SKIN CARE METHOD EMPLOYING ORCHESTRA PERFORMANCE MANNER

Abstract

 According to the circulation of the skin, 'Lower Body Skin Care', 'Back Body Skin Care', 'Upper Body Skin Care', and 'Whole Body Skin Care' are defined and it is a skin care method in which the appropriate cosmetic ingredients are properly absorbed into the dermis layer of the skin by increasing skin temperature. Skin temperature is increased by mutual skin friction in the skin care process to moisturize skin, through rubbing, stroking, and rolling up with hands according to orchestra performance technique.
It is a skin care method by orchestra performance technique that consist of symphony orchestra with elements(Meissner corpuscle, Merkel corpuscle, Vater-Pacinian corpuscle, Ruffini corpuscle, free nerve ending, heat receptor, cold receptor, eccrine gland, fat, tissue liquid, etc.) that exist in the skin(epidermis, dermis, subcutaneous tissue, Fig. 4). It is about providing skin care method that moisturizes and tones the whole body's skin by rubbing, stroking and rolling up with hands according to orchestra performance technique by the circulation of the skin.

Description

Technical Field

[0001] This invention relates to skin care method using the performance technique of orchestra.

[0002] More specifically, according to the circulation of the skin, 'Lower Body Skin Care', 'Back Body Skin Care', 'Upper Body Skin Care', and 'Whole Body Skin Care' are defined. It is a skin care method in which the appropriate cosmetic ingredients are properly absorbed into the dermis layer of the skin by increasing skin temperature. Skin temperature is increased in the skin care process to moisturize skin, through rubbing, stroking, and rolling up with hands according to orchestra performance technique.

[0003] It is a skin care method that sublimates the artistry by reflecting orchestra performance technique of rubbing, stroking, rolling up with hands the elements (Meissner corpuscle, Merkel corpuscle, Vater-Pacinian corpuscle, Ruffini corpuscle, free nerve ending, heat receptor, cold receptor, eccrine gland, fat, tissue liquid and so on) that exist in the skin (epidermis, dermis, subcutaneous tissue, Fig. 4) in a more detailed and proper manner by adjusting the strength of the skin care.

Background Art

[0004] It is a skin care method in which three types of movement are conducted after applying proper cosmetic on the skin according to the circulation of the skin concerning the elements existing in the skin. The three motions are: 1) lightly moving in a circle using fingertip or end of an elbow (Rubbing, Fig. 1) 2) gently stroking with the entire palm (Stroking, Fig 2) 3) Putting the palm in a direction perpendicular to the lymph flow, stretching it up and moving the hand in a spiral while pulling it up (Rolling up, Fig.3)

[0005] It is about providing skin care method that moisturizes and tones the whole body's skin by rubbing, stroking and rolling up with hands according to orchestra performance technique considering the circulation of the skin.

[0006] Originally, the massage is characterized by slowly softening the skin. The skin care method by orchestra performance technique differs from the original massage in that while performed softly, the skin temperature is increased by rubbing, stroking and rolling up with hands in order to make sure that the proper cosmetic ingredients are well absorbed into the dermis layer of the skin.

Technical Problem

[0007] The skin protects the body by covering the surface of the body. The upper thin layer is the epidermis, beneath is the dermis and the tissue underneath the skin (subcutaneous tissue). The thickness of the epidermis or dermis varies depending on the site.

[0008] The concentration of tissue liquid, cellulite, fat, and foreign substance present in the dermis layer and subcutaneous tissue also varies depending on the site. Therefore, the skin care method of rubbing, stroking and rolling up with hands in the skin care process to raise the skin temperature with constant intensity of mutual skin friction and promoting absorption of proper cosmetic ingredients to the dermis layer is inappropriate.

[0009] Because the thickness of the epidermis or dermis and the components present in the dermis layer and the subcutaneous tissue appear differently in each site, the skin care method in which the intensity is adjusted to increase the skin temperature so that the proper cosmetic ingredients applied to the body can be absorbed well into the dermis layer of the skin is necessary.

Technical Solution

[0010] Accordingly, this invention has been made to solve the above-mentioned problems, and it provides a skin care method in which the intensity is adjusted according to the thickness of the epidermis or dermis and the components present in the dermis layer and subcutaneous tissue. The intensity is adjusted by the following techniques: adagio(comfortably), andante molto calmo(very quietly and slowly), molto vivace(very lively), allegro giusto(fast but accurately), allegro con brio(fast and powerfully), moderato cantabile(at fast pace with beautiful expressions), adagio sostenuto(slowly and calmly but press one note at a time and play it heavily), largo(slowly and solemnly), tempo di marcia vivo(lively and fast), allegro giocoso(fast, cheerfully and happily), march tempo(like a march), comodo(easily and conveniently with moderate pace), andante religioso(slowly and reverently)

[0011] It aims to solve the problem with the skin care method, after applying cosmetics on the skin, of rubbing, stroking and rolling up with hands according to orchestra performance technique in order to make sure that cosmetic ingredients is absorbed well into the dermis layer of the skin and moistures the skin.

Effects of the Invention

[0012] This invention enables the proper cosmetic applied to the skin to be absorbed well into the dermis layer by increasing the skin temperature. The skin temperature is increased by rubbing, stroking and rolling up with hands according to orchestra performance technique.

[0013] The skin care method by orchestra performance technique allows skin beauticians to become artists who control the elements existing in the dermis layer of the skin like orchestra's conductor.

Description of the Drawings

[0014] 

Figure 1 shows the rubbing technique.

Figure 2 shows the stroking technique.

Figure 3 shows the technique of rolling up.

Figure 4 shows cross-sectional diagram of the skin.

Figure 5 shows the positions of the body parts around cervical vertebra and shoulder blade.

Figure 6 shows the positions of the body parts around the outer part of the wrist.

Figure 7 shows the positions of the body parts around the inner part of the wrist.

Figure 8 shows the positions of the body parts around the thoracic vertebra and lumbar vertebra.

Figure 9 shows the positions of the body parts around the lumbar vertebra and pelvis.

Figure 10 shows the positions of the body parts around the back part of the leg.

Figure 11 shows the positions of the body parts around the outer part of the leg.

Figure 12 shows the positions of the body parts around the front part of the leg.

Figure 13 shows the positions of the body parts around the top of the foot.

Figure 14 shows the positions of the body parts around the inner part of the leg.

Figure 15 shows the detail drawing of the upper part of the body.

Figure 16 shows the positions of the body parts of the front upper part of the body.

Figure 17 shows the detail drawing around the neck.

Description of Embodiments

[0015] The desired configuration and application of this invention to accomplish the above objective related to the following figures attached below will be described as follows.

[0016] "Lower Body Skin Care" is defined as a skin care method that is performed softly in the order stated below according to the circulation of the skin and by rubbing, stroking and rolling up with hands according to the performance technique of orchestra.

1. Wash both hands thoroughly, disinfect between fingers with alcohol cotton, and then relax for 10 seconds.

2. After cleansing the area where you want to skin care, wipe it with sponge and warm cloth and apply toner suitable for your skin.

3. After deep cleansing with a body scrub on the area where you want to skin care, wipe it with sponge and warm cloth and apply toner suitable for your skin.

4. Using the cosmetic suitable for skin, rub, stroke and roll up with both hands the left back lower thigh towards inward of the hip in tempo di marcia vivo (lively and fast) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

5. Using the cosmetic suitable for skin, rub the middle of left ham(Fig. 10-①), 3cm from the middle of the ham above the ham wrinkles(Fig. 10-②), outside lower point of the dented part between calf muscles 24cm below the middle of the ham(Fig. 10-③), 9 cm right above the middle of the line connecting the lateral side of the ankle bone and the Achilles tendon(Fig. 10-④), inside the joint pocket between the talus at the dented part right below the end of lateral side ankle bone and the heel bone(Fig. 11-⑦), dented part beside the outer cuboid bone below the front of the inner joint pocket between the dented part right below the end of lateral side ankle bone and the heel bone(Fig. 11-⑧), skin below the backside of the rough and think part of the fifth sole bone(Fig. 11-⑨) in allegro giusto(fast but accurately) and rub, stroke and roll up with both hands towards back lower calves in tempo di marcia vivo (lively and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

6. Using the cosmetic suitable for skin, rub, stroke and roll up with both hands the right back lower thigh towards inward of the hip in tempo di marcia vivo (lively and fast) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

7. Using the cosmetic suitable for skin, rub the middle of right ham(Fig. 10-①), 3cm from the middle of the ham above the ham wrinkles(Fig. 10-②), outside lower point of the dented part between calf muscles 24cm below the middle of the ham(Fig. 10-③), 9 cm right above the middle of the line connecting the lateral side of the ankle bone and the Achilles tendon(Fig. 10-④), inside the joint pocket between the talus at the dented part right below the end of lateral side ankle bone and the heel bone(Fig. 11-⑦), dented part beside the outer cuboid bone below the front of the inner joint pocket between the dented part right below the end of lateral side ankle bone and the heel bone (Fig. 11-⑧), skin below the backside of the rough and think part of the fifth sole bone(Fig. 11-⑨) in allegro giusto(fast but accurately) and rub, stroke and roll up with both hands towards back lower calves in tempo di marcia vivo (lively and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

