• Fashion & Textile Research Journal
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• v.15 no.3
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• pp.336-346
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• 2013

This study focuses on 'texture' as one of the most important fashion and textile design elements; in addition, it proposes various applications of it. Surface texture is indispensable in fashion and textile design that also factors heavily into innovative creations. Along with technological advances in the fashion industry, surface texture has derived many new and attractive features that provide more opportunities for designers to show various design concepts. Rather than the surface quality of fabrics, surface texture in fashion design creates its identity through a manipulation of materials- an application that tends to be primarily for visual effects without being restricted to decorative purposes. The status and significance of surface texture in various creative fields is explored and the evolution of surface texture is traced by analyzing a number of fashion design cases with representative surface textures. The latest feature of surface texture in fashion and textile design is identified to establish a new classification of surface texture with five groups and technical suggestions. This study provides a theoretical basis for this field of study and a new framework that can be employed in the development of surface textures that use innovative techniques as well as the future application of newly-developed textures.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.150-151
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• 2004

• Journal of Fashion Business
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• v.13 no.6
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• pp.89-98
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• 2009

Computer development and new printing technology allow us to express a new type of digital textile designs those were not possible in the past. In this study, watercolor overlaying effect of various colors was tried using airbrush tool in Photoshop program. Photoshop program is a powerful graphic tool and can be used in textile design area to generate various types of designs. Woven texture was also applied to the design to give yarn dyed effects or rich appearance. Photoshop program was also used to develop woven texture without the help of the professional textile CAD. Photoshop channels enables the designers to apply various textures to the image. Plain weave and houndstooth were applied in this study. Colorways of the developed designs having watercolor effect and woven texture by applying Photoshop color adjustment function. Quick and simultaneous changes of colors were possible using this method. The developed textile designs were printed by transfer DTP. Successful textile design prints were expressed and showed watercolor overlaying effect and woven texture. The printed textiles show a little brighter color, and therefore, sample printing is recommendable in case of color sensitive production.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.8 no.7
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• pp.2400-2419
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• 2014

Pre-segmented pixels can reduce the difficulty of segmentation and promote the segmentation performance. This paper proposes a novel segmentation method based on merging texture superpixels by computing inner similarity. Firstly, we design a set of Gabor filters to compute the amplitude responses of original image and compute the texture map by a salience model. Secondly, we employ the simple clustering to extract superpixles by affinity of color, coordinates and texture map. Then, we design a normalized histograms descriptor for superpixels integrated color and texture information of inner pixels. To obtain the final segmentation result, all adjacent superpixels are merged by the homogeneity comparison of normalized color-texture features until the stop criteria is satisfied. The experiments are conducted on natural scene images and synthesis texture images demonstrate that the proposed segmentation algorithm can achieve ideal segmentation on complex texture regions.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.39 no.3
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• pp.11-22
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• 2002

The design of optimal filter yielding optimal texture feature separation is a most effective technique in many torture analyzing areas, such as perception of surface, object, shape and depth. But, most optimal filter design approaches are restricted to the issue of computational complexity and supervised problems. In this paper, Our proposed method yields new insight into the design of optimal Gabor filters for segmenting multiple texture images. The optimal frequency of Gator filter is turned to the optimal frequency of the distinct texture in frequency domain. In order to show the performance of the designed filters, we have attempted to build a various texture images. Our experimental results show that the performance of the system is very successful.

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.70-77
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• 2014

The purpose of this study is providing a usage of exterior, interior finish materials and color scheme for architectural design and the actual texture and pattern plans of finish materials from Le Corbuisier's work, Chapel Ronchamp. Chapel Ronchamp was analyzed to support the study for the interaction between texture usage and color expression. As a powerful design tool, texture, pattern and color of finish materials are very effective to alter the perception of the facade in the building. Most of architectural buildings, shapes and materials of elevations are monotonous and uniform. This study should be considered by details in the elevation of Chapel Ronchamp. As the part for developing and planning of architectural design, researching color plans and finish material is very important on real expression in the architectural space. As a result, this study will benefit in planning both the exterior and interior environments of color and finish material with texture and pattern.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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• pp.193-204
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• 2002

