• 패션비즈니스
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• 제11권6호
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• pp.139-156
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• 2007

The purpose of this study is to analyze the aesthetic characteristics of traditional Korean patterns appearing on fashion collections from 1990 to 2005. Traditional Korean patterns have been used as an important element to express a Korean image since the 1990s. Frequently used patterns included several kinds of geometric patterns, plant patterns(flower, peony, Four Gracious Plants), and Chinese character patterns. Specifically, since the 2000s, animal patterns such as tiger, Chinese phoenix, and giraffe which were not often used, plant patterns such as arabesque, peony, and flower, and a variety of Chinese character patterns appeared. For the expression techniques, while embroidery and printing was often used in the 1990s, they became varied into printing, beading, embroidery, gold and silver leaf, and hand painting after 2000 as a result of designers' active attempts. The aesthetic characteristics of fashion design with its focus on traditional patterns were analyzed. First, Chinese character patterns and phoenix pattern which were mainly used for a court suit, and show the excellence and unique originality of Korean culture. Second, traditional Korean patterns directly and indirectly imply symbolistic significance of lucky sign and illustrate the use of various lucky sign patterns. Third, traditional Korean patterns such as arabesque or peony were expressed by colorful embroidery to add decorative beauty. Finally, traditional Korean patterns reflect a naturalistic worldview and are completed finished as the design.

• 한국의상디자인학회지
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• 제13권1호
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• pp.113-123
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• 2011

The purposes of this study were to re-interpret the Traditional Korean Painting of Flower and Bird Patterns from a modern point of view and use them in apparel textile design. A literature review of the Traditional Korean Painting of Flower and Bird Patterns was made first, and then, through manual and Photoshop workings, two apparel textile designs were suggested. The results were as follows. First, Traditional Korean Paintings of Birds and Flowers are covered not only by decorative beauty but also by the common pure hope and ideology of loving and adoring nature, which is inherent in the symbolism and racial characteristics and high aesthetic sense appeared by ancestors' life feeling. The meaning that is symbolized by each subject matter appearing in the Transcontinental Painting of Bird and Flower is important, but the ancestors' deeper and affectionate desire is shown in the harmony and happy aspect of a picture where more than two subject matters appear, such as Song Hak do where pine is with crane, cockscomb with chicken, bamboo with beacon fire, or a couple of them with flower. Second, two kinds of textile designs were suggested. The motif of work 1 targeted professional women of activity and individuality in their late 30s to early 40s. The lotus blossom pattern was selected to present its concept, "Chic Elegance." The motif of work 2 targeted intelligent women in their mid 40s, and the peony blossom was selected to present its concept, "Romantic Elegance."

• 한국환경과학회지
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• 제24권2호
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• pp.197-205
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• 2015

This study was performed to identify the effect of fertilizer application and planting method on growth and yield of 'Seolhyang' strawberry during seedling raising. According to the concentration of fertilizer applied, the height of daughter plants was the highest at an EC of $0.8dS{\cdot}m^{-1}$. Leaf number and crown diameter were greatest at an EC of $0.6-0.8dS{\cdot}m^{-1}$. In the first measurement, root number was highest in non-fertilizer application, while root weight was heaviest in non-fertilizer application and EC $0.4dS{\cdot}m^{-1}$. The higher the concentration of fertilizer applied as culture media, the lower the growth rate. Thirty days after planting on the main field, plant height and number of new leaf were highest at an EC of $0.8dS{\cdot}m^{-1}$. However, no significant difference was found in leaf length and width and chlorophyll content according to fertilizer application. Marketable yield of 25 g or higher was greatest in EC $0.6dS{\cdot}m^{-1}$. In contrast, no significance was found in total marketable yield at an EC of $0.4-0.8dS{\cdot}m^{-1}$. Aconsistent pattern was exhibited in the growth of 1-5 harvesting flower clusters according to planting method. The length of leaf and flower cluster was short and chlorophyll content was low, when bed soil was removed 100% in harvesting of the first flower cluster. In all treatment, leaf length was shortened until harvesting of the second and third flower cluster, but rapidly lengthened in harvesting of the third and fourth flower clusters. Moreover, the length of flower cluster had a increasing tendency from harvesting of the third flower cluster. However, chlorophyll content was reduced continuously until harvesting of the fifth flower cluster, and was lowest in harvesting of the fourth flower cluster without removal of bed soil. Total yield was greatest in treatment of crown removal in bed soil between November and May. Late marketable yield between March and May was highest in treatment of 100% bed soil removal, followed by treatment of crown removal. Marketable yield of 25 g or higher was greatest in treatment of crown removal between December and February, while greatest in treatment of 100% bed soil removal between March and May.

