• 복식
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• 제50권8호
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• pp.5-16
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• 2000

This study attempts to examine compound weave among silk fabrics of Cho-Sun Dynasty. These silk fabrics have colorful patterns. They can be classified into two types by their texture structure one is called polychrome woven silk of which structure is plain or twill fabric : another is called satan damask of which structure is stain fabric. Their texture structure consist of warp and weft. In addition. there are other types of warp and weft for pattern structure ; various twill structures were used for patterns. A variety of colorful threads, including gold and silver ones. are used fur patterns in them. The brocaded-type fabric was primarily developed during Won Era of China. It was most developed in Ko-Rye Kingdom. During that era flat strip was used the most but its length was usually not long enough to finish one pattern. However, wrapped thread was increasingly used during the middle and later period of Cho-Sun Dynasty due to the development of weaving technology for gold thread. The brocaded-type fabric was produced in Korea and it was also Imported from China according to some record. There are some domestic empirical documents that show the names of imported Satin Samite, Brocaded satin and these are good evidence to prove the nationwide use of the cloth during Cho-Sun Dynasty. The density ratio of warp and weft is almost same except Samite in the third and Satin with flower motif in the second period is most density among them. C·F of Brocaded satin with Mang motif in the third period values the highest price. Brocaded satin, used with both gold and silver threads, is thickest.

• 한국콘텐츠학회논문지
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• 제8권12호
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• pp.190-197
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• 2008

기계적 명령어인 정경 (Threading)과, 트레들링(Treadlings)을 토대로 디자인해야 하는 직조 디자인은 표현의 한계성이 강한 것이 특징이다. 때문에 연구되어진 많은 한국 전통문양 자료들 중에서도 특히 떡살에 의해 한계 지어지는 떡살문양의 표현이 서로의 접목을 용이하게 하여 떡살문양을 선택하여 디자인의 컨셉을 잡았다. 특히, 문자문양과 기하학문양은 문양의 일반적 특징인 아름다움의 추구보다는 자연에 대한 인간의 두려움과 경이로움을 토대로 하여 생겨난 종교적 갈망과 기원을 담고 있어 이러한 이미지들을 토대로 트윌(Twill)기법, 특히 그 안에서도 형태적 표현이 용이한 샐리낼슨(Sally Nielsen)의 로즈펫(Rosepath)의 정경을 중심으로 활용하여 한국적 문양을 직조구조로 디자인하였다. 이 연구를 통해 세계의 위버(weaver)들에게 우리의 문양을 소개하는 계기가 되고 우리나라 산업에서는 이러한 직물디자인이 산업체에서 활발하게 활용되어 고부가가치의 자산을 획득하고 우리의 우수한 문화를 상품화 하고 문화산업을 발전시키는데 도움이 되기를 희망한다.

• 한국재료학회지
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• 제4권3호
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• pp.339-348
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• 1994

탄소/페놀릭 복합재의 삭마 미세구조와 특성에 대하여 설명하였다. 삭마현상은 추진제와 산화제 사이의 반응에 의한 수증기와 탄산가스의 몰분율에 의해 좌우된다. 그러나, 이 연구논문은 삭마현상이 탄소섬유의 직조형태, 직조밀도, tow크기에 의해서도 변화될 수 있음을 주사전자현미경, 밀도, 열전도도. 삭마표면등을 통해 설명했다. 3가지의 직조형태중, 3K8HS 직조구조가 3K twill구조나 12K8HS구조보다 우수한 내삭마성을 보임을 설명했다.

