• Korean Journal of Computational Design and Engineering
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• v.16 no.5
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• pp.380-389
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• 2011

Esthetic appeal of a product is often affected by the appearance quality of seams forming between components of the product. The appearance quality of seams is, however, assessed in a very subjective and qualitative manner that heavily depends on the evaluator. This paper presents a preliminary study to quantify such assessment by formulating a quantitative index which is a linear function of the seam gap sizes, seam gap ranges, and the size uniformity of seam gaps. By considering a highly simplified problem of a drawer system and utilizing subjective assessments by twenty evaluators, the index has been formulated. The validity of this index has been confirmed by observing its behavior with changes of the component tolerances. Also, the utility of this index has been demonstrated through a selective assembly scheme applied to the drawer system problem. Though the index formulated in this study for seam appearance quality may be useful, future studies are necessary to make the model readily applicable to real problems.

• Fashion & Textile Research Journal
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• v.1 no.2
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• pp.182-187
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• 1999

The study was conducted on the change of value of physical properties, mechanical properties, appearance of seams as repeated washing and drying with 1, 3, 5, 7, 10, 15, 20 times. Commercial cotton 100%, cotton/polyester 80/20% and polyester 100% dress shirts were used to investigate drying characteristics and physical properties and compare of each materials after repeated drying. The mechanical properties like tensile, shear, surface, compression, thickness and weight were measured by the KES-FB system.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.3
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• pp.410-419
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• 2009

The purpose of this study was to develop the functionally improved winter work clothing for the Korean railroad workers. Based on the questionnaires, sample clothing for the Korean railroad workers was produced. The design, materials, and patterns were modified to increase mobility and comfort for workers. Water-repellent treatment was added to the material in order to decrease the dirt and stains while working. Also, reflective strips were added to side seams and hems of the trousers in order to increase the visibility and safety of the workers. In terms of the design and pattern, a circumference of 4.5cm was added to the crotch area in order to minimize tightness on the hip and crotch areas, but no additional circumference was added to the hip area. And a 1cm width dart was inserted between the side seams and yoke in order to add activity. Also three 1.4cm width tucks were used at 2.5cm space on the knees to alleviate tightness at the knees. The prototype was evaluated objectively and subjectively to compare with the existing working uniform. The assessment group consisted of 5 subject groups and 11 expert groups to evaluate external appearance and adaptability of the movements. Subject and panels were asked to evaluate the prototype that followed an ergonomic design and pattern. According to the results, the prototype was evaluated better than the existing working uniform in appearance and adaptability. A field test was conducted to compare the prototype and the existing working uniform. The field tests were performed by 6 workers in the Korean railroad. According to the results, the prototype advanced in terms of adaptability and comfort.

• Science of Emotion and Sensibility
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• v.5 no.3
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• pp.1-10
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• 2002

This paper concerns with the relationship between the visual perception of the degree of pucker or wrinkles of garment surfaces and the geometrical parameters of surfaces. In this study, four potentially relevant parameters of the surface profile are considered, namely, the variance ($\sigma$$^2$), the cutting frequency (F$\_$c/), the effective disparity curvature (D$\_$ce/) (Defined as the average disparity curvature of the wrinkled surface over the eyeball distance of the observer) and the frequency component of the disparity curvature ( D$\_$cf/). Based on the experiments using garment seams having varying degree of pucker (i.e. the wrinkles along a seam line), it was found that, while the logarithm of each of these four parameters has a strong linear relationship with the visually perceived degree of wrinkles, following the Web-Fetchner Law, the effective disparity curvature ( D$\_$ce/) and the frequency component of the disparity curvature (D$\_$cf/) appeared to have stronger relationships with the visual perception. This finding is in agreement with the suggestion by Rogers '||'&'||' Cagenello that human visual system may compute the disparity curvature in discriminating curved surfaces. It also suggested an objective method of measuring the degree of surface wrinkles.

