• 패션비즈니스
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• 제21권1호
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• pp.58-73
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• 2017

The purpose of this study was to examine the need of the eyelash design area and the changes of an eye image according to eyelash design. Methodology included both a theoretical research and an empirical research. The theoretical research reviewed previous researches and technical books. The empirical research divided eye shapes, complemented the defect of eye shapes, and examined resulting image changes. A mechanical way was performed for treatment because it was more efficient than a manual way. A J-curl type was used. Eye length was divided into five and the point was determined. The length and density of curl were changed in each point to maximize a treatment effect. As a result, eye images were changed as follows. First, round eyes became stable. Slit eyes became vivid and soft. Wide-set eyes became intelligent and narrow-set eyes became smooth. Large eyes were naturally gradated and small eyes became larger. Double-eyelid eyes became stable and elegant and single-eyelid eyes became gentle and soft. Bulging eyes became easy and soft and sunken eyes became smooth. Peaked eyes became gentle and soft and sleepy eyes became strong and vivid. Based on the findings, eyelash design can play a role in changing an image according to eye shapes. In particular, a speed eyelash extension device to extend eyelash can reduce working hours and gradate only by angle control. It can complement the defect of eyes according to the design of each shape and change into a better image.

• 복식문화연구
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• 제15권3호
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• pp.510-524
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• 2007

There is something common between the Korean female Kukkuk and the Japanese Takarazuka Revue in that actors are all females and love is the main theme. Some of the females should play men's roles, so they are described as ideal men and are more manly than real men, and female audiences are attracted by them. It is hard for actresses to play men's roles-they have to stretch open their shoulders, walk with long steps and produce a deep voice. They put on a makeup a little exaggeratedly to perfectly disguise themselves as men and express strong images-some red tone makeup on their face, thick eyebrows with their ends upward, thick eye lines to make eyes seem bigger and stronger, and thick side whiskers. On the contrary, a makeup for female characters is softer to highlight femininity with thin penciled hair parted and braided on the sides of the face. The Takarazuka Revue's students are divided into male characters and female ones from the regular course of music schools, and they select their roles in consideration of their height and range of voice, mainly based on their wish. In case of male characters, they need a long career and verification of ability to be the best. Females playing men's roles and showing their manliness are violation of a social custom standardizing the character of males and females and are the reverse of roles expected by a society or a culture. A world experienced by these plays is a kind of revolt breaking the taboo of the patriarchal system.

• 감성과학
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• 제14권2호
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• pp.321-330
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• 2011

한국인의 전형적인 3가지 유형의 눈 모양 (표준 눈, 작고 외겹 눈, 올라간 눈)에 대해 명암을 변화시킨 5가지 스모키 메이크업 일러스트레이션의 이미지를 시각적 감성언어를 사용하여 체계적으로 분석하였다. 눈의 형태와 스모키 메이크업의 돈 변화(아이 쉐도우의 명암 조절)에 따라 다양한 이미지들을 표현할 수 있음을 확인하였다. 이들 스모키 메이크업 일러스트레이션들의 이미지에 대한 메이크업 전공학생과 전문가 집단의 인식은 대부분 일치하였으나, 메이크업에 대한 테크닉 구사 능력과 식견의 차이뿐만 아니라 세대 차이 등으로 인해 몇몇 일러스트레이션들에 대해서는 뚜렷한 인식의 차이가 있었다. 스모키 메이크업 일러스트레이션 자극물을 통하여 느껴지는 다양한 감성언어를 눈 형태와 스모키 메이크업의 톤 변화에 따라 느끼는 감성반응을 정리한 메이크업 이미지 포지셔닝 맵을 제시하였다. 무 메이 크업, 소프트 스모키, 면적 스모키에 대한 두 집단의 연상이미지는 각각 부드럽고 따뜻한, 부드럽고 정적 도시적, 차갑고 심플한 것으로 동일하게 평가 되었다. 반면에 면적 스모키에 대한 연상이미지는 인공적인 것(전문가 집단)과 선명하고 돋보이는 것(전공학생 집단)으로 다르게 평가되었다. 어두운 톤(dark)의 면적 스모키는 두 집단 모두 대체적으로 역동적이라는 감성평가가 나왔다. 눈 모양에 따른 메이크업 포지셔닝 맵은 스모키 메이크업을 통해 표현하고자 하는 다양한 이미지에 대한 기준을 제시하였다. 추후 다양한 눈 모양에 따른 이미지 포지셔닝 맵을 통하여 이미지 감성을 정량화 할 수 있는 기반이 될 것이다.

• 한국환경보건학회지
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• 제45권2호
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• pp.154-163
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• 2019

Objectives: The hazardous heavy metal contents of cosmetics were investigated and the resulting values were compared by type of cosmetics: skin care preparations (SCP), hair preparations (HP), makeup preparations (MP), and eye makeup preparations (EMP). Methods: The hazardous heavy metal contents (Pb, As, Cd, Sb, Ni and Hg) were analyzed for 358 cosmetics products (187 SCP, 82 HP, 56 MP, and 33 EMP). Hg was measured by the amalgamation method, and other hazardous heavy metals were measured by inductively coupled plasma optical emission spectrometer (ICP-OES) after decomposition using the microwave method. Results: The mean contents of Pb, As, Cd, Sb, Ni, and Hg in cosmetics were 0.424, 0.068, 0.024, 0.398, $0.567{\mu}/g$, and Not Detected, respectively. All of the hazardous heavy metals were detected in most products, but below the recommended maximums of the Ministry of Food and Drug Safety. The level of Cd was the lowest at 14.8%, and Sb was the highest at 41.2%. Pb, Sb and Ni showed the highest mean value and detection rate in EMP. As, Cd, and Hg showed the highest in SCP, HP, and MP, respectively. Conclusion: Hazardous heavy metals were detected in most products. In particular, Pb, Sb, and Ni were broadly detected in EMP, meaning more stringent quality control is required.

