• Journal of the Korea Fashion and Costume Design Association
• /
• v.15 no.4
• /
• pp.113-128
• /
• 2013

Those records indicate that Jik-geum Hyoong-bae fabric was imported from China and its period was during the fourteen and fifteen century. Gold threads used in three Jik-geum Hyoong-bae artifacts were all wrapped gold thread and gold thread of Danryeong from Young-dukdong, Yong-in, did not have a base, but instead the gold foil itself was attached to the silk cord. Such form of artifact had never been discovered before in Korea. Wrapped gold thread of Seoknamdong's basis was presumably bamboo paper. Three Jik-geum Hyoong-bae have the same weave structure. The ground is woven in a warp-faced 5-end satin weave. The pattern is brocaded with supplementary gold wefts. Supplementary gold wefts are composed of 1/4 twill binding by the odd number pairs of warps within every group of 10 pairs of warps. All of the Jik-geum Hyoong-bae textile were designed and weaved according to the overlapped collared costume's structure. This is also known as 'Jik-seong-pil-ryo'. One symmetric collared jacket excavated in Seok-namdong, Incheon, only has the right half of Hyoong-bae in the front. This is because symmetric collared jacket was made from overlapped collared costume. Tiger and peacock are the main patterns of Jik-geum Hyoong-bae which have realistic and free screen composition and this shows a huge difference to the later generation's standardized Hyoong-bae pattern.

• The Research Journal of the Costume Culture
• /
• v.22 no.5
• /
• pp.688-701
• /
• 2014

This study examined the expression characteristics in pop art works of Jean-Charles de Castelbajac. The study here aimed at possibility to find a design development in building up the unique art world of creativity based on popularity, artistry, and originality without confinement to the trend only. For the research method, review of literature and analysis about Castelbajac's works reflecting the pop art feature in the collections from 2000S/S to 2012F/W were performed. The results of research are as follows. The external expression form of Castelbajac's works based on pop art was grouped roughly into use of mass culture image, appropriation of pop art expression technique, and parody of art works. First, his work appeared as application of the mass culture image such as symbolic thing in the modern consumer society, object in an ordinary life, character of well-known animation, national flag and famous star. Second, such appropriated pop art techniques showed as pop color in strong primary color and silk screen, photomontage, collage, assemblage, graffiti, and lettering. Third, a variety of images featured earlier in art works were shown in parody. These works are valuable in that they are expressed aesthetically through regeneration of popular culture's various images in view of fashion, they are described in the non-traditional value with frolic resistance and deviation out of existing fashion norm, and they are given the dynamic creativity integrated with art and fashion.

• Journal of Sensor Science and Technology
• /
• v.23 no.5
• /
• pp.337-341
• /
• 2014

For various additives doped-$VO_2$ critical temperature sensors using the nature of semiconductor to metal transition, the crystallinity, microstructure, and temperature vs. resistance characteristics were systematically investigated. As a starting material of $VO_2$ sensor, vanadium pentoxide ($V_2O_5$) powders were used, and CaO, SrO, $Bi_2O_3$, $TiO_2$, and PbO dopants were used, respectively. The $V_2O_5$ powders with dopants were mixed with a vehicle to form paste. This paste was silk screen-printed on $Al_2O_3$ substrates and then $V_2O_5$-based thick films were heat-treated at $500^{\circ}C$ for 2 hours in $N_2$ gas atmosphere for the reduction to $VO_2$. From X-ray diffraction analysis, $VO_2$ phases for pure $VO_2$, and CaO and SrO-doped $VO_2$ thick films were confirmed and their grain sizes were 0.57 to $0.59{\mu}m$. The on/off resistance ratio of the $VO_2$ sensor in phase transition temperature range was $5.3{\times}10^3$ and that of the 0.5 wt.% CaO-doped $VO_2$ sensor was $5.46{\times}10^3$. The presented critical temperature sensors could be commercialized for fire-protection and control systems.

