• Korean Journal of Acupuncture
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• 제21권4호
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• pp.157-165
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• 2004

Objectives : First, we analyze the contents of Dong-Eui-Bo-Gam. Second, from the view of the 'Hyung-Sang(形象:body form)' theory, we try to interpret the acupuncture points chosen in each chapter with a base on the contents of the book. Methods : We study on the on 'Hyung-Sang(形象: form)' theory of acupuncture points in each chapter on 'Shin(神)' and 'Hyul(血)' in Dong-Eui-Bo-Gam(東醫寶鑑). Results & Conclusions : The acupuncture points on epilepsy in 'Shin(神)' chapter are come from the purview of 'Shin(神)' type, fire-form, bird-form & the flushing and feeble of lower-abdomen. The acupuncture points on amnesia in 'Shin(神)' chapter are come from the purview of the powerful intestines and deficient heart-lung. The acupuncture points on dementia in 'Shin(神)' chapter are come more from the purview of 'Shin(神)' type, fire-form, bird-form. And the acupuncture points on sudden palpitation in 'Shin(神)' chapter are come from the purview of phlegen form syndromes. As the epistaxis and hematemesis on 'Hyul(血)' happen more the heat of fire than extravasated blood, the acupuncture points on epistaxis and hematemesis in 'Hyul(血)' chapter are come from the purview of 'Shin(神)' type, fire-form, bird-form and Yang-Myeong body. And as well as the acupuncture points on hematemesis in 'Hyul(血)' chapter are come possibly from the purview of 'Wind-form'. The acupuncture points on feeble hematemesis in 'Hyul(血)' chapter are come from the purview of 'The body form on the deficiency of medium energy'. And the acupuncture points on melena in 'Hyul(血)' chapter are come from the purview of 'Hyul(血)' type.

• 제어로봇시스템학회:학술대회논문집
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• 제어로봇시스템학회 1993년도 한국자동제어학술회의논문집(국제학술편); Seoul National University, Seoul; 20-22 Oct. 1993
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• pp.9-23
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• 1993

Free-form surface machining is usually performed with an NC milling machine and a ball end milling cutter. Since this conventional method is basically sculpting on a plane, it is not suitable for three dimensional body machining. This article will introduce a new machining method for three dimensional body with free-form surface and newly developed machine tool suitable for such machining.

• 복식문화연구
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• 제15권4호
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• pp.604-619
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• 2007

Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation and non-representation of the body in fashion. Theoretically, this study draws from Jean Baudrillard's Simulation theory which maintains that simulation develops the whole edifice of representation. My study substitutes the successive phases of the image to that of (non) representing body in fashion. The correspondences between them are; first, 'image is the reflection of a basic reality' for the representation of physicality, second, 'image masks and perverts a basic reality' for the manipulation of physicality, third, 'image masks the absence of a basic reality' for the absence of physicality, and fourth, 'image bears no relation to any reality whatever' for the absence of body in fashion. Aesthetic ideal of the body is visualized in the form of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• 한국의류산업학회지
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• 제20권6호
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• pp.722-732
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• 2018

This study was to develop a dress form that is highly representative of the body shapes of senior men in their 50s and 60s. And this research was compared the measurements and forms of three different dress forms available in the market, in order to analyze the body type and suitability and provide a standard for developing and utilizing the dress forms. After extracting the body shapes of the senior men's 3D shape, the body type that is curvature on the back prevalent among senior men, was chosen. The dress form was created as follows: 3D modeling and rendering, printing with a FDM-type 3D printer. The dress forms were 3D-scanned and the 3D data was analyzed - classification drop value, area deviation, compared horizontal section and vertical section. The results were as follows: This suggested that the area deviation amount at the chest and hip circumference levels was larger in the commercial products than in the dress form in this study, while that at the waist circumference level was larger in the dress form in this study. The vertical length of the lateral shoulder point-waist circumference was smaller, the side shape showed severe curvature on the back, and the waist circumference was larger in the senior men dress form than the commercial products. The dress form developed in this study reflected the body type of senior men and, therefore, were suitable for fitting when creating clothes for senior men.

• International Journal of Costume and Fashion
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• 제3권
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• pp.13-24
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• 2003

The purpose of this study was to examine the changes brought by the upper body form using a three-dimensional human body measurement the gypsum method. The developed plane figure was constructed using paper replica to analyze the dimensional shape of the upper torso and to be able to design clothes suitable for elderly women's physical characteristics. The characteristics are analyzed and compared with existing patterns in order to extract the components for the pattern design. The examination was carried out based on the developed plane figures of upper body surface replicas. Type 1, the bent-forward body form, has a wide gap on the shoulder. In Type 2, the gap of waist line was wide at angulus scapulae point. Type 3 was the thin body form, and the girth of the chest, front interscye breadth and back interscye breadth were more level with one another, compared to the other types. In Type 4, the bent-backward body form, there was a wide gap on front shoulder. Comparison with the developed plane figure and existed pattern, items revealed differences in significance included the front and back interscye width between the measured values of the existed patterns and the developed plane figure. Therefore, the basic components of basic bodice pattern for old women were determined in the up-bust circumference and length of the back.

