• The Research Journal of the Costume Culture
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• v.20 no.3
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• pp.363-377
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• 2012

Most of the wedding shops in the domestic market are more focusing on simply copying the designs of foreign wedding dress designers than making their own designs. Beyond the purpose of how to improve the wedding dress designs which is what other previous studies were aiming, this study goes deeper than that, concentrating on separate designing of dress for a wedding celebration and a rehearsal with photo shoots. Add to this, the study also differentiates itself from others in the past, investigating how to make a gown that hides a bride's physical shortcomings. For this study, the researcher studied the literature in terms of theoretical review, and conducted the empirical research through the photo analysis of 2,725 wedding dresses which brides really wore according to domestic brides' body shapes, their images, and situations. The researcher designed 8 wedding dresses for wedding ceremony and rehearsal shooting for brides with thick arms or wide shoulder under the concept of 'Romantic Story in Your Heart'. The wedding dress's image types for photo analysis were limited to the romantic type, the elegance type, the modern type, and the classic type. The researcher applied the empire-silhouette, the one-shoulder neckline, the raglan sleeves, the cap sleeves, and the shoulder accessories to the wedding dress designs judged as effectively making up defects in body shape and making nice images as well as other design factors seen from the analysis result.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.11-25
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• 2008

John William Waterhouse (1849-1917) is a painter renown for his romantic beautiful femme fatale images in the late 19th century in England. The purpose of this study is to examine the fashion in Waterhouse's femme fatale images. Waterhouse displays the devilism of femme fatale by the symbols of a wicked woman. He emphasized how wicked she is by means of water such as lake, river, and sea as well as symbols associated with demons such as forest, cave, naked woman, long hair, a monster-headed woman looking like an animal, water lily, and garden. On the other hand, he illustrates the woman's style as an image of a typical feminine beauty. Expressing naturally a fine-curved, immature girl's body with marvel-like white and clear skin in a kneeling down or crouching passive rose and depicting it as an innocent and fragile feminine image, he created a passive and lovely image of a young girl. With her eminent beauty and sex appeals, she lured men into danger. Words such as evil, women, and death had been used in describing her as femme fatale to emphasize her wickedness as well as to deliver the meaning across from the inside and to the outside. They also described her as a type of woman with body posture and fashion corresponding to the sexual ideology during the Victorian Age. His description of this fashion image was to show that femme fatale's fashion, which represents attraction and fatality, does not necessarily translate to an active fashion style that emphasizes sensuality. It also tends to minimize resistance and feelings of being threatened. Therefore, it allons us to acknowledge that even girlish body with innocent and frail-looking fashion can be a form of femme fatale, and that fashion styles is essential in forming the image of femininity.

• The Transactions of The Korean Institute of Electrical Engineers
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• v.63 no.1
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• pp.99-107
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• 2014

In this paper, a landmark based localization system using a Kinect sensor is proposed and evaluated with the implemented system for precise and autonomous navigation of low cost robots. The proposed localization method finds the positions of landmark on the image plane and the depth value using color and depth images. The coordinates transforms are defined using the depth value. Using coordinate transformation, the position in the image plane is transformed to the position in the body frame. The ranges between the landmarks and the Kinect sensor are the norm of the landmark positions in body frame. The Kinect sensor position is computed using the tri-lateral whose inputs are the ranges and the known landmark positions. In addition, a new matching method using the pin hole model is proposed to reduce the mismatch between depth and color images. Furthermore, a height error compensation method using the relationship between the body frame and real world coordinates is proposed to reduce the effect of wrong leveling. The error analysis are also given to find out the effect of focal length, principal point and depth value to the range. The experiments using 2D bar code with the implemented system show that the position with less than 3cm error is obtained in enclosed space($3,500mm{\times}3,000mm{\times}2,500mm$).

• Journal of Digital Convergence
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• v.19 no.8
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• pp.195-203
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• 2021

This study is about building an exercise training system that analyzes images taken of a person's whole body and displays the normal operating range for user-specific movements as images. This study analyzes the front and side of the user's body based on the standing point, sets the node in the joint position of the human body, and places the node in the spatial coordinate system from the point of entry, and calibrates the normal node operating range according to the set standard node coordinate. Therefore, the method of the study presented a method to select differentiation from this study through prior technical research and literature research, and the purpose of the study is to establish a exercise training system accordingly.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.3
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• pp.127-144
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• 2022

