• Journal of the Korean Data and Information Science Society
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• v.22 no.4
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• pp.741-753
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• 2011

We accomplish clustering analyses for yeast cell cycle microarray expression data. We compare model-based clustering, K-means, PAM, SOM and hierarchical Ward method with yeast data. As the validity measure for clustering results, connectivity, Dunn Index and silhouette values are computed and compared.

• Journal of the Korea Computer Graphics Society
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• v.6 no.4
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• pp.29-34
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• 2000

This paper classifies the structure of the intersection curve between a surface of extrusion and a free-form surface. Our algorithm computes the silhouette curve of the free-form surface with respect to the unique ruling direction of the surface of extrusion. By intersecting the silhouette curve and the base curve of the surface of extrusion, we can classify the topological structure of the intersection curve, and compute all singularities in the intersection curve. Moreover, we can determine which ruling lines of the surface of extrusion intersect the other free-form surface and how many times. This classification provides a robust and efficient method for computing the intersection curve.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.4
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• pp.727-739
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• 1997

The purpose of this study was to classify and analyze the lower body of adult female and to provide it'stotal data for clothing construction. The subjects were 82 Korean adult females and their age range is from 19 to 24 years old. 42 variables (10 variables from the direct anthropometric data, 2 variables from the multiplication method and 30 variables from the indirect anthropometric data) in total were applies to analyze(means, standard deviations, factor analysis, cluster analysis) The result of factor analysis indicated that 10 factors were extract'cd through factor analysis and orthogonal rotation by the method of varimax and those factors comprise 82. 5 percent of total variance. The obesity of lower body was closely related to hip angle indicated the degree of drooping hip was extracted a independent factor, not influenced by other variance. And somatotype of lower body is classified by cluster analysis, using the FASTCLUS of SAS. To classify the lower body, two kinds of silhouette, front- back and side were applied to analize. The front- back silhouette was subdivided into five groups and the side silhouette four.

• Journal of rehabilitation welfare engineering & assistive technology
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• v.8 no.2
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• pp.133-138
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• 2014

In this paper, a simple but efficient gait recognition method using spatial-temporal silhouette analysis is proposed. For each image sequence, a background subtraction algorithm and a PBAS(pixel based adaptive segmenter) procedure are first used to segment the moving silhouettes of a walking figure. Then, to identify people, the step count and stride length of walking figure is obtained in silhouette images. Experimental results on a CASIA dataset including 124 subjects demonstrate the validity of the proposed method. Also, the proposed system are believed to have a sufficient feasibility for the application to gait recognition.

• Journal of the Korean Society of Costume
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• v.13
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• pp.21-37
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• 1989

In May 1987, 11 clay icons and other stone products were excavated in an abandoned ancient tomb which was located in 541-1 Hwangsung-dong, Kyungju. 6 clay figures of them were depicted realistically man's features and postures, costume at that time that they gave a lot of significance to the fields of Korean Costume's Academic Society. The main purpose of this thesis is to study the background of costume history when it was made and its formal characteristics with the study of those 6 clay figures. Shilla accepted the customs and attires of Sui and T'ang by means of frequent in coming and out going Chinese envoy as well as Shilla's envoy, monks, hostages, and students in China. From that period, the diversity of Shilla's costume began to develop by introducing Tang's style into Shilla's costume. Crested hat of men's clothing of the clay figures in Hwangsung- Dong is Bokdu Men's figure II wore Bokdu which Hugak is attached to Byunhyung. The garment is a Po and it is a tight sleeve and silhouette's Banryungpo. The horizontal line of hemline of men's figure 1 can be presumed by expression of Ran though it is not as accurate as the clay figues in Yongg-ang-Dong. As for torso part 1, it can not be known the style of the crested hat because the head part was damaged, but it were shoes, belt and common sleeve, Banryungpo on tight sleeve shirt and tight trouser. The hair style of the women's clothing in Hwangsung-dong clay figure is Bukkye peculiar to Korea. The costume was slim silhouette that people wore tight sleeve and short blouse and long skirt and belted on their bosom which dresses style was in vogue from late Sui dynasty to the early years of the Tang period. The silh ouette of slim silhouette's high waist which can be seen in the women's dresses is mainly worn by Chinese and affected Shilla's costume. Therefore the dresses style of the clay figures in Hwagsung-Dong, it is considered it is a dresses style of tight sleeves and slim silhouette together with the adaptation and abolition of foreign elements on the basis of Shilla's own elements like Bukkye hair style and tight sleeve and silhouette. The style of Yonggang-Dong's clay figures expresses spherical gei and common sleeve, loose silhouette of flourishing Tang's costumes planly whereas the style of Hwangsung-Dong's clay costumes expresses refined spirit of the Shilla(Shillaism) though it is extremly simple.