• Steel and Composite Structures
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• v.21 no.5
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• pp.981-997
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• 2016

To avoid the cracks of cast-in-place concrete in shear pockets and seams in the traditional composite beam with precast decks, this paper proposed a new type of prefabricated steel truss-concrete composite beam (ab. PSTC beam) with pre-embedded shear studs (ab. PSS connector). To study the initial cracking load of concrete deck, the development and distribution laws of the cracks, 3 PSTC beams were tested under hogging moment. And the crack behavior of the deck was compared with traditional precast composite beam, which was assembled by shear pockets and cast-in-place joints. Results show that: (i) the initial crack appears on the deck, thus avoid the appearance of the cracks in the traditional shear pockets; (ii) the crack of the seam appears later than that of the deck, which verifies the reliability of epoxy cement mortar seam, thus solves the complex structure and easily crack behavior of the traditional cast-in-place joints; (iii) the development and the distribution laws of the cracks in PSTC beam are different from the conventional composite beam. Therefore, in the deduction of crack calculation theory, all the above factors should be considered.

• Journal of Korea Multimedia Society
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• v.5 no.1
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• pp.94-104
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• 2002

This paper presents a new way of texture mapping on the Genus N object constructed over a single domain. The problem of 2D texture mapping is the discontinuity of texture domain at the virtual boundary on the object. Such phenomenon decreases smoothness of the object as well as looks unnatural. Especially it is necessary for the Genus N object of infinite coninuity to apply the seamless texture mapping. For seamless texture mapping, a multiperiodic function, which transforms a discontinuous function into a continuous function, is suggested. In some applications, however, the visual seams on the textured object provide more realistic appearance. Therefore, this research supports the interactive control from the discontinuity and the continuity across the boundary using the coefficient of the weight function.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.78-94
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• 2013

In order to examine the influence of Anti-form in contemporary fashion focusing on 'signs of time', which illustrates the zeitgeist effects art and fashion, this study investigates both Anti-form movement in art of 1960s and 1970s and the fashion designs since 1970s when the signs of the influence of Anti-form in fashion began to appear. This was done by conducting literary survey as well as case analysis. Anti-form values the process and signs of time in that it visualizes the time and the process of making artworks. The emphasis on signs of time in Anti-form is observed in postmodernism fashion. Visualization of manufacturing process, visualization of signs of wearing, and continuation of wearing experience are all influences of the Anti-form in fashion. Visualization of manufacturing process exposes the techniques and the materials involved in garment construction such as linings, inside-out seams, interlinings, and unraveled hems, as well as the use of muslin, which is used in making garment prototypes. Signs of wearing is articulated in wrinkles caused by wearing, sings of alteration, reappeared designs of the past collections, reuse of vintage fabrics or garments, and the fabrics which assumes aged appearance. Continuous experience of a wearer is indicated in that the garment shape is not predetermined but changes continuously by the wearer's body shape and movement, which generates new and relative silhouettes continuously.

• Journal of the Korean Society of Costume
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• v.30
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• pp.275-294
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• 1996

In fashion there was a move away from the ascetic of the Gothic according to the appear-ance of a new spirit at the beginning of the fourteenth centuries initially in Italy. The new spirit Humanism applied their interest not to the universal but to the individual and particular. The Renaissace costume style based on the Humanism was sharp angled and curvy and had a grotesque silhouette with the exaggerated and tense decorations. The purpose of this study is researching the background led to the balanced costume style characterized by unique details. out of the tastte for luxury and beauty grew a new style known as slashing in which seams were left open and colored linigs thrust through or cuts were made in an entire cos-tume and contrasting material puffed out of the cuts. With the slashes another element was characterized in the high Renaissance cos-tume style that was the use of points or lace to hold a costume together. For the masculint costumes pads became into a fashion and were used for forming the antinatural artificial and bulky silhouettes. The body was distorted and tensed by putting the pads into the sleeves and bodice. The jacket with a full rounded bodice like a bow known as peascod belly and haut de chausses a onion-shaped trunk hose with a codipiece ap-peared and grew one of the most characteristic of Renaissance style. According to these sociological changes the view of the beauty based on the human body and in both of men and women the costume style was changed very much to emphasixed their physical beauty and finally it grew a grotesque style and even more a exposed style that exposed a part of their body. Those backgrounds as were stated above can be said to lead to the appearance of the grotesque style in the Renaissance Age.