• Journal of the Semiconductor & Display Technology
• /
• v.5 no.3 s.16
• /
• pp.1-4
• /
• 2006

White-light-emitting ZnS:Mn, Cu, Cl phosphors with spherical shape and the size of $20\;{\mu}m$ are successfully synthesized. They have the double phases of cubic and hexagonal structures. They are applied to electroluminescent (EL) devices by silk screen method with the following structure: $electrode/BaTiO_3$ insulator layer ($50{\sim}60\;{\mu}m$)/ ZnS:Mn, Cu, Cl phosphor layer ($30{\sim}50\;{\mu}m$)/ITO glass. The EL devices are driven with the voltage of 100 V and the frequency of 400 Hz. The EL devices show the three emission peaks. The blue and green emission bands are originated from $CICu^{2+}$ transition and $ClCu^+$ transition, respectively. The yellow emission band results from $^4T^6A$ transition of $Mn^{2+}$ ion. As an increase of Cu concentrations, the blue and green emission intensities decrease whereas the yellow emission intensity increases; the quality becomes warm white. It is due to the energy transfer from the blue and green bands to the yellow band.

• Journal of Digital Convergence
• /
• v.18 no.9
• /
• pp.351-356
• /
• 2020

This study is an introductory study on Convergence of Traditional Chinese Paper-cutting Art and Contemporary Ceramic Decoration. As a part of Chinese folk art, now newly developed by the convergence of contemporary ceramic ar, today it promotes artists' creativity and find a alternative way for ceramic art. This mainly explore transition of 2 dimentional paper-cutting art into ceramic art. As a part of convergence art, this study suggest combination of 4 elements yin-yang-true-false with understanding of its history and contemporary status, and towards aesthetic values.

• Journal of the Korean Society of Costume
• /
• v.55 no.1 s.91
• /
• pp.13-24
• /
• 2005

Throughout the history of fashion and fashion collections, fashion design has been influenced by fine arts. Philosophy and concept of fine arts has been inspiration on the development of fashion design which brings on the close interrelation between fine arts and modern fashion. In order to analyze the affect of fine arts such as Pop art on fashion this study inquires into new perspective that considers different social contexts on the premise that acknowledges the essential difference between the genre of fine arts and design. This study researches the influence of Pop art which has been inspiration on fashion designers since the birth in the 1960s and often appears in recent fashion trends. In view of the results achieved in this study, Pop art-inspired fashion does not concern the aesthetic contemplation of everyday life in western society anonymously as in Pop art but deals with pop art as new ideas in a way that adopts images randomly from designer's convenience which is equivalent to the conception of pastiche. In addition, it was inferred that Peter Pan syndrome exert influence as a mental process and Kidult trend operate on Pop art-inspired fashion as a social phenomenon. On the basis of the theoretical background, the formative features in Pop art-inspired fashion from Spring/Summer 2000 to Spring/Summer 2004 collection has been analyzed. The results fall on the following four categories; those are the use of Pop color which resembles the Hard-edge technique in Pop art, direct appropriation of Pop art such as Andy Warhol and Roy Lichitenstein's works on clothes and accessories, adaptation of Pop art's subject using brand names of mass products or icons in mass culture as design motives, and application of representation method in Pop art such as Andy Warhol's silk screen techniques or Tom Wesselman's composition of pictures.

• Journal of Digital Convergence
• /
• v.16 no.11
• /
• pp.447-454
• /
• 2018

The purpose of this study is to analyze the historical background and characteristics of pop art style and motif expressions in the works of artists by analyzing the theoretical study of pop art and analyze how the expression characteristics are applied to ceramic works. As a result of the analysis of the work, various images of everyday objects in popular culture are expressed in various ways such as bright and colorful colors, silk screen, lettering, photo montage, cartoon expression, object, collage, decoupage, It is believed that the art of ceramics will be created as a creative work that reinterprets the artistic value rather than reproducing the art based on the technique of pop art. I look forward to the development.

