• Journal of Science of Art and Design
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• v.4
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• pp.91-122
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• 2002

`Bio morphism` are constituted in paintings where the artists try to embody the elementary properties of living creature as of growth and durability. They are the most appropriate concept of painting to harmonize human being with nature closely. The formative ways of them attach great importance to both unconsciousness and desire , as well as variations or dynamics, by noticing a flow of natural senses and feelings of human being. In other words, the formative ways are based on a recognition of nature as the intrinsic force of life, with the result that aesthetics of incompleteness is embodied in images. Therefore they are clearly distinguished from that of functional, geometric images. A tendency of painting at that time, in a word, 'return to figure and expression', means a conversion into organic images like the incomplete, atypical, and biomorphic forms, while denying the mechanical or geometric. Elizabeth Murray are analyzed, for these works are remarkable in the characteristics of 'Bio morphism'. Consequently the features of organic images, that is, 'the formative acceptance of natural figures, or an informality' and 'the force of free will, or an incompleteness', could obviously be revealed. It is a type that obtains a motif out of natural figures like an animal, a plant, or the concrete figures of human being. In conclusion, this thesis is focused on not only emphasizing that 'Bio morphism' were a major tendency among the various trends of postmodern painting in the 20th century, but also analysing both the painterly formation of organic images and the structure of them. In addition to these points, it is a central aim to evoke that Bio morphism should accurately be evaluated and positioned in postmodern painting. A new recognition of 'Bio morphism' is a peculiarity of the times that reflects a cultural aspect of the present, hence it should be recognized as another way to approach the postmodern painting.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.72-81
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• 2009

The purpose of this study is to develop geometric patterns which can be reinterpreted in a modern sense and textile designs which can be commercialized in the mural painting of Goguryeo Dynasty's tomb. Of 42 tombs where genres and portraits could be observed, the costume style of Goguryeo dynasty could be mainly observed in the tombs built in the 4th and 5th centuries. Since geometric patterns found in the portrait could be represented in a modern sense, this study was intended to develop the patterns of a necktie which is one of cultural products by applying geometric patterns in the mural painting of Goguryeo Dynasty's tomb in the 5th century with many patterns distributed. The scope of patterns was limited to a square, a triangle, a circle, and a diagonal line which were the basic of geometric patterns found in the mural painting. The methods of study were literature review and empirical study. Adobe Photoshop CS3 was used to edit geometric patterns found in the mural painting of Goguryeo Dynasty's tomb in the 5th century. By extracting a square(${\square}$), a triangle(${\vartriangle}$), a circle(${\bigcirc}$), and a diagonal line(${\diagdown}$) from edited images, predicted images were proposed before products were made. Finally textile designs were made through the simulation of edited design patterns in the necktie and handkerchief. This study will contribute to the positive effects on the development of cultural product designs applying the characteristic of geometric patterns and the construction of Korean image.

• Journal of Genetic Medicine
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• v.1 no.1
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• pp.45-50
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• 1997

Neuroblastoma, a pediatric malignant neoplasm of neural crest origin, has a wide range of clinical virulence. The mechanisms contributing to the development of neuroblastomas are largely unclear, but non-random chromosomal changes identified over the past years suggest the involvement of genetic alterations. Amplification of the human N-myc proto-oncogene is frequently seen either in extrachromosomal double minutes or in homogeneously staining regions (HSRs) of aggressively growing neuroblastomas. N-myc maps to chromosome 2 band 24, but HSR have never been observed at this band, suggesting transposition of N-myc during amplification. We have constructed and analyzed the region-specific painting probe for HSR in neuroblastoma IMR-32 to determine the derivative chromosomes. Microdissection was performed on HSR using an inverted microscope with the help of microglass needles and an micromanipulator. We pretreated the microdissected fragments with Topoisomerase I which catalyzes the relaxation of supercolled DNA, and performed two initial rounds of DNA synthesis with T7 DNA polymerase followed by conventional PCR to enable the reliable preparation of Fluorescent in situ hybridization probe from a single microdissected chromosome. With this method, it was possible to construct the region-specific painting probe for HSR. The probe hybridized specifically to the HSRs of IMR-32, and to 2p24, 2p13 of normal chromosome. Our results suggest there was coamplification of N-myc together with DNA of the chromosome 2p24 and 2p13. Moreover, the fluorescent signals for the amplified chromosomal regions in IMR-32 cells were also easily recognized at a Thus this painting probe can be applied to detect the similar amplification of N-myc in neuroblastoma tissue, and the probe pool for HSR may be used to identify the cancer-relevant genes.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.22-29
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• 2008

Johannes Vermeer is one of the masters in the 17th century Dutch Genre Painting. Genre Painting represented the mundane everyday life and humble domestic spaces of the time. It was so unique in the history of western art. Most common subjects of the medieval art had been myths, historical heroes, and the christianity up to that time. However, Dutch Genre Painting that was originated from the 16th century Flandre art has fundamentally changed perception of art. Genre Painting was related to the prosperous development of civil society and early capitalism in the Netherlands of the time. In the paintings of Vermeer, there are unique spatial characteristics. This study aims to 'spatially' analyze the representation of everyday space perceived by the painter himself. Three analytical elements were chosen: light, space, and geometry. These elements have crucial roles to construct a space together within which Vermeer tried to express his discoveries as well as perception of the world. Four paintings were selected to be further analyzed in detail: $\ulcorner$A Maid Asleep$\lrcorner$ (1656-57), $\ulcorner$The Little Street$\lrcorner$ (1658-60), $\ulcorner$The Music Lesson$\lrcorner$ (1662-1665), and $\ulcorner$Young Woman with a Water Pitcher$\lrcorner$ (1662). It has been found that there are distinct spatial aspects in his paintings: Structure of Frontal Layers, Diffusion of Light, and Subtle Geometrical Tension. It is hoped that this sort of interdisciplinary research could enrich the related studies in the field of architecture & interior design, and could help to rediscover the everyday world that we live in here and now.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.53-69
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• 2007

