• 한국생활과학회지
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• 제15권3호
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• pp.405-416
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• 2006

We, in this thesis, examined the similarities and differences of bat patterns in China and Korea, along with a consideration of how two peoples understood bats and how their understanding of bats developed and also influenced the bat patterns. As for research period, the Ming(明) dynasty and the Qing(淸) dynasty in China and the Chosun dynasty in Korea were considered. The subjects of this study included clothes, personal ornaments, and embroidery. This research was done by comparing and analyzing the similarities and differences of two countries' bat patterns. The results of comparing and analyzing Chinese and Korean bat patterns were as follows: In terms of similarity, people of two countries understood bat patterns as the symbol of happiness. Therefore, they were used in clothes, personal ornaments, and daily necessities. In terms of difference, bat patterns of two countries had different shapes. In China, colorful and realistic single bat patterns were shown as intensive composition, whereas in Korea plain and simple bat patterns were used. These differences resulted from different way of understanding of bat patterns. It can be concluded that the bat patterns can be a great cultural commodity with high commercial values, if the traditional pattern is used as a unique element of the Oriental designs and altered and developed to attract consumers' attention.

• 산업경영시스템학회지
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• 제46권2호
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• pp.1-12
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• 2023

To make semiconductor chips, a number of complex semiconductor manufacturing processes are required. Semiconductor chips that have undergone complex processes are subjected to EDS(Electrical Die Sorting) tests to check product quality, and a wafer bin map reflecting the information about the normal and defective chips is created. Defective chips found in the wafer bin map form various patterns, which are called defective patterns, and the defective patterns are a very important clue in determining the cause of defects in the process and design of semiconductors. Therefore, it is desired to automatically and quickly detect defective patterns in the field, and various methods have been proposed to detect defective patterns. Existing methods have considered simple, complex, and new defect patterns, but they had the disadvantage of being unable to provide field engineers the evidence of classification results through deep learning. It is necessary to supplement this and provide detailed information on the size, location, and patterns of the defects. In this paper, we propose an anomaly detection framework that can be explained through FCDD(Fully Convolutional Data Description) trained only with normal data to provide field engineers with details such as detection results of abnormal defect patterns, defect size, and location of defect patterns on wafer bin map. The results are analyzed using open dataset, providing prominent results of the proposed anomaly detection framework.

• 한국의류학회지
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• 제37권6호
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• pp.750-763
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• 2013

This research suggests pattern design methods for motion through an evaluation of the appearance and motion of three existing kinds of original patterns (K type, N type, and L type) and modified patterns designed by the researcher. The results of the study are as follows. First, the evaluation of appearances showed that the modified patterns of a standing posture received a higher evaluation compared to the original patterns only in N type and in a sitting posture. In addition, the degree of lowering or a natural feel by the pulling of the slacks waist belt in a sitting posture received a higher evaluation than the original patterns. Second, the evaluation of motions showed that modified patterns received a higher evaluation than the original patterns in almost all items. Per each pattern, it showed meaningful differences in questions asking about the degree of comfort as the whole in N type in crouching motions. The L type showed low scores as a whole (both in original patterns and modified patterns) and the K type showed meaningful differences in questions asking about the degree of comfort of the crista iliaca and groin region in the motion of walking at a normal walking pace, ascending stairs and bending the waist 90 degree to the front. Third, the measuring distance the between back waist point of the body and the back waist point of original patterns and modified patterns during motions showed that the modified patterns of all three patterns (N type, L type, and K type) showed less lowering compared to the original forms in the whole pattern as well as individual patterns. The design method of back waist point developed in this research can be regarded as a design method appropriate for motions.

• 한국의류학회지
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• 제35권3호
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• pp.359-370
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• 2011

This study analyzes the textiles design of natural indigo dyed products in Korea and Japan. In this study, a total of 556 Korean natural indigo dyed products, and 2,730 Japanese natural indigo dyed products were used for analysis. The subjects of this study were 556 natural indigo dyed products and 2,730 Japanese natural indigo dyed products selling natural indigo dyed products which were found using search engine keywords of natural indigo dyeing and natural dyeing. Research and analysis was treated regarding the products, items, patterns, and the representation techniques of the patterns. The results of this study are as follows. In the pattern used for natural indigo dyed products, 71.4% of Korean products have no pattern, but 77.1% of Japanese products have patterns. On the representation techniques of the patterns, Korean products used tie-dyeing and a dip patterned fabric. While in the Japanese products, the most frequent patterning techniques were paraffin dye, followed by tie-dyeing, yarn-dyed and weaving, screen printing, and yarn-dyed and knitting. Regarding the kinds of patterns for natural indigo dyed products, only 8 kinds of patterns were used in Korean products; however, over 50 kinds of various patterns were used in Japanese products. Most patterns in the Korean products were ion patterns made by tie-dyeing. While in the Japanese products, the most frequent patterns were stripe patterns, followed by flower, dot, and ion patterns. Based on these research results, the problems of the textile design of Korean natural indigo dyed products were that most of the products have no pattern, and even though there were patterns, they lacked variations between the products. While in the case of Japan, they used the traditional and modem patterns of various textile representation techniques.

