• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.129-142
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• 2006

The historicism and romanticism of John Galliano's designs are rivaled only by the spectacular and theatrical nature of his fashion shows; romantic silhouette, the complexity of the cut and, of course, the painstaking attention to historical detail. Galliano's approach is very much that of a British designer in that he absorbs wildly diverging historical and cultural elements to invent new hybridizations of the contemporary. Galliano started his career as part of the wildly uninhibited avant-garde London design scene. His designs were twisted and artfully torn, weired and also beautiful. The purpose of this study is to investigate the Comic Expression depicted on John Galliano's works by borrowing the Comic. The Comic or the Comedy is a kind of art form that signifies exciting effects, and so, is a means of raising a laugh. The similar concepts of the Comic already were depicted by means of transformation and distortion of form, satire, fantastic pastiche and reversion of substances on Cubism, Dada, Surrealism, Pop Art and Postmodernism. Therefore, John Galliano selected the quixotic expressional methods to seek for having playful fun. The aesthetics of the Comic is the beauty based on quantitative or qualitative contradiction between expectations and realizations. That is, the Comic is characterized by getting rid of stress through laugh with clarifying a subject of contradiction. This study found that John Galliano's designs are expressed the quixotic comic on Historical image, Exotic image and Primitive image to make a complaint against the social evils.

• Journal of Biomedical Engineering Research
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• v.20 no.4
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• pp.419-425
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• 1999

In this paper, we present an algorithm of real time facial expression and gesture recognition for image sequence on the gray level. A mixture algorithm of a template matching and knowledge based geometrical consideration of a face were adapted to locate the face area in input image. And optical flow method applied on the area to recognize facial expressions. Also, we suggest hand area detection algorithm form a background image by analyzing entropy in an image. With modified hand area detection algorithm, it was possible to recognize hand gestures from it. As a results, the experiments showed that the suggested algorithm was good at recognizing one's facial expression and hand gesture by detecting a dominant motion area on images without getting any limits from the background image.

• Journal of Electrical Engineering and Technology
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• v.12 no.4
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• pp.1657-1662
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• 2017

Facial expression recognition systems using video devices have emerged as an important component of natural human-machine interfaces which contribute to various practical applications such as security systems, behavioral science and clinical practices. In this work, we present a new method to analyze, represent and recognize human facial expressions using a sequence of facial images. Under our proposed facial expression recognition framework, the overall procedure includes: accurate face detection to remove background and noise effects from the raw image sequences and align each image using vertex mask generation. Furthermore, these features are reduced by principal component analysis. Finally, these augmented features are trained and tested using Hidden Markov Model (HMM). The experimental evaluation demonstrated the proposed approach over two public datasets such as Cohn-Kanade and AT&T datasets of facial expression videos that achieved expression recognition results as 96.75% and 96.92%. Besides, the recognition results show the superiority of the proposed approach over the state of the art methods.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.55-65
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• 2010

The present study purposed to compare formative expression between the fashion of the end of 19th century - early 20th century and that of the 21st century which were influenced by art nouveau and art deco. For this purpose, we analyzed contents in literature, Internet, etc.,. According to the results of this study, the formative expression of art nouveau were divided into continuous movement, optical illusion and decorative expression. Continuous movement was used to express fancy and soft images in the end of 19th century, and to express images giving the feeling of speed and tension in the 21st century. Optical illusion was expressed by the movement the thin and soft materials with the body movement and the movement of excessive frills adornment. And in movement produced using thin and soft materials and by the bias cutting method in the 21st century. Decorative expression was expressed as fantasy and decadent image in the end of 19th century and as mild passionate and modern image with color combination in the 21st century. The formative expression of art deco were divided into visual simplicity, contrastive loudness, and functional expression. Visual simplicity was expressed as a boyish image in the early of 20th century, but as a complex expression combining simplicity and femininity in the 21st century. Contrastive loudness was expressed by using colors both in the early of 20th century and 21st century. Functional expression was reinforced through the lightening of design and materials in the early of 20th century, but through using bias cutting high tech materials in the 21st century.

• Asia Marketing Journal
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• v.13 no.4
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• pp.29-54
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• 2012

