• Journal of the Korea Fashion and Costume Design Association
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• v.1 no.1
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• pp.141-156
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• 1999

This paper is to analyze the classification of textile pattern design focusing on the 19th century in England. The purpose of this study is. firstly to research the thoughts and ideas of these design in the time of mid-Victorian age; Secondly. to classify the textile pattern design from many points of view. We could find such William Morris's thought and ideas of 19th century to reform from textile pattern design. We wish to use these studies for textile pattern designers to develop this tradition onward to modern and future trends.

• Science of Emotion and Sensibility
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• v.5 no.3
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• pp.21-28
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• 2002

In order to reflect emotion and sensibility of consumers to textile pattern design, the effect of design elements of block stripe pattern on sensitivity was investigated. The stimuli were manipulated with 4 design elements of value difference (3 levels), arrangement (2 levels), width (2 levels) and interval (3 levels). Among the 36 combinations, 27 stimuli, which showed independent sensibility results in the pretest, were adopted as final stimuli. Male and female university students (n=30) evaluated each sensibility subjectively using a questionnaire developed for this study. The effect of design elements on 12 sensibility dimensions drawn by factor analysis and the relationships between the physical quantities of each stimulus and the sensibilities were investigated. As the results of ANOVA for the effect of design elements on sensibility, there were more significant differences in sensibility in the orders of value difference, interval, width, and arrangement. The value difference showed the highest explanatory power. Looking at the sensibility differences according to the level of design elements, the narrower the width of the stripe, the more 'humble', 'clean', 'modern', 'simple', and 'comfortable', and the narrower the interval between stripes, the more 'impressive' and 'conservative' The smaller the value difference, the more 'luxurious', 'modern', 'humble', 'simple', 'soft', and 'clean'. Regression models to predict the 12 sensibilities showed higher values of goodness of fit except 'conservative', 'casual' and 'modern', which were all over 0.6. Based on these results, 2 design prototypes reflecting consumer's sensibility were presented.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.126-135
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• 2013

The purpose of this study is to identify characteristic of Swedish craft and modern design in especially furniture and interior design through the philosophy and humanitarian functionalism of Svenskt Tenn. The study completed through researching what the design paradigm of architecture and furniture design in those days was, and theoretically analyzing how this unique brand became a leading modern Swedish style in the European stream of functionalism design. Working upon this research, the study concludes the concept of the humanitarian functionalism design what Firma Svenskt Tenn wanted to realize through analyzing the aspects of form and material of Josef Frank' works who mainly contributed to form the Svenskt Tenn's unique design identity and comparing them to the other design examples of those days. The result are as follows: 1) Organic composition of space and elements, styles and functions, 2) Unique space composition of amalgamation, 3) Open space with abstract patterns, 4) Furniture shapes of displaying space environment, 5) Overcoming the limits of pragmatic functionalism based on rationalism.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.39-47
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• 2008

Korean embroidery is the long historical industrial arts of real life and has handed down Korean sentiment up to now. Korean traditional embroidered pattern is designed to wish someone's health and luck, who uses the embroidery on the clothes and the goods in real life. Especially, the ten longevity symbols' design is represented as 10 which means perfection in oriental philosophy, the sun, mountain, cloud, water, crane, rock, turtle, pine tree, the elixir of life and deer; these 10 symbols show how ancient Korean believe and wish perpetual youth. However, fiber material used embroidery relic has difficulty in preserving for long period compared to other relic descended from historical events for long time and their preserved state isn't so good owing to have been used directly in the real life. Therefore, it is essentially embossed to preserve the embroidery relic and pattern, and make DB for the data. With preservation of the pictures about the handicraft, it's necessary to preserve embroidery technique and make DB through digital imagination. Through the process, we can apply Korean embroidery image to cul-duct package and digital image related field, and it will be helpful to make the tradition popular. In this study, through the research for the embroidery technique applied pattern on the embroidery relic of ten longevity symbols, we'll establish the cultural identification of Korean embroidery image and then develop a worldwide Korean image.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.57-71
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• 2021