8. Smoothly rub the dented part within the lateral side tendon 6 cm above from the upper lateral side edge of the kneecap when the left kneecap is slightly bent(Fig. 12-①) in largo (slowly and solemnly) and using the cosmetic suitable for skin, stroke and roll up with both hands the front lower thigh towards the groin region from the knee in tempo di marcia vivo (lively and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin. Then, smoothly rub and stroke with both hands around the groin in andante molto calmo(very quietly and slowly) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

9. Smoothly rub the part where the trunk and the bottom of two upper corner bones between the first and second left metatarsal bone are near(Fig. 13-③), 15 cm above the top of the inner ankle bone that is connected to the back of the shinbone(Fig. 14-④), 21 cm above the top of the inner ankle bone that is connected to the back of the shinbone(Fig. 14-③), the tallest spot of the back of the foot(Fig. 13-①), a middle finger length towards the lateral side from the center of the knee at the point of 24 cm below the outer knee (Fig. 12-④), 3 cm below the center of the knee at the point of 24 cm below the outer knee (Fig. 12-⑤), 9 cm below the inner anterior towards 3 cm the lateral side from the front edge of cnemis at the height of approximately the rough side lower edge of cnemis when the knee is bent(Fig. 12-③), the inner anterior towards 3 cm the lateral side from the front edge of cnemis at the height of approximately the rough side lower edge of cnemis when the knee is bent(Fig. 12-②), lateral extensor muscle of little toe that is the transition area of the 4^th, 5^th footbone trunk-bottom(Fig. 13-②), the dented point below the front outer ankle bone(Fig. 11-⑥), the front fibula edge 9cm above the most prominent part of the lateral side of the ankle bone(Fig. 11-⑤), 15 cm from the top of the outer ankle bone that is the front of the calf bone(Fig. 11-④), 21 cm from the top of the outer ankle bone that is the front of the calf bone(Fig. 11-③), 21 cm from the top of the outer ankle bone that is the back of the calf bone(Fig. 11-②), the dented part below the front fibula head(Fig. 11-①), the border between the red skin and the white skin at the transition area of the first metatarsal bone head and trunk above the first metatarsal bone head at the inner side of the foot(Fig. 14-⑫), the border between the red skin and the white skin at the dented part of the first metatarsal bone trunk and bottom(Fig. 14-⑪), the dented part that is clearly touched 9 cm from the tallest inner ankle bone from the back calf bone edge(Fig. 14-⑤), the back side of the shinbone 9 cm below the front of the protruded part and the dented part of the transition area of joint tuberosity and calf bone trunk from the joint tuberosity at the inner side of calf bone(Fig. 14-①), the talus supporting protruding area at the joint pocket area between the talus and the heel bone 1.5 cm below the inner ankle bone, the dented part of the front part muscle to the sole midline(Fig. 14-⑨), 3 cm below the midpoint of the line connecting the inner ankle bone, the most protruding part, and the Achilles tendon(Fig. 14-⑩), the side of inner heel tendon below the inner back side of the ankle bone(Fig. 14-⑧), the midpoint of the line connecting the inner ankle bone, the most protruding part, and the Achilles tendon(Fig. 14-⑦), the back side of the shinbone(Fig. 14-⑥), 15 cm above the midpoint of the line connecting the inner ankle bone that is the inner calf muscle, the most protruding part, and the Achilles tendon(Fig. 14-②) in allegro giusto(fast but accurately), and using the cosmetic suitable for skin, smoothly stroke and roll up with both hands the front lower calf from toes to knee in allegro con brio(powerfully and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

10. Using the cosmetic suitable for skin, smoothly stroke 5 times with both hands from the left toes to the groin above the thigh in allegro giocoso(fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

11. Smoothly rub the dented part within the lateral side tendon 6 cm above from the upper lateral side edge of the kneecap when the right kneecap is slightly bent(Fig. 12-①) in largo(slowly and solemnly) and using the cosmetic suitable for skin, stroke and roll up with both hands the front lower thigh towards the groin region from the knee in tempo di marcia vivo (lively and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin. Then, smoothly rub and stroke with both hands around the groin in andante molto calmo(very quietly and slowly) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

12. Smoothly rub the part where the trunk and the bottom of two upper corner bones between the first and second right metatarsal bone are near(Fig. 13-③), 15 cm above the top of the inner ankle bone that is connected to the back of the shinbone(Fig. 14-④), 21 cm above the top of the inner ankle bone that is connected to the back of the shinbone(Fig. 14-③), the tallest spot of the back of the foot(Fig. 13-①), a middle finger length towards the lateral side from the center of the knee at the point of 24 cm below the outer knee (Fig. 12-④), 3 cm below the center of the knee at the point of 24 cm below the outer knee (Fig. 12-⑤), 9 cm below the inner anterior towards 3 cm the lateral side from the front edge of cnemis at the height of approximately the rough side lower edge of cnemis when the knee is bent(Fig. 12-③), the inner anterior towards 3 cm the lateral side from the front edge of cnemis at the height of approximately the rough side lower edge of cnemis when the knee is bent(Fig. 12-②), lateral extensor muscle of little toe that is the transition area of the 4^th, 5^th footbone trunk-bottom(Fig. 13-②), the dented point below the front outer ankle bone(Fig. 11-⑥), the front fibula edge 9cm above the most prominent part of the lateral side of the ankle bone(Fig. 11-⑤), 15 cm from the top of the outer ankle bone that is the front of the calf bone(Fig. 11-④), 21 cm from the top of the outer ankle bone that is the front of the calf bone(Fig. 11-③), 21 cm from the top of the outer ankle bone that is the back of the calf bone(Fig. 11-②), the dented part below the front fibula head(Fig. 11-①), the border between the red skin and the white skin at the transition area of the first metatarsal bone head and trunk above the first metatarsal bone head at the inner side of the foot(Fig. 14-⑫), the border between the red skin and the white skin at the dented part of the first metatarsal bone trunk and bottom(Fig. 14-⑪), the dented part that is clearly touched 9 cm from the tallest inner ankle bone from the back calf bone edge(Fig. 14-⑤), the back side of the shinbone 9 cm below the front of the protruded part and the dented part of the transition area of joint tuberosity and calf bone trunk from the joint tuberosity at the inner side of calf bone(Fig. 14-①), the talus supporting protruding area at the joint pocket area between the talus and the heel bone 1.5 cm below the inner ankle bone, the dented part of the front part muscle to the sole midline(Fig. 14-⑨), 3 cm below the midpoint of the line connecting the inner ankle bone, the most protruding part, and the Achilles tendon (Fig. 14-⑩), the side of inner heel tendon below the inner back side of the ankle bone(Fig. 14-⑧), the midpoint of the line connecting the inner ankle bone, the most protruding part, and the Achilles tendon(Fig. 14-⑦), the back side of the shinbone(Fig. 14-⑥), 15 cm above the midpoint of the line connecting the inner ankle bone that is the inner calf muscle, the most protruding part, and the Achilles tendon(Fig. 14-②) in allegro giusto(fast but accurately), and using the cosmetic suitable for skin, smoothly stroke and roll up with both hands the front lower calf from toes to knee in allegro con brio(powerfully and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

13. Using the cosmetic suitable for skin, smoothly stroke 5 times with both hands from the right toes to the groin above the thigh in allegro giocoso(fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

14. Using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards the right side of the abdomen in march tempo(like a march), allegro giocoso (fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-①).

15. Using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards the left side of the abdomen in march tempo(like a march), allegro giocoso (fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-②).

16. Apply a facial mask suitable for skin to the area where facial mask is needed. Cleanse off with sponge and warm cloth, then apply cosmetics suitable for skin and finish off.

[0017] "Back Body Skin Care" is defined as a skin care method that is performed softly in the order stated below according to the circulation of the skin and by rubbing, stroking and rolling up with hands according to the performance technique of orchestra.

1. Wash both hands thoroughly, disinfect between fingers with alcohol cotton, and then relax for 10 seconds.

2. After cleansing the area where you want to skin care, wipe it with sponge and warm cloth and apply toner suitable for your skin.

3. After deep cleansing with a body scrub on the area where you want to skin care, wipe it with sponge and warm cloth and apply toner suitable for your skin.

4. Using the cosmetic suitable for skin, soften and adagio (comfortably) so that the ingredients of the cosmetic can be absorbed well into the dermis layer in the skin, stroking the back with the both hands three times from the spine to the sides.

