• Journal of Bio-Environment Control
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• v.22 no.4
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• pp.392-399
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• 2013

This study aimed to investigate responses of photosynthesis, plant growth, and phytochemical contents to different artificial light sources for 'Seneca RZ' and 'Gaugin RZ' two butterhead lettuce (Lactuca sativa L.). In this study, fluorescent lamps (FL), three colors LEDs (red, blue and white, 5 : 4 : 1; RBW) and metalhalide lamps (MH) were used as artificial lighting sources. Photoperiod, air temperature, relative humidity, EC, and pH in a cultivation system were maintained at 16/8 h, $25/15^{\circ}C$, 60~70%, $1.4{\pm}0.2dS{\cdot}m^{-1}$, and $6.0{\pm}0.5$, respectively. The photosynthetic rate of both two butterhead lettuce were the highest under RBW in middle growth stage. However, in late growth stage, the photosynthetic rate of both two butterhead lettuce were higher under RBW and MH than FL. The light sources showed significant results for plant growth but those effects were different to variety. Fresh and dry weight of 'Gaugin RZ' butterhead lettuce under MH were heavier than other lights in all growth stages. Growth of 'Seneca RZ' butterhead lettuce was maximized highest under MH in middle growth stage and FL in late growth stage. In the leaf tissue of 'Seneca RZ' butterhead lettuce, tipburn symptom occurred under all light sources and in the leaf tissue of 'Gaugin RZ' butterhead lettuce, it occurred under two light sources except for fluorescent lamps in late growth stage. kinds of lamp affect plant growth more than plant quality. Relative growth rate of both two butterhead lettuce was faster in middle growth stage than late stage. Growth of 'Gaugin RZ' was shown by kinds of lamp in middle growth stage and but it was not significantly affected by light sources and variety in late stage. Most of the phytochemical contents of two butterhead lettuce were significantly affected by different light sources. Contents of all vitamins showed higher than other light sources on RBW for both two lettuce, especially ${\beta}$-Carotene content of 'Gaugin RZ' was the highest. Plant growth, photosynthesis, and phytochemical contents were observed significant effects by different light sources for two butterhead lettuce but those effects were highly different between variety and kinds of phytochemicals. Therefore, the selection of optimum light source should be considered by variety and kinds of phytochemicals in the plant factory.

• Conservation Science in Museum
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• v.15
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• pp.96-121
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• 2014

Portrait of Sim Huisu is a seventeenth-century Joseon portrait of a meritorious vassal. The National Museum of Korea currently owns two portraits of Sim Huisu, which are the eldest son's family and by the eldest grandson of the family's second eldest son. Both were donated in 1980. Portraits were still in its original mounting, but the supporting silk had been damaged and stained in a flood. Conservation treatment was undertaken to restore the original style, and scientific analysis, such as, X-ray, XRD, XRF and Graff "C" stain, was conducted to study the materials and painting techniques. The support silk was found to be refined fibroin and a plain weave consisting of two weft threads and one warp thread. The lining papers were found to be bamboo fiber paper of first layer in China and Korean traditional mulberry paper in second. Various pigments were identified in the painting, including white lead, cinnabar, atacamite, ink stick, azurite, silver, and gold. The study also confirmed the use of the back painting, with colors such as white ^{White Lead}, green ^Atacamite, orange ^Minium, black ^{Ink Stick}, and yellow ^Dye. Also, it was found that stick ink or dye was used with white lead.

• Archives of design research
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• v.19 no.3 s.65
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• pp.105-116
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• 2006

