• 한국의상디자인학회지
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• 제7권3호
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• pp.83-94
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• 2005

This paper is to analyze patterns for Indonesian traditional textiles. Ikat is the resist-dyeing process in which designs are reserved in warp or weft yams by tying off small bundles of threads with fiber resists to prevent the penetration of dye. Batik is the technique applying a wax resist before dyeing to form a pattern in negative. Ikat and batik are the most renowned textile arts of Indonesia. Patterns are classified as geometric pattern, plant pattern, animal pattern. Also this paper discusses the origins of ikat and batik. Therefore this Paper proposes the classification and feature extraction of ikat and batik patterns. The results of this study can be effectively applied to develop competitive pattern design for Indonesian textile market.

• 한국수학교육학회지시리즈A:수학교육
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• 제45권2호
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• pp.165-176
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• 2006

In this paper, we consider changes of algebra strands around the world. And we suggest needs of designing new computer environment where we make and manipulate geometric recursive patterns. For this purpose, we first consider relations among symbols, meanings and patterns. And we also consider Logo environment and characterize algebraic features. Then we introduce L-system which is considered as action letters and subgroup of turtle group. There are needs to be improved since there exists some ambiguity between sign and action. Based on needs of improving the previous L-system, we suggest new commands in JavaMAL microworld. So we design a microworld for recursive patterns and consider meanings of letters in new environments. Finally, we consider the method to integrate L-system and other existing microworlds, such as Logo and DGS. Specially, combining Logo and DGS, we consider the movement of such tiles and folding nets by L-system commands. And we discuss possible benefits in this environment.

• 대한의용생체공학회:학술대회논문집
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• 대한의용생체공학회 1996년도 춘계학술대회
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• pp.73-76
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• 1996

Computer simulation and magnetic resonance angiograms(MRAs) are used to understand for flow patterns in the carotid arterial bifurcation. Steady momentum equation is solved by the finite volume method. A Phantom of the carotid artery made of bioacrylic material is used for MRA observation. Flow Patterns are observed by using MRA for flow in the phantom of an automatic closed-type circulatory system filled with sugar 4 w% solution. For numerical analysis the idealized geometric shape of the carotid artery is constructed to portray the phantom. Results of numerical analysis are compared with those of MRA. The flow patterns of the phantom on MRA are almost identical to those of the computer simulation.

• 한국의상디자인학회지
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• 제23권3호
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• pp.57-71
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• 2021

When teaching traditional pattern-themed textile design, it has been found that many students struggle during the investigation stage of traditional patterns and complete the development of patterns in relatively simple layout methods, such as block patterns and half drop patterns. Until now, digital textile design textbooks lack content on how to develop patterns. Judging that the current teaching method leads to difficulties in developing a new sense of textile design, this study focused on Heesch-tiling tessellation and software called TESS, a program that can transform patterns themselves. This study is an academic study on the methodology of first developing patterns through TESS, a tessellation program developed for elementary school students in the U.S., and then applying various lines and colors to the complete patterns and textures using Adobe Illustrator. In this study, the concept, formative characteristics, and generative principles of Heesch-tiling tessellation were examined, and the process of developing new patterns using the TESS program, which can be used to create patterns through Heesch-tiling principles, was intended to help in textile design education. Therefore, after analyzing the comprehensive concepts and principles of tessellation, the next step is to understand the principles and the characteristics of pattern making only for Heesch-tiling tessellation, and then ultimately to develop new patterns. While patterns using traditional tessellation layouts have been characterized mainly by repeated geometric shapes, Heesch-tiling tessellation can express surrealistic attributes, such as those by painter M. C. Escher or style elements such as those in neo-pop.

• 패션비즈니스
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• 제18권1호
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• pp.101-117
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• 2014

The purpose of this study is to investigate domestic and foreign fashion sock design trends and suggest a proposal for competitive fashion sock design developments. The methods of this study are undertaken by literature review and design trend analysis. For the design trend analysis, in the case of domestic cases, 209 pictures from 7 brands, and in the case of foreign cases, 870 pictures from 10 brands are being chosen. In terms of analysis criteria, the colors, patterns, lengths and images of both the domestic and foreign socks are being compared. As a result, among the fashion foreign socks, more than 4 colors are the most common, and dark & dark grayish, strong & deep color tones are the most popular. Also, the stylized, geometrical patterns, and casual, cute and unique images are generally used. In the case of domestic fashion socks, 2 colors are the most common with vivid, strong & deep color tones as the most popular. Furthermore the patterns are limited to geometric patterns, and the images of socks are inclined to be too casual. To enhance the competitiveness of Korean sock designs, the variety of patterns and images are essential.

• 복식
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• 제44권
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• pp.215-233
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• 1999

The Miaos have their own peculiar and luxurious transtional culture a they have experienced repeated fusion into and resistance againt the Han Race or the chinese in their long and old history. And the traditional culture of the Miaos is abundant and diverse in several respects. Because it has taken root in foundation of their simple and native environment. it is embracing abundant and diverse contents. They largely used as the theme of patterns factual materials such as natural objects easily accessible in the natural environment. those related to marratives reflective of ethnicity, animals and plants symbolic of auspicious omen, peace, happiness and good harrest with prosperity and abundance. And they not only crossornamented natural patterns and geometrical patterns by combining them but also geometric patterns alone. It can be seen that Miaos represented patterns with exaggerated formation, overlapping and modification and the comprehensive, fomation of natural forms, abstract formation etc. Seeing the ethnic costume of Miaos investigated in these several respects by the standard of contemporary beauty it is thought that it has the infinite possibility of being used in contemporary fashion design on account of the characteristic of almost perfect costume.

