• Cartoon and Animation Studies
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• s.11
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• pp.41-53
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• 2007

Due to the development of digital cinema, Animations are no longer a peripheral part of movies and become major role in making films, including live action movies. This kind of change makes the distinctive line between animations and live action movies vague. In order to prevent such side-effect, this study is aimed at building solid territory again between the two by reviewing the difference and, based on it, looking for effective cinematic techniques to produce synthesized and digitalized images. First of all, consideration on mise-en-scene is crucially required to tell this line. The mise-en-scene is a director's own unique style in making films. In other words, it is a symbol expressed by him/her. With the mise-en-scene, competitive directors explore huge possibility of image expression and know how to use it audiences can understand. Therefore, I look into a set of studies on the mise-en-scene and methodological problems because it is thought that the mise-en-scene is an important element to distinguish way of expression in animations, live action movies and digital cinema. In addition, owing to these fundamental differences, both movies have their own limitation on representation even though they imitate it each other. Synthesized images produced by both representation may not overcome that limitation and even worse bring up the lack of expression and the increase on unfamiliarity, which reduce audiences' interest. But ironically speaking, digital cinema accept each representation. And it serves as hindrance to narrative's delivery not to balance each of it. Therefore, digital cinema that integrate animations and live action movies should keep an eye on the overuse of images and pursue balanced mise-en-scene.

• Journal of Gifted/Talented Education
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• v.21 no.2
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• pp.575-589
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• 2011

The aims of this study are to investigate how Kepler found a scientific problem for the retinal image theory and to investigate how the science high-school students respond when the same situation is applied to them. And their results was compared with general high-school students' results. Kepler found the scientific problem in the eye vision through the critical analysis of contemporary theories of vision, based on his relevant knowledge of optics. When we applied the same situation to the Korean science high school and general high-school students, only a few of science high-school students found the scientific problem as same as Kepler's finding. From the results, it is suggested that in development of creativity teaching material, the situations like Kepler's problem finding need to be included in the programs.

• Korean Journal of Human Ecology
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• v.16 no.5
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• pp.1061-1068
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• 2007

The study has sought to explore how fashion emerges as a comprehensive tool of dress for increasing its brand appeal and express one's artistic sense and fashion by using everything from make-up to hair to trappings. Therefore, when it comes to fashion trends reflected in collections, the study is designed to improve understanding of make-up as one of the elements of total fashion and to help create diverse ideas in expressing creative and free make-up that can help perfect fashion concept in harmony with all the other elements. The study has pondered upon collection, trends and fashion make-up through literature study, and has gathered image data via the Internet. It also has conducted analysis of Ethnic style reconstructed combining past and the future, East and the West, and futurism style using asymmetrical forms without no defined patterns and hi-tech textures, which emerges as a result of post-modernism. The results of the study are as follows. Ethnic fashion that pursues strange and exotic beauty is characterized by its simple and idyllic images of traditional costume in Asia or primitive clothes in Africa. Make-up represent images of matt and pale skin, tanned yellow, glossy and thickly powered squeaky white skin. Point make-up highlighted eye lines, red chick, small and voluptuous red lips. Hair and accessory seeks diversity combining various ethnic styles together such as oriental, Indian, Islam and Africa. In addition, future-oriented fashion of the 21st century, twists in texture, various kinds of materials and changes in technique help give impressions of freedom and bizarreness.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.3 s.3
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• pp.36-43
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• 2004

This is a research on the effect of formula containing of vitamin A and vitamin E(Frie of oil, Wlter Bouhon GmBH, Germany) on the strech mark. The participants of this study were 20 women at the age of early 20s through middle 20s, who had strech marks that had been over 1 year at the minimum and at less than 5 years at the maximum. Formula containing of vitamin A and vitamin E was applied with typical massage to strech marks for 4 months and twice per day. Improvement resulting from the application was evaluated through observation with the naked eye, questionnaire survey, and the equipment used was DermaScan C Ver3(Cortex Technology, Denmark). The experiment showed that parts cared with formula containing of vitamin A and vitamin E had less strech marks than those control site(treated with jojoba oil).In around 2 months since the use of the formula containing of vitamin A and vitamin E, the tensile of the skin increased and deep wrinkles on the chapped surface became unclear, and in around 4 months the tensile force again decreased and the resilience of the skin increased, and the ultrasonic image showed the decrease of echo pore-zone, which indicates the degree of tissue damage. According to the result of the questionnaire survey, strech marks of less than red strech marks of primary stage were improved more quickly than white strech marks and all participants appeared to experience improvement. The result shows that if this formula is used continuously over 4 months, it reduces strech marks and increase the resilience of the skin. It is considered necessary to continue objective measuring and research concerning strech marks.

• The Journal of Art Theory & Practice
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• no.7
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• pp.165-188
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• 2009

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

• English & American cultural studies
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• v.14 no.1
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• pp.95-116
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• 2014

