• 한국지반공학회논문집
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• 제19권6호
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• pp.371-378
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• 2003

한반도 서, 남해안 해성점토에 대하여 초기간극비와 자연함수비 및 액성한계의 물리적 특성과 압축지수와의 상관성을 규명하기 위해 비교적 신뢰성이 크다고 볼 수 있는 대형 항만 공사용 최근자료를 분석하였다. 시료교란의 정도를 분석하기 위하여 각 표본별 실내압밀시험을 실시하고 Schmertmann이 제안한 방법으로 보정하여 수정압축지수를 산정하였다. 또한 이들 자료를 토대로 실내압밀시험으로부터 얻어진 압축지수를 경험적 방법에 의하여 보정한 후 현장 처녀압축곡선과의 관계를 분석하고, 단순회귀분석, 다중회귀분석 및 비선형 회귀분석을 실시하여 최적의 회귀모델을 구한 후 해성점토에 적용할 수 있는 토질특성과 시료교란의 영향을 고려한 압축지수와의 상관 관계식을 제안하였다. 분석 결과, 시료교란의 영향을 경험적 방법으로 평가해 본 결과 현장 압축지수는 실험실 압축지수의 1.16배정도 크게 평가되었다. 해성점토의 물리적 특성과 압축지수의 상관성에 대한 최적의 회귀모형은 토질정수의 누승식 또는 지수승식 형태의 비선형회귀식이 가장 적합한 것으로 나타났다. 또한, 설계 및 실무에 보다 쉽게 적용할 수 있도록 하기 위하여 선형관계식을 사용하는 경우에는 압축지수의 상관식을 물성치의 구간에 따라 구분하여 사용하는 것이 바람직하다.

• International Journal of Human Ecology
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• 제9권1호
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• pp.17-27
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• 2008

Black garments can lose color, image, and be the main cause of color staining when washed with other laundry that can cause color contamination from interaction with other garments. To know the fiber-based dye fastness for colored garments, 4-5 pieces of various fibers of different fabrics were selected; cotton, linen, wool, silk, rayon, acetate, polyester, and nylon. To determine the colorfastness to washing and crocking, the black fabrics were washed with alkali and neutral detergents under the Laund-O-Meter method under the Crockmeter method. In an alkali detergent laundering conditions, most colored samples did not undergo color or light fastness. However, most of the stained fabrics slightly changed in K/S values while other samples underwent severe changes. With neutral detergent laundering, sample fabrics underwent less shrinking, and had less naps. The stained fabrics also underwent less change in K/S values. With time-repeatedly-washing the original sample went through colorfastness to lose color. In crocking fastness, most samples produced good to excellent results under dry conditions but produced relatively low crocking fastness under wet conditions. Natural fibers especially showed lower crocking fastness than artificial fibers. In conclusion, garments of the same color should be laundered together. The black garments that are washed using neutral detergents can decrease the amount of damage from color change. While it is the responsibility of garment producers to provide appropriate quality indications they should also provide adequate instructions for consumers to understand and appropriately cope with the quality indications in order to contribute to establishing a correct laundering method.

• 복식
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• 제44권
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• pp.5-17
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• 1999

This paper studies women's clothing and textiles recorded in the『the Odes』, and refers research materials on the old commentaries about the『the Odes』and the various kinds of records and remains. The results regarding women's clothing in『the Odes』are follow: 1. Ti-i, Chin-i are the women's ceremonial dresses. Ti-i is a kind of the court dress and the shape is a long dress embroidered with pheasant. Chan-i belongs to the lower grade compared with the six ritual dresses worn by the queen and is made of Hu that is a kind of the white soft-wrinkled fabrics. 2. A women's I-Shang is composed of a blouse and a skirt. It is the classic style before the Sh n-I appears in China. Also we find that they use the standard colours for a blouse and the intermediate colours for a skirt in Chou period. 3. Chiung-I, Chiung-Shang and Hsieh-Pen are a kind of the robe put over the former garment made of Chin not to display to elegance. 4. Fu, Ch n-Fa, Pei and T'i are a kind of women's wig. Ti and the six-Chia are women's hair ornaments. Ch'i-Chin and Ju-L are a kind of the working women's turbun. 5. The women's belt ornaments are classified into the practical things and the decorational things like those for men. The results regarding fabrics in the『the Odes』are as follow: 1. The silk fabrics; There are Chin, Hu, Chou, Tz , Su, Hsiu. 2. The woolen fabrics; There is Ho. 3. The linen fabrics; There are the hemp and the ramie in the remains of Chou period. Also there are Ch'ih and Hsi categorized in Ko fabrics.

