• 한국패션뷰티학회지
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• 제4권2호
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• pp.50-64
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• 2006

This study was performed the analysis on the final usage and the pattern type of Jacquard fabrics through the surveyed data from the domestic and foreign textile fashion magazines[Book Moda, Fashion biz, Vogue] during recent 5 years(2000-2004). The result of this study can be summarized as follows. 1 Jacquard fabric mostly applies to apparel followed by accessory, interior decoration and bedding. As classified by uses, in apparel, it applies to One-pieces most followed by jackets and coats. In interior decoration, Slipcover uses Jacquard fabric most and then cushions, curtains and carpets. In accessory, neck ties use it most and then hand bags, hats and mufflers. In bedding, Jacquard fabric evenly applies to sheets, pillows, blankets and coverlet. 2. As classified by uses above, flowered patterns apply to each use most followed by geometric patterns, abstract patterns, ethnic patterns, art patterns and animal patterns. In addition, flowered patterns apply to apparel most and then interior decoration, accessory and bedding. Geometric patterns apply to apparel, accessory, interior decoration and bedding orderly. It is researched that abstract patterns and ethnic patterns also apply to apparel partially.

• 복식
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• 제57권6호
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• pp.135-144
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• 2007

This study is about the three pieces of jackets with a symmetric collar that was used to fill in the empty spaces in coffin excavated in 2004, from Seok-nam-dong, Nam-gu, Incheon. The similarities of these three jackets are that the collars are symmetric, there are seops(the outer bodies to overlap the front sides of a jacket) with pleats, and openings on the side seam. The No.2, and No.6 seem to be jegori to wear over others, and the fabrics used for No.2 is damask with cloud pattern, and damask with lotus flower pattern. For the No.4, satin was used and there is peacock pattern weaved on satin using golden thread. No.41 is unlined clothes made with Suk-cho, and the distinctive feature about this clothes is that the collar, and the neckline are very narrow. The three jackets are similar with the recently reported clothes of Kim clan of Gang-leung (deducted to be buried in 1520), the collection of Seok Joo-sun Memorial Museum. Through this report, it provides information about some aspects of upper class women's clothes.

• 한국염색가공학회지
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• 제33권4호
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• pp.220-229
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• 2021

This study is aimed to a textile design with a motif of korean endemic plants and a method for printing it in an eco-friendly manner. The floral pattern with the motif of korean endemic plants was designed using Illustrator and Photoshop program. CMYK color, which is the basic color of Digital Textile Printing (DTP), is based on natural dyes, and various colors, achromatic colors and pastel tones are applied. As a result, half-linen and cotton were suitable as a result of designing and applying a floral pattern of a korean special plants. Also, as a result of analyzing the printing effect by colorway and DTP for each material, it was printed uniformly and the washing fastness was good. However, fastness of color change showed low, indicating that a follow-up study was needed. This study contributes to environmental conservation through eco-friendly printing and the korean endemic plants will be interested in people around the world beyond korea.

• 한국의류학회지
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• 제46권6호
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• pp.945-962
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• 2022

This study examines the use of traditional patterns by new Hanbok brands. A Saekdong print pattern based on previous research was developed and applied to clothing designs. A total of 488 images of printed products from the seven new Hanbok brands and 219 images from the collections of the National Folk Museum of Korea were analyzed. Traditional patterns accounted for 47.4% of the total printed products of the new Hanbok designs, with the following ratio of use, in descending order: flower patterns, traditional paintings, animals, geometrical designs, Dancheong, text and others, Jogakbo, and Saekdong. Saekdong was found in three brand products, and the color or shape was modified. To develop the Saekdong image, five colors - red, yellow, blue, white, and green - were selected. The ratio of use for each color and the width of each color were determined with reference to previous studies. The average color value was determined through color analysis of the Saekdong collections. A total of seven items were designed for the print pattern, and four items were added for coordination to consist of four styles. This study aims to use the results of this analysis to provide insights into product development using traditional patterns.