Paul Auster's The Locked Room, the third novel of The New York Trilogy, has been examined by many critics in terms of anti-detective fiction or postmodernism. However, this paper focuses upon how the author adopts and utilizes some key elements of the traditional detective novel and its literary tradition. Mystery storytelling is one of Auster's literary strategies and the theme of the double is another. For his novel Auster explores the theme of the double as in Poe's "William Wilson." In The Locked Room, the narrator "I" is described as a shadow of his childhood friend Fanshawe. After Fanshawe's disappearance "I" becomes a literary agent for his friend, and becomes a husband of his friend's wife and a father of his friend's child. Searching for information to write a biography of his friend, he realizes that his friend has always been living inside his skull condemned to a mystical solitude. When Fanshawe appears in the narrator's mind as an image of the door of a locked room, the locked room is also a metaphor for the closed consciousness of the narrator. In his strategy of mystery storytelling, Auster employs the quest of detective fiction as well as the irony of Oedipus the King, where the criminal pursued by the king turns out to be himself. The Locked Room starts with the mystery of Fanshawe's disappearance, and as the novel develops, the narrator pursues numerous clues about his biographical subject like a private eye. Ironically, however, he finds that the ghost of Fanshawe has always been with him and that this is inevitable. As the narrator resolves to quit his life as a double, he contrives to name a strange man Fanshawe as if he tries to turn his biographical subject into a fictional character in the same way Fanshawe has controlled the narrator like a character in Fanshawe's novel. Beaten by the fictional Fanshawe and recovering from a near-death experience, the narrator prepares for his final showdown with Fanshawe. The transcendence of his existence as a double is epitomized by his act to tear off the red notebook handed to him by Fanshawe, which confusingly delivers a message that a life is doomed to be a failure. The narrator's act to cut off Fanshawe's influence bespeaks his breaking out of his locked consciousness and a new start for his life with his own identity.

• Asian Pacific Journal of Cancer Prevention
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• v.17 no.5
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• pp.2673-2678
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• 2016

Background: It is unclear as to whether the size ratio elastographic technique is useful for assessing ultrasound-detected ductal carcinoma-in-situ (DCIS) masses since they commonly lack a significant desmoplastic reaction. The objectives of this study were to determine the accuracy of this elastographic technique in DCIS and examine if there was any histopathological correlation with the grey-scale strain patterns. Materials and Methods: Female patients referred to the radiology department for image-guided breast biopsy were prospectively evaluated by ultrasound elastography prior to biopsy. Histological diagnosis was the gold standard. An elastographic size ratio of more than 1.1 was considered malignant. Elastographic strain patterns were assessed for correlation with the DCIS histological architectural patterns and nuclear grade. Results: There were 30 DCIS cases. Elastographic sensitivity for detection of malignancy was 86.7% (26/30). 10/30 (33.3%) DCIS masses demonstrated predominantly white elastographic strain patterns while 20/30 (66.7%) were predominantly black. There were 3 (10.0%) DCIS masses that showed had a co-existent bull's-eye sign and 7 (23.3%) other masses had a co-existent toothpaste sign, a strain pattern that has never been reported in the literature. Four out of 4/5 comedo DCIS showed a predominantly white strain pattern (p=0.031) while 6/7 cases with the toothpaste sign were papillary DCIS (p=0.031). There was no relationship between the strain pattern and the DCIS nuclear grade. Conclusions: The size ratio elastographic technique was found to be very sensitive for ultrasound-detected DCIS masses. While the elastographic grey-scale strain pattern should not be used for diagnostic purposes, it correlated well with the DCIS architecture.

• The KIPS Transactions:PartB
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• v.10B no.4
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• pp.465-472
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• 2003

For an effective pre-treatment process of a face input image, it is necessary to detect each of face components, calculate the face area, and estimate the rotary angle of the face. A proposed method of this study can estimate an robust result under such renditions as some different levels of illumination, variable fate sizes, fate rotation angels, and background color similar to skin color of the face. The first step of the proposed method detects the estimated face area that can be calculated by both adapted skin color Information of the band-wide HSV color coordinate converted from RGB coordinate, and skin color Information using histogram. Using the results of the former processes, we can detect a lip area within an estimated face area. After estimating a rotary angle slope of the lip area along the X axis, the method determines the face shape based on face information. After detecting eyes in face area by matching a partial template which is made with both eyes, we can estimate Y axis rotary angle by calculating the eye´s locations in three dimensional space in the reference of the face area. As a result of the experiment on various face images, the effectuality of proposed algorithm was verified.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.4
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• pp.1849-1856
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• 2012

This paper proposes a method to track the center of pupil and perform the remote control for interface based on the substituted commands according to movements of pupil under smart phone environment. The proposed method, which is a remote control through the movement of eyes, may be helpful for the handicapped people or users who want a more convenient input method. A method based on webcam, which is representative one among the previous methods to track pupil of user, has a few limitations on distance and angle between location of user and webcam. However, this paper uses smart phone that is convenient to carry. The proposed method can perform the remote control through tracking of pupil using wireless network without any restriction on the location of users. Thus, the method is effectively applied for controlling the smart TV that should be controlled on the distance as well as the remote control for PC.

• The korean journal of orthodontics
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• v.47 no.2
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• pp.87-99
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• 2017

Objective: The aims of this study were to measure and compare the facial dimensions of the Miss Korea pageant contestants and a selected group of women from the general population by using three-dimensional (3D) image analysis, as well as to compare various facial ratios to the golden ratio within each group. Methods: Three-dimensional images of 52 Miss Korea pageant contestants (MK group) and 41 young female adults selected from the general population (GP group) were acquired. Fifty-four variables and ratios were measured and calculated. Intergroup comparisons were performed using multivariate analysis of variance. Results: Compared to the GP group, the MK group showed greater total facial height and eye width, lesser lower-facial height, and lesser facial, lower-facial, and nasal widths. Moreover, compared to the GP group, the MK group had more protruded noses with greater nasolabial angle, greater vertical curvature of the foreheads, lesser horizontal curvature of the cheek, and lesser lower-lip-and-chin volume. Conclusions: The MK group had longer faces but smaller lower lips and chins than did the GP group. The golden ratio was not matching the current facial esthetic standards. These data might be beneficial for treatment planning of patients undergoing orthognathic and plastic surgeries.