5. Using the cosmetic suitable for skin, smoothly rub cranial nerve 3, 7, 9, 10 and below the outer occipital bone tuberosity (Fig. 5-①), hollow part between the lower corners of the left and right side of the back of the head and where sternocleidomastoid muscle and trapezius muscle meet (Fig. 5-②), above cervical vertebra2 neural spine (Fig. 5-③), and cervical vertebra2 at the left and right back hairline 1.5 cm above the neural spine height line (Fig. 5-④) in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

6. Using the cosmetic suitable for skin, smoothly rub towards the front, middle and back of the neck rib muscle located around the left cervical vertebra 1∼7 in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

7. Using the cosmetic suitable for skin, rub and stroke with hands the deltoid muscle on the left side, through the acromion top collarbone sternocleidomastoid muscle, to the lower part of the protruding part 3cm below in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

8. Using the cosmetic suitable for skin, rub and stroke with hands 9 cm towards the lateral side from the lower edge of the left thoracic vertebra1 neural spine (Fig. 5-⑤), 4.5 cm towards the lateral side from the lower edge of thoracic vertebra2 neural spine (Fig. 5-⑥), 4.5 cm towards the lateral side from the lower edge of thoracic vertebra3 neural spine (Fig. 5-⑦), 4.5 cm towards the from the lower edge of thoracic vertebra4 neural spine (Fig. 5-⑧), 9 cm towards the lateral side from the lower edge of the thoracic vertebra5 neural spine (Fig. 5-⑨), 9 cm towards the from the lower edge of the thoracic vertebra6 neural spine (Fig. 5-⑩), and 9 cm towards the lateral side from the lower edge of the thoracic vertebra7 neural spine (Fig. 5-⑪) of the shoulder blade in molto vivace(very lively) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

9. Using the cosmetic suitable for skin, rub and stroke with hands the left shoulder blade(Fig. 5-⑫), shoulder blade, the inner end part of shoulder blade top which is touched like a cave (Fig. 5-⑬), 3cm above the top middle edge of spina scapulae (Fig. 5-⑭), right in the middle of the part that is hollow below spina scapulae (Fig. 5-⑮), 3 cm above the end part of arm vagina when arms are down, and the lower part of shoulder blade located right above soften and adagio (comfortably) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

10. Using the cosmetic suitable for skin, rub and stroke with hands the front, middle and back of the neck rib muscle located around left cervical vertebra 1∼7 in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

11. Using the cosmetic suitable for skin, rub and stroke with hands from the right shoulder trapezius muscle over the sternocleidomastoid muscle of the upper acromion up to 3 cm below the protruding back in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

12. Using the cosmetic suitable for skin, rub and stroke with hands 9cm towards lateral side from the lower edge of the right thoracic vertebra1 neural spine(Fig. 5-⑤), 4.5cm towards lateral side from the lower edge of the right thoracic vertebra2 neural spine(Fig. 5-⑥), 4.5cm towards lateral side from the lower edge of the right thoracic vertebra3 neural spine(Fig. 5-⑦), 4.5cm towards lateral side from the lower edge of the right thoracic vertebra4 neural spine(Fig. 5-⑧), 9cm towards lateral side from the lower edge of the right thoracic vertebra5 neural spine(Fig. 5-⑨), 9cm towards lateral side from the lower edge of the right thoracic vertebra6 neural spine(Fig. 5-⑩), 9cm towards lateral side from the lower edge of the right thoracic vertebra7 neural spine(Fig. 5-⑪) around the shoulder blade in molto vivace (very lively) from top to bottom and from bottom to top in order so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

13. Using the cosmetic suitable for skin, rub and stroke with hands the right shoulder blade(Fig. 5-⑫), shoulder blade, the inner end part of shoulder blade top which is touched like a cave (Fig. 5-⑬), 3cm above the top middle edge of spina scapulae (Fig. 5-⑭), right in the middle of the part that is hollow below spina scapulae (Fig. 5-⑮), 3 cm above the end part of arm vagina when arms are down, and the lower part of shoulder blade located right above soften and adagio (comfortably) from top to bottom and from bottom to top in order so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

14. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the right thoracic vertebra 1∼12 neural spine (Fig. 8-①), 4.5 cm towards the lateral side from the lower edge of the right lumbar vertebra 1, 2 neural spine(Fig. 8-②) with elbow and thoracic vertebra 1∼lumbar vertebra 2, lumbar vertebra 2∼thoracic vertebra 1, thoracic vertebra 1∼lumbar vertebra 2 in order in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

15. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the left thoracic vertebra 3∼5 neural spine(Fig. 9-①), sacrum 1∼4 (Fig. 9-②) with elbow and lumbar vertebra 3∼sacrum 4, sacrum 4∼ lumbar vertebra 3, lumbar vertebra 3∼ sacrum 4 in order in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

16. Using the cosmetic suitable for skin, rub and stroke with hands 4.5cm towards the lateral side from the midline of the back at the height of the first sacral vertebra hole for the left pelvis site(Fig. 9-③), 4.5 cm towards the lateral side from the midline of the back at the height of the second sacral vertebra hole(Fig. 9-④), 9 cm towards the lateral side from the midline of the back at the height of the third sacral vertebra hole (Fig. 9-⑤), lateral side of the hip (Fig. 9-⑥) and the middle of the hip wrinkles (Fig. 9-⑦) in order in largo (slowly and solemnly) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin

17. Using the cosmetic suitable for skin, rub and stroke with hands 1.5 cm towards the lateral side of left thoracic vertebral-lumbar vertebra5 spine neural spine (Fig. 8-③) in the order of thoracic vertebra 1 ∼ lumbar vertebra 5, lumbar vertebra 5 neural spine end lower part (Fig. 8-④), lumbar vertebra 5 ∼ thoracic vertebra 1 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

18. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the right thoracic vertebra 1∼12 neural spine(Fig. 8-①) and 4.5 cm towards the lateral side from the lower edge of the lumbar vertebra 1, 2 neural spine(Fig. 8-②) with elbow in the order of thoracic vertebra 1∼lumbar vertebra 2, lumbar vertebra 2∼thoracic vertebra 1, thoracic vertebra 1∼ lumbar vertebra 2 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

19. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the right lumbar vertebra 3∼5 neural spine (Fig. 9-①) and sacrum 1∼4 (Fig. 9-②) in the order of lumbar vertebra 3∼sacrum 4, sacrum 4∼lumbar vertebra 3, lumbar vertebra 3∼sacrum 4 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

20. Using the cosmetic suitable for skin, rub and stroke with hands 4.5cm towards the lateral side from the midline of the back at the height of the first sacral vertebra hole for the right pelvis site(Fig. 9-③), 4.5 cm towards the lateral side from the midline of the back at the height of the second sacral vertebra hole (Fig. 9-④), 9 cm towards the lateral side from the midline of the back at the height of the third sacral vertebra hole(Fig. 9-⑤), lateral side of the hip(Fig. 9-⑥) and the middle of the hip wrinkles (Fig. 9-⑦) in largo (slowly and solemnly) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

21. Using the cosmetic suitable for skin, rub and stroke with hands 1.5 cm towards the lateral side of right thoracic vertebra1∼lumbar vertebra5 spine neural spine (Fig. 8-③) in the order of thoracic vertebra 1 ∼ lumbar vertebra 5, lumbar vertebra 5 neural spine end lower part(Fig. 8-④), lumbar vertebra 5 ∼ thoracic vertebra 1 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

22. Apply a facial mask suitable for skin to the area where facial mask is needed. Cleanse off with sponge and warm cloth, then apply cosmetics suitable for skin and finish off.

[0018] "Upper Body Skin Care" is defined as a skin care method that is performed softly in the order stated below according to the circulation of the skin and by rubbing, stroking and rolling up with hands according to the performance technique of orchestra.

1. Wash both hands thoroughly, disinfect between fingers with alcohol cotton, and then relax for 10 seconds.

2. After cleansing the area where you want to skin care, wipe it with sponge and warm cloth and apply toner suitable for your skin.

3. After deep cleansing with a body scrub on the area where you want to skin care, wipe it with sponge and warm cloth and apply toner suitable for your skin.

4. Using the cosmetic suitable for skin, soften and adagio (comfortably) so that the ingredients of the cosmetic can be absorbed well into the dermis layer in the skin, stroking the back with the both hands three times from the spine to the sides.

