• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.97-109
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• 2000

The purpose of this study is to apply 3D computer graphics in fashion design as a creative medium and it attempts to fine out what advantages 3D technique can offer to fashion design. For this purpose, this study, first, tries to develop a 3D digital model in which designer can select design, color , pattern and fabric palette whatever necessary . This study uses of the software named 'Poser of Fractal Design' and the and the 3D digital model comprises four stages ; body modeling, item design (item coordination), color design (color coordination), pattern and fabric design (pattern and fabric coordination). Secondly, this study seeks to accumulate a data base which was produced in the course of case studies, which have applied 3D digital model to design. The outcome of the case studies shows that 3D digital model can enhance designing in the following four aspects. ⅰ) It can give more freedom to designer to try various ideas, revise and modify them, It can also produce random generation. Through this process, the designer test various input and output without damage on fabric after revision and alteration. ⅱ) It can help designers to enhance their accuracy. Since fault in the design developed by the 3D digital model can be detected in advance, designers can make correlation before actual work begins. In the end, designers can express their ideas and intention accurately as well as freely. ⅲ) Since design developed by the 3D digital model can be shared on screen by various actors in the course of priduction such designers , merchandisers, and supervisors, it can help communication between and cut the time of feedback.ⅳ) By using the 3D digital model, designers can work from the begining with awareness of actual outcome their design, since the 3D digital model provide animation, which helps designers to envisage visual changes as they apply various items, colors, pattern and fabrics.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.1
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• pp.200-216
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• 2021

This article considers short-form fashion videos as distinguished from fashion films, defines the concept, details the expressive characteristics of short-form fashion video, and reveals the method of producing it. For the methodology, a literature review was conducted to derive the concept and expression techniques. A case study was also performed to define the expressive characteristics. Five short-form fashion videos were also produced based on the results. The final results are as follows. First, short-form fashion video was defined as a fashion medium on the purpose of fashion communication within 60 seconds and classified by three digital image formats. Second, the result of analyzing the expression of the short-form fashion video shows the simplicity and reconstitution, characterization and remediation, borderless and expansion, and synesthesia trigger of the fashion image. Third, five short-form fashion videos were produced based on the theme of the digital garden. It shows that the short-form fashion video intensively expresses the content as a medium whose sensational expression is more prominent than the composition of the story by the short running time that reflects the taste of digital mainstream.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.461-468
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• 2008

The needs for visualizing interactive multimedia contents on portable devices with realistic three dimensional shapes are increasing as new ubiquitous services are coming into reality. Especially in digital fashion applications with virtual reality technologies for clothes of various forms on different avatars, it is required to provide very high quality visual models over mobile networks. Due to limited network bandwidths and memory spaces of portable devices, it is very difficult to transmit visual data effectively and render realistic appearance of three dimensional images. In this thesis, we propose a compression method to reduce three dimensional data for digital fashion applications. The three dimensional model includes animation of avatar which require very large amounts of data over time. Our proposed method utilizes temporal and spatial coherence of animation data, to reduce the amount. By grouping vertices from three dimensional models, the entire animation is represented by a movement path of a few representative vertices. The existing three dimensional model compression approaches can get benefits from the proposed method by reducing the compression sources through grouping. We expect that the proposed method to be applied not only to three dimensional garment animations but also to generic deformable objects.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.47-57
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• 2008

Funology is a compound word with fun and technology which means the products or activity carrying fun and technology at the same time. This is one of the key words that can explain the culture of post-digital generation amongst the post-digital age. The purpose of this study was to provide the creative ideas to develop the fashion designs showing funology concept for the 21st century. As a background of funology trend, general ideas about the post-digital age and the post-digital generation were reviewed. First, funology designs among the industrial products and the funology concepts in the advertisement were examined. And the ways of expression and the meanings of funology fashion designs were extracted by analyzing funology fashion between 2000 S/S and 2008 F/W. The external expression ways of funology fashion in the post-digital age were as follows: parody of popular images, inharmony by the exaggeration or transformation, trompe l'oeil, mixture of the styles shown in the children's wear and the objects of children, patterns with childlike or animation characters, and the graffiti art. The internal meanings contained in the funology fashion were 1) fantasm showing surrealistic funology that was based on the people's pursue of fantasy free from the everyday's severe routine 2) memorism showing nostalgic funology that was based on the pursue of vanishing fear of reality and going back to the childhood. To sum up, fashions showing funology were expressed in various ways in the post-digital age. This will provide the great inspirations for creating the new coming fashions and efficient healing contents for the cold-hearted emotions of nowaday's people.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.2
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• pp.315-329
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• 2016

