• 한국정보과학회논문지:시스템및이론
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• 제35권2호
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• pp.84-93
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• 2008

영상 산업 분야에서 옷감의 질감 모델링과 렌더링은 영상에 사실감을 부여해주는 중요한 요소로 여겨진다. 지금까지는 옷감이나 실의 반사모델을 이론적인 방법으로 계산하거나 계측장비를 통하여 옷감의 전반적인 반사 모델을 구하여 옷감의 재질감을 표현하였다. 이론적인 방법으로는 다양한 옷감의 특성을 재현하기가 어렵고, 옷감 패턴을 견사 레벨에서 자세히 모델링해야 하므로 엄청난 계산 시간을 요한다. 기존의 계측장비를 사용할 경우, 획득된 반사모델 데이타가 너무 크고 한 점에서 측정된 반사모델을 옷감 전체의 반사모델로 사용해야 하므로 옷감의 패턴이나 결의 모양을 제대로 표현할 수 없다. 본 논문에서는 손쉽게 제작할 수 있는 측정장치를 사용하여 실제 옷감을 촬영하고 분석하여 옷감의 직조패턴까지 재현하는 사실적인 질감 모델링 및 렌더링 방법을 제안한다.

• 한국게임학회 논문지
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• 제9권3호
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• pp.97-105
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• 2009

본 논문에서는 빛이 옷감 내부에서 산란되어 나타나는 패턴을 측정하고 이를 이용해 옷감을 표현하는 새로운 형태의 렌더링 방법을 제안한다. 지금까지는 BTF(Bidirectional Texture Function)가 옷감과 같은 구조를 표현할 수 있는 최적의 방법으로 생각되어져 왔다. 하지만 BTF에 의한 재질 복원은 그 품질이 측정된 데이터의 양에 비례하고, 측정된 데이터를 각종 빛의 현상이 통합된 상태로 사용해야 한다는 단점을 지닌다. 우리는 옷감 구조 내에서의 빛의 산란현상이 옷감의 색감을 드러내는데 중요한 역할을 하고 있음을 확인하였다. 이러한 사실을 이용하여 어떤 지점에 입사된 단위광선이 옷감 내부의 메소구조와 섬유를 통과하면서 외부로 나타나는 산란패턴(산란이미지:Scatter Image)을 샘플의 충분히 많은 지점에서 획득하고, 각 임의의 지점의 밝기는 그 주변 지점에서 현 픽셀까지 도달하는 빛의 양을 합하여 결정한다. 본 논문은 제안하는 방법은 옷감의 각 지점에 입사되는 광선을 개별적으로 조절 가능케 하여 옷감과 같이 내부 산란이 불규칙한 패턴을 보이는 재질을 더욱 사실적으로 표현할 수 있도록 하는 단서를 제공한다.

• 복식
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• 제17권
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• pp.137-148
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• 1991

The use of bark cloth, made of the inner bark of certain trees, was widespread along tropical zones from the Africa to the Hawaii encompassing the globe. They include Malaysia, Indonesia, New Guinea, Polynesian Islands and South America. Among them the Hawaiian bark cloth, named Kapa(pronounced as tapa) was rated as the best quality and most admired. It has variety in designs and colors as well as the most sophistcated production methods. The distinct processes of kapa making are composed of two stages. The first is called first beating and it is a preparatory stage to beat the sea-water soaked bast. It was done with a round beater on a stone anvil. The second beating process was carried out with the squared beater and wooden anvil. The strips from the first beating was soaked again in the water and then beaten lightly to break up fibers. The craftmen laid a bundle of strips over the anvil and beat it into pieces of kapa. The second beater of Hawaii was the most characteristic one among bark cloth producing countries. On their surfaces were the engraved patterns, which were creation of theirs. These distinguished designs enabled them to produce the kapa with the thinner and finer texture and an elaboration of impressed designs known as "watermaks". The Hawaiian culture was self-sufficient one : Everything they used was of their own creation until 19th century. Among their inventions of printing designs on kapa are three most important and distinguished processes. They are the overlaying, the cord snapping and the block printing techniques. Their inventiveness as well as self sufficient environment made it possible to develop their fine art of the kapa making. It is said that the mass producing and cheap western technology of loom forced them to gradually abandon their traditional art and as a result this fine and valuable legacy of Hawaiian traditional kapa making technique is all but disappeared. However it is encouraging and heart warming to find that some of the people as well as specialized researchers pined together to form a group to try to reproduce the old kapa and study the traditional art. They consider the kapa as an expression of the ethnic identity with Hawaii's heritage as well as valuable art of human history.

