• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.2
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• pp.214-225
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• 2000

The objective of this study was to investigate images of Korean traditional patterns. The subjects consisted of 369 male and 356 female undergraduate students. The experimental materials used in this study were 48 stimuli and questionnaires, composed of 7-point semantic differential scales of 23 bipolar adjectives. Twelve motifs selected from 3 groups of Korean patterns were used as motif stimuli. Twelve repeated patterns were constructed from them to be applied on a CAD-simulated dress. The data was analyzed by factor analysis, ANOVA, Duncan's multiple range test. The major findings were as follows: 1. Four dimensions were emerged accounting for the dimensional structure of the images of Korean traditional patterns. These dimensions were 'simplicity', 'quality', 'interest', and 'modernity' dimension. Among them, 'simplicity' and 'quality' were the major dimensions. 2. Category, interpretation type, composition type, and application object of motif had significant effects on the images of above-mentioned dimensions. The application object had a significant effect on 'simplicity' and 'modernity' image, and the composition type on 'quality' and 'interest' image.

• The International Journal of Costume Culture
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• v.2 no.2
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• pp.60-70
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• 1999

The purposes of this study were to investigate preference and images of Korean traditional motifs, and to identify the relationship between them. The subjects consisted of 369 male and 356 female undergraduate students. The experimental materials used in this study were 48 stimuli and a questionnaire composed of 7-point semantic differential scales of 26 adjectives. Twelve motifs selected from 3 groups of Korean motifs were used as pattern design stimuli. Twelve repeated patterns were constructed from them to be applied on a CAD-simulated dress. The data were analyzed by ANOVA, Duncan's multiple range test, and regression. The major findings were as follows : 1. Category, composition type, and application object had a significant effect on the preference. Interpretation type has no significant effects on the preference independently, but it had interaction effects when combined with composition type, and category. Especially the composition type had a greater effect than the other variables on the preference. Cloud motif and its abstract and decorative type were found to be more related to the preference than the other category and interpretation type. On the basis of the analysis results, image charts and preference charts were developed. By combining information from the image chart and preference chart, motifs and images preferred by consumers may be selected and developed into new valuable designs. 2. The preference was affected mainly by 'quality'image followed by 'simplicity', 'interest', and 'modernity'image. The preference on pattern design was affected by 'quality', 'simplicity', 'interest', and 'interest', 'simplicity', and 'modernity'image in the order. The relationship between the preference and sensibility images has been represented by equations.

• The Research Journal of the Costume Culture
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• v.13 no.2 s.55
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• pp.289-299
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• 2005

Through the formative analysis of the traditional jokakbo, we have composed surface composition that was made by a perfect square, triangle, a weather vane type, vertical type, cintamani type, and a mixed rectangular. And we have composed 18 kinds of motif stimulants that was made by vivid tone, pale tone, and so on, and finally analyzed sensibility image, preference rate of them. The cause of composition for the sensibility image of stimulant was composed by the cause of simplicity characteristics, interesting characteristics, rigid-flexibility characteristics, and modern characteristics. And from these things, the cause of simplicity characteristics and the cause of interesting characteristics were revealed as important dimensional factors of sensibility image. The sensibility image of motif was revealed as a simple image of perfect square, a feminine image of cintamani type, a modern image of mixed rectangular. And black-white colored mixed rectangular and chromatic colored cintamani type were also revealed as an interesting image. The preference rate of motif is related with the cause of interesting characteristics and simplicity characteristics, it also has been revealed to prefer the pale tone than others. And it also has been revealed that achromatic colored mixed rectangular, cintamani type of vivid tone, perfect square and rectangular of pale tone were mostly preferred.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.3_4
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• pp.402-411
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• 2002

The objective of this study was to investigate sensibility images of Korean traditional motifs cognized by college students in U.S.A. The subjects consisted of 217 male and 351 female undergraduate students. The experimental materials used in this study were 48 stimuli and questionnaires, composed of 7-point semantic differential scales of 15 bipolar adjectives. Twelve motifs selected from 3 groups of Korean motifs were used as motif stimuli. Twelve repeated patterns were constructed from them to be applied on a CAD-simulated dress. The data were analyzed by factor analysis, ANOVA, Duncan's multiple range test. The major finding were as follows: 1. Four dimensions were emerged accounting for the dimensional structure of the images of Korean traditional motifs. These dimensions were ‘quality’, ‘simplicity’, ‘cheerfulnees’, and ‘modernity’. Among them, ‘quality’and ‘simplicity’were the major dimensions. 2. Category, interpretation type, composition type, and application object had significant effects on the images of above-mentioned dimensions. The interpretation type had a significant effect on ‘quality’image, the composition type on ‘cheerful’image, and the application object on ‘modernity’image.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.11-23
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• 2004

