• Science of Emotion and Sensibility
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• v.5 no.3
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• pp.29-34
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• 2002

This study aimed to investigate the effect of design factors of woven textiles on the consumer's sensibility and emotion. 60 textile design pictures and 18 adjectives were prepared to get responses from 512 adult subjects. Textiles designs were analyzed into 9 design factors, such as, motif source, motif-background ratio, motif interpretation, motif arrangement, motif variation, motif articulation, hue contrast, value contrast, and chroma contrast. The results are followings: 1) The design factors of textiles were connected to other design factors, for example, the type of motif interpretation determined the type of chroma contrast, motif source, the ratio, and chroma contrast significantly. 2) The correlational coefficients of the ratio, motif variation, chroma contrast, hue contrast, articulation, and value contrast were positively signed significantly. 3) Consumer's sensibility was changed in urban, natural, graceful, mannish, young, dynamic, new, modem and etc, as the textile designs were changed in motif source, arrangement, hue contrast and etc.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.841-851
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• 2008

The purpose of the study was to examine the effect of motif categories and motif colors on evaluating sensory image of fashion materials with the gestalt theory as the background. The research was conducted on a quasi experimental basis, with subjects numbering 187 male and 207 female college students. Data were collected in the period from march 19th to march 31st, 2007. A set of fabric stimuli and semantic differential scales were developed. The stimuli were thirteen fabric species(each measuring 12 by 13cm). Variables included; (a) motif colour(white, grey, pink and blue) (b) motif categories(plain, paisley, flower, stripes and zebra effect). The semantic differential scale to measure sensory image of fabric stimuli included 23 sets of bi-polar adjectives. The data were analysed by factor analysis and ANOVA and the major finding were as follows. 1) Four sensory dimensions emerged of importance: salience, attractiveness, comfort and softness. 2) The motif category effected on the four sensory image dimensions while the motif colour effected on salience, comfort and softness sensory dimensions. 3) An interaction effect was founded between motif category and motif colour. 4) Motif category showed significant effects on the preference and liking of the fashion, however the motif colour did not show any significant effects on the preference and liking. As a whole the results supported the gestalt theory and the results can be used for the marketing strategy for developing fashion fabrics.

• Proceedings of the Korea Information Processing Society Conference
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• 2006.05a
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• pp.3-6
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• 2006

Motif which is a recurrent feature shared by a significant segments from the proteins belonging to different families can be used to predict functional or structural properties of the protein, or to describe features common to biologically related proteins. Although there are many existed motif databases, they are unstandardized and built up by different methods. so it is difficult to get enough motif information when researches use motif databases for classification, prediction, etc. Using logical integration of biological based on cross-references between these databases is the common solution for information tracking through www. However, the problem such as the motif resource tracking method for making a united motif information page emerges from cross-reference. In this paper we propose the motif resource tracking method based on the existed motif databases for easy and comfortable interface better than in the case of using each motif database. The result which is given by this method is the review of necessary information about any motif in PROSITE database.

• International Journal of Human Ecology
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• v.11 no.1
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• pp.1-10
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• 2010

Two elements of paisley textile design (color and size of motif) were manipulated to investigate their effects on people's perception. Korean and Caucasian American women were selected to represent Asian and Western countries to compare the differences in image perceptions of paisley patterns between two cultures. The participants were 168 female university students composed of 84 Caucasian Americans and 84 Koreans. The experimental design was a $2{\times}2{\times}7$ factorial design: two levels of perceiver's culture, two levels of motif size, and seven levels of the motif color. The four factors used to account for image perception were an elegance factor, individuality factor, maturity factor, and femininity factor. The results of the present study confirm that image perception can be different according to the color and size of a motif and the perceiver's culture. In the results, Americans perceived the paisley pattern as more preferable than Koreans did. Red background + Orange motif was perceived as the most feminine and Dark blue background + Sky blue motif and Dark gray background + Gray motif was perceived as the most masculine in both cultures. Compared to the big motif, the small motif was perceived as more elegant in both cultures.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.7
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• pp.1160-1168
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• 2008

The purpose of the study was to examine the effect of motif categories and motif colors on evaluating impressions of dress wearers. The research was conducted on a quasi experimental basis, with subjects numbering 187 male and 207 female college students. Data were collected in the period from march 19th to march 31st, 2007. A set of stimuli of dress wearers and semantic differential scales were developed. The stimuli were thirteen photographs editing by Youngwoo CAD system. Variables included; (a) motif colour(red, blue, achromatic and white) (b) motif categories(flower, paisley, stripes, zebra effect and plain). The semantic differential scale to measure impressions of dress wearer stimuli included 22 sets of hi-polar adjectives. The data were analysed by factor analysis and ANOVA and the major finding were as follows. Four factors emerged to account for dimension of impression. There were salience, attractiveness, comfort and femininity. The motif category effected on the four impression dimensions while the motif color effected on salience, comfort and softness sensory dimensions, and the results supported the gestalt theory of the impression perception.

