• Journal of Fashion Business
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• v.9 no.1
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• pp.21-33
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• 2005

The main objective of this research was to understand the characteristics of identical color coordination through the analysis of modern female fashion color coordination as they appear in the 'Collections'. Data collection of 2026 was done through review of '$pr\hat{e}t-\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Lastly, statistical analysis of frequency and $X^2$-test and also qualitative interpretation of identical color coordination characteristics were completed. The main findings were; The color coordination of modern women's fashion produces a unified theme, or monochromatic harmony, through the use and coordination of identical colors. The clear contrast of tones portrays a strong image especially in achromatic color coordination, and through the use of texture variation, monochromatic color coordination becomes even more compelling. The tone variation, observed most often in monochromatic color coordination was the black and white contrast, which enhances the simplicity and clarity. Within chromatic color combinations, tone on tone color coordination was achieved by varying brightness. Furthermore, the observation of Faux Camaeu indicates that the coordination of different textures is used often in identical color coordination. While achromatic colors can lead to a hard and rough feeling, it also is compensated through the use of varying textures. In addition, adding variety of textures can add subtle interests to the simplicity of white. Lastly, in all four collections, the chromatic identical color coordination was found more frequently than the achromatic. In Paris, N.Y. & London, the chromatic identical coordination was used more often than chromatic. Milan showed most use of achromatic coordination. The use of the tones showed similar trends in all four collections, with contrasting tone being used most often, followed by similar and identical tones.

• Imaging Science in Dentistry
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• v.42 no.1
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• pp.5-12
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• 2012

Purpose : This study was performed to evaluate possible variations in maxillary and mandibular bone texture of normal population using the fractal analysis, particles count, and area fraction in intraoral radiographs. Materials and Methods : Periapical radiographs of patients who had full mouth intraoral radiographs were collected. Regions of interest ($100{\times}100$ pixels) were located between the teeth of the maxillary anterior, premolar, and molar area, as well as the mandibular anterior, premolar, and molar areas. The fractal dimension (FD) was calculated by using the box counting method. The particle count (PC) and area fraction (AF) analyses were also performed. Results : There was no significant difference in the FD values among the different groups of age, gender, upper, and lower jaws. The mean FD value was $1.49{\pm}0.01$. The mean PC ranged from 44 to 54, and the mean AF ranged from 10.92 to 11.85. The values of FD, PC, and AF were significantly correlated with each other except for the upper molar area. Conclusion : According to the results, patients with normal trabecular pattern showed a FD of approximately 1.5. Based on these results, further investigation would be recommended if the FD value of patient significantly differenct from this number, since the alteration of this value indicates microstructural modification of trabecular pattern of the jaws. Additionally, with periapical radiographs, simple and cost-effective, PC and AF could be used to assess the deviation from the normal.

• Journal of Magnetics
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• v.3 no.2
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• pp.44-48
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• 1998

Scanning Electron Microscopy with Polarization Analysis (SEMPA) was used to image the surface magnetic domain structure of the 100 ${\mu}{\textrm}{m}$ thick 3% Si-Fe sheet. The thin-gauged 3% Si-Fe strips with magnetic induction ($B_{10}$) from 1.98 to 1.57 Tesla were prepared via conventional metallurgical processes including melting, hot-and cold-rolling, intermediate annealing and final annealing. Using SEMPA, it was observed that the $B_{10}$ (1.98 T) Tesla sample was almost composed of 180$^{\circ}$ stripe domains which are parallel to rolling direction. On the other hand the 3% Si-Fe sheet with $B_{10}$ (1.57 T) Tesla was composed of large 180$^{\circ}$stripe domains that are slanted about 30$^{\circ}$to the rolling direction and complex magnetic domain structures like tree and zigzag pattern. The 180$^{\circ}$stripe domains, which covered a major part of the sample, had (110)<001> Goss texture parallel to the rolling direction. The domain walls between 180$^{\circ}$stripe domains were the conventional Bloch type walls. On the other hand, the 90$^{\circ}$domains, which covered minor part on edge of the sample, were observed in (200) grains. The domain walls between 90$^{\circ}$domains were the Neel type walls. In high magnification, the elliptical singularity at the Neel walls was clearly observed.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.11 no.4
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• pp.2124-2148
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• 2017

