• Journal of the Korea Furniture Society
• /
• v.15 no.1
• /
• pp.53-61
• /
• 2004

German Baroque and Rococo styles in furniture design show three types because of political and geographical conditions - Northern style from Holland and England, Middle one from France, Southern one from Italy, The German's Baroque style, however, emphasized in practicality and metamorphosed form and material using the motive of plant trunk, flame pattern, and Akanthus leaf. Furniture of German Rococo surrounding space, and chairs two-dimensional curved lines than flower, ribbon, and lattice. style was designed form and color becomingly with were displayed decorations of more pictorial and structural forms, using the pattern of palm tree leaf, clam, flower, ribbon, and lattice.

• Journal of the Korean Society of Costume
• /
• v.65 no.7
• /
• pp.32-46
• /
• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.8
• /
• pp.1255-1263
• /
• 2008

Study on Hwal-ot, woman's wedding robe of the Joseon Dynasty, has been limited to the Princess Bock-on's Hwal-ot and some folk remains. In this study, I tried to identify formative characteristics of Hwal-ot by studying embroidery design patterns in the royal Hwal-ot. On Mar 26, 2007, I inspected total of 15 pieces of embroidery design patterns for Hwal-ot held at the National Palace Museum of Korea. I classified them into three types of Hwal-ot by considering characteristics in embroidery design patterns as well as composition of embroidery design patterns held by the private. For the Hwal-ot embroidery design pattern type I, there is a calligraphy called "Embroidery Design Pattern of Red Long Robe for leo-dong Palace", which is presumed to be the embroidery design pattern of Princess Deok-on, the third daughter of King Sunjo and a little sister to Princess Bock-on. Its patterns are very similar to that of Princess Bock-on's, with similar flower patterns and treasure patterns, as well as overall stripy structure. The Hwal-ot embroidery design pattern type II maintains the same flower patterns and butterfly patterns as in the type I, but does not have the striped decorative. The Hwal-ot embroidery design pattern type III has illustrative design with waves and mountain at the background and a pair of water birds flying around lotus. In particular, the type III design has a nine phoenix pattern at the front part of the robe, illustrating nine baby phoenixes (four in the left, five in the right) under a mother phoenix, which is closer to characteristics found in the Hwal-ot embroidery design patterns at the end of the Joseon dynasty.

• Journal for History of Mathematics
• /
• v.21 no.2
• /
• pp.71-80
• /
• 2008

From the ancient Korea, our ancestor had designed the unique pattern which is Dan-chung, in architectures such as palace and Buddhist temple. In Dan-chung pattern, there are many various kinds, that is geometric pattern, arabesque pattern, plant pattern, flower pattern, animal pattern, Buddhist pattern and living pattern. So, we can see the tessellations in the Dan-chung pattern, moreover we can find the beauty of tessellation in the Korean traditional architectures and crafts. In this paper, I'll show you Korean traditional tessellations via GSP 4.0. which means geomeric program Geometer's SkechPad.

• Journal of the Korean Society of Costume
• /
• v.54 no.1
• /
• pp.11-21
• /
• 2004

This study examined the kinds, shape, technique, and arrangement of pattern for the Korean traditional women costume between 1995 and 2002. The sources used this study were collected from the magazine “HANBOK, ONGOJISHIN, BEAUTIFUL OUR DRESS” Results were as follows 1) In the kinds of pattern, the most pattern of use was the flower pattern, and the geometric pattern showed the trend of increase. these results mean the use of pattern lately is progressed by the new direction. 2) In the shape of pattern, the style shapes were decreased gradually and the geometric shapes were increased. these results show that the modern beauty is chased. 3) In the technique of pattern. the results viewed that the embroidery technique used in the meantime decreased and the JOGAKBO technique increased. 4) In the arrangement of pattern, the modern arrangement was most superior in the most of year. That is estimated the arrangement of pattern have been chased the modern beauty than the others of pattern.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.11 no.3 s.25
• /
• pp.89-99
• /
• 1987

The purpose of this present study is not only to investigate mutal relationship between the preference of clothing design and the nature of Reflectiveness-Impulsiveness, but to offer clothing design for desirably developing of child, especially of preschool children. And the practical research was performed for 166 preschool children who are in kindergarten located in Seoul and are selected according to their sex and social class. This study used Kagan's MFFT and Personality Inventory of Hwang Eung-Yeon for the test of Reflectiveness-Impulsiveness, while for the preference of clothing design used the photo deck which is showed to children. The data analysis was based on frequency, percentage, mean, standard deviation, chi-square ($x^2$) test, t-test, F-test, and Duncan's Multiple Range Test. It can be concluded that girls rather than toys, high class children rather than middle or low class children were more reflective as a general trend. The relationship between the preference of clothing design and the nature of Reflectiveness and Impulsiveness is as follows : 1. In color, reflective boy liked blue series and reflective girl liked pastel coloring series, while they disgusted red series and non-coloring series. The group of impulsiveness liked red series, while they disgusted non-coloring series. 2. In color combination, group of reflectiveness liked similar color, while group of impulsiveness liked contrasting color. 3. In texture, group of reflectiveness liked soft and shiny texture, while they disgusted thick and rough texture. Also Group of impulsiveness liked soft texture. 4. In pattern, reflective boy liked lettering pattern and reflective girl liked flower pattern, while she disgusted lettering pattern. Impulsive boy liked stripe pattern and limpulsive girl liked flower pattern. 5. In pattern size, group of reflectivenss liked small size, while group of impulsiveness liked large one. 6. In style, group of reflectiveness liked formal style.

