• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.121-133
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• 2016

The purpose of this study is to recognize the differences of visual evaluation by variations in pattern and silhouette of the block dresses. The stimuli are 9 samples: 3 variations of the silhouette and 3 variations of the size of pattern. The data has been obtained from 55 fashion students and has been analyzed by using Factor Analysis, Anova, Scheffe's Test and the MCA method. The results of this study are as follows; 1) The visual evaluation by pattern and silhouette of block dresses are composed of 4 factors: lovable personality, physical characteristics, boldness, and simplicity. 2) Block dresses were evaluated to display the figure more efficiently, such as looking slimmer or taller, in the order of 2nd stage, 1st stage, and 3rd stage in every silhouette. As the patterns became bigger, straight silhouette dresses were judged to have bolder, more dignified images. 3) Block dresses were evaluated to have cute and lively images in order of hourglass silhouette, straight silhouette, and fitted silhouette in every pattern. They were evaluated to appear slimmer and taller in order of hourglass silhouette, fitted silhouette, and straight silhouette in every pattern. 1st stage and 2nd stage dresses were evaluated to have a bolder, more dignified image in order of fitted silhouette, hourglass silhouette, and straight silhouette. 4) The pattern and the silhouette of the block dresses interacted with boldness. These were the boldest, most dignified image in the fitted silhouette and 1st stage, while they were not judged so in the case of the straight silhouette and 1st stage. 5) According to the MCA regarding lovable personality and physical characteristics, the silhouette affected the visual image of the block dresses more than the pattern did. According to the MCA on simplicity, the pattern affected the visual image of the block dresses more than the silhouette.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.73-87
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• 2004

In the designing stage, the HANBOK CHIMA is created using a flat pattern with linear shapes. However, when worn, the skirt creates a fluid and organic silhouette. According to the wearing method(wrapping), HANBOK CHIMA can create various shapes and movements. In comparison to the general skirt, It is more effective in revealing the wearer's sense of beauty. The method of wrapping the skirt from the rear is a suitable way of wearing the garment in accord with the Korean ON-DOL(온돌) culture and it creates mystique eroticism. We can devide the silhouettes according to six different period of time. The silhouette of HANBOK CHIMA is affected by the following elements: length, width, pleats, textures and the usage of underwear. [1. Koguryo (5C∼6C) - The first Tent silhouette. 2. The South Dynasty Silla (7C∼8C) - The second Tent silhouette. 3. Kyoryo dynasty (l4C) - Cylinder silhouette. 4. The first Chosun dynasty (late 14C∼17C) - Bell silhouette and Cylinder silhouette. 5. The second Chosun dynasty (mid 18C∼mid 19C) - Bell silhouette and Barrel silhouette. 6. The third Chosun dynasty (late 19C∼the beginning of 20C) - Tent, Cylinder and Bell silhouette.]

• Fashion & Textile Research Journal
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• v.14 no.2
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• pp.184-192
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• 2012

This study analyzed silhouette expressions in the fashion illustrations by theory based on results of studying the characteristics of the forms and meanings of the silhouette expressions in art historically. For the actual considering this study collected and categorized fashion illustrations from 1990 to the present limitedly, and clarified the meaning of the silhouette expressions. Those expressions in fashion illustrations were categorized to the 5 items; black & white silhouette, color silhoutte, pattern silhouette, paper silhouette, line silhouette. Silhouette expressions of the fashion illustrations were categorized to 3 items: metaphorical fantasy, essential minimization, anonymous representation.

• Journal of Korea Multimedia Society
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• v.11 no.6
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• pp.755-763
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• 2008

Silhouette is useful in computer graphics for a number of techniques such as non-photorealistic rendering, silhouette clipping, and blueprint generating. Methods for generating silhouette are classified into three categories: image-based, object-based, and hybrid-based. Hybrid-based method is effective in terms of time complexity but spatial coherence problem still remains. In this paper, we proposed a new hybrid-based method which produces 3D data for silhouette and also guarantees no spatial coherence problem. To verify the efficiency of the proposed algorithm, several experiments are conducted for various 3D models from simple to quite complex. Results show that our algorithm generates no gap between any two consecutive silhouette lines when the silhouette model is magnified significantly.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.4
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• pp.91-100
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• 2015

The purpose of this study is to analyze the style of check dresses shown in collections from 2011 to 2014 and to extract main expressional words for the development of semantic differential scales of visual images according to the change in silhouette of block check dresses. The results of this study are as follows: 1) 120 check dresses shown in collections were composed of 57 straight silhouette dresses, 38 fitted silhouette dresses, 23 hourglass silhouette dresses, 1 barrel silhouette dress, and 1 atypical silhouette dress. And check pattern mostly used in the current collections a square pattern of block check, tartan check that is a Scotch traditional lattice pattern, a small lattice pattern of gingham check, over check that other check patterns are arranged on check pattern, star-shaped hound tooth check, glen check mixing small pattern and big pattern. The visual image for check dress differs according to changes in the check pattern and silhouette of the dress. 2) Main expressional words of visual images for block check dresses differ greatly depending on the silhouette of dresses. The visual images are ranked in the order of 'graphic', 'simple', 'hard', 'modern' for straight silhouette of block check dresses. The words of 'lively', 'girlish', 'feminine', 'cute' are ranked for hourglass silhouette of block check dresses. And the words of 'confident', 'feminine', 'modern' are marked down for fitted silhouette of block check dresses.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.4
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• pp.631-646
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• 1996

The purpose of this study was to investigate the difference of visual evaluation about silhouette image. The specific objective were; 1) to construct of silhouette image evaluation instrument using semantic differential scale for the purpose of measuring the width and length; 2) to identify the factor structure of the silhouette; 3) to test the difference of visual perception to the silhouette as the variation of width; 4) to test the difference of visual perception to the silhouette as the variation of length; 5) to test interaction effect between width and length. The major finding were; For the visual evaluation of silhouette as shoulder width variatiorl, there were significant difference in hardness and softness factor. For the hard and soft image, we should express by variation of the shoulder width. For the visual evaluation of silhouette as skirt width variation, there were significant difference in attention factor. For the attensive image, we should express by variation of the skirt width. For the visual evaluation of silhouette as skirt length variation, there were significant difference in activity factor. For the active image, we should express by variation of the skirt length.