5. Using the cosmetic suitable for skin, smoothly rub cranial nerve 3, 7, 9, 10 and below the outer occipital bone tuberosity (Fig. 5-①), hollow part between the lower corners of the left and right side of the back of the head and where sternocleidomastoid muscle and trapezius muscle meet (Fig. 5-②), above cervical vertebra2 neural spine (Fig. 5-③), and cervical vertebra2 at the left and right back hairline 1.5 cm above the neural spine height line (Fig. 5-④) in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

6. Using the cosmetic suitable for skin, smoothly rub towards the front, middle and back of the neck rib muscle located around the left cervical vertebra 1∼7 in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

7. Using the cosmetic suitable for skin, rub and stroke with hands the deltoid muscle on the left side, through the acromion top collarbone sternocleidomastoid muscle, to the lower part of the protruding part 3cm below in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

8. Using the cosmetic suitable for skin, rub and stroke with hands 9 cm towards the lateral side from the lower edge of the left thoracic vertebra1 neural spine (Fig. 5-⑤), 4.5 cm towards the lateral side from the lower edge of thoracic vertebra2 neural spine (Fig. 5-⑥), 4.5 cm towards the lateral side from the lower edge of thoracic vertebra3 neural spine (Fig. 5-⑦), 4.5 cm towards the from the lower edge of thoracic vertebra4 neural spine (Fig. 5-⑧), 9 cm towards the lateral side from the lower edge of the thoracic vertebra5 neural spine (Fig. 5-⑨), 9 cm towards the from the lower edge of the thoracic vertebra6 neural spine (Fig. 5-⑩), and 9 cm towards the lateral side from the lower edge of the thoracic vertebra7 neural spine (Fig. 5-⑪) of the shoulder blade in molto vivace(very lively) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

9. Using the cosmetic suitable for skin, rub and stroke with hands the left shoulder blade(Fig. 5-⑫), shoulder blade, the inner end part of shoulder blade top which is touched like a cave (Fig. 5-⑬), 3cm above the top middle edge of spina scapulae (Fig. 5-⑭), right in the middle of the part that is hollow below spina scapulae (Fig. 5-⑮), 3 cm above the end part of arm vagina when arms are down, and the lower part of shoulder blade located right above soften and adagio (comfortably) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

10. Using the cosmetic suitable for skin, rub with hands the midpoint of the line connecting the center of the first metacarpal and second metacarpal of the left thumb (Fig. 6-①), 9cm above the dented part of back of the hand connecting to the bracelet lines when the thumb is open(Fig. 6-②), 15cm above the dented part of back of the hand connecting to the bracelet lines when the thumb is open(Fig. 6-③), slightly towards the ulnar from the middle of the bracelet lines around the back(Fig. 6-④), 6 cm above the middle of the bracelet line between ulnar bone and radial bone(Fig. 6-⑤), the part that is the width of index finger apart from 9 cm above the middle of the bracelet line between ulnar bone and radial bone (Fig. 6-⑥), the back of the upper skin wrinkle at the end of ulnar of the flexor wrinkle at the very bottom of the palm when lightly clenching the fist of the hand's edge at ulnar (Fig. 6-⑦), the pitch point between the little finger and cuff bones on the side of the back of the hand(Fig. 6-⑧), the point just above the protruding part of the hand spine with a gap next to the ulna (Fig. 6-⑨), 15 cm above the dent outward of the wrist joint(Fig. 6-⑩), radial side of muscular tendon of ulnar side wrist flexor from the wrist flexor wrinkle(Fig. 7-①), 1.5 cm above from radial side of muscular tendon of ulnar side wrist flexor from the wrist flexor wrinkle (Fig. 7-②), radial side of muscular tendon of ulnar side wrist flexor 3 cm apart from the wrist flexor wrinkle (Fig. 7-③), the point where the middle fingertip touches when clenching the fist between the 2^nd and 3^rd palm bones (Fig. 7-④), the middle of the bracelet wrinkle between the tendon of wrist radial muscle and long palmar muscle (Fig. 7-⑤), between the muscle tendon of wrist's long palmar muscle and radial flexor muscle 6cm above the bracelet line(Fig. 7-⑥), between two muscles in front of the elbow(Fig. 7-⑦), lateral side of radial artery of wrist flexor wrinkle radial side(Fig. 7-⑧), above the protruding bones of the cuff(Fig. 7-⑨), 6 cm below from the radial biceps muscle tendon of arm from the elbow wrinkles (Fig. 7-⑩) in allegro giusto(fast but accurately) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin, and using the cosmetics suitable for skin from the finger to the elbow holding the left hand, stroke and roll up with hands in allegro con brio (fast and powerfully) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

11. Using the cosmetic suitable for skin, hold the left hand and rub, stroke and roll up with hands from the elbows to shoulders in moderato cantabile(at fast pace with beautiful expressions) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

12. Using the cosmetic suitable for skin, rub and stroke with hands the front, middle and back of the neck rib muscle located around left cervical vertebra 1∼7 in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

13. Using the cosmetic suitable for skin, rub and stroke with hands from the right shoulder trapezius muscle over the sternocleidomastoid muscle of the upper acromion up to 3 cm below the protruding back in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

14. Using the cosmetic suitable for skin, rub and stroke with hands 9cm towards lateral side from the lower edge of the right thoracic vertebra1 neural spine(Fig. 5-⑤), 4.5cm towards lateral side from the lower edge of the right thoracic vertebra2 neural spine(Fig. 5-⑥), 4.5cm towards lateral side from the lower edge of the right thoracic vertebra3 neural spine(Fig. 5-⑦), 4.5cm towards lateral side from the lower edge of the right thoracic vertebra4 neural spine(Fig. 5-⑧), 9cm towards lateral side from the lower edge of the right thoracic vertebra5 neural spine(Fig. 5-⑨), 9cm towards lateral side from the lower edge of the right thoracic vertebra6 neural spine(Fig. 5-⑩), 9cm towards lateral side from the lower edge of the right thoracic vertebra7 neural spine(Fig. 5-⑪) around the shoulder blade in molto vivace (very lively) from top to bottom and from bottom to top in order so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

15. Using the cosmetic suitable for skin, rub and stroke with hands the right shoulder blade(Fig. 5-⑫), shoulder blade, the inner end part of shoulder blade top which is touched like a cave (Fig. 5-⑬), 3cm above the top middle edge of spina scapulae (Fig. 5-⑭), right in the middle of the part that is hollow below spina scapulae (Fig. 5-⑮), 3 cm above the end part of arm vagina when arms are down, and the lower part of shoulder blade located right above soften and adagio (comfortably) from top to bottom and from bottom to top in order so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

16. Using the cosmetic suitable for skin, rub with hands the mid point of the line connecting the center of the first metacarpal and second metacarpal of the right thumb (Fig. 6-①), 9cm above the dented part of back of the hand connecting to the bracelet lines when the thumb is open(Fig. 6-②), 15cm above the dented part of back of the hand connecting to the bracelet lines when the thumb is open(Fig. 6-③), slightly towards the ulnar from the middle of the bracelet lines around the back(Fig. 6-④), 6 cm above the middle of the bracelet line between ulnar bone and radial bone(Fig. 6-⑤), the part that is the width of index finger apart from 9 cm above the middle of the bracelet line between ulnar bone and radial bone (Fig. 6-⑥), the back of the upper skin wrinkle at the end of ulnar of the wrinkle at the very bottom of the palm when lightly clenching the fist of the hand's edge at ulnar(Fig. 6-⑦), the pitch point between the little finger and cuff bones on the side of the back of the hand(Fig. 6-⑧), the point just above the protruding part of the hand spine with a gap next to the ulna(Fig. 6-⑨), 15 cm above the dent outward of the wrist joint(Fig. 6-⑩), radial side of muscular tendon of ulnar side wrist flexor from the wrist flexor wrinkle (Fig. 7-①), 1.5 cm above from radial side of muscular tendon of ulnar side wrist flexor from the wrist flexor wrinkle(Fig. 7-②), radial side of muscular tendon of ulnar side wrist flexor 3 cm apart from the wrist flexor wrinkle (Fig. 7-③), the point where the middle fingertip touches when clenching the fist between the 2^nd and 3^rd palm bones (Fig. 7-④), the middle of the bracelet wrinkle between the tendon of wrist radial side muscle and long palmar muscle (Fig. 7-⑤), between the muscle tendon of wrist's long palmar muscle and radial flexor muscle 6cm above the bracelet line(Fig. 7-⑥), between two muscles in front of the elbow(Fig. 7-⑦), lateral side of radial artery of wrist flexor wrinkle radial side(Fig. 7-⑧), above the protruding bones of the cuff(Fig. 7-⑨), 6 cm below from the radial biceps muscle tendon of arm from the elbow wrinkles (Fig. 7-⑩) in allegro giusto(fast but accurately) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin, and using the cosmetics suitable for skin from the finger to the elbow holding the right hand, stroke and roll up with hands in allegro con brio (fast and powerfully) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

17. Using the cosmetic suitable for skin, hold the right hand and rub, stroke and roll up with hands from the elbows to shoulders in moderato cantabile(at fast pace with beautiful expressions) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

18. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the right thoracic vertebra 1∼12 neural spine(Fig. 8-①), 4.5 cm towards the lateral side from the lower edge of the right lumbar vertebra 1, 2 neural spine(Fig. 8-②) with elbow and thoracic vertebra 1∼lumbar vertebra 2, lumbar vertebra 2∼thoracic vertebra 1, thoracic vertebra 1∼lumbar vertebra 2 in order in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

19. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the left thoracic vertebra 3∼5 neural spine(Fig. 9-①), sacrum 1∼4 (Fig. 9-②) with elbow and lumbar vertebra 3∼sacrum 4, sacrum 4∼ lumbar vertebra 3, lumbar vertebra 3∼ sacrum 4 in order in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