Recently, as film has been admitted as the artistic merit and higher value-added business, the past studies on film have been lively carried on various fields. Especially, the film business is thought to be value-added business and has explored the causes of influencing spectators. However, there are no researches enough to explain what induces the choice and diffusion of the film. The film is not only hedonic products but also typical example of experiential products. So how to process film formation plays important roles in explaining the procedures of forming preference on the film and the movies spread more widely. But the great part of study of films has been concentrated on exploring hedonic factors of influencing spectator's choice. Until now there is not enough study for the relationship between experiential information processing and film preference. To explain film's preference, our study focuses on preference fluency and processing fluency that can provide an insight for our question about the relationship. In this article, to explain the procedures of processing experiential information and forming preference on the film, our study focuses on finding the relationship between film's processing fluency and film's preference fluency and explores the factors that affect film's processing fluency. To achieve the goal of this study, we distinguish factors of film's conceptual fluency from factors of film's perceptual fluency and explore the paths from the factors to film's preference fluency. The factors which have effects on perceptual fluency are hypothesized to be distinction of image expression, distinction of sound expression, correspondence between actors' image and their role. The factors which have effect on conceptual fluency are supposed to be well-organized story, suitability of lines expression. The experiments in which students were sampled at 'C' university were conducted in 2010 (december). Data collection was proceeded through questionnaires. We test the hypothesized model by using structural equation modeling(Amos 17.0). The fit indices for the model are as follows : x²=416.266(df=213, p=0.00), GFI=0.855, AGFI=0.812, RMSEA =0.069, IFI=O.925, CFI=0.920, TLI=0.905. According to the guidelines, there is evidence that our measurement model fits data. The results of empirical study are as follows. The path from film's perceptual fluency to film's preference fluency is supported(estimate: 0.223, C.R: 2.641). The path from film's conceptual fluency to film's preference fluency is supported(estimate: 0.397, C.R: 4.863). The path from distinction of image expression to film's perceptual fluency is not supported(estimate: 0.113, C.R: 1.665). The path from distinction of sound expression to film's perceptual fluency is supported (estimate: 0.190, C.R: 2.042). The path from correspondence between actors' image and their role to film's perceptual fluency is supported(estimate: 0.686, C.R: 5.566). The path from well-organized story to film's conceptual fluency is supported(estimate: 0.396, C.R: 4.023). The path from suitability of lines expression to film's conceptual fluency is supported(estimate: 0.536, C.R: 5.441). Concludingly, our study explored the influencing factors of film's processing fluency inducing film's Preference fluency. First, film's perceptual fluency and film's conceptual fluency have positive effects on film's preference fluency. Second, distinction of image expression is not significant on film's perceptual fluency, but distinction of sound expression and image's correspondence of actors' image and their role have positive effects on film's perceptual fluency. Lastly, well-organized story and suitability of lines expression have positive effects on film's conceptual fluency.

• Journal of Korea Multimedia Society
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• v.20 no.8
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• pp.1175-1186
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• 2017

Human emotion recognition is one of the promising applications in the era of artificial super intelligence. Thus far, facial expression traits are considered to be the most widely used information cues for realizing automated emotion recognition. This paper proposes a novel facial expression recognition (FER) method that works well for recognizing emotion from image sequences. To this end, we develop the so-called weighted soft voting classification (WSVC) algorithm. In the proposed WSVC, a number of classifiers are first constructed using different and multiple feature representations. In next, multiple classifiers are used for generating the recognition result (namely, soft voting) of each face image within a face sequence, yielding multiple soft voting outputs. Finally, these soft voting outputs are combined through using a weighted combination to decide the emotion class (e.g., anger) of a given face sequence. The weights for combination are effectively determined by measuring the quality of each face image, namely "peak expression intensity" and "frontal-pose degree". To test the proposed WSVC, CK+ FER database was used to perform extensive and comparative experimentations. The feasibility of our WSVC algorithm has been successfully demonstrated by comparing recently developed FER algorithms.

• Proceedings of the IEEK Conference
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• 2002.07c
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• pp.1760-1763
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• 2002

In this paper the authors present their attempt io realize a motion pattern detector that finds specified sequence of image from input motion image. The detector is intended to be used for time-varying facial expression understanding. Needless to say, facial expression understanding by machine is crucial and enriches quality of human machine interaction. Among various facial expressions, like blinking, there must be such expressions that can not be recognized if input expression image is static. Still image of blinking can not be distinguished from sleeping. In this paper, the authors discuss implementation of their motion pattern detector and describe experiments using the detector. Experimental results confirm the feasibility of the idea behind the implemented detector.

• Journal of Digital Convergence
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• v.13 no.8
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• pp.457-463
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• 2015

The image distortion field has been studied and applied variously in the fields of engineering and art. This research is to express artistic sense by using the engineering technology on image distortion. In order to do this, the paper first examines the aesthetic interpretations on artistic expressions of image distortion. Then, it explains that image distortion using magnetic force can be an artistic expression method and includes user immersion elements. In addition, it demonstrates that image distortion can be used as an artistic emotional expression based on interaction. This research will contribute to the production and development of creative emotional contents through the convergence of scientific technology and art.

• Journal of the Korean Applied Science and Technology
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• v.40 no.1
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• pp.146-159
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• 2023

As a makeup technique for a baby-faced image, there will be a difference in perception of the expression technique of baby-faced makeup according to general matters.' Two hypotheses were supported: 'There will be a difference in perception of the expression technique of baby face makeup depending on the general characteristics', and the makeup technique for creating a baby face image is an important function for both men and women, as well as appearance. As a 'physical resource' for social activities, it was confirmed that there is an improvement in the efficiency of the body and mind and an outstanding improvement in mental ability in daily life. Through the results of the study on 'expression of baby face image makeup', awareness and interest in baby face images are high, but research on the production of baby face images is needed. The need for facial expression elements for baby face makeup is expected to be used as basic data for developing baby face images, and this study focuses on external face management for baby face images and baby face makeup.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.1
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• pp.20-36
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• 2024

Over the past three years, even amidst viral threats, a notable shift towards online interactions has been observed. This trend persists the presence of significant viral concerns. Our study centered on female office workers in their twenties and thirties in Korea, seeking to comprehend how they enhance and present their external image in the digital era. We explored the use of digital devices and fashion choices that enable them to amplify their self-expression in video conferences. Using a mix of surveys and in-depth interviews, we employed snowball sampling to recruit twelve participants. These women were given the opportunity to shape their digital persona either to uphold their current image or to adapt it for interactions where they weren't face-to-face. Their desired images fell into three distinct categories: an authoritative professional image, a clean modern image, and a natural image. Depending on the context, the participants aimed to convey these images independently or in various combinations. Our findings suggest the need to develop strategies for acknowledging and projecting individual fashion identities in non-face-to-face interactions. Such strategies would empower individuals to better align their online personas with their desired self-image, whether it's professional, modern, clean, natural, or a combination thereof.