• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.104-121
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• 2017

The present study attempted to produce the floor plan of the surroundings near Geumcheongyo Bridge in Changdeokgung Palace of the Late Joseon Period through the use of rubber sheeting transformation based on the drawing principles of "Donggwoldo(東闕圖)". First, the study compared the actual sizes of the major buildings that have existed since the production of "Donggwoldo(東闕圖)" with the sizes depicted in the picture to reveal that the front elevation of the buildings was produced by reducing it by approximately 1/200. However, the study could not confirm the same production proportions for the side elevation. Only the lengths of the side elevation were depicted at around half of the actual proportions, and as the diagonal line angles were found to be at an average of $39^{\circ}$, the study confirmed they were drawn in a manner similar to cabinet projection. Second, the study created an obliquely projected floor plan by inversely shadowing the drawing principles of "Donggwoldo(東闕圖)" and produced a floor plan of the surroundings near Geumcheongyo Bridge in Changdeokgung Palace through the use of rubber sheeting transformation. Projective transformation was confirmed as most suitable during the transformation, and with standard error of 2.1208m, the relatively high accuracy of the transformation shows that the production of a floor plan for "Donggwoldo(東闕圖)" is significant. Furthermore, it implies the possibility of producing floor plans for various documentary paintings produced using the paralleled oblique drawing method in addition to "Donggwoldo(東闕圖)". Third, the study evaluated the accuracy of the spatial information provided by the produced floor plan by comparing the three items of Geumcheongyo Bridge location, Geumcheongyo Bridge and Jinseonmun Gate arrangement, and Geumcheon stone embankment location. The results confirmed the possibility of utilizing the floor plan as a useful tool which helps understand the appearance of the surroundings at the time of "Donggwoldo(東闕圖)" production because it is parallel to the excavation results of the Geumcheongyo Bridge and its context. Therefore, the present study is significant in that it seeks the possibility of producing spatial information recorded in "Donggwoldo(東闕圖)" by applying rubber sheeting transformation and consequently in that it presents a new methodology for understanding the appearance of the East Palace of the Late Joseon Period.

• Korean Journal of Social Welfare
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• v.61 no.3
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• pp.229-253
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• 2009

The purpose of this study is to understand the experiences of adults after leaving the care of the institution. To accomplish this purpose, we have collected various data from participants who left child care institution more than five years ago and analysed these data through qualitative data analysis method. The results showed that three key themes namely, "isolation-helplessness", "being chained to their past", and "marching towards a better future". "Isolation-helplessness" is divided into "becoming a real orphan" and "fighting alone the unsupported". "Being chained to their past" are composed of "institution, a hometown that one needs to leave", "being marked as a institutionalized person" and "scars and marks". Lastly, "marching towards a better future" are grouped into "taking advantage of institutional experience", "helping each other", "drawing a fine picture of their future happiness" and "moving ahead sweeping aside all difficulties". Lastly, this study suggested political and practical measures to enhance wellbeing of adults that have left the institutional care.

• Journal of Gifted/Talented Education
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• v.22 no.1
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• pp.141-155
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• 2012

The purpose of this study was to analyse characteristics of explanatory writing of scientifically gifted students who participated in gifted educational programs. Considering aspect of content of their explanations about cell, many of them explained the common characteristics of animal and plant cells, but a few of them did cellular characteristics of one kind of animal and plant. Some gifted students regarded cell membrane function as that of cell wall, and had a misconception that the cell was the smallest unit to consist human body. In terms of the structure of explanation, most of them didn't know the structural characteristics of explanatory writing. Finally, more than 50% of them had written using various ways to explain cell such as classifying, comparing, contrasting and exemplifying. Especially, all biologically gifted students had creatively explained drawing a picture. It was findings that the explanatory writing could be used as the instrument to evaluate knowledges of gifted students and suggested the elements of writing to teach scientific explanatory writing.