• 복식
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• 제53권1호
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

• 복식문화연구
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• 제15권6호
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• 한국조리학회지
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• 제20권4호
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• pp.100-114
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• 2014

본 연구는 퓨전한식 푸드 스타일링(Food styling) 요인이 고객만족도, 재방문 의도 및 추천 의사에 미치는 영향을 분석하여 퓨전한식 푸드 스타일링(Food styling) 발전과 이를 위한 마케팅 전략을 수립하는데 목적을 두고 2013년 8월 퓨전한식 레스토랑 방문 고객을 모집단으로 하여 조사를 실시 하였으며, SPSS 21.0(Version)을 활용 하여 150부의 유효한 설문지를 최종 분석에 사용 하였다. 분석 결과, 퓨전한식 푸드 스타일링(Food styling) 속성 요인이 고객만족도, 재방문 의도 및 추천 의사에 유의한 영향을 미치는 것으로 나타났으며, 퓨전한식 푸드 스타일링(Food styling) 속성 요인은 음식과 식기, 린넨, 센터피스, 커트러리, 글라스가 고객만족도, 재방문 의도 및 추천 의사에 유의한 영향을 미치는 것으로 나타났다. 이 연구는 우리 음식의 세계화를 위한 모던한 푸드 스타일링(Food styling) 발전을 위한 방안을 제시한다.

• 복식
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• 제52권7호
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• pp.123-138
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• 2002

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the 16th. 17th century with their normal style of dress. In brief. this study wants people to know about 16th, 17th century court dancing costumes and to understand the culture in the 16th.17th century. From the comparison between the court's dancing costume and the people's clothes, we could get the conclusion as follows. First, pourpoint. chemis, gown, chausses, etc. that people wore were used for the court's dancing costume. While people Pursued the beauty with the ample silhouette. there were used wrinkles. slits. and tailored oblique line-clothes that gave vitality. Second, silk. linen. brocade. etc. that were used for people's chemises were used for the dancing costume. The good quality and beautiful colors of the dancing costume. however. excelled than of the brilliant court's clothes and the people's clothes. Third. the hair style of dancers were very colorful. For example, there were many kinds of hats and furs, corals, etc. that were attached to them on the most of the long curly hair. In summary, for the court's dancing costume, the same type of clothes was used like the people's clothes. There, however, were differences. The slits, tailored oblique line-clothes and shortened skirt gave the activity. There were many decorations symbolizing the nobles' wealth and Power. Especially the use of the decoration of hair and other stake properties was an effective means for expression. The use of personified masks also contributed to the development of the court dance.

• 한국의상디자인학회지
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• 제11권1호
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• pp.169-179
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• 2009

In order to preserve the Korean traditional gold foil, to develop as Korean traditional textile art by utilizing in modem fashion for textile industry, and to examine utility of the material which can be used in the modem wearing, interior goods and fashion terms, Textiles Applied Korean Traditional Gold Foil were developed. The results are as follows: First, important factors of the gold foil image should be extracted as materials quality, color and pattern, and modem and practical qualities should be proceeded when developing the image of the gold foil into modem quality material. Second, since gloss of fabric developed by a traditional method is somewhat strong, uniformity being a little bit low for hand-made manufacturing, and practical quality is low for high cost, deletion of the gold foil, etc. So it hasn't been appropriate for studying modem fashion material. Third, Jacquard weave has been examined as the most appropriate method in order to present the gold foil image among a number of textile manufacturing techniques Fourth, considering factors deciding the image of the gold foil and a sense of beauty of modem society, gloss of the foil has been lessened by expressing pattern to lower traditional quality and primary color. Fifth, pattern motives of developed materials have been extracted tram traditional gold foil patterns, and materials have been chosen considering of concepts and motives, and dragon pattern, crane pattern and bat pattern, Sixth, wearing, pin-up works, bed linen, fabrics for chairs, ties, bags, shoes, umbrellas, etc. are produced with the developed materials, and practical use and modern quality have been examined. The result is very satisfactory.

