• Journal of Fashion Business
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• v.27 no.4
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• pp.125-140
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• 2023

This study aimed to develop a smart wearable device for assessing the risk angle associated with turtle neck syndrome in patients with Video Display Terminal (VDT) syndrome. Turtle neck syndrome, characterized by forward head posture resulting from upper cross syndrome, leads to thoracic kyphosis. In this research, a stretch sensor was used to monitor the progression of turtle neck syndrome, and the sensor data was analyzed using a Universal Testing Machine (UTM) and the Gauge Factor (GF) calculation method. The scapula and cervical spine angles were measured at five stages, with 15-degree increments from 0° to 60°. During the experimental process, the stretch sensor was attached to the thoracic spine in three different lengths: 30mm, 50mm, and 100mm. Among these, the attachment method yielding the most reliable data was determined by measuring with three techniques (General Trim Adhesive, PU film, and Heat Transfer Machine), and clothing using the heat transfer machine was selected. The experimental results confirmed that the most significant change in thoracic kyphosis occurred at approximately 30° of forward head posture. Prolonged deformity can lead to various issues, highlighting the need for textile sensor solutions. The developed wearable device aims to provide users with real-time feedback on their turtle neck posture and incorporate features that can help prevent or improve the condition.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.52-61
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• 2013

This study set out to compare and analyze the spaces in the images and sets of the representative movies that led the new heyday of Korean film since 1997 and examine the characteristics of contemporary Korean modernism in the movies, thus building an academic foundation for future exchanges between contemporary Korean architecture and contemporary Korean cinema. As for methodologies, the study first examined the film theories on how to utilize spaces projected onto moving images. Secondly, the study made an overall comparison of the characteristics of spaces in the representative movies of contemporary Korean cinema since 1997. Finally, the study compared and analyzed them with the intrinsic characteristics of modernism architecture space. The research findings were as follows: first, the representative movies of contemporary Korean cinema since 1997 either had a backdrop of everyday modernism space in the 1970s and 1980s or created a new space of late or post modernism in them that escaped from daily life for the mise-en-$Sc\grave{e}ne$ composition. Secondly, the contemporary Korean cinemas used the unornamented modernism architecture in Korea as the props of revealing the personalities and emotional aspects of the characters in a prominent fashion. Thirdly, they also used communication between internal and external space and spatial severance via the facade window in modernism architecture as important devices for narration organization. Finally, they selected the camera positions by applying the principle of open space, which allows for the expansion, reduction, and distinction of space according to functions, and thus established a methodology to create a space fit for the personalities of characters and stories.

• Journal of Digital Contents Society
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• v.18 no.7
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• pp.1303-1312
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• 2017

Ideologies are expressed by the various elements that make up the film. One of them is costume. The purpose of this study is to analyze the formative features and images of uniforms displayed on the costumes in Wess. Anderson 's films. To this end, the authors selected two pieces of Wes Anderson's work, 'Moonrise Kingdom' (2012) and 'Grand Budapest Hotel' (2014), which were produced after 2010. Through this study, we could understand the causality between the two and the symbolic meaning of it. The uniforms that appear in the film express the sense of belonging, independence, authority, mission, identity, self-esteem, and self-esteem in order to reveal the occupation and role of the characters. And authority and mission. I

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• Proceedings of the Korean Institute of Surface Engineering Conference
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• 2001.11a
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• pp.67-67
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• 2001

The structure zone model has been used to provide an overview of the relationship between the microstructure of the films deposited by PVD and the most prominent deposition condition.s. B.AMovchan and AV.Demchishin have proposed it firstls such model. They concluded that the general features of the resulting structures could be correlated into three zones depending on $T/T_m$. Here T m is the melting point of the coating material and T is the substrate temperature in kelvines. Zone 1 ($T/Tm_) is dominated by tapered macrograins with domed tops, zone 2 ($O.3) by columnar grains with denser boundaries and zone 3 ($T/T_m>O.5$) by equiaxed grains formed by recrystallization. J.AThomton has extended this model to include the effect of the sputtering gas pressure and found a fourth zone termed zone T(transition zone) consisting of a dense array of poorly defined fibrous grains. R.Messier found that the zone I-T boundary (fourth zone of Thorton) varies in a fashion similar to the film bias potential as a function of gas pressure. However, there has not nearly enough model for explaining the change in morphology with crystal orientation of the films. The structure zone model only provide an information about the morphology of the deposited film. In general, the nucleation and growth mechanism for granular and fine structure of the deposited films are very complex in an PVD technique because the morphology and orientation depend not only on the substrate temperature but also on the energy of deposition of the atoms or ions, the kinetic mechanism between metal atoms and argon or nitrogen gas, and even on the presence of impurities. In order to clarify these relationship, AI and Mg thin films were prepared on SPCC steel substrates by PVD techniques. The influence of gas pressures and bias voltages on their crystal orientation and morphology of the prepared films were investigated by SEM and XRD, respectively. And the effect of crystal orientation and morphology of the prepared films on corrosion resistance was estimated by measuring polarization curves in 3% NaCI solution.