• 한국의류학회지
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• 제36권5호
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• pp.573-582
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• 2012

This work is to develop a T-shirt by adopting a unique cloud pattern (a good auspicious sign as design material) from traditional native Korean patterns for application to various cultural products and textile design cloth patterns; subsequently, a T-shirt design was processed based on this. As a research method, computer design programs Adobe Illustrator CS3 and Adobe Photoshop CS3 were used along with a literature examination as part of motive for design development and pattern realization. Three basic motives were selected as a new formative image in this work, utilizing graphical elements such as abridgement and simplicity of pattern, where flower-shaped cloud pattern, uprising cloud pattern, and 卍-shaped or swastika-shaped pattern of traditional cloud patterns were selected. Each motive diverged into two motives via the shape transformation and the application of different colors. The newly developed basic motive was further processed into a combination of one-time repeat pattern, stripe pattern, and application pattern with mixed cloud motives (that were previously developed), which altogether turned out to be 36 pieces of textile design. In addition, with newly developed motive designs and textile designs, a total of 12 shirt designs for 4 pieces were developed for these three each. The shirt design was developed into a shirt blouse, sleeveless T-shirt, half-sleeve T-shirt, and sports T-shirt among others in order to fit various uses and purposes.

• 한국의류학회지
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• 제19권2호
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• pp.297-316
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• 1995

The system and symbolizing ideologic meanings of the metallic Kwon in period of the Three-Kingdoms were comsidered by comparing to their cultural path and structal styles throughout the tree and the deer worship ideology. The results of this study are as followings; Firstly, the beginning of the Korean, mostly northern style was originated from metal tools of the Bronze age in BC 6c-7c. The maJ;lufature of the metallic adornment brought the pr-evailing use of metallic objects of craftwork after the supply of ironmongery. Secondly, the cultmal characteristics of the metallic Kwan in the kor-ean Peninsula were influenced f-rom the northern chinese tribes, Momg Go, Hung No, and Sien-pi who were transmitted from the scythian of the southern Russia having a prefenence for gold. Thir-dly, the metallic Kwon of the Kogmgo and the Baekje era was ideologically based on the ar-t of Buddism of the pattern of blazing flame, the carved pattern of flower- of herb, and the honey. sukle which were tramsmitted to china thr-ough the silk noad. Fourthly, the metallic K wam of the silla era consisted of the tree and the antler types in closely nelated to the tree and the deer ideology which were based on the background of shamanism. It should be raid that the metallic Kwan of the silla esa are connected to the type of nor-them ancient K wan. Lasthy, the metallic Kwan-Mo of the Kaja esa was mosthy original type of flower of herb even if kome of these ar-e similiar to the tree adornment type of silla. This type of flower of herb in based on the scythian type with a statue im silveer founded at Alexandnopol in the southern russia.

• 복식
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• 제59권10호
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• pp.10-21
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• 2009

The shape of floral pattern in the period of Rococo are a pots, a flower and ribbon style, a flower and a stripe style, a lace style and a scene style etc, and also in that time an apperance of softness of curved line, delicacy and smoth line, irregular and unrestraint line, motive of tiny and extra ordinarily, little bunch of flowers, and stripe style was a feature. The style of presentation were a presentation of fixed style such effect as lace, and a presentation of realistically style emphasized a massiveness and a cubic effect, and also used a natural color, and the presentation of abstract expressed like imagined anything and fancied. Weaving expressed delicate, brilliant, fantastic, and an atmosphere with elegant. embroidery was expressed in creation with emphasized in reality. Printing was fantastic with exotic in development of chintz due to effection of orient. The based on a salon civilization, the refind beauty of taste of royalty gave a refinded feeling with over affectionate in preference with a softness of curved line, and a motive of tiny and extra ordinarily. The classical beauty of elegant was realistic in being concentrated on building up blance and homony. The natural beauty of romantic was in being devoted the theme with soft and fantastic.

