• 한국의상디자인학회지
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• 제5권3호
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• pp.89-97
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• 2003

This study is to review the development of calico printing pattern design for fabric through historical perspective. Calico is a cotton cloth named from Calicut, a city of India. It was first brought to England by the East India company in 1621. Although the name is generally given and plain white cotton cloth, and in America it is applied to small-scale printed cottons, today it applies to indian cotton cloth, coarse or fine, woven with colored geometrical large-scale and small-scale patterns, painted or printed. Therefore this paper proposes the classification and feature extraction of calico printing pattern from the early of 16th century to 21th century. The results of this study can be effectively applied to develop competitive calico pattern design in domestic cotton textile industry.

• 복식문화연구
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• 제11권4호
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• pp.513-524
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• 2003

The purpose of this study was to trace the development of Chintz pattern design through fashion history, and to focus on its application in modern times with special emphasis on filtered Chintz patterns. Chintz patterns use such motives as tree, animal, bird, and geometrical shapes, etc.. It reached the peak of its popularity with William Morris. His influence continued from the end of the 19th century through to the 20th century. Modern Chintz designs have been modified and diversified in different cultures through time, and such diversification & changes can be easily found in modern fashion. From previous studies and other related sources, we found that Chintz patterns were revived in modern fashion trends with some modification. We also discovered the importance of chintz pattern designs in ethnic and retro trends. Thus in conclusion, this study revealed the significance, flexibility, and lasting popularity of Chintz pattern designs in fashion history.

• 한국정밀공학회:학술대회논문집
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• 한국정밀공학회 2013년도 춘계학술대회 논문집
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• pp.1267-1268
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• 2013

• 한국재료학회지
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• 제5권2호
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• pp.208-214
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• 1995

콘택 홀 패턴의 미세화가 HF 용액의 침투에 미치는 영향을 파악하고자, 미세 채널 패턴에서의 산화막 습식 식각 특성을 조사하였다. LPCVD로 증착된 산화막을 두께 0.1~1$\mu\textrm{m}$, 선폭 0.1~20$\mu\textrm{m}$, 그리고 초기 깊이 ~1.2$\mu\textrm{m}$ 범위의 질화막으로 둘러 쌓인 미세 채널 패터으로 제작한 후, HF용액에 의한 산화막의 식각속도를 관찰하였다. 실험 결과로써, 크기가 $0.1 \times 0.1 \mu \textrm{m}^{2} 초기 깊이가 1.2$\mu\textrm{m}$인 고종횡비(~12)의 초미세 패턴에서도 식각 속도가 일정함을 볼 수 있어서, 콘택 홀 패턴의 미세화에 관계없이 반응액의 침투가 원활하게 이루어짐을 알 수 있었다.

• Steel and Composite Structures
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• 제33권6호
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• pp.865-875
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• 2019

The current article proposed to develop a geometrical model for the analysis and modelling of the uniaxial functionally graded structure using the higher-order displacement kinematics with and without the presence of porosity including the distribution. Additionally, the formulation is capable of modelling three different kinds of grading patterns i.e., Power-law, sigmoid and exponential distribution of the individual constituents through the thickness direction. Also, the model includes the distribution of porosity (even and uneven kind) through the panel thickness. The structural governing equation of the porous graded structure is obtained (Hamilton's principle) and solved mathematically by means of the isoparametric finite element technique. Initially, the linear frequency parameters are obtained for different geometrical configuration via own computer code. The comparison and the corresponding convergence studies are performed for the unidirectional FG structure for the validation purpose. Finally, the impact of different influencing parameters like aspect ratio (O), thickness ratio (S), curvature ratio (R/h), porosity index (λ), type of porosity (even or uneven), power-law exponent (n), boundary condition on the free vibration characteristics are obtained for the FG panel and discussed in details.

• 복식
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• 제59권4호
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• pp.41-53
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• 2009

This study analyzed expression types of dot patterns and derived out inherent characteristics to provide fundamental resources for advancement of high value added creative designs. As a result of the study, Firstly, the circular motive was used to form silhouettes or as a symbol of a decoration. Secondly, a simple form and color dot pattern was used to create one side, or a circular shaped accessory was used to be recognized as a construction line or a decoration line. Thirdly, textile printing is mainly used but handicraft and decorative images were used to add vitality through piece technique, embroidery, collage, cut-out, patch work, etc. Fourthly, different circular motives were integrated, partitioned and duplicated for abstract geometrical images. Fifthly, variations were added by mixing different dot patterns that are arranged regularly and irregularly in different sizes and gaps creating compounded designs with handicraft touches, different angles or on top of each other. Sixthly, hybrid images were created with rearrangement of dot patterns and by adding floral shapes, stripes or other abstract and geometrical shapes. Such various and creative attempts construct new formative beauty in fashion design and I believe that it can establish the development of unique images that satisfies the taste of today's consumers.

