• Journal of the Korean Society of Costume
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• v.18
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• pp.225-245
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• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

• Proceedings of the ESK Conference
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• 1996.10a
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• pp.91-96
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• 1996

A keyboard is deveoped which can be used for Korean stenograph. Korean characters are of combinaton type : a Korean character is composed of upper or lower consonants and a vowel. This keyboard can process more than one character at a time by pressing corres- ponding buttons together. The space-bar is divided into 6 buttons for lower consonants. If some reserved words for special stings are entered, the corresponding strings are auto- matically sent to the computers. The keyboard can also be served as a normal one.

• Journal of Fashion Business
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• v.7 no.2
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• pp.55-68
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• 2003

The purpose of this research is to expand the realm of a button for a decorative purpose through embossing the effect and gravity of a button in fashion by designing the new ceramic buttons which are mainly used for decorative function in costume. In order to acquire a motif for the design, I analyzed several works of Gustav Klimt. As the result, those feature can be classified into the use of decorative lines, mosaic forms, and harmony of golden yellow and black, and it can be applied to buttons and clothes design. The sort of clay used in manufacturing the ceramic buttons was white clay to have high density and to diffuse light well, and press shaping techniques using plaster mold were employed. The baking was performed in an electronic kiln at $800^{\circ}C$ for the first time and at $1250^{\circ}C$ for the second time. Based on wearable designs in 2002/2003 F/W Trend of Interfashion Planning, I made three pieces of dress which could express the button's capability of decoration with effect. This is expressing a simplified form which shows up in details of and yellow and red pink were used to harmonize with golden yellow clothes. As an application of shapes of foliage in I transformed its size and form to be consistent with a jacket and a tube top. To accord with golden beige costume, I made a curve, showing up in Klimt's paintings, with golden color on a circle shape which was also a main motif in his paintings.

• 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.

• The Research Journal of the Costume Culture
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• v.23 no.5
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• pp.835-845
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• 2015

This study aims to suggest the proper ease for slim-fit jackets according to the number of buttons from a one-button jacket to four-button jackets for men in their 30's. The researchers carried out both an appearance evaluation and movement functionality evaluation. The results are as follows: When conducting the appearance evaluations, meaningful differences were found. The one-button jacket showed high scores for the 7.5 cm ease. The two-button jacket and the three-button jacket showed high scores for the 10.5 cm ease. The four-button jacket showed a high score for the 13.5 cm ease. Next, the results of the movement functionality evaluation showed the same trend; as the ease was increased from 7.5 cm to 13.5 cm, the scores increased. This is because if the garments offer more ease, this gives room for actions. Additionally, it showed that if there were fewer jacket buttons, then the results showed a high score. The researchers believe that if the number of jacket buttons is lower, then the area of the V-zone increases, so that there is more room for movement. The study suggests a proper chest ease of 7.5 cm for the one-button jacket, 10.5 cm for the two-button jacket and three-button jacket, and 13.5 cm for the four-button jacket, respectively.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.131-143
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• 2003

This treatise deals with the profitable suit image design of middle-aged men by examining visual effects in physical design. The sample of this study is people who lives in Kwangju, the Republic of Korea and 20-50 age's men and women. And it is very variety in each population statistics factors the differences of associate design visual effect which considering the difference of sex and age group, numbers of button, a figure and material pattern. Firstly, look into the associate design visual effect by sex and button number. In men's group, the style with three buttons was the most attractive and that with two buttons was the least attractive. In 50's group, the style with two buttons was the least attractive and those with 1.3 and 4 buttons were a little attractive. Secondly, in the difference of associate design with sex and shape, men's group was considered that standard type was the most attractive shape, women's group was thought that lean and standard types were the most attractive shape. So we can know that the attractive shape is different with sex. In the difference of association design with age and shape, 20's considered that standard type was the most modernistic and fat type was the least modernistic. 30's considered that lean type was the most modernistic and 50's thought that fat type and standard type were the most modernistic. Thirdly, see the sex and material pattern. In familarity, men's group considered that stripe pattern was more familiar than checks and plain patterns. And they considered that striped pattern and plain was more manly than checks. In sex and material pattern, 20's thought that plain was the most attractive, stripe was the next, and checks was not attractive. 40's estimated that plain and stripe were more attractive than checks. 50's judged that stripe was the most attractive material. Thus. the attraction is different with ages and material patterns.