In product manufacturing industries, a recent issue is the green concept. The green concept is a complicated area. If the green concept is for products, its serious issues have to be criticized. Although the importance of the green concept has overflowed, its influences have not been disputed vigorously. So this study is to critic the serious issues of the green concept in aesthetics in product design, manufacturing, and products' prices. The green environment has four representative elements: systems, policies, minds, and technologies, but they are not in the field of design. An element of the green concept, green design is also a sub concept for design, so it should be based on aesthetics. It is green aesthetics. But since green design first appeared, it has never approached by aesthetics because it has mostly had social meanings and expectations. So for green aesthetics, to think about what makes a product, and what can be aesthetic issues among them are important. Products consist of form, structure, material, and technology. Form means different shapes in a structure, but there cannot be any specific directions for a green concept. Structure has two kinds: interior and exterior structure. While interior structure has a technological character, exterior structure is deeply related with aesthetics, but it has also no chance for green concept. Material can be divided as two also: aesthetic and technological. Aesthetics materials mean the colors, opacity, and tactile sense of materials, but they are not aesthetic issues. Technological materials are recycled materials or non-recycled materials. Even if recycled materials are used today, they are close to systems or policies rather than aesthetics. With this result, green aesthetics is a very difficult concept. Second, green products are usually 30% more expensive than general products. But every consumer has his or her own economical conditions, and nobody can coerce consumers into buying expensive green products for green environments. And green products without good quality cannot satisfy consumers. This means that green concept is not accomplished by just manufacturing green products. Third, although a lot of proposals have appeared as green design in exhibitions, most of them are close to craft because they are so hard to be manufactured. Manufacturing is the first consideration for products. These three issues are enough to explain why green concept is complicated in manufacturing products. If they are not solved, the green concept is just a fiction. So if this study proposes a turning point against blind green-oriented atmosphere, it will be meaningful enough.

• Journal of the Korean Society of Costume
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• v.32
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• pp.31-43
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• 1997

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.6
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• pp.825-836
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• 2005

The purpose of this research is to analyze the harmony of contrast coloration of the traditional Korean dress as the subject of the study for women's college students in Korea and America. The sense of harmonious coloration for 64 colorations was evaluated based on a yellow and a green Korean jackets, to be contrast colorization, by combining four different tones, vivid, light, dull, and dark tones in a purple and a blue skirt with a yellow jacket, a red and a purple skirt with a green jacket. We tried to make sure of the cultural difference by the distinction in the perception of women's college students. in Korea and America. The result of the study is as follows. In the contrast coloration of a yellow jacket with a purple and a blue skirt, Korean women students, generally, perceived that the coloration that skirt is more dark than jacket, dull and dark tone is harmonious. On the other hand, American women students perceived harmonious skirt tone is various depending on the jacket tones. In the coloration of a green jacket and a red skirt, the women students of two countries are in common that the coloration of a vivid skirt with a vivid, a dull, and a dark jacket are harmonious. However, Korean women students indicated that a light jacket with a dark tone skirt as a harmonious coloration. American women students evaluated that various tones of coloration as a harmonious coloration. In the coloration of a green jacket and a purple skirt, Korean women students perceived that the coloration is incompatible coloration. American women students perceived the coloration is congruous in the coloration of a dull and a dark tone jacket and skirt. In the response of the perception for 64 contrast coloration, Korean students evaluated 14 sets and American students judged 28 sets as harmonized colors. Therefore, it drew the conclusion that Korean students had the sense of harmonious coloration of more narrow range than American students. There was a difference between two cultures in the standard far contrast coloration.

• Journal of Life Science
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• v.16 no.5
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• pp.723-728
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• 2006

The species of Grateloupia filicina, Grateloupia divaricata in East Sea were investigated taxonmically in order to clarify taxonomic position. The ecological character, external morphology, anatomy of vegetative structure. Blade length are $15{\sim}40\;cm$, erect from discoidal holdfast of $3{\sim}10\;mm$ in diameter. Stipe $1{\sim}2.5\;cm$ long, narrowly cylindrical below, compressed above Grateloupia filicina. Main axis are long and compressed, $3{\sim}7\;mm$ broad in broadest part. Colors are scarlet to light red. Blade length are $10{\sim}25\;cm$, erect from discoidal holdfast of $3{\sim}8\;cm$ in diameter Grateloupia divaricata. Stipe are single and simple $2{\sim}5\;mm$ broad. Thallus composed of cortex and medulla in section ; cortex composed of $9{\sim}10$ layers of anticlinally arranged cortical cell, divided into outer, middle and inner parts. Partial fragments of nuclear 18S rDNAs from the two species of Grateloupia (Rhodophyta) were amplified using the PCR reaction and sequenced to compare their similarity. The partial sequences showed 98.9% similarity each other. Grateloupia filicina has 371 bp sizes and Grateloupia divaricata has 372 bp size. The G+C contents of Grateloupia filicina is 54.3% and Grateloupia divaricata is 53.64%.