• 한국가구학회지
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• 제28권2호
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• pp.126-134
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• 2017

This study explores PyeongSang, a piece of traditional Korean furniture, in order to make people know the details about what the piece is in the first paper. And based on the paper, PyeongSang will be developed as moulded multi-useful beds and sofas adapting the joint and ornament from the structure and pattern of the piece in the next paper. As the result, it appeared as two styles such as bed types mentioned as SalPyeongSang and ttulmaru in Korean. The pieces have been used from the three Kingdoms period in Korean history. The styles appeared as the structure of four parts with the lower fences called as nangan, the seats jointed by thin wood pieces, the wind hole, and the legs of foot types. The parts were beautifully carved with the ornament such as lattice patterns like geokjamun and manjamun, flower patterns like dangchomun, elephant eyes patterns like ansangmun from the Korean tradition. And the legs showed various shapes such as supports transformed from horse foots, tiger legs and bamboo, and board types carved with elephant eyes and geometric patterns. Hence, in the next paper based on this paper, PyeongSang will be developed as moulded multi-useful beds and sofas adapting the joints and ornaments from the structure and patterns of the piece.

• 한국의상디자인학회지
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• 제22권4호
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• pp.127-142
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• 2020

This study compared the domestic and international commercial design patterns and domestic consumer preferences for wetsuit designs to develop a user-centered wetsuit design. An analysis of the domestic and international design elements for 1,802 wetsuits sold online over the past three years showed that the most frequent shapes, dominant colors, and patterns were the same, as consumers tended to buy full suits that were black or had geometric patterns. Dominant colors and assort/accent colors were different from the survey results. Men's wetsuits used fewer colors and patterns than women's suits. Domestic wetsuits used fewer patterns than those sold abroad; in addition, colors were applied differently. A consumer preference survey conducted on 213 male and female consumers in their 20s and their 50s in Korea indicated that 53.5% of respondents were the most affected by the shape when choosing a wetsuit design. The preferred color scheme was two colors, with a vivid tone used as an accent color. The factor analysis results on wetsuit design preference uncovered the six factors: individuality, display, function, acceptance, imitation, and comparison. An independent sample t-test also showed that men perceive individuality, imitations, and comparison factors higher than women.

• 한국의류산업학회지
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• 제6권1호
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• pp.17-22
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• 2004

The purpose of this study was to obtain the basic element of patterns, which is the motif, from the existing art works and use it to create and simulate a variety of patterns to show the practical use of the computer. Natural dyed works of geometric shapes like squares and 1/4 of circles, each dyed with a different natural dyes, were produced and motifs were extracted. Then using the 4D box in Adobe Photoshop v.6.0, the developing pattern change and simulation effects when using different patterns and different repetition settings were examined. Observations were made as the motifs were replicated. Different patterns like a diagonal line, a square and a circle appeared. In order to find out the effects according to the changes, the motifs from work's square portions, circle centre, and the composition of eight motifs were extracted and used. The repeated patterns according to the extracted motifs simply showed that in the case of just repeating and arranging, square patterns appeared. By replicating and arranging, the motif and the allophone were matched and patterns with regular lines were formed, like a twill, pointed twill line. By setting the direction to Y and X in the repetition methodes, a typical half-drop arrangement or a brick pattern arrangement were formed according to 1/4, 2/4, 3/4, 1/3, or 2/3 in changes. Also the steepness of the slope changes quickly or in turn slowly as the rhombus shape appears. However in the case of a composed motif, an ogee pattern appeared. Lastly, by 3-D mapping patterns like a slant line, pointed twill patterns, diamond patterns, and the repeat patterns of a motif with a circle and a line combined, and a circle motif, an optical illusion could be observed.

• 복식문화연구
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• 제20권1호
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• pp.49-61
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• 2012

This study focuses on looking at the influence of silhouette in the 1930s on fabric pattern design by comprehending how differently flower-pattern design were found according to clothing silhouette. The period scope of research was limited to 1930s, and the research object was set as the flower patterns seen in the designer's high-fashion and the women's daily apparel as well as the clothes for sports and leisure activities. Based on the above research scope, the researcher investigated the clothing silhouette and the textile patterns in 1930s by reviewing the literature about domestic and foreign books, research papers, domestic and foreign fashion magazines, information on the Internet. A glance at the women's clothing in the 1930s reveals that they emphasized something inactive, elegant, feminine and that great popularity was given to feminine silhouette that closely fitted the body and long and slim, as skirts became longer and longer. Like this, silhouette refused traditional methods in the technique of expressing flower patterns that were on-trend in that period, pursued the freedom of line and form, used shadowing technique by means of free pens and brushes and the effect of watercolors. It also arranged in a semitransparent way and painted contours alone, too. Flower patterns fell into two categories: amorphous abstract patterns and standardized abstract patterns. The patterns expressed themselves, divided into small-scale irregular patterns and abstract geometric patterns that filled the entire textile.