• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.367-372
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• 2022

With the recent advent of the New Normal era, realistic technologies and non-contact technologies are receiving social attention. However, the hair styling field focuses on the direction of the hair itself, individual movements, and modeling, focusing on hair simulation. In order to create an improved practice environment and demand of the times, this study proposed a non-contact hair styling VR system. In the theoretical review, we studied the existing cases of hair cut research. Existing haircut-related research tend to be mainly focused on force-based feedback. Research on the interactive haircut work in the virtual environment as addressed in this paper has not been done yet. VR controllers capable of finger tracking the movements necessary for beauty enable selection, cutting, and rotation of beauty tools, and built a non-contact collaboration environment. As a result, we conducted two experiments for interactive hair cutting in VR. First, it is a haircut operation for synchronization using finger tracking and holding hook animation. We made position correction for accurate motion. Second, it is a real-time interactive cutting operation in a multi-user virtual collaboration environment. This made it possible for instructors and learners to communicate with each other through VR HMD built-in microphones and Photon Voice in non-contact situations.

• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.355-362
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• 2023

Characters in visual media have different symbolic meanings depending on their orientations or roles. 『山海經』 is a fantasy novel written around the 3rd or 4th century BC., and the characters in the classical Chinese novel have various meanings and symbols, such as disasters, wealth, diseases, etc., according to their types. The symbolism of animals that the Chinese think of, the symbolism of characters in fantasy novels, and the morphological analysis are necessary elements in the development of characters and the film industry in China. This study analyzed the images of characters as follows, focusing on classical Chinese fantasy novels 『山海经』, 『山海经圖象全體』, and 『山海經圖』 and the fantasy novels of the Qing Dynasty 『山海经存』 and 『山海经圖錄』. First, the shapes of characters are slightly different in illustration images. Second, Among 453 characters in 山海經, there are a total of 8 characters related to flood damage, such as floods, rainy season, etc.: 'Jangwoo', 'Hapyu', 'Hwasa', 'Yeongryeong', 'Buje', 'Seungwoo', 'Manman', and 'Naeo' Third, it can be seen that the characters are creative ones that are combined with objects and animals and plants, apart from the symbolic meanings of real animals and characters in 山海經. It is believed that the continuous analysis of the characters in 山海經 will enable them to be widely used in the film industry.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• The Korean Journal of Community Living Science
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• v.19 no.3
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• pp.431-444
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• 2008

Today people obtain much information about appearances through movies. The stars' body images in movies have been created through total fashion as they play the roles of an ideal model to create actual body images. This study examined the relations between the body images in the film media in terms of appearances or total fashion and actual body images based on the simulation theory by Jean Baudrillard. It conducted a literature study by collecting and analyzing film media-related picture images from books, papers, periodicals and the Internet home and abroad. The research scope was limited to the stars who made appearances in movies and the ones who starred in movies in addition to their other lines of work. As a result, the following conclusions were drawn; the stars' body images went hyperreal between their actual body images and the ones of their roles in movies and then were simulated in fashion. To be specific, 1. the stars' actual body images went hyperreal and were simulated in fashion in the following cases; 1) the stars in the heyday of film; 2) fashionistas; and 3) pictures taken by paparazzi. 2. The body images of their roles went hyperreal in the following cases; 1) through brand participation; 2) through changed body images; and 3) through cyber body images. Their body images became hyperreal and were simulated in fashion by the input of fashion designers and the techniques of other areas. The body images in film are the object of desire to the audience. They go hyperreal and become the ideal body image to real people. The various kinds of hyperreal images in the film media create new beauty as a reference and object of comparison for people to change their body images in reality.

