• Title/Summary/Keyword: Embroidery

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The Study on Design and Dynamic Operation Characteristics of Linear Pulse I for Embroidery Machine (자수기에 맞는 LPM의 설계와 구동 특성에 관한 연구)

  • Park, Chang-Soon;Kwon, Tae-Gun
    • Proceedings of the KIEE Conference
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    • 2001.10a
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    • pp.91-93
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    • 2001
  • Linear pulse Motors(LPM) are widely used in fields where smooth linear motion is required, and their position accuracy is higher than other motors. Hybrid linear pulse motors(HLPM) are regarded as an excellent solution to positioning problems that require high accuracy, rapid acceleration and high-speed. The LPM has low mechanical complexity, high reliability, precise open-loop operation and low inertia etc. In many application areas such as factory automation speed positioning, computer peripherals and numerically controlled machine tools, LPM can be used. This motor drive system is especially suitable for machine tools the high position accuracy and repeatability. This paper describes about that need of the embroider machine, we want to design position-scanning device for the embroidery machine. At first, to be analysed characteristics of the machine and next designed the LPM, we used the field analysis program. The finite element method(FEM) program tool is employed for calculation the force. The reluctance models will be used the magnetic permeance of air gap by static-conditions. The forces between forcer and platen have been calculated using the virtual work method. And we used the simulink to know the dynamic characteristics of LPM.

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The characteristics of contemporary Indian fashion designs using traditional handicraft - Focusing on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar -

  • Maurya Anudhairya Ramnath;Se Jin Kim
    • The Research Journal of the Costume Culture
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    • v.32 no.2
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    • pp.299-320
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    • 2024
  • Traditional culture contributes to the diversification of modern fashion design and the inheritance of local cultural identity. This study aims to identify the characteristics of traditional handicrafts reflected in modern fashion design in India. For this purpose, it focused on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar, who are currently leading the Indian fashion design field. The methodology involved conducting literature research and analyzing case studies. In the literature, the techniques of Indian traditional crafts such as embroidery, dyeing, and weaving were examined and five design elements of traditional crafts were defined. Through content analysis of 30 images from the three designers' Instagram accounts, the design characteristics of traditional handicrafts expressed in contemporary Indian fashion design were derived: cultural inheritance using traditional Indian clothing items, traditional materials and practices applied to contemporary clothing, craftsmanship that artistically improves complex details using embroidery techniques, various combinations based on the traditional meaning of colors, and narrative expression using patterns containing India's cultural identity. Incorporating these traditional handicrafts into fashion design, closely linked to everyday life, aids in conveying and enhancing their significance. The cases demonstrate the successful integration of conservation into contemporary fashion design. This study sheds light on the application of traditional culture in modern fashion design.

Influence of Detailed Structure and Curvature of Woven Fabric on the Luminescence Effect of Wearable Optical Fiber Fabric (직물의 세부 구조 및 굴곡이 웨어러블 광섬유의 발광 효과에 미치는 영향)

  • Yang, Jin-Hee;Cho, Hyun-Seung;Kwak, Hwy-Kuen;Oh, Yun-Jung;Lee, Joo-Hyeon
    • Science of Emotion and Sensibility
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    • v.21 no.4
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    • pp.55-62
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    • 2018
  • The two main requirements of wearable optical fiber fabrics are that they must presuppose a high degree of flexibility and they must maintain the luminance effect in both flat and bent conformations. Therefore, woven optical fiber fabrics that satisfy the above conditions were developed by both weaving and by using computer embroidery. First, we measured the brightness of the wearable optical fiber fabric in the flat state at a total of 10 measurement points at intervals of 1 cm. Second, the wearable optical fiber fabric was placed horizontally on the forearm, where three-dimensional bending occurs, and the luminance values were recorded at the same 10 measurement points. For the woven fabric in the flat state, the maximum, minimum, average, and standard deviation luminance values were $5.23cd/m^2$, $2.74cd/m^2$, $3.56cd/m^2$, and $1.11cd/m^2$, respectively. The corresponding luminance values from the bent forearm were $7.92cd/m^2$ (maximum), $2.37cd/m^2$ (minimum), $4.42cd/m^2$ (average), and $2.16cd/m^2$ (standard deviation). In the case of the computer-embroidered fabric, the maximum, minimum, average, and standard deviation luminance values in the flat state were $7.56cd/m^2$, $3.84cd/m^2$, $5.13cd/m^2$, and $1.04cd/m^2$, respectively, and in the bent forearm state were $9.6cd/m^2$, $3.63cd/m^2$, $6.13cd/m^2$, and $2.26cd/m^2$, respectively. Therefore, the computer-embroidered fabric exhibited a higher luminous effect than the woven fabric because the detailed structure reduced light-loss due to the backside fabric. In both types of wearable optical fiber fabric the luminance at the forearm was 124% and 119%, respectively, and the light emitting effect of the optical fiber fabric was maintained even when bent by the human body. This is consistent with the principle of Huygens, which defines the wave theory of light, and also the Huygens-Fresnel-Kirchhoff principle, which states that the intensity of light increases according to the magnitude of the angle of propagation of the light wavefront (${\theta}$).