This paper aims to analyze the different external images of women expressed in ancient artwork through the socio-cultural background and the aesthetic view during the Tang and Song dynasties of China. The research method contains a literature review involving the collection of historical literature, thesis, and artwork data. The image of women according to the aesthetic view of the two periods is summarized as follows. In terms of face shape, the Tang pursued a round face while the Song pursued a more slender shape. As for hair ornamentation, the Tang wore various shapes of hair buns like "Paojiaji", and decorated them with coronets. The Song wore various types of braided hair called "Tongxinji", but the coronets were smaller and more sophisticated. For makeup, the Tang wore colorful and heavy makeup and the Song makeup was lighter and more elegant. In attire, the Tang followed revealed shape, used splendid colors and thin, transparent material. The Song exhibited a more simple design and was conservative and neat, using luxurious silk fabric with low chroma. In body shape, the Tang pursued the "beauty of obesity" with a voluptuous body shape; the Song pursued the "beauty of gaunt" with a slim body shape. As the result of the analysis according to the aesthetic views of the Tang and Song dynasties, women of Tang were depicted as rich, and women of Song were rather neat. The research on the aesthetic views that changed according to the development of social civilization and the status of women will play an active role in the transmission and development of traditional Chinese culture. At this point, the paper may contribute to the creation of images of women as well as changes in the art of future generations.

• Journal of Korea Multimedia Society
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• v.25 no.8
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• pp.1224-1232
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• 2022

Whole body bone scan is the most frequently performed nuclear medicine imaging to evaluate bone metastasis in cancer patients. We evaluated the performance of a VGG16-based transfer learning classifier for bone scan images in which metastatic bone lesion was present. A total of 1,000 bone scans in 1,000 cancer patients (500 patients with bone metastasis, 500 patients without bone metastasis) were evaluated. Bone scans were labeled with abnormal/normal for bone metastasis using medical reports and image review. Subsequently, gradient-weighted class activation maps (Grad-CAMs) were generated for explainable AI. The proposed model showed AUROC 0.96 and F1-Score 0.90, indicating that it outperforms to VGG16, ResNet50, Xception, DenseNet121 and InceptionV3. Grad-CAM visualized that the proposed model focuses on hot uptakes, which are indicating active bone lesions, for classification of whole body bone scan images with bone metastases.

• Journal of the Korean Society of Radiology
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• v.15 no.6
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• pp.927-933
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• 2021

The purpose of this study was to compare and analyze the differences in scan time, signal-to-noise ratio (SNR), and contrast-to-noise ratio (CNR) in the third lumbar vertebral region including the back fat, spinal cord, and cerebrospinal fluid using the mDixon, T2 TSE, and T2 spectral pre-saturation with inversion-recovery (SPIR) techniques. With the factors affecting the SNR fixed, the lumbar sagittal plane images of 30 adults were compared on mDixon, T2 TSE, and T2 SPIR imaging tests. The test times for mDixon, T2 TSE, and T2 SPIR were 115 seconds, 60 seconds, and 60 seconds, respectively. The mDixon T2 images showed higher SNR than the T2 TSE images at the third lumbar vertebral region (p<0.05), lower SNR in the back fat and cerebrospinal fluid (p<0.05) areas, and comparable SNR in the spinal cord (p>0.05). The CNR between the third lumbar vertebral area and back fat was higher in the mDixon T2 images, and the CNR of the cerebrospinal fluid and spinal cord images was higher in the T2 TSE images (p<0.05). The mDixon T2 FS images CNR was lower for the 3rd lumbar vertebral body region and back fat than the T2 SPIR images, and higher for the spinal cord and cerebrospinal fluid images (p<0.05). The CNR between the third lumbar body and back fat areas was higher in the mDixon T2 FS images (p<0.05), and there was no difference in the CNR in the images of the cerebrospinal fluid and the spinal cord (p>0.05). It is difficult to determine whether the mDixon technique is superior to the conventional T2 TSE and T2 SPIR techniques in terms of test time, SNR, and CNR. This study was confined to patients with simple lower back pain and was limited by controlled experimental conditions. Studies using clinically applied protocols are warranted in the future.

