• Fashion & Textile Research Journal
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• v.5 no.3
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• pp.299-303
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• 2003

Some of historical textiles were analyzed to identify the imprinted textures on the metal remains of Haengyeup(a horse strap pendant) and Doja (a knife), which were excavated in the ruins of Hwangsung-dong, Kyungju city in the fifth century and textiles imprinted on the human bones that were excavated in the Pungnae 4th Area, Namyangju county in the sixteenth century. The results analyzed arc as follows ; It was confirmed that the imprinted textures of Haengyeup and Doja are white ramie since the structural characteristics of cellulosic bast fibers, partially projected long oval cross sections with large lumens and the imprinted textures of human bones are silk fabrics since the triangular cross sections of fibroin is showed. All of the textiles were designed in plain weaves. In the case of weaving yarns, the warp threads were thicker than the weft threads, that is, the imprinted textures of Haengyeup were measured by 1.35 mm for warp and 1.21 mm for weft, and the Doja by 1.16mm for warp and 1.11 mm for weft. In connection with the direction of the yarn twist, the Z-twist were observed in the imprinted textures of human bones, whereas it presented the S-twist in the case of Haengyeup and Doja. The warp yarns were mostly harder twisted than the weft yarns on the amounts of twist, that is, it was observed that the case of Haengyeup were amounted to 0.33 twists per centimeter for warp yarns and 0.25 twists per centimeter for weft yarns. Also it was showed 0.32 twists per centimeter for warp yarns and 0.26 twists per centimeter in the case of the textures of human bones. On the fabric counts, it was showed that the finer the yarns the higher the densities since it were $4.3{\times}5.1$ threads per sqaure centimeters and $7.6{\times}7.1$ threads per sqaure centimeters each in the case of Haengyeup and Doja, whereas it was $18.2{\times}33.7$ threads per sqaure centimeters in the case of the textures of human bones.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.581-587
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• 2023

During the global pandemic period, The world has created a new paradigm using digital technology, aligning one direction with the highest value of life and survival. Untact has changed from a convenience value to an essential value with quarantine and sanitation. And the industry process has shifted from face-to-face to non-face-to-face. The platform formed an community in a virtual space, and companies started a new service based on presence. For a sense of reality, information is expressed and stored from 2D centered on images to 3D multifaceted. Companies are marketing using 3D modeling, focusing on augmented reality, virtual world, and mirror world of Metaverses. The purpose of this study is to analyze the current status and examples of 3D modeling in the E-commerce environment of domestic and foreign jewelry brands in this era of change, and present ways to use 3D modeling in jewelry industries.

• Advances in nano research
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• v.15 no.4
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• pp.295-304
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• 2023

In this paper, a powerful photocatalyst based on carbon nanocomposite is developed in order to obtain a new material applicable in water treatment and especially for the discoloration of effluents used in the textile industry. For that, TiO₂-graphene nanocomposites have been successfully synthesized by a mixture of Functionalized Graphene Sheet (FGS) and tetrachlorotitanium complexes to form FGS-TiO₂ nanocomposite. In the presence of an anionic surfactant, we used a new chemical process to functionalize graphene sheets in order to make them an excellent medium for blocking and preventing the aggregation of TiO₂ nanoparticles. The components of these nanocomposites are characterized by means of X-ray diffraction (XRD), Fourier Transform Infrared Spectroscopy (FT-IR), Scanning Electron Microscopy (SEM) and Transmission Electron Microscopy (TEM), which confirms the successful formation of the FGS-TiO₂ nanocomposite. It was found that the TiO₂ nanoparticles were dispersed uniformly on the graphene plane which possesses better charge separation capability than pure TiO₂. The FGS-TiO₂ nanocomposites exhibited higher photocatalytic activity compared to pure TiO₂ for the removal of three dyes: such as Methylene Blue (MB), Bromophenol Blue (BB) and Alizarin Red-S (AR) in water. The removal process was fast and more efficient with FGS-TiO₂ nanocomposite in daylight (in the absence of UV irradiation) compared to pure TiO₂ nanoparticles without and under UV in all pH range.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.123-132
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• 2023

The term 'module' is an architectural term. It refers to the components or systems that make up a finished product. As industries develop, modules have become one of the methods that can create diverse and creative designs. Traditional modular fashion design mainly focused on structural methods, such as the combination, assembly, overlap, and arrangement of modules, as well as the tessellation of geometric shapes. However, in this paper, significance lies in exploring the application of shape grammar, a design method in architecture, to fashion design. It aims to search for ways to express three-dimensional designs, derive designs that can be worn and produced, and propose fashion design by applying the rules of shape grammar to the design process. Through this analysis, the paper aims to examine the methods and characteristics of shape grammar. The research method of this paper is as follows. First, by utilizing optimized programs for implementing the modules of shape grammar, it was possible to propose a method for producing modules of shape grammar and suggest module designs. Additionally, effective methods of representation using the Clo 3D program were explored in the design development process. Second, by applying shape grammar to the fashion design process, five-dimensional modular fashion designs were proposed, including a bolero, dress 1, dress 2, setup, and coat. The proposed modular fashion design using shape grammar in this paper provides a rational design process that differentiates itself from traditional modular fashion design. By formalizing the shapes between modules and creating rules, it overcomes the limitations of design that rely on the designer's intuition or sensibility and enables the development of more diverse modular fashion designs. This application of shape grammar in fashion design can provide an important direction in exploring a sustainable fashion industry.