• Archives of Plastic Surgery
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• v.35 no.1
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• pp.36-41
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• 2008

Purpose: For facial reconstruction, skin color match is crucial to achieve great aesthetic result. Forehead flap and full thickness skin graft have been used for many years to reconstruct facial defect. Their results are aesthetically valuable with remarkable resemblance and harmony of the skin color between donor and recipient sites. The purpose of this study is to evaluate and compare the aesthetic outcome of the two methods as the analysis of skin color match. Methods: From January 1995 to December 2005, ten forehead flaps and ten full thickness skin grafts were performed. The reconstructed areas of forehead flaps were five noses and five eyelids. Recipient sites of full thickness skin grafts were seven eyelids, two noses and one forehead. In order to obtain the objective validity, the skin color of flap(or graft) and the recipient sites were measured by chromameter. The skin colors were quantified according to a three-dimensional coordinate system used in chromameter, L*(brightness), a*(redness), and b*(yellowness).Results: There was no significant color difference between forehead flap site and adjacent skin in all color values. On the other hand, the L* and b* values of graft sites were significantly lower than those of the adjacent skins. The a* values of graft sites were higher than those of the adjacent skins. Conclusion: This study reveals that skin color match of forehead flap is greater than that of full thickness skin graft. As forehead flap has adequate volume and great color match, it can be useful to reconstruct deep facial defect such as nasal defect. On the other hand, full thickness skin graft can be used for superficial defect like partial eyelid defect.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.

• The Korean Journal of Mycology
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• v.24 no.3 s.78
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• pp.167-175
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• 1996

The objective of this research was to determine the effect of light quality on formation of fruit body primordia (FBPs) of Ganoderma lucidum. To achieve this 5 isolates of the fungus that develops fruit body primordia on nutrient agar media were incubated with or without continuous irradiation. The fluorescent lamps used different colors such as black light blue (BLB), pure blue (P-B), pure green (P-G), pure yellow (P-Y) and pure red (P-R). Effect of periodic light and dark exposures on FBP formation of isolate Gl-009 was investigated. The FBP formation in G. lucidum isolates was also tested under monochromatic light produced by the combination of interference filters and colored glass filters. Three isolates produced FBPs under all kinds of fluorescent lamps, whereas two induced FBPs only under visible light except for BLB fluorescent lamp. However, these isolate did not form FBPs in the dark. The FBP was formed at light intensity from 0.05 to $10.0\;{\mu}mol\;m^{-2}s^{-1}$, and begun to reduce its number as light intensity increase over $0.5\;{\mu}mol\;m^{-2}s^{-1}$. When the isolate was incubated under periodic light and dark exposures, the number and weight of FBP increased as compared with those under continuous light. Initiation of FBP requires at least 4 days of light illumination. Although isolate Gl-003 produced FBPs in a wide range of 400 to 800 nm, other four isolates had two effective regions 400 to 500 nm and 700 to 750 nm in FBP formation.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.42 no.3 s.303
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• pp.39-52
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• 2005

In this paper, a registration method is presented to register partial 3D point clouds, acquired from a multi-view camera, for 3D reconstruction of an indoor environment. In general, conventional registration methods require a high computational complexity and much time for registration. Moreover, these methods are not robust for 3D point cloud which has comparatively low precision. To overcome these drawbacks, a projection-based registration method is proposed. First, depth images are refined based on temporal property by excluding 3D points with a large variation, and spatial property by filling up holes referring neighboring 3D points. Second, 3D point clouds acquired from two views are projected onto the same image plane, and two-step integer mapping is applied to enable modified KLT (Kanade-Lucas-Tomasi) to find correspondences. Then, fine registration is carried out through minimizing distance errors based on adaptive search range. Finally, we calculate a final color referring colors of corresponding points and reconstruct an indoor environment by applying the above procedure to consecutive scenes. The proposed method not only reduces computational complexity by searching for correspondences on a 2D image plane, but also enables effective registration even for 3D points which have low precision. Furthermore, only a few color and depth images are needed to reconstruct an indoor environment.