The $21^{st}$ century is the age when the revolution of digital technology enables two-way communication and when emotional values are emphasized. Thus, it exerts influence on the fashion industry and fashion communication. Along with fashion shows, advertising and displays, many fashion brands have increased the use of fashion films. For that reason, this study examines the characteristics of fashion films made by fashion brands, based on the frame work of persuasion communication. For the research, literature reviews and internet website research were done and films of Chanel, Prada, Kenzo and Alexander Wang were analyzed. The definition and types of fashion films were redefined as terminology varied throughout previous studies prior to analyzing each case. As a result, a fashion film would be redefined as 'a digital image which a fashion brand publishes to consumers for the promotion of brand comprehension'. Also, five fashion film types, 'short film', 'campaign film', 'animation film', 'brand film' and 'show film' were redefined. The analysis provided three communication characteristics: reliability, engagement and intuition. First, reliability is attained when a fashion brand (sender) delivers brand message to consumers (receiver) consistently and unitedly. Second, engagement is attained when the type of fashion film (channel) delivers creative image features such as format, music, video technique to attract consumers' interest. Lastly, intuition is attained when a fashion brand (sender) delivers a message akin to brand identity and deepens consumers' understanding. In addition, this study tried to identify the unique usage tendency of brands that could serve as practice guidelines for other fashion brands.

• Journal of the Korean Home Economics Association
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• v.47 no.2
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• pp.111-123
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• 2009

This study is to explore the usability of a pattern making software 'Looks tailor X' developed recently by the Digital Fashion in line with the cloth simulation software 'DressingSim'. When the software engineers develop software for clothes and clothing simulations, most often they lose touch of real-world craftsmanship of pattern making. As such, the software evaluation of the functionality and the usability is a crucial step in the field of virtual clothing. We carried out a detailed evaluation of the software via the process of making some basic types of pattern including tight skirts, pants, jackets, and one-piece dress. In this paper, we documented a step-by-step scenarios of making clothes using the Looks tailor X, and listed both the advantages and limitations of the software from the perspective of an enduser, i.e., a professional fashion designer. We also briefed suggestions on the refinement of the future software in the field.

• Journal of Fashion Business
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• v.22 no.3
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• pp.57-66
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• 2018

The purpose of this study is to gather basic data in the special effects make-up field and to provide a source of inspiration for creative make-up design by examining how special effects make-up is developed according to representative films. Two approaches are used in this study: a literature review and an empirical case analysis. In Korea, color TV was introduced in the 1980s, with the demand for a realistic image. Since the 2000s, 3D printing technology has been introduced to special effects make-up. Special effects make-up was first introduced in Hollywood films in the 1890s, and by the 1900s, artificial teeth and eyebrows were added and presented using general make-up techniques. Since then, 3D and 4D technologies and animation performance capture methods have been introduced and distributed due to the rapid development of computer technology.

• Fashion & Textile Research Journal
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• v.7 no.5
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• pp.535-541
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• 2005

The health of feet is connected with individual's health and affects a man's activity. Shoes need to be designed to protect feet and to absorb the impact of land. In order to choose suitable shoes for feet, the foot size and shape must be considered, so it is essential to grasp the exact size and shape of the foot. This study aims to present fundamental data on shoes' easy order prototype development for choosing shoes of good wearing comfort, by classifying feet size and shape junior high school boys in the early adolescent period. The subject were 234 Korean junior high school boys age from 14 to 16 years old. The subjects were directly measured anthropometrically and indirectly analyzed photographically. 6 factors were extracted through factor analysis and those factors comprised 79.42% of total variance. The factors characterizing foot girth and width, foot length, foot height, foot shape around the fifth toes, angle of foot breadth and foot shape around the first toes. 3 clusters as their foot shape were categorized using 6 factor scores by cluster analysis. Type 1 was characterized by long large foot with deformed first toe. Type 2 had smaller in foot girth, width and length than other types and with deformed fifth toe. Type 3 had average size and high foot shape. Shoes prototype which is to be developed later on will be able to generate 2D flattening in the foot sole form. Therefore, it would be a great support in producing and choosing appropriate shoes if forms are classified by subdividing foot form classification and extract a factor which shows only the foot sole shape.

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.