• Proceedings of the Membrane Society of Korea Conference
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• 1994.04a
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• pp.59-60
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• 1994

도금공업은 주로 금속, 플라스틱 등을 소재로 하는 각종 제품의 표면을 전기적 또는 화학적 방법에 따라 석출된 비철금속질로 피복가공하여 제품의 내식, 장식적 효과 내마모성, 전기특성, 광택성, 열특성등 많은 기능을 부가하는 것을 의미한다. 이러한 도금산업은 각종 유해한 화학물질을 취급하는 관계로 도금폐수도 역시 많은 유독한 화학약품이 포함되어 있어 엄격한 규제가 요구되고 있다. 현재의 도금폐수처리는 대부분 위탁업자에 의해 이루어 지고 있으며, 위탁업자는 웅집침전법에 의한 슬러지화(함수율 80% 이하) 하여 매립되고 있는 실정이다. 이 매립물은 침출수를 방출하여 환경에 새로운 문제를 야기시키고 있다. 이러한 도금폐수 중 유가금속(Zn, Cr, Ni, Cu등)을 membrane을 이용하여 회수하고, 생성되는 물을 도금공정에 다시 투입하므로서 공해가 없는 무공해공정을 설계하는 기초자료를 얻는데 본 연구의 목적이 있다. 본 실험에서는 유가금속 중 Cr을 회수하기 위하여 Cr도금 모델폐수를 이용하여 Cr의 농도, 압력, pH등을 변화시키면서 membrane과 Cr의 상관성을 살펴보았다.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.7
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• pp.976-986
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• 2000

The purpose of this study is to clarify the relationship between the visual sensibility and the decorative design of clothing. 41 kinds of costume samples have been selected from photographs in fashion magazines under detail and trimming, and divided into three types according to line, shape, and form. I have measured these images by using Semantic Differential method. The obtained data were analyzed by factor analysis ANOVA, discriminant analysis, regression analysis and MDS. The results of analysis are as follow; 1. Factor analysis has extracted five factors which consist of decorative design sensibility. These factors are Attractiveness, Hardness and Softness, Rhythm, Decorativeness, Cuteness. 2. There were significant differences in visual evaluation of decorative design and demographics 3. The discrimination among formative designs was closely related to decorative image, especially between line and form. 4. The Image effect on Preference, Buying needs, Riches and Pleasant was consist of complicated sensibility. 5. Evaluative dimensions of decorative design were identified by Simple-Complicated, Cubic -Plane perceptive image differed in degree of similarity in spite of same formative design.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.911-922
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• 2007

In this study, for the purpose of correct viewing on the image of Africa and understanding of modem fashion, African image and art, the general characteristics of African costume, the background of fashion subjecting African image, and the trend according to ages were examined based on theoretical background. Then the researcher drew African image by analyzing the works in four 2005 S/S major fashion collections to designers and design factors. The ten voted designers' and brands' works in 2005 S/S collections had four concepts of African image; 'Wild Erotic', 'Abstract Primitive', 'Natural Elegant' and 'Sporty Romantic'. The viewpoint of modem fashion on African image from the aspect of design, designer and fashion trend can be examined as below. First, African costume, which was religious and ceremonial, appeared to emphasize its esthetic side with decorative details in modem fashion design and designers competed to choose a method to harmonize tradition and modem style and by adopting these from occult to decorative meaning, Second, fashion designers presented city unpolished beauty of modem women to a special style and made african image to be recognized as a code of fashion culture by integrating it with modem people's mind to go back to the past and admiration for the purity of nature. Third, thanks to the instinctive vitality hidden in the primitive life, inspiration for creative design that is found in the esthetic mind of the Indians, foreign taste emphasizing ethnic trend, and admiration to naturalism due to the increase of concern over ecology, 'African image' led the beginning of 21C trend by being settled as a in fashion trend.

• FLOWER RESEARCH JOURNAL
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• v.16 no.3
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• pp.186-195
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• 2008

This works were developed for showing the diversity in natural and unnatural compositions. Floral designs works were created by using potted plant. Structures of spherical, cylindrical, pyramidal, and parasol type were constructed ahead of decoration with potted plants. Containers made of transparent umbrella, pottery, jute, etc. were used for planting plants. Novel ideas to decorate uncomfortable spaces were presented. As appreciation period of potted plants is long, it is expected that the designs and works using potted plants will be suitably utilized in various space.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.31-48
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• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.

• Conservation Science in Museum
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• v.18
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• pp.1-18
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• 2017

This study investigated the techniques applied in the manufacturing of the horse trappings with jewel beetle adornment excavated from Geumgwanchong Tomb, with a focus on the use of jewel beetle wings. It is revealed that the wings of jewel beetles were stripped of their upper skeletal parts and applied as ornamentation under the gilt-bronze openwork plate, and no additional process was applied to improve adhesion. The horse trappings from Geumgwanchong Tomb include saddles, stirrups, horse strap pendants, and bamboo mudguards, but most of the components except the stirrups are failing or lost, making it difficult to identify the manufacturing techniques. The techniques used to affix the jewel beetle wings vary depending on the support materials. Small chisels were used to fix the jewel beetle wings to the stirrups and saddle made of wooden supports. In the case of the bamboo mudguards and metal artifacts, the wings were fixed with lacquer and then combined with the gilt-bronze openwork plate using pressure.