• 한국의류산업학회지
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• 제10권4호
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• pp.445-454
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• 2008

The existing baseline taping methods were not applicable sometimes according to the body shape of dress form and they were often dependent on the personal ability and knowledge of modelist. It is very important to suggest the standardized baseline taping method which is applicable to various dress forms which have different body size and shape. It helps to communicate about clothing design and patternmaking between designer and manufacturer, and it also makes students to understand draping easily. So this study was performed to suggest the standardized baseline taping method which is easier and has consistency of taping result regardless of body shape of dress form. First, the existing 7 baseline taping methods were compared with 3 kinds of dress form which are reflecting different body shape and different age. Especially the location of baselines and landmarks which are important for draping are analyzed. Second, the new baseline taping method was developed with reference to the existing baseline taping methods, the standard body measurements of 2004 Size Korea and flat patternmaking. The standardized method for 12 landmarks and 11 baseline was suggested. Third, the appraisal group has performed baseline taping with both the existing method and new method on 2 kinds of dress form. The new method was superior to the existing method in uniformity of taping results as well as the degree of difficulty of taping. Development of the standardized baseline taping method which is applicable to various dress forms would make draping easier and be useful for both apparel industry and academia.

• 한국의류산업학회지
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• 제2권4호
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• pp.325-330
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• 2000

The purpose of this study was to investigate if there were any differences between fashion models and female college students' body cathexis and to examine the perception of their body form and satisfaction of clothing fit according to height, weight and body type. For this study 378 people, including 113 fashion models and 265 female college students were analyzed. Means, t-test and ${\chi}^2$-test were used in data analyses. Significant differences were found between fashion models and female college students' body cathexis. For instance fashion models were more positive about their bodies especially concerning height. Fashion Models and female college students differed significantly in perception of their body form according to weight and body type. Perhaps they have another criteria. Fashion Models and female college students differed significantly in satisfaction of clothing fit according to weight and body type. The taller and Thinner, The higher satisfaction of Clothing fit.

• 복식
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• 제57권6호
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• pp.145-159
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• 2007

Freed from its traditional confinement to the human body, postmodernism in fashion exposes the defectiveness of body and abstracts from the body under. As the 20th century art put premium on self-expression, the body itself became a powerful medium of expression in fashion. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the fragmentation of the body in fashion. In order to inquire the formative style and aesthetic values expressed in fragmentation of the body in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century, The results of the study are as follows. Fragmentation of the body in fashion means the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form, refusing to subscribe to the traditional values that build on the balance and symmetry of the body. The formative aspects of fragmentation are achieved through body casting, displacement, and deconstruction. The absence of physicality in fashion opposes the sartorial convention and symbolism that results in the discord between signifiant and $signifi{\tilde{e}}$ of clothing. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze fragmentation of the body in fashion, focusing on the relationship between the clothes and body.

• 패션비즈니스
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• 제15권6호
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• pp.148-162
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• 2011

The purpose of this study is to analyze lower body types of women and provide information of body improvement of Korean adult female clothing product to ready-made clothes companies. As for the method of this study, it was conducted to measure the parts of the lower body of adult women at the age from 19 to 24 years, to analyze their characteristics and to categorize body types. For study, it was measured 150 female women in Seoul. Data was analyzed by used SPSS/WIN 19.0 Program. The results of this study are as follows. The means of the subjects in their early 20s are 159.8cm in height, 67.0cm in waist circumference, 91.6cm in hip and 52.0kg in weight. As a result of comparison with the $5^{th}$ Korean's human body size on measurement data, 20 items out of 33 items showed significant difference. Factor analysis was executed for 66 body measure and calculation items to draw the body construction factors of the women's lower body in their early 20s and principal component analysis was performed by orthogonal varimax rotation to clarify the measurement of factors and to derive explanatory factors. As result of Cluster analysis, body types' characteristics divide into 3 types. Type1 has tall and fat body form, type2 has shortest and curvy body form and type3 has average height and the most skinny body form.

• 한국의류학회지
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• 제33권7호
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• pp.1140-1151
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• 2009

This study researches the formative character of 1920's fashion through cinema costumes from the perspective of the theories of W$\"{o}$lfilin and Delong. This study organizes a new perspective such as closed form & open form, part recognition & whole recognition, and flat & rounded to analyze the characteristics of form in the costumes of 'The Great Gatsby', 'Chariots of Fire', and 'Chicago'. The 1920's style in the fashion history is a closed form and flat because of simplicity and functionality. The costumes in Chariots of Fire' that focuses on the reappearance of 1920's fashion is a flat and closed form. However, the costumes of 'The Great Gatsby' that presents a symbolic meaning and 'Chicago' that expresses a splendid look are an open and rounded form. Evening dresses are open, with whole recognition and a rounded form because of sheer fabrics, beading, uneven hemlines, and lighting. Daytime dresses are a closed form and flat because of heavyweight fabrics, dark or achromatic colors and non-patterns. Also, open form and rounded, closed form and flat have a similar distribution in diagrams. When the viewer recognizes the form of clothes, they react in a similar way to two-dimensional and three-dimensional presentations that shows that the form of clothes is recognized by the relation with the body. In addition, this study researches the connection between diverse elements such as clothes, body, movements, space, and external elements such as lighting.