• Journal of Korean Foot and Ankle Society
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• v.22 no.4
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• pp.156-160
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• 2018

Purpose: Chronic tophaceous gout is a painful and disabling inflammatory disease. Surgical treatment for chronic tophaceous gout is very difficult with many complications. This study evaluated the efficacy of shortening scarf osteotomy on the treatment of chronic tophaceous gout in the 1st metatarso-phalangeal (MTP) joint. Materials and Methods: From January 2006 to December 2015, 14 patients (19 cases) who underwent axial shortening scarf osteotomy for chronic tophaceous gout were reviewed. All patients were male. The average age at the time of surgery was 59.6 years (42~66 years). The minimum follow-up was 24 months. Total removal of the tophi mass with the adhered medial capsule of the 1st MTP joint was attempted. Axial shortening scarf osteotomy was done on the 1st metatarsal shaft. The visual analogue scale (VAS) for pain and the American Orthopaedic Foot and Ankle Society (AOFAS) forefoot score was assessed preoperatively and postoperatively. The range of motion (ROM) of the 1st MTP joint was also compared pre- and postoperatively. Results: The average size of the extracted tophaceous mass was 32 mm. The mean amount of the length of metatarsal shortening was 4.9 mm. The mean ROM of the 1st MTP joint was improved from $30.4^{\circ}$ to $62.3^{\circ}$. The mean AOFAS forefoot score improved from 51.4 to 86.6 points. The mean VAS for pain improved from 4.6 to 0.3 points. Conclusion: The axial shortening scarf osteotomy used on chronic tophaceous gout could reconstruct the 1st MTP joint with an improved ROM and was free of pain. Axial shortening scarf osteotomy is suggested as a useful and effective method for the treatment of chronic tophaceous gout.

• Journal of the Microelectronics and Packaging Society
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• v.30 no.3
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• pp.102-110
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• 2023

This paper introduces scarf welding process of thin substrates using flexible laser transmission welding (f-LTW) technology. We examined the behavior of tensile strength relative to the scarf angle for flexible applications. Thin plastic substrates with the thickness of less than 100 ㎛ were bonded and a jig to form a slope at the edge of the substrate was developed. By developing the scarf welding process, we successfully created a flexible bonding technology that maintains joint's thickness after the process. The tensile strength of the joint was assessed through uniaxial test, and we found that the tensile strength increases as the slope of bonding interface decreases. By conducting stress analysis at the bonding interface with respect to the slope angle, design factor of bonding structure was investigated. These findings suggest that the tensile strength depends on the geometry of the joint, even under the same process conditions, and highlights the significance of considering the geometry of the joint in welding processes.

• Journal of the Korean Wood Science and Technology
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• v.2 no.2
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• pp.25-31
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• 1974

1. Various gluing qualities applying Resorcinol Plyophen #6000 were studied on aiming the strength relationships of laminated woods resulted by single species [poplar (Populus deltoides), larch(Larix leptolepis)], mixed species of (poplar and larch), preservatives, treated poplar the scarf joint with mixed species of poplar and larch and the scarf joint treated with preservatives. 1. 1 On the block shear and on the DVL tension test, the mean wood failure ratio showed an excellent value i.e., above 65% and the tangential strength for larch was higher than that of radial, but it was reversed for poplar as shown in Tables 1 and 2. 1. 2 The lamina treated with Na-PCP reduced slightly the strength but the limited strength allowed for manufacturing laminated wood was not influenced by treating Na-PCP as shown in Tables 3 and 4. 1. 3 The safe scarf ratio in the plane scarf joint was above 1/12 for larch and 1/6 for poplar regard less of the chemical treatment or untreatment as shown in Tables. 5, 6, 7 and 8. 2. In the normal and boiled state, the gluing quality of the laminated wood composed of single[poplar (Populus deltoides), larch (Larix leptolepis)] and double species (poplar and larch) glued with Resorcinol Plyophen #6000 were measured as follow, and also represented the delamination of the same laminated wood. 2.1 The normal block shear strength of the straight and curved laminated wood (in life size) were more than three times of the standards adhesion strength. And, the value of the boiled stock was decreased to one half of the standard shear adhesion strength, but it was more than twice the standard strength for the boiled stock. Thus, it was recognized that the water resistance of the Resorcinol Plyophen #6000 was very high as shown in Tables 9 and 10. 2. 2 The delamination ratio of the straight and curved laminated woods in respect of their composition were decraesed, in turn, in the following order i. e., larch, mixed stock (larch+poplar) and poplar. The maximum value represented by the larch was 3.5% but it was below the limited value as shown in Table 11. 3. The various strengthes i.e., compressive, bending and adhesion obtainted by the straight laminaced wood which were constructed by five plies of single and double species of lamina i. e., larch (Larix leptolepis) and poplar (Populus euramericana), glued with urea resin were shown as follows: 3. 1 If desired a higher strength of architectural laminated wood composed of poplar (P) and larch (L), the combination of the laminas should be arranged as follows, L+P+L+P+L as shown in Table 12. 3.2 The strength of laminated wood composed of laminas which included pith and knots was conside rably decreased than that of clear lamina as shown Table 13. 3.3 The shear strength of the FPL block of the straight laminated wood constructed by the same species which were glued with urea adhesives was more than twice the limited adhesion strength, thus it makes possible to use it for interior constructional stock.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.180-201
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• 2009

I scrutinized the idea that Parhae Marek was inherited from Kokuryo which was presented in "The study on the Marek" published in the journal of the Korean Society of Costume 55-5, and concluded the following results: 1. The Marek which Samguk sagi recorded is the red head scarf used for dancers who do Koguryo dance in the Babarian Music System in Tang dynasty. Since its original record Tong dian tells that Kokuryo performers' costumes then had strikingly changed and Quichi and GaoChang dancers also wore Marek, so the idea that Marek was originated from Koguryo should be reconsidered. 2. Considering the Yaksoori mural's indistinguishable condition as well as the same scenes from other Kokuryo mural paintings, I can't evidently tell that the first person who carries shouldering drum puts Marek on. 3. should be pronounced [Mal] for the meaning of a head scarf and its definition can't be limited only for the sash type. 4. Diverse historical data on head scarves deny the assumption that the sash type of hairband would have been succeeded from Kokuryo to the Parhae Marek. 5. The Marek of Princess Junghyo's mural painting can be an example that shows the costume of Tang influenced Parhae's. But the similarity in styles of costume between contemporary countries doesn't mean their reciprocal racial or political identity.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.1-12
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• 2006

The purpose of this study was to find out differences of women's professionalism and attractiveness according to the perceiver's level of interest on accessory, the object person's age, and accessory wearing. Subjects were 178 college women in Seoul. The evaluation of the accessory wearing was divided into five dimensions: professionalism, attractiveness, loveliness, femininity, and individuality. The look of accessory wearing had significant influences on the evaluation of professionalism and attractiveness. The women in their 40's wearing the scarf on a jacket were evaluatedhigh in professionalism, attractiveness, and femininity. The 40's wearing the cap with a T-shirt were evaluatedlow in professionalism and attractiveness. The women in their 20's wearing the cap with a T-shirt were evaluatedhigh in attractiveness and loveliness. Wearing of scarf enhanced professionalism, femininity, and individuality, wearing necklace enhanced femininity, and wearing cap enhanced loveliness of women. Perceiver's level of interest on accessory gave significant influences on perception of professionalism and attractiveness. The object person's age gave significant influences on loveliness, femininity, and individuality. Professionalism, attractiveness, loveliness, and femininity had interaction effects according to object person's age and accessories. When women in their 40's wore scarf or necklace, their professionalism was raised more than those in their 20's. Therefore accessory wearing was more effective to the women in their 40's than the 20's.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1287-1296
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• 1997

The purpose of the study is to make experimental whether three-dimensional body (especially face) has illusion based on theoretical background of form dimensions and color bright among precedent multi-form illusion, using the function of computer simulation. To investigate illusion that factors of clothing design(line, color, material) effect face, as the following is tried to solve giving change to neckline, collar, scarf which is believed to influence near face. How to make experiment as follows watching in order 13 scenes of a pair of with basic design and experiment design. Then the data were subjected to analysis of variance and Duncan's multiple range test. The result of this studying as follows, 1. Face looks larger in complex neckline than simple neckline. The larger collar is the larger face looks. 2. In white jacket, illusion(the lower luminosity of scarf color gets, the brighter face brightness gets) is shown. In black jacket, also illusion(the higher luminosity of scarf color gets, the darker face brightness gets) is shown. 3. In experiment on hardness and softness of face impression according to the material of collar, collar of knit and fur gives us assimilation illusion bring softer impression of face.