Study on Fabric and Embroidery of Possessed by Dong-A University Museum (동아대학교박물관 소장 <초충도수병>의 직물과 자수 연구)

  • Sim, Yeon-ok
    • Korean Journal of Heritage: History & Science
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    • v.46 no.3
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    • pp.230-250
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    • 2013
  • possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

Embroideries in Shoso-in of Japan and their Maker (일본 정창원의 경수와 그 제작국)

  • 이춘계
    • Journal of the Korean Society of Costume
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    • v.25
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    • pp.145-155
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    • 1995
  • After I stated the kinds of ancient embro-ideries of Shoso-in and the other places in Japan, including Silk embroidered design of a bird, Silk embroidery on a silk ground, and Buddha preaching. I searched for the possible countries they could have been made in. I found that Japan merely imported the dyes and paints from Korea, On the other hand, Korea unlike Japan, was capable of manufac-turing the embroderies from early times. The embroideries in Shoso-in and the other place, have respectivly on them the old Korean types of patterns such as flowers, lotuses, flying clouds, phoenixes, intertwined lions, houses, ghost masks, fairies and turtles, seen often on the titles of Silla.

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A Study on Tatami Algorithm for Computer Embroidery (컴퓨터 자수용 누비기 알고리즘에 관한 연구)

  • Lee, Yang-Sun;Lee, Sung-Oog
    • Proceedings of the Korea Information Processing Society Conference
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    • 2000.04a
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    • pp.719-722
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    • 2000
  • 의류제품에 자수를 놓기 위해서는 자수기와 이를 구동해 주는 자수 프로그램이 반드시 필요하다. 이자수 프로그램은 밑박음질(Running), 박음질(Satin), 누비기(Tatami) 기능을 기반으로 구성되므로 가장 중요한 핵심기능이라고 할 수 있다. 본 논문에서는 베지에르 곡선식을 사용하여 구현한 누비기(Tatami) 알고리즘을 기술한다. 누비기는 범위가 넓어 박음질(Satin)로 처리를 못할 때 사용되며 다양한 무늬를 표현하거나 박음질과는 달리 넓은 범위를 채울 때 사용된다.

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A Study on Satin Algorithm for Computer Embroidery (컴퓨터 자수용 박음질 알고리즘에 관한 연구)

  • Lee, Yang-Sun;Jang, Hyun-Ik
    • Proceedings of the Korea Information Processing Society Conference
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    • 2000.04a
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    • pp.1159-1162
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    • 2000
  • 본 논문에서는 컴퓨터 자수 소프트웨어인 펀칭 프로그램의 개발과정에서 베지에르 곡선식을 사용하여 구현한 박음질(Satin) 알고리즘을 기술한다. 자수에서 박음질은 지그재그로 1회씩 정해진 구간의 밀도와 수폭사이를 왕복하여 작업이 이루어지며 폭이 좁거나 테두리 부분을 작업할 때 주로 사용된다. 박음질은 밑박음질(Running)과 다르게 불규칙적인 면을 채울 수 있도록 고안됐다.

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A Study on the Wedding Dress Design of Korea Images - Focused on Pear Blossoms Pattern and Dang-$\breve{u}$i(唐衣) Images - (한국적 이미지의 웨딩드레스 디자인 연구 - 이화문(梨花紋)과 당의(唐衣)이미지를 중심으로 -)