• Journal of the Economic Geographical Society of Korea
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• v.14 no.4
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• pp.506-523
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• 2011

Since the 1990s, the handmade shoes industrial agglomeration district has formed in the city center, Hyangchon-dong, Jung-gu in Daegu. This paper aims to examine the formation process, to analyze the viability, and to propose policy implications of manufacturing industrial districts in a city center through studying this industrial district. The district's creation began as the result of the dissolution of local production and marketing system of handmade shoes in the 1980s, the excellent accessibility of the location and an inexpensive rent. The district's core viability lies in the external economies derived from local networks through social divisions of labor of production and marketing systems. Because of the lack of organizers of the social division of labor and 'integrated production system done by single business', the effect of external economies created by the social division of labor is limited. To get over this limitation, the district should to be restructured into a 'cultural street of leather crafts' as a part of 'making modern historical and cultural belt' programs within Daegu downtown regeneration policies. To support the restructuring, public assistant measures such as the establishment of a corporate services center should be strengthened.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.22-44
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• 2022

Lacquer, in addition to high-end crafts such as lacquerware inlaid with mother-of-pearl, was an important strategic material used in a wide range of fields such as industry, architecture, and munitions during the Japanese colonial era. In particular, as the demand for lacquer used in munitions soared in the 1940s when the war started, a ticket system was introduced to restrict its distribution. Meanwhile, Japan experienced a chronic shortage of lacquer as a result of the rapidly increasing demand for it, and thus went on to import Chinese lacquer after the late 19th century. After the 1910s, the market share of Chinese lacquer reached 90%, and the local situation in China began to affect the supply and demand for lacquer in Japan. To counteract the issue, the Japanese government increased the production of lacquer in Joseon. As for the project to increase lacquer production in Joseon, objective indicators were prepared through a number of tests in the 1910s and 20s, which paved the way for the project to begin in earnest in the 1930s. Lacquer trees were planted and training classes on how to collect lacquer were held throughout the country. The Japanese government promoted the lacquer production industry as a promising side job for Koreans. The project, implemented in various parts of the country, reaped fruitful results, and it provided the basis for lacquer production in Korea that has continued to this day. At that time, the major regions in the southern part of the country where the project was concentrated were Wonju, Okcheon, and Hamyang, regions that are still known today as major production sites. The improved method of collecting lacquer taught to Koreans by the Japanese has now become the main method of collecting lacquer in Korea. This study attempts to identify the current status of the project to increase lacquer production through various records from the Japanese colonial era with a view to contributing to the study of modern lacquer craft history.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.47-56
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• 2019

This study conducted in-depth interviews with employees who worked at three different travel agencies in Seoul and had different employment years. In order to resolve emotional labor, we investigated and analyzed the positive effects of forest healing programs and tried to help both travel agents and forest healing operators. According to the analysis, the person who was selected for the H travel agency was interviewed at the forest healing experience center in Gapyeong in April 2018 and her job as an operator for the fifth year since she joined the company. He said that he suffered from depression due to emotional labor in the customer service process and that it has a positive effect through forest healing. Next, M travel agents conducted an interview in May 2018 at the forest experience center in Uiwang, and their job as a woman was product planning. In the case of emotional labor and physical illness in the work with customers, participants were interested in forest stability, people's humanity, and wooden crafts in particular. Lastly, participants of R travel agency conducted an interview at the forest experience center in Seoul in June 2018 and it was their 10th year as a man and their job as a tour contact. In order to solve the difficulties, I experienced forest experience in close geographical areas and received great help.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.61-72
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• 2015

The capitalistic resistance movement attempted in most modern art areas was carried out through a complete convergence of the art and skill, which was the new formation of the symbolic boundary. Although this resistance movement was aimed at restoring artisan art through the revival of tbe work of handicraftsmen, it consequently caused the stratification of the art and became a de-artisan art excluding the autonomous labor. Hereupon, this study would focus on Bauhaus which attempted to dismantle the symbolic boundary through the convergence of the technology and art which actively used the condition the great industry brought only as an effort for the restoration of artisan labor, and would examine the actor-network of Bauhaus. Therefore, this study would examine the Bauhaus' artistic trend, the 16C Renaissance art promotion movement, and the 19C art crafts movement in the network-oriented relation, and would analyze the Bauhaus' ideological source which expressed design democracy through the bridging role of and analyze the artisan art and the mechanism that had the new technology fused. Furthermore, the convergence possibility of the 'collaboration spirit' being embodied as a philosophy of the democracy in the design continues with the tremendous influence of the new technology.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.4
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• pp.273-282
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• 2016

This study analyzed the origin and status of the registration system of water leisure craft to suggest an improvement plan for the ocean leisure industry. To identify the transition of the registration system, related water leisure craft, registration procedures and revised acts from "water leisure safety act", which was established in the early 2000 and enacted since then were examined. To understand the problems raised, the management of the registration system and related other systems were analyzed. The results were as follows. First, the registration system was designed just to check the number of registrations of water leisure craft so it does not provide various and useful information that administrators and registrants want. Second, it is impossible to utilize and reconstruct the information regarding water leisure craft. In addition, the current registration system does not have a data sharing system with the Ministry of Government Administration and Home Affairs so self-governing administrations are not connected to each other or to other electronic government systems. To resolve these problems, the construction of a new registration system is required. The new registration system of water leisure craft should facilitate not only processing registration files and administration work, but also multiple electronic governmental services that provide the water leisure users with useful information and encourage them to learn about their craft management and so on.