• Fashion & Textile Research Journal
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• v.11 no.6
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• pp.867-877
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• 2009

These days, the fantastic in opposition to classic beauty becomes a genre of creative body expression. The purpose of this study was to analyze the expressive characteristics of body types and meanings in recent fantastic fashion illustration. The method of this study was to analyze recent documentaries, fashion books, internet web site and so forth. The results were as follows: In literatures, pictures and movies, the category of the fantastic body's expressive types were classified as dominant mutant based on SF, multi body or fragment body by disruption, heterogeneous compound based on myth, personified humanoid and non substance in supernatural boundary. The dominant mutant based on SF was expressed image morphing, composition of machine image with body and modern metamorphosis of classic SF body. It means propensity to post-feminism and reservation of meaning analysis based on human unconsciousness. The multi body or fragment body by disruption in fashion illustration was expressed distorted composition of same body pictures, replacement of different bodies, deconstruction and partial omission of body and composition of meaning or non meaning images. It means permanence of self and basic narcissism. The heterogeneous compound based on myth was expressed general composition or optical illusion of various and aggressive animal motive. It means reinterpretation of original myth, metaphor of basic femme fatale, pursuit of permanence and sign of primitive mind in unconsciousness. The personified humanoid was expressed real human body description of mannequin or ball joint doll and anthropomorphism of robot image. It means representative satisfaction and nostalgia of childhood. The non substance in supernatural boundary was expressed grotesque description of ghost, zombie, vampire, angel, fairy, using of symbolic red, black color and non body. It means human's basic desire about immortality and taboo. Through the result of these study, the expression of fantastic body in fashion illustration will expend expressive method and we will understand human and cultural codes of today.

• Biomolecules & Therapeutics
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• v.19 no.3
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• pp.331-335
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• 2011

In this study, we determined the anti-inflammatory activity and mechanism of action of a hexane fraction (hWRF) obtained from white Rosa hybrida flowers by employing various assays such as quantitative real-time PCR, Western blotting, and Electrophoretic-Mobility Shift Assay (EMSA). The results revealed that the hWRF had excellent anti-inflammatory potency by reducing inflammatory repertoires, such as inducible nitric oxide synthase (iNOS), interleukin-$1{\beta}$, and cyclooxygenase-2 (COX-2) in RAW264.7 cells when stimulated with lipopolysaccharide (LPS), a pro-inflammatory mediator. The reduction of nitric oxide (NO) release from RAW 264.7 cells supported the anti-inflammatory effect of hWRF. Interestingly, hWRF effectively inhibited LPS-mediated nuclear factor-${\kappa}B$ (NF-${\kappa}B$) p65 subunit translocation into the nucleus and extracellular signal-regulated kinase (ERK)1/2 phosphorylation, suggesting that hWRF anti-inflammatory activity may be based on inhibition of the NF-${\kappa}B$ and MAPK pathways. Based on the findings described in this study, hWRF holds promise for use as a potential anti-inflammatory agent for either therapeutic or functional adjuvant purposes.

• Journal of the Korean Home Economics Association
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• v.38 no.8
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• pp.13-27
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• 2000

The background of single animal figures was originated from those northern mounted nomadic groups, which was Scythe style Culture. The art of the nomads working in the Scythian idiom was small in size and essentially decorative in intention, yet practically every object which can be associated with any unit in this group of people possesses many of the attributes essential to a real work of art. Clarity of conception, purity of form, co-ordination of rhythm and balance, and not least, an understanding and respect for the material employed were triumphantly blended by the Eurasian nomads to produce a distinctive style. In Scythian art the multitude of animal representations well illustrates the reoccupation of this nomadic people with animals in their environment. Usually only wild animals are represented. Commonly depicted are: stags and deer, lions or other large cats, eagles, birds heads (perhaps of ravens), griffins, snakes, hares, fish, goats, rams, boars, moose (elk), yak, sheep and bears. The occasional exception to the wild animal rule is domesticated horses-important because the Scythians were horse bleeders and their whole culture revolved around their dependence on the horse. The nomads had little reason to create object in honour of gods or men, but they had an instinct for beauty and the wish to surround themselves with the animal forms in which they had come to delight The Scytians tried to combine in a single rendering all the salient points of the animal they were delineating. They archived considerable success in the difficult task of showing in a single image the various and often incompatible poses assumed by a single animal in the course of its life. Zoomorphic motifs were used not simple for decorative effect, but to trim the object into amulets, with magical power to assist in hunting, and to protect the owner from harm.

