• Proceedings of the Costume Culture Conference
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• 1998.09a
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• pp.50-51
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• 1998

• Analytical Science and Technology
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• v.24 no.6
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• pp.527-532
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• 2011

IQ motif-containing GTPase-activating protein 1 (IQGAP1), which is a well-known $Ca^{2+}$-independent calmodulin (CaM) binding protein, is involved in various cellular functions such as cell proliferation and cell migration. IQGAP1 has four repeated IQ motifs, which are crucial for CaM binding. It has been shown that all four IQ motifs of IQGAP1 can bind to $Ca^{2+}$/CaM, while the third and fourth IQ motifs of IQGAP1 can bind to apoCaM. However, it has not been clear whether the CaM binding of IQ motifs of IQGAP1 was mediated directly or indirectly. In this study, we examined whether the binding between CaM and each IQ motif of IQGAP1 was direct in vitro. As a result, we found that IQ1 motif has a weak $Ca^{2+}$-dependent CaM binding. In contrast, IQ3 has a $Ca^{2+}$-dependent CaM binding. All other motifs have no significant CaM binding. We also found that IQ(2.7-3) and IQ(3.5-4.4) have CaM binding capacity. This finding indicates that IQ motifs of IQGAP1 plays a dynamic role via different motif interactions with $Ca^{2+}$/CaM or proCaM.

• Proceedings of the Korean Society for Bioinformatics Conference
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• 2005.09a
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• pp.325-330
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• 2005

We are generally interested in the analysis, detection and prediction of structural motifs in proteins, in order to infer compatibility of amino acid sequence to structure in proteins of known three-dimensional structure available in the Protein Data Bank. In this context, we are analyzing some of the well-characterized structural motifs in proteins. We have analyzed simple structural motifs, such as, ${\beta}$-turns and ${\gamma}$-turns by evaluating the statistically significant type-dependent amino acid positional preferences in enlarged representative protein datasets and revised the amino acid preferences. In doing so, we identified a number of ‘unexpected’ isolated ${\beta}$-turns with a proline amino acid residue at the (i+2) position. We extended our study to the identification of multiple turns, continuous turns and to peptides that correspond to the combinations of individual ${\beta}$ and ${\gamma}$-turns in proteins and examined the hydrogen-bond interactions likely to stabilize these peptides. This led us to develop a database of structural motifs in proteins (DSMP) that would primarily allow us to make queries based on the various fields in the database for some well-characterized structural motifs, such as, helices, ${\beta}$-strands, turns, ${\beta}$-hairpins, ${\beta}$-${\alpha}$-${\beta}$, ${\psi}$-loops, ${\beta}$-sheets, disulphide bridges. We have recently implemented this information for all entries in the current PDB in a relational database called ODSMP using Oracle9i that is easy to update and maintain and added few additional structural motifs. We have also developed another relational database corresponding to amino acid sequences and their associated secondary structure for representative proteins in the PDB called PSSARD. This database allows flexible queries to be made on the compatibility of amino acid sequences in the PDB to ‘user-defined’ super-secondary structure conformation and vice-versa. Currently, we have extended this database to include nearly 23,000 protein crystal structures available in the PDB. Further, we have analyzed the ‘structural plasticity’ associated with the ${\beta}$-propeller structural motif We have developed a method to automatically detect ${\beta}$-propellers from the PDB codes. We evaluated the accuracy and consistency of predicting ${\beta}$ and ${\gamma}$-turns in proteins using the residue-coupled model. I will discuss results of our work and describe databases and software applications that have been developed.

• Korean Institute of Interior Design Journal
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• no.12
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• pp.57-66
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• 1997

This study was carried out to find out some similarities and differences of the ornamental technique and motifs in folk furniture between Denmark and Korea which had quite different background of development of folk furniture as one of a cross-cultural study. Furniture made and used in the 18th and 19th century was investigated in order to eliminate the influence of internationalism in the design area in the 20th century. This study was fulfilled by many study trips all over the districts in Denmark to identify Danish folk furniture as well as literature study. Study trips to folk museums. Insa-dong, Janghanpyung furniture market were done for Korean folk furniture. Characteristics of ornament in Danish folk furniture were as followings; Main materials of the Danish folk furniture were conifers, especially pine tree, as pine was very common and easy to get from their surroundings. The most popular and unique types of decoration in Danish folk furniture was painting. Colors used in painted furniture were very bright and vivid. This might be a reaction to the long and dark winter of Scandinavian countries. Motifs used in Danish folk furniture had been chosen to reflect their surroundings. Flowers, six-angular stars, animals, human figures and Biblical motifs were popular sources of decoration for Danish folk furniture. Characteristics of Korean folk furniture were as followings; Main materials of Korean folk furniture were broad-leaved trees as well as conifers, because of their beautiful wood grain. The Korean ways of decoration were different from Danish ones. The method of painting with bright from Danish ones. The method of painting with bright colors was hardly ever used in Korea, except only in lacquering. The most popular decoration method for Korean folk furniture was revealing the natural wood grain with transparent vegetable oil finish, instead of painting. Metal ornament was unique to Korean folk furniture. therefore a lot of metal ornaments were attached on the furniture. Motifs used in Korean folk furniture were more like symbolic than Danish ones. Korean people tried to express their longings and norms through the motifs, such as longevity, prosperity, good luck, and many sons, etc. Therefore, it was natural for Korean motifs to have special symbolic meanings.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• BMB Reports
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• v.53 no.2
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• pp.94-99
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• 2020

Brain cytoplasmic 200 RNA (BC200 RNA) is proposed to act as a local translational modulator by inhibiting translation after being targeted to neuronal dendrites. However, the mechanism by which BC200 RNA inhibits translation is not fully understood. Although a detailed functional analysis of RNA motifs is essential for understanding the BC200 RNA-mediated translation-inhibition mechanism, there is little relevant research on the subject. Here, we performed a systematic domain-dissection analysis of BC200 RNA to identify functional RNA motifs responsible for its translational-inhibition activity. Various RNA variants were assayed for their ability to inhibit translation of luciferase mRNA in vitro. We found that the 111-200-nucleotide region consisting of part of the Alu domain as well as the A/C-rich domain (consisting of both the A-rich and C-rich domains) is most effective for translation inhibition. Surprisingly, we also found that individual A-rich, A/C-rich, and Alu domains can enhance translation but at different levels for each domain, and that these enhancing effects manifest as cap-dependent translation.

