• Korean Management Science Review
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• v.32 no.1
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• pp.35-47
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• 2015

The purpose of this paper is to find an optimal weaving connection method of sweater threads while weaving intarsia sweater by the genetic algorithm. The objective function was devised to minimize labor cost and lessen the amount of thread usage. In order to create the parental population group in the genetic algorithm, we developed five thread connection methods. Besides, elite chromosome screening methods for the offspring group was selected both to the whole chromosome thread elite and to a color-coded elite thread chromosome. Commonly used diamond pattern in Intarsia sweater manufacturing was applied to the experiments. The experimental results showed that thread system saved the labor and material costs than woven method under the existing software. When weaving Intarsia sweater in the field, we can apply the developed genetic algorithm to improve productivity of weaving connection method.

• Journal of Korean Dental Science
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• v.8 no.2
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• pp.49-56
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• 2015

Purpose: The effect of accelerated aging on color stability of various dual-cured self-adhesive resin cements were evaluated in this study. Materials and Methods: Color stability was examined using three different brands of dual-cured self-adhesive resin cements: G-CEM LinkAce (GC America), MaxCem Elite (Kerr), and PermaCem 2.0 (DMG) with the equivalent color shade. Each resin cement was filled with Teflon mold which has 6 mm diameter and 2 mm thickness. Each specimen was light cured for 20 seconds using light emitting diode (LED) light curing unit. In order to evaluate the effect of accelerated aging on color stability, color parameters (Commission Internationale de l'Eclairage, CIE $L^*$, $a^*$, $b^*$) and color differences (${\Delta}E^*$) were measured at three times: immediately, after 24 hours, and after thermocycling. The $L^*$, $a^*$, $b^*$ values were analyzed using Friedman test and ${\Delta}E^*$ values on the effect of 24 hours and accelerated aging were analyzed using t-test. These values were compared with the limit value of color difference (${\Delta}E^*=3.7$) for dental restoration. One-way ANOVA and Scheff's test (P<0.05) were performed to analyze each ${\Delta}E^*$ values between cements at each test period. Result: There was statistically significant difference in comparison of color specification ($L^*$, $a^*$, $b^*$) values after accelerated aging except $L^*$ value of G-CEM LinkAce (P<0.05). After 24 hours, color difference (${\Delta}E^*$) values were ranged from 2.47 to 3.48 and $L^*$ values decreased and $b^*$ values increased in all types of cement and MaxCem Elite had high color stability (P<0.05). After thermocycling, color change's tendency of cement was varied and color difference (${\Delta}E^*$) values were ranged from 0.82 to 2.87 and G-CEM LinkAce had high color stability (P<0.05). Conclusion: Color stability of dual-cured self-adhesive resin cements after accelerated aging was evaluated and statistically significant color changes occurred within clinically acceptable range.

• Bulletin of the Korean Chemical Society
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• v.30 no.7
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• pp.1611-1615
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• 2009

We designed new anthracene-based host material to increase color purity as well as device efficiency. The new blue host, 9,10-bis(2,4-dimethylphenyl)anthracene (BDA), has highly twisted structure and wide band gap due to ortho interaction between anthracene and introduced 2,4-dimethylphenyl substituents. BDA exhibited deep blue fluorescence in solution (${\lambda}_{max}$ = 410 nm) and in solid state (${\lambda}_{max}$ = 429 nm), respectively, with the wide optical band gap (E = 3.12 eV). Blue-light-emitting OLEDs using obtained host and 2% Flu-DPAN as emitter showed 8 cd/A of high efficiency as well as high color purity [CIE coordinates = (0.15, 015)].

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.93-109
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• 2012

The purpose of this study is to examine the modern men's fashion coordination to see the image in the center of TV dramas in terms of Habitu that is formed within hierarchy and class. The subjects range is included fashion style, color, accessories, hairstyle and appearance. 950 pictures used in the analysis sheet. In research methods, content analysis and basic statistics were used. The results of this study were as follows. First, the hierarchy image formed by Habitus is significant difference. The upper layer is coordinating elite luxurious and prestigious image of the fashion styles. The middle layer is coordinating neat and capable image. The lower layer does not care about the appearance and image appearing weary life is coordinating. Second, the class image formed by Habitus, CEO often interests in fashion image coordination. Senior executive is represented clean and luxurious image. General white color dresses in a suite such as office look. Blue color does not care about the fashion coordination and is expressed an easy dress for labor. Architects of the unstructured free-spirited image is represented. Physician and resident physician dress in shirts, no pattern tie, pants, robe. And they is coordinating neat and tidy attire to represent professional and reliable image.

• FLOWER RESEARCH JOURNAL
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• v.17 no.4
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• pp.308-315
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• 2009

The activities of flower color biosynthesis-controlling enzymes, flavonoid 3'hydroxy lase (F3'H) and dihydroflavonol 4-reductase (DFR), were analyzed in Llium longijlorum and 11 lily cultivars using biochemical and enzymological methods. Dihydroquercetin (DHQ) product was synthesized by F3'H using dihydrokaempferol (DHK) as a substrate in Lilium longiflorum. F3'H activity was also detected in the eight cultivars tested. The substrate-specific activity of F3'H was observed because eridictiol (ERI), which uses naringenin (NAR) as a substrate, was not detected in the tested cultivars. Leucocyanidin (LCy) product was synthesized by DFR using DHQ as a substrate in Lilium longiflorum. DFR activity was also detected in 'Le Reve', 'Montreux', 'Monte Negro', 'Etude', 'Acapulco', and 'Star Gazer', but not in 'Siberia', 'Royal Race', 'Nove Cento', 'Elite', and 'Cannes'. Substrate-specific activity of DFR was observed because leucopelargonidin (LPg), which uses DHK as a substrate, was not detected in the tested cultivars.

• The Journal of Korean Academy of Prosthodontics
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• v.52 no.2
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• pp.97-104
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• 2014

This study was aimed to compare the radiopacity of four kinds of currently available resin based implant cements using digital radiography. Materials and Methods: Four resin-based implant cements((Estemp $Implant^{TM}$ (Spident, Incheon, Korea), $Premier^{(R)}$Implant (Premier, Pennsylvania, USA), $Cem-Implant^{TM}$ (B.J.M lab, Or-yehuda, Israel), $InterCem^{TM}$ (SCI-PHARM, California, USA)) and control group (Elite Cement $100^{TM}$ (GC, Tokyo, Japan) ) were mixed and cured according to the manufacturer's instructions on the custom made split-type metal mold. A total of 150 specimens of each cement were prepared and each specimen (purity over 99%) was placed side-by-side with an aluminum step wedge for image taking with Intraoral X-ray unit (Esx, Vatech, Korea) and digital X-ray sensor (EzSensor, Vatech, Korea). For the evaluation of aluminum wedge equivalent thickness (mm Al), ImageJ 1.47 m (Wayne Rasband, National Institutes of Health, USA) and Color inspector 3D ver 2.0 (Interaktive Visualisierung von Farbraumen, Berlin, Germany) programs were used. Result: Among the 5 cements, Elite cement $100^{TM}$ (control group) showed the highest radio-opacity in all thickness. In the experimental group, $InterCem^{TM}$ had the highest radio-opacity followed by $Premier^{(R)}$ Implant $Cement^{TM}$, $Cem-Implant^{TM}$ and Estemp $Implant^{TM}$. In addition, $InterCem^{TM}$ showed radio-opacity that met the ISO No. 4049 standard in all the tested specimen thickness. Cem-Implant on 0.5 mm thickness showed radiopacity that met the ISO No. 4049 standard. Conclusion: Among the implant resin-based cements tested in the study, $Premier^{(R)}$ Implant Cement and Estemp $Implant^{TM}$ did not show appropriate radio-opacity. Only $InterCem^{TM}$ and $Cem-Implant^{TM}$ 0.5 mm specimen had the proper radiopacity and met the experiment standard.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.51-63
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• 2002

The purpose of this study is to review the symbolic meaning in 20th century men’s fashion through analyzing of social environment factors. After recent industrial society, men had expressed their privilege, prestige and social power according to fashion. Men's fashion at the beginning of the 20th century was emerged as the images of robustness and strictness with perfect cutting, thick and stick fabric and dark color that were influenced by british style. It was symbolic meaning of authority orientation which showed the superiorities of social and sex classes. It was beginning of change according to social phenomena. The world war Ⅰ,Ⅱ and change of lifestyle by material affluence in automobile industry mollified rules of men's fashion. It showed a serenity of living. Also, the growth of young culture changed trickle-down of men's fashion into bottom-up and showed opposition for elite culture in fashion. These change particularly became acceleration by Individualism, open-society and the collapse of sex class. Men expressed sexual and inherent desire for fashion that was no longer concerned with symbolizing of authority but rather with pleasure pursuit.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.103-115
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• 2002

The purpose of this study is understanding modern woman's various aesthetic values and aesthetic sense through observing expression aspects of gender images in the 1990s military fashion and analyzing their aesthetic characteristics and formative factors. Gender images in military fashion have expressed the masculine image of authoritative image and offensive image and offensive image, and the feminine image of conservative image and ostentatious image, sensual image. The authoritative image showed authority and dignity of military uniform by using the classic military uniform's image. This spoke for desire of women to rise their position. Heroism and androcentrism affected as its formation factor. The offensive image destroyed original dignified image of military uniform by that resistance to authoritative image and existing gender identity appeared as way-out form and deconstructive expression. Anti-establishment spirit, resistance to gender identity, and deconstructionism affected as its formation factor. The conservative image expressed military fashion only with slim and soft silhouette, curved line, color, and simple details by magnifying feminity. Fallen man's authority affected as its formation factor. The ostentatious image expressed military fashion with magnifying accessories such as gold button and belt by women who wanted to display ostentatiously their social position and charm. The aspiration for class of elite affected as its formation factor. The sensual image intended to show erotic voluptuous beauty of woman's body by indirect and direct body exposure. Narcissism, desire to show, and sexual amusement affected as its formation factor.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.824-836
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• 2023

The purpose of this study is to analyze the formative characteristics of women's costumes among the Regency era's elite in the television drama Bridgerton (2020). Its methodology investigates the socio-cultural background and literature on clothing in the Regency era. It also analyzes the formative elements of Daphne's costumes (of the Bridgerton family) and Penelope's costumes (of the Featherington family) representing the upper class. The study reveals that women's costumes had a tubular silhouette consisting of a low neckline, high waistline, and short puffed sleeves. The series expressed well the Regency-era costumes, which were influenced by Neoclassicism and characterized by silk materials, shawls, gloves, belts, a reticule, and hairstyles. Among the formative elements, the Bridgerton and Featherington families' costumes showed distinct differences in color, materials, patterns, accessories, and hairstyles. Daphne's costumes were intelligent and elegant in pastel-toned blues and had small patterns. She carried small accessories and had a natural curled hairstyle. In contrast, Penelope wore decorative and splendid styles in intense colors and large patterns. Her accessories were large and colorful, and she had a strong curled hairstyle. These costumes express the Bridgerton family as aristocratic and the Petringer family as flashy, thereby distinguishing the two families. These research results will be presented as basic data for producing drama costumes in the 19th century to help complete the drama.