• 한국산업보건학회지
• /
• 제23권4호
• /
• pp.341-347
• /
• 2013

Objectives: The aim of this study is to investigate the differences in airborne TDI concentrations based on the filter collection method and liquid collection method and to compare airborne TDIs concentrations by sampling method change when using the filter collection method in the spray-painting process. Methods: For the sample measurement, the filter collection method(OSHA#42) and liquid collection method(NIOSH#5522) were used; for the sampling method, the full-period single sampling and full-period consecutive sampling methods were used. The samples were collected in spray-painting and drying process locations. Results: In all samples collected from the spray-painting and drying process locations through the filter collection and liquid collection methods, greater amounts of 2,6-TDI than 2,4-TDI were detected. When the TDI collection concentrations based on the sampling methods were compared, the concentrations of 2,4-TDI and 2,6-TDI collected by the consecutive sampling method were higher than the concentrations of 2,4-TDI and 2,6-TDI collected by the single sampling method for both the filter collection method and liquid collection method used in the spray-painting process. These differences were statistically significant. Conclusions: When TDI collection concentrations based on the sample measurement methods were compared, the concentration of 2,4-TDI and 2,6-TDI collected through the liquid collection method were higher than the concentrations of 2,4-TDI and 2,6-TDI collected by the filter collection method, and the differences were statistically significant. In the drying process, no difference was shown in the collection concentrations of 2,4-TDI and 2,6-TDI with the two measurement methods.

• 복식
• /
• 제40권
• /
• pp.5-23
• /
• 1998

The main purpose of this study was intended to analyze the image of N대-Expressionism represented in the late of 20th century fashion design. By the late 1960s and the early 1970s. the prevailing notion of modernity, which had pushed the limits of art beyond previous boundaries, had begun to lose its urgency. Critics called the new pluralistic era which the West was entering Post-Modern. Furthermore, the predominance of America and the New York scene is diminishing, and artistic leadership is now international. Post-Modernism dialectcally made denial of Modernism as likely as New Image Painting and Decorative Pattern Painting Art in 1970's and it was availed as a dialectcal means for the pre-diction of new comings that would be appeared at painting art in 1980's. New Image Painting has been called as Neo-Expressionism. The N대-Expressionists selected human's feature because appeared flankly, directly irregular agitation in the visual effect and they believed human's destructive and amputate body was cruelty. So they express it on the surface canvas. Under the these background, the image of Neo-Expressionism was represented in the late of 20th century fashion design such as the upside-down image of human feature, the image as ameditation on German myth and history, culture, the ecletic image is made of use a mixture of material. The properties of composition, line, color, texture, and form, common to all plastic art, are now more readily recognized and historically valued in every work. That is, individuality, humanity, and the human condition have been at the core of most Western art and Fashion design. Especially Fashion design has been one of the principal instruments used to examine our nature and to promote the notion of growth, self-understanding, and change.

• 한국의류산업학회지
• /
• 제18권3호
• /
• pp.289-300
• /
• 2016

This study surveys children's costumes and games from the 11 Genre paintings by Junkeun Kim in the book "Korean Games(Stewart Culin 1858-1929)". The character of the general dress-costumes, games and the culture of life from the late $19^{th}$ century in genre painting of Junkeun Kim are as follows. The study results on the games are as follow. The boy's games are kite-flying, spinning tops, playing shuttlecock with the feet, blindman's buff, yut("Four-Stick Game"). Girl's games are seesaw with board, blindman's buff, marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one's body type were seesaw with board, tightrope walking, the compete score type were playing shuttlecock with the feet, marbles and the multi complex type were yut("Four-Stick Game"), kite-flying. Through genre painting in the $19^{th}$ century we know a boy's 'Jeogori 'and 'Ba-ji' were similar to a modern man's and boy's 'Hanbok' with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl's 'Jeogori' and 'Chi-ma' changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist's genre painting which was ordered by a foreigner and the late of $19^{th}$ century's children's costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the 'Hanbok' and establish a costume of life.