Accurate facial expression recognition (FER) requires reliable signal filtering and the effective feature extraction. Considering these requirements, this paper presents a novel approach for FER which is robust to noise. The main contributions of this work are: First, to preserve texture details in facial expression images and remove image noise, we improved the anisotropic diffusion filter by adjusting the diffusion coefficient according to two factors, namely, the gray value difference between the object and the background and the gradient magnitude of object. The improved filter can effectively distinguish facial muscle deformation and facial noise in face images. Second, to further improve robustness, we propose a new feature descriptor based on a combination of the Histogram of Oriented Gradients with the Canny operator (Canny-HOG) which can represent the precise deformation of eyes, eyebrows and lips for FER. Third, Canny-HOG's block and cell sizes are adjusted to reduce feature dimensionality and make the classifier less prone to overfitting. Our method was tested on images from the JAFFE and CK databases. Experimental results in L-O-Sam-O and L-O-Sub-O modes demonstrated the effectiveness of the proposed method. Meanwhile, the recognition rate of this method is not significantly affected in the presence of Gaussian noise and salt-and-pepper noise conditions.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.129-142
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• 2013

Fabrics created unique features through the change in various ways depending on the elements including fabric structure, threads, thickness, weaving, patterns and processing. This study examined the difference between texture and image depending on components of fabrics. In order to understand the trend of components of fabrics, the actual components of fabrics was analyzed by year, using the women's apparel trend books, Nelly Rodi Fabrics and Promostyl Fabrics. This study analyzed Spring/Summer season and Fall/Winter season from 2002 to 2012. Frequency analysis, cross-tabulation analysis, multiple response cross tabulation analysis were implemented using SPSS 18.0. The followings are the analysis results. For fabric composition, Spring/Summer season used cotton fabric the most. Cotton fabric accounted for relatively high usage in 2005, 2007 and 2008. Fall/Winter season used wool the most in 2002, 2003, 2004 and 2005. In case of fiber blend by fabric composition, cotton was blended with other fibers in Spring/Summer season except wool. The fiber blending ratio of wool was the highest in Fall/Winter season. Wool was blended in most fabrics. More than two patterns were mixed for fabric patterns. The fabric patterns were applied the most in 2012. For fabric processing, the fabrics by sensitivity-functional processing were continuously used every year and the surface finish showed relatively high usage in 2002 and 2011. In conclusion, this study will build the systematic data for 11 years including fabric trends in the past. It can improve specialization, systematization and efficiency in fabric planning.

• Journal of the Korean housing association
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• v.23 no.5
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• pp.95-102
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• 2012

We studied in order to find out suitable amounts of board by visual effects to establish indoor boards and human psychological effects by several board designs. Thirty students of C university were tested in constant temperature/humidity room and interviewed after tests. The experimental visual images were projected from 54' TV. As a result, the board length that showed high preference and satisfaction was the 90cm both horizontal and vertical direction. We found that vertical board gave an impression of a linear and narrow shape and the horizontal board gave wide space and cool feeling from psychological analytical study. The factors affecting satisfaction in horizontal direction were refreshing, intimacy, beauty, area, splendor and those in vertical direction were a sense of security, beauty, texture, intimacy, continuity, extensity, natural feeling. We got 5 factors from the result of factor analysis in order to get psychological factor axis. Those were pleasantness, artificiality, openness, dynamics, refinement. By multiple regression analysis, the factor pleasantness had the highest impact on visual satisfaction on scenary. The study on psychological factor difference by analysis of variance showed that psychologically feeling amount about pleasantness, artificiality, dynamics, refinement, and openness had statistically meaningful difference despite of board direction. We found that the 90cm had a tendency as a changing point leading image change by the investigative analysis of board direction based on factor points.

