frequently-used traditional patterns were animal patterns(especially butterfly patterns), followed by geometric patterns, lucky omen patterns, and letter patterns. In the expression methods of used patterns, most products except handicrafts preferred simplified patterns to real patterns. Finally, in the expression techniques of traditional patterns, the most frequently used technique was traditional embroidery, followed by the use of weaving fabrics such as fine gauze and brocade which are used for Hanbok. Also, transfer dyeing which is one of printing techniques, DTP(digital textiles printing), a mixed technique which adds embroidery to weaving fabrics, hand-painting, and a gilt technique were used. The results of this study suggest that most fashion cultural products except few designers' works attached weight to some specified patterns and expression techniques regardless of the characteristics of products since there is little understanding of a variety of patterns and are few researches and development on expression techniques.