• 한국산업보건학회지
• /
• 제1권1호
• /
• pp.8-15
• /
• 1991

In order to visualize the distribution of workplace of which mixed solvent level in air exceeded the TLV of 1.0 (ACGIH), 17 thinners used in 44 painting workplaces were analysed with gas chromatography, and their levels in air were compaired with. 1. For detection rate of solvents in thinner was highest in case of toluene (76.4%), and decreased in orders of xylene (70.6%), methylisobutyl ketone (35.3%), acetone (35.3%), methyl ethyl ketone (23.5%), isopropylacohol (17.6%), n-hexane (17.6%), styrene (11.8%), and ethylacetate (11.8%). Average number of solvents detected was 3.0. 2. Detection rates of organic solvent by component category was highest in cases of aromatic hydrocarbons (52.9%), and decreased in orders of ketones (31.4%), alcohols (5.9%), n-hexane (5.9%) and esters (3.9%). The rate by regulatory category, the second category component was detected in 93.9% of total. 3. There was significant correlation (r=0.929, p<0.01)between detection rates of solvents in thinner and in air. 4. Among the total of 44 painting workplace, the rate of them of which level of mixed solvents in air was exceeded was highest in case of aromatic hydrocarbons (29.5%), and decreased in orders of ketones (6.8%), alcohol (2.3%), n-hexane (2.3%), and was highest in guitar painting (71.4%) workplace in case of aromatic hydrocarbons by component category.

• 만화애니메이션 연구
• /
• 통권48호
• /
• pp.23-44
• /
• 2017

본 연구는 추상애니메이션의 태동기에 발생되는 양상과 상호매체적 특징을 살펴보고 추상애니메이션의 기호학적 의미에 대해 알아보고자 하였다. 추상애니메이션은 아방가르디스트가 주축이 되어 형성되었고 그것의 기반에는 추상회화가 있었다. 추상회화를 퍼스의 기호학으로 살펴보면 '상징적 기호'에 속하며 특정한 대상을 재현하지 않는다. 이에 추상애니메이션 또한 그 대상성이 사라지고 추상애니메이션 스스로가 대상이 되고 있음을 알았다. 추상애니메이션은 상호매체성을 기반으로 추상회화와 음악이 결합되는 '매체조합'의 범주에 있다. 새로운 매체에 대한 아방가르디스트의 과감한 실험과 도전은 추상애니메이션의 태동을 가져왔다. 추상애니메이션은 추상회화를 기반으로 시작되었지만 음악 및 시간성과 결합되며 새로운 매체로 진화되었다. 추상애니메이션은 독일에서 발터 루트만, 비킹 엘겔링, 한스 리히터 등의 아방가르디스트들에 의해 시작되었다. 그들은 음악을 기반으로 추상애니메이션을 각자의 시간으로 풀어나갔다. 오스카 휘싱어는 발터 루트만의 영향을 받았으며 <스터디 시리즈>를 완성하고 미국으로 건너가 작품을 이어나갔다. 휘싱어 이후 존 휘트니는 컴퓨터그래픽을 활용하여 추상애니메이션의 계보를 이어나갔다. 추상애니메이션은 재현하고자 하는 대상의 부재 속에서 매체의 근본적 의미에 충실할 수 있었다.

• 미술이론과 현장
• /
• 제3호
• /
• pp.9-34
• /
• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• 한국의상디자인학회지
• /
• 제18권1호
• /
• pp.61-78
• /
• 2016

This study through the literature research to understand the most representative art trend - the definition and evolution of the Cubism in the early 20th century, and through the analysis on the representative painter's works, such as works of Pablo Ruiz Picasso and Georges Braque, This article raises the unique characteristics of the Cubist painting, such as geometry modeling, simultaneity, transparency, collage, deconstruction and reconstruction, etc. On the basis of theoretical research in this study, in order to meet the novelty and originality of clothing design requirements in the field, this research uses the modeling characteristics of the Cubist painting, designs and makes five sets of works in costume designing. Research findings are as follows, 1) According to the geometry modeling, split garment surface into triangle or irregular polygon shaped. 2) Show front and side images of the characters in the same garment surface. 3) Overlapping the images of the characters in the same garment surface. 4) Make use of composite materials to express the characters. 5) Disassemble the characters recombine them in an abstract painting way. These works mainly completed by adopting some techniques like Patchwork and Figurative painting. The colors consist of red, yellow and blue caused "Three primary colors series" to achieve the goal of expanding visual effect. Additionally, for the sake of the formal beauty-deformation distortion, symmetric and asymmetric, for instance the structure of the costume adopts formal beauty technique.