• 한국패션뷰티학회지
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• 제1권1호
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• pp.27-47
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• 2003

This research is to build the foundation of systematic application of color in cosmetology by analyzing color attributes in women's makeup presentation. The result were as follows. 1. The most popular color series in make up were R then RP and YR. The most popular color tone is 'd' and 'lt'. 2. Colors in make up according to age was as follows. For eye shadow, people aged 18 to 24 used 'lt' tone of the R color series; people aged 25 to 34 used 'lt', 's', 'sf tone of the R color series, 'lt' tone of the PB color series, 'lt' tone of the YR color series; people over 35 'g' tone of the YR color series, 'sf' tone of the P color series. For lipstick, people aged 18 to 24 used 'd' tone of the R color series; people aged 25 to 34 used 'd', 'sf' tone of the R color series; people over 35 used 'd' tone of the R color series. For lip-gloss, people aged 18 to 24 used 'v', 'lt', 'b', 's' tone of the R color series; people aged 25 to 34 used 's' 'd' 'dp' 'sf' tone of the R color series; people over 35 used 'b' tone of the R color series. 3. Make up colors according to marital status was as follows. For eye shadow, while married interviewees used 's', 'dk' tone of the R color series, single interviewees used 'lt', 'sf' tone of the R color series. For lipstick, while married interviewees used 'd', 'g' tone of the R color series, single interviewees preferred to use madder 'd', 'sf' tone of the R color series. For lip-gross, while married interviewees used 'd' tone of the R color series, single interviewees used 'b' tone of the R color series the most.

• 한국의류학회지
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• 제29권3_4호
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• pp.414-424
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• 2005

This study aims to suggest new directions for the development of make-up design by understanding characteristics of deconstruction make-up and to search for new directions and methods in theme expressions and design conceptions by making illustrations with deconstruction themes. This study examines conceptual characteristics of Derrida's deconstruction, and analyzes the various deconstruction make-up styles through the famous fashion magazines such as Beauty Collection, Collections, Fem, Modain, and Vogue since 1997. The make-up illustration works in this study were made depending on these styles. At first, the nature of deconsouction make-up can be explained as deconstruction of existing methods, deconstruction of the sexes and deconstruction of history or ethnicity. The deconstruction of existing methods can be subdivided into decadence make-up, detester make-up, graphic make-up and collage make-up. Deconstruction of the sexes can be explained androgynous make-up. Deconstruction of history or ethnicity is subdivided into white makeup, ancient Egyptian dark eye make-up and raceless make-up. The deconstruction make-up illustrations present infinite possibilities in expression styles through three dimensional expressions and media mixture using not only drawing materials including watercolor, poster-color, and color pencils but also objets including magazines, coarse fabrics, screentone, beads, suede, sand and so on. The study shows that since deconstruction make-up illustrations are not limited to depiction-centered expressions, they serve creating unique images and future inspirations.

• 한국안광학회지
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• 제19권3호
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• pp.389-396
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• 2014

목적: 신축건물 재실자들의 안구건조증을 조사하고, 안구건조증이 작업생산성 및 일상적인 활동에 미치는 영향에 대해 알아보았다. 방법: 신축한지 3개월이 지난 건물에서 일 평균 8시간 이상을 근무하는 사무직 근로자 33명을 대상으로 하였다. 실내공기질은 알데하이드류와 온습도를 측정하여 평가하였다. 안구건조증은 Ocular Surface Disease Index(OSDI)를 이용하여 정상, 경도, 중등도 및 중증으로 분류하였고, 라식수술, 눈 화장, 일일 컴퓨터와 스마트폰 사용시간, 그리고 일일 평균 근무시간을 조사하였다. 작업생산성과 일상활동 관련 설문은 Work Limitation Productivity 설문을 사용하여 손실정도를 10점 척도로 체크하였다. 결과: 사무실의 폼알데하이드 농도는 $42.42{\pm}6.30{\mu}g/m^3$ 이었고, 온습도는 각각 $26.2{\pm}0.7^{\circ}C$와 $40{\pm}1%$ 였다. 안구건조증은 정상, 경도, 중등도 및 중증이 각각 15.2%, 18.2%, 18.2%, 48.5%였다. 안구건조증의 심한 정도와 작업생산성 및 일상적인 활동의 손실 정도는 각각 0.599와 0.655의 높은 상관성을 보였다(p<0.001). 안구건조증이 중증인 경우는 정상에 비해 유의하게 높은 작업생산성 손실과 일상활동 저해를 나타냈다(p<0.001). 안구건조증이 심한 경우는 정상에 비해 작업생산성 손실과 일상활동 저해가 3점 이상일 확률이 각각 3.26배(p=0.032)와 2.25배(p=0.045) 높았다. 결론: 신축건물 사무직 근로자들의 안구건조증은 작업생산성과 일상적인 활동에 영향을 미치는 것을 확인할 수 있었다.