When teaching traditional pattern-themed textile design, it has been found that many students struggle during the investigation stage of traditional patterns and complete the development of patterns in relatively simple layout methods, such as block patterns and half drop patterns. Until now, digital textile design textbooks lack content on how to develop patterns. Judging that the current teaching method leads to difficulties in developing a new sense of textile design, this study focused on Heesch-tiling tessellation and software called TESS, a program that can transform patterns themselves. This study is an academic study on the methodology of first developing patterns through TESS, a tessellation program developed for elementary school students in the U.S., and then applying various lines and colors to the complete patterns and textures using Adobe Illustrator. In this study, the concept, formative characteristics, and generative principles of Heesch-tiling tessellation were examined, and the process of developing new patterns using the TESS program, which can be used to create patterns through Heesch-tiling principles, was intended to help in textile design education. Therefore, after analyzing the comprehensive concepts and principles of tessellation, the next step is to understand the principles and the characteristics of pattern making only for Heesch-tiling tessellation, and then ultimately to develop new patterns. While patterns using traditional tessellation layouts have been characterized mainly by repeated geometric shapes, Heesch-tiling tessellation can express surrealistic attributes, such as those by painter M. C. Escher or style elements such as those in neo-pop.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.3
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• pp.371-384
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• 2011

This study with 'trip' as a theme, aims to develop textile designs and fashion bags for travel which is widely applicable fitting traveler's T P O, applying Victor Vasarely's artwork. During the planning process of design, 'Whenever & Wherever's concept was set by analyzing fashion trend information in 2010-11 F/W proposed by Interfashion Planning and FCK; in addition, 'Bobos' were selected as research targets. It organized 4 images of 'Modern', 'Romantic', 'Classic' and 'Fantastic'. The motives are proposed textile design with '$Cross^2$', 'Falling Z', 'Cir-Classicism' and 'Skinny-holic' per each theme. The designs developed were printed out and into polyester canvas with a Polaris V6 DTP from dgen, Corp. Textile designs developed were applied for 'two-way' formed fashion bags for traveling with high practicality. Fashion bags for traveling consisted of big bags, tote bags, and hip sacks; a total of 12 works (4 sets per theme) were produced. This study sought practical plans for artworks by producing fashion goods through a DTP system. The results of this study can be used as guidelines for further studies and as a significant contribution to the creation of high values for exciting fashion products.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.1003-1016
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• 2010

The purpose of this study is to reorganize any rusty image including natural modeling characteristic presented from the natural phenomenon to certain patterns in order to create the fashion design that are valued in the expansion of independently expressional area and modeling art. As a method for research, the author analyzed the concept and characteristic for rust with a base of theoretical background by the documental research and realistic consideration, analyzed its modeling characteristic through domestic and overseas pictures, and e-documents as data, inspected the modeling activities of various categories that various images were adapted related to rust, looked into the concept of Digital Textile Printing and its producing procedure as an expressional method, and analyzed the examples of modern dress and its ornament making use of Digital Textile Printing. The conclusions of this study are as below. First, the rust occurred due to the natural phenomenon is the bond with different material like metal, each unique modeling characteristic occurs and harmony of various patterns has abundant aesthetic value. Second, the author could endowed sensible characteristic and speciality with works and could produce creative fashion design that painting, abstractive pattern and harmony of unique sense of colors are significant by using the image of rust, Third, to emphasize natural feeling of rust, the author could develop creative design that simple silhouette and impressive pattern look significant by reorganizing and applying rust according to repetition, increment, rhythm, contract, emphasis and harmony. Fourth, Digital Textile Printing method is used to induce visual effect by the expression of feels of rust, and the author could express the natural patterns, delicate expression for the feels of a material and unique design of emotion.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.13-24
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• 2004