• Journal of Veterinary Clinics
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• v.33 no.1
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• pp.25-29
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• 2016

Three Maltese dogs, 5 to 7 months old, were admitted to the Veterinary Medical Teaching Hospital, Chonnam National University with malocclusion including Class IV mesiodistocclusion. In the first case, the treatment was performed by moving the mandibular canine teeth caudally with orthodontic buttons and Masel chains. The second patient was treated for rostroverted mandibular canines using buttons and chains. When distal movement of the mandibular canine teeth was completed, a maxillary arch wire with finger springs was applied to push the incisor teeth forward. In the third case, the treatment began by moving the mandibular canine teeth caudally with buttons and chains. An arch wire with finger springs was applied at maxilla to move the maxillary incisor teeth labially. Additionally, the mandibular incisor teeth were moved lingually by an elastic band attached to the buttons cemented to mandibular canine teeth. As a result, all patients successfully regained a normal occlusion.

• The Research Journal of the Costume Culture
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• v.20 no.2
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• pp.184-194
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• 2012

The purpose of this study is twofold: it suggests appropriate sizes in menswear slim-fit jackets according to brand zones and number of buttons, as well as jacket patternmaking methods according to jacket styles by surveying and comparing the overall present status of patternmaking and production for both men's slim-fit and classic-fit jackets. The researcher conducted interviews with patternmakers of sixteen brands with prepared questionnaires. Data were analyzed by descriptive statistics using SPSS 12.0. The results of this study are as follows: first, for the production ratios of jacket style, the jacket styles' respective proportions differ distinctly according to brand zone. Second, for a jacket with the same number of buttons according to brand zone, the size in character-casual brand zone (character casual can be defined as high quality brands producing designer style clothes) is slightly bigger than the men's formal suit. As the number of buttons increases, there are increases in the chest, waist and hip circumference; on the other hand, the front neck width and the distance from the shoulder neck point to the bottom of the lapel both decrease. Furthermore, the amount of wearing ease in the chest, waist, upper arm circumference, and sleeve curve is less in slim-fit jacket styles than in classic-fit jacket styles. Fusible interfacing alone is used in slim-fit jackets, while sew-in interfacing is used in combination with fusible interfacing in classic-fit jackets. This research concludes that when slim-fit men's jackets are manufactured, appropriate patternmaking and manufacturing methods should be considered.

• Journal of the Ergonomics Society of Korea
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• v.28 no.4
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• pp.147-154
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• 2009

The tactical computer is currently being developed and installed in armored vehicles and tanks for reinforcement. With the tactical computer, Korea Army will be able to grasp the deployment status of our forces, enemy, and obstacles under varying situations. Furthermore, it makes the exchange of command and tactical intelligence possible. Recent studies showed that the task performance is greatly affected by the user interface. The U.S. Army is now conducting user-centered evaluation tests based on C2 (Command & Control) to develop tactical intelligence machinery and tools. This study aims to classify and regroup subordinate menu functions according to the user-centered task performance for the Korea Army's tactical computer. Also, the research suggests an ergonomically sound layout and size of main touch buttons by considering human factors guidelines for button design. To achieve this goal, eight hierarchical subordinate menu functions are initially drawn through clustering analysis and then each group of menu functions was renamed. Based on the suggested menu structure, new location and size of the buttons were tested in terms of response time, number of error, and subjective preference by comparing them to existing ones. The result showed that the best performance was obtained when the number of buttons or functions was eight to conduct tactical missions. Also, the improved button size and location were suggested through the experiment. It was found in addition that the location and size of the buttons had interactions regarding the user's preference.

• Journal of Fashion Business
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• v.3 no.3
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• pp.49-57
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress of Bouyei People of Guizhou Province. The resuits of the study ara as follows. 1. Women's dress and adorment can be categorized into three styles. In the Zhenning, Guanling and Puding regions and northwestern areas of Guizhou Province, women usually wear blouses with overlapping necks, batik pleated skirts and long aprons. They also wear embroidered kerchiefs or turbans. In the suburbs of Guiyand City and Southwestern Guizhou Province, women like to wear blouses with buttons arranged diagonally on the front, trousers, blue or black and white check cloth kerchiefs. In the Luoping region, women wear blouses with loose sleeves and buttons arranged diagonally on the front and loose-legged trousers. 2. Men usually wear shirts with buttons down the front or arranged on the front, trousers and calottes. 3. Most of their dress materials are white and coloured handwoven, tie-dyed or batik cloth. The exquisite technique of batik and tie-dyeing has a long history, which began to become prevalent in the Song Dynasty. 4. Now, people use all kinds of techniques to make their dress and adornment, including batik, tie-dyeing, cross-stitch, brocade and embroidery, which reflect their peculiar aesthetic temperament.