• Journal of the Institute of Electronics and Information Engineers
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• v.51 no.6
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• pp.89-101
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• 2014

In this paper, we proposed a new local micro pattern, Signed Local Directional Pattern(SLDP). SLDP uses information of edges to represent the face's texture. This can produce a more discriminating and efficient code than other state-of-the-art methods. Each micro pattern of SLDP is encoded by sign and its major directions in which maximum edge responses exist-which allows it to distinguish among similar edge patterns that have different intensity transitions. In this paper, we divide the face image into several regions, each of which is used to calculate the distributions of the SLDP codes. Each distribution represents features of the region and these features are concatenated into a feature vector. We carried out facial expression recognition with feature vectors and SVM(Support Vector Machine) on Cohn-Kanade and JAFFE databases. SLDP shows better classification accuracy than other existing methods.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.63-78
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• 2004

The purpose of this study examines the characteristics of the Techno-Cyber fashion in modern fashion, and especially, how the make-up in the Techno-Cyber fashion is expressed artistically, and finally how much the make-up has its aesthetic value and significance. This study has its meaning in studying the relationship between the Techno-Cyber fashion and the make-up. Further more, the study has its significance in that it is possible to consider the interaction of the make-up by the fashion trend. The way of the study is to analyze its features that are shown in the documents of the inside and outside of the country. the study precedent, the technical journal, and the fashion picture. And also the study refers to the related contents in the searching for internet. The aesthetic characteristics of the expressed make-up is shown with the various aesthetic styles, as follows : First, the future-oriented characteristics is shown as the expression of the metallic make-up that emphasizes the glitter and glossy texture, and of the transparent make-up that emphasizes the simplicity of the body. Second, the surrealistic characteristics is expressed to the collage make-up that expresses the unexpected character with the introduction of the special materials and the position changing and the graphic make-up that destroys the standardized form. Third, the anti-cultural characteristics is expressed to the Cyber-Punk make-up that expresses the destructive and challenging image. Finally, the compromise characteristics is shown in the Ethno make-up combined the concept of the ethnic with the high technology and the Androgynous make-up which destroys the bounds of the sex.

• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.17-24
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• 2003

Objet, which showed up with the art of 20C, is now an important element giving a creative idea to fashion designers in modern times. The purpose of the study is to review how the objet technique was paid attention and recreated in the fashion, through the analysis of works, and the formative features of each technique for fashion, in order to identify the connection of arts and fashion, and the position of fashion as art. The techniques using object appeared in the 20th century fashion are as follows: First, papier-colle, which is adding printed materials onto the surface, is such a technique that adds cut-feeling materials to impose a new texture, or arrange again the cloth-cuts to create a different clothing from the existing one, which went to the extension of materials in the fashion. Second, collage of daily materials expresses directly and emotionally through direct presentation of the objets. Especially, collage of patch-work is reproduced into a new fabric depending on the objet used, giving a standing over the form. Third, ready-made which presents the material meaning only of the objet expands the range of objets which could be used in the fashion by introducing the daily materials having a meaning itself as a fashion. Forth, an attempt to approach to the objets of popular image by designed techniques come out in modern fashion as a graffiti look or a typography look, making the clothing itself an objet to transmit a message directly to the masses. Introduction of various objets and development of expression technique brought out the diversification of materials, and enrichment and extension of expression sphere, which resultingly spreaded the freedom of expression and progressed into the art sphere, making a direct motif to solidify its standing as a formative art.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.63-77
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• 2007

The purpose of this study is to apply fashion design to developing dress design of mobile-phone game characters. As for the research methodology, first, market research has been carried out to extract main images from dress designs of game characters and to understand their socio-cultural meanings. Second, the fashion design, which ran be compared to the extracted images of game characters were selected. Third, analyses were done to find out the gap between the game character's dress designs and the fashion designs. The main images of game characters are revealed as erotic, romantic, heroic, grotesque. These images have been formed by psychological and socio-cultural effects such as stimulation, empathy, compensation, increase of female game player. The differences between the game character's dresses and the fashion designs are as follows; With regard to style, game dresses have silhouette distinguished from background, but fashion collection have blurred silhouette. In the aspect of color, while strong colors are mainly used in game dress, neutral rotors are preferred in fashion collection. As for texture, the expression of 'textures in game character's dress is so far limited due to the insufficient level of the concerned technology. However, the fashion design applying drape of fabrics are well-developed. Mobile-phone game players want reality in game design. Therefore, the effort to overcome the gaps between game dress and fashion design can contribute to the growth of game character design.