• 한국콘텐츠학회논문지
• /
• 제14권8호
• /
• pp.84-94
• /
• 2014

신사임당의 작품 중, '초충도'는 애정 어린 관심을 갖지 않고는 볼 수 없는 미물을 화폭에 담아 생명의 경이로움과 소박미, 그리고 여성스러운 섬세함을 살린 작품이다. 그러한 그녀의 작품을 통하여 한국적 정서와 한국의 미의식을 알아 볼 수 있다. 전통문화가 정체성을 잃어가는 현대 산업사회 속에서 우리의 고유한 문화를 살린 고부가가치 문화상품을 개발하는 것이 필요하다. 따라서 본 연구에서는 소박한 한국적 정서와 독창적 예술혼이 담겨 있는 신사임당의 작품을 이용하여 스카프 직물디자인을 개발하고자 하였다. 먼저 신사임당의 예술세계와 예술작품을 문헌을 통하여 살펴보고 그 중 여섯 점의 작품을 선정하여 컴퓨터 그래픽 프로그램인 아도브 일러스트레이터를 이용, 여섯 점의 스카프 직물디자인을 개발하였다. 그것을 디지털 프린팅 시스템을 이용하여 견100%의 새틴에 출력, 소재를 개발하고 개발된 소재를 이용하여 여섯 점의 스카프를 제작하여 제시하였다.

• 한국콘텐츠학회:학술대회논문집
• /
• 한국콘텐츠학회 2005년도 추계 종합학술대회 논문집
• /
• pp.105-110
• /
• 2005

그림과 글의 표현방법에 있어 시각적으로 매우 다르다. 하지만 원천을 거슬러 올라가 보면 같은 뿌리임을 알 수 있다. 그림과 글은 중세의 필사 본이나 인쇄매체의 발견이후 대중들에게 상호보완적인 기능을 다한 후 이미지와 텍스트로 완전 분리하는 시기에 이른다. 이미지가 텍스트로 해석되고 텍스트가 이미지의 도움을 받아 대중과 소통이 활발해지는 상호 교류형태는 문학과 시각예술의 매체화 경향에 따른 학제 간 교류가 활발히 진행되고 있다. 또한 뉴미디어 속에 파고든 시각형상과 문자는 그 용도가 다양하며 하이퍼텍스트의 기능에는 없어서는 안 될 중요한 커뮤니티의 방법이다. 이에 따른 그림과 글의 역사적인 소통체계와 변화과정을 전개하였고 현대적인 신상형문자발생의 근원을 찾아 제안하였다.

• 한국실내디자인학회논문집
• /
• 제14권3호
• /
• pp.165-172
• /
• 2005

Cubism is a style that led the way to proclaim a new era of 20th century's art and contemporarily had an influence on several trends of thoughts. Geographically it formed Czech Cubism exerting an effect upon thoughts and plastic art of the progressive art group which showed activity around Prague, Czech in 1911, later for 10 years, it was developed as an unique form of which origin cannot be traced inside and outside Europe and expressed its own plastic art world in craft, furniture, painting, architecture, etc. The object of this study is to pull out the expressive characteristics showed especially in furniture design among Czech Cubism around interrelationship with painting, craft and architecture. The scope of study is to bring out the characteristics about the examples which 7 designers such as Josef Gocar, Pavel Janak, etc., who were representative designers of furniture design of Czech Cubism for 15 years from 1910 to 1925. The method of study is to investigate the origin of Czech Cubism by means of primitive elements of Africa, traces of Islamic architectures, and Czech traditional architectural motive, and the development process of Czech Cubism was arranged around the artist and exhibitions which led this current. After being synthesized the characteristics showed in painting, craft, architecture of Czech Cubism on the basis of the result of this study, the expressive characteristics of furniture design of Czech Cubism were brought out. As a result, the expressive characteristics of furniture design of Czech cubism are indicated in a large way as follow; 1) symbolic characteristic based on primitive plastic art, 2) dynamic characteristic by dividing form, 3) ethnic decorative characteristic combined with national motive. The significance of furniture design of Czech Cubism is not only to accept positively and digest the progressive trend of modern art, that is to say, Paris Cubism but also to succeed in recreate it in its own national style, to play a role to offer another motive to post modern design development at the end of 20th century and by means of these examples to provide the necessity and the base of more profound study in the future.