This study was analyzed three basic patterns of the Islamic arts. These are natural flora, geometrical and calligraphy pattern. Islamic belief in Aniconism, doctrine of unity and worship of arabic language demanded delicate, decorative, and abstract patterns instead of patterns of real image. Natural flora pattern was classified into arabesque and various flower patterns. Muhammad commands that "The artist who fashions a representation of living things is competitor of God and therefore destined to eternal damnation, so if you want to represent living things, you should only depict flowers and trees". Then the natural flora patterns developed into main Islamic pattern. Geometric pattern was composed of geometrical elements like, circle, trigon, square, rectangle, pentagon, hexagon, octagon or other polygons, stars or motifs with straight or curved lines. Circle symbolized ′celestial′ sphere and crystal of the lower octagon symbolized ′earthly existence′. Therefore if the circle join with the octagons, it means fusion of celestial and earthly existence. Another important influence on the Islamic art was the calligraphy pattern, the writing of Arabic language. The major language of calligraphy pattern was Arabic script and often Persian script. Calligraphy pattern was composed of Kufic and Cursive script. The cursive script was developed various forms. The Islamic tenet prohibit depiction of sacred images, the sacred Arabic calligraphy such as ′Alla′ or ′Mohammad′ was substituted of them. And the content of calligraphy pattern was used with Quranic phrases. The aesthetics of Islamic patterns analyzed aesthetic of ′rhythmic lines′, aesthetic of ′unity in multiplicity′, aesthetic of tessellation and aesthetic of harmony. On the textiles of the Islamic culture, the arabesque, floral, geometric and calligraphy patterns were frequently used.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.129-144
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• 2017

Throughout the rich human history, patterns have developed as a symbolic sign and representation of the inner psychology of human beings. Thanks to its intrinsic beauty and emotional richness, the flower has been utilized as a one of the major materials for patterns used in everyday life and art. As a product of nature, floral patterns have played a key role in fashion trends as a Surface Design with other elements of fashion design such as silhouette, fabric and color. Therefore, this research sought to identify the trends of floral patterns of women's garments that appeared at the four major global fashion collections (Paris, Milano, New York and London), and to analyze how importantly the fashion magazines' prediction were applied in the actual collections. Furthermore, the research aimed to suggest possible methods to utilize trend magazines for collections in the future. As a main research method, the authors investigated professional fashion literature and internet websites to extract a total of 4,681 items presented by sixteen designers who participated in the four major global fashion collections each time during the period of the 2012 S/S~2017 S/S seasons. First View Korea and Samsung Design Net were used as major sources for the pattern extraction and analysis. According to the analysis, floral patterns account for 31%(1,454 items) among the total number of patterns appearing in the four major global fashion collections(4,681 items). For the reflection ratio, Samsung Design Net recorded a 4% higher ratio(52%) than First View Korea(48%). Based on the data and analysis of this research, the authors expect that floral patterns in various forms will be continuously presented in fashion collections, and conclude that utilizing fashion magazines is highly useful due to their appropriate predictions.

• Journal of the Korean Geotechnical Society
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• v.21 no.4
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• pp.65-70
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• 2005

Many case histories of re-liquefaction phenomena seem to support the idea that sand deposits, if they once have been liquefied, could be reliquefied again by a subsequent earthquake even though the earthquake is smaller than the previous one. The magnitude of the strains induced in the initial liquefaction has a significant influence on the resistance of the sample to re-liquefaction. The deposits undergoing liquefaction experience large shear strain during liquefaction. And this previous strain changes the microstructure into highly anisotropic structure such as columnlike structure and connected voids. This type of anisotropy is so unstable that it can reduce re-liquefaction resistance. It is blown that the extent of anisotropic structural change depends on the gradation characteristics of ground. The purpose of this study is to estimate the correlation between the gradation characteristics of the sand and the ratio of re-liquefaction resistance to liquefaction resistance. In this study, 1-g shaking table tests were carried out on five different kinds of sands. During the tests the values of excess pore pressure at various depths and surface settlements were measured. Re-liquefaction resistances were not affected by the initial void ratio and the effective confining pressures, and the deposits of all test sands which had once been liquefied were reliquefied in the cyclic loading number below 1 to 1.5. The ratio of re-liquefaction resistance to liquefaction resistance linearly decreased as $D_{10}/C_u$ increased, and was constant as about 0.2 above the value of $D_{10}/C_u$, 0.15 mm.