  • Lee, Min-Jung;Cho, Kyu-Hwa
    • Journal of Fashion Business
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    • v.13 no.5
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    • pp.23-36
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    • 2009
  • The purpose of this research is to design and to produce actual high value added wedding dress comprised of the pear blossoms pattern(梨花紋), which is one of the traditional patterns which was not researched to this day, and of the Dang-$\breve{u}$i(唐衣) image which reflects our concept of beauty as if as a means of conducting empirical study for the application of traditional Korean patterns to the contemporary application. pear blossoms effectively signifie the image of beautiful bride thanks to the pure, graceful and clean image of white flower, both in the external and internal aspects. The Dang-$\breve{u}$i of the Chosun Dynasty, which is another motif is one of the representative clothing that expresses the beauty of the curve when it comes to the Korean culture as traditional wedding dress. Attempt was made to develop design for wedding dress that expresses the Korean style beauty that combined the tradition and the modern. Towards this end, the project was composed of the Korean-like Ewha, image of the Dang-$\breve{u}$i I, II and III to design three dresses. The Dress I presents the image of pure, elegant and beautiful bride, while Dress II represents the pure and city like trendiness of the Korean women today as bride. Dress III was made centered on the image of elegant, and chaste bride. As for the materials used, hand-woven silk and silk organza used for the traditional clothes. As for the ornaments, embroidery, quilted work, beads, corsage, burn-out and other techniques were used for expression.

Analysis Marketing of Products in Baseball Cap (베이스볼 캡(Baseball cap)의 시판 제품 분석)

  • Kim, Na-Young;Jang, Jeong-Ah
    • Fashion & Textile Research Journal
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    • v.11 no.6
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    • pp.925-933
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    • 2009
  • This research was carried out by analyzing a form and composition in baseball cap targeting 97 marketing products, and we have typified it by frequency analysis. We have carried out comparing and wearing test between comparative pattern and the most preferred three products of sports brand, fashion brand A, and fashion brand B (flex fit). And also, in order to provide basic indices for developing new pattern, we have carried out analysis of variance. 1. As a result of analyzing a form in baseball cap, the most general pattern type for crown is central cutting with six pieces. In a cap, a basic type with no decoration was the most general. In the size adjustment and decoration, belt type and embroidery type (front or side embroidery of the crown) was the most common, respectively. 2. As a result of comparing and analyzing six-piece typed crown pattern, the comparative pattern was the same and symmetric in size and form of three patterns in front, side, and back. However, the patterns of marketing products of three brands were different in size and form of three patterns in front, side, and back. The patterns of sports brand were the largest in crown height and width, thus it was good at providing activity and motion. The patterns of fashion brand A were the shortest in the crown length and well-curved in front pattern, so it was well-matched with head shape. The patterns of fashion brand B were well-described back side of head since its convex and long patterns in the back head. 3. As a result of wearing test by five-point Likert scale among brand, pattern of fashion brand B outperformed the others since it was well-matched with head shape. In the cap, pattern of fashion brand A is the most preferred which was 7.5 cm of length and 18cm of width.

The Types and Characteristics of Golden Decoration Technique used in the Chinese Fabrics - Focused on the Fabrics from Dang to Cheong Dynasty Era - (중국 직물에 사용된 금장식기법의 유형과 특성 - 당대${\sim}$청대직물을 중심으로 -)

  • Jang, Hyun-Joo;Ko, Soon-Hee
    • Journal of the Korean Society of Costume
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    • v.57 no.9
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    • pp.1-15
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    • 2007
  • The purpose of this study is to classify the types of and to examine the characteristics of the golden decoration technique used for expressing patterns on the costumes from Dang dynasty to Cheong dynasty era. In order to classify the types of the golden decoration technique and to examine its characteristics, literature review, focusing on documents and records of China, and investigation on the relics from Dang to Cheong Dynasty era were conducted. The types of decoration technique using gold include china JigGeum (brocade technique), InGeum (attaching gold powder and flake technique), GeumSaJaSu (embroidery technique), GeumSaTapestry, mixed technique. Interestingly, it was newly found in this study that embroidery with golden thread was used in the GeumSaTapestry technique and that there were some cases of the mixture of 2-3 gold decoration technique. The GeumSajaSu technique was used the most frequently from Dang dynasty to Yo dynasty era. However, its use had decreased enormously while the use of JigGeum had increased a lot since Geum dynasty era. The mixture of 2-5 techniques was used frequently in JigGeum, GeumSaJaSu, and GeumSaTapestry, but not used in InGeum. Particularly, the mixture technique was the most frequently used in the GeumSaTapestry, which expresses by composition of paintings. All four methods were used the mostly frequently in costumes, while GeumSaJaSu and GeumSaTapestry were generally used for home accessories. InGeum and GeumSaJaSu were used a lot for gaze and leno fabrics such as Sa or Ra, while JigGeum was mostly used for satin weaved fabrics like Dan.