• The Journal of the Korea Contents Association
• /
• v.10 no.5
• /
• pp.165-172
• /
• 2010

The development of photography technology has changed the domain of fashion illustration that once prospered while the improvement of computer technology can now reedit the limits of photos. Presently, the border between photography and illustration has been collapsed through a medium of computer. And this phenomenon tends to be encouraged by expressive features that traditional fashion illustration was characterized by. Thereupon, this study aims to investigate the expressive features of drawing lines in clothing on the 20th century fashion illustration based on such periodic demand. Therefore, this paper deals with the followings: the first is to understand the concept of the drawing line in clothing ; the second is to consider the features of drawing lines in clothing on the Eastern and Western paintings; the third is to figure out the flow of the 20th century fashion illustration; the fourth is to analytically study the features of drawing lines in clothing shown on the 20th fashion illustration.

• Journal of the Korean Society of Costume
• /
• v.61 no.7
• /
• pp.125-134
• /
• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.

• Journal of Fashion Business
• /
• v.20 no.4
• /
• pp.153-171
• /
• 2016

With the advent of smart clothing for health care and sports, the sophisticated designs with curved seams are drawing attention. One of the problems in those clothing is to determine the design curves in 2D pattern, such that it corresponds to the lines on the intended 3D body. Moreover, the difficulty increases when the original pattern needs to be changed for various sizes and body types. We compare two methods of pattern enlargement in this paper: one is the offset/projection type, and the other is the split grading type. For the enlarged pattern with offset/projection type, the 3D surface offset was first adopted to transform the standard lower body to the target larger size; next, the design lines were projected to the new 3D surface, following which the 3D pattern was developed from the newly transformed 3D surface. In the second method, the enlarged pant patterns were developed by the split grading method. Here, a 3D pattern was developed from the initial body, and then enlarged to the target size by the conventional split grading method. Two feminine pants patterns were examined by 3D virtual fitting. We observed that the 3D offset/projection pants pattern was well fitted, having an evenly distributed surplus, as compared with the sample developed using the split grading method. The difference between the two patterns were apparent at the location where several curved lines merged.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.22 no.8
• /
• pp.1001-1010
• /
• 1998

The purpose of this study was to investigate the images and characteristic formative elements of Korean traditional patterns. The Korean pattern image could be interpreted into visual elements of design based on the images, the characteristic formative elements of Korean traditional patterns, and their relationships. Fourteen patterns selected from 5 groups of Korean patterns were used as stimuli. An image evaluation using a 2-point sementica scale of 19 bipolar adjectives, and an impression evaluation of which results were presented by visual drawing using lines and shapes were carried out. The data were analyzed by correspondence analysis and cluster analysis. The major findings are as follows; 1. Fourteen patterns and 19 adjectives were marked on a perception map composed of two (x and y-) axes. The bipoles of x- and y axes were soft-hard and splendid-artless, respectively. 2. Four clusters semerged to account for the dimensional sturucture of 14 patterns and 19 adjectives. These were splendid image, soft image, individualistic image, and sophisticated image. However there was no pattern which belonged to the cluster, sophisticated image. The Korean pattern image was founded to be better related to the kind of patterns than the type of patterns. 3. The characteristic formative elements obtained from the impression test were contour of motif, repeated line or shape, various curved lines, and decorative elements. 4. The splendid image was related to Bongwhang patterns and detailed line and complexity. The individualistic image was related to the abstractive form of Bongwhang pattern and the decorative form of Cloud pattern both of which have the characteristics of point-symmetry and abstraction, and Turtle-back pattern. In this case, the related charac-teristic formative element was identified to be repeated lines. The soft image was related to Moran, Cloud, and Taegeuk patterns. The related characteristic elements were various types of curved lines, decorative elements, and rounded contours.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.13 no.2 s.30
• /
• pp.155-165
• /
• 1989