• Conservation Science in Museum
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• v.11
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• pp.1-8
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• 2010

Conservation re-treatment of dagger and scabbard in Gyeongju National Museum, which were excavated from Gyerim-ro Tomb No. 14 (Treasure No. 635) was carried out after a wide-scale dissembling in order for publishing a report and holding a special exhibition. The interior shape of the iron dagger which was disclosed by ornament plates was confirmed by X-ray investigation. The results of XRF analysis which was used to analyse compositions of the golden ornament plates reveal that having more than 3% of copper distinguishes it from other Silla gold artifacts. The conservation treatment progressed in a way that surface contaminants were removed and insecure areas were consolidated. The original shape of the iron dagger and scabbard was found after adhering and restoration. With the ornament plates staying on the iron dagger, a stand in acrylic for display and storage was made, which is able to place the dagger and scabbard in the safest way.

• Archives of design research
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• v.11 no.3
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• pp.25-33
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• 1998

A Study on the Plasticity of the Gather Represented in Haute Couture The Gather is the plastic technique to represent a sense of voluminosity by pleating the plane of costume and manifests the emotional effects , such as both functional aspects and the construction of form, optical illusion effect, textural feelings from materials, tactile transformations, etc. So it is used as the tool to represent the plastistic beauty of costume. The plasticity of the ancient gather was the drape arising according to the curve of the body, but the type of gather recently found on the haute couture does not only retain the activity and functionalism on which the technical element and the ornamental aspect are mixed with other techiques.

• Journal of Fashion Business
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• v.1 no.2
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• pp.74-85
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• 1997

폴 푸아레 (1879-1944)가 패션 역사상 혁명적이라고 할 수 있는 여성의 코르셋을 제거시켰다는 것은 익히 알려진 사실이다. 그리고 그러한 결과로 인해 발생된 새로운 직선형의 실루엣에 화려한 색채와 장식을 하여 이전 시대와는 전혀 다른 현대패션의 근원이 되었다. 본 연구는 푸아레의 새로운 직선 실루엣과 화려한 색채와 경이적 장식의 근원이 다름아닌 동양이라는데 중점을 두었다. 이미 국내의 몇편의 논문에서 이러한 논의가 지적되어 왔으나 다른 논제를 다루는 중에 언급이 되었고 당시의 작품이나 동시대의 자료를 분석한 것이 아닌 근래의 출판물에 의존한 연구가 대부분이었다. 따라서 본 연구에서는 그의 동양풍 디자인의 근원을 밝히는데 있어 가능한한 1 차적 자료의 접근을 시도하였다. 1912년 작품인 이브닝 드레스, 터번, 숄, 구두 각 1점과 그의 작품 의도와 생애의 추구를 말해주는 자서전(1930년 불어본 및 1931년 영어본)과 보그(Vogue)지의 기사(1920년 2월호, 9월호) 등을 통하여 그의 동양에 대한 관심을 살펴보았다. 그 결과 푸아레의 동양 영향의 근원은 19세기 말 유럽에서 절정을 이룬 'Sino-Japonism'(중국-일본주의)의 심취, 러시아 발레단의 의상과 색채, 천일야화의 영향에 의한 중동(페르시아)에 대한 열망, 그리고 인도 토민병의 복식에서 비롯된 터번에의 매료 등이었음을 알 수 있었다. 이러한 근원에서 탄생된 디자인으로는 직선형의 튜닉, 기모노 소매(처음엔 푸아레 자신도 중국의 것으로 혼동을 하기도 했지만), 하렘팬츠, 비대칭적인 카프탄식의 코트, 원색의 사용, 극동지역의 직물과 문양, 술장식, 터번 등으로 나타내었다. 따라서 폴 푸아레의 동양적인 관심은 단지 개인적 '취향 혹은 취미(taste)'가 아니라 한 시대양식으로 자리잡은 '동양주의(Orientalism)'라 할 수 있으며 이러한 푸아레의 동양주의는 당시의 패션에 있어 신체의 선을 부정하여 코르셋을 제거 시키게한 그의 모더니즘의 근거가 된다. 본연구의 제한점으로 1차적 자료를 수집하는데에 있어 보다 폭넓지 못했던 점을 밝혀둔다.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.5
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• pp.594-605
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• 2002

The purpose of this study is to investigate the visual sensibility of wedding dress. There are 28 kinds of costume samples from photographs in wedding dress magazines. They were divided into simple, accent and decorative design. The Semantic Differential method was used in this study to measure them. The semantic scale was composed of 20 pairs of adjective words. The data were analyzed by factor analysis, ANOVA, MDS and regression analysis. The results are as follow; 1. Factor analysis has extracted five factors which consist of the visual sensibility of wedding dress. The factors are High quality, Cuteness, Femininity, Decoration and Modernness. 2. There were significant differences in the visual sensibility of wedding dress and demographics.3. The evaluative dimensions of the visual sensibility of wedding dress were identified by Cute-Adult and Simple-Decorative. 4. Preference was related to what are wearing-desirable, chic, cute, natural and beautiful, etc., and the wearing desire was related to what are favorite, lively, chic, special and gracious, etc. The noble sensibility was related to what are elegant, cute, feminine and chic, etc.