• 한국신재생에너지학회:학술대회논문집
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• 2006.06a
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• pp.110-112
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• 2006

Membrane electrode assembly (MEA) for polymer electrolyte fuel cell (PEFC) are commonly prepared in the research laboratory by spraying, screen-printing and brushing catalyst slurry onto membrane or other support material like carbon paper or polyimide film in a batch style. These hand applications of the catalyst slurry are painstaking process with respect to precision of catalyst loading and reproducibility. It has been generally mentioned that the adoption of continuous process is very helpful to develop the reliable product. In the present work, we report the results of using continuous type coater with doctor-blade to coat catalyst slurry for preparing the MEA catalyst layers In a faster and highly reproducible fashion. We show that while expectedly faster than batch style, the machine coater requires the use of slurry of appropriate composition and a properly selected transfer decal material in order to achieve superior MEA plat lnw loading reproducibility. To make highly viscous catalyst slurry that is imperative for using coater, we use 40wt.% Nafion solution and minimize the content of organic solvent. And the choice of proper high surface area catalyst is important in the viewpoint of making well-dispersed slurry. After catalyst coating onto the support material, we transferred the catalyst layer to both sides of Nafion membrane by hot-pressing In this case, the degree of transfer was Influenced by hot-pressing condition including temperature, pressure, and time. To compare the transferring ability, we compared so many films and detaching papers. And among the support, polyethylene terephthalate(PET) film shows the prominent result.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.1-20
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• 2008

The purpose of this study is to analyze the formative characteristic of modern Tap dance costume according to its origin and kinds. For this purpose, the study explored the review of literature focusing on the historical back ground of Tap dance and investigated into the kinds of modern tap dance and the formative feature of the tap dance costume. Costumes of leading tap dancers in representative performances and movies are analyzed. The results are summarized as follows: The kinds of current tap dance could be categorized as three types of Jazz Tap Dance, Rhythm & Funk Tap Dance, Irish tap Dance as their development origin. The Tap dance widely distributed through the U.S. Hollywood movie, The Jazz Tap Dance costume was composed of magnificent and luxurious design applying the high fashion of the 1930s and 1950s in the male and female costumes. The U.S. Blacks' tap dance, Rhythm & Funk Tap costume had a close relation with resistant blacks' culture, and showing the type of free dressing not bound by previous tap dance dress. The Irish Tap Dance originated from Irish folk dance displayed the tap dance embroidered costume using the Irish traditional pattern. This study systemized the characteristic of the tap dance costume by kind, and explored the dress revealed at the tap dance as a symbolic system to the cultural zone where the dance is made.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.963-978
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• 2008

This study examined the images and formative features of female characters portrayed in fantasy films. This study aimed at providing an applicable theory to modern fashion by reconsidering the images of women appearing in fantasy films and arranging fantastical features reflected in costumes of female characters. The followings were the results of the study: The first divine nature that human beings discovered was woman nature. The discovered stone worked of the prehistoric age had a meaning of the great mother of universe and expressed a positive image. Such positive images of the goddess were variously differentiated to negative images or reduced in their roles and meanings in the settlement process of patriarchy as well as sociocultural transition. The foremost examples of negative image were expressed as grotesque, destructive, otherness, sensual, and exotic. The positive image of a goddess in fantasy films was not especially emphasized. On the other hand, the negative images of the goddess and the case of costumes were variously expressed as well as emphasized the typicality of the negative image of the characters. It was reconsidered that the typical features of characters in fantasy films were a result of the image of women following sociocultural transition. In addition, it was confirmed that such result was being reflected in film costume.

• Textile Coloration and Finishing
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• v.20 no.2
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• pp.29-37
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• 2008

Polar amino groups of the waste SS(silk-sericin) were modified by two isocyanate compounds of MOI[2-(methacryloyloxy)ethyl isocyanate] and AOI [2-(acryloyloxy)ethyl isocyanate]. When the MOISS (MOI-modified silk sericin) or AOISS(AOI-modified silk sericin) was pressed hot, vinyl groups in the MOI or AOI were polymerized and then the flexible and transparent films were obtained. Tensile moduli and strengths of the MOISS films were significantly improved as the MOI contents increased. By the addition of the isocyanate compounds, silk sericin films exhibited lower solubility to the distilled water($80^{\circ}C$) and also lower swell ratio to the distilled water(room temperature). In the effect of tensile properties and restraining the water swelling, MOI was better than AOI. BOD(biochemical oxygen demand)/TOD(theoretical oxygen demand) of the pure sericin film was almost 100% perfect level after 10 days immersion into the activated sludge. With increasing isocyanate content reacted with polar amino groups, BOD/TOD decreased. When more than 50 mol% of polar amino groups remained unreacted, sericin films could retain more biodegradability. Comparing with MOI from the viewpoint of biodegradability, AOI was more effective.

• Journal of the Korean Society of Costume
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• v.61 no.5
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• pp.48-63
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• 2011

Digital makeup(DM), depending upon computer graphic softwares, is applied to various fields, e.g. character works in movie and game industries and visual printouts in printing works. Focused on makeup field, DM is extremely conducive to developing, scientizing and informationalizing makeup patterns. Despite of unlimited potential of DM of which market size has been growing day by day, its practical use by domestic makeup experts and educators is much less active than expected as far, due to the lack of knowledge accumulation. The purpose of this study is to suggest some theoretical frameworks to generalize DM techniques and analyze two cases using the frames therefore support academicians' recent efforts to theorize DM techniques. The study 1) defines and categorizes the concepts of DM and DFX(digital special effect); 2) reviews the literature relevant to DM and generalizes the types and methods of DM techniques; 3) applies general frames to analyzing two movie cases, famous for their DM effects; 4) then suggests, based upon analytical results, some efficient ways for makeup experts to use DM techniques in practice. This study contributes to providing the theoretical grounds to conceptualize DM thus broadening makeup artists' interests in DM and awakening the scholarly concerns in cultural technology including DM.