• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.392-404
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• 2015

This study investigated how the image exaggeration influence consumer attitude toward product in mobile shopping. Image exaggeration was manipulated by adding light effects on image and adjusting the width for slender mirror effect. Subjects were randomly allocated to four mock-mobile website stimuli. The overall results showed that the image exaggeration had negative effect on product attitude mediated by diagnositicity. First, the mediation effect of diagnositicity between exaggeration and product attitude was tested by bootstap method. The diagnositicity fully mediated between two variables and exaggeration had negative total effect on diagnositicity. The image exaggeration had no direct effect on product attitude. Second, to test the moderating effect of image congruence between the image exaggeration and diagnositicity, conditional indirect effect of diagnositicity was analyzed. As a result, the moderating effect of image congruence was significant. When consumers perceived high self-image congruence with picture image on mobile website, the exaggeration had no negative effect on product attitude. This indicates self-image congruence counteracts the negative effect of the exaggeration on diagositicity. And the moderating effect of image aesthetics between the image exaggeration and product attitude was examinated by the conditional direct effect model. The analysis found that image aesthetics had significant moderating effects particularly on high or low levels of aesthetics. When image aesthetics was perceived as high, image exaggeration had negative effect on product attitude, whereas image aesthetics was low, image exaggeration had positive effect on product attitude. This result indicated that the positive exaggeration effects existed when images were aesthetically appealing.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.111-123
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• 2000

This study compares architecture with dress, investigates the image of transparency expressed in modern dress, and reveals its modern meaning. That is the purpose for this study. The study results are as follows. First, purity was expressed with simple, white color which has not any exaggeration or decoration, and transparent veils of wedding dress express clean and pure image which represents the original meaning of wedding dress. Second, eroticism conveys being erotic by exposing human body through transmission of light over transparent materials. Eroticism expressed by wearing thin and transparent dress with body-conscious line almost like being nude or emphasizing the sexually curious area in human body. The biggest difference in this study is that eroticism is delivered in dress, but not in architecture. Third, playfulness shows synchronism which recognizes human body with transmission of light over ,linear, transparent materials or recognizes inside dress. Playfulness expressed with location switch between inside and outside, exaggeration, distortion , and emphasis. Forth , openness makes dress atmosphere soft by putting transparent materials over opaque materials, expressed separation from restriction by wearing transparent dress over a naked human body, and expressed open ad free image by expressing human emancipation and freedom. Transparent dress expressed modern human being's sensitivity desire for living with light and joyful mood departing from heavy through, and also open and free image which pursues for freedom of human boedy departing from the restriction of human body.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.137-152
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• 2007

The purpose of this study is to research on concept, consisting factors, and specialties of theme park' character costumes to understand better about character costumes as well as to establish fundamental research data. The characteristics of character costumes in the theme park are as follows. First, theme park' character costumes are personified so that visitors may feel friendly and have emotional communication with them. Specially, costume that anthropomorphize an animal(85.3%) and silhouette of lozenge style(86.8%) dominated the highest weight. Animal figures are walking upright and wearing human's clothes. They communicate with visitors using mime actions. Second, various types of body proportion is applied to highlight the characteristics of character costume. Most character costumes are applied with unrealistic body proportion. This unrealistic body proportion give abnormal image and looks funny. The important factor is size of their head. Especially, 3.5 body proportion(78.9%) is general. Third, simplification, exaggeration, shrinkage, and modification are other factors. Simplification is applied differently by parts. Pocket, collar details are simplified to clarify the character's image. More simplification can lead to ommission. For their head, peculiar parts look stand out but other parts are simplified to stress their characteristics. Exaggeration is used with shrinkage to give strong impression to visitors. Forms are broken intentionally and they are modified. They look impressive because they are not harmonized. It is unexpected image and induces humor and familiar feelings. Matter of stylization includes exaggeration, shrinkage, modification and movement of actors that have tangible factor of character costume.

• Journal of the Korea Computer Graphics Society
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• v.17 no.1
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• pp.33-38
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• 2011

This paper proposes the method of image cartooning, that makes cartoon-like images of a target, using reference images. We deform a target image using pre-defined reference images. For this deformation, we extract feature points from the target image by Active Appearance Model(AAM) and apply the warping method to the target using feature points of target and feature points of reference image as a basis of warping function. We create simplified cartoon-like images by abstraction of the deformed target image and drawing of edges and quantization of luminance of the abstracted image. Two main concept of cartoon(exaggeration and simplification) is inhered in this method when we use a exaggerated cartoon image as a reference image. It is possible for this method to create various results by control of warping and change of reference image.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.7 no.6
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• pp.1449-1462
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• 2013