• 한국의류학회지
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• 제28권9_10호
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• pp.1282-1291
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• 2004

Kenaf was cultivated and harvested in large quantity in Cheju Island and Chinju, Kyungsangnamdo. It was chemically rotted with 3% NaOH for 60 minutes at 100$^{\circ}C$, neutralized using 1% acetic acid, washed and dried, and obtained 40kg of dry kenaf fiber. Kenaf 15/rayon 85, flax 15/rayon 85, and rayon 100% yam was spun and the physical characteristics were measured. Plain weave and twill weave fabrics were made using each of the above yarns as the filling yam. Cotton 100% yam was used as the warp yam in all fabrics. Kenaf/rayon blend yarns were higher in tenacity and elongation, lower in yam uniformity, higher in the number of nep than the flax/rayon blended yams. Kenaf/rayon blend fabric had higher tenacity and elongation compared to the flax/rayon blend fabric Kenaf/rayon blend fabric was most stiff in both plain weave and twill weave fabrics whereas drape characteristics was dependent upon the fabric structure of the kenaf/rayon blend and flax/rayon blend. There were little differences between the kenaf/rayon blend fabric and the flax/rayon blend fabric in the Kawabata physical measurements and the PHVs. The only drawback of kenaf fiber was it's surface roughness and it is expected that it can be improved by enzyme retting and mechanical bundle separation.

• 대한가정학회지
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• 제40권7호
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• pp.15-24
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• 2002

In this work, the effect of fusible interlining on the appearance related properties and mechanical characteristics of Lyocell fabric after fusing was investigated. Two different types(20's and 10's) of Lyocell face fabric with six different interlining(by thickness and structure) for earth Lyocell fabric were examined. In order to establish the optimum fusing condition for the different face fabric and interlining, peel strength of each fused fabric was measured, which was dependent on the fusing temperature, pressure, and time. The characteristics related appearance and mechanical characteristics of each fused fabric were determined. The results are as follows: The peel strength was excellent, when the fabric was fused with the force of 3kgf/$textrm{cm}^2$ at $120^{\circ}C$ for 15seconds. Flex stiffness, G, 2HG, 2HG5(shear), B, 2HB(bending) of 100% Lyocell fabric 10's were higher than those of 100% Lyocell 20's. Flex stiffness, crease recovery, G, 2HG, B, 2HB of thicker woven interlining were higher than those of thinner woven interlining. Crease recovery of twill interlining were higher than those of plain interlining. In case of shear and bending properties, however, plain interlining was higher than twill interlining. Flex stiffness, crease recovery, G, 2HG, 2HG5, B, 2HB of nonwoven interlining were higher than those of woven interlining. In case of drapability, however, woven interlining was higher than nonwoven interlining.

• 복식
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• 제36권
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• pp.53-75
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• 1998

The kind, the structure, and the motif of the Chosun dynasty's fabrics found mainfy within the Buddhist statues were studied. The total of 62 pieces of fabrice can be classified chronologically as follows ; 27 pieces in the year of 1431, 20 pieces of 1550, 9 pieces of 1664, and 6 pieces of 1735. These 62 fabrics also categorized by the weaving method as follows; 27 plain weaved, 17 twill weaved, 10 pieces of satine weaved, 7 pieces of Leno weaved, and 1 piece of double weaved fabrics. Most of the studied fabrics were silk, the rest were 2 pieces of yam and 1 piece of cotton, Kyun, Chu, and Cho were the plain weaved silk as Nung and Ki were the twill weaved silk, Satine weaved silk was called as Dan and double weaved silk was called Chikum in the Chosun dynasty. 1. The antique fabrics were composed of mainly silk. This is believed due to the utmost devotion to the buddhist statue as an object of worship. 2. In the fabric's structural point of view, th ecrossed 4-ply threads of warp yarn which is one of Leno weaved can be observed fre-quently in the period of Korea dynasty's fabrics. But it started to disappear in the beginning of Chosun dynasty, since only one piece of Ra could be found in the 1431's fabrics. Keum, one of the double weaved structure is assumed to be extinct from the Korea dynasty. Satin weaved fabrics started to be woven from the latter period of Korea dynasty and was very popular in Chosun dynasty. 3. The widths of fabrics in the Chosun dynasty gradually decreased compared with those of Korea dynasty.