• 한국의상디자인학회지
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• 제18권4호
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• pp.141-158
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• 2016

The objective of this study is to examine the type and characteristics of hat, and also to analyze the formative characteristics of hats shown in $Pr{\hat{e}}t-{\grave{a}}$-porter Collection. The literature review focused on the relevant technical books and preceding researches while the case study targeted 1,561 photos of hats shown in the 'Donga TV Collection'. The research range was from the S/S season of 2012 to the F/W season of 2015/16. The results of this study are as follows. 1. A hat is composed of crown and brim. In the results of classifying hats based on it, there were 572 crown-type hats, 533 hat-type, 219 cap-type, 156 irregular-type, and 81 brim-type in the order. 2. For the crown-type hats, they were mainly like cylindrical-type, bell-type, dome-type, and circle-type, using colors like black, beige, brown, red, mustard, and grey, and materials like wool, fur, velvet, straw, and metal while they were decorated with bead or lace. 3. For the hat-type hats, they were mainly like bell-type, ladder-type, and hemisphere-type, using colors like peach, white, gold, brown, and khaki, and materials like silk, cotton, straw, and wool while they were decorated with feather and ribbon. 4. For the cap-type hats, they were mainly like hemisphere-type, using colors like white, black, khaki, mustard, and purple, and materials like fur, leather, and wool while they were decorated with wappen and chain. 5. For the irregular-type hats, they were mainly like sandglass-type, box-type, animal-type, trumpet-type, and bell-type, using colors like purple, orange, pink, yellow, and sky-blue, and materials like metal, feather, mesh, plastic, straw, and linen while they were decorated with ribbon, net, bell, and flower. 6. For the brim-type visor, they were mainly like square-type, using colors like transparent, yellow, and black, and materials like plastic, cotton, leather, and metal.

• 한국임상수의학회지
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• 제15권2호
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• pp.472-475
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• 1998

A female Green iguana (Iguana iguana) was brought to the small animal clinic in Hannover Veterinary school because of anorexia and convulsion. Two months ago, the owner bought two iguanas, one female and one male and had to take a female to the one of local small animal clinic because she, born in 19931 didn't eat well and showed the tremor of the legs. The veterinarian suspected it to have a calcium deficiency and gave an injection of calcium and vitamin D3. But still during the last two months, the female iguana did only eat some lettuce while the other male ate lettuce, fruits and commercial cat-food ($Whiskas^{\circledR}$, Effem, Verden). It was not possible to evaluate the rations of these different "food-components". They are kept in the terrarium with water container. By palpation of the abdomen, hard thing like stone was palpated in the mid-region. The blood test wasn't carried out because of the difficulties of getting blood and because of her bad condition. It was firmly diagnosed as cystic calculus through radiography. Since the animal is in shock state already, the prognosis after surgery was bad. It was assumed to be too late to expect its surviving with the surgery carried out or without it. Cystotomy was performed in the cranial ventral paramedian incision in order to preserve the large ventral abdominal vein in the linen alba region. After two stay sutures ("holding suture" ) with 5-0 polyglactin 910 ($Vicryl^{\circledR}, Ethicon$) on the bladder, cystotomy was carried out and the stone inside was removed. Then, the bladder was closed in one-layer sutures. The abdomen was closed in simple interrupted suture with same material after the instillation of 10 ml saline solution into the abdominal cavity. The cystic calculus was in a size of $5.8{\times} 5.O{\times} 3.5 cm$. The analysis of the stone was carried out in two ways which are the infrared spectroscopy of the stone and quick analysis by $Merckognost^{\circledR}$(Diagnostica Merck, Merck). In the result of the infrared spectroscopy, the stone wee composed of 10% ammonium urate and 90% dihydrated uric acid. This iguana wasn't able to survive.n't able to survive.