Advertisements create the illusion about the ideal body utilizing body beauty as well as come to influence in formation of the social beauty standard. Commodity advertisements using the body have been considered as the most effective advertisement method because of the fluidity and the dynamic, which are understood as organic body's characteristics. Especially, advertisement strategies utilizing body painting draw customer's attention because of the properties liberally performed on the living body. This thesis attends to study on the J. Deleuze's 'becoming' Phenomenon expressed in body painting, and to analyze about the body becomes fashion and commodity and is positively utilized as effective advertisement tools. J. Deleuze's 'becoming' Phenomenon expressed in advertisement utilized body which painting is classified as follows as; becoming fashion of the body, becoming commodity of the body, becoming advertisement sign board of the body, becoming animals and plants of the body, and becoming image of the body. The result of this study on the J. Deleuze's 'becoming' Phenomenon expressed in advertisements utilizing body painting shows multiple commodity's characteristics in order to satisfy with customer's various anxieties being changed continuously, and represents the characteristics of 21C advertisements utilizing the body being changed any other thing. Consequently, this thesis is aimed at new consideration about the body beauty, which has been extended to other sphere.

• Journal of Conservation Science
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• v.11 no.1 s.14
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• pp.38-51
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• 2002

The first priority we face in the conservation of wall paintings, is the conservation of painting layer. The 'painting layer' is sometimes called the pigment layer, and refers to the painted surface. For the consolidation of this painting layer we use 'fixative'. Fixative is a common adhesive which has been used in various field and conservators have made up for the weak points in the consolidation of wall paintings. In my thesis, I will summarise the range of use, standards of selection, and results of research on the use of fixative in the conservation of European paintings. In addition, I will describe various kinds of our traditional fixatives. As synthetic resins have proved that it is not ideal as a fixative for wall painting, conservators have studied to find an alternative. Same as European conservators, Asian scientists has researched to find alternative fixative which is more suitable to the wall paintings in Asia based on their traditional techniques and materials. Therefore, 1 have studied to find an adequate fixative for our own wall paintings and I could conclude that we can consider traditional fixative which is made of 'seaweeds' as an alternative and it is very important to proceed research and experiment on this material.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.28 no.5A
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• pp.691-697
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• 2008

Coating the high tension bolted frictional joint has been generally allowed for anti-corrosion purpose. However in case of painting on paying surface of the high tension bolt, the influence on a slip strength of the joint depending on precision of painting has remained controversial. The study thus was intended to identify the slip behavior on high tension bolted frictional joint when applying ceramic painting, which has been currently developed. A slip test was conducted on a high tension bolted frictional joint specimen on which ceramic painting has been applied and a slip load and slip coefficient were measured. Based on result, the safety and usability of ceramic painting-applied high tension bolted frictional joint was evaluated. As a result, a difference to some extent by specimen in terms of load-displacement when a slip occurred was observed but an average slip coefficient appeared to have exceeded 0.4, which is the design frictional coefficient set forth in the specification. To secure the safety and usability of ceramic painting-applied high tension bolted frictional joint, it's necessary to establish the standard for painting as well as to revise the relevant specification.

• Journal of Korean Society of Environmental Engineers
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• v.37 no.6
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• pp.380-386
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• 2015

In this study, the spatial and temporal distribution of volatile organic compounds (VOCs) in an industrial shipbuilding complex was monitored, and the local characteristics estimated. The major VOC component measured at all of the sampling sites were almost the same as those found at an indoor painting facility, indicating that painting works conducted in the shipyards were a significant source of VOCs in the vicinity of shipbuilding areas. The main parameters affecting the VOCs distribution were the distance between the sampling site and painting work place, and the intensity of the painting works. A quite broad range of VOC concentrations were observed in all of the sampling sites, depending on the intensity of painting works in nearby areas suppressing the typical seasonal and temporal variation trends in VOCs observed in urban areas.

• Journal of the Korea Computer Graphics Society
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• v.8 no.2
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• pp.31-38
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• 2002

This paper presents a method for real-time 3D Sumi-e rendering us ing normal graphics hardware. Sumi-e is one of the traditional oriental painting styles. Most research on Sumi-e paintings has focused on 2D or :2.5D Sumi-e brushwork simulation. On these systems. complicated user's hand drawing is required to generate the image of Sumi-e effects. and it can render the 2D or 2.5D Sumi-e images only. We present an automated rendering system for 3D image of Sumi-e painting. It uses 3D common object as an input data and does not need any additional input of user brushwork. Especially for the real-time rendering. hardware-accelerated algorithm for Sumi-e rendering is newly suggested in our system. It is designed with efficiency for customer level graphics hard ware. The results of this paper show that the features of traditional Sumi-e painting are successfully modeled and that 3D Sumi-e painting is rendered in real-time effectively.

• Journal of the Korea Convergence Society
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• v.9 no.7
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• pp.193-198
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• 2018

Applying VR technology to animation areas is emerging as a trend of recent years. So if you use this VR technology in traditional ink animation, 2D art piece is expected to be equipped with a new narrative style and visual and auditory language, making it a new animation genre. There's a lot of technical difficulties in putting the existing 2D ink image on a 360 degree display. VR ink animation has been created that gives depth to VR space by using layer extraction method based on depth of distance and placing layers extracted on curved surface that is aligned with depth in 360-degree space in the image of ink painting, which is the background of traditional ink animation. In the text, we took an overview on problems generated in extracting layers of distant view, close-range view and middle distant view from the existing image of ink painting and made suggestions of an effective way to approach them.