• 복식
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• 제49권
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• pp.85-94
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• 1999

The fabrics attached to the remains of the Okjeon old tomb in the Kaya period were examined. Most of fabrics examined were composed of hemp and silk. Considering that silk was found in the old tomb of the Kaya period in the late 5th century and that various kinds of silk were used in the other area silk was assumed to be used before 5th century in the Kaya period. Only the structure of the densely plain weaved fabrics were analysed as silk and the other physical properties of the fabrics could not be the examined fabrics were plain weaved and altered structure with twill and plain weaving were found indicating that diverse weaving structures were used in the Kaya period. This indicate a certain level of cultural exchange between Kaya and Silla PaikJae, Kokuryo and weaving technique were almost similar in the Korean peninsula in the 5th century.

• 복식
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• 제62권3호
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• pp.137-151
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• 2012

In 1966, $Seokgatap$ pagoda in $Bulguksa$ temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in $Sarigong$(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like $Geum$, $Neung$(twill), $Rha$(complex gauze), silk tabby and linen were also excavated. In this study, $Geum$ fabric from the $Seokgatap$ was closely examined. $Geum$ of $seokgatap$ is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of $Geum$: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. $Geum$ of $Seokgatap$ was made in the $8^{th}$ century, since it was weaved in weft-faced compound weave twill which was popular in the $8-9^{th}$ century. And also, the arrangement of the colors was done in the same way of gradation $Geum$ silk which was popular in the $7-8^{th}$ C in China and Japan. Third, we restored the pattern of $Geum$ of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the $Geum$ of $Seokgatap$ was used for $geumdae$(a pouch made of $geum$) by analyzing all the documents and the characteristics of the fabric.

• Composites Research
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• 제31권5호
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• pp.276-281
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• 2018

본 논문에서는 이론적인 계산 모델을 이용하여 다양한 섬유 다발 구조를 갖는 직조섬유강화 복합재의 탄성 거동을 예측하였다. 직조 복합재의 기계적 물성을 대표할 수 있는 대표체적요소 (RVE)을 설정하였으며, 직조 다발의 굴곡을 다양한 정현파 함수로 정의하였다. 고전적층이론 (CLPT)를 이용하여 영률, 전단 탄성계수, 포아송비와 같은 직조복합재의 유효물성을 예측하였다. 섬유 다발의 구조와 형태 (평직, 능직)에 따라 섬유 부피 분율을 계산하였으며 각각의 탄성 거동을 이론적인 계산 모델을 통해 예측하였다. 또한, 이론적 예측 결과의 검증을 위해 진공수지주입(VARTM) 공정을 사용하여 평직 및 능직 형태의 복합재 시편을 제작 후 물성 시험을 진행하여 실험 결과를 이론적 예측 결과와 비교하였다. 결과적으로 직조 복합재의 탄성 거동에 대한 이론적 결과와 실험 결과 간에 매우 높은 정확도를 갖는 것을 확인할 수 있었다.

• 한국의류학회지
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• 제24권3호
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• pp.429-439
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• 2000

This study was aimed to investigate the handle and mechanical properties of silk woven fabrics according to the fabric structure and yarn types 56 male and female students evaluated 16 black specimens with semantic differential scale of 20 hand adjectives. Mechanical parameters such as surface properties, bending properties and compression properties were tested using by KES-FS system. Data were analyzed through factor analysis, pearson correlation coefficient and t-test using PC SAS package. The results were as follows: The hand adjectives were grouped as 4 'surface roughness', 'flexibility', ;sense of thermal', and 'dryness'. 'Surface roughness' was highly sensed at satin fabrics of hard-twist yarn, noil yarn and spun yarn, while it was not at the fabrics of normal satin and twill at all. 'Flexibility' was reverse to 'surface roughness'. Thermal sense was felt highly at satin fabrics of noil-yarn, while low at plain fabrics of normal yarn. 'Dryness' was high at satin fabrics of hard-twist yarn and while it was low at normal satin fabrics. Predicted equations for subjective hand from mechanical properties of fabrics were developed using Stevens's law and stepwise regression and the coefficients of determination were high.