• 미술이론과 현장
• /
• 제9호
• /
• pp.151-170
• /
• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.

• 복식
• /
• 제61권4호
• /
• pp.1-13
• /
• 2011

The purpose of this research is to find out more usages in today's fashion industry where various designs and changes of production required. And this research will also suggest new products and new directions to enhance the efficiency of product planning and production in knit industry using SDS-ONE program. Ethiopia in East Africa, knit already has been used as a school uniform. There is a big difference in temperature spread due to. Knit is a proper item to initiate the textile industries of underdeveloped countries. So this research can develop knit industry and lead the trend of introducing fashion in school uniforms. In this research, we use Paint of SDS-ONE to transform the patterned item into color jacquard, and show it on the designed clothes using simulation. It is shown that body painting pattern is suitable conditions for knit jacquard and simplified pattern can be applied as an excellent knit. And it is discovered the simulation feature of SDS-ONE program has a high efficiency and can be used effectively in African textile industry the future mass production base; SDS-ONE simulation can show various patterns and colors with constrained kinds of threads. Since the body painting designs can be applied in various fields, and from women's wear to men's wear, without limitation, we can take advantage of the broad.

• 한국컴퓨터정보학회논문지
• /
• 제23권1호
• /
• pp.75-84
• /
• 2018

In this study, the researchers attempted to automate the process of painting the characters on the road surface, which is currently done by manual labor, by using the information and communication technology. Here are the descriptions of how we put in our efforts to achieve such a goal. First, we familiarized ourselves with the current regulations about painting letters or characters on the road, with reference to Road Mark Installation Management Manual of the National Police Agency. Regarding the graphemes, we adopted a new one using connection components, in Gothic print characters which was within the range of acceptance according to the aforementioned manual. We also made it possible for the automated program to recognize the graphemes by means of the feature dots of the isolated dots, end dots, 2-line gathering dots, and gathering dots of 3 lines or more. Regarding the database, we built graphemes database for plotting information, classified the characters by means of the arrangement information of the graphemes and the layers that the graphemes form within the characters, and last but not least, made the character shape information database for character plotting by using such data. We measured the layers and the arrangement information of the graphemes consisting the characters by using the information of: 1) the information of the position of the center of gravity, and 2) the information of the graphemes that was acquired through vertical exploration from the center of gravity in each grapheme. We identified and compared the group to which each character of the database belonged, and recognized the characters through the use of the information gathered using this method. We analyzed the input characters using the aforementioned analysis method and database, and then converted into plotting information. It was shown that the plotting was performed after the correction.

• 보존과학회지
• /
• 제37권4호
• /
• pp.322-339
• /
• 2021

This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John's Fort by the prominent Singaporean artist Liu Kang (1911-2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John's Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John's Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang's painting materials and his working practice.

• 보존과학회지
• /
• 제38권1호
• /
• pp.45-54
• /
• 2022

This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more percentage of above medium sand than the support layer. The analysis of the painting layer showed that natural soil pigment was used to establish a relatively ground layer of up to 50 ㎛, and pigments such as Lead sulfate, atacamite and mercury sulfide were painted on top of the layer. This study's results confirmed that the bracket mural paintings in Gaeamsa Temple are within the category of the production style of murals during the Joseon period. However, the points that the middle layer was formed several times, the significant difference in particle size distribution between the wall, and the absence of chopped straw in the support layer are a feature of bracket mural paintings in Gaeamsa Temple. These properties of murals as material and structure may be viewed for correlation with the degree of damage to wall structure of mural painting and would serve as an important reference to diagnosis the conservation conditions of murals or prepare conservation treatments.

• 디지털융복합연구
• /
• 제11권4호
• /
• pp.431-441
• /
• 2013

본 연구는 한국전통 "방위신상"에 담겨 있는 이미지와 상징성을 재해석하여 현대생활에 효과적으로 응용하기 위해 디자인하는 것에 그 목적을 두었다. 이론적 고찰은 한국 전통의 대표적인 "방위신상"인 "사신도", "십이지신상", "사천왕상" 등의 '지킴이'들의 형성 배경과 유래를 살펴보고. 한국 전통 "방위신상"을 현대생활의 활용에 맞게 디자인화 하는 작업의 필요성을 서술하였고, 이를 토대로 '지킴이' 시리즈의 제작과정에 대해 기술하고, 한국전통 "방위신상"은 과거와 현재를 연결시켜주는 매개체이며 민족고유의 독창성을 널리 알리는 귀중한 자료라는 것을 시사하였다. 그리고 재해석한 '지킴이' 시리즈는 스마트환경 하에서의 활용가치를 제시하였다.