• Fashion & Textile Research Journal
• /
• v.13 no.6
• /
• pp.848-855
• /
• 2011

The purpose of this study is to develop design for daily hanbok with Jacquard textile design developed by using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. This study will also develop Jacquard textile design that has elaborate and luxurious patterns and abundant expression of colors using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. Developing daily hanbok design for woman's casual and formal occasion will contribute to fashion business significantly by popularization of daily hanbok as one of the important fashion genre. The "Texpro Design CAD V8.21" program was used for the textile design. A total of 2 designs were developed as the Jacquard textile design with traditional patterns using flower motifs. One type of fabric was produced for each of the textile design with a color selected from "Pantone Color Chips". And finally, four woman's daily hanbok design for either casual or and formal style were developed and these daily hanboks were consisted of one set of jacket and trouser, durumagi, one set of jacket and skirt and one set of vest and trouser. And the actual garments were constructed and the design procedure and the photos of these works were presented. This study showed the possibility of producing highly sensible daily hanbok that suits the fashion trend of middle aged women and the widening of consumer range and the creation of new market by developing Jacquard textile design.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.16 no.1 s.41
• /
• pp.111-122
• /
• 1992

Studying the dress style of the Buddhist Goddess of Mercy SU WOL KWAN EUM DO (Drawings on the Buddhist Goddess of Mercy who is watching the Moon reflected in the still water), it is composed of a splendid, jewel crown with five colors, a light and flimsy, non-colored veil with many kinds of gold·plated patterns. This gold·plated carapace figures on a scarlet ground are drawn on the veil and the oval-type flower figures mixed with a scarlet lotus blossom ard arranged. An arabesque pattern of BOSANGHWA (an imaginary, Buddhistic flower figure) is mainly used for both line decorations and necklace. Like this, various kinds and types of figures are in harmony in spite of many changes in figure design. The SU WOL KWAN EUM DO in Koryo dynasty is full of colorful, subtle, harmonious figures which are unique style, which cannot be found in japan, China, and so on. In other words, most of most of dress patterns which are shown in SU WOL KWAN EUM DO are China ink paintings with mountains and waters as its setting. In case of color painting, figure designs are seldom used. The dress pattern in SU WOL KWAN EUM DO of koryo dynasty is characteristic of its variety and magnificent colors.

• Journal of Fashion Business
• /
• v.4 no.4
• /
• pp.41-54
• /
• 2000

The purpose of this study was to investigate various expressions in textile design using CAD and present print design of '01/02 A/W. Four steps were taken in order to achieve this purpose. The first step was to investigate prior research and to analyze textile design methods using CAD. The second step was to study '01/02 A/W fashion trend, especially textile trend. The third step was to design the print design according to textile trend and apply the designed print pattern to real model. The research results are as follows: 1. Textile design is a very important field to help making fashion industry more informative and valuable. 2. Using CAD system in textile design will be very useful and urgent in saving working time and exercising design works. 3. In '01/02 A/W hound's tooth, zigzag, herringbone will be prevalent bold geometric patterns while tartan checks, multi color stripes will be popular too. 4. Textile designs using flower, stripe, checks, dot, abstract pattern were applied to real model, the images of patterns design are as follow, flower pattern-romantic stripe-avantgarde check-cute dotclassic abstract motive-intelligent.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.45 no.5
• /
• pp.825-839
• /
• 2021

This study aims to develop jacquard fashion masks using traditional patterns and investigates the preference and emotions of consumers for them. Nine patterns were designed with the motifs of plum flower, turtle, and geometric patterns using an Adobe Illustrator program. After that, 20 kinds of jacquard fabrics were developed using those patterns, and prototype masks were made. Furthermore, data were collected using a survey of 231 adult consumers to understand the emotional images evoked by jacquard fashion masks with traditional patterns. The results of the research show that the emotional dimension derived from jacquard fashion masks with traditional patterns consists of seven factors: luxurious image, frugal image, feminine image, oriental image, sporty image, geometrical image, generous image. We found that consumers preferred the M6 with the plum flower pattern as the motif as the most preferred design, while M13 with the geometric pattern as the motif was the lowest preferred.