• International Journal of Industrial Entomology and Biomaterials
• /
• v.12 no.2
• /
• pp.95-100
• /
• 2006

Central Sericultural Research and Training Institute, Mysore have evolved several highly productive bivoltine hybrids which can produce international grade raw silk. Among them $CSR2{\times}CSR4,\;CSR2{\times}CSR5,\;CSR3{\times}CSR6,\;CSR17{\times}CSR16,\;CSR18{\times}CSR19$ and $CSR12{\times}CSR6$ are being popularized in the field. There is a minimum difference in their economic characters but they appear to differ in survival. Though they are productive under high input management conditions, they are very susceptible to different diseases under normal rearing practices. No systematic attempts have been made to test their susceptibility status / resistance. Thus the present study is a modest attempt to screen the above six productive bivoltine hybrids to two important pathogens viz., Bombyx mori Nuclear Polyhedrosis Virus (BmNPV) and Bombyx mori Infectious Flacherie Virus (BmIFV) along with existing hybrid, $KA{\times}NB4D2$ to assess their susceptibility / resistance. The results shows that the productive hybrid $CSR2{\times}CSR4$ is the most resistant to BmNPV and it is suggested by its highest $LC_{50}$ value followed by $CSR12{\times}CSR6,\;KA{\times}NB4D2,\;CSR3{\times}CSR6,\;CSR17{\times}CSR16,\;CSR18{\times}CSR19,\;CSR2{\times}CSR5$. Based on the $LC_{50}$ value and $LT_{50}$ values for BmIFV, the hybrid $KA{\times}NB4D2$ was found to be the most resistant (1st position) one followed by $CSR3{\times}CSR6$ (2nd position) $CSR2{\times}CSR$ (3rd position) and $CSR12{\times}CSR6$ (4th position) $CSR17{\times}CSR16$, $CSR18{\times}CSR19$ (5th position) and $CSR2{\times}CSR5$ being the least. The response of 7 bivoltine hybrids to both the pathogens BmNPV and BmIFV indicates that, the hybrids $CSR2{\times}CSR4$, $CSR12{\times}CSR6$ and $KA{\times}NB4D2$ were found to be the most resistant when compared to others. Further, $KA{\times}NB4D2$ being less productive hybrid with a shell ratio of 20.08%, the other two hybrids $CSR2{\times}CSR4$ (Cocoon shell ratio, 21.44%) and $CSR12{\times}CSR6$ (cocoon shell ratio, 23.45%) can be considered to be most productive with superior quality cocoon and resistant to both BmNPV and BmIFV pathogens. The overall study indicated that the hybrid $CSR2{\times}CSR5$ is the most susceptible hybrid to both the pathogens.

• Proceedings of the Korean Society of Dyers and Finishers Conference
• /
• 2012.03a
• /
• pp.54-54
• /
• 2012

