• 한국의류학회지
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• 제35권3호
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• pp.359-370
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• 2011

This study analyzes the textiles design of natural indigo dyed products in Korea and Japan. In this study, a total of 556 Korean natural indigo dyed products, and 2,730 Japanese natural indigo dyed products were used for analysis. The subjects of this study were 556 natural indigo dyed products and 2,730 Japanese natural indigo dyed products selling natural indigo dyed products which were found using search engine keywords of natural indigo dyeing and natural dyeing. Research and analysis was treated regarding the products, items, patterns, and the representation techniques of the patterns. The results of this study are as follows. In the pattern used for natural indigo dyed products, 71.4% of Korean products have no pattern, but 77.1% of Japanese products have patterns. On the representation techniques of the patterns, Korean products used tie-dyeing and a dip patterned fabric. While in the Japanese products, the most frequent patterning techniques were paraffin dye, followed by tie-dyeing, yarn-dyed and weaving, screen printing, and yarn-dyed and knitting. Regarding the kinds of patterns for natural indigo dyed products, only 8 kinds of patterns were used in Korean products; however, over 50 kinds of various patterns were used in Japanese products. Most patterns in the Korean products were ion patterns made by tie-dyeing. While in the Japanese products, the most frequent patterns were stripe patterns, followed by flower, dot, and ion patterns. Based on these research results, the problems of the textile design of Korean natural indigo dyed products were that most of the products have no pattern, and even though there were patterns, they lacked variations between the products. While in the case of Japan, they used the traditional and modem patterns of various textile representation techniques.

• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• 한국결정성장학회지
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• 제10권1호
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• pp.17-22
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• 2000

수직보자력이 크고 CoCrPt에 비하여 noise 저감 효과가 큰 것으로 알려진 CoCrPtTa계 합금박막의 수직이방성을 더욱 개선하기 위해 Ti를 우선 증착하였다. 본 연구에서는 Ti 두께 변화에 따른 비교적 높은 수직보자력치를 보였던 $CoCr_{16.2}Pt_{10.8}Ta_4$Ti/glass 시편에서 자기적 특성과 자구형상의 변화를 살펴보았다. 또한 VSM(Vibrating Sample Magnetometer)을 이용하여 M-H loop를 측정하였으며 자구형상은 MFM(Magnetic Force Microscopy)로 관찰하였다. 육방정 Ti가 하지층으로서 우선증착되면 bare glass 직접 증착되는 경우보다 CoCrPtTa 자성층의 수직이방성에 현저한 향상을 가져왔으며 Ti의 두께가 두꺼울수록 c-축 배향성도 개선되었다. MFM 결과에 의하면 Ti두레가 20 nm에서 90 nm로 증가함에 따라 자구형상이 연속적인 stripe type에서 mass type으로 분절된 형태로 변하였다. 이는 Ti의 증착이 비자성 Cr 편석 거동에 영향을 미쳐 자화반전시 인접 columnar grain의 자화벡터들간의 상호교환작용을 억제하는 자기적 분리 효과에 기여했음을 의미한다. 아울러 이와 같은 거동은 Ti가 CoCr계 자성층의 수직이방성을 개선하는데 있어서 형상자기이방성적인 측면에서의 기여가 현저함을 의미하기도 한다.

• 한국결정성장학회지
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• 제9권2호
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• pp.168-172
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• 1999

HVPE 법으로 sapphire 기판 위에 두께 9$\mu\textrm{m}$의 GaN film을 성장하였다. Sapphire위에 직접 성장된 GaN film은 crack free로 mirror surface를 나타내었고 dislocation density는 $2{\times}10^9/cm^2$이었다.$SiO_2$ mask pattern을 사용하여 성장된 ELO GaN film도 대부분이 mirror surface를 나타내었으나 표면 일부에서 coalescence가 덜 이루어져 stripe 방향으로 hole이 존재하였다. ELO GaN film의 mask 윗부분은 window 부분에 비해 낮은 dislocation density를 나타냈다. 특히 mask center와 window사이 영역에서는 거의 dislocation이 없었다. ELO GaN film의 dislocation density는 평균 $8{\times}10^7/cm^2$.이었다.

• 제어로봇시스템학회논문지
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• 제7권8호
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• pp.656-663
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• 2001

This paper presents a sensor fusion method to recognize a cylindrical object a CCD camera, a laser slit beam and ultrasonic sensors on a pan/tilt device. For object recognition with a vision sensor, an active light source projects a stripe pattern of light on the object surface. The 2D image data are transformed into 3D data using the geometry between the camera and the laser slit beam. The ultrasonic sensor uses an ultrasonic transducer array mounted in horizontal direction on the pan/tilt device. The time of flight is estimated by finding the maximum correlation between the received ultrasonic pulse and a set of stored templates - also called a matched filter. The distance of flight is calculated by simply multiplying the time of flight by the speed of sound and the maximum amplitude of the filtered signal is used to determine the face angle to the object. To determine the position and the radius of cylindrical objects, we use a statistical sensor fusion. Experimental results show that the fused data increase the reliability for the object recognition.