20. Using the cosmetic suitable for skin, rub and stroke with hands 4.5cm towards the lateral side from the midline of the back at the height of the first sacral vertebra hole for the left pelvis site(Fig. 9-③), 4.5 cm towards the lateral side from the midline of the back at the height of the second sacral vertebra hole (Fig. 9-④), 9 cm towards the lateral side from the midline of the back at the height of the third sacral vertebra hole(Fig. 9-⑤), lateral side of the hip(Fig. 9-⑥) and the middle of the hip wrinkles (Fig. 9-⑦) in order in largo (slowly and solemnly) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin

21. Using the cosmetic suitable for skin, rub and stroke with hands 1.5 cm towards the lateral side of left thoracic vertebra1∼lumbar vertebra5 spine neural spine(Fig. 8-③) in the order of thoracic vertebra 1 ∼ lumbar vertebra 5, lumbar vertebra 5 neural spine end lower part(Fig. 8-④), lumbar vertebra 5 ∼ thoracic vertebra 1 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

22. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the right thoracic vertebra 1∼12 neural spine(Fig. 8-①) and 4.5 cm towards the lateral side from the lower edge of the lumbar vertebra 1, 2 neural spine(Fig. 8-②) with elbow in the order of thoracic vertebra 1∼lumbar vertebra 2, lumbar vertebra 2∼thoracic vertebra 1, thoracic vertebra 1∼ lumbar vertebra 2 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

23. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the right lumbar vertebra 3∼5 neural spine (Fig. 9-①) and sacrum 1∼4 (Fig. 9-②) in the order of lumbar vertebra 3∼sacrum 4, sacrum 4∼lumbar vertebra 3, lumbar vertebra 3∼sacrum 4 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

24. Using the cosmetic suitable for skin, rub and stroke with hands 4.5cm towards the lateral side from the midline of the back at the height of the first sacral vertebra hole for the right pelvis site(Fig. 9-③), 4.5 cm towards the lateral side from the midline of the back at the height of the second sacral vertebra hole (Fig. 9-④), 9 cm towards the lateral side from the midline of the back at the height of the third sacral vertebra hole(Fig. 9-⑤), lateral side of the hip(Fig. 9-⑥) and the middle of the hip wrinkles (Fig. 9-⑦) in largo (slowly and solemnly) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

25. Using the cosmetic suitable for skin, rub and stroke with hands 1.5 cm towards the lateral side of right thoracic vertebra1∼lumbar vertebra5 spine neural spine (Fig. 8-③) in the order of thoracic vertebra 1 ∼ lumbar vertebra 5, lumbar vertebra 5 neural spine end lower part(Fig. 8-④), lumbar vertebra 5 ∼ thoracic vertebra 1 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

26. Using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards the right side of the abdomen in march tempo(like a march), allegro giocoso (fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-①).

27. Using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards the left side of the abdomen in march tempo(like a march), allegro giocoso (fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-②).

28. Smoothly rub the space between the 6^th rib below the nipple on the nipple line(Fig. 16-③), 28 cm above the navel (Fig. 16-⑤), between the 7^th rib below the nipple (Fig. 16-④), the end of the 11^th rib of the side(Fig. 16-⑦), the point right below the end of the 12^th rib bone(Fig. 16-⑧), 6 cm to the lateral side from the navel (Fig. 16-⑨), 12 cm above the navel (Fig. 16-⑥), 6 cm below the navel (Fig. 16-⑩), 9 cm below the navel (Fig. 16-⑪), 12 cm below the navel (Fig. 16-⑫) in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and using the cosmetic suitable for skin, smoothly rub and stroke the abdomen with both hands in march tempo(like a march), allegro giocoso(fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-③).

29. Using the cosmetic suitable for skin, smoothly rub and stroke with hands along the left thoracic duct in comodo(easily and conveniently with moderate pace) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-④).

30. Smoothly rub the space between the 1^st rib bone at the slightly inner side of the bottom edge of the protruding part 3 cm under the lateral side clavicle 18 cm from the left midline(Fig. 16-①), the space between the 4^th rib at the height of the nipple on the midline(Fig. 16-②) in comodo(easily and conveniently with moderate pace) and using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards around the chest and armpit in moderato cantabile(at fast pace with beautiful expressions) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-⑤).

31. Using the cosmetic suitable for skin, smoothly rub and stroke with hands between the right rib bones in comodo(easily and conveniently with moderate pace) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-⑥).

32. Smoothly rub the space between the 1^st rib bone at the slightly inner side of the bottom edge of the protruding part 3 cm under the lateral side clavicle 18 cm from the right midline (Fig. 16-①), the space between the 4^th rib at the height of the nipple on the midline(Fig. 16-②) in comodo(easily and conveniently with moderate pace) and using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards around the chest and armpit in moderato cantabile(at fast pace with beautiful expressions) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-⑦).

33. Using the cosmetic suitable for skin, smoothly rub and stroke in the order of the front of the left ear (Fig. 17-①), back of the ear (Fig. 17-②), from the side of the nose down to the chin(Fig. 17-③), the back of the neck(Fig. 17-④), the middle part of the neck(Fig. 17-⑤), the front of the neck(Fig. 17-⑥), and below the neck(Fig. 17-⑦) in andante molto calmo(very quietly and slowly) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

34. Using the cosmetic suitable for skin, smoothly rub and stroke in the order of the front of the right ear (Fig. 17-①), back of the ear (Fig. 17-②), from the side of the nose down to the chin(Fig. 17-③), the back of the neck(Fig. 17-④), the middle part of the neck(Fig. 17-⑤), the front of the neck(Fig. 17-⑥), and below the neck(Fig. 17-⑦) in andante molto calmo(very quietly and slowly) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

35. Using the cosmetic suitable for skin, smoothly rub and stroke towards the thymus with both hands in andante molto calmo(very quietly and slowly), and finish off by smoothly stroking around the thymus with both hands in andante religioso(slowly and reverently) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

36. Apply a facial mask suitable for skin to the area where facial mask is needed. Cleanse off with sponge and warm cloth, then apply cosmetics suitable for skin and finish off.

[0019] "Whole Body Skin Care" is defined as a skin care method that is performed softly in the order stated below according to the circulation of the skin and by rubbing, stroking and rolling up with hands according to the performance technique of orchestra.

1. Wash both hands thoroughly, disinfect between fingers with alcohol cotton, and then relax for 10 seconds.

2. After cleansing the area where you want to skin care, wipe it with sponge and warm cloth and apply toner suitable for your skin.

3. After deep cleansing with a body scrub on the area where you want to skin care, wipe it with sponge and warm cloth and apply toner suitable for your skin.

4. Using the cosmetic suitable for skin, soften and adagio (comfortably) so that the ingredients of the cosmetic can be absorbed well into the dermis layer in the skin, stroking the back with the both hands three times from the spine to the sides.

5. Using the cosmetic suitable for skin, smoothly rub cranial nerve 3, 7, 9, 10 and below the outer occipital bone tuberosity (Fig. 5-①), hollow part between the lower corners of the left and right side of the back of the head and where sternocleidomastoid muscle and trapezius muscle meet (Fig. 5-②), above cervical vertebra2 neural spine (Fig. 5-③), and cervical vertebra2 at the left and right back hairline 1.5 cm above the neural spine height line (Fig. 5-④) in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

6. Using the cosmetic suitable for skin, smoothly rub towards the front, middle and back of the neck rib muscle located around the left cervical vertebra 1∼7 in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

7. Using the cosmetic suitable for skin, rub and stroke with hands the deltoid muscle on the left side, through the acromion top collarbone sternocleidomastoid muscle, to the lower part of the protruding part 3cm below in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

8. Using the cosmetic suitable for skin, rub and stroke with hands 9 cm towards the lateral side from the lower edge of the left thoracic vertebra1 neural spine (Fig. 5-⑤), 4.5 cm towards the lateral side from the lower edge of thoracic vertebra2 neural spine (Fig. 5-⑥), 4.5 cm towards the lateral side from the lower edge of thoracic vertebra3 neural spine (Fig. 5-⑦), 4.5 cm towards the from the lower edge of thoracic vertebra4 neural spine (Fig. 5-⑧), 9 cm towards the lateral side from the lower edge of the thoracic vertebra5 neural spine (Fig. 5-⑨), 9 cm towards the from the lower edge of the thoracic vertebra6 neural spine (Fig. 5-⑩), and 9 cm towards the lateral side from the lower edge of the thoracic vertebra7 neural spine (Fig. 5-⑪) of the shoulder blade in molto vivace(very lively) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

9. Using the cosmetic suitable for skin, rub and stroke with hands the left shoulder blade(Fig. 5-⑫), shoulder blade, the inner end part of shoulder blade top which is touched like a cave (Fig. 5-⑬), 3cm above the top middle edge of spina scapulae (Fig. 5-⑭), right in the middle of the part that is hollow below spina scapulae (Fig. 5-⑮), 3 cm above the end part of arm vagina when arms are down, and the lower part of shoulder blade located right above soften and adagio (comfortably) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