• 한국의류학회지
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• 제36권4호
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• pp.400-411
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• 2012

This study analyzes the formative changes and trends of cape design in modern fashion. In this study, a total of 496 cape designs were collected through the four major fashion collections of Paris, Milan, New York, and London from 2006S/S to 2010F/W, and a literature overview on capes was performed. The results of this study show that the cases with collars and hoods attached outnumbered the non-collared designs. In addition, the cases of lengthy cape in the hip or knee line represent more portions in designs. As to the material, it indicated that generic cloth was used the most. In most cases, decorations with various details and trimmings were also used. For expression characteristics, cases only with unique texture to cloth material and formative beauty were the most remarkable without decoration. For the formative feature, the independent item style was found the most, even though it was worn together with other kinds of clothing. Integration with other types also appeared such as cape jacket, cape dress, cape one-piece, or cape coat. Cape design features in contemporary fashion and could be characterized as feministic elegancy, harmony of practical value and fashion, authoritativeness, and decorativeness from the design trend analysis.

• 패션비즈니스
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• 제16권3호
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• pp.95-106
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• 2012

Jacqueline Kennedy Onassis (July 28, 1929 - May 19, 1994) was served as First Lady of the United States in the early 1960s. Her fashion styles are analyzed into the elements of designs, and the features of Jackie look are assorted. A variety of sources about women's suits for the 21st century are suggested in the research. Jackie's taste in fashion, her fashion image are searched. In addition, after Jackie, other nine fashionable First Ladies' evening dresses are compared to Jackie's dresses so as to see if there are similarities between their styles. Based on this data, the typical First Lady's look is classifiable. The purpose of this study is to furnish the industry with basic information which helps create high value fashion design. Most of Jackie's evening dresses had the straight - sheath silhouettes, and the round or bateau necklines without collars. Pale tones like white predominated in her dresses, and patternless colorful silk, silky and bright texture of cloth was used for the dresses. Elegance and classic represented her image. Design features of Jackie look are the straight silhouette, the simple line excluded adornments, and the fine quality of cloth. There has been little change in other nine First Ladies' evening dresses since Jackie. They weren't influenced by the vogue at that time, but they kept the style the way Jackie did. Jackie style is the beginning of the typical first lady look, that is.

• 복식문화연구
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• 제17권5호
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• pp.849-865
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• 2009

This research is a study of fashion design that applied formative features of formal beauty of architecture into clothing design; we focused on Gaudi's architectural style as well as Art Nouveau style that became popular from the end of the 19th century to the beginning of the 20th century. We noted that in general the simple and flat features of cloth impose a limitation on the expression of formal features in clothing design, but a unique diversity of designs can be achieved, evoking a sense of freshness by an ideal combination of flat patterns and draping. The aim of this research is to present a possibility of extending the sphere of design expression by creating three-dimensional clothes with pattern-cutting skills and applications of three-dimensional patterns as well as flat patterns found in Gaudi's works of architecture that are distinguished in curvaceousness and formal beauty. As for the research method, we reviewed previous studies by making a close review of books, papers, the pictures and web sites related to this topic. We made our clothes on the basis of this theoretical consideration. We found the following points. First, by presenting a work of fashion inspired by architectural designs, we realized that formal beauty in architect can become a motive for clothing design in a broad scale by noting the formal images, decoration details, and formative features of architectural works. Second, the characteristic lines of Gaudi's architecture are suitable to be adapted for expressing the detailed lines of decoration in clothes. Third, we can express formative beauty in clothes by highlighting the variation of shapes and lines through various attempts of change in background pattern, even though there is a limitation in the availability of cloth material because we must choose pieces of cloth with right texture and thickness that can be cut and sewn appropriately to express formative beauty. Fourth, we confirmed that it was possible to create unique formative designs by a creative application of both flat and three-dimensional cutting.

