• Journal of Digital Convergence
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• v.15 no.12
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• pp.563-571
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• 2017

The purpose of this paper is to establish an emotional expression factors of digital eye contents that can be applied to digital environments. The emotion which can be applied to the smart doll is derived and we suggest guidelines for expressive factors of each emotion. For this paper, first, we research the concepts and characteristics of emotional expression are shown in eyes by the publications, animation and actual video. Second, we identified six emotions -Happy, Angry, Sad, Relaxed, Sexy, Pure- and extracted the emotional expression factors. Third, we analyzed the extracted factors to establish guideline for emotional expression of digital eyes. As a result, this study found that the factors to distinguish and represent each emotion are classified four categories as eye shape, gaze, iris size and effect. These can be used as a way to enhance emotional communication effects such as digital contents including animations, robots and smart toys.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.1-15
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• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.

• Korean journal of communication and information
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• v.71
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• pp.157-193
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• 2015

The purpose of this study is to critically interpret generational trends in contemporary Korea through understanding the consumer experiences of luxury bag purchases of women in their late 20s and early 30s. Previous studies on luxury consumption tend to focus on an analysis of the value of luxury products as a sign and a symbol, the characteristics or class identity of luxury consumers, or expressive behavior in terms of ideal self-image. While including these factors, this study also expands the scope to a reflexive understanding of the social structural context behind the phenomenon of personal consumption. This was achieved by considering consumption in terms of the style and practice of everyday life, as well as its opportunities and limitations. In particular, we pay attention to how luxury bags are reproduced as media, which is a process that is circulated back to consumption, and through this process, this study reflects on capitalist life and subjects.

• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.260-269
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• 2013

Gender role identity is a key subject toward adaptation in later life. In this paper, we tried to understand the specific types and characteristics of gender role identity in view of older men. The research collected and examined 40 representative descriptions representing gender role identity, including 20 for masculinity and 20 for femininity from 40 older men. We obtained four types of gender role identity of older men from this research. "Powerful-expressive type" is energetic and reveals his brave and dominant tendency when they are working. "Powerful-taciturn type" is strongly independent and has a firm conviction, but they do not express those characters and remain silent. "Powerful-paternal type" handles his work with a driving force, and has a tender character. "Paternal-caring type" finds his own worth in life by caring for his family and children, and considers others more than himself. Future research is needed to verify how the types of gender role identity are linked to psychosocial adaptive aspects, health behaviors, mental and physical health.

• Journal of Fashion Business
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• v.18 no.3
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• pp.73-90
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• 2014

Paper, once known and used only as a medium for printing or handicrafts, is now being used in new fields including artistic clothing, and an environment-friendly material for fashion, while the functionality of its formative characteristics and esthetics have been newly highlighted. On this basis, this study performed a content analysis of paper couture and categorization of types of paper modeling techniques based on 904 paper couture submitted to paper fashion shows, exhibitions and contest exhibits from 2001 to 2013. Analysis results showed that paper textile types were most common at 86.64%, while techniques using laminating, bonding, overlapping or paper as-is represented 62.17%. Expressive techniques in which paper was cut or torn and attached to paper clothing was 11.62%, paper folding was 5.75%, drawing and coloring 4.65%, and finally, paper cutting was 2.65%. Meanwhile, among paper modeling techniques using paper yarn textiles, a paper weaving technique was 6.75%. Moreover, other techniques in which paper modeling techniques or subsidiary clothing was blended were 3.65%, and Dak peeling textiles were 1.33%. Paper paste moulding textiles types represented 1.44%, above all papier $m{\hat{a}}ch{\acute{e}}$ techniques of 0.55% and creasing and holding techniques were 0.88%. Paper is sufficient to express the artists' creativity as well as having qualities as an artistic medium, such as variability through combined use with other materials, variation in form, suitability for reuse of waste paper, and environmental friendliness. Also, various paper modeling techniques can be blended with textiles for a generalized technology that overcomes the limits of paper and textiles.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• The Mathematical Education
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• v.58 no.2
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• pp.225-237
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• 2019

