• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.125-134
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• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.

• Asian Pacific Journal of Cancer Prevention
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• v.14 no.6
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• pp.3937-3940
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• 2013

Objective: To explore the expression and significance of estrogen receptor (ER), progestrone receptor (PR), vascular endothelial growth factor (VEGF), CA15-3, CA125 and carcinoma embryonic antigen (CEA) expression in judging the prognosis of breast cancer. Materials and Methods: Sixty-five patients with breast cancer undergoing operations in the general surgery department were considered as the observation group, and 50 healthy outpatients of our hospital as the control group. Cubital venous blood was drawn in the morning from fasting patients in the two groups and chemiluminescence immunoassays were used to detect the levels of CA15-3, CA125 and CEA in serum. The follow-up duration was from 4 months to 2 years, and change in levels of the indicators was detected by dynamically drawing blood. After surgery, cancer tissue samples of patients in observation group remained on file (the non-recurrent patients were biopsied). Immunohistochemistry was applied to determine the expression of ER, PR and VEGF in tissue. Results: The effective rate of 12 patients with negative ER and PR expression was 33.3% in the observation group, being associated with prognosis to varying extents. Serum CA15-3, CA125 and CEA in the observation group were all significantly higher than in control group (p<0.01). With increase in pathological staging, levels of serum CA15-3, CA125 and CEA gradually increased (p<0.01). Levels in patients with lymph node metastasis were markedly higher than in those without (p<0.01). In addition, values with distal lymph node metastasis were notably higher than with adjacent lymph node metastasis (p<0.01). The postoperative follow-up results revealed that positive VEGF and levels of serum VEGF, CA15-3, CA125 and CEA in recurrence group were obviously higher than in non-recurrence group (p<0.01). Conclusions: Joint detection of ER and PR expression as well as levels of serum VEGF, CA15-3, CA125 and CEA is meaningful and can guide the diagnosis and treatment for breast cancer.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.57-65
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• 2012

This work attempted to study the properties of expression of ground, the composition of outlook and the implications of the connotative symbolic scenery throughout investigating the properties of expression content and method of the scenery, outlook, viewpoint, natural features for each drawing and intention of making 4 old maps, which had been made in the period of the Great Korean Empire and had been called 'Wansan-dohyoung(完山圖形),' 'Jogyeongdan- bigak-jaesil-dohyoung(肇慶壇碑閣齋室圖形),' 'Jeonju-geonjisan-dohyoung(全州乾止山圖形)' and 'Jogyeongmyo-gyounggijeon-dohyoung(肇慶廟慶基殿圖形),' and analyzing the correlation between their drawings. For this aim, observatory investigation by using a map, on-spot investigation, analysis involving the satellite images and internet were carried out with literature review simultaneously. The result of investigation could be sum up as follows. Gyounggijeon(1410), Jogyeongmyo(1771) and Jogyeongdan(1899), where are the core space to lay the historically firm foundation for securing the fact Jeonju is the home of the Royal Family of Joseon, had been built, fixed and extended for giving legitimacy to the Joseon Dynasty and a part of strengthening of royal authority. And these had played an important role of spiritual mainstay from early in the Joseon Dynasty to the era of the Great Korean Empire and had been managed and maintained continuously. It is grasped that the 4 maps consist of Sanhyuoungdo(山形圖; a kind of a mountain map), which is the map for showing a burial place of Lee Han(李翰), the founder of the Joseon Dynasty, and its auxiliary drawings and these had been drawn intensively to justify dignity and authority of the Imperial Family and the Emperor after the name of country was renamed the Great Korean Empire as a part of national undertaking. In detail, Wansan-doghyoung is the key map for announcing the existence of Jogyeong-myo, Gyounggijeon and Jogyeongdan in Jeonju and informing their locations and Geonjisan-dohyoung is the map of divination based on topography for highlighting the geomantic justification of the founder's mausoleum. Jogyeongdan-bigak-jaesil-dohyooung is the partial map detailing for Geonjisan-dohyoung. Jeonju-geonjisan-dohyoung and Jogyeongmyo-gyounggijeon-dohyoung had employed the binary reduced scale and the bird-eye view method and in the above maps, Geonji Mountain is the main mountain and these maps make an exaggeration of the main geographical features, centering Wangjabong and Euimyoso, unlike the real geographical features. Also, the other main geographical features, which are found in the burial place, are expressed in detail by changing the view. In the point of view of 1 set being consisted of 4 maps, 'Wansan-dohyoung' has the property not only as Gunhyoundo, which Gun and Hyoun mean a unit of the administrative district, respectively and Gynhyoundo is a kind of the map for recording their locations, but also as the map of showing their locations. On the other side, 'Jogyoungmyogyounggijeondohyoung' is a kind of lay-out drawing as a partially detailed map. In addition, it has been found out that 'Jeonju-geonjisan-dohyoung' and 'Jogyeongdan-bigak-jaesil-dohyoung' is not only Pungsu- hyounggukdo having the function of Sanhyoungdo but also a detail drawing. On the base of these properties, it is considered that the functionality as a serial map had been strengthened, unlike the existing old maps.

