• Journal of Fashion Business
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• v.11 no.5
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• pp.90-99
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• 2007

Arts is the expression of reasoning and conscious life of human and arouse human the concept of existence, utmost emotion and excellent thoughts. Also it makes humans life very abundant. I make it come first to get rid of the art thirst on the opposite sight of technical one for hair as on part of humans body. Next purpose is that to confirm the esthetic value of 'hair arts' by solidify the academic ground of beauty arts through creating 'hair arts' works and learning and make the direction for the beauty industry and education of the next generation. In this study I investigated the Greek myth(the background and develop)and the hair styles of ancient Greek Goddesses. On the basis of that symbols I elaborated hair formative works made of metal and studied, analyzed and displayed that. Work No.1 'Aphrodite' is the sculpture showing the win of love which animated. I formed it very active and vigorous. Next 'Birth of Venus', No.2, involves fineness and freshness. 'Fear of Medusa', the third piece, displays the very second when medusa was executed as a beautiful and active scene not a scary one. And lastly in 'Lovely Medusa' Medusa finally find the stability and it was expressed her beautiful and shining hair. So this study conducted based on the concept of practical hair and have made efforts to be close to theoretical manufacturing research needed at making hair arts works and academic one needed at organic design composition for pioneering new field, 'art hair.' I hope these 'hair arts' works make creativity of the practise hair alive. It will be very thankful to me if this study can help even though slightly for splendid beauty arts to make its status firm as a one part of arts, and there are following studies.

• Korean Institute of Interior Design Journal
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• no.6
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• pp.45-52
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• 1995

The presentation of the method by which the furniture and the architecture can be unified in one category, and the study and the verification on the mutual relation in the shape and the function are having been consistently made till the late twenties. The change of the social structure such as increasing the unit dwelling space with the small scale comes to need the efficiency in using space and the open dwelling space by the systematic spa-cial formation. Therefore, the understanding of the mean-ing and the characteristics of system furnitures as the design method which can meet such needs will be made here in this study. The application of the systematic consideration as the method of interior design means the formation of the firm image on the spacial environment through the mix-ture and link of the heterogeneous factors, the organic connection of each surface, the establishment of the natu-ral relation by linking the heterogeneous materials mutu-ally. and the easiness of the entire plan in the end. This study aims at analyzing and studying the typical charac-teristics by understanding the historical background and methodical principle which enabled the appearance of this kind of thought, and the adapted cases of the wood and metal material system furniture. There may be difference between the structural sub-stance and formative consideration. Transformative furni-ture which consists of the factors is the concept for the encrease of the multi purpose value by mixing the unit cabinets. One system can be separated horizontally, verti-cally, and to the drawers, and it gives us the disengage-ment from the artificial environment, since all the heights and width can be transformed as per each situa-tion of the space. The factors which can not be found in the other existing furniture are as follows. 1. disengagement from the artificial environment. 2. establishing the new productiosn trend as freed from the customers' fashion trend. 3. presenting the producing condition which leads the exact technology. 4. flexibility of the furniture which enables the reduction and enlargement in each situation.

• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.501-517
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• 2011

This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.

• Journal of Science of Art and Design
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• v.11
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• pp.5-35
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• 2007

When it comes to art, the two conflicting themes of 'scientific progress' and the 'nature' have often motivated the advent of the new mode of arts. By the late 20th century, uniform and simplified mode of arts, inspired by scientific and technological progress of that time, was gradually disillusioned by the contemporaries due to the adverse effect of science on human life. In this context, naturalism pursuing for harmony of human and the nature came up as an alternative to those living in the 21st century. The pendulum has swung from minimalism to naturalism. Though the quantitative improvement of human life cannot be denied, the uprise of such problems as environmental pollution and exhaustion of natural resources degraded the quality of human life, which, eventually, shifted the attention to the theme - 'revival of naturality.' Therefore, this thesis intends to represent the modem interpretation of the 'revival of naturality' by applying the major expressions of Art Nouveau that also emphasized naturalism. Art Nouveau found its motifs from organic figures of natural beings and put them to designs of decorative arts. This carries a historical significance in that Art Nouveau boldly revolutionized historicism, which only repeated adoption and modification of the existing modes of arts, and opened it to the modem design with new attempts to practical applications of the arts. Art Nouveau, which means 'new art', prospered from the late 19th century to the early 20th century, and even after one century, it is highly appreciated, reviving as novel and vivid forms in this contemporary art. Art Nouveau based on naturalism has revisited our contemporary period when naturalism and feminized romanticism came into fashion and its common motifs revive in different jenre of arts such as fashion, furniture, glass works, and jewelry works. This study illustrates and analyzes the works of four major artists who gave a specific attention to botanical motifs of Art Nouveau and applies decorative beauty of highly sophisticated and organic curved lines and the expressional forms of botanical figures to design. Art Nouveau proved this; the nature herself is as beautiful as she can be. Within Art Nouveau, the true humanism can be revitalized with the 'revival of naturality'. This study rediscovered the boundless potential of modern interpretation and application of Art Nouveau in decorative art and design.

