• Science of Emotion and Sensibility
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• v.5 no.3
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• pp.29-34
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• 2002

This study aimed to investigate the effect of design factors of woven textiles on the consumer's sensibility and emotion. 60 textile design pictures and 18 adjectives were prepared to get responses from 512 adult subjects. Textiles designs were analyzed into 9 design factors, such as, motif source, motif-background ratio, motif interpretation, motif arrangement, motif variation, motif articulation, hue contrast, value contrast, and chroma contrast. The results are followings: 1) The design factors of textiles were connected to other design factors, for example, the type of motif interpretation determined the type of chroma contrast, motif source, the ratio, and chroma contrast significantly. 2) The correlational coefficients of the ratio, motif variation, chroma contrast, hue contrast, articulation, and value contrast were positively signed significantly. 3) Consumer's sensibility was changed in urban, natural, graceful, mannish, young, dynamic, new, modem and etc, as the textile designs were changed in motif source, arrangement, hue contrast and etc.

• International Journal of Human Ecology
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• v.11 no.1
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• pp.1-10
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• 2010

Two elements of paisley textile design (color and size of motif) were manipulated to investigate their effects on people's perception. Korean and Caucasian American women were selected to represent Asian and Western countries to compare the differences in image perceptions of paisley patterns between two cultures. The participants were 168 female university students composed of 84 Caucasian Americans and 84 Koreans. The experimental design was a $2{\times}2{\times}7$ factorial design: two levels of perceiver's culture, two levels of motif size, and seven levels of the motif color. The four factors used to account for image perception were an elegance factor, individuality factor, maturity factor, and femininity factor. The results of the present study confirm that image perception can be different according to the color and size of a motif and the perceiver's culture. In the results, Americans perceived the paisley pattern as more preferable than Koreans did. Red background + Orange motif was perceived as the most feminine and Dark blue background + Sky blue motif and Dark gray background + Gray motif was perceived as the most masculine in both cultures. Compared to the big motif, the small motif was perceived as more elegant in both cultures.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.39-52
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• 2005

This paper is to study about paisley shawl and paisley motif to focus on Kashmir shawl. Kashmir shawl and paisley shawl of Europe can be identified by the use of 'pine cone' motif. Early 19th Europe textile manufactures began imitating the Kashmir shawl, the motif began to be called 'paisley', after Paisley, Scotland, one of the largest producers of imitation Karshmir shawls. This study is to analyze on origin of shawl and paisley motif at the theoretical background. And main issues are to study on organization of the Kashmir shawl indusry, weaving technic and producing process, development of motif, change of size and border design of shawl, difference of Woven Kashmir shawl, Patchwork shawl and hml shawl, causes of decline to shawl industry, differences of between Kashmir and European shawl etc. The result of this study can help to understand correct and accurate information, knowledge of paisley motif and paisley shawl.

• Fashion & Textile Research Journal
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• v.15 no.3
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• pp.325-335
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• 2013

This work develops a motif design integrated with geometrical patterns in traditional ddeoksal and that can be applied to a scarf design so that traditional elements unique to Korean culture can be developed further for a modern application to various design fields. For the research method, literature reviews on op art and traditional ddeoksal were conducted with Adobe Illustrator CS3 and Adobe Photoshop CS3. As for the motif combination, such applications were taken as five pieces from the works of Victor Vasarely and some traditional ddeoksal shapes such as oblique line pattern, taegeuk pattern, and geometrical pattern. Abstract and geometrical images were borrowed from op art and ddeoksal for image expression. The total number of works selected was eleven. To realize the applied scarf design, a motif layout was performed with the scarf center or rim highlighted so that each design feature could be remarkable based on the motif combination. With the function of scaling, rotation, opacity control, filtering effect, the changed images were shown through motif distortion. In addition, this work applies a single combined motif to products for a possible transformation into handkerchiefs and boutique scarfs in the case of smaller sized scarfs.

