• Journal of Fashion Business
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• v.13 no.4
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• pp.124-136
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• 2009

This study was focused on classifying lower-body trunk and revealing the lower-body characteristics of the Chinese males in their 20s through 40s for their slacks pattern design. Compared with the 20s, the subjects in their 30s and 40s had small vertical and big horizontal sizes and showed a somatotype difference through a horizontal change. According to the size of absolute values, the lower body of Chinese men was "tall and normal trunk"(43.9%). Based on the shape of index values, Type 3(40.3%) was representative with average hip-surface length, waist-hip width difference and long upper hip. While Type 3 was seen a lot in the 20s(51.8%), 30s and 40s were each represented by Type 2(47.1%) with the smallest waist-hip width difference, average upper hip, and long hip-surface length and Type 1(45.9%) with small waist-hip width difference, average upper hip, and short hip-surface length. As this study is confined to Ningbo City of Zhejiang Province and has a small number of subjects, the generalization of the findings should be more serious. Further research will be centered on the development of slacks patterns in consideration of the body type changes.

• Fashion & Textile Research Journal
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• v.21 no.3
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• pp.326-335
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• 2019

This study categorized 100 female subjects over 65 years of age into two groups. The first group is called 'early stage of varus', which is when the gap between the knees is less than 5 cm. The second group is called 'progressive varus', which is when the gap between knees is 5 cm (or more). We then analyzed their lower body shapes and life status. The results were as follows. The average gap between knees in the early stage group and the progressive group was 3.3 cm and 6.2 cm. Direct and indirect measurements of their lower bodies showed that subjects in the progressive group had longer legs than the other group because their legs were bent outwards. Most of the subjects were found to live in western housing conditions, but maintained sedentary lifestyles. A total of 60% of the subjects thought that they were in bad health conditions and said that they found it difficult to move their knees dynamically; in addition, 63.6% of the subjects in the early stage group and 73.5% of the subjects in the progressive group suffered from arthritis. Subjects in the progressive group were more aware than the other group that their legs were bent outwards. They also responded that bent legs do harm to their appearance and make their lives uncomfortable. Most senior females with varus did not seek medical treatment and did not buy clothes that can help change their varus. However, 95% of the subjects responded they were in need for clothes that could straighten the varus-type.

• Journal of Fashion Business
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• v.12 no.2
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• pp.87-99
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• 2008

This study aims to classify lower trunk body types of Chinese men in their middle age (30s and 40s) and suggest the standard for them to design slacks pattern. Mollison's relation deviations were used to analyze the direct measurement items in this research compared to those of Size Korea 2004. Though Korean middle-aged men were higher in most items than Chinese counterparts, all items except mid-thigh circumference and side hip length were merely within the range of ${\pm}1\sigma$. According to the results of size classification by absolute values, factor analysis extracted to 2 factors(horizontal size of lower body and vertical size of lower body), and cluster analysis brought about 3 types(type1: tall and thin trunk (36.9%), type 2 : normal height and thick trunk(45.5%), and type 3 : short and normal trunk(17.6%) with some significant differences among them. Also, the results of shape classification by index values, they were extracted 4 factors (waist-hip flatness, waist-hip cross section, vertical waist-groin and hip-surface length) by factor analysis and revealed 3 types(type 1: different waist-hip width, thick, long waist, long upper hip, and short hip-surface length(27.8%), type 2 : different waist-hip width, flat, short upper hip, high hip and groin, and average hip-surface length(29.4%), and type 3: small waist-hip width, thick, average upper hip, and short hip-surface length (42.8%)) with significant differences among them by cluster analysis. The results of standard body types by shape-size combination, 19subjects(10.16%) under these values are regarded as standard body types. Significance was not seen in all items in the t-test results between the total group and the standard group. The latter had lower variation coefficients and smaller individual differences than the former. However, in-depth research is required for generalization since this research is limited to a small number of subjects in Ningbo of Zhejiang.

• Journal of the Korean Applied Science and Technology
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• v.41 no.2
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• pp.338-348
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• 2024

Airbrushes are being utilized in various industries due to their practicality and ability to express a wide range of designs. Especially in the field of body painting, they have become an essential tool for artists. Airbrushes enable precise color application, shaping, and gradient expression, thereby reducing work time, which has led to their increasing use in the field of body painting. This study aims to present the latest design trends in airbrush body painting by analyzing the design composition, color planning, blending, and expression techniques, focusing on award-winning works in the airbrush-exclusive category of internationally recognized World Bodypainting Festivals. The results are as follows. Firstly, in terms of design composition, emphasis and balance principles are primarily used. The main image is emphasized at the center of the upper body, while a balanced composition with left-right symmetry is observed in the lower body. Secondly, color planning and blending primarily utilize contrasting colors to enhance visibility. Thirdly, all major award-winning works utilize stencil and gradient techniques to accurately depict shapes and add dimension. Based on these analyses, body painting designs were planned and executed using airbrushes. Through such artwork production, the artistic utilization of airbrush body painting is aimed to be popularized, contributing to domestic research in the field of airbrush body painting.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1690-1696
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• 2006

The purpose of this study is to provide the basic data useful in designing apparel patterns for aged abdominal obese women. The body measurements of 318 women were taken at random, whose ages were over 60 and fields of action were colleges, sports centers, or business sites in Seoul and the neighboring districts. A total of 33 features in the upper body and lower body were used fer the anthropometric measurement and analysis using anthropometry. The collected measurement data were processed statistically using the SPSS 12.0 program for technical statistical analysis, t-test, frequency analysis, correlation analysis. The results of the study are as follows. 1. Subjects were classified into two groups as a result of analysis for measurement data. It was revealed that 251(about 79 percent) women of total subjects(n=318) have a characteristic of abdominal obese body type and elderly women of these group usually had big abdomen rather than hip. The criteria of abdominal obesity based on waist-hip ratio, WHR(=0.85). 2. Aged abdominal obese women have shown much larger size in most body measurements except items of some vertical length, such as bust ponit-bust point, font interscye, back interscye with circumference and depth of armscye, bust, waist, abdomen and hip while showing no difference in height, biacrominal breadth, hip width, neck shoulder point to breast point, crotch length. 3. Vervaeck index(=100.1) and Rohrer index(=1.7) indicated that the abdominal obese women were fat in overall body. And aspect ratio of waist(=0.86), abdomen(=0.92) and hip(=0.75) also appeared high that the shape of cross sections in those regions was similar to a figure of circle 4. In view of the correlation coefficient between hip circumference and the rest measurement items, and between hip circumference inclusively of the abdomen protrusion and the rest measurement items, there were found some differences for each group. In case of Group (abdominal obese group), the former is smaller than the other. 5. In case of Abdominal obese women, hip circumference inclusively of the abdomen protrusion is more mutually related to the rest items related to make apparel pattern as waist circumference, depth of armscye and so on than what hip circumference is. This result indicated which must be considered hip circumference inclusively of the abdomen protrusion to make apparel patterns for abdominal obese women unlike women of common body types.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.130-153
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• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.