The picture of the mathematics curriculum should carry the complex role of relieving the difficulties of mathematics while conveying the core of the mathematics contents well. This study examined the precedence of picture and text harmony and the importance of emotional expression. The discussion of children's picture books became an important reference in this process. The understanding of the child's psychology and cognitive characteristics in the long history of picture books and the insight into the relationship between text and pictures will be important guidelines for elementary school textbooks. Based on these previous studies, this study found some impressive examples of Chinese, Japanese, Indian, and American textbooks on the two complementary relationships between paintings and texts and emotional expressions of paintings. If necessary, we compared these textbooks with Korean textbooks. Through this analysis, this study draws some implications for Korean textbook drawing and textbook production process. That is, the process of reading the picture and interpreting its meaning should be treated as part of the study of mathematics. The mathematical concepts to be dealt with or the sentence description of the problem should be concurrent with the design of the picture. The monotonous expressions and dialogues of characters in textbooks should be avoided, and the personality and emotions of characters should be more abundant and freely expressive.

• Phonetics and Speech Sciences
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• v.13 no.4
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• pp.55-66
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• 2021

Proper prosody in reading allows the reader to naturally convey the meaning, which manifests as changes in pitch, loudness, and speech rate. Children with reading disability face difficulty in delivering information due to poor prosody. This study identified the difference in prosodic features between children with reading disabilities and nondisabled children through means of reading tasks. Reading tasks, according to sentence types (short sentences, assumptions/conditions, intentions, relative-clause), were recorded by 15 children studying in the 3rd to 6th grade in elementary school. Children with reading disability had a statistically significant wider range of pitch, slower speech rate, more frequent usage of pauses, longer total pause duration, and steeper pitch slope than nondisabled one in sentence-final and -medial words. Children with reading disability, therefore, exhibited a less natural and expressive reading than nondisabled children. Through this study, the characteristics of prosody observed in children with reading disability were identified and the need for an approach for effective intervention was also suggested.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.33 no.2
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• pp.35-40
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• 2022

Objectives: Restricted and repetitive behaviors (RRBs) are a core symptom in the diagnosis of autism spectrum disorder (ASD). The complexity of behavioral patterns has called for the creation of phenotypically homogeneous subgroups among individuals with ASD. The purpose of this study was 1) to investigate the different types of RRBs and 2) to explore whether subgroups created by RRBs would show unique levels of functioning in toddlers and young children with ASD. Methods: A total of 313 children with ASD, aged 12-42 months were included in the analysis. The Autism Diagnostic Interview-Revised was used to obtain information on the different types of RRBs by grouping 15 items into six categories. The Vineland Adaptive Behaviors Scale, a parent-reported questionnaire, was used to measure adaptive functioning. A portion of the children were analyzed separately for verbal-related RRBs based on their expressive language level. Two-step cluster analysis using RRB groups as features was used to create subgroups. Analysis of covariance while covarying for age and language was performed to explore the clinical characteristics of each cluster group. Results: Sensory-related RRBs were the most prevalent, followed by circumscribed interests, interest in objects, resistance to change, and repetitive body movements. A subset of the children was analyzed separately to explore verbal-related RRBs. Four cluster groups were created based on reported RRBs, with multiple RRBs demonstrating significant delays in adaptive functioning. Conclusion: Heterogeneity of RRBs emerges at a young age. The different patterns of RRBs can be used as valuable information to determine developmental trajectories with better implications for treatment approaches.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.164-171
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• 2022

The aesthetics of Japanese animation have developed in earnest since Tezuka Osamu produced TV animation . This is because provided the aesthetic foundation of '3-comma animation' and 'limited animation techniques based on 8 frames per second. In fact, Miyazaki Hayao and Takahata Isao of Ghibli studio have expanded the influence of the Japanese animation industry to the world through the production of feature animation based on 3-comma animation. Inoue Toshiyuki, who participated as an animator in many works representing the Japanese animation industry, also said that the essential feature of Japanese animation aesthetics is 3 comma animation that shows the impressive movement of the character concisely. As such, 3-comma animation technique is the main aesthetic background that has led to the industrial development of Japanese animation.