• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.141-158
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• 2005

This study was motivated not only by the important role of the special make-up effects in films, but also by the prominent contributions created by make-up artists. The first objective was to study of Jack Pierce, Dick Smith, Tom Savini, Rick flake., and Stan Winston's impact in the most challenging and creative field of all make-up artistry. The second objective was to examine both affinities and differences in artistic styles as well as in make-up techniques through a comparative study of special make-up effects of horror and sci-fi movies in the 20th century films produced by Hollywood studios. The sci-fi films were designed to thrill the audience through the potential of futuristic ideas by fantastic special effects of futuristic creatures such as an extra-terrestrial, a mutant, a robot and a cyborg. In contrast, the horror films were designed to frighten the audience with more reliance on horrifying special effects including a vampire, a werewolf, a zombie and a psycho killer. Their features were shown in a common thread (masquerade, otherness and surrealism) as well as a number of different themes between horror and sci-fi films (transformation vs. extension, satanism vs. monstrosity, and primitivism vs. futurism).

• Journal of Fashion Business
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• v.18 no.2
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• pp.42-53
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• 2014

The purpose of this study is to clarify how modern fashion show makeup reflects surrealism: it also proposes fashion show make-up expressed by focusing on objects. This study aims to research make-up characterized by surrealistic object expression, which is frequently used in the 21st century modern fashion shows, and reviews the concept of the objects positioned importantly in the history of modern makeup. In this study, the influence of the object over modern makeup, particularly fashion show makeup is reviewed together with the characteristics of the object. As a result of reviewing the concepts of modern fashion show makeup by applying objects, the conclusions that are gained are as follows. Fashion show makeup expressed in today's modern time tends to emphasize the artists' unique expressions and personality, while many artists attempt to use various expression ideas and techniques. Objects are variously expressed in makeup and in the $21^{st}$ century, this is the due to the development of digital technology and expansion of designers' imagination Furthermore, surrealistic makeup achieves eminence in styling by showing the formative limits of human beings. The types of surrealistic techniques are expressed as transposition, distortion, and optical illusion in makeup. Expansion of material became the momentum in order to provide unique ideas in fashion show makeup. Moreover, the object of surrealism has a considerable influence on the development of makeup. In this regard, more positive attempts for new designs are being expected.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.51-61
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• 2005

The purpose of this study is to identify function of make-up as an Important variable in terms of its influence to psychology of performers and outcome of their performance. From June to November 2004 performers in 4 types of fields, i.e., opera, musical, drama and dancing being performed in Seoul and Cheongju were chosen as subjects and totally 450 questionnaires were prepared and distributed and among them 416 were used as data for final analysis. For data analysis frequency analysis, factor analysis, T-test, one-way ANOVA, path analysis, chi-square test were conducted by means of SPS 12.0 and MOS 4.0 statistical programs and as ex post facto checking Duncan's multiful range test was conducted. Make-up is an important element in acting and it has great influence on level of psychological satisfaction of an individual. It was disclosed that psychological factor of concentration and lethargy have direct bearing on acting performance. In order to maximize actor or actresses performance skill perfect make-up is essential and role of make-up specialist can become a critical factor for inducing success in performance. Role and duty of make-up artists in terms of scope of their responsibility should be extended so that they may give their full support to the performers to be most successful in their performance.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.3 s.9
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• pp.5-12
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• 2006