• 원예과학기술지
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• 제28권4호
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• pp.656-663
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• 2010

노란색 유향성 호접란을 육성하기 위해 황화계 육종모본들을 이용하여 5종류의 교배조합이 작성되었으나 $Phal.$ Brother lawrence를 종자친으로 $Phal.$ Brother saragold를 화분친으로 한 교잡에서만 정상적인 교배와 꼬투리 형성 및 종자발아가 이루어졌다. 잡종후대로 약 500개체가 실생 조직배양을 통해 육성되어 온실에 심어졌으며 개화기에 화색과 화형 위주로 60여 우수개체가 1차 선발 되었고 다시 생육속도, 병충해저항성 등을 검정한 2차 선발에서 15계통이 육성되었다. 이들을 대상으로 향기가 비교적 강하고 꽃 수명이 길어 시장에서 기호도가 높을 것으로 예상되는 6계통을 최종 선발하였다. 최종 선발된 이들 유향종들과 이들 교잡종들의 양친을 대상으로 전자코를 이용한 향기패턴분석이 이루어졌다. 전자코로 꽃 향기를 분석한 후 GC chromatogram peak와 이 피크를 이용한 Polar derivative diagram을 작성 비교한 결과 양친에서는 retention time 7s와 9s 사이, retention time 20s와 25s 사이에서 강한 peak가 나타났다. 양친과 비교하여 잡종후대의 선발계통에서는 retention time 7s와 9s 사이 즉 8s 근처에서 하나의 강한 피크가 공통적으로 나타났으며 양친에서 나타났던 retention time 20s와 25s 사이에서 강한 2개의 피크는 교잡후대 중 4개의 계통에서 이 피크가 강하게 발현되었으나 2개의 계통에서는 오히려 거의 나타나지 않았다. 그리고 $VaporPrint^{TM}$ 이미지 분석소프트웨어를 이용하여 향기패턴을 시각적으로 이미지화 한 결과 더욱 명확하게 향기패턴을 비교 분석할 수 있었는데 마찬가지로 교잡양친과 교잡후대계통 모두에서 retention time 8s 근처에서 강한 peak가 공통적으로 나타났으며 이 피크의 성분은 노란색 유향종에서 주로 강하게 발현되는 향기성분인 것으로 판단되었다. 이 피크는 향후 노란색 유향성 개체의 교잡선발 육종에 유용한 마커로서 활용할 수 있을 것으로 판단되었다.

• 대한본초학회지
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• 제23권4호
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• pp.21-29
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• 2008

Objectives: To determine the standards for discrimination of Magnoliae Cortex, the experiment of specific external-internal characters and the physicochemical pattern analysis were performed. Methods: External characteristics was observed using a stereoscope. Paraffin-mediated sectioned materials were stained by Ju's method. Physicochemical patterns of materials were analyzed using HPLC. Results: 1. Botanical characteristics: Magnolia officinalis had one seed and a white flower, while M. obovata had two seeds and a white flower. Machilus thunbergii had berry and spherical fruits and yellowish green panicles. 2. External characteristics: M. officinalis and M obovata were dark and thick. M. officinalis was gray brown and greasy while M. obovata was light-gray, less oily and smoothly sectioned. Machilus thunbergii was thin and relatively light or yellow-brown, coarsely sectioned and faintly specific scents. 3. Internal characteristics: The bast parts of M. officinalis and M. obovata were commonly wider than Machilus thunbergii The cork cortex of M. officinalis was $10{\sim}mg/L$ cell layers with many oil cells, while that of M. obovata was $4{\sim}7$ cell layers with less oil cells. Machilus thunbergii's xylem which consisted of ring-shaped cambium at 1st and 2nd part was occupied in large portion. 4. Physicochemical pattern: Both M. officinalis and M. obovata involved honokiol and magnolol. All kinds of M. officinalis involved Magnatriol B but one kind of M. ovobata and all of Machilus thunbergii didn't. Machilus thunbergii showed different pattern of chromatogram from that of 2 species above. Conclusions: These results could be used as standards for discrimination of Magnoliae Cortex and as the method of objectification in medicinal herbs giving the basic resource for bioactivity research.

