• Journal of the Korea Safety Management & Science
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• v.14 no.4
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• pp.265-270
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• 2012

This paper deals with the application and effects of MES for H automobile plant in China. There existed the production planning and the different work order in PL painting plant, but we can simultaneously prepare the painting parts and parts delivery and assembly according to painting color by introducing MES. We can respond the change of production planning and operate integratively the PL painting, parts storage and parts delivery and then we can results in reasonable logistics. We obtained the exact production information, correct work order, precise delivery order. We obtained not only the improvement of logistics but also the reduction of inventory.

• International Journal of Contents
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• v.8 no.4
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• pp.36-41
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• 2012

We present a novel watercolor painting drawing system which can work even on low powered computing machine such as tablet PC. Most digital watercolor systems are generated to perform on desktop, not low powered mobile computing system such as iPad. Our system can be utilized for art education besides professional painters. Our system is not a naïve imitation of real watercolor painting, but handles with properties of watercolor such as diffusion, boundary salience, and mixing of water and pigment.

• Journal of Information Processing Systems
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• v.19 no.1
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• pp.33-45
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• 2023

This paper proposes an algorithm that automatically converts images into Pipo, painting images using OpenCV-based image processing technology. The existing "purity," "palm," "puzzling," and "painting," or Pipo, painting image production method relies on manual work, so customized production has the disadvantage of coming with a high price and a long production period. To resolve this problem, using the OpenCV library, we developed a technique that automatically converts an image into a Pipo painting image by designing a module that changes an image, like a picture; draws a line based on a sector boundary; and writes sector numbers inside the line. Through this, it is expected that the production cost of customized Pipo painting images will be lowered and that the production period will be shortened.

• Proceedings of the Korean Institute of Building Construction Conference
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• 2022.11a
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• pp.95-96
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• 2022

Based on the analysis of defects occurring before and after painting work, this study intends to derive a reasonable improvement in judgment criteria and propose an amendment to the relevant law through the establishment of a clear fire door replacement cycle in terms of fire safety.

• Journal of the Korean Society of Safety
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• v.20 no.3 s.71
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• pp.134-142
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• 2005

This study is to find out how organic solvent will be propagated from painting inside the steel box girder of bridge. $2.9m{\times}3.0m$ of inside size of steel box girder is not suitable for painters to do his work comfortably and hygienically. Substance density(ppm)inside the space of the box unsatisfactory hygienical condition. Most of organic solvent(mainly toluene) came down to 0.5m in two minutes and 53sec. But personal protection for painter should be properly kept against flying this heavy organic solvent. longitudinally 27.1m in length is a cell unit of the whole length of bridge. Model XP-3l6A made in Japan is a main instrumentation adjusted to sense organic solvent especially toluene which can be measured up to 10,000ppm. Scenario analysis by computer program, safer release 2.0 has been performed first to estimate how the organic solvent will be propagated. And then actual test was done as a model. This has been measured for approximately five(5) minutes, with 30 sec interval. Actual measurement results showed much higher $10{\sim}20%$ than result analyzed by the computer program, meaning that this painting work can give worse effect to the worker who is painting inside the box girder of the bridge. The first meas urement level over the floor set up at 30cm height from the floor, because organic solvent was estimated to stay at the level. and then, they were measured at 1.0m, 1.5m level respectively, more.

• Korean Journal of Human Ecology
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• v.23 no.5
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• pp.807-823
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• 2014

The purpose of this study is to verify the effects of storytelling-centered arts educational activities based on the famous painting appreciation on young children's appreciation ability of pictures and creativity. The study was conducted with a total of 50 5-year-old young children in two classes of B Day Care Center in the city of J, Jeollabukdo. The children were randomly divided into an experimental group(25) and a control group(25). The storytelling-centered arts educational activities based on the famous painting appreciation was conducted for the experimental group for 12 weeks from April 29, 2013 to July 19, 2013. The activities were composed of 3 steps of 'appreciation-expression-exhibition & assessment' on the basis of 2-week basic units. The appreciation activities were composed basing upon the types of the famous painting appreciation and storytelling, and expression and exhibition & assessment activities were composed of 4 areas of arts(music/movement/language/art). The results of the study are as follows. First, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's painting appreciation abilities in all sub-areas(observation and description/artist's intention of subject expression/mood of a work/material and technique/artistic factors/attitude to the work). Second, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's creativities in all sub-areas(originality/fluency/flexibility/imagination).

• Journal of Science of Art and Design
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• v.7
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• pp.128-149
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• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.337-344
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• 2022

The ecological expression of art in modern society takes the harmonious developmental relationship between man and nature as an element and combines it with the various manifestations of painting as an expression of ecological artistic development. The necessary relationship for the harmonious development of nature is accurately articulated, and the ecological changes in people are expressed in integrated materials that inspire human reflection. In the pursuit of material pleasures, mankind is neglectful and indifferent to the environment. The development of composite painting in art and ecology is a process that more reveres the harmony between man and nature as well as satisfying the creative value of the work. After systematic evaluation and research, people have engaged in various structural forms of composite art painting development in the long history of art development, focusing on the integration of environmental and ecological culture.In the process of nature education going through development, the comprehensive practical development of nature education is enhanced and efforts are made to feel new ecological art ideas and new ways of valuing environmental protection. In this paper, an observational study of eco-art will be carried out, starting from the theory of hierarchical division and analyzing the contradictory relationship between man and nature. Recognize nature, understand it and feel it through eco-art painting. The analysis of the contradictory relationship between man and nature is combined with the identification of various types of information that give value to the environmental protection public, and the combination of ecological painting and nature art to achieve an upgrade of the environmental protection idea of the value of painting.

• Proceedings of the Korean Institute of Building Construction Conference
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• 2003.05a
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• pp.153-156
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• 2003

Recently, as changing construction environment, we have come to need rational systematic and transparent in construction industry. In other to consider application possibility of CM in specialty construction, in this study improvement of procedure management by several construction phases in the coating with paint work.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.