• Proceedings of the ESK Conference
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• 1997.10a
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• pp.40-55
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• 1997

The purpose of this study are to examine the characters of the lower half body shape in the middle aged women and to make slacks patttern on the base of four difference body shapes as follows. The lower half body shapes were classified into 4 types on the basis of their lateral view silhouette, whose characters were summarized as followings. (1) "Type 1" meant the right body shape with the standard protrusion of abdomen and hips. (2) "Type 2" showed the body shape with prominent hips, which had the flat abdominal silhouette and the greatly curved hips silhouette. (3) "Type 3" was the body shape with the prominent abdomen and the flat hips, in which the frontal view silhouette of the abdomen was greatly curved and the rear view silhouette of hips is less curved. (4) "Type 4" was characterized with prominent abdomen and hips. The slaks patterns were based on the lower half body shape characters and resulted in followings. (1) In the type 1, little difference from conventional patterns was seen in experiment pattern, in which the front waist girth was W/4{\times}0.5cm+0.5cm+fold(2.5cm) and the back waist girth W/4+0.5cm-0.5cm+dart(3.5cm). The front hip girth was defined as H/4+2.0cm+0.5cm and the back hip girth as H/4+2.0cm-0.5cm due to its increased ease amount produced by abdominal fat deposition. (2) In the type 2 experimental pattern, the front and back differences of the waist girth and the hip girth were defined as 1.0cm and 2.0cm separately. Accordingly, the front waist girth was W/4+0.5cm+ 1.0cm+fold(2.0cm), the back waist girth W/4+0.5cm-1.0cm+dart(6.5cm), the front hip girth H/4+2.0cm+1.0cm and the back hip girth H/4+2.0cm-1.0cm. (3) In type 3, the front waist girth was set up as W/4+0.5cm+0.5cm+fold (4.5cm) for the increased front fold amount and the back waist girth was W/4+0.5cm+0.5cm+dart(3.0cm). The front hip girth was made as H/4+2.5cm+0.5cm and the back hip girth H/4+2.5cm-0.5cm. (4) In type 4, considered were $\circled1$ the increased fornt fold amount due to the abdonimal protrusion, $\circled2$ the increased back dart amount and the decreased back dart length owing to the hips prominent and $\circled3$ the front and back differences of waist and hip girth for the lateral view silhouette. Therefore the front waist girth was defined as W/4+0.5cm+2.0cm+flod (5.0cm), the back waist girth as W/4+0.5cm-20.cm+dart(4.0cm), the front hip girth as H/4+2.0cm+1.0cm and the back hip girth as H/4+2.0cm-1.0cm. The sensory evaluation of appearance and comfort was appeared more suitable on the experiment pattern than on the conventional pattern.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1998.11a
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• pp.235-249
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• 1998

The purpose of this study is to provide an understanding of the designs that aid in the production or selection of clothing that generally corresponds with the contours of the human body. The study looks at effective and attractive clothing design used in various situations with the goal of gaining understanding of the nuances of women's jackets. To achieve the goals of this jacket study, a sensuous test was employed and several horizontal sections, based on silhouette appearance, were compared and then analysed. The sensuous test was aimed at understanding the visual effects of the silhouette of the jacket.

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1205-1220
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• 2011

The purpose of this study is to verify the change of body posture by putting on the late $19^{th}$ century English women's bodice or waistcoat. This study analyzed the female somatotype which puts on upper garments of Victorian era with using 3D body scan technology. Two sets of $19^{th}$ century women's bodice and waistcoat patterns were developed with the $19^{th}$ century model size and those patterns were used for making the experimental garments. The fit of experimental garments was evaluated by the degree of change with posture and waist measurements. Three women with the same waist girth measurements with the model size were participated to the fitting test. The postural change was measured from cross-sectional body diagrams. The result of this study showed that the waist measurement of the late $19^{th}$ century English women's bodice and waistcoat pattern was smaller than the waist girth measurement. These garments compressed the midriff of the body and it made women's distinct body silhouette. The waist girth measurement of 1876 bodice pattern was 9.2cm smaller than presented model size. The subjects' waist girth measurements were shortened by 5.0~6.1cm after wearing the 1876 bodice garment. The waist girth measurement of 1880 waistcoat pattern was 7.1cm smaller than presented model size. The subjects' waist girth measurements were shortened by 2.7~3.7cm after wearing the 1880 waistcoat garment. The back side parts of their waist were compressed and their postures were changed. The neck and shoulders were moved forward after wearing the experimental garments. These results showed that body posture could be changed to "S" shape silhouette as wearing the late $19^{th}$ century English women's bodice or waistcoat.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.383-395
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• 2009

The purpose of this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.5 s.164
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• pp.729-741
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• 2007

In order to examine the characteristics of brassiere products for the 1924 generation brands on the market and grasp problems, we selected three 'comparative brassieres', each one from among the 1924 underwear brands with the highest recognition and sales profit, and then designed a 'sample brassiere' pattern(75A) with a similar shape to the comparative brassieres. We set up the "New Cup Grading Rule" with a view of reflecting the wearing effect that was varied according to cup sizes, graded the sizes of 75AA and 75B with this method, and made the sample brassieres in three sizes. We conducted the wearing evaluation and body measurements of 9 subjects after analyzing the patterns and characteristics of the sample brassieres and three comparative brassieres. As a result of the wearing evaluation, the sample and comparative brassiere 2, the dimensions and shapes were appropriate for the 1924 generation consumers and expressed an overall natural silhouette, showed satisfactory results in the entire evaluation questions. On the other hand, the comparative brassiere 1 and 3 that tended toward making a big change in the physical characteristics got unsatisfactory evaluations in the dimensions of the cups, clothing pressure, and bust silhouette. As a result of observing the variation in body dimensions by body measurements when nude and when wearing each brassiere and then summing it up with the score of the wearing evaluation, it was proven that too much change in body shape can create a negative image by upsetting the balance of the whole silhouette. Therefore, it is desirable to develop brassiere products with proper dimensions and clothing pressure that can make a physical change that harmonizes the overall bust silhouette and the position and shape of the breasts.