• 한국의상디자인학회지
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• 제23권3호
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• pp.23-42
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• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.

• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• 대한수학교육학회지:수학교육학연구
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• 제21권1호
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• pp.67-86
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• 2011

본 논문의 목적은 초등학교 1학년 학생들의 수학적 패턴 인식과 사고 과정을 살펴보는 것이다. 이를 위해 반복, 증가, 변형 패턴을 각각 그림과 숫자형태로 구별하여 116명 학생들의 패턴 인식 경향을 분석하였고, 4명의 학생들과 면담을 통해 패턴 인식과 관련된 사고 과정을 분석하였다. 패턴 인식에 관한 연구결과 학생들은 반복, 증가, 변형패턴순으로 인식이 높았다. 또한 반복과 증가패턴에서는 그림과 숫자 형태간에 유의미한 차이가 없었으나, 변형패턴에서는 그림 형태에서 더 높은 점수를 얻었다. 패턴에 따른 사고과정을 분석한 결과 학생들은 패턴을 하나의 묶음으로 생각하는 경향이 있었고, 세기 전략을 통해 문제를 해결하고자 하였다. 이와 같은 연구 결과를 통해 본 논문은 1학년 학생들이 패턴을 어떻게 인식하고 사고하는지에 대한 경험적 근거를 제공한다.

• 한국의상디자인학회지
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• 제2권1호
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• pp.21-35
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• 2000

The purpose of this study was to evaluate the preference of image for modern application of Korean traditional patterns. A survey was conducted using the randomly selected 292 undergraduate women students of Taegu city. The degree of interest and preference in Korean traditional style or something like that had measured by 5 scale method. And then they had two groups which are interest/non-interest group, and preference/non-preference group in Korean traditional style. Also, preference of Korean traditional patterns was measured by 5 scale method. The image of Korean traditional patterns consisted of semantic differential scales. Analysis was by frequency, percentage, and mean. For difference of groups analysis was by t-test. The results were as follows:1. For the survey, 53.8% showed the interest and 40.4% did the preference for the traditional patterns. There was the positive correlation(0.782) between the degree of the interest and preference. 2. Among twenty traditional patterns, the patterns of plants and nature were very preferred, but the patterns of geometrical things was not preferred. 3. For the nature pattern, the image seemed to be elegant and feminine(womanly). For the plant pattern, the image seemed to be feminine, neat, weak, light and mild. For the animal pattern, the image seemed to be heavy, gorgeous, deluxe, virile(manly), strong and active. Last, for the geometrical pattern, the image seemed to be elegant, deluxe, rigid and strong. 4. Between the interest／non­interest groups, there was the significant difference in pattern of cloud, mountain, lotus flower, plum blossoms, orchid, dragon, chinese phoenix and bogy. Especially, for the orchid pattern, the preference difference between these groups was large. 5. For the plant pattern, the image difference between these groups was very large as the elegant-rustic image. Especially, the interest group evaluated as the elegant image. 6. Between the preference／non­preference groups, there was the strongly significant difference in the preference for the orchid pattern. 7. For the geometrical pattern, the image difference between these groups was very large as the mild­cold image. Especially, the preference groups evaluated as the cold image.

• 복식
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• 제59권9호
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• pp.71-86
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• 2009

This study examines plant patterns expressed on the fabrics during the Goryeo Dynasty and many countries in the Chinese continent and analyzes their symbolism and formativeness. This study deals with clothes which is one of the most fundamental aspects in a culture and plant patterns on them; it examines the overall formativeness of plant patterns in East Asia from the 10th century to the 14th century by studying plant patterns in the Goryeo Dynasty and the contemporaneous dynasties in the Chinese continent - Five Dynasties, Song Dynasty, Western Xia Dynasty, Liao Dynasty, Jin Dynasty and Yuan Dynasty. The plant patterns of each country were categorized by the type of plant. The composition and expression of plant patterns were examined and statistically analyzed. Small flowers were found in Goryeo fabrics twice more than other types that could be clearly identified, and peony was the most popular flower used in Chinese fabrics. In terms of composition of plant patterns, both Goryeo and Chinese fabrics had plant only patterns more frequently than the patterns mixed with animals or jewels. Regarding expression methods of plant patterns, the most common one in Goryeo fabrics was the petal-type, while the branch-type is the most common one in Chinese fabrics. The plant patterns of the Goryeo Dynasty show beauty of simplicity with minimalism and simplification while expressed with brilliant sold threads on dark background, such as purple or light green, so the overall feeling of fabrics was simple yet nobel.

• 복식
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• 제66권7호
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• pp.34-49
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• 2016

The ancient 'sacred cloths' of Indonesia have diverse characteristics. The purpose of this study is to analyze the characteristics of ancient Indonