• 한국융합학회논문지
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• 제10권3호
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• pp.291-296
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• 2019

영화 시장에서 분장은 산업의 발전에 따라 전문적인 기술의 다양한 분장 방법들이 선보이고 있다. 따라서 영화유형의 변화와 그에 따른 영화분장 트렌드 분석의 필요성이 요구 된다. 무성영화시대의 초기 분장 특징은 스테이지무대 메이크업 분장이 그대로 활용되었다. 유성영화시대의 분장 특징은 리얼리티를 살린 사실적이고 구체적인 분장이 표현되었으며 스트리트 분장, 캐릭터 분장, 특수효과 분장 및 CGI 분장을 볼 수 있다. 4차 산업의 발전으로 CGI특수효과는 영화의 배경뿐만 아니라 분장에서도 정교함과 사실적인 표현이 가능해 졌다. 영화에서 분장은 CGI분장을 단독으로 사용하는 것이 아니라 스트리트 분장, 캐릭터 분장, 특수효과 분장 등이 복합적으로 활용되고 있다. 따라서 다양한 분장 교육이 필요하며 향 후 국내 영화산업에서도 충분한 제정 확보로 특수효과분장 및 디지털 분장 기술부분의 교육 및 개선과 대책이 마련된다면 한국의 영화산업이 국내외 시장에서 더욱 활성화 될 것이라 사료된다.

• 한국의상디자인학회지
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• 제21권3호
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• pp.55-66
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• 2019

The makeup experience service in a theme park was analyzed for the study on the makeup service using experiential marketing based on recent consumer experience. The results of the study showed that the utilization, marketing effect, and lifestyle in makeup service at the Experiential marketing are analyzed. In other words, according to the variables, the purpose of this study is to the effect on the satisfaction, loyalty, and Intent to revisit. In this study, in order to achieve this, literature research and Empirical study on the same time. In literature review, Theories and previous studies were considered which are about experience marketing, lifestyle, makeup service, loyalty, satisfaction, and the intent to revisit. Then, a research model and a hypothesis were established. In empirical study, Based on this, it was applied to the makeup service in a theme park and verified through analysis methods such as frequency analysis, reliability verification, factor analysis, and structural equation modeling. The results showed that experience marketing and lifestyle had a significant influence on satisfaction, loyalty, and return visit intention. Based on this research, the makeup service using experience marketing would be hopefully more practical as a typical culture content marketing.

• 복식
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• 제61권5호
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• pp.48-63
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• 2011

Digital makeup(DM), depending upon computer graphic softwares, is applied to various fields, e.g. character works in movie and game industries and visual printouts in printing works. Focused on makeup field, DM is extremely conducive to developing, scientizing and informationalizing makeup patterns. Despite of unlimited potential of DM of which market size has been growing day by day, its practical use by domestic makeup experts and educators is much less active than expected as far, due to the lack of knowledge accumulation. The purpose of this study is to suggest some theoretical frameworks to generalize DM techniques and analyze two cases using the frames therefore support academicians' recent efforts to theorize DM techniques. The study 1) defines and categorizes the concepts of DM and DFX(digital special effect); 2) reviews the literature relevant to DM and generalizes the types and methods of DM techniques; 3) applies general frames to analyzing two movie cases, famous for their DM effects; 4) then suggests, based upon analytical results, some efficient ways for makeup experts to use DM techniques in practice. This study contributes to providing the theoretical grounds to conceptualize DM thus broadening makeup artists' interests in DM and awakening the scholarly concerns in cultural technology including DM.

• 복식
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• 제53권8호
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• pp.21-37
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• 2003

The purpose of this paper is to be studied the Devil's types and the special effect makeup's techniques expressed on horror movies. As the theoretical background, the researcher inquired the origin of Satan, Demon and Devil, and the shapes and meanings portrayed in the religion, philosophy art and literature. Also classified the Devil's types of the movies, and examined the factors, techniques and aesthetic characteristics of special effect makeup for each of them. The results are as follows. 1. The Devil's types are the Werewolf, the Zombie and the Vampire. The Werewolf is a kind of Devil that changes into a wolf when the full moon rises. It requires animatronics, rubber body suits, furs and fangs for special makeup effects. The Zombie is a dead body that the exorcist restored with a narcotic drug, and it nibbles on human's brain and flesh. So it needs decayed or pale skins, scars, bald heads, non-focus eyes and false teeth for making this character. The Vampire is a bloodsucking ghost. Therefore, it uses fangs, evil eyes, rubber body suits and dropping blood for special effect makeup. 2. They expresses Sadism, Masquerade and Cruelty as the aesthetic characteristics of the Devil's special effect makeup.

• 한국융합학회논문지
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• 제12권1호
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• pp.275-281
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• 2021

본 연구는 뮬란시 스토리의 중국 남북조시대와 수나라, 당나라시대를 배경으로 제작된 뮬란의 영상 작품 분석을 통해 뮬란 캐릭터 메이크업의 차이점을 분석하고 시대적 메이크업의 전통문화 반영 여부를 파악하는데 연구 목적이 있다. 연구방법은 메이크업 이미지 분석을 진행하며 뮬란이 평소 집에서 생활할 때의 모습, 군대에서의 뮬란의 모습, 뮬란이 메이크업을 한 뒤의 모습 3장면의 모습을 남북조, 수나라, 당나라시대의 실제 메이크업과의 비교 분석하였다. 시대적 메이크업을 참고한 작품은 영화 <뮬란>(2020)과 <화뮬란>(2020), 드라마 <화뮬란>(1998)등 3편이 있으며, <뮬란>(2020)과 영화 <화뮬란>(2020) 두 편의 뮬란 영화가 어황장, 면엽, 사홍 등 남북조 시대 메이크업을 활용해 캐릭터 뮬란을 연출하고 있다. 수나라, 당나라 시대 메이크업 문화를 기본으로 한 작품은 <화뮬란>(1964)이 있다. 본 논문을 통해 향후 뮬란 관련 영상 작품의 발전이 있기를 기대하며, 그와 동시에 중국 남북조 시대와 수나라 당나라시대를 배경으로 하는 영상물 제작 시 시대에 따른 메이크업 연출이 영상물의 창작에 도움이 될 것이라 사료된다.

• 패션비즈니스
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• 제13권4호
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• pp.60-76
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• 2009

Expression of woman characters in fusion traditional dramas plays a role of making the progress of dramas not bigoted and new. Especially, woman characters have a high weight as a heroine by an increase in their image in fusion traditional dramas. Expression of characters harmonizing modern with tradition has also given a help in reflecting a trend of the present times. Hair style and face makeup of woman characters in fusion traditional dramas are in the process of fusionization getting an effect from postmodernism. They are expressing the hair style of symbolization modern elements of hair style to traditional hair styles. They also expressed a neutral image with faded hair styles in the shaggy cut style and dye of neoplaticism. Neo-hippie style was changed into the style of naturalism and nationalism and the hair style braided in various branches as the one of Indians was changed into a primitive and national feature. It is producing a new style by permitting even a long-hair permanent wave hair style. Expression of straight hair style, a long-hair shaggy & bulging wave style and a hair style of neoplaticism, was distinguished. In the side of face makeup, they expressed its luxurious and splendid style by attaching great importance to its luster and are exposing images of characters by a smoky makeup emphasizing eye lines. Their face makeup was almost never separated from present dramas as using pearl shadow in a glossy lips makeup and color, which made it possible to express it more dramatically in fusion traditional dramas than in present dramas. In the event of the makeup element of fusion traditional dramas permitting diversity, the character makeup of fusion traditional dramas made a foundation to show people diverse elements of makeup by mix & match a present elements and past elements of historical research, which made it possible to express a unique makeup or a special makeup. Diverse makeup expressions were limited by reflection of illumination even in the existing videos. Therefore, 'Fusion' made it possible to express it more freely in fusion traditional dramas than in present dramas.

• 한국의상디자인학회지
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• 제16권2호
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• pp.127-137
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• 2014

The following are summary and result of this study. The purpose of this study was to research into TV makeup types focusing on Korean aesthetics with recognizing importance of Korean thought amid what the global interest pays attention to South Korea thanks to the recent influence of Hanryu(Korean wave). The humorous beauty reflects Korean people's optimistic attitude dubbed the realization of joy, anger, sorrow, and pleasure through opposition and convergence in ambivalent emotion with the superb attitude available for escaping from a stoic life. This is being indicated in the shocking form of embracing the avant-garde experiment through transforming and distorting by positively accepting humor and ugliness, which are the form of distortion and exaggeration, which strive for departing from sorrow through TV entertainment programs. This trend is being shown similarly to the tendency of giving mental satisfaction to human being with amusement while accepting ugliness as new beauty with the de-centralized recognition in the late 20th century. Accordingly, as the makeup of focusing on presenting character begins to be noted even in makeup, the similarity was being shown to the recent trend. This study is expected to contribute to continuous development in our country's makeup and TV broadcasting art field by being expanded the atmosphere of more systematic and in-depth research.

• 패션비즈니스
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• 제19권3호
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

• 한국패션뷰티학회지
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• 제3권2호
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• pp.1-11
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• 2005

This study is focusing on typicalized character make-up of TV Drama characters. The purpose of this study is to analyze the interconnections of its images and impressiology concretely, and then reflect on an application approach of impressiology. The aim of make-up lies in not only helping actors to visualize their own external qualities, appropriate the quality of a play, but also audience and spectators to be immersed in the concrete fact of i character person. Impressiology will be a data to give the understanding and sympathy of make-up work. I would like to utilize character make-up based on impressiology for creative and effective make-up techniques, and make it a typicalized character. Also I will examine the horizon of a new make-up technique through character development according to the demandes of the times. As a result of this study, we find that expression method of characteristic character generalized representatively is the common quality of impressiologistc image. Also we see that such a impressioiogistic image is useful for the fundamental basis of character expression method.

• 패션비즈니스
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• 제16권3호
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• pp.63-77
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• 2012

This study action drama TV drama 'Ya-ha'(夜叉) the actual work practices of the pre-consultation stage through the Writers, Producer, Art directors and in consultation with the opinion of the character set the record of the contents and character changes over time in accordance with characters makeup the design elements were analyzed. The methods of study was used local and abroad related books, studies, publications and cases and the subjects were limited to be four male make up characters in drama 'Ya-cha'. As a result, TV action drama 'Ya-cha' make up design elements and representation techniques were classified as description of skin tone, wound, the shape of eyebrows, hair type, shape of beard and materials and carried out an important role in the character representation. First, presentation techniques changed skin tones depending on character and position and described wound shape as expression technique and materials were analyzed. Second, the shape of eyebrows was based on the physiognomy of the form. And hair type changed volume, thickness, length and texture depending on character. Third, shape of beard is expressed different kinds of volume, thickness, length and texture depending on character. There fore, that systematization of the make-up design elements is useful to express stable characters and make drama for make up in various image genres.