• Journal of the Korean Society of Costume
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• v.38
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• pp.51-72
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• 1998

Futurists objected the existent style, that is the conventional fashion, and took part in these disciplines of fashion to make clothes the instruments being able to represent the individuality. Giacomo Balla and fortunato Depero, pain-ters who in 1915 were to work with Diaghilev's company, were the first to see clothing as a dynamic interfaced between th body and the atmosphere, between physical gestures and the urban context, which could be translated into encounters between forms and colours, volumes and architecture. For them, clothing began to exist as an object and an event, something to be removed from a mainly static conception and made mobile, active. The interaction between movement and clothing was based on the relativity of perception : the appearance and disappearance of the body produced points without dimension or duration which served, as Balla wrote in the Futurist Mnaifesto of Men's Clothing to“renew incessantly the enjoyment and impetuous movement of the body”. The historical achievement in the effort for the reformation of Futurist, Art to Wear. First, for Futurist, clothing is removed from a static conception and focused on dynamics. Second, Balla used asymmetry in men's clothing. Moreover he supposed dynamic men's clothes by using optical intersection. Third, the after image of Chronophotograph represented rapidity. This rhythmic expression is the fore-runner in Optical and Kinetic Art of Visual Art. Fourth, Futurist emphasized flexibility in fashion. They aimed to create‘Clothing Machines’whose parts would interact to aceelerate the real and virtual, inner and outer movement of the human being. Fifth, the variety and short life of cutting skills and colors are focused and‘Fast Substance’in fashion is admitted by Futurists. Futurist concern with clothing was not lim-ited its appearance in terms of cut and colour. What important was also the way it appeared and disappeared according to fashion. It was a“fast substance”, able to reflect rapid, sudden changes of social and aesthetic taste. To reach to the aim of internationalization, Gesamtkunstwerk in our Art to Wear, it is extremely meaningful to examine art fashion which is created under the conception of Gesamtkunstwerk production of avang garde artist in the early 20th century and look at formative conscious of truth, goodess and beauty synthetically which they faced on their works of art.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1194-1210
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• 2010

The influence of digital media according to environmental change of multi-media came to have significance more than what we imagine. In accordance with high resolution of HDTV in digital media era, the cautious awareness is required for skin color by the immediate color such as replica of TV color, lighting and clothing. As for the broadcasting makeup expression technique caused by a change in broadcasting environment in the digital media era, the first, There is necessity for natural makeup technique, and for expressing the whole makeup evenly and very delicately. The makeup work gets much more delicate. For the delicate expression, more time is being required than the existing makeup time. Second, Lots of time and manpower are required for elaborate real-object processing on all the production fields such as background set, stage properties, and makeup. Third, Realistic expression is available on the screen. Importance of basic makeup is highlighted. Thus, even the skin care shop came to be prevalent. Development in only HD cosmetics is needed for foundation with fine particle in new material and with diverse colors hereafter. The video-media field is a method that is ignored a sense of distance through vehicles such as camera, picture tube, and several kinds of broadcasting machinery and equipment and that is delivered vividly to viewers through screen, unlike the stage makeup, thereby being needed the makeup technology proper for HDTV according to the changing broadcasting environment and media. The video machinery and equipment are proceeding with being gradually high-tech and precise. Thus, an expert in makeup needs to know common sense on the video machinery and equipment before makeup, and needs to make an effort according to it. And, a follow-up research can be said to be necessary on the advance in makeup method and on more diverse dedicated cosmetics along with a research on color tone proper for HDTV.