• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.940-948
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• 2000

This paper analyzed the collections of Dries Van Noten and found the influences of oriental ethnic costumes. The oriental looks which he had shown in his collections are followings : Largely, the menswear designs of Van Noten took the concept of an easy and loose style which is a common shape in oriental ethnic costumes. Especially various transformations of layered look were found in his collections. Design ideas of Van Noten's womenswear style included variations of a sarong style, a kimono style, and etc. Also in his womenswear collections, various styles of layered look were shown. He often used lustrous fabrics like satin, brocade, and damask which are driven from the oriental region. His collections had Chinese dragon-or flower-pattern, Japanese geometric pattern, and Indian henna pattern. The patterns were embroidered or gilded.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.111-122
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• 2002

The study of traditional costume is significant in terms of figuring out of the reality of its originality and enrich the costume culture of today. The purpose of this study is to analyze the aesthetic characteristics and to contemplate the aesthetic values of the Kokuryo costume. Kokuryo costume were characterized with the simpleness in its clothing constructions. The spaces found on the dresses were emphasized giving a geometric characteristics and abstract images. Many different colors were used for tops, bottoms, and border elements showing value contrast in each parts of dress. Patterns were simplified in a dot or stripe shapes impling a certain symbols. Dot patterns were varied in its shapes. In general. the decorative elements were simple and eliminated. Through the process of investigating these aesthetic characteristics, aesthetic values were found. The aesthetics of nature were favoured and tradition were respected. Religious mind were favoured and progressive spirit were endowed by the Kokuryo people. They have pursued the diversities and many changes in visual forms of dresses which were the manifestations of their esprit.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.21 no.1
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• pp.58-64
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• 2012

Instead of the surface pattern arranged repeatedly in two axial direction on a plane, we propose double patterns superposing two one-axial linear patterns as a reference target for surface encoding. A upper layer of the superposed pattern is the transparent glass with grooves cut in it at a fixed pitch. The position is sensed by detecting a shift of beam due to difference of a refractive index. And a lower layer is the aluminum with color-coated grooves. The amount of beam reflected on the layer varies according to its targeting position and is detected for encoding. For the above reference pattern, we can detect two-axial positions using only the single beam. Furthermore, the pattern size can be expanded with a size of the detector kept constant, meaning that the measured range can be expanded easily. In this paper, we review the existing optical encoding methods for grid pattern, and discuss the hardware implementation of the suggested surface encoding method.

• The Research Journal of the Costume Culture
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• v.28 no.2
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• pp.199-214
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• 2020

The study investigates Atlas fabrics, the Ikat weaving method used by the Uygur People in Xinjiang, China. Based on domestic and foreign papers and other literature, different cultural characteristics of Ikat fabrics from various regions are compared. Following a theoretical investigation, characteristics of fabrics from the Indian Patola, Indonesian Ikat, Japanese Kasuri, and Uzbekistan Adras are summarized and compared with the characteristics of pattern, color, and manufacturing process of Atlas silk from Xinjiang China (also an Ikat fabric). The results are as follows. First, although the weaving process used for Ikat fabrics differs from country to country according to different national cultures, lifestyles, colors, patterns, and usage methods, they are all Ikat dyed fabrics. Therefore, they are all regarded as precious objects symbolizing a certain social status, and are used as a gift for special occasions, such as weddings. Second, the form of the pattern varies. Indian Patola has clear outlines and regular patterns, while the patterns of Japanese Kasuri are mainly inspired by folk life ideas. Indonesian Ikat contains influences from indigenous tribes, and Uzbekistan's and China's Atlas textiles are influenced by geography, religion, and national culture, including bright colors and pattern designs inspired by plants, musical instruments, and geometric figures. Finally, the patterns and colors of Xinjiang Atlas fabrics present strong ethnic characteristics. Unlike the Uzbekistan fabric which is mostly influenced by Islam, human and animal patterns would not feature in Xinjiang Atlas patterns, which mostly consist of long strips, repeated in a neat and orderly form.

• Korean Institute of Interior Design Journal
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• v.26 no.5
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• pp.106-116
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• 2017

In the 1900s, the cultural crossing of East and West was realized through the acceptance and reproduction of culture. Cultural change in the Orient was the result of attempts to harmonize the West's images, which they chose in their respective countries, with their own culture. However, research on design history until now has been centered on the West, and East was regarded as a beneficiary of civilization inherited from Western's. From the point of view of Western design history as a main trend, the unique characteristics of Korean design culture are not revealed. Therefore, through this studies, we want to distinguish Korea's modern design, which has been recognized as a minority. For the study, through the wallpaper, which is one of the detailed components of the interior space in modern times, we try to analyze the socio - cultural historical factors and design characteristics influencing the formation of the interior space in modern times. Summarizing a result of research. The early modern wallpaper of England mainly uses plants as motifs. But In Korea, animal patterns and letter patterns were used. The reason why European wallpaper was mainly a plant at the time was that the structure of the motif was useful for the process of creation. However, in the case of the Korean wallpaper pattern, the theme was selected according to the meaning of the motif, and it was abstracted appropriately for the 2D design. As a result, many geometric shapes were formed. In addition, European wallpaper pattern is more complex and organic than Korean wallpaper pattern. Therefore, the boundary of the central pattern as the basic unit is unclear and the patterns are connected. The pattern development method is not a simple repetition but a combination of symmetry and repetition. In Korea, on the other hand, the boundaries of unit patterns are clear and patterns are developed by simple repetition. There are many diamond-type repeating patterns in particular.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.758-769
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• 2021