Many fashion forecasting companies propose the fashion colors in every season. Modern fashion consumer respond to fashionable trends with utmost sensitivity. Therefore to satisfy the consumer with an trendy image, the fashion design must be found first, as image matters, followed by an analysis of each design element's effect on the total image composition. In previous studies of fashion image, has been discussed the positive correlation between fashion design elements of color, fabric, and form as the central issue. In this thesis, two of the fashion design elements, color and fabric are simultaneously considered to classify the image of fabric in fashion. For the color variables, 10 hues are selected from Munsell's system of color notation, and 12 tones from PCCS color notation., which are currently used in the domestic fashion industry. Texture variables used in this survey are classified by luster, prominence-depression of surface, thickness, and density of fabric. Graduate students from 20 to 50 years old and the specialists in fashion companies participated in the survey. The results of this survey are as follows: 1. The fashion fabric image is classified as 5 main images: 'elegant', 'comfortable', 'characteristic', 'light'and 'simple'. 2. The influence of hue, tone and texture is significant to the fashion fabric image. Following colors, yellow-red, red hues and light grayish, dark grayish tones convey the elegant image. The texture property for the elegant image is luster, thin and low density. Properties of fabric conveying the comfortable image are yellow-red and green-yellow hue, soft, light tones, matte and high density. Furthermore, hue turned out to be a insignificant variables for the unique image, whereas dark grayish, grayish tone, luster and prominent texture convey a unique image. For light image, properties of fabric are blue-green, purple hues, light, bright tones with thin, low density texture. Properties of fabric conveying the simple image are blue-green, purple-blue, green-yellow hues, and strong, vivid tones, with luster and flat texture.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.4
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• pp.178-184
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• 2023

AI image generation technology has become a popular research direction in the field of AI, which is widely used in the field of digital art and conceptual design, and can also be used in the process of 3D texture mapping. This paper introduces the production process of 3D texture mapping using AI image technology, and discusses whether it can be used as a new way of 3D texture mapping to enrich the 3D texture mapping production process. Two AI deep learning models, Stable Diffusion and Midjourney, were combined to generate high-quality AI textures. Finally, the lmage to material function of substance 3D Sampler was used to convert the AI-generated textures into PBR 3D texture maps. And applied in 3D environment. This study shows that 3D texture maps generated by AI image generation technology can be used in 3D environment, which not only has short production time and high production efficiency, but also has rich changes in map styles, which can be quickly adjusted and modified according to the design scheme. However, some AI texture maps need to be manually modified before they can be used. With the continuous development of AI technology, there will be great potential for further development and innovation of AI-generated image technology in the 3D content production process in the future.

• Korean Journal of Computational Design and Engineering
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• v.4 no.1
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• pp.1-11
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• 1999

surface texture denotes set of tiny repetitive geometric features on an object surface. 3D Printing can readily create a surface of controlled macro-textures of high geometric complexity. Designing surface textures for 3D Printing, however, is difficult due to complex macro-structure of the tiny texture geometry since it needs to be compatible with the non-traditioal manufacturing method. In this paper we propose a visual simulation technique involving development of a virtual model-an intermediate geometric model-of the surface texture design prior to fabricating the physical model. Careful examination of the virtual model before the actual fabrication can help minimize unwanted design iterations. The proposed technique demonstrated visualization capability by comparing the virtual model with the physical model for several test cases.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.9_10
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• pp.1475-1486
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• 2007

This study aims to develop knitted ware design to meet desire to express diversity in the modern fashion design so that we designed knitted ware by applying african geometric pattern and color to suggest new knitted ware design. We collect data about african texture pattern through technical books, publications, internet, and preceding research and visit and investigate the African museum. We investigate knitted Jacquard texture through preceding research and collect sample and data which is insufficient in the data source. The conclusions in this study are summarized as follows: First, African textile pattern is formulated with animism based on their religious view of art for a basis and African regards nature like animal and plant as a motive and interprets nature in the so that they can create symbolized geometric features that constitute African texture pattern. Those patterns is composed of extremely geometric figures so that they we fit to apply for color jacquad knit design. Second, color knitted jacquad can be distinguished by knitting method and status of knitting as 7 kinds of techniques such as Nomal, Bird'eye, Floating, Tubular, Ladder's back, Blister, Transfer Jacquard, and as a result of preceding research and knitting texture directly, jacquard technique makes different texture under same condition like consistent spinning rate and same crochet hook. Third, Bird'eye Jacquard used generally to make knitted ware and Ladder's back Jacquard, Tubular Jacquard used to make knitted ware light are fit to apply them to 7GG and 12GG machines. We design a cloak as a outer garment, a coat shaped like one-piece dress and a coat with hood by using Tubular Jacquard which can make thick texture and design a jacket, a skirt and a one-piece dress by using Bird'eye Jacquard. we make a light and flimsy one-piece dress by using Ladder's back Jacquard. Fourth, we apply the contrast of $4{\sim}6$ color and line and the contrast of texture and raw material to jacquard in order to emphasize texture property and visual property.