• Proceedings of the Korean Society for Bioinformatics Conference
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• 2005.09a
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• pp.63-68
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• 2005

Transcription factors regulate gene expression by binding to gene upstream region. Each transcription factor has the specific binding site in promoter region. So the analysis of gene upstream sequence is necessary for understanding regulatory mechanism of genes, under a plausible idea that assumption that DNA sequence motif profiles are closely related to gene expression behaviors of the corresponding genes. Here, we present an effective approach to the analysis of the relation between gene expression profiles and gene upstream sequences on the basis of kernel canonical correlation analysis (kernel CCA). Kernel CCA is a useful method for finding relationships underlying between two different data sets. In the application to a yeast cell cycle data set, it is shown that gene upstream sequence profile is closely related to gene expression patterns in terms of canonical correlation scores. By the further analysis of the contributing values or weights of sequence motifs in the construction of a pair of sequence motif profiles and expression profiles, we show that the proposed method can identify significant DNA sequence motifs involved with some specific gene expression patterns, including some well known motifs and those putative, in the process of the yeast cell cycle.

• International Journal of Costume and Fashion
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• v.9 no.1
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• pp.15-25
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• 2009

As fashion brand logos have been used conspicuously, they have been recognized as a part of the product design. Since the 2000s, fashion designers have actively begun to apply fashion brand logos to product designs by transforming, patterning, and distorting, so the importance of fashion brand logos were emphasized. This article has attempted to establish the implications between fashion brand personality and the motif which is applied to a fashion brand logo. 27 of fashion brand logos were chosen because they are easy to access and have a history of more than 10 years. As a result, these 27 logos were categorized into 5 animal motifs: a horse, a bird, a snake, a dog and a tiger. In recent years, numerous studies have found that the appearance and behavior of an animal affects their symbol system which is recognized by humans. To deduce the symbolism which is communicated by a brand logo, archetypical symbols of 5 animals were analyzed as mentioned and the brand personality and image of 27 brands. As a result, there are implications between the archetypical symbol of animal motifs and a brand image and brand personality. A majority of the adjectives which express the archetypical symbolism of animal motifs as well as brand image and brand personality are similar. Moreover, the personalities of fashion brands categorized by animal motifs are different from each other, so how each animal motif communicates different images and symbols was explored.

• The Research Journal of the Costume Culture
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• v.26 no.4
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• pp.531-546
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• 2018

The purpose of this study is to comparatively examine techniques and expressive characteristics of batik by focusing on the work of DanZhai and that of ZhenNing Buyi. We collected 50 pieces of batik each from Miao and Buyi in Chinese GuiZhouSheng and then analyzed their colors and patterns. The findings show that most of Miao's batik had deep and soft tones, while that of Buyi most often had blackish tone since the number of dyes in the latter is higher than that in the former. Miao often used patterns expressing animals or animals and plants, while Buyi frequently used geometric ones. An examination of specific motifs demonstrated that butterflies, fish, and flowers were most often used by Miao, while dots, vortexes, lines, and lozenges were frequently utilized by Buyi. For expressive techniques, both Miao and Buyi commonly used simple stylized expression or complex expression combining stylized and geometric techniques. Maio's motifs were often decoratively expressed with delicate curves, while Buyi's motifs had simple structures, so pictures were neatly expressed with thick lines and wide and simple planes. For the composition of the motifs, incomplete symmetry between top and bottom and between left and right often appeared in Maio, while in Buyi complete symmetry was frequently shown.

• The Research Journal of the Costume Culture
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• v.26 no.5
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• pp.793-805
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• 2018

At the beginning of the $20^{th}$ century, Cartier developed Art Deco jewelry designs that have been used as design inspirations to this day. The purpose of this study is to analyze the characteristics of the Art Deco jewelry designs of Cartier in the early $20^{th}$ century. Regarding the research method, this study explored the jewelry designs from 1904 to 1939 by extracting 288 analysis subjects from Cartier's exhibitions, auction picture books, and foreign books, and analyzed the characteristics in terms of design motifs, colors and materials. The results of the study are as follows. Regarding the design motifs, 73% were geometric motifs, and 66% were a combination of circular shapes and polygons, the most frequent. In terms of colors, 69% were chromatic in color, and vivid colors were mostly used in the order of red (24%), - green (19%), and - blue (14%). Of the materials, 92% of the metals consisted of platinum, and gemstones were used in the order of diamonds (41%), - onyx (13%), - emeralds (11%), - rubies (9%), and - sapphires (8%). In the early $20^{th}$ century, Cartier's Art Deco jewelry designs featured abstract and geometric motifs, vivid colors and strong contrasts, platinum and precious gemstones. This study is meaningful in that it explores the competitiveness of Cartier's designs and provides practical ideas to combine Art Deco style with contemporary jewelry designs successfully.