10. Using the cosmetic suitable for skin, rub with hands the midpoint of the line connecting the center of the first metacarpal and second metacarpal of the left thumb (Fig. 6-①), 9cm above the dented part of back of the hand connecting to the bracelet lines when the thumb is open(Fig. 6-②), 15cm above the dented part of back of the hand connecting to the bracelet lines when the thumb is open(Fig. 6-③), slightly towards the ulnar from the middle of the bracelet lines around the back(Fig. 6-④), 6 cm above the middle of the bracelet line between ulnar bone and radial bone(Fig. 6-⑤), the part that is the width of index finger apart from 9 cm above the middle of the bracelet line between ulnar bone and radial bone (Fig. 6-⑥), the back of the upper skin wrinkle at the end of ulnar of the flexor wrinkle at the very bottom of the palm when lightly clenching the fist of the hand's edge at ulnar (Fig. 6-⑦), the pitch point between the little finger and cuff bones on the side of the back of the hand(Fig. 6-⑧), the point just above the protruding part of the hand spine with a gap next to the ulna (Fig. 6-⑨), 15 cm above the dent outward of the wrist joint(Fig. 6-⑩), radial side of muscular tendon of ulnar side wrist flexor from the wrist flexor wrinkle(Fig. 7-①), 1.5 cm above from radial side of muscular tendon of ulnar side wrist flexor from the wrist flexor wrinkle (Fig. 7-②), radial side of muscular tendon of ulnar side wrist flexor 3 cm apart from the wrist flexor wrinkle (Fig. 7-③), the point where the middle fingertip touches when clenching the fist between the 2^nd and 3^rd palm bones (Fig. 7-④), the middle of the bracelet wrinkle between the tendon of wrist radial muscle and long palmar muscle (Fig. 7-⑤), between the muscle tendon of wrist's long palmar muscle and radial flexor muscle 6cm above the bracelet line(Fig. 7-⑥), between two muscles in front of the elbow(Fig. 7-⑦), lateral side of radial artery of wrist flexor wrinkle radial side(Fig. 7-⑧), above the protruding bones of the cuff(Fig. 7-⑨), 6 cm below from the radial biceps muscle tendon of arm from the elbow wrinkles (Fig. 7-⑩) in allegro giusto(fast but accurately) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin, and using the cosmetics suitable for skin from the finger to the elbow holding the left hand, stroke and roll up with hands in allegro con brio (fast and powerfully) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

11. Using the cosmetic suitable for skin, hold the left hand and rub, stroke and roll up with hands from the elbows to shoulders in moderato cantabile(at fast pace with beautiful expressions) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

12. Using the cosmetic suitable for skin, rub and stroke with hands the front, middle and back of the neck rib muscle located around left cervical vertebra 1∼7 in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

13. Using the cosmetic suitable for skin, rub and stroke with hands from the right shoulder trapezius muscle over the sternocleidomastoid muscle of the upper acromion up to 3 cm below the protruding back in andante molto calmo(very quietly and slowly) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

14. Using the cosmetic suitable for skin, rub and stroke with hands 9cm towards lateral side from the lower edge of the right thoracic vertebral neural spine(Fig. 5-⑤), 4.5cm towards lateral side from the lower edge of the right thoracic vertebra2 neural spine(Fig. 5-⑥), 4.5cm towards lateral side from the lower edge of the right thoracic vertebra3 neural spine(Fig. 5-⑦), 4.5cm towards lateral side from the lower edge of the right thoracic vertebra4 neural spine (Fig. 5-⑧), 9cm towards lateral side from the lower edge of the right thoracic vertebra5 neural spine(Fig. 5-⑨), 9cm towards lateral side from the lower edge of the right thoracic vertebra6 neural spine(Fig. 5-⑩), 9cm towards lateral side from the lower edge of the right thoracic vertebra7 neural spine(Fig. 5-⑪) around the shoulder blade in molto vivace (very lively) from top to bottom and from bottom to top in order so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

15. Using the cosmetic suitable for skin, rub and stroke with hands the right shoulder blade(Fig. 5-⑫), shoulder blade, the inner end part of shoulder blade top which is touched like a cave (Fig. 5-⑬), 3cm above the top middle edge of spina scapulae (Fig. 5-⑭), right in the middle of the part that is hollow below spina scapulae(Fig. 5-⑮), 3 cm above the end part of arm vagina when arms are down, and the lower part of shoulder blade located right above soften and adagio (comfortably) from top to bottom and from bottom to top in order so that the cosmetic ingredients are absorbed well into the dermis layer of the skin.

16. Using the cosmetic suitable for skin, rub with hands the mid point of the line connecting the center of the first metacarpal and second metacarpal of the right thumb(Fig. 6-①), 9cm above the dented part of back of the hand connecting to the bracelet lines when the thumb is open(Fig. 6-②), 15cm above the dented part of back of the hand connecting to the bracelet lines when the thumb is open(Fig. 6-③), slightly towards the ulnar from the middle of the bracelet lines around the back(Fig. 6-④), 6 cm above the middle of the bracelet line between ulnar bone and radial bone(Fig. 6-⑤), the part that is the width of index finger apart from 9 cm above the middle of the bracelet line between ulnar bone and radial bone(Fig. 6-⑥), the back of the upper skin wrinkle at the end of ulnar of the wrinkle at the very bottom of the palm when lightly clenching the fist of the hand's edge at ulnar(Fig. 6-⑦), the pitch point between the little finger and cuff bones on the side of the back of the hand(Fig. 6-⑧), the point just above the protruding part of the hand spine with a gap next to the ulna(Fig. 6-⑨), 15 cm above the dent outward of the wrist joint(Fig. 6-⑩), radial side of muscular tendon of ulnar side wrist flexor from the wrist flexor wrinkle (Fig. 7-①), 1.5 cm above from radial side of muscular tendon of ulnar side wrist flexor from the wrist flexor wrinkle(Fig. 7-②), radial side of muscular tendon of ulnar side wrist flexor 3 cm apart from the wrist flexor wrinkle (Fig. 7-③), the point where the middle fingertip touches when clenching the fist between the 2^nd and 3^rd palm bones (Fig. 7-④), the middle of the bracelet wrinkle between the tendon of wrist radial side muscle and long palmar muscle (Fig. 7-⑤), between the muscle tendon of wrist's long palmar muscle and radial flexor muscle 6cm above the bracelet line(Fig. 7-⑥), between two muscles in front of the elbow (Fig. 7-⑦), lateral side of radial artery of wrist flexor wrinkle radial side(Fig. 7-⑧), above the protruding bones of the cuff(Fig. 7-⑨), 6 cm below from the radial biceps muscle tendon of arm from the elbow wrinkles(Fig. 7-⑩) in allegro giusto(fast but accurately) so that the cosmetic ingredients are absorbed well into the dermis layer of the skin, and using the cosmetics suitable for skin from the finger to the elbow holding the right hand, stroke and roll up with hands in allegro con brio (fast and powerfully) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

17. Using the cosmetic suitable for skin, hold the right hand and rub, stroke and roll up with hands from the elbows to shoulders in moderato cantabile(at fast pace with beautiful expressions) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

18. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the right thoracic vertebra 1∼12 neural spine(Fig. 8-①), 4.5 cm towards the lateral side from the lower edge of the right lumbar vertebra 1, 2 neural spine(Fig. 8-②) with elbow and thoracic vertebra 1∼lumbar vertebra 2, lumbar vertebra 2∼thoracic vertebra 1, thoracic vertebra 1∼lumbar vertebra 2 in order in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

19. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the left thoracic vertebra 3∼5 neural spine(Fig. 9-①), sacrum 1∼4(Fig. 9-②) with elbow and lumbar vertebra 3∼sacrum 4, sacrum 4∼ lumbar vertebra 3, lumbar vertebra 3∼ sacrum 4 in order in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

20. Using the cosmetic suitable for skin, rub and stroke with hands 4.5cm towards the lateral side from the midline of the back at the height of the first sacral vertebra hole for the left pelvis site(Fig. 9-③), 4.5 cm towards the lateral side from the midline of the back at the height of the second sacral vertebra hole(Fig. 9-④), 9 cm towards the lateral side from the midline of the back at the height of the third sacral vertebra hole(Fig. 9-⑤), lateral side of the hip(Fig. 9-⑥) and the middle of the hip wrinkles(Fig. 9-⑦) in order in largo (slowly and solemnly) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin

21. Using the cosmetic suitable for skin, rub and stroke with hands 1.5 cm towards the lateral side of left thoracic vertebra1∼lumbar vertebra5 spine neural spine(Fig. 8-③) in the order of thoracic vertebra 1 ∼ lumbar vertebra 5, lumbar vertebra 5 neural spine end lower part(Fig. 8-④), lumbar vertebra 5 ∼ thoracic vertebra 1 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

22. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the right thoracic vertebra 1∼12 neural spine(Fig. 8-①) and 4.5 cm towards the lateral side from the lower edge of the lumbar vertebra 1, 2 neural spine(Fig. 8-②) with elbow in the order of thoracic vertebra 1∼lumbar vertebra 2, lumbar vertebra 2∼thoracic vertebra 1, thoracic vertebra 1∼ lumbar vertebra 2 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

23. Using the cosmetic suitable for skin, rub and stroke with hands 4.5 cm towards the lateral side from the lower edge of the right lumbar vertebra 3∼5 neural spine (Fig. 9-①) and sacrum 1∼4(Fig. 9-②) in the order of lumbar vertebra 3∼sacrum 4, sacrum 4∼lumbar vertebra 3, lumbar vertebra 3∼sacrum 4 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

24. Using the cosmetic suitable for skin, rub and stroke with hands 4.5cm towards the lateral side from the midline of the back at the height of the first sacral vertebra hole for the right pelvis site(Fig. 9-③), 4.5 cm towards the lateral side from the midline of the back at the height of the second sacral vertebra hole(Fig. 9-④), 9 cm towards the lateral side from the midline of the back at the height of the third sacral vertebra hole(Fig. 9-⑤), lateral side of the hip(Fig. 9-⑥) and the middle of the hip wrinkles (Fig. 9-⑦) in largo (slowly and solemnly) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

25. Using the cosmetic suitable for skin, rub and stroke with hands 1.5 cm towards the lateral side of right thoracic vertebral-lumbar vertebra5 spine neural spine(Fig. 8-③) in the order of thoracic vertebra 1 ∼ lumbar vertebra 5, lumbar vertebra 5 neural spine end lower part(Fig. 8-④), lumbar vertebra 5 ∼ thoracic vertebra 1 in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

26. Using the cosmetic suitable for skin, rub, stroke and roll up with both hands the left back lower thigh towards inward of the hip in tempo di marcia vivo (lively and fast) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

27. Using the cosmetic suitable for skin, rub the middle of left ham(Fig. 10-①, 3cm from the middle of the ham above the ham wrinkles(Fig. 10-②), outside lower point of the dented part between calf muscles 24cm below the middle of the ham(Fig. 10-③), 9 cm right above the middle of the line connecting the lateral side of the ankle bone and the Achilles tendon(Fig. 10-④), inside the joint pocket between the talus at the dented part right below the end of lateral side ankle bone and the heel bone(Fig. 11-⑦), dented part beside the outer cuboid bone below the front of the inner joint pocket between the dented part right below the end of lateral side ankle bone and the heel bone(Fig. 11-⑧), skin below the backside of the rough and think part of the fifth sole bone(Fig. 11-⑨) in allegro giusto(fast but accurately) and rub, stroke and roll up with both hands towards back lower calves in tempo di marcia vivo (lively and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

28. Using the cosmetic suitable for skin, rub, stroke and roll up with both hands the right back lower thigh towards inward of the hip in tempo di marcia vivo (lively and fast) and so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

29. Using the cosmetic suitable for skin, rub the middle of right ham(Fig. 10-①, 3cm from the middle of the ham above the ham wrinkles(Fig. 10-②), outside lower point of the dented part between calf muscles 24cm below the middle of the ham(Fig. 10-③), 9 cm right above the middle of the line connecting the lateral side of the ankle bone and the Achilles tendon(Fig. 10-④), inside the joint pocket between the talus at the dented part right below the end of lateral side ankle bone and the heel bone(Fig. 11-⑦), dented part beside the outer cuboid bone below the front of the inner joint pocket between the dented part right below the end of lateral side ankle bone and the heel bone(Fig. 11-⑧), skin below the backside of the rough and think part of the fifth sole bone(Fig. 11-⑨) in allegro giusto(fast but accurately) and rub, stroke and roll up with both hands towards back lower calves in tempo di marcia vivo (lively and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

30. Smoothly rub the dented part within the lateral side tendon 6 cm above from the upper lateral side edge of the kneecap when the left kneecap is slightly bent(Fig. 12-①) in largo(slowly and solemnly) and using the cosmetic suitable for skin, stroke and roll up with both hands the front lower thigh towards the groin region from the knee in tempo di marcia vivo (lively and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin. Then, smoothly rub and stroke with both hands around the groin in andante molto calmo(very quietly and slowly) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

31. Smoothly rub the part where the trunk and the bottom of two upper corner bones between the first and second left metatarsal bone are near(Fig. 13-③), 15 cm above the top of the inner ankle bone that is connected to the back of the shinbone(Fig. 14-④), 21 cm above the top of the inner ankle bone that is connected to the back of the shinbone(Fig. 14-③), the tallest spot of the back of the foot(Fig. 13-①), a middle finger length towards the lateral side from the center of the knee at the point of 24 cm below the outer knee (Fig. 12-④), 3 cm below the center of the knee at the point of 24 cm below the outer knee (Fig. 12-⑤), 9 cm below the inner anterior towards 3 cm the lateral side from the front edge of cnemis at the height of approximately the rough side lower edge of cnemis when the knee is bent(Fig. 12-③), the inner anterior towards 3 cm the lateral side from the front edge of cnemis at the height of approximately the rough side lower edge of cnemis when the knee is bent(Fig. 12-②), lateral extensor muscle of little toe that is the transition area of the 4^th, 5^th footbone trunk-bottom(Fig. 13-②), the dented point below the front outer ankle bone(Fig. 11-⑥), the front fibula edge 9cm above the most prominent part of the lateral side of the ankle bone(Fig. 11-⑤), 15 cm from the top of the outer ankle bone that is the front of the calf bone(Fig. 11-④), 21 cm from the top of the outer ankle bone that is the front of the calf bone(Fig. 11-③), 21 cm from the top of the outer ankle bone that is the back of the calf bone(Fig. 11-②), the dented part below the front fibula head(Fig. 11-①), the border between the red skin and the white skin at the transition area of the first metatarsal bone head and trunk above the first metatarsal bone head at the inner side of the foot(Fig. 14-⑫), the border between the red skin and the white skin at the dented part of the first metatarsal bone trunk and bottom(Fig. 14-⑪), the dented part that is clearly touched 9 cm from the tallest inner ankle bone from the back calf bone edge(Fig. 14-⑤), the back side of the shinbone 9 cm below the front of the protruded part and the dented part of the transition area of joint tuberosity and calf bone trunk from the joint tuberosity at the inner side of calf bone(Fig. 14-①), the talus supporting protruding area at the joint pocket area between the talus and the heel bone 1.5 cm below the inner ankle bone, the dented part of the front part muscle to the sole midline(Fig. 14-⑨), 3 cm below the midpoint of the line connecting the inner ankle bone, the most protruding part, and the Achilles tendon(Fig. 14-⑩), the side of inner heel tendon below the inner back side of the ankle bone(Fig. 14-⑧), the midpoint of the line connecting the inner ankle bone, the most protruding part, and the Achilles tendon(Fig. 14-⑦), the back side of the shinbone(Fig. 14-⑥), 15 cm above the midpoint of the line connecting the inner ankle bone that is the inner calf muscle, the most protruding part, and the Achilles tendon(Fig. 14-②) in allegro giusto(fast but accurately), and using the cosmetic suitable for skin, smoothly stroke and roll up with both hands the front lower calf from toes to knee in allegro con brio (powerfully and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

32. Using the cosmetic suitable for skin, smoothly stroke 5 times with both hands from the left toes to the groin above the thigh in allegro giocoso(fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

33. Smoothly rub the dented part within the lateral side tendon 6 cm above from the upper lateral side edge of the kneecap when the right kneecap is slightly bent(Fig. 12-①) in largo(slowly and solemnly) and using the cosmetic suitable for skin, stroke and roll up with both hands the front lower thigh towards the groin region from the knee in tempo di marcia vivo (lively and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin. Then, smoothly rub and stroke with both hands around the groin in andante molto calmo(very quietly and slowly) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

