• 대한조선학회논문집
• /
• 제57권2호
• /
• pp.104-113
• /
• 2020

The study aims to improve the previous theory-based algorithm on the lightweight design of laminate structures of a composite ship based on the mechanical properties of fiber, resin, and laminates obtained from experiments. From a case study on using a hydrometer to measure the specific gravity of e-glass fiber woven roving fabric/polyester resin used as the raw material for the hull of a 52 ft composite ship, the equation for calculating the weight of laminate was redefined, and the relationship between decreasing mechanical properties and increasing glass content was determined from the results of material testing according to ASTM D5083 and ASTM D790. After applying these experimental data to the existing algorithm and improving it, a possible laminate design that maximizes the specific strength of the composite material was confirmed. In a case study that applied the existing algorithm based on rules, the optimal lightweight design of composite structures was achieved when the weight fraction of e-glass fiber was increased by 57.5% compared with that in the original design, but the improved algorithm allowed for an increase of only 17.5%.

• 한국가구학회지
• /
• 제22권3호
• /
• pp.151-159
• /
• 2011

This study is to suggest versatile chair designs that are organically shaped to take individual orientation. This study intends to provide design method to ensure the face of the chair that contacts the body of its user is transformed flexibly to support the body. The movement of human body is not just a behavior but the ways and tools that reflexively express against external stimuli that are sensed and identified by the person. The versatile chair whose users' sitting position is fixed is made by covering the lump form with a piece of cloth ensuring that the content is firmly fixed and by placing the beads-woven wood fabric according to the shape. And then, it is covered with the external cover. The proposed versatile chair designs assume specific forms as follows: First, it is a versatile chair whose user's sitting position can fix. The organically-shaped form that can accept varying postures is made as a mass, which changes into different shapes when human body touches the form so that users can lie down or sit. Due to such transformation, body posture is determined and individual differences in shape changing are all acceptable. Second, it is a versatile chair that reflects the user's position in a fixed chair, where a cloth-wrapper feature is applied to the form a sifit wrapped postures so that a variety of body postures can be accepted. Finally, a versatile chair that reflects the user's position by changing the shape of is covered with forms so that it will be transformed and used in accordance with situations and chair shapes and reflect multiple shapes including round or square ones.

• 패션비즈니스
• /
• 제13권5호
• /
• pp.23-36
• /
• 2009

The purpose of this research is to design and to produce actual high value added wedding dress comprised of the pear blossoms pattern(梨花紋), which is one of the traditional patterns which was not researched to this day, and of the Dang-$\breve{u}$i(唐衣) image which reflects our concept of beauty as if as a means of conducting empirical study for the application of traditional Korean patterns to the contemporary application. pear blossoms effectively signifie the image of beautiful bride thanks to the pure, graceful and clean image of white flower, both in the external and internal aspects. The Dang-$\breve{u}$i of the Chosun Dynasty, which is another motif is one of the representative clothing that expresses the beauty of the curve when it comes to the Korean culture as traditional wedding dress. Attempt was made to develop design for wedding dress that expresses the Korean style beauty that combined the tradition and the modern. Towards this end, the project was composed of the Korean-like Ewha, image of the Dang-$\breve{u}$i I, II and III to design three dresses. The Dress I presents the image of pure, elegant and beautiful bride, while Dress II represents the pure and city like trendiness of the Korean women today as bride. Dress III was made centered on the image of elegant, and chaste bride. As for the materials used, hand-woven silk and silk organza used for the traditional clothes. As for the ornaments, embroidery, quilted work, beads, corsage, burn-out and other techniques were used for expression.

• 복식
• /
• 제67권1호
• /
• pp.56-73
• /
• 2017

The purpose of this study is to categorize the lotus patterns of traditional Korean fabrics. This study collected 169 fabrics of Korean lotus flower patterns and then made a list of era, configuration of pattern, type of artifact, findspot and holding institutions. It analyzes the characteristics of 251 kinds of lotus woven on 169 Korean fabrics, 251 kinds of lotus on 169 fabrics divided into Realistic Type, Design Type, and Abstract Type. They consist of 213 kinds of Design Type(84.8%), 21 kinds of Realistic Type(8.4%), and 17 kinds of Abstract Type(6.8%). The largest part of lotus patterns is Design Type. Design Types are subdivided into 14 types. This result contrasted with the conclusion of the research paper about peony patterns in Traditional Korean Textiles. The largest part of peony patterns was Realistic Types. Realistic Types of lotus patterns in Korean textiles are subdivided into 6 types. Korea has more diverse forms and a higher ratio of Realistic Types than China and this can be interpreted to reflect that there is a tendency in Korea to prefer natural patterns. Besides abstract Types are subdivided into 3 types. When the lotus flower patterns of Korea and China are categorized and similar types are compared, there are some unique patterns that appear only in Korea or China. Not only that, similar types display differences in pattern arrangement methods and portrayal among the two countries. If such study results are utilized, they can be grounds for distinguishing the production area of lotus flower textile fabrics when they are newly excavated in the future.