• Archives of design research
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• v.16 no.4
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• pp.37-46
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• 2003

About 18th century in the late Chosun dynasty, various kinds of 'Min-Wha' had played a significant role and had an important meaning in the lives of the people in that period. Therefore, both in material and in technique, so many diversified 'Min-Wha' were mass produced in that time. Starting from those backgrounds, 'Hyuk-Wha', is considered as one of unique style of expression. Though, 'Hyuk-Wha', in techniques, was originated from 'Bibaekseo' classified as one of the style of expression in Oriental drawing and writing art. 'Hyuk-Wha' shows and expresses visual differentiation from rough 'Bibaekseo', in substance, written by brush made from the skin of a willow tree or the stem of a sort of reeds. 'Hyuk-Wha', in mode, has very dose relation to the process of the development of 'Min-Wha'. Judging from this point of view, 'Hyuk-Wha' has deep relationship to Taosmic character painting of 'Gilsang: an auspicious sign' or Confucian character painting of 'Hyojae: filial piety. Accordingly, 'Hyuk-Wha' has been developed to that character painting designed by another type of creative differentiations. For these reasons, 'Hyuk-Wha' which significantly shapes and contains the meanings of Chinese Character also has been esteemed to have interrelation with Pictography in application of Word mark or Brand logotype in graphic areas. 'Hyuk-Wha' which was prevalent in use of home decorations for the people existed in the past has been ceased to exist nowadays in use of home decorations by appearance of all sort of decoration articles. All these days, 'Hyuk-Wha' which was diversified as a part 'Min-Wha' and developed together with oriental drawing and writing art and character painting is to be necessarily relighted. And 'Hyuk-Wha', which is also vigorously in practical application in Western Europe is desirable to be reconsidered.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• (The)Study of the Eastern Classic
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• no.35
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• pp.471-498
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• 2009

The aim of this study is to see how bamboo paintings developed and what is the iconographical meaning of them through bamboo Ti-hua-shi(poems on paintings) found in Sheng-Hua-Ji, a leading compilation of Ti-hua-shi(poems on paintings) of Song Dynasty. Bamboo paintings give shapes in a simpler and more direct way in drawing, which means bamboo paintings reveal concretely more characteristics of Ti-hua-shi (poems on paintings). Bamboo paintings, which flourished during Northern Song Dynasty, often had the image of the dragon, specially a lying dragon or a winding dragon, which suggests a great man in obscurity. Snow-laden bamboos were also a symbol of a great man, very wise man in Confucian tradition. This shows Confucian ideal examples were embodied through bamboo paintings. Another aspect of bamboo paintings is that bamboo paintings were regarded as a means of self-expression, which identified Confucian sadaebu (scholar-officials) who advocated simplicity and austerity in their life. Contrary to professional painters, who added color and decoration to their paintings, Confucian scholars of Song Dynasty reduced color and embellishment in their bamboo paintings in black-and-white to reveal their own identity, focusing on spirituality rather than the image itself. Therefore, drawing and appreciating bamboo paintings were highly respectable pastime among the literati of Song Dynasty. In short, Bamboo paintings in Song Dynasty were not only a Confucian symbol of a wise and virtuous man but also reflected the taste of Song sadaebu class who thought of bamboo as a symbol for moral and cultural responsibility of Confucian society.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.195-212
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• 2022