Bomun(Treasure Pattern), by its formative beauty and its symbol of good-luck, is mixed well with other patterns and produces another luxurious and gorgeous pattern with them. This study is to sort out Bomun patterned materials in the relics of Chosun dynasty, to classify the types of patterns according to its elements and to its arrangement, and to analyze their aesthetic characteristics in terms of fabrics, methods of putting patterns on fabrics, their usage, and symbols and aesthetics. The types of Bomun, in terms of their composition elements, are classified as Individual type, Compound Type Ⅰ, which is made with another Bomun, and Compound Type Ⅱ, which is compounded with plant patterns or with animal patterns. In terms of its arrangement, it is classified as Dense type, Sparse type, and Picturesque type, and the most popular type is the pattern of the dense type. Bomun was depicted in the fabric through a technique called Jimunbeop. It was used on both men's and women's clothing. It was mostly used in Po of men's clothing and in Jeogori(jacket) of women's clothing. Bomun connotes the meaning of good-luck, beating off evil spirits, Yin and Yang ideology, noble tastes, etc.

• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.224-236
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• 2017

Kimono sleeves have continuously appeared in modern fashion as a design motif and this trend has become increasingly prevalent recently. However for research in the area of clothing composition for kimono sleeves in Korea, there has been a lack of development of master patterns based on basic data from the analysis of the standard body type of Korean people and finalized designs based on comparative experiments and analysis of pre-existing research Thus, there is no ideal master kimono sleeve pattern development research based on the examination of the results of the analysis of the standard body type of Korean people. Therefore by recognizing the importance of developing a master kimono sleeve pattern, this research aims to present a practical master kimono sleeve pattern for the standard body type of someone in their 30s. First, the four master patterns were collected and a dressing evaluation was conducted, and by selecting and improving one of these master designs, a final research master pattern was developed after a second dressing evaluation. Through this research, it was possible to design a master kimono sleeve pattern appropriate both externally and functionally for the standard body type of someone in their 30s, which has not been a consideration in previous research.

• Journal of Plant Biotechnology
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• v.7 no.1
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• pp.17-25
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• 2005

We have mined each of the five A. thaliana chromosomes for the presence of simple sequence repeats (SSRs) and developed custom perl scripts to examine their distribution and abundance in relation to genomic position, local G/C content and location within and around transcribed sequences. The distribution of repeats and G/C content with respect to genomic regions (exons, UTRs, introns, intergenic regions and proximity to expressed genes) are shown. SSRs show a non-random distribution across the genome and a strong association within and around transcribed sequences, while G/C density is associated specifically with the coding portions of transcribed sequences. SSR motif repeat number shows a high degree of variation for each SSR type and a high degree of motif sequence bias reflecting local genome sequence composition. PCR primers suitable for the amplification of identified SSRs have been designed where possible, and are available for further studies.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.131-149
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• 2014

Tibetans are one of the ethnic Chinese minorities, and this research examined the characteristics and features of their traditional costumes by investigating their historical, geographical and cultural background. This research also examined the cultural elements according to their characteristics based on Tibet's nature, religion, arts culture such as the Jang-po, Chin-sam, Kam-kjun and belts, which are used to fix the costumes. Based on such studies the traditional Tibetan costumes were set as a motif and were expressed appropriately into a contemporary style. By studying the composition of its costumes and its costume culture, the characteristics of the Tibetan costumes could be classified into four features. First, the 'variability of form' expresses a new type depending on how it is worn. Second, the 'color contrast' shows a strong visual contrast. Third, the 'difference of materials' combines different materials into one. Fourth, the 'symbolic meaning' grants meaning to the wearer. As a result of this study, by using the characteristics of the Tibetan nature culture, religion culture and art culture as a basis, two suits of clothes for each characteristics and six suits of clothes were produced as a fashion design product.