• 한국기계가공학회지
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• 제17권4호
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• pp.143-149
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• 2018

A cable tray is a fixture to support and protect electrical and communication cables. In this study, a roll-forming analysis is conducted to produce an all-in-one cable tray. The number of process stands is calculated using an empirical formula. By applying bending methods to the design of the roll flower pattern, the final process stands and forming angles are determined. The shape and stress variations in the cable tray are modeled and observed by roll forming analysis using LS-DYNA Software. The width of the side rail and the maximum stress on all stands does not exceed the reference values. The forming machine and rolls are manufactured based on the results of the roll forming analysis. In addition, all-in-one cable trays satisfy the National Electrical Manufacturers Association standards when they are manufactured according to this design.

• 한국한의학연구원논문집
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• 제11권2호
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• pp.141-154
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• 2005

The following is a taxonomic list of the specific features of external and internal shape and pattern analysis of Paeonia lactiflora PALL. and P. obovata MAX as the standard of herbal medicine. 1. External shape of original plant P. lactiflora has lancelate and elliptical leaves with no hair on both sides. It bears a flower bud at the shoot apex or leaf axil. On the other hand, P. obovata has obovate leaves with hair on the back side. It has a single flower bud at the shoot apex. 2. Physical characteristics of herbal states P. lactiflora has a bright and smooth external surface whose color is light red brown, light gray on its section and it is not easy to cut. On the other hand, P. obovata has a coarse external surface whose color is dark brown, pinkish on its section and it is easy to cut. 3. Physical characteristics of herbal state in currents Paeonia Radix Alba is brown on the external surface, and whitish on its section. On the other hand, Paeonia Radix Rubra is dark brown on the external surface, and yellowish-white on its section. 4. Internal characteristics Internal shape is correspond to that of Paeonia Radix described in literatures. Only P. lactoflora has a concentrated vascular bundle toward centeral cylinder. On the other hand, P. obovata has a scattered vascular bundle at the cortex. 5. Physicochemical pattern by HPLC Both P. lactoflora and P. obovata showed the same pattern. Paeoniforin, a main component, appears upon 13.68 in retention time (Rt) in both. In addition, both contain a large amount of paeoniflorin. Such results will, in the future, be used as basic source for the additional research, such as biological reactions and genetic discrimination.

• 패션비즈니스
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• 제9권3호
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• pp.150-161
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• 2005

The retro fashion and orientalism have been the main trend in the fashion industry tram 2000 as the turning point tram the minimalism. In particular, the far eastern oriental ism, that is, Japanese orientalism had been rapidly spread from 2001. As the trend has been moving to Chinese orientalism from 2003, the fabrics with flower pattern prints and those imbued with Chinese orientalism that were popular in 1960 are the main stream in the textile industry at present. As keeping up with the current trend, this study analyzed the common features and differences between textile patterns with Chinese orientalism that are prevailing ai present and the textile patterns that were popular in 1960s through the film "In the Mood for Love" that told the story of people who immigrated from Shanghai to Hong Kong in 1960s. According to the analysis, the popular textile patterns in 1960s were splendid flower patterns, pop art and op art patterns. Such a trend was elegantly expressed as the textile pattern of Chinese orientalism using qipao in the film "In the Mood for Love".

• The Korean Journal of Ecology
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• 제14권4호
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• pp.415-433
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• 1991

Seasonal variation in size and number of floral structures was examined in two massachusetts populations of chelidonium major, a self-compatible herb. All floral charcters except for anther number per flower declind significantly during a 3 week period. However, temporal patterns were not identical among characters or between popolations. The result indicate that floral characters varied in conjunction with flower diameter,but that the pattern of changes in floral characters in response to environments may not be easy to predict. Principal components analysis was conducted to environments may not be easy to predict. principal compenents analysis was conducted tl identify the functional relationship among floral male function, and female function, respectively, perhaps reflecting the functional distinction of floral characters. Based on this pattern, the relative allocation to sexual structures within flowers was examined: male allocation was relatively greater than female allocation eary or in the middle of flowering season, depending upon populations. Temporalvariation in relative allocation within flowers was not independent of seed tield components:; different combinations of the size and number of floral characters were correlated with different seed yield components, for example, either seed size or number per fruit, during a season. in particular, allocations to attractive and male structures were highly correlated with mean seed weight only earlier in the season. These result provide some evidence that flowering phenolgy is an important comportant to be considered in the study of sexual allocation.