Make-up illustration is a field of creativity with visible creative and artistic values; its ultimate functions include communication of information, artistic expression, and recording. Establishing the make-up illustration education environment for the twenty-first century, there is an urgent need for research and development of professional curricula for basic art education and illustration education. It is extremely important for educators and institutions teaching make-up illustration to recognize that training of highly creative and professional beau designers through systematic educational structures is the ultimate foundation for enhancing competitiveness of the beauty industry despite the present reality that there are insufficient studies and publications on beauty illustration and that there is lack of illustration lecturers and artists equipped with professional beauty knowledge. Therefore, this study was conducted to research and analyze offering of illustration subjects by 160 beauty-related vocational schools and 16 4-year undergraduate colleges in the make-up field, which is the field with most creative art activities among the three representative beauty majors, namely make-up, hair, and skin. Education of make-up illustration must not remain as simple short-term education. The curricula must be specialized for providing solid foundation of basic majors. In terms of education content, strong emphases must be made for original and creative mark-up designs as well as purposes, functions, and necessity of make-up design and illustration. The curricula must include systematic, logical and artistic elements. Through the course of this study, which researched, analyzed and proposed measures for education content of make-up illustration, it was found that make-up illustration is the most appropriate subject that fulfills both the ultimate education objectives of beauty colleges and the demand by the society for beauty professionals. It is hoped that make-up illustration is emphasized and recognized for its importance and necessity as an education subject so that similar basic major subjects will further be researched and developed for specialized education.

• Korean Journal of Health Education and Promotion
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• v.22 no.4
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• pp.245-256
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• 2005

The purpose of this study is to research the situation and related knowledge and behavior of Korean beauty artists on their musculoskeletal disorders and the factors on them. It was researched by questionnaire from March 1 to May 31, 2003, and the subjects were 984 of beauty artists who were working as hair designers, skin care specialists, and make-up artists over 1 year in big cities including Seoul, Daegu, Busan and Gwangju. The analyzation was done by frequency, percentage, $x^2-test$, t-test. The results can be summarized as follows; 1. As for their degree of pain according to part of their body, the highest was shoulder as 88.3%, and next were neck(cervical region) as 83.2%, waist as 77.6%, and wrist(hand) as 71.8%, in order. 2. The level of knowledge on the muscloskeletal disorder was 65.6 points on the basis 100points. As for their level of protective behavior and knowledge on the disorders of musculoskeletal system according to their educational experience, the higher educational level they had the higher knowledge level they showed, as 42.6% of 'high', 30.4% of 'medium', and 27.0% of low; and as for degree of performing the protective behavior, they showed the higher protective behavior level when they had the higher educational level. 3. As for their level of knowledge on disorders of musculoskeletal system according to their general uniqueness as beauty artists, they showed statistical significance on the field of their marriage status, educational degree, specialized field, and numbers of customers they manage; and as for the degree of their protective behavior, they showed statistical significance in the field of age, marriage status, specialized field, and rank in their jobs. 4. The level of protecting behavior on the muscloskeletal disorder was 57.4 points on the basis 100points. As for their degree of pain on each part of their body according to their protective behavior and knowledge on musculoskeletal system, it had statistical significance on their elbows and hips, and the less pain they showed when the higher knowledge they had; it had statistical significance on their neck(cervical region), shoulders, backs, waists, knees and ankles(feet) according their protective behavior, and the less pain they showed when the higher level of protective behavior they did.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.77-84
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• 2005

The purpose of this study is to know on the changes characteristics of eye brow forms of the wester women. A facial image which people recognize contents on changes of image according to various eye brow changes on the face. Various changes of image were seen by length, angle and thickness of eye brow types. The ancient Egyptians used antimony powder to blacken their brows huge black lines. In medieval times, women shaved both their eye brows and their hairlines to give a pure look. The early nineteenth century, brows were untweezed and natural. In the 1920s, when women started paying attention to their faces and their freedom, brows were tweezed, narrowed. In the 1930s, the idealized faces of Jean Harlow, Marlene Dietrich and Greta Garbo - narrow tracery of drawn on brows. The eyebrows is filled various shape of the 1950s. In the 1970s, the Disco Decade of Dreadful tastes, women were at their tweezers again, manicuring their brows. Brooke Shields's natural-looking brow would be an example of the 1980s. In the 1990s, the eyebrow designed by superstar makeup artists who determined the look of fashion model and screen star.