The purpose of this study is to analyze the traditional embroidery in India by region based on Bourdieu's cultural theory. As the research methods for this study, literature and case studies were conducted. The results of the study are summarized as follows. First, India's regions could be divided into four distinct regions based on language and religion. The main concepts of Bourdieu's cultural theory, namely the sub-dimensions of field and habitus, were the field of social system, the field of goods & economy, the field of environment/region, culture, and ethnicity. Second, Eastern India's embroidery was influenced by Hinduism and traditional art. The embroidery used various fabrics such as the Applique work, and vivid colors and patterns were mainly used in the Hindu myths, animals, and flower patterns of the embroidery. Third, embroidery in Western India was influenced by exotic cultures like Persian due to geographical conditions, and embroidery via the use of gold threads and various ornaments was developed. Symbolized flower patterns and geometric patterns were used a lot in the respective embroidery. Fourth, embroidery in southern India was influenced by the Dravidian culture and their architectural style, which saw the emergence of an embroidery that used simple colored cross-stitch. Most of the patterns in this embroidery are geometricized. Fifth, Northern Indian embroidery has historically served as the center of power, resulting in an embroidery that uses various forms and materials. In this embroidery, flower patterns are mainly used. Finally, the characteristics of the traditional embroidery of India's each region is based on Bourdieu's cultural theory, which could be summarized as ethnic religiosity, exotic splendor, structural formality, and symbolic power.

• Archives of Craniofacial Surgery
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• v.25 no.2
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• pp.77-84
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• 2024

Background: The facial artery is an important blood vessel responsible for supplying the anterior face. Understanding the branching patterns of the facial artery plays a crucial role in various medical specialties such as plastic surgery, dermatology, and oncology. This knowledge contributes to improving the success rate of facial reconstruction and aesthetic procedures. However, debate continues regarding the classification of facial artery branching patterns in the existing literature. Methods: We conducted a comprehensive anatomical study, in which we dissected 102 facial arteries from 52 embalmed and formaldehyde-fixed Vietnamese cadavers at the Anatomy Department, University of Medicine and Pharmacy, Ho Chi Minh City, Vietnam. Results: Our investigation revealed eight distinct termination points and identified 35 combinations of branching patterns, including seven arterial branching patterns. These termination points included the inferior labial artery, superior labial artery, inferior alar artery, lateral nasal artery, angular artery typical, angular artery running along the lower border of the orbicularis oculi muscle, forehead branch, duplex, and short course (hypoplastic). Notably, the branching patterns of the facial artery displayed marked asymmetry between the left and right sides within the same cadaver. Conclusion: The considerable variation observed in the branching pattern and termination points of the facial artery makes it challenging to establish a definitive classification system for this vessel. Therefore, it is imperative to develop an anatomical map summarizing the major measurements and geometric features of the facial artery. Surgeons and medical professionals involved in facial surgery and procedures must consider the detailed anatomy and relative positioning of the facial artery to minimize the risk of unexpected complications.

• Journal of The Korean Society of Agricultural Engineers
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• v.46 no.5
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• pp.69-77
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• 2004

FRP rebar has low bond performance than steel rebar. Usually, FRP rebar has about 60% of bond strength of steel rebar. Without adequate bond to concrete, the full composite action between reinforcement and concrete matrix can not be achieved. Therefore, FRP rebars must also have surface deformations that provide good bond to concrete. The purpose of this research was decided an optimum surface deformation patterns through bond test of FRP rebar. Eighteen surface deformation patterns of FRP rebar with widely different geometries were investigated. Based on the test results, we established optimum surfale deformation pattern. Bond tests were performed for three types of surface deformation patterns of FRP rebar including sand coated rebar, ribbed rebar, and wrapped and sand coated rebar that commercially available, and two types of FRP rebar including CFRP, GFRP rebars that optimum surface deformation pattern is applied. According to bond test results, FRP rebars that optimum surface deformation pattern is applied were found to have better bond strength with concrete than currently using FRP rebar.

• Computers and Concrete
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• v.1 no.3
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• pp.303-324
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• 2004

The Component-Based Software Development (CBSD) has established itself as a sound paradigm in the software engineering discipline and has gained wide spread acceptance in the industry. The CBSD relies on the availability of standard software components for encapsulation of specific functionality. This paper presents the framework for the development of a software component for the design of general member cross-sections. The proposed component can be used in component-based structural engineering software or as a stand-alone program developed around the component. This paper describes the use-case scenarios for the component, its design patterns, object models, class hierarchy, the integrated and unified handling of cross-section behavior and implementation issue. It is expected that a component developed using the proposed patterns and model can be used in analysis, design and detailing packages to handle reinforced concrete, partially prestressed concrete, steel-concrete composite and steel sections. The component can provide the entire response parameters of the cross section including determination of geometric properties, elastic stresses, flexural capacity, moment-curvature, and ductility ratios. The component can also be used as the main computational engine for stand-alone section design software. The component can be further extended to handle the retrofitting and strengthening of cross-sections, shear and torsional response, determination of fire-damage parameters, etc.

• Transactions of Materials Processing
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• v.16 no.8
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• pp.596-602
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• 2007

LGP (Light Guiding Plate) of LCD-BLU (Liquid Crystal Display - Back Light Unit) is one of the major components that affect the product quality of LCD. The optical patterns of LGP(2.2") molds are fabricated by three different methods, namely, (1) laser ablation, (2) chemical etching and (3) LiGA-reflow, respectively. The characteristics of surface patterns and roughnesses of molds and injection molded parts were compared to evaluate the optical characteristics. The optical patterns of injection molded LGP with mold fabricated by LiGA - reflow method showed the best geometric structure. The surface roughness (Ra) of LGP#s with molds fabricated by (1) laser ablation: $Ra={\sim}31nm$, (2) chemical etching: $Ra={\sim}22nm$, and (3) LiGA-reflow: $Ra={\sim}4nm$.