• 한국의류산업학회지
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• 제16권4호
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• pp.532-542
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• 2014

This study developed a practical knitwear design with applying the pattern of Queen Yeong's pearl pouch. The ume flower pattern of pearl pouch was simplified to be one repeat pattern, and four simulated knit pattern samples of G-A, G-B, R-A, and R-Bwere made with cable, cross, and two background colors of gray and red using Texpro V.11.0. The items of design application were selected after an interview with a panel of university students in their twenties and knit samples were produced by hand knitting. The small sized G-A for the partial ornament of hat, sweater, skirt, kitchenware case and accessories; the long sized G-B for the tuck of sleeves, hem of skirt and one-piece dress, partial ornament of sweater, scarf, and curtain decoration: the small sized R-A was preferred for point ornament of pouch, boots, hat, partial ornament of children's fashion products and accessories: the long sized R-B for table runner, leg warmer, tuck of sleeves, skirt hem, necktie, and scarf. The knit samples were formulated with partial ornaments attached on dress and props or connected each other. Colors of pastel and navy were also presented to meet the demands of panels. The study placed a limit on the slight difference between the simulation samples and knit samples due to the characteristics of threads and hand tension. The color variation for multiple coordination and activation to reduce the piece rate for young customers remains to be discussed in the near future.

• 복식
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• 제66권8호
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• pp.78-97
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• 2016

The purpose of this study is to develop textile pattern designs by utilizing the prototype of traditional culture extracted from cultural resources in order to establish a specialty strategy for local cultural contents. To achieve this, the study selected the Hyojaemunjado as source of Jeju traditional culture. Jeju's Hyojaemunjado is characterized mainly by the creative and unique formativeness of Jeju's character paintings. Character paintings often contained images related to the characters featured inside characters, or composed stroke with symbolic iconography. The main subjects of Hyojaemunjado were stories that alluded to the Confucian virtues. Therefore, the purpose of this study was to remind people of the real meaning of Shin(truth) by developing textile pattern designs, which borrows the tessellation technique for design, and the dominant characteristic of geometric abstraction. This study used theoretical research and empirical analysis. First, the study did the theatrical research on Hyojaemunjado based on literature and precedent studies, and then analyzed the style of expression and formativeness on the Shin character paintings through real analysis of Jeju's Hyojaemunjado kept in Jeju National University Museum. Second, based on the analysis of the style(three-tier composition) and formativeness of Hyojaemunjado, it analyzed the formativeness of the iconography about Shin, i.e. character types(semi cursive style, square style) drawn according to the symbolic meaning, palace, unknown flower, pheasant, tile fish and constellation. Based on analysis of the iconography, it stylized the motives that became available on the Archimedean tiling of tessellation, and then developed the textile pattern designs by arranging the iconographic motives with Platonic tiling and Semi-tiling. The reason why this study borrowed tessellation was to create various visual effects using the size of angle, symmetry and change and joint with simple figure.

• 한국패션뷰티학회지
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• 제6권2호
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• pp.97-103
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• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

• 복식
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• 제51권6호
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• pp.101-115
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• 2001

This study is to examine the characteristics of fabrics in Koryo dynasty by reviewing the fabrics for enshrining oblations inside a buddhist statue in MoonSoo temple, which are currently possessed in SooDuk temple. The research results follows : The fabrics are 33 pieces in total : 28 Pieces of normal fabrics, 5 pieces of fabrics that is used for covering the five grains, and others like variegated silk threads. Out of 33 pieces of fabrics are there 31 pieces of silk and 2 pieces of ramie. The tabby fabrics, which have the most pieces among the fabrics, are 11 pieces in total. There are 1 piece of designed tabby fabri. whose patterns are expressed by dyeing. as well as non-designed tabby fabric. The twill fabrics are 8 pieces in total. Its patterns are mainly the type that small patterns are consecutively reiterated. And they have various patterns including plant patterns, such as lotus pattern, flower pattern. etc., animal patterns such as dragon pattern. etc., geometric patterns. such as turtoise-shell pattern. swastika, etc. The leno and gauze fabrics are 1 piece of 4-end complex designed-gauze and 1 piece of gill gauze. The compound woven fabrics are 2 pieces of brocaded gauze and 3 pieces of brocaded twill. Brocaded gauze is a kind of brocaded fabrics and is made by adding a gold thread between wefts of already weaved gauze. The figured fabrics are 1 piece of tabby fabric, 6 pieces of twill fabrics, 4 pieces of leno and gauze fabrics, and 5 pieces of compound woven fabrics. All of them are 16 pieces out of all 33 pieces and amount to almost 50%. Single-patterned fabrics, that is one pattern is expressed individually, are much more than any others. Plant patterns are the ones that are used the most.