34. Smoothly rub the part where the trunk and the bottom of two upper corner bones between the first and second right metatarsal bone are near(Fig. 13-③), 15 cm above the top of the inner ankle bone that is connected to the back of the shinbone(Fig. 14-④), 21 cm above the top of the inner ankle bone that is connected to the back of the shinbone(Fig. 14-③), the tallest spot of the back of the foot(Fig. 13-①), a middle finger length towards the lateral side from the center of the knee at the point of 24 cm below the outer knee (Fig. 12-④), 3 cm below the center of the knee at the point of 24 cm below the outer knee (Fig. 12-⑤) , 9 cm below the inner anterior towards 3 cm the lateral side from the front edge of cnemis at the height of approximately the rough side lower edge of cnemis when the knee is bent(Fig. 12-③), the inner anterior towards 3 cm the lateral side from the front edge of cnemis at the height of approximately the rough side lower edge of cnemis when the knee is bent (Fig. 12-②), lateral extensor muscle of little toe that is the transition area of the 4^th, 5^th footbone trunk-bottom(Fig. 13-②), the dented point below the front outer ankle bone(Fig. 11-⑥), the front fibula edge 9cm above the most prominent part of the lateral side of the ankle bone(Fig. 11-⑤), 15 cm from the top of the outer ankle bone that is the front of the calf bone(Fig. 11-④), 21 cm from the top of the outer ankle bone that is the front of the calf bone(Fig. 11-③), 21 cm from the top of the outer ankle bone that is the back of the calf bone(Fig. 11-②), the dented part below the front fibula head(Fig. 11-①), the border between the red skin and the white skin at the transition area of the first metatarsal bone head and trunk above the first metatarsal bone head at the inner side of the foot(Fig. 14-⑫), the border between the red skin and the white skin at the dented part of the first metatarsal bone trunk and bottom(Fig. 14-⑪), the dented part that is clearly touched 9 cm from the tallest inner ankle bone from the back calf bone edge(Fig. 14-⑤), the back side of the shinbone 9 cm below the front of the protruded part and the dented part of the transition area of joint tuberosity and calf bone trunk from the joint tuberosity at the inner side of calf bone(Fig. 14-①), the talus supporting protruding area at the joint pocket area between the talus and the heel bone 1.5 cm below the inner ankle bone, the dented part of the front part muscle to the sole midline(Fig. 14-⑨), 3 cm below the midpoint of the line connecting the inner ankle bone, the most protruding part, and the Achilles tendon(Fig. 14-⑩), the side of inner heel tendon below the inner back side of the ankle bone(Fig. 14-⑧), the midpoint of the line connecting the inner ankle bone, the most protruding part, and the Achilles tendon(Fig. 14-⑦), the back side of the shinbone(Fig. 14-⑥), 15 cm above the midpoint of the line connecting the inner ankle bone that is the inner calf muscle, the most protruding part, and the Achilles tendon(Fig. 14-②) in allegro giusto(fast but accurately), and using the cosmetic suitable for skin, smoothly stroke and roll up with both hands the front lower calf from toes to knee in allegro con brio(powerfully and fast) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

35. Using the cosmetic suitable for skin, smoothly stroke 5 times with both hands from the right toes to the groin above the thigh in allegro giocoso(fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

36. Using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards the right side of the abdomen in march tempo(like a march), allegro giocoso (fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-①).

37. Using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards the left side of the abdomen in march tempo(like a march), allegro giocoso (fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-②).

38. Smoothly rub the space between the 6^th rib below the nipple on the nipple line(Fig. 16-③), 28 cm above the navel(Fig. 16-⑤), between the 7^th rib below the nipple(Fig. 16-④), the end of the 11^th rib of the side(Fig. 16-⑦), the point right below the end of the 12^th rib bone(Fig. 16-⑧), 6 cm to the lateral side from the navel(Fig. 16-⑨), 12 cm above the navel (Fig. 16-⑥), 6 cm below the navel(Fig. 16-⑩), 9 cm below the navel(Fig. 16-⑪), 12 cm below the navel(Fig. 16-⑫) in adagio sostenuto (slowly and calmly but press one note at a time and play it heavily) and using the cosmetic suitable for skin, smoothly rub and stroke the abdomen with both hands in march tempo(like a march), allegro giocoso(fast, cheerfully and happily) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-③).

39. Using the cosmetic suitable for skin, smoothly rub and stroke with hands along the left thoracic duct in comodo(easily and conveniently with moderate pace) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-④).

40. Smoothly rub the space between the 1^st rib bone at the slightly inner side of the bottom edge of the protruding part 3 cm under the lateral side clavicle 18 cm from the left midline(Fig. 16-①), the space between the 4^th rib at the height of the nipple on the midline(Fig. 16-②) in comodo(easily and conveniently with moderate pace) and using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards around the chest and armpit in moderato cantabile(at fast pace with beautiful expressions) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-⑤).

41. Using the cosmetic suitable for skin, smoothly rub and stroke with hands between the right rib bones in comodo(easily and conveniently with moderate pace) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-⑥).

42. Smoothly rub the space between the 1^st rib bone at the slightly inner side of the bottom edge of the protruding part 3 cm under the lateral side clavicle 18 cm from the right midline(Fig. 16-①), the space between the 4^th rib at the height of the nipple on the midline(Fig. 16-②) in comodo(easily and conveniently with moderate pace) and using the cosmetic suitable for skin, smoothly rub and stroke with both hands towards around the chest and armpit in moderato cantabile(at fast pace with beautiful expressions) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin(Fig. 15-⑦).

43. Using the cosmetic suitable for skin, smoothly rub and stroke in the order of the front of the left ear (Fig. 17-①), back of the ear (Fig. 17-②), from the side of the nose down to the chin(Fig. 17-③), the back of the neck(Fig. 17-④), the middle part of the neck(Fig. 17-⑤), the front of the neck(Fig. 17-⑥), and below the neck(Fig. 17-⑦) in andante molto calmo(very quietly and slowly) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

44. Using the cosmetic suitable for skin, smoothly rub and stroke in the order of the front of the right ear (Fig. 17-①), back of the ear(Fig. 17-②), from the side of the nose down to the chin(Fig. 17-③), the back of the neck(Fig. 17-④), the middle part of the neck(Fig. 17-⑤), the front of the neck(Fig. 17-⑥), and below the neck(Fig. 17-⑦) in andante molto calmo(very quietly and slowly) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

45. Using the cosmetic suitable for skin, smoothly rub and stroke towards the thymus with both hands in andante molto calmo(very quietly and slowly), and finish off by smoothly stroking around the thymus with both hands in andante religioso(slowly and reverently) so that the ingredients of the cosmetics can be absorbed well into the dermis layer of the skin.

46. Apply a facial mask suitable for skin to the area where facial mask is needed. Cleanse off with sponge and warm cloth, then apply cosmetics suitable for skin and finish off.

Industrial Applicability

[0020] It is important to note that you can only use the skin care method by the orchestra performance technique at the skin care business sites.

[0021] The skin care method by the orchestra performance technique can be used only at the business sites (skin care rooms) where skin care is the primary purpose. Because the main purpose of skin care at other business sites is not permitted, they cannot be operated due to violation of the Public Health Control Act.

1. The definition of massage is divided into two: first, massage(helping the circulation of the blood by tapping or rubbing with hands) - massage by medical law; second, method of rubbing the skin to make it finer and healthier - massage by the Public Health Control Act. The technique of rubbing corresponds to the skin care method.

2. Skin care is not a way to treat the human body or a method of surgery, treatment or diagnosis of a person; it is the act of moisturizing the skin by allowing the ingredients of cosmetics to be absorbed well into the dermis layer in the skin.

3. It is clear that the massage technique of rubbing, stroking and rolling up is not finger-pressure therapy which is massage technique by medical law; it is rather the skin care method which is a technique of massage that corresponds to the Public Health Control Act.

4. It can be performed only at business sites where skin care is the primary purpose and currently operating as their business purpose.

5. Although it consists of the human action as the main means, it is not an invention that cannot be used industrially (a method of surgery, treatment, diagnosis of a person).

[0022] The skin care method manual (Lower Body Skin Care, Back Body Skin Care, Upper Body Skin Care, Whole Body Skin Care) can be repeated in sequence by a third party. Therefore, the skin care method manual (Lower Body Skin Care, Back Body Skin Care, Upper Body Skin Care, Whole Body Skin Care) uses the natural law in which the same results can occur repeatedly with constant certainty by the constant cause according to the sequence, and can be repeated by a third party.

Claims

1. It is a skin care method in which three types of movement are conducted after applying proper cosmetic on the skin according to the circulation of the skin concerning the elements existing in the skin. The three motions are: 1) lightly moving in a circle using fingertip or end of an elbow (Rubbing, Fig. 1) 2) gently stroking with the entire palm (Stroking, Fig 2) 3) putting the palm in a direction perpendicular to the lymph flow, stretching it up and moving the hand in a spiral while pulling it up (Rolling up, Fig.3). With the elements(Meissner corpuscle, Merkel corpuscle, Vater-Pacinian corpuscle, Ruffini corpuscle, free nerve ending, heat receptor, cold receptor, eccrine gland, fat, tissue liquid, etc.) existing in the skin(epidermis, dermis, subcutaneous tissue, Fig. 4) increase the skin temperature through mutual skin friction by the orchestra performance technique of rubbing, stroking and rolling up int eh skin care process to moisturize the skin.

2. As for claim 1, it is a skin care method for lower body skin care in which orchestra performance technique of rubbing, stroking and rolling up is smoothly performed by skin circulation.

3. As for claim 1, it is a skin care method for back body skin care in which orchestra performance technique of rubbing, stroking and rolling up is smoothly performed by skin circulation.

4. As for claim 1, it is a skin care method for upper body skin care in which orchestra performance technique of rubbing, stroking and rolling up is smoothly performed by skin circulation.

5. As for claim 1, it is a skin care method for whole body skin care in which orchestra performance technique of rubbing, stroking and rolling up is smoothly performed by skin circulation

Drawing