We present a novel approach to producing facial caricature with Simpson cartoon style based on Moving Least Squares (MLS). We take advantage of employing the caricature stylization rule of caricature artist, Justin. Our method allows Simpson-style cartoon character similar to user's features by using Justin's technique, which is a set of caricature stylization rules. Our method transforms input photo image into Simpson style caricature by using MLS approximation. The unique characteristics of user in the photo can be detected by comparing to the mean face feature and the input face feature extracted by AAM(Active Appearance Model). To exaggerate the detected unique characteristics, we set up the exaggeration rules using Justin's technique. In addition, during the cartooning process, user's hairs and accessories are used to the deformed image to make a close resemblance. Our method preserves the reliable and stylized caricature through the exaggeration rules of the actual caricature artist's techniques. From this study, we can easily create a Simpson-style cartoon caricature to resemble user's features by combining a caricature with existing cartoon researches.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.836-839
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• 2006

In making animation product, it is utmost important to produce comic scene using emphasis and exaggeration. This study aims to research on the comic presentation of animation through application of exaggeration and prominence. First, it suggests going under image extraction experiment and moving-shot-method as a mode of measuring three dimensional shot. Moreover, an analysis of the product of three dimensional shot of animation suggests a comic effect.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.381-402
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• 2022

This study aimed to identify sub-dimensions of the authenticity and fictionality of a brand story and analyze the effects of authenticity and fictionality on customer-based brand equity. Data were obtained from a group of 213 males and females in their 20s and 30s living in Korea using an online survey institute. Results showed that the authenticity and fictionality of a brand story are composed of reality, excitement, exaggeration, fictional symbolism, influence, sincerity, relativeness, mysteriousness, and unreality. Of these, sincerity, excitement, reality, influence, and mysteriousness had significant effects on brand imagery; sincerity particularly exerted a relatively more substantial influence on brand imagery. Also, influence, mysteriousness, excitement, and relativeness impacted performance positively, and exaggeration impacted performance negatively. This indicated that a well-constructed brand story with authenticity and fictionality had a positive impact on the brand image. Excitement, mysteriousness, reality, relativeness, sincerity, and influence of a brand story had significant effects on brand judgement. In contrast, only excitement and influence positively impacted brand feelings, and unreality had a negative impact on feelings. The exciting and influential brand story impacted brand attitude. Also, brand image and attitude positively impacted sharing and purchase intention, while brand performance did not affect recommendation intention. These findings contribute to identifying a brand story's attributes, authenticity, and fictionality and provide insights for marketers on creating brand stories to increase brand image and attitude and to build customer-based brand equity.

• Journal of the Korean Society of Costume
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• v.40
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.27-34
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• 2016

The application of computer graphics, which is characterized by reality, has even reinforced reality of image and motion expression in digital animation. But reality of digital animation succeeds to traditional aesthetic characteristics of animation for overcoming physical limitations of the real world and realizing imagination through transformation, rather than copying actuality as it is. But it does not succeed to drawing animation wholly. Digital animation adds cartoonish transformation, based on three-dimensional realistic expression and those animation situations look as if they get over realistic restrictions, while drawing animation constantly reminds of mediality in drawing motion, based on two-dimensional plane and handwork. n other words, cartoonish exaggeration that is intermittently inserted between these reinforced realities, expresses digital animation's own aesthetic characteristics as a dialectical sum by crashing into contrast coming from a cross between reality and imagination.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.33-48
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• 2003

The purpose of this study was to define the moaning and features of humor in modern fashion. by examining how it's being grafted into fashion, based on artistic expression including collage, assemblage, photo montage, graffiti, transformation, distortion, exaggeration and optical illusion. Beside. humor of fashion is to examine not only laugh and fun but also formative expression and creativity. Furthermore, it is to enlarge the range of conception for future fashion. The findings of this study could be described as below: The features of humorous fashion by collage and assemblage boiled down to unexpectedness, disharmony and creativity. The photo montage was marked by popularity, reproduction and recreativity, and graffiti was characterized by attention, simpleness, and amusement. And there were unexpectedness, creativity and strangeness in transformation, distortion, magnification and optical illusion. The meaning of humorous fashion that carries such features could eventually be summarized into the followings : First, the fashion, from which collage, assemblage, photo montage. graffiti, transformation, distortion, magnification and optical illusion were detected. could be sorted out into several categories that used different things : introduction of objects of different nature, dramatic impression and wit based on photo montage technique, introduction of comic components and infant image, and destruction of aesthetic principles. Second, the substance of humor in art could be applied to fashion design as well as visual art. Humor is a property related to accidental, unexpected incident, behavior, situation or idea, and it puts laugh, disharmony or awkwardness in fashion. Third, spicing fashion with humor could serve to draw people's attention, break down the barrier among people exposed to dry sentiment, and connect the public with art.