• 한국의류산업학회지
• /
• 제13권1호
• /
• pp.32-43
• /
• 2011

This study investigate the transition about Japanese national costume kimono. The prototype of the present kimono is a kosode. The origin of kosode dates back to the mid-Heian period, when this type of kimono served as the everyday wear of commoners and an undergarment for court nobles, both men and women. In the Muromachi period, particularly after the Onin war, the kosode began to be by people of all classes. In the Muromachi period, kosode consisted mainly of woven textiles. In the Momoyama period, kosode became very elaborate, employing such various techniques as tie-dyeing, embroidery, metallic leaf(surihaku) and free-hand painting. These were further combined resulting in such techniques as tsujigahana dyeing and nuihaku, which are now considered to epitomize Momoyama-period textile design. A category of kosode of the early Edo period, known as Keicho kosode, is fashioned mainly from black, white, or red figured satin(rinzu), or from figured satin segmented in these three colors. Books of kosode designs began to be published in the Kambun era, when the merchant class was becoming economically powerful, kosode began to reflect its taste. During its final stage of development in the late 17th and early 18th centuries, yuzen dyeing achieved wide acceptance. From the late 18th century toward the early 19th century, kosode worn by the merchant class underwent drastic changes, while those worn by the samurai class changed little. In the after the late 18th century, clear differences in design and decorative methods appeared between the kosode worn by rich merchants and those worn by middle and lower class merchants.

• 한국의상디자인학회지
• /
• 제25권4호
• /
• pp.107-122
• /
• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• 자연과학논문집
• /
• 제8권2호
• /
• pp.225-236
• /
• 1996

본 연구는 텍스타일 디자인의 세 가지 분야인, 직조 디자인, 날염 디자인, 그리고 니트 디자인에 대해 살펴보았고, CAD 시스템을 이용하여 이들 텍스타일 디자인을 도식화 및 패션 디자인에 입혀봄으로써 텍스타일 디자인에 어울리는 패션 디자인을 선택할 수 있는 텍스타일 디자인과 패션 디자인을 연결시키는 작업 과정에 대해서 살펴보았다. 그 결과는 다음과 같다. 1. CAD 시스템의 프로그램을 이용하여 직조 디자인, 날염 디자인, 그리고 니트디자인 등을 디자이너가 머릿속에 그리는 이미지를 몇 번이고 쉽고 빠르게 구체화시켜 창작할 수 있었다.2. T셔츠 도식화에 이들 CAD 시스템의 프로그램을 이용하여 창작한 텍스타일 디자인을 입혀보았다.3. 창작한 직조 디자인은 여성 의류에, 날염 디자인은 아동복에 그리고 니트 디자인은 남성 복의 스웨터에 각각 입혀 보았다.이들 작업 과정을 통하여 CAD 시스템이 실무 디자이너들에게 얼마나 효율적인지에 대해 살펴보면 다음과 같다.1. 패션 디자인에 날염, 직조, 그리고 니트 디자인 등이 어울리는지를 모니터 상에서 알아봄으로써 실제 쌤플 제작에 드는 시간과 비용을 절감할 수 있다.2. 모니터 상에서 다양한 other color작업과 소재, 패턴 개발이 가능하고 제품 방향에 대한 신속한 의사결정을 할 수 있으므로 다품종 소량 체제를 갖출 수 있다.3. 제품이나 쌤플 제작 이전에 바이어들의 의사결정을 유도할 수 있으며, 바이어의 의향을 최대로 반영한 디자인을 즉석에서 구현시킬 수 있으므로 짧은 시간 내에 많은 제품의 주문을 받을 수 있다.4. 디자인 정보를 매년마다 체계적으로 관리할 수 있으며, 다시 활용할 수도 있음으로 정보를 얻기 위한 시간과 경비를 절감할 수 있다.5. 디자이너와 하청 업체간의 업무 간소화로 디자이너들이 독창적인 디자인 개발을 하는데 효과적일 뿐 아니라, 외주 용역비, 교통비등의 비용 또한 절감할 수 있다.