• 한국실내디자인학회논문집
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• 제23호
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• pp.139-147
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• 2000

The cultural identity of design is very critical in the modern society which is called the society of complex culture and multi-culture. In addition, adopting a traditional lattice-like pattern as a composition element of interior space is an effective way in the context of adding a traditional touch to the modern interior space. Meanwhile, in the process of applying Korean traditional lattices to modern interior space, some problems occurred: it has not been properly embodied; or it has been mistaken for those of China and Japan sharing similar culture with Korea. Thus, this study is designed to have precise knowledge of Korea, Chinese and Japanese traditional lattices. Besides, typical patterns of each nation's lattices are comparatively analyzed from the geometrical viewpoint, in a bid to pave the way for th modernization of traditional lattices. In particular, standards are set and proposed to identify different nations's lattices mainly focusing on grid type lattices which are often used and confusing.

• 한국의류산업학회지
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• 제4권1호
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• pp.31-39
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• 2002

The analysis revealed that the pattern represent the function of written language, the Miao's idea of nature as tie object of worship and exorcism, and their primitive thinking. The patterns are chiefly embroidered collars, shoulders of blouse, waist blind and hem lines of skirt. The design of patterns are animals and plants and geometrical figured. Most of patterns are dragon, fishes, birds, butterflies, which are liked by the Miao people. The patterns are highly imaginative and true to life, and are made with strong national and popular features.

• 한국소성가공학회:학술대회논문집
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• 한국소성가공학회 2006년도 춘계학술대회 논문집
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• pp.105-108
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• 2006

It has been issued to fabricate nano-scale patterns with large-scale in the field of digital display. Also, large-scale fabrication technology of nano pattern is very important not only for the field of digital display but also for the most of applications of the nano-scale patterns in the view of the productivity. Among the fabrication technologies, UV nano imprinting process is suitable for replicating polymeric nano-scale patterns. However, in case of conventional UV nano imprinting process using flat mold, it is not easy to replicate large areal nano patterns. Because there are several problems such as releasing, uniformity of the replica, mold fabrication and so on. In this study, to overcome the limitation of the conventional UV nano imprinting process, we proposed a continuous UV nano imprinting process using a pattern roll stamper. A pattern roll stamper that has nano-scale patterns was fabricated by attaching thin metal stamper to a roll base. A continuous UV nano imprinting system was designed and constructed. As practical examples of the process, various nano patterns with pattern size of 500, 150 and 50nm were fabricated. Finally, geometrical properties of imprinted nano patterns were measured and analyzed.

• 한국실내디자인학회논문집
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• 제40호
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• pp.34-41
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• 2003

A purpose of this study is to comprehend a concept of 'Open Space', realization of a deconstruction, presented in his works, based on a deconstruction and surrealism Coop Himmelblau's philosophical contemplation and to look into how this concept is interpreted in spaces. A concept of 'Open Space' is functioned as not a singular meaning but a multiple meaning accompanied with other formative ingredient and contemplation, scientific paradigm and a realation with a surroundings. The concept of 'Open Space' in their architentural space is applied. First, the space openness that represents to the extreme a concept 'Open Space', as a 3D designing ways that demolishes a structure and outgrows an ex siting thinking pattern, represents multiple grade spaces and an anti-gravity space. In a material, using glass and iron provides a spacial transparency and through this, visibly liberal sense that an interior and exterior is felt as an unification. Second, an non-expressive box pattern repulses to a spatial rank nature, outgrowing an uniform geometrical system, through demolishing a geometrical system, an edge and fold pattern. This is, as an anti-gravity, dynamic a typical structure, outgrowing an orthogonal system, interpreted as a composite meaning without division in spatial area. Third, the collage is used to represent a complexity and pluralism in representing 'Open space'. The collage that forms a image through combining a fragmentary elements into being a space change, composite constitution and spatial amusement. Thus, It is worthwhile to study how the collage that forms a diverse shape will be developed making what impact as an age and surroundings changed. As we contemplate in former part, Coop Himmelblou has deployed 'deconstruction beyond deconstruction' realm as just their midterm concept in their works like the words 'The architecture must climb', the deconstructive architect. A studying for their works reflecting the 'Open Space' concept based on deconstruction must be lasted and this enables us to comprehend space concept containing an architecture and interior design.