• Fashion & Textile Research Journal
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• v.2 no.3
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• pp.246-252
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• 2000

The purpose of this study was to analyze the characteristics of the factor structure in Clothing Silhouette Image and the differences of Image Evaluation related to Grouping of Line and Grouping of Body Emphasis using Silhouette Image Factor and Life Space as variables. Clothing Silhouette Image was estimated by the photographs of 9 Life Spaces ${\times}$ 23 Clothing Silhouettes with 15 semantic differentiated by-polar scales. The major finding were : The factor structure of Clothing Silhouette Image were found to include 4 factor dimensions-Capability Evaluation, Function, Activity. It was clear that Silhouette Image were affected by Life Spaces. There were the differences of Image Evaluation related to Grouping of Line and Grouping of Body Emphasis. There were the differences of Life Space Evaluation related to Grouping of Line and Grouping of Body Emphasis. Therefore it is important to considerate Life Space for selecting Clothing Silhouette.

• Journal of the Korean Society of Costume
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• v.50
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• pp.5-22
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• 2000

The study on the past costume should be done first for the creation of new style of fashion. That is one of the reasons why we have to annalize characteristic style in each period. Before the latter of nineteenth century one must have made the costume by draping design. Because the complicated clothes can be expressed by draping deign think that the subject draping design is even more important than other subject. But there haven't been the studies that analyzed the pattern of Art Nouveau style by draping design in Korea. Art Nouveau style is a certain one that was relatively more changeable than the ones of other periods. The purpose of this study is the analysis about the patterns of hourglass and S-curve style which represented the Art Nouveau style. The results of the study summarized as follows. 1. Bodice pattern : In the front Hourglass silhouette has the princess line for fitting bodice while S-curve silhouette has the wide midriff due to the blousing. There is the yoke in S-curve one. In the pattern of back bodice we can't see the much differences but Hourglass silhouette is used the princess line like the front one while S-curve is made use of the waist darts for fitting back. 2. Sleeve pattern : Hourglass silhouette is made of two pieces the upper part and lower part besides S-curve is consisted of one pieces. The former has the big upper part in order to the emphasis of the shoulder and the tight lower part. The latter is the tight sleeve that similar to the basic sleeve pattern at present. 3. Skirt pattern: There is partially a gored line in the front skirt in Hourglass silhouette however S-curve silhouette is consisted of the six pieces gored skirt. At this part we can also see the fact that s-curve is more complicated than Hourglass silhouette. 4. Others: Wecan find out the differences between Hourglass and S-curve pattern easily at the parts of the collar flounce wing and so on. Summing up, the patterns of S-curve style are more expanded than those of Hourgalss style for the most part.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.140-149
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• 2013

The study aims to suggest new skirt designs through a modernistic application of the silhouette of Hanbok skirts. It also aims to promote the aesthetic beauty and excellence of Hanbok to the world by using Hanbok skirts that best express the beauty of Korea as motifs, and to promote a pride in Korean culture through a reinterpretation of Hanbok skirts. The study was focused on examining Hanbok skirts from the Three Kingdoms era to the Joseon Dynasty, and the skirts in each era were compared to western silhouettes to suggest design centering on the characteristics of each silhouette. As for the theoretical background, shapes were classified according to waist-grip, the width and length of a skirt, wrinkles and ornamental lines, before being compared to skirt silhouettes of western costume. As a result, it was found that Hanbok skirt silhouettes in the Three Kingdoms era were similar to the A-Line silhouette of western costume, the Empire silhouette of unified Silla, the H-Line silhouette of the Goryeo Dynasty, the Bell-Line silhouette of the Joseon Dynasty and the Bustle Style applied to ceremonial costume in the early Joseon Dynasty. The researcher suggested five skirt designs by applying the above-mentioned five silhouettes, confirming the research premise that Hanbok skirt silhouettes are as diversified as those found in western costume. Designs were suggested for each silhouette, and are expected to lead to the development of designs befitting future trends and concepts through detailed research and development on Hanbok skirt silhouettes.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.10-19
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• 2008

In this paper, we propose an automated silhouette extraction method that can effectively extract inner-patterns and silhouettes from 3D scan data of cultural asset. First of all, after creating the edge list of 3D vector data, we decide contour edge and crease edge according to viewpoint. In the next step, after extracting surface silhouette by investigating the vector variation of adjacent faces in crease edge, we finally extract the contour silhouette and surface silhouette for generating the blueprint of cultural asset. To evaluate the performance of the proposed silhouette extraction method, we performed experiments of silhouette extraction using a traditional tile model, a car model and a stone monument model. Comparing with the conventional threshold-based silhouette extraction method, the proposed method extracted more distinct and clear surface silhouettes and inner-patterns by effectively removing meaningless edges, such as noise.