• 한국강구조학회 논문집
• /
• 제23권2호
• /
• pp.137-146
• /
• 2011

강교 제작에는 녹, 흑피 등의 이물질 제거 및 도료의 부착성 증대를 위하여 도장 전 블라스트 표면처리가 실시되고 있지만, 이러한 강교 도장용 블라스트 처리가 용접이음의 피로강도에 미치는 영향에 대한 검토는 미흡한 실정이다. 이에 본 연구에서는 강교 제작시 사용되는 블라스트 처리조건에 의한 압축잔류응력 도입량을 정량적으로 평가하고, 압축잔류응력에 의한 용접이음의 피로강도 향상 정도를 검토하기 위하여, 먼저 국내 7개 강구조물 제작사의 블라스트 처리조건을 조사하였다. 이를 근거로 도출한 10가지의 블라스트 처리조건별 알멘스트립의 아크하이트와 강재시편의 표면조도, 경도 및 잔류응력을 측정하여, 이들 측정값과 블라스트 처리조건들과의 상관관계를 검토하여, 아크하이트 측정으로 압축잔류응력을 근사적으로 추정할 수 있음을 제시하였다. 그리고 블라스트 처리 전 후의 맞대기 용접이음의 압축잔류 응력 측정과 피로시험을 실시하여, 블라스트 처리에 의해 맞대기 용접이음부의 용접지단부에는 약 170MPa이상의 압축잔류응력이 발생하였으며, 이로 인하여 맞대기 용접이음의 피로강도는 용접부가 없는 원판 강재 이상으로 크게 향상됨을 확인하였다.

• 한국환경과학회지
• /
• 제32권6호
• /
• pp.403-417
• /
• 2023

In this study, we investigated the characteristics of Volatile Organic Compounds(VOCs) emission from painting and printing facilities in the Pyeongdong industrial complex in Gwangju. In addition, the objective was to understand the distribution characteristics of VOCs in the ambient air in industrial complexes affected by painting and printing facilities. The painting facility mainly emitted toluene, acetone, butyl acetate, 4-methyl-2-pentanone, ethyl acetate, 1-butanol, methyl ethyl ketone, m,p-xylene, o-xylene, 4-ethyltoluene, ethylbenzene, 3-ethyltoluene, and 1,2,4-trimethylbenzene. The main emission components in printing facilities were methyl ketone, ethyl acetate, acetone, 2-propanol, toluene, heptane, and butyl acetate. Ethyl acetate, toluene, 2-butanone, acetone, butyl acetate, 2-propanol, xylenes, and 4-methyl-2-pentanone were detected in the ambient air of the Pyeongdong industrial complex, consistent with the VOCs emitted by painting and printing facilities. The average concentration of seasonal TVOCs followed an order of winter > fall > spring > summer, whereas the concentrations of daytime and nighttime TVOCs were generally higher at night than those during the day, and the wind speed was greater during the day than it was at night. Based on a factor analysis of VOCs in the ambient air of Pyeongdong industrial complex, it is considered that organic solvents used in coating, printing, and electronics manufacturing facilities, as well as diesel vehicle emissions played a major role.

• 한국디자인학회:학술대회논문집
• /
• 한국디자인학회 2004년도 춘계 학술발표대회 논문집
• /
• pp.144-145
• /
• 2004

• 제어로봇시스템학회:학술대회논문집
• /
• 제어로봇시스템학회 1994년도 Proceedings of the Korea Automatic Control Conference, 9th (KACC) ; Taejeon, Korea; 17-20 Oct. 1994
• /
• pp.597-600
• /
• 1994

A Robot system to realize a painting using a writing brush is explained here. Based on the three-dimensional data about the target china, the movements of the writing brush is determined. The movement is realized by the movement of two robot manipulators which move coordinatedly. Experimental results reveals the applicability of one system.