• Journal of the Korea Academia-Industrial cooperation Society
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• v.5 no.3
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• pp.197-203
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• 2004

New lithography techniques are employed for the patterning of arbitrary shapes in nanometer scale. When, in the photolithography, the electromagnetic waves such as UV and X-ray are incident on the mask patterned in nanometer scale, the diffraction effect is unavoidable and degrades images of the mask imprinted on wafer. Only a convex lens is well-known Fourier transformer. It is possible to make the mask Fourier-transformed with the convex lens, even though the size of pattern on the mask is very large compared to the wavelength of electromagnetic wave. If the mask, modified according to new technique described in this paper, was placed at the front of the lens and was illuminated with laser beam, the nanometer-size patterns are only formed on the plane called Fourier transform plane. The new method presented here is quite simple setup and comparable with present and next generation lithographies such as UV/EUV photolithograpy and electron projection lithography when compared in attainable minimum linewidth. In this paper, we showed our theoretical research work in the field of Fourier optics, . In the near future, we are going to verify this theoretical work by experiments.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.960-976
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• 2005

Classicism pursued beauty comprised of a perfect form, and beauty was perceived as a state of sufficiency. Accordingly, a completed and permanent beauty was sought after; as a result, a perfect and flawless form became the mainstream, and there was an effort to visualize the eternal proportional perfection. In classicism, forms were perfectly embodied with systematic inevitability and absolute inflexibility, by which an extremely clear aspect appeared. This study analyzes a classical construction paradigm in modern fashion according to the five categories: 'Harmony and order by numerical proportion', 'Clear form', 'Simplification of form and two-dimensional Seh-form', 'Completed contracture structure', and 'Pluralistic unification', and the respective formative characteristics are as follows. First, in terms of the formative aspect of modern fashion,'Harmony and order by numerical proportion' results from thorough observance of extreme and golden section (proportion of 5 :8) which was an aesthetic standard of beautiful body in classicism. Second, 'Clear form' appears in clothes as individual clearness of structural elements expressing each part of body, and shows a well-established form possible to be grasped with equal and clear contour line. Third,'Simplification of form and two-dimensional Seh-form' comes out as form composition, single line, single layer structure, two-dimensional form and arrangement of elements of clothes through the front viewpoint caused by 2D diagramming work while fashion-designing and producing. Also, it is seen that two-dimensional proportion which is composed of sections through various harmonious lines and sides according to the simple two-dimensional compatibility principle is accomplished. Fourth, 'Completed contracture structure' emerges as an expression of stationariness, in other words, fixation of an overall impression. This is a tendency that the overall form is grasped as a fixedly intact shape without a big change of the silhouette of clothes. Fifth, 'Pluralistic unification' means that it respectively emphasizes all the parts composing clothes by making them individually independent at the same time as each element is inclusively shown with the harmony of the overall silhouette of clothes and many other details. This study examined classical formative characteristics through a theoretical research on a formative paradigm revealing the classical style. Also, the significance of classical or rational value of art was illuminated by observing what characteristics a classical formation paradigm shows in modern fashion. As a result, classical characteristics in modern fashion prove that classicism is not a merely past construction style separated from the present but a construction paradigm deeply involved in our reason system.