• 한국의류산업학회지
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• 제1권1호
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• pp.50-55
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• 1999

The repeatability of fabric drape was studied. Two methods for draping were used and the relation between node distributions was investigated using statistical analysis. With this, the relationship between node distribution and fabric mechanical properties was studied. The repeated measurements showed that there was no evidence that fabric has intrinsic node number and the mechanical properties influence on the number of nodes.

• 감성과학
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• 제14권1호
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• pp.39-48
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• 2011

3D스캔-인체 및 의복 모델링-시뮬레이션-패턴 제작 및 검증의 전체 3D 의복제작 프로세스를 원활히 활용할 수 있도록 하기 위하여 3D 그래픽과 CAD 시스템 그리고 3D-2D 직접 패턴 전개 시스템을 이용해야 하는 데 이 때 장애가 되는 것은 3D 시뮬레이션한 가상의복으로부터 정확한 패턴을 추출하는 것이 어렵고, 전반적 과정의 호환이 쉽지 않다는 것이다. 이에 본 연구에서는 인체에 정확히 밀착된 부분과 드레이프가 있는 비대칭형 드레스를 대상으로 전체 프로세스를 원활하게 구동할 수 있는 방법을 모색하였다. 연구 방법으로는 3D 스캔 데이터를 이용하여 Maya로 범용성 3D 인체 모델을 만들고 이 3D 바디 모델에 맞는 3D 드레스를 디자인하고 모델링한 후, Rapidform, 2C-AN 프로그램과 YukaCAD를 이용하여 정확한 2D 패턴을 제작하는 과정의 호환성을 해결하며 진행하였다. 이 과정에서 도출한 패턴을 실제 의상으로 제작하여 착의 시킨 후 3D 의복 모델과의 여유분 분포를 3차원 측정 기술로 검증하였고 실물 드레스의 드레이프의 모양과 시뮬레이트된 드레스의 모양을 검토하였다. 그 결과 제시한 방법을 활용하면 전반적으로 만족스럽게 정량적인 3D 의복 제작 프로세스를 운영할 수 있음을 확인하였다.

• 복식문화연구
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• 제17권3호
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• pp.396-406
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• 2009

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.

• 한국의류학회지
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• 제25권9호
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• pp.1571-1582
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• 2001

한국 전통 의상인 한복 치마의 형태는 천의 특성에 크게 좌우된다. 이에 본 연구에서는 직물의 물성과 착장시 한복 치마 형태의 관계를 규명하고자, 8가지 직물을 선택하여 물성을 측정하고, 비접촉 3차원 인체계측시스템을 이용하여 , 치마 착장시의 5개 수평단면, 2개 수직단면을 작성하였다. 수직 단면에서는 실루엣을 나타내는 각도, 수평단면에서는 단면의 부피감과 드레이프의 형태를 나타내는 노드 간격, 거리, 각도를 측정하였다. 첫째, 경연도, 신장률, 실 두께, 직물 무게의 직물물성요인에 따라 실험 직물은 4집단으로 분류되었다. 둘째, 직물의 물성과 노드의 형태의 관계를 살펴본 결과, 직물이 뻣뻣하고 가벼울수록, 치마윗부분의 각도가 커지며 , 부드럽고, 신축성 이 있고, 무겁고, 두꺼운 실로 짜여지면, 튜블러 형태 의 실루엣을 나타내었다. 셋째 , 수직 단면도상 치마 위쪽과 아래쪽의 퍼짐각도 및 수평단면상의 둘레, 노드간의 거리, 가장 긴 파고와 같은 단면 계측치는 직물물성에 따라 추정 이 가능한 것으로 나타났다.

• 한국염색가공학회:학술대회논문집
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• 한국염색가공학회 2011년도 제44차 학술발표회
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• pp.98-98
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• 2011

직물의 경우 드레이프성을 줄이고 KOSHI감(stiffness)을 부여하기 위해 일반적으로 나이프(knife) 코팅가공을 주로 사용한다. 하지만 니트는 워낙 신축성이 뛰어나기 때문에 큰 장력을 요구하는 일반 코팅공정을 적용할 경우 원단이 나이프에 밀리는 현상과 신장 상태에서 경화되어 니트 특유의 신축성을 완전히 읽어버리는 문제가 발생한다. 따라서 니트 코팅 가공을 위해 원단에 장력이 걸리지 않으며 니트 원단에 직접 수지를 도포하는 방식이 아닌 간접 도포가 가능한 장비를 고안하였다. 즉, 아래에 나타낸 모식도와 같이 프로팅이나 over roll 나이프 방식을 사용하여 전사에 필요한 수지를 R/F에 코팅하고 이를 니트와 붙인 후 열풍 건조기와 열실린더를 통과시켜 수지가 니트에 전사되도록 하는 것이다. 본 연구에서는 고신축성과 탁월한 포면 터치감을 가지는 니트를 겉옷 및 다양한 용도로 전개하기 위해 R/F(releas fabric)의 조건을 설정 및 코팅 조건 설정을 통해 니트 가공 직물의 성능 변화를 살펴보기로 한다.