• Journal of the Korean Society of Earth Science Education
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• v.7 no.3
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• pp.358-370
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• 2014

The purpose of this study is to analyze the relationship between the mental model and the depictive gestures observed in the explanations of elementary school students about the reason why seasons change. As a result of analysis in gestures of each mental model, mental model was remembered as "motion" in case of CM-type, and showed more "Exphoric" gestures that expressed gesture as a language. CF type is remembered in "writings or pictures," and metaphoric gestures were used when explaining some alternative concepts. CF-UM type explained with language in detail, and showed a number of gestures with "Lexical." Analyzing depictive gestures, even with sub-categories such as rotation, revolution and meridian altitude, etc., a great many types of gestures were expressed such as indicating with fingers, palms, arms, ball-point pens, and fists, etc., or drawing, spinning and indicating them. We could check up concept understandings of the students through this. In addition, as we analyzed inconsistencies among external representations such as verbal language and gesture, writing and gesture, and picture and gesture, we realized that gestures can help understanding mental models of the students, and sometimes, we could know that information that cannot be shown by linguistic explanations or pictures was expressed in gestures. Additionally, we looked into two research participants that showed conspicuous differences. One participant seemed to be wrong as he used his own expressions, but he expressed with gestures precisely, while the other participant seemed to be accurate, but when he analyzed gestures, he had whimsical concepts.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.601-613
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• 2016

The purpose of this study is to present the mental model of young adolescents' media environment and the use and to provide several educational suggestions drawing on the revealed model. For this, the data were collected through 4 activities such as interview, picture drawings, word association experiment, and sentence completion task with ten 4-5th graders in elementary schools; they were qualitatively analyzed by 2 researchers. First, the meaning components driven by sentence completion task, word association experiment were totally 6 components: media device, connection(alienation), competence(provision), entertainment, adverse effects, ambilaterality. Second, the components of media mental model driven by pictures were 4 components: functions/competence, entertainment, conflict with paper books/sharing, harmfulness/ambilaterality. Third, the components from interview consisted of conflict between paper books and electronic media, communication-centeredness, fear(addiction) and users' qualification. Based on those results, careful examination in cyber talk, necessity of addiction prevention, active development of learning media and their balanced utilization with books, and healthful media literacy education and reinforcement of critical thinking were suggested.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.25-44
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• 2008

Geisha's gorgeous kimonos and grotesque make-up was the object of envy to Japanese women. There is a line in the movie like "Kimonos to the Geisha is the same as colors to the painter." Likewise, splendid patterns and colorful kimonos were an indispensible method or symbol for showing their artistic accomplishments. The purpose of this study is to investigate concept and origin of Geisha and their dress and decoration, analyze the dress of the people which appear in the movie, , arrange the expression of Geisha's dress as a movie costume, compare the difference of the dress by the career of Geisha and look back the disappearing aesthetic sense of Geisha. First, since Geisha appeared for the first time in Kyoto in 1751, it has become the world-wide representative of Japanese woman's images so that its existence oneself has become the tradition. Second, Geisha created fashion of various clothes, adornments, and hair styles as a creator of the popularity. Third, the strict regulation without exception is applied in Geisha's clothing, make-up, and motion tuned Samisen, Japanese traditional strings, and there is some difference in their hair style and dress by age of Maiko. Fourth, it is famous for unique make-up that Geisha makes up their faces, necks, and shoulders white, newly paints eyes, nose, lip line like drawing a picture in a pure white paper. Geishas put a little make-up as they have a higher position. Fifth, a heroin, Chiyo, shows clothing as a maid, an apprentice Geisha-Maiko- and a formal Geisha according to time flow. The length of kimono, textures, and hair decorations are longer, more splendid, and are more various as time goes. On the other hand, her make-up is lighter.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.1-13
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• 2005