• 복식문화연구
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• 제15권6호
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• 방송공학회논문지
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• 제19권3호
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• pp.396-404
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• 2014

의류 검색 분야는 의류의 비정형 특성으로 인해 매우 어려운 분야로 인식 오류 및 연산량을 줄이기 위한 노력이 많이 진행되어 왔으나 이를 위한 학습 및 인식 과정 전체에 대한 구체적인 사례가 없고 일부 관련 기술들은 아직 많은 한계를 보이고 있다. 이에 본 논문에서는 입력된 영상에서 사람 객체를 파악하여 착용한 의상으로부터 색상, 무늬, 질감 등 의상이 가질 수 있는 특성 정보를 분석하여, 이를 분류하고 검색하는 방법에 대한 전 과정을 구체적으로 보였다. 특히, 의류의 패턴 및 무늬 등을 구분하기 위한 비정형 의류 검색을 위한 LBPROT_35 디스크립터를 제안하였다. 이 제안 방식은 영상의 통계적 특징을 분석하는 기존의 LBP_ROT(Local Binary Pattern with ROTation-invariant) 방식에 추가로 원 영상에 크기 변화가 생겨도 검색해 낼 수 있도록 하는 특성이 추가된 것이며, 이를 통해 비정형 의류 검색 시 옷이 회전되어 있거나 스케일에 변화가 있어도 높은 검색율을 얻을 수 있게 되었다. 또한 색 공간을 11개의 구간으로 양자화 하는 방식을 이용하여 컬러 분류를 구현하여, 의류 검색에 있어서 중요한 컬러 유사성을 상실하지 않도록 하였다. 한편, 인터넷 상의 의류 사진들로부터 추출한 총 810장의 트레이닝 이미지로 데이터베이스를 구축하고 이들 중 36장을 질의영상으로 테스트 한 결과, 94.4%의 인식률을 보이는 등 Dense-SIFT 대비 높은 인식률을 보였다.

• 복식
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• 제50권8호
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• pp.5-16
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• 2000

This study attempts to examine compound weave among silk fabrics of Cho-Sun Dynasty. These silk fabrics have colorful patterns. They can be classified into two types by their texture structure one is called polychrome woven silk of which structure is plain or twill fabric : another is called satan damask of which structure is stain fabric. Their texture structure consist of warp and weft. In addition. there are other types of warp and weft for pattern structure ; various twill structures were used for patterns. A variety of colorful threads, including gold and silver ones. are used fur patterns in them. The brocaded-type fabric was primarily developed during Won Era of China. It was most developed in Ko-Rye Kingdom. During that era flat strip was used the most but its length was usually not long enough to finish one pattern. However, wrapped thread was increasingly used during the middle and later period of Cho-Sun Dynasty due to the development of weaving technology for gold thread. The brocaded-type fabric was produced in Korea and it was also Imported from China according to some record. There are some domestic empirical documents that show the names of imported Satin Samite, Brocaded satin and these are good evidence to prove the nationwide use of the cloth during Cho-Sun Dynasty. The density ratio of warp and weft is almost same except Samite in the third and Satin with flower motif in the second period is most density among them. C·F of Brocaded satin with Mang motif in the third period values the highest price. Brocaded satin, used with both gold and silver threads, is thickest.

• 한국의류산업학회지
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• 제6권4호
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• pp.433-439
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• 2004

Hanji costumes has four aspects that allow the creator or artist to create many variations. The pictorial effects of Hanji costumes are produced through variations in the dyes and brushes used for its application. The amount of water and texture of the Hanji mixture also influences the Hanji clothing. This effect was expressed using a dry brush technique, a dripping technique, India inks, and fragments from other Hanji works. A second aspect of Hanji clothing is the coloring effect in the Hanji costumes. The coloring is due to the fibers in the preparation mixture and the uniqueness of the dyes. The Hanji clothing was dyed various colors and patterns by dip dyeing, block dyeing, silk screens, digital printing. The third aspect of Hanji imagination in clothing is the decorative details. The details in Hanji clothing can be seen using frills, pleats, tucks and ribbons. The last variation of Hanji clothing can be expressed through crafting techniques. These techniques are the quality of paper string, cuts in the paper and paste ingredients. With Hanji cloth, it is possible to plait, roll, and crample into other flexible & useful materials.