Search Results (3)

Chin morphology is visually impactful and significantly influences harmonious facial appearance. Therefore, it is important to know the morphological characteristics of the chin in relation to gender and skeletal pattern when performing an orthodontic and surgical orthognathic treatment. This study aimed to examine the relationship between chin size, skeletal pattern, age, gender, and ethnicity. In this study, cone-beam computed tomography images of 208 participants (males: 90, females: 118; 63 Koreans and 145 Egyptians), aged 18 years and older, were used to evaluate the size of the chin in linear dimension, volume, and skeletal pattern. The larger the vertical skeletal pattern, the larger the chin volume and the smaller the width (p < 0.01). In the anteroposterior skeletal pattern, Class III showed a larger volume than that of Class II and Class I (p < 0.01). There was no significant association between age and any of the chin-related measurements. Regarding gender, all measurements of chins were larger for men than for women (p < 0.01). In terms of ethnicity, Koreans had larger chin volumes than Egyptians p < 0.01). Chin volume was related to population, sex, anteroposterior skeletal pattern, and vertical skeletal pattern, indicating the combined effects of various factors. Full article

Traditional knowledge of the plants used for textile dyeing is disappearing due to the utilization of synthetic dyes. Recently, natural products made from plants have gained global interest. Thus, preserving traditional knowledge of textile dyeing plants is crucial. Here, we documented this knowledge by interviewing 2070 informants from 14 communities of the Chin ethnic group of Myanmar. The Chin communities we interviewed used a total of 32 plant species for textile dyeing from 29 genera in 24 families. Chromolaena odorata, Lithocarpus fenestratus, and L. pachyphyllus were the most important dye species. The most common responses described dyes that were red in color, produced from leaves, derived from tree species, collected from the wild, and used as firewood ash as a mordant to fix the dye to the fabrics. According to the IUCN Red List of threatened species, one species was registered as Data Deficient, 20 species still needed to be categorized, and 11 species were categorized as Least Concern. This study will help re-establish the use of natural dyes, encourage the cultural integrity of the indigenous people, and serve as an example for other communities to preserve their traditional knowledge of plant textile dyes. Full article

There is an impression that there are many facial differences between different American animated characters. Japanese animated characters, on the other hand, tend to be typecast, with large eyes, sharp chins, and angular faces. In essence, the subject matter of animation is primarily based on the culture of the people who make it, and the designers of the characters also have their own sense of national belonging; therefore, is it possible that the characters in animation are designed with more reference to their own people? In this study, the facial features of characters are extracted from the data of animation with high awards, box office, and ratings in America and Japan. R-language analysis of four sets of facial features data, comparing American and Japanese animated characters, was conducted using: U.S. and Japanese live action; American animated characters with American live action; and Japanese animated characters with Japanese live action. Results revealed that 23 of the 42 observations for the American animated character sample and the American live action sample were ≤0.05. Among them, 15 reference values were ≤0.001. In the group of Japanese animated characters, compared to Japanese live action, only 12 of the 42 observations were ≤0.05. Among them, seven reference values ≤ 0.001. These data prove that the design of faces of American and Japanese animated characters are exaggerated and, based on proportions of their own faces, American animators prefer to design a diverse cast of characters, which is perhaps related to the diverse ethnic structure of the United States. It is true that Japanese animated characters mostly have a single face design, and although this face has Western characteristics, it retains more of its own Japanese characteristics. However, the ‘formulaic’ style of Japanese animated characters can easily lead to aesthetic fatigue, and without continued innovation in storytelling, the character-based Japanese animation industry may be in decline. Full article