This study is for the construction of Cheo-Yongdance Costumeby historical research based on Ak-Hak-Gue-Peom(樂學軌範). Through the production of Cheo-Yongdance Costume by historical research, it is examined and this study is expected that be a help of the right succession of a traditional costume. Cheo-Yongdance Costumeis draught to real size by comparing the size and picture suggested in Ak-Hak-Gue-Peom. In the specialty of Cheoyong(處容) dance Costume in the drawing, the length of clothes was 152cm that is longer than the length of the excavated Danlyeong(團領) of Chosun Dynasty period. Width was 81.9cm that is very big and the width of Danlyeong is 11.7cm. The sleeve length of Hansam(汗衫) is 20O.60cm and it is one that attached Hansam to Jeogori(저고리). The material used for Cheoyong dance Costume is Dan(緞), Cho, Joo(紬), Red gold patterned brocade(紅金線). At the same part, and as the goal was differently used at the same clothing. As the methods of dyeing, the process of dyeing naturally is suggested. A gardenia seeds, indigo plant, and ink stick are used for the color of blue, red, yellow and black. The producing process is made in concrete by suggesting the process of producing clothing. Danlyeong is required the technique of smoothing out wrinklesin case of attaching. Goon(裙) was made by making plaits below and attaching string for making form in the literature. Ui(衣), Chon-ui(天衣) and Goon(裙)'s Bang-sul(方膝) are drawn a Man-hwa Mun(蔓花紋) on Ak-Hak-Gue-Peom by using the golden dyeing material. As the result of producing the clothe by using the recorded size in Ak-Hak-Gue-Peom, it could be examine a pertinent dance clothing for expressing the dance performance with big motions.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.31-48
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• 2013

It goes without saying that Yi Mae-Bang, as the sole owner of two of the intangible cultural assets including No. 27 Seungmu in 1987 and No. 97 Salpuri Chum, is a top-notch Korean traditional dancer. Moreover, in regards to traditional clothing, he is also known as the only traditional dancer who directly performs on stage as well as analyzes traditional clothing in order to apply them into his own dance performances by designing and producing them to meet his artistic spirit. In order to examine how Yi Mae-Bang's unique and creative stage clothing was developed, and what kind of process it went through to possess its unique style, which draws the attentions of people with its harmony of beauty and dance, this research first examined the change of the composition through the yearly picture data. Before 1984, the composition of the Salpuri Chum clothes changed by putting on 'Jeogori' on the 'Mudong-Bok' without the 'Kweia' (sleeveless), and in 1999 'Mudong-Bok' became widened with the decoration of embroidered hem making it more attractively colorful. after 2000 it became more splendidly adorned by embroidering hem on widened Mudong-Bok and tucking 'Kweja' in the layers which created silhouette like a dress that is seemingly wider and luxuriant than a skirt. One of notable features of Yi Mae-Bang's Salpuri is that its cloth and cuff ribbons are lightly colored in different colors enclosing the tip part. As for the ribbons, it was also changed as time went by from direct-cutting of the cloth just like the A-line of Mudong-Bok to drawing a diagonal line less than 5cm above the ribbon and 8cm below the ribbon so that it takes the form of getting widened as it gets to the lower part, and its length was also elongated in proportion to that of the bottom of Mudong-Bok.

• Journal of Conservation Science
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• v.32 no.1
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• pp.51-61
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• 2016

'Eojin', king's portraits, had been produced during the Joseon dynasty. The portrait of King Taejo, the founder of the Joseon dynasty, remain at National Palace Museum of Korea and Gyeonggijeon portrait hall in Jeonju and Junwonjeon portrait hall in North Korea that has been recorded in original glass plate photo in 1911. Many replica of Eojin have been made since it is important to preserve and protect original one. In this study, the portrait of King Taejo, which is possessed by National Palace Museum of Korea, was researched for making replication standard version of the original form. It was focused on derivations of each artefacts and drawing lines those had been described on the picture including comparison among three portraits of King Taejo. Producing the replication standard version of King Taejo's portrait, the digital restoration techniques by the method of partition area scanning was applied. Accurate and precise detail result that is taken by digital imaging technique gives additional information regarding the relations among three portraits of King Taejo.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.12 no.1
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• pp.57-63
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• 2012

TIP technology enables navigation of the internal contents of images by extracting geometry information from two-dimensional drawing or a picture and generating three-dimensional effects from extracted information. The technology can be applied to a variety of practical fields including game, entertainment, education, public relations and so on. This paper proposes extended application of TIP technology and realization method for smart devices using OpenGL ES Library for Android platform. Considering problems associated with a foreground object extraction, the proposed method uses vanishing points chosen by the user to facilitate more realistic scene configuration. Then, method acquires three-dimensional background model using OpenGL ES Library, develops three-dimensional virtual space and enables image navigation via camera viewpoint conversion. The experimental image is made on Android 2.1 and OpenGL ES 1.0 using the image taken on devices built on the Android platform. Thus, the proposed technology can be implemented to various smart devices built on the Android platform at lower cost and in less time.