• Current Research on Agriculture and Life Sciences
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• 제9권
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• pp.115-125
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• 1991

우리나라와 일본(日本)에서 야생 또는 재배되고 있는 약용식물(藥用植物)의 바이러스병을 조사한 결과 33종의 식물이 자연상태에서 오이 모자이크 바이러스(CMV)에 감염되어 있음을 알았다. 이들 중에서 개맨드라미(Celosia argenteia)와 쇠비름(Portulaca oleracea)의 모자이크병(가칭(假稱)), 쥐방울덩굴(Aristolochia debilis)과 번행초(Tetragonia expansa)의 괴저(壞疽)모자이크병(가칭(假稱)), basella(Basella rubra)윤문병(輪紋病)(가칭(假稱)), 석결명(Cassia torosa)과 시호(Bupleurum falcatum), 당귀(Angelica acutiloba), 구릿대(A. keiskei), 회향(Foeniculum vulgare), peucedanum(Peucedanum japanicum)의 반문병(斑紋病)(가칭(假稱))등 11종의 바이러스병명(病名)을 새로히 명명(命名)하였다.

• 복식문화연구
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• 제18권3호
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• pp.397-407
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• 2010

This study is about the strife patterns in modern fashion and the characteristics inherent in them. The study was aimed at offering the basic materials to develop the creative design that can show various visual expression effects. In terms of method, the study was led by the analysis of documents; domestic and foreign fashion, collection magazines etc were used to analyze the strife patterns in modern fashion. According to the findings, the study used the rearrangement of the strife patterns at the same intervals, the arrangement of different strife patterns within one single item, the hybrid arrangement of strife patterns and different patterns, and the use of strife patterns for a certain part of clothing for the purse of emphasis or decoration. First, the characteristics inherent in such strife patterns showed clear simplicity using the same repetition of simple lines or the two colors of black and white. Second, strife patterns changed silhouettes by causing optical illusion, and showed the rhythm effects, such as swelling, wave or movement by distorting and controlling lines or forms. Third, based on irregular intervals or multi-strife, the concept of unclear disharmony and inconsistency was shown with the beauty of hybridharmony by blending various strife patterns with each other, or strife patterns with different patterns, and thus expressing composite images.

• 한국어류학회지
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• 제22권4호
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• pp.225-229
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• 2010

납자루아과 담수어류인 각시붕어 Rhodeus uyekii와 묵납자루 Acheilognathus signifer의 속간 잡종으로 의심되는 개체를 북한강 지류인 조종천에서 채집하였다. 외부 형태 형질, 체색 반문, 혼인색 등을 비교한 결과 체색, 등지느러미, 뒷지느러미, 꼬리지느러미의 반문과 색깔, 체표의 반점과 종대 등이 두 종간의 중간형질을 보여 주고 있었다. 본 개체가 두 속간의 분류 형질인 수염은 없고 유공 측선 비늘수가 많은 점 등은 두 종간 자연 잡종으로 사료되었다. 두 종간 인공 교잡종의 생산은 자연 잡종의 출현 가능성을 시사하였다.

• 복식문화연구
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• 제18권2호
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• pp.304-321
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• 2010

The purpose of this study was to investigate the sensation seeking tendency and knitwear purchase behaviors of high school girls. The data were obtained from 475 high school girls at 6 high schools located in Daejeon. The method of study is a survey consisted of sensation seeking tendency items, knitwear purchase behavior items and demographic attribution. Data were analyzed by frequency, variance, crosstabs, and correlation analysis using SPSS WIN 17.0 program. The results of study are as follows. First, high school girls generally liked knitwears by reason of comfort and activity. Most girls purchased the knitwears to wear ordinary casual wear(81.5%). They usually thought sweater and cardigan to be representative of knitwears. Also, they mostly purchased the knitwears of simple and active design, achromatic color, 100% cotton, and solid or simple stripe pattern. The design and price were considered as important evaluation criteria in knitwear purchase. The information sources used by them were store display, friends, and internet. Second, the knitwear purchase behaviors of high school girls showed the difference between groups with high- and low-sensation seeking tendency. The most important factor of knitwear purchase was an unique and characteristic design in high group and a simple and active design in low group. In conclusion, high school girls liked knitwears and had different knitwear purchase behaviors according to the sensation seeking tendency.

• 패션비즈니스
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• 제4권3호
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• pp.79-90
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• 2000

On the beginning of 21C, in which it is a facing problem that the expansive image of future in fashion should be proposed from the comprehensive analysis for the fashion trend. Therefore, in this study, the trends of capricious fashion are distinctly quantified by investigating the cue of fashion in each styles. Also, the systematic evaluation is carried out of analyzing photographs to which the four important fashion styles. In particular, this study takes the practical and numerical results through quantitative analysis by statistical treatment as well as through qualitative analysis that has been formerly used in the other studies. The purposes of this study are to examine fashion trends expressed in important styles in the 1990s, and to formulate productive fashion of the future. In the qualitative analysis, the four important fashions of neo-mods/jazz, neo-hippie/grunge, sportive-casual and techos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s A/W. It takes frequency, percentage, $x^2$-test and etc, by using the comprehensive tools for statistical treatment. There were significant differences between the A/W fashion. According to the cues, there are also significant differences between the fashion in the 1990s. The results of this study are summarized as follows: (1) In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. (2) 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special make-up. (3) 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. (4) 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.