• 한국의상디자인학회지
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• 제7권1호
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• pp.33-40
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• 2005

Gathering is method used to control fullness along a seam line. The purpose of this study was to investigate the relationship between the quantitative research and qualitative method; the effect of gather and the types of gather drape. The experimental design consists of four factors: (l) three kinds of different weight and thickness of fabrics (2) three kinds of stitch densities (3) five kinds of ratio of gathers (4) three kinds of grain directions. Therefore one hundred thirty five (135) samples were made. And utilized SPSS WIN 10.0 Package in data analysis. The results of this study were as follows; First, after frequency analysis, side height, hem line width, node depth, node count, node width accorded with these result data recording. Second, after correlation analysis, side height related with front statements. Side height and entire visual was negative correlation. Hem line width, node depth, node count with section statements was negative correlation but node width at section statements was positive correlation. Third, after $k^2$ analysis, front picture parts getting excellent evaluation were 1st side height, 3rd hem line width, 4th node depth, 3rd node count, 3rd node width. And section illustration parts getting excellent evaluation were 4th side height, 1st hem line width, 2nd node depth, 3rd node count, 4th node width.

• 패션비즈니스
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• 제21권5호
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• pp.30-42
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• 2017

A comprehensive research must be conducted on manufacturing techniques such as patterns and sewing, with the understanding of material properties to satisfy consumers' emotions with a strong fashion trend orientation. Physical and emotional characteristics may change depending on the characteristics of the material, and the overall silhouette and feeling of the garment can change depending on how sewing is conducted.To examine the completeness of a finished garment depending on different kinds of clothing material, this study fabricated an actual garment and a 3D virtual garment as well using 3D CAD IMAGE SYSTEM (CLO 3D, DC Suite, etc.) for a comparative analysis. These two methods have their own advantages and disadvantages. This study selected five of the most representative clothing materials and conducted a comparative analysis on appearance differences between actual clothing and virtual clothing by material. Additionally, the study verified the similarity between actual clothing and virtual clothing by comparing their physical properties by material, and evaluated the objectivity and accuracy of the reproducibility of material properties of virtual clothing.

• 패션비즈니스
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• 제15권5호
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• pp.103-114
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• 2011

During a wearer's movement, the apparel fabric layers collide each other in a highly complicated manner. The collision involves cloth-cloth, and cloth-body collision. The diversity of the textile fabrics, including silk, wool, cotton, and other synthetic fibers, together with the complex details of the apparel construction, makes the collision and other calculation procedure involved in the 3-dimensional clothing software system much more complicated. Therefore, there is a need to measure the behavior of the fabrics during the fabric collision cycles. In this study, as a first step, static measurements pertinent to the factors governing the appearance of the apparel fabrics were implemented. The drape profile, stiffness(Sd and Sf), tensile properties, thickness, and the air permeability were measured. The correlation between the parameters were calculated and reviewed. It is found that there is a high correlation of 0.97 between the actual fabric drape parameters and the 3D virtual fabric drape parameters. The measured drape coefficients of the fabrics show relatively good correlation with the measured fabric stiffness.

• 한국의류학회지
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• 제20권6호
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• pp.1116-1124
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• 1996

The factors to presume the shapes of bending and draping were examined in this study, by applying the similar phenomenon and theory of analysis. The findings were as followings: 1. The value of deflection angle (f) of deflection curve were almost consistent with those of K number and the shapes of deflection curve were congruent, under the condition of that the values of EI/w are almost similar and the lengths of samples are consistent. 2. The values of drape area, drape coefficient, mean of deflection angle, and $\pi$ number were consistently estimated and the shapes of drape were almost the same, under the condition of that the values of EI/w are similar and the diameter of samples are consistent. 3. In using the samples with different values of EI/w, scale factor, kl, was obtained from the formula, the shapes of bending of the referent samples and compsactive smaples was geometrically similar, which the lengths of samples were 1,1'and were satisfied with the formula, hi: L'11, and their $\pi$ number were also consistent. 4. In applying the samples with different values of Rllw, scale factor (kl) was obtained and then, when semidiameter of samples was adjusted to be satisfied with the formula, k1=L/L, the shapes of draping of referent samples and comparative samples were geometrically similar. Furthermore, their $\pi$ number was also consistent. 5. The shares of bending and draping could be changed in terms of three factors such as the lengths of samples, bending ridigity, and weigths per unit area. $\pi$ number was obtained from theory of similar phenomenon, which was index to presume shapes of bending and the shapes of draping getting from the three factors.

• 복식문화연구
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• 제17권3호
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• pp.499-511
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• 2009

As the demand of the consumer for high-sense clothing, relation with materials is becoming important even in clothing construction. Especially, the cutting angle of materials is becoming an crucial element in the formation of silhouette, and drape of Hem line, of skirts. Accordingly, in this study, Hem line shapes between real clothing and 3D virtual clothing of "i-Designer" were analyzed by manufacturing semi-flare skirts of polyester 100% according to a cutting angle, and the results are as follows. As a result of comparison of silhouette between the real clothing and the virtual clothing, the real and the virtual have a similar feeling regardless of a cutting angle. In case of drape shapes, both the front and the lateral side were represented in almost similar shapes. The back side, however, the real and the virtual showed a great difference in case of grain direction. And in the whole silhouette, the real and the virtual were represented similarly. It could be known that with regard to Hem-line drape shapes between the real clothing and the virtual according to a cutting angle, the real clothing is represented in a location farther from the body than the virtual clothing and, the location or number of node was similarly showed in the real and the virtual.