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1334-1346
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• 2011

This study focused on the beoseon, traditional Korean socks that are a fashion item showcasing the beauty of the round hanbok shape. The study utilized the beoseon as an influential design motif and suggested 24 cultural fashion items to which the beoseon can be applied, including neckties, scarves, and T-shirts. For the purposes of this study, Adobe Illustrator CS3 and Adobe Photoshop CS3 were used for the motif design as well as the literature review on traditional beoseon socks. For the basic design motif, two basic forms were taken from the collection of the National Folk Museum of Korea. The key point of the motif development is that it maintains the basic shape of the beoseon but highlights the attractiveness of the Korean image by using repetition, rotation, symmetry and overlap into a new image pattern so that modern and chic images were taken into consideration for each cultural product. For the necktie, the mixed or repeated patterns for each motif were used as is. Alternatively, an oblique line pattern was adopted to express a stable and stylish image. For the T-shirt, a round-neck sleeveless type was designed. T-shirts were unified in the white color to highlight the image from the pattern. For the scarf, two shapes were displayed, square and rectangle. Through mixture of two repeated variation unit patterns for each motif, a splendid and stylish image was revealed along with various layouts.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.3
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• pp.304-311
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• 2011

This study selects camellia flowers as a material for design development and created patterns by simplifying the image of camellia flowers and combining it with a geometrical motif. It it applied them to various fields to develop design content for fashion cultural products that were Korean, modern, and competitive. For this purpose, this paper used Adobe Illustrator CS2 to turn the camellia flower into a motif and develop it into a pattern. Based on the realistic form of camellia flower, this paper set 3 basic motifs of new formative images, using graphic elements, such as omission of a form, simplification, overlapping, repetition, and reduction, and it also developed two transformed motifs by applying a different color to each motif. This paper repetitively arranged each motif in the background of a diamond shape, a square, and a circle, and it combined each motif with the patterns of marcel, stairs, and stripes, through which it expressed the combination of the geometrical patterns and the flower patterns. Through the application of repetitive and combined patterns of each motif, the enlargement and reduction of motifs, the repetition of motifs, the combined use of motifs, and the change in colors and layout, this paper used the motifs of various fashion cultural products, such as scarves, neckties, and T-shirts.

• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.682-693
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• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.81-90
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• 2002

There are increasing a foreign visitors since 88 Seoul Olympic game. Uniform is getting increased importance as one of the symbols which represent the characteristic of restaurant as well as gloves good impression to the customers and foreign tourist. This study aims at developing uniform packages (including table cloth, mat, napkin, end so on) that satisfy the customers' need and let foreign visitors recognize the outstanding beauty of Korean traditional pattern. For uniform design, It was selected a sumacsae of a the lotus flower motif and developed a textile pattern design by using CAD system. And then the developed textile design was printed a polyster100% fabric by using the digital textile printing system. Uniform packages designs were developed applying traditional sumacsae motif in order to capture a modern stance of beauty under using blue and pink color and same concept of modern image.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.107-118
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• 2010

The purpose of this study is to be data and to help understanding of pattern of Korean, Chinese and Japanese traditional dress. The methods of this study are the study of academic literatures as well as practical study through the analysis of case studies about actual works. The summary of this study's results is like followings. First, standard of Pattern are nature, mam-made in motif object, Naturalistic, Geometric, Stylized, Abstract in motif express, Order, Disorder in pattern express. Second, a point of sameness of motif object in traditional dress of three nations were that nature and letter abstractive of mam-made is a lot. but motif of Japan was used in daily life motif of mam-made which was not in Korea and China Third, commonly, motif expression of three nations were developed Naturalistic, Stylized. but in Naturalistic, Korea was simple, plane, China was three-dimensional, Japan was expressed super realism. Fourth, as formative aesthetic of Pattern, Korea is natural, plane, simple and symbolic, China is gorgeous, three-dimensional, immaculacy, filling and symbolic, Japan is delicate, complicated, decoration and symbolic.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.368-383
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• 2015

The purpose of this study is to find an expression method for Korean fashion design that can have competitiveness in the global fashion market. For this, fashion specialists at home and abroad were interviewed, focusing on their opinions on the Korean motifs outlined in existing literature studies. First, aesthetic sense and expression characteristics that have appeared in existing studies on Korean art, Korean traditional costume, and Korean fashion were explored. As a result, they were categorized into: Modesty/plainness, freewheelingness, religion/custom, and humor/joke. During this process, Korean design motifs were extracted based on the aesthetic characteristic and expression method of aesthetic sense. According to the opinions on Korean design motifs and Korean fashion design works drawn from the interviews with fashion specialists at home and abroad, Changhomun was the favorite design motif to be utilized in Korean fashion design. The Korean specialists thought that visual design motifs were important, while the overseas specialists had more interest in abstract design motifs, which embody the background and story behind the motif. Regarding the fashion design associated with the Korean design motif, all specialists at home and abroad favored the design using ceramics and wrapping cloth. Regarding the choice of fashion image, Korean specialists chose the design utilizing Hangeul as the most Korean, while the foreign specialists chose designs reflecting the design motifs of Hangeul and Hanbok for women. The Korean specialists chose relatively more Korean images, while the foreign specialists chose more eastern images or other images than Korean images.