• Journal of the Korean Home Economics Association
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• v.28 no.4
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• pp.177-189
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• 1990

The purpose of this study were to measure the body cathexis and the characteristics of middle-aged women groups segmented by their fashion orientation. Self-administered questionaire method was used. Seven demographic variables, 9 self-images, body cathexis were included as independent variables. Fashion orientation developed by Gutman and Mills was used. Data was collected from 369 Middle-aged women in Chonbuk Province. Frequencies, Percentages, means, standard deviation were caculated. ANOVA, cluster analysis, and discriminant analysis were used for data analysis. The results were as follows: 1. The body cathexis of the subjects were lower than capital city and increased according to age. 2. The self-image of the subjects were down-to-earth, modern, conventional, playing it safe, confident, stable, reserved and blending out into a crowd. The subjects with the self-image of being more sophisticated, confident, creative, stood out in a crowd, or complicated life style had higher body cathexis. 3. When the subjects were divided into segmentations according to their fashion orientation by cluster analysis, the best suitable number of groups was seven. The characteristics of seven groups were: *Fashion negatives showed low levels of fashion leadership and fashion interest, and medium level of importance of being well-dressed, and high level of antifashion attitudes. *Fashion neutrals showed medium levels of fashion leadership, fashion interest, and importnace of being-well dressed, and low level of antifashion attitudes. *Fashion uninvolveds showed low levels of fashion leadership, fashion interest, and antifashion attitudes. *Fashion followers showed high levels of fashion interest and importance of being well dressed, but low levels of fashion leadership and antifashion attitudes. *Fashion independents showed a littel bit high levels of fashion leadership, fashion interest, and importance fo being well-dressed, but low level of antifashion attitudes. *Fashion rejectors showed low levels of fashion leadership, fashion interest, and importance of being well-dressed, but high level of antifashion attitudes. 4. The seven groups segemented by their fashion orientation showed significant differences according to the educational levels, employment status, and total monthly income. Fashion leaders and fashion independents had higher educational level and monthly income, and involved more women with jobs. 5. Fashion leaders had self-image of being most sophisticated modern, diffenrent, creative, sociable, stood out in a crowd, and complicated life style. Fashion rejectors had self-image of being most down-to-earth, traditional, conventional, stable, reserved, blend into a crowd, and simplified life style. 6. The most effective variables among body cathexis, demographic variabls and self-images in discirminating fashion oreintation group differences were different-conventional, creativestable, and employment status. The discriminating power of above variables were high in very low in discriminating fashion negatives, fashion neutrals, and fashion independents, and the total discriminating power of these variables was 32.25%.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.99-111
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• 2015

The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of 'The return of Repressed', which is a psychological mechanism for generating uncanny sets to the component of 'repression' and 'return'. 'Repression' herein consisted of 'unconsciousness', 'the other', and 'anxiety', while the return was composed of 'trauma' and 'repetition compulsion'. Second, there are visual expression methods of the uncanny in contemporary art. The subject of 'repressed things' was expressed as grotesque and having a terrible look. 'Fragmented body' was analyzed as 'dismantling' by mutilation, 'combination' placing cut body parts in other places, and 'damage' suffering from an illness or accident. 'Fear of death' was shown as 'anatomy' reminiscent of death and 'iconography of death' meaning return of the dead. 'Post-human' was a surrealistic being such as a monster and mechanized human, and was analyzed as 'gene variation' and 'cyborg'. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as 'fragmented body', 'fear of death', and 'post-human'. 'Fragmented body' appeared as the object reminiscent of the fragmented body, 'dismantling and combination of the body', and 'damage of the body' through the distortion of the clothing construction principle. 'Fear of death' visualized the characteristic elements of the subject reminiscent of death as 'iconography of death' and 'symbolic object of death' through the motif. 'Post-human' was the description of the subject beyond the body's function and form, and was shown as 'gene variation' and 'cyborg'.

• Journal of Fashion Business
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• v.12 no.4
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• pp.88-98
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• 2008

In order to improve the problems with obese women's ready-to-wear by age range, this study surveyed the actual clothing purchase and wearing of women in their 20s and 30s with normal and obese body types, and compared and analyzed their satisfaction with ready-to-wear by age and body type. First, for normal body types, both women in their 20s and 30s use department stores the most. Meanwhile, obese women in their 20s make most of their purchases at internet shopping malls, while those in their 30s mostly go to department stores. For criteria for purchasing clothing, normal women both in their 20s and 30s value design most whereas, obese women put size and fit before design regardless of their age. Normal women in their 20s and 30s both were most unsatisfied with standardized design because they could not find designs they wanted. Obese women in their 20s and 30s also showed disapproval of unvaried sizes, indicating a distinct difference in body types and age. As well, the study found that both normal and obese women wear casual style the most, followed by semi-formal style. Also, regarding the images they were seeking when wearing clothing, the normal women wanted to look fashionable, while obese women wanted to look slim, regardless of age. Both body-type groups generally like preferred semi loose-fits the most, followed by tight-fit. They however, dislike relaxed loose-fitting.