• Journal of Electrical Engineering and Technology
• /
• 제12권1호
• /
• pp.317-328
• /
• 2017

This paper presents design and specific absorption rate analysis of a 2.4 GHz wearable patch antenna on a conventional and electromagnetic bandgap (EBG) ground planes, under normal and bent conditions. Wearable materials are used in the design of the antenna and EBG surfaces. A woven fabric (Zelt) is used as a conductive material and a 3 mm thicker Wash Cotton is used as a substrate. The dielectric constant and tangent loss of the substrate are 1.51 and 0.02 respectively. The volume of the proposed antenna is $113{\times}96.4{\times}3mm^3$. The metamaterial surface is used as a high impedance surface which shields the body from the hazards of electromagnetic radiations to reduce the Specific Absorption Rate (SAR). For on-body analysis a three layer model (containing skin, fats and muscles) of human arm is used. Antenna employing the EBG ground plane gives safe value of SAR (i.e. 1.77W/kg<2W/kg), when worn on human arm. This value is obtained using the safe limit of 2 W/kg, averaged over 10g of tissue, specified by the International Commission of Non Ionization Radiation Protection (ICNIRP). The SAR is reduced by 83.82 % as compare to the conventional antenna (8.16 W/kg>2W/kg). The efficiency of the EBG based antenna is improved from 52 to 74 %, relative to the conventional counterpart. The proposed antenna can be used in wearable electronics and smart clothing.

• 한국의상디자인학회지
• /
• 제7권2호
• /
• pp.61-74
• /
• 2005

Wonsam, a type of korean women's gown in Choseon Dynasty, was used as a small ceremonial costume for queens, crown princesses and princesses and as a grand ceremonial costume for royal concubines and wives of high rank officials. It was also worn as a wedding dress for commoners. In the families of illustrious officials, it was also used as burial accessories or garments for the dead. In this context, Wonsam is a formal dress for the people's most important four ceremonies of coming-of-age, marriage, funeral, and ancestor worship. It is worth emphasizing the costume since it was widely and importantly used by all ranks of women, from royal families to commoners. Through the Wonsam of An-dong Kim Clan's, we can see what the society was like at the end of Choseon Dynasty. First, a status system that strictly divided costumes for each class, was, in many parts, broken down. Second, the highly wrought patterns and texture of fabrics of the Wonsam reveal that it was granted from Court, or, if woven by the Kim family, it is considered to be produced by the Court's craftsman or through technical transfer, considering that the weaving skills used are as good as those in Courts. Third, regarding the precise needlework that is uncomparable to textiles used by other illustrious officials families, the Wonsam is considered to be granted from Court or, produced through the needlework skills that were handed down from needlewomen in Courts. The Wonsam of An-dong Kim Clan's has noble beauty in it, with outstanding weaving skills, fabrics, needlework and shape. Thus, it is no exaggeration to say that it has those qualities to be the standard costume that inherits the tradition of Korean people.

• 패션비즈니스
• /
• 제20권2호
• /
• pp.46-58
• /
• 2016

Architecture and Fashion mutually affects the shape and appearance of the other as an art of space according to the hybrid trends. Therefore, the purpose of this study is to find the correlations between the characteristics of traditional architecture types in Southeast Asia and modern fashion. Firstly, characteristics of the types obtained through the theoretical consideration of Southeast Asian architectural tradition include vertical, symmetrical, geometrical, epeated and continual structure. On the basis of these characteristics analyzed from 2013's S/S to 2015's F/W collection of Alexander McQueen, Gareth Pugh, Victor & Rolf, designers with strong creative and experimental minds who juxtaposed designs of two opposing points as well as hybrids since 2000, the following formativeness exists. First, the vertical structure of high floor is represented as a straight silhouette, a color contrast, vertical cut or wrinkle. Hence, it impresses verticality, rhythm, etc. Second, symmetrical structure of the gable roof is represented as a trapezoidal shape starting from the shoulder line or neck line widened into sleeves, impressing symmetry, dynamism, etc. Third, the geometry of the assembled is represented as vertical and horizontal bands or pattern pieces like puzzle, impressing geometry, three-dimensional, etc. Fourth, repeated structure of the weaving pattern is represented as repetitive patterns of woven fabric or printing techniques. Thus, it impresses repeatability, harmony, etc. And lastly, continuous group structure is represented as a connection of collars or hem-lines, as well as a crossing of fabric that impresses continuity, liquidity, etc.