전통 날염방식(Silk Screen)과 디지털날염(Digital Textile Printing)을 비교해보면, 디지털날염은 디자인에서부터 날염까지의 전공정을 완전히 디지털화함으로서 다양하게 디자인할 수 있고 미묘한 색감의 흐름을 표현할 수 있어서 자연스러운 이미지의 표현이 가능하다. 그러나 현재 디지털날염을 피혁이나 직물에 적용하기에는 프린팅속도가 느려서 생산성이 낮고 이미지 내구성(세탁, 승화, 일광, 및 마찰견뢰도)이 낮은 등 많은 단점을 가지고 있다. 또한 신발산업은 현재 중국이나 동남아시아 등 개발도상국의 등장으로 수출의 국제적 경쟁시대에 접어들면서 대량생산이나 획일적인 디자인으로부터 벗어나 고부가가치 상품을 생산해야하는 과제를 안게 되었다. 한편 가죽에 응용가능한 잉크는 크게 수성, 유성, 용제형과 자외선 경화형의 잉크가 있으며 자외선 경화형 잉크는 자외선을 이용하여 기존의 잉크의 단점을 보완한 것이다. 자외선 경화형 잉크는 자외선 램프를 열원으로 하여 이온 또는 라디칼 중합, 광중합을 하며, 에너지 소비가 적어 경제적이며 시스템 가동시 비활성 기체가 필요하지 않다. 또한 자외선 경화형 기술은 상온에서 이용할 수 있으며 잉크의 경우 건조하는 데 걸리는 시간이 필요하지 않다. 또한 시스템을 가동 시키거나 중지 시키는 것이 쉬우며 고속으로 연속적인 일을 처리할 수 있다. 프린터의 크기가 작아 공간 효율이 유리하며 용제나 $CO_2$가 발생하지 않아 친환경적인 기술이라 할 수 있다. 따라서 본 연구에서는 자외선 경화형 시스템을 잉크에 적용하여 피혁 표면에 프린팅한 다음 그 견뢰도를 측정함으로써 그 효과를 알아보았다. 세탁에 의한 Matlab 측정값으로부터 용제형 잉크의 경우는 세탁 전, 후 line width가 큰 차이를 보이나 자외선 경화형 잉크의 경우는 그 차이가 적음으로부터 자외선 경화형 잉크가 용제형에 비해 색상 탈리가 적었음을 말한다. 또한 raggedness값 역시 마찬가지 결과를 보여 안료 색소와 피혁의 접착성이 향상된 것을 알 수 있다. SEM을 이용한 피혁의 표면과 단면 사진을 보면 용제형보다 자외선 경화형 잉크를 사용한 피혁이 좀 더 매끈한 표면을 보이는데 이것은 접착기능을 하는 아크릴레이트에 의해 균일한 날염이 가능하기 때문이라 고 생각된다. 이상의 결과로부터 자외선 경화형 잉크가 세탁, 마찰, 일광 견뢰도가 우수함을 알 수 있었으며 기존의 용제형 잉크를 대체할 수 있는 좋은 재료라고 생각된다.

• International Journal of Advanced Culture Technology
• /
• v.12 no.3
• /
• pp.29-36
• /
• 2024

The public can now access movies faster and more easily thanks to over-the-top (OTT) services. The audience may be impacted by period dramas, where accurate costume reproduction is crucial. For filmmakers, it is critical to replicate period costumes using precise historical information. The goal of this study is to act as a reference so that, when it comes to period dramas, viewers can evaluate them using impartial criteria and movie producers can use data based on fact to plan their costumes. The film Napoleon won the British Academy Award for Costume after hiring costume experts to create 95% of the entire costume, according to data from the Napoleon I Museum. Following the French Revolution, the ostentatious and ornate men's attire vanished, to be replaced by a more modest and functional outfit. For tops, vests were cut to waist length, shirts, cravats, and carrick were worn, and tailcoats were the norm. The pants were swapped out for loose-fitting ones. The glitzy hues and embellishments from the bygone era progressively vanished and formed the foundation of the contemporary men's costume, which is dominated by black. The hats worn were tricorn, bicorn, top hat, and bowler, and the hairstyle changed from long to short gradually. The civil class wore short tops called carmagnoles. Napoleon wore a high-collared Napoleon collar and a tailcoat with a bicorn, which became his emblem. Green, navy, and white were the colors of the uniform, and a gray woolen coat was worn outside. The elaborately decorated costumes were worn to court and to banquets; the Napoleonic coronation costume was embellished with gold embroidery on silk, red velvet, and martyred hair; the post-revolutionary costumes gradually became more colorful. In the movie Napoleon, period clothing items were well represented, with the aristocracies wearing dark tailcoats, vests, shirts, and cravats. Based on the data from the men's costume, Napoleon's outfit in the movie was made more similarly. This study's limitation is that not every character in the movie could have their costume examined, and the material matter could not be precisely determined by examining the images displayed on the screen. Given that portraits typically feature a great deal of noble imagery, the clothing worn by common people is also associated with data limitations when it comes to movie costume design.