• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.73-87
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• 2004

In the designing stage, the HANBOK CHIMA is created using a flat pattern with linear shapes. However, when worn, the skirt creates a fluid and organic silhouette. According to the wearing method(wrapping), HANBOK CHIMA can create various shapes and movements. In comparison to the general skirt, It is more effective in revealing the wearer's sense of beauty. The method of wrapping the skirt from the rear is a suitable way of wearing the garment in accord with the Korean ON-DOL(온돌) culture and it creates mystique eroticism. We can devide the silhouettes according to six different period of time. The silhouette of HANBOK CHIMA is affected by the following elements: length, width, pleats, textures and the usage of underwear. [1. Koguryo (5C∼6C) - The first Tent silhouette. 2. The South Dynasty Silla (7C∼8C) - The second Tent silhouette. 3. Kyoryo dynasty (l4C) - Cylinder silhouette. 4. The first Chosun dynasty (late 14C∼17C) - Bell silhouette and Cylinder silhouette. 5. The second Chosun dynasty (mid 18C∼mid 19C) - Bell silhouette and Barrel silhouette. 6. The third Chosun dynasty (late 19C∼the beginning of 20C) - Tent, Cylinder and Bell silhouette.]

• Journal of Korea Multimedia Society
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• v.11 no.12
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• pp.1658-1667
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• 2008

Reconstruction of 3D objects from a single view image is generally an ill-posed problem because of the projection distortion. A monocular vision based 3D object localization method is proposed in this paper, which approximates an object on the ground to a simple bounding solid and works automatically without any prior information about the object. A spherical or cylindrical object determined based on a circularity measure is approximated to a bounding cylinder, while the other general free-shaped objects to a bounding box or a bounding cylinder appropriately. For a general object, its silhouette on the ground is first computed by back-projecting its projected image in image plane onto the ground plane and then a base rectangle on the ground is determined by using the intuition that touched parts of the object on the ground should appear at lower part of the silhouette. The base rectangle is adjusted and extended until a derived bounding box from it can enclose the general object sufficiently. Height of the bounding box is also determined enough to enclose the general object. When the general object looks like a round-shaped object, a bounding cylinder that encloses the bounding box minimally is selected instead of the bounding box. A bounding solid can be utilized to localize a 3D object on the ground and to roughly estimate its volume. Usefulness of our approach is presented with experimental results on real image objects and limitations of our approach are discussed.

• Journal of the Korean Society of Costume
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• v.17
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• pp.209-219
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• 1991

The purpose of this study was to identify the constructive principle and techniques of Vionnet's works. According to analysis of Vionnets works, it was found that Vionnet conceived of the human body as a continuous shaping of a cylinder. Vionnet's drapery denied the planner presumption of woman and gave real three-dimension to form and to fashion. The techniques of Vionnet's works were as fallow : (1) She introduced the diogonal "bias cut" and changed dress design by her sensuous use of fabrics. (2) She eliminated interfacing to keep the silhouette and the fabric soft. (3) She manipulated the fabric to remove the excess for fit and decoration at the same time. (4) She treated the fabric with a synthesis of geometry and grace. (5) The sale luxury allowed was to note the choice of seams, facings, hems, and stitches. (6) Vionnet's dresses were not lined.