Based on the kinetic typography principle and the structure features of Chinese characters, this study took the Chinese'24 solar terms' theme dynamic poster as the research object, explored the visual expression of dynamic Chinese characters, and tried to summarize the visual expression law of Chinese characters in dynamic poster design. It can be found that, there could be 6 different types of Chinese character expressions in the 24 solar terms poster design. Among them, 'Drawing' design method has the meaning of text structure and form expression, and 'Assembling' design method has the meaning of text stroke and texture association, also, 'Forming' design method bring its meaning through stroke deformation, 'Transforming' design method conveys the content through text disintegration, 'Replacing' design method mainly bring the meaning through simulation, while 'Rotation' design method always express through visual three-dimensional and space. Finally, the findings could not only provide analytical logic and methods for the expression of Chinese characters in dynamic poster design, but also fill the lack of formative research on dynamic Chinese characters, which hopefully provide basic information for the research related to dynamic Chinese character structure, as well as the dynamic poster designers.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.581-586
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• 2023

Recently a drama that features a lawyer with autism spectrum disorder has attracted a lot of attention, raising interest in the difficulties faced by people with autism spectrum disorders. If the Autism spectrum gets detected early and proper education and treatment, the prognosis can be improved, so the development of the treatment is urgently needed. Drugs currently used to treat autism spectrum often have side effects, so Digital Therapeutics that have no side effects and can be supplied in large quantities are drawing attention. In this paper, we introduce 'AEmotion', an application and a Digital Therapeutic that provides emotion and facial expression learning for toddlers with an autism spectrum disorder. This system is developed as an application for smartphones to increase interest in training autistic children and to test easily. Using machine learning, this system consists of three main stages: an 'emotion learning' step to learn emotions with facial expression cards, an 'emotion identification' step to check if the user understood emotions and facial expressions properly, and an 'expression training' step to make appropriate facial expressions. Through this system, it is expected that it will help autistic toddlers who have difficulties with social interactions by having problems recognizing facial expressions and emotions.

• Archives of design research
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• v.18 no.4 s.62
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• pp.225-236
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• 2005

As a fresh trial using humorous items to escape from economic recession and uncertain state of mind regarding politics and society, fun is emerging as a keyword in design area. This study classified various use of fun reflected in modern fashion design according to the theme, and analyzed the mod of expression to identify formative characteristics. Through these processes, this study built conceptual structure of fun in fashion design. 412 fashion designs which represent fun were collected from 2001 $S/S{\sim}2005$ F/W collections. Data were analyzed and categorized. Results showed that the theme of fun in the modern fashion design could be classified into humor, kidult, irony, satire/parody, storytelling, and play. The design elements mainly used were color silhouette, letter, object, and drawing, while the design principles were distortion/exaggeration, incongruity, and repetition. In addition, these expressions were related to the traditional humor theory: incongruity-resolution, superior, and relief theories. The fun in modern fashion design has such value as affirmation, warmness, entertainment, youth, contradiction, surprise, deviate, allusion, attack, and description, Finally, in regard to the subject, the fun provides active experience like play as well as passive acceptance.

• Journal of Physiology & Pathology in Korean Medicine
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• v.34 no.2
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• pp.61-66
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• 2020

Epithelial-mesenchymal transition (EMT) is the process by which epithelial cells lose their characters and acquire the properties of mesenchymal cells. EMT has been reported to exert an essential role in embryonic development. Recently, EMT has emerged as a pivotal mechanism in the metastasis of cancer and the fibrosis of chronic diseases. In particular, EMT is drawing attention as a mechanism of renal fibrosis in chronic kidney diseases such as diabetic nephropathy. In this study, we developed an EMT model by treating TGF-β1 on the podocytes, which play a key role in the renal glomerular filtration. This study explored the effects of Hwanggeum-tang (HGT) recorded in Dongeuibogam as being able to be used for the treatment of Sogal whose concept had been applied to Diabetes Mellitus (DM), on the TGF-β1-induced podocyte EMT. HGT suppressed the expression of vimentin and α-SMA, the EMT marker, in the human podocytes stimulated by TGF-β1. However, HGT increased the expression of ZO-1 and nephrin. Interestingly, HGT selectively inhibited the mTOR pathway rather than the classical Smad pathway. HGT also activated the AMPK signaling. HGT's inhibitory effect on the podocyte EMT through regulation of the mTOR pathway was achieved through the activation of AMPK, which was confirmed by comparison with cells treated with compound C (CC), an inhibitor of AMPK signaling. In conclusion, HGT can be applied to the renal fibrosis by preventing TGF-β1-induced EMT of podocytes through AMPK activation and mTOR inhibition.