• Journal of Adhesion and Interface
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• v.14 no.3
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• pp.117-120
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• 2013

The prepreg material is a sheet of the reinforcement pre-impregnated with a resin. In this study, two types of prepreg were prepared with a general phenolic resin and the polyvinyl butyral (PVB) modified phenolic resin, respectively, with resin content of 40 wt%. After resin impregnation, the prepregs were heat treated in an oven to make them the B-stage. Surface morphology of the prepreg was observed by using a scanning electron microscope (SEM). Tack property of the prepreg is one of the major properties that govern the ability of prepreg to be laid up. In this study, the tack of prepreg was measured under various test parameters by a probe tact test. Test parameters were contact time, contact force and debonding rate. Most of the tack properties of the prepreg increased with the test parameters. Then tack properties exhibited a linear behavior with test parameters before a saturation point. Also, the tack of prepreg was investigated in relation with the fibrillation phenomena involved in the prepreg surface with the debonding rate.

• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.130-144
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• 2017

The purpose of this study is to apply iconology to discover the symbolic system of imaginary animals focused on four representative auspicious animals in Korean folk paintings. Study methods included literature review of folk paintings, iconological analytics books, and articles. A total of 16 folk paintings of four auspicious animals in the Joseon Dynasty were analyzed using Panofsky's iconology. The four auspicious animals were Yong(dragon), Bonghwang(the eastern version of the phoenix), Shingoo (divine turtle), and Kirin(one-horned combination of a dragon and horse). According to iconological analysis, Yong is a typical symbol of royal authority, a deity of water as an object of respect with a remarkable talent of transformation, and in iconographical interpretation, represents reverence for transcendent power. Bonhwang is the symbol of a king, sun worship, the emblem of nobility and integrity, and in iconographical interpretation, the psychic bing in the sky. Shingoo is fortune prophecy, longevity and immortality, an envoy of deity, and according to iconographical interpretation, the organic view of the world. Kirin is a divine benign creature, a symbol of talent and honor, mediator between sky and earth, and in iconographical interpretation, an expression of Confucian ideology. This study produced three results. First, the four auspicious animals projected the human hope to overcome human limitations through divine creatures with mythical abilities. Second, they reflected everyday common hopes and values of pursuing fortunes and happiness. Third, the four auspicious animals' iconology was not independent of each other; it seemed to be common to and combined with each other.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2011.03a
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• pp.53-53
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• 2011

Poly(lactic acid)(이하 PLA라 칭함)는 1970-80년대의 초기 연구에서는 높은 제조비용과 희귀성에 의해 봉합사와 약물전달시스템으로 용도가 제한적이었으나 1980년대를 거쳐 1990년 이후 농업의 혁신적인 변화를 거쳐 옥수수의 다양한 측면의 이용의 하나로서 6-7년 전부터 양산화에 성공하여, 의류, 필름 및 플라스틱의 여러 가지 분야에서 적용가능성을 모색하고 있다. PLA의 장점은 석유가 아닌 천연 원료에서 얻을 수 있으며, 기존의 합성섬유와는 달리 일정한 조건하에서 미생물 등에 의해 물과 이산화탄소로 90% 이상 분해되는 친환경적인 소재이다. 합성섬유에서 의류용으로 대부분 사용되는 폴리에스테르(이하 PET라 칭함)와 유사한 물성을 가지고 있는 PLA섬유는 PET섬유와 유사한 분산염료로 염색할 수 있다. 따라서 PLA섬유는 분산염료에 의한 염색법을 중심으로 연구되어지고 있으나, PET 섬유의 융점이 $254^{\circ}C$부근인 반면, PLA섬유는 $160-170^{\circ}C$부근이다. 이로 인해 PLA를 섬유로 용도전개에 있어서 약점으로 작용하고 있다. 그러나 PLA섬유는 특유의 경량감과 새로운 촉감 등의 많은 장점을 지니고 있어 여러 가지 용도전개가 되어지고 있다. 초음파는 사람이 들을 수 없는, 사람마다 한계값은 다르지만, 주파수 약 25kHz이상의 음파를 말하며, 주파수가 높고 파장이 짧기 때문에 강한 진동을 수반한다. 초음파의 이용 원리는 Cavitation이라는 현상으로 생성된 기포가 터지면서 강력한 에너지를 방출한다. 이것은 강력하여 사방으로 퍼져 물질표면이나 내부에 영향을 미친다. 섬유에서는 표면에 뭍은 불순물을 제거하는 세정 등에 응용되고 있으며, 염색분야에서도 다양하게 연구되어지고 있다. 본 연구에서는 초음파에 의한 PLA섬유의 염색성을 조사하였다. PLA섬유를 정련하여 초음파작용의 유무에 따라 염색하여 그 결과를 고찰하였다. 초음파 작용에 따른 분산염료의 표면 색변화는 없었으며, 섬유 표면 색 농도의 차이는 초음파 작용에 의하여 저온에서는 차이가 나타나지만, 고온인 $80^{\circ}C$에서는 오히려 낮아졌다.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.1
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• pp.50-66
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• 2010