• The Research Journal of the Costume Culture
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• v.21 no.1
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• pp.17-30
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• 2013

The purpose of this study is to consider and analyze the VM's characteristics of Maison Herm$\grave{e}$s which has tried continuously space presentations through the sensibility and differentiated strategy focusing on the flagship store window displays of Herm$\grave{e}$s. The framework for analysis of this study is established by related precedent studies. The results of this study were drawn through qualitative analysis of experts' group. The results of this study are as follows. Maison Herm$\grave{e}$s window displays have been unfolded a total of 57 times for 10 years, and have introduced a variety of themes by cooperating with 40 artists in various fields. Herm$\grave{e}$s set up eight types of themes in order to show the window displays, and these themes have been developed by the method of display presentation such as surrealistic, symbolic, mood, realistic, information. A majority of the participating artists was the Japanese. In addition, the display components such as the materials that can be easily accessible in everyday life, the object productions that were embodied the tangible and intangible image, the nostalgia, the child's world, good, colors, etc., were most frequently utilized for an effective display presentation of the themes that have been set according to each season. The most frequently used development techniques applied Herm$\grave{e}$s windows' VP were the 'd$\acute{e}$paysement', 'the descriptive narrative', and 'scene of dramatic contrast'. It turned out that a majority of the primary colors to make up Herm$\grave{e}$s window displays were analyzed by the red-orange and white color.

• Fashion & Textile Research Journal
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• v.9 no.5
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• pp.538-544
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• 2007

We usually try to accomodate ourselves to our nature surroundings interacting with nature. There fore I've decided to apply nature materials, esp. the pine to Hair Art as a way of expressing our feelings from Nature. 'Hair Art' is a follow-up study based on the various artistic point of view. There has been various works of 'Hair Art' with nature materials. However, it is rare to see a work of 'Hair Art' with the pine. That's why I've decided to study more about this. This study is a new experiment in 'Hair Art' against a conventional idea "Hair Art values practicability." Therefore, the primary goal of this study is to do much for the cause of learning in 'Hair Art' and encourages some development of 'Hair Art' industry. I've researched an image of a pine tree in art of Joseon Dynasty and contemporary art. Then I've tried to apply the image to a work of 'Hair Art'. First of all, in a view of expression technique for the symbolism of the pine, the artists in Joseon Dynasty drew pictures of a pine tree with a paintbrush but the modern artists make a new attempt from the thought of Modernism. We can find it in some photos. Next, to express traditional oriental idea such as 'unconventional and elegance', comtemporary artists chose the symbolism of the pine tree as an object of their works like pen and ink sketches from the thought of Modernism. Third, in a fusion style picture which contains features of both oriental paintings and western paintings and in a sexualism style picture that depicts a harmony of a male and a female as a shape of a pine, we can find colorful images of a pine tree and Their figurative beauty in art. Those are another symbols of the pine. In conclusion, the implication of the pine tree still hasn't changed even there are differences of drawings of pine tree in the past and the present. I've tried to combine these symbolic ideas of the pine with 'Hair Art' and made 5 hair styles. Throughout the process of researching this topic which is 'The Study of Hair Art Using The Symbolism of The Pine', I've realized that pine trees make it possible to express intrinsic tough spirit of human being and abundance in color and figurative beauty in art. I hope this can contribute to the field of 'Hair Art' and would become an important educational resource for further study.

• Journal of the Korea Furniture Society
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• v.16 no.2 s.30
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• pp.85-93
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• 2005

There are several way to classify the furniture. The furniture can be classified into use, style, and function, but if the furniture is classified into the way of production, it can be the industrial furniture and the studio furniture. Especially, technology and function of the furniture are important elements in industrial furniture. However, it could be considered artists' character and concept as more important elements in the studio furniture. The studio furniture had come out one of the historical movement in American furniture field after the World War II. This case to apply found objects began to increase after the 1970s. Using objects In furniture design field had built up sprightly after end of 1950s. This expression could be the statement of new expression that essential properties of matter in objects is removed. I try to suggest original and interesting furniture design to apply found objects in this thesis. Especially, I use the Korean traditional objects for the furniture and try to make their essential function to be changed. Also, I focus on furniture design to have formative element in their shapes.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.