The purpose of this study was to investigate on the sleeve form variation according to arm movements for elderly women. This study was experimented using the Plaster gypsum. The subjects who were elderly women were divided into three groups according to Rorher Index. Arm movements were five type ($0^{\circ},\;45^{\circ},\;90^{\circ},\;135^{\circ},\;180^{\circ}$) to each the vertical motion in front and in side. The statistical analyses used in this study were Mean, Standard Deviation, Spearman's correlation coefficients, paired T-test, Kruskal-wallis one-way ANOVA and Duncan's multiple range test. The results were as follows: 1) Increasing the movements, the width of the sleeve increased and the height of the sleeve cap decreased but girth of the sleeve cap was not consistant. 2) When varied the rates of the three aspects of the sleeve, the height of the sleeve cap showed the largest variation rate. 3) There was a negative correlation between the height and the width of the sleeve. On the other hand, there was a positive correlation between the sleeve width and the sleeve girth. 4) There were the vertical motion differences between in front and in side on the three aspects of sleeve. 5) The sleeve width and the sleeve girth were different according to somatotypes but the height of the sleeve cap was not different. 6) According to the variation rates of the body surfaces in length of standard lines, the form of sleeve was changed more in the front than in the back. Maximum variation rate showed in the areas of $D_1-D_3,\;E_1-E_3$ in the horizontal lines and $A-E_2$ in vertical lines. 7) According to the comparative drawing of the heights of sleeve cap and sleeve girth, the sleeve basic pattern $S_1(A.H/4)$ was more suitable for the direction $0^{\circ}\;and\;45^{\circ}$. And the basic pattern S_6(A.H/5)$ was more suitable for the direction $90^{\circ}$, the pattern $S_7(A.H/6)$ suitable for the direction $135^{\circ}$, and the pattern $S_8(A.H/8)$ was more suitable for the direction $180^{\circ}$.

• Fashion & Textile Research Journal
• /
• v.26 no.1
• /
• pp.65-77
• /
• 2024

This study aimed to propose effective ways to integrate CLO into educational settings by conducting a comparative analysis of pattern functions in YUKA and CLO, specifically focusing on skirt prototypes and variations. CLO, being a 3D virtual sample CAD tool, is mainly used in education to facilitate the creation of 3D virtual clothing. In order to explore the applicability of CLO's pattern functions in pattern education, CAD education experts were asked to produce two types of skirt prototypes and two skirt variations. Subsequently, in-depth interviews were conducted. In addition, the skirt pattern creation process was recorded on video and used for comparative analysis of YUKA and CLO pattern functions. The comparison revealed that CLO provides the pattern tools necessary for drafting skirt prototypes. The learning curve for acquiring the skills necessary for drafting and transforming skirt prototypes was found to be relatively shorter for CLO compared to YUKA. In addition, due to CLO's surface-based pattern drawing method, it is difficult to move or copy only specific parts of the outline, and there are some limitations in drawing right angle lines. In the pattern transformation process, CLO's preview function proved to be advantageous, and it was highly rated on user convenience due to the intuitive UI. Thus, CLO shows promise for pattern drafting education and is deemed to have high scalability as it is directly linked to 3D virtual clothing.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.17 no.3
• /
• pp.391-406
• /
• 1993

The purpose of this study was to utilize of apparel CAD System by the classification of the basic pattern block in pattern making process. Gerber AM-300 CAD System was used for this study. The results form this study were as follows; 1. New shirts block were developed. 2. The sensory test was applied to evaluate the new shirts block for women by comparing it with Japanese Bunka shirts blouse pattern making method. According to a statistical analysis of the result of the 20 items on the questionnaire, the 19 items showed significant difference(${\alpha}{\leq}0.01$)between the two, with the new shirts block having higher scores. 3. A basic pattern block was selected by the design sketch. 4. P/D/S were enabled to be constructed directly from a block pattern. The drawing, deletion. duplication, and movement of all points and lines in the pattern might be made freely, and the split, pivot, and movement of the pattern, and the attachment of two patterns were possible. 5. Automatic grading of finished pattern have been developed by creation and modification of grading rules of block pattern.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.29 no.8 s.145
• /
• pp.1057-1067
• /
• 2005