• The KIPS Transactions:PartD
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• v.10D no.4
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• pp.679-688
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• 2003

Motif databases are used in the function and structure prediction of proteins which appear on new and rapid release of raw data from genome sequencing projects. Recently, the frequency of use about these databases increases continuously. However, existing motif databases were developed and extended independently and were integrated mainly by using a web-based cross-reference, thus these databases have a heterogeneous search result problem, a complex query process problem and a duplicate database entry handling problem. Therefore, in this paper, we suppose physical motif resource integration and describe the integrated search method about a family-based protein prediction for solving above these problems. Finally, we estimate our implementation of the motif integration database and prediction system for predicting protein motifs.

• Acta Via Serica
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• v.3 no.2
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• pp.107-134
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• 2018

This paper is an art historical attempt to discuss the transfer and transmission of a certain visual idiom along the Silk Roads and to show the multi-dimensionality of the trans-regional, trans-cultural movement. The motifs of grapes and grapevines are discussed here for this purpose, including the grape-and-vine motif mixed with other animated figures and plants. A special emphasis is on China and its reception, but regional varieties within East Asia are also discussed. The motif is one of the most longstanding and versatile visual idioms, widely distributed along the regions of the Silk Roads. This deceptively familiar motif came to China, where grapes and viticulture were introduced far later than the West. The West developed various symbolisms ranging from manic revelry and heavenly unity with mystic beings, to royalty and power in different cultures. In China, this visual idiom was eagerly received in association with something exotic and re-interpreted in the context of Chinese culture. Without active viticulture, the motif transformed itself into beautiful design patterns and space fillers in China and East Asia. The natural appeal of jewel-like grapes acquired new meanings of fertility and happiness in the traditional East Asian cultural context. To see the cultural effect of viticulture on the visualization of this motif, the Islamic reception of the motif is briefly touched upon when countries to the West of China (서역 西域) were fully Islamized and heavily affected by the prohibition of alcoholic drinking.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.7
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• pp.921-928
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• 1999

The purpose of this study were 1) to find out impression dimensions of the dress wearer with various motifs 2) to evaluate the impression effects of motifs in Korean traditional dress for women. The research method was a quasi-experimental with the between subjects design. The experimental materials developed for the study were a set of stimuli and response scale. The stimuli were consisted of 12 drawings with full factorial design of 3 independent variables : motif sorts (2:flower animal) motif types(2: realistic stylized) motif arrangements(3: all over the traditional to modern) The stimuli consisted of color photographs and color of clothing and motifs was controlled the blue. The response scales were consisted of 30 bi-polar adjectives. The subjects were 333 undergraduate college students of Taejon. The data was analyzed by factor analysis MANOVA and Duncan's multiple range test. Results were as follows: 1. The wearer's impression were consisted of the 3 different dimensions : attractiveness · dignity dimension. Interaction effect among motif sorts motif types and motif arrangements was significant on the same dimension. Interaction effect between motif sorts and motif arrangements was significant on the visibility dimension. 3. The motif arrangements were a significant variable on the attractiveness·dignity and the evaluation dimension. The traditional arrangement and the modern arrangement showed more faborable impression and the all over arrangement showed less favorable impression on the attractiveness·dignity dimension. The all over arrangement showed positive impression on the evaluation dimension and the traditional arrangement and the modern arrangement showed negative impression on the same dimension. There were no significant difference between flower sort and animal sort and also no significant difference between realistic type and stylized type in their impression effects.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.117-138
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• 2010

This study tries to analyse the type of sasanian crowns by looking into the icons and meanings of various motifs that changed the archetype and shape of the crowns, and the social and political factors that affected those motifs. Based on such analysis, the study is aimed at completing the periodic typology of the sasanian crown. For this study the literature research is combined with the empirical analysis of information. Korymbos which symbolizes globe represented the authority and power of the sasanian kings, but the motif with such meaning was replaced by star motif in the late-sasanian crowns. The basic motifs embellishing the sasanian crown represent Gods, which is interpreted as an attempt to symbolize the relations between Gods and kings. These motifs are found on each king's crown in a different and individual way, which seems because the kings at the time chose the motif that can symbolize their own political intention or spirit. At the early days of the sasanian dynasty, Korymbos motif was highly emphasized on the crowns, and was used throughout the end of the dynasty and then was replaced by star motif. From the mid-4th century, Crescent motif started to be used, which was always shown as the shape supporting Korymbos and star motif on it. Bird wing motif was intermittently used in the early and middle days of the dynasty, and was highly emphasized in the crowns of all the kings in the end of the dynasty. Star motif started to be used in the end of sasanian dynasty.

• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.682-693
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• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.