• Fashion & Textile Research Journal
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• v.1 no.3
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• pp.246-251
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• 1999

Headdress which adorns the head has been used not only as a type of dress but also as a vehicle to express the human's mentality and a tool to convey ideas. This study first examines the type of headdress observed in the world folk costumes and investigates their geographical distribution and aims to examine how the types of headdress are inter-related to the peoples' natural environments, way of life and cultural background such as religion and aesthetic, ethical standards. Headdress used as important elements of many peoples' folk costumes can be categorized into scarf-type, hat-type and adornment-type. Veil-type, the one of scarf-types, was developed in Southwestern Asia and Arabic Africa influenced by natural and religious factors. This type is more simplified in Turkey and Eastern Europe and only covers head and neck in the former and only head in the latter while also being called 'headkerchief-type'. Hat-type is observed in many different parts of the world. Adornment-type has been used to symbolized one's noble social status and authority in societies dominated by shamanistic cultural background; it was also used in Far East out of the motivation to fulfil one's aesthetic desire. Headdress though it was originally made from the idential purpose of wearing, has developed into the various types affected by each people's natural environments, emotion and ways of life.

• Fashion & Textile Research Journal
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• v.9 no.3
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• pp.262-269
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• 2007

Traces of ancestors in the era without letters can be found in their legacies and remains such as stone implement, earthenware, dwelling sites, etc. Petroglyph among them reflects their life and spirits as like an epic so that we can be with them through petroglyph. petroglyph is a common culture of mankind, which has been found in various places over the world. The infinite value of traditional culture has a great impact as much as it is unnecessary to more discuss about it. When a culture of a country is reproduced as a world-class product, the country can have visible profits as well as positive effects on diverse fields. The Pangudae petroglyph in Ulsan, consistion of fishery and huntihg religiong, is one of the greatest cultural legacies of the local own uniqueness, and a source and thesaurus of design development. Despite limited tools and unskilled tact, the Pangudae petroglyph Carving shows a strong vital power, which does not change by time, of a whale or a man with various methods such as line and face carving, embossed carving, etc. under a desperate and unconditional purpose, the survival. Thus, the study tries to suggest scarf designs that applies such beauty in fashion design by using the formative beauty caused by natural abrasion through the time, and the feel of lines and stony material.

• Steel and Composite Structures
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• v.17 no.2
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• pp.199-213
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• 2014

The damage characters of scarf repaired composite laminates subjected to low-velocity impact with various energy levels at different locations are studied experimentally. The results are compared with those of the original laminates which have no initial damage and don't need repair. The impact load-time history of the specimens, the velocity-time curves of the impactor, the post impact compressive strength of the specimens and the C-scan photographs of the damaged regions are obtained. The delamination threshold load and damage character of the specimen section at impact point are also studied. The results have shown that the impact response of a repaired composite laminate is sensitive to the location of the impact. The impact load and the delamination threshold load have shown different characters for specimens with different impact locations. The debonding characters of the adhesive and compressive strength after impact of the specimens are also influenced by impact locations.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.689-702
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• 2022

Global fashion houses have recently incorporated traditional Korean motifs within their inspiration. This trend is an opportunity to showcase the colors of traditional Korean culture by investing in the new design content. Products specifically based on traditional Korean culture are lacking in brand awareness despite the success of Korean content. Accordingly, this study designs cultural products based on Korean folk painting that captures Korean people's satirical sense of humor. Korean folk painting theories are analyzed, from which different types of folk paintings are classified based on research of bibliographies and online documents. Following classification, the results are dataized as different types of folk paintings and their meanings. Furthermore, images of folk paintings are categorized and scanned digitally. The digitized images of the folk paintings are processed through Adobe Photoshop CS for overall layout and Adobe Illustrator CS for detailed designs. Traditional categories of Korean folk paintings are used, including flowers and birds, letters, and study stationery. Using the main elements of the flower and birds category, designs with cultural products such as images of flowers, birds, animals, and fish are produced. The final designs are used to create fashion items that can easily be used for embellishment or self-presentation: a scarf and a necktie. The scarf and the necktie are not only merchandise; they also symbolize the story, humor, and hope that Korean folk paintings once symbolized.