In the modem society, people try to represent and protect their traditional arts in aesthetic way along with the global society. The proposal of this thesis is about the fashion illustration that has adopted the folklike formative arts. 1 prefer the formative character rather then the universal character and I would like to use of folk paintings far the fashion illustration. Because the formative character of folk paintings is very expressional, we are able to draw a fashion illustration in easy, new, creative and less difficult way. The fashion illustration has to be a specialized field from the formative arts, and we need to study in a new way as well. We draw fashion illustration through the understanding of folk paintings and the study of analysis in formative. As a result of this study, we could draw a fashion illustration which is very abstract, exaggerative and simple. We also could expect the free hand drawing lines on this illustration. In these fashion illustrations, the human bodies let us fret the artists' tense, speed, and power. According to the important character of folk painting, which is the beauty of color, these fashion illustrations have expressed more color intensive. In the falk paintings there is a kind of rules to make color order, so the fashion illustrations that we drew have the bright and clear color combination. Because the folk paintings shouldn't be the artistic but should be the realistic, the fashion illustrations concentrate on the real subject. It is very natural looking that use the natural dyes in the fashion illustrations. According to this kind of art task, fashion illustration will be a certain part of the illustration in the modem society.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.12 no.1
• /
• pp.25-34
• /
• 2010

Design in the 21st Century requires showing extraordinary and revolutionary possibilities by merging multiple cultures or different art forms. 21C fashion also increases its's complexity through the blending in of other design field's styles and forms. In other words, 21C's fashion design involves not only clothing, but combines techniques, aspects and functions fulled from various design categories. As a result, Current fashion design becomes more unique, and shows various styles. From this point of view, this study focuses on creating and suggesting unique textile designs through the understanding of design processes of textiles, which are inspired by high tech architectural structures. The fundamental shape of the architectural structures were simplified into thick lines and geometric shapes. these design elements were then transferred into textile designs. As a result, unique textile looks were created, and were applied to the apparel designs by CAD to see 3d simulations. Exchanging or merging ideas of different design categories leads innovative and fresh looks. 21C is rapidly changing, and designers need to continually introduce new looks every season. Incorporating 21st Century consumption patterns, designers must understand the process of creating original designs through various methods. The innovative fabric designs for this study involved a creative process of drawing from a step by step breakdown of two separate design fields, which were then merged into one finished design. The data and research from this study can be used as a reference tool for any further applicable fashion and textile designs in the future.

• The Research Journal of the Costume Culture
• /
• v.23 no.4
• /
• pp.581-594
• /
• 2015

The emergence of pop art in the 1960s exerted a profound impact on integrating art into the real lives of the general public, which continues in the current area of culture of post-industrial society. Thus, this study aims to attempt the popularization and modernization of Korean images by applying the concept of pop art to the development of a national symbolic image. This study utilized Mugunghwa, Taegeukgi, and the Great Seal, which are national symbolic images that establish the identity of Korea through differentiation, universality, and visual formativeness. It then proceeded with the development of neo-pop art motives and patterns using national symbolic images from the standpoint of symbolism, mix-match, and repetitiveness from among the characteristics of neo-pop art. This study carried out pattern design by departmentalizing each characteristic according to the standpoint of neo-pop art through scribbles composed of the following: Signs, pictograms, and childlike characters; drawing simplification for symbolism; a mix of the East and the West; a mix of subfashion and subculture for mix-match; the repetition of lines, characters, and icons; and the exaggeration and grotesqueness of characters and icons for repetitiveness. This study is expected to serve as momentum for raising the cultural value of Korea and for the development of a pattern design capable of achieving worldwide competitiveness through the combination of the permanence and continuity of national symbols with the popular universality of pop art.