This Shanghai region study is a sample survey of female college students in their early 20s. This study collected and analyzed the information of shapes through a direct contact survey to understand the breast figures and the measurements of bodies to provide basic information to improve brassiere production for adult females in China. Data was analyzed through a SAS 9.0. The characteristic of the final brassiere pattern that had been corrected and complemented from the results of the $l^{st},\;2^{nd},\;3^{rd}$, and $4^{th}$ fitting tests is defined as a brassiere inserted with a round wire that has the 3/4cup to wrap the bust area by about 3/4. It consists of an upper and lower nonwoven fabric cup that has a flat-shaped wing of a circular dart. The drawing method of the pattern of this brassiere is applied with the conditions to cover the body naturally under the diverse and organic relations of the material factor of stretch material and wire, functional factor, and sewing factor. The final pattern is created as a bigger angle of wing pattern and a short inner side diameter because there are more Chinese women with a back of bending figure compared to Korean women.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.5
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• pp.946-955
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• 1997

The purpose of this study is to present the aesthetic values of the Korean traditional costume for developing 'Korean' fashion design can be accepted in general in the modern times. For this purpose, documentary studies about the aesthetic values of the Korean traditional art and Korean traditional costume were preceded. And the perception of the Korean traditional costume were studied according to Belong's two criteria, body priority/ clothes priority and open/closed. Next, the aesthetic values of the Korean traditional costume were re-defined. The results can be summarized as follows; 1) The aesthetic values of the Korean traditional art are the beauty of nature, the purity, and the pleasantry. As the beauty of nature is the important one, the purity is caused by the love of nature. The pleasantry is as a way of expression. 2) The aesthetic values of the Korean traditional costume through the documentary studies stand for as the beauty of nature, the purity, the beauty of evil's eye, the beauty of symbolism, the beauty of personality, the beauty of tragedy and the beauty of tradition. 3) Korean traditional costume are perceived as clothes priority and open. 4) The aesthetic values of the Korean traditional costume can be re-defined as the beauty of nature, the purity, and the pleasantry. The beauty of nature comes from the 'natural' look, the exposure of the fabric as itself and the organic lines of the Korean traditional costume. The purity comes from the geometrical squared clothing form of Korean traditional costume which doesn't revive the human body form. The Pleasantry is seen the colors and motifs of costumes that have the human's hope and incantation and the exaggeration and distortion of human body form.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2012.03a
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• pp.53-53
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• 2012

Poly(lactic acid)(이하 PLA라 칭함)는 초기 연구에서는 제조비용과 희귀성으로 봉합사 등의 의료용 등의 용도가 제한적이었으나 1980년대의 유전공학의 발전과 이를 바탕으로 1990년 이후 농업의 혁신적인 변화를 거쳐 옥수수의 여러 측면의 이용 중의 하나로서 2000년 초에 양산화에 성공하여, 의류, 필름 및 플라스틱의 다양한 분야에서 적용되고 있다. PLA의 장점은 석유가 아닌 천연 원료에서 얻을 수 있으며, 기존의 합성섬유와는 달리 일정한 조건하에서 미생물 등에 의해 물과 이산화탄소로 분해되는 친환경적인 소재이다. 합성섬유 중에서 의류용의 대부분 차지하는 폴리에스테르(이하 PET라 칭함)와 유사한 물성을 가지고 있는 PLA섬유는 PET섬유와 유사한 분산염료로 염색할 수 있다. 따라서 PLA섬유는 분산염료에 의한 염색법을 중심으로 연구되어지고 있으나, PET 섬유의 융점이 $254^{\circ}C$부근인 반면, PLA섬유는 $160-170^{\circ}C$ 부근이다. 이로 인해 PLA를 섬유로 용도전개에 있어서 약점으로 작용하고 있다. 그러나 PLA섬유는 특유의 경량감과 새로운 촉감 등의 많은 장점을 지니고 있어 여러 가지 용도전개가 되어지고 있다. 배트염료는 그 자체로서는 불용성으로 섬유와 친화성이 낮지만, 알칼리성 환원욕에서 셀룰로오스 섬유 등에 친화성이 있다. 화학구조적으로 안트라키논, 인디고계가 주류를 이루고 있으며, 색상적으로는 화학구조의 제약으로 선명도가 약깐 낮은 중간색 계통이 대부분이지만, 견뢰도 면에서는 다른 염료에서는 얻을 수 없는 높은 견뢰도를 가지는 것이 배트염료가 지니는 장점중의 하나이다. 셀룰로오스계 섬유에 주로 이용되는 배트염료를 나일론과 폴리에스테르 중심으로 합성섬유에 적용하는 연구 및 실용화가 되어지고 있다. 본 연구에서는 Indigo Blue 1을 중심으로 염색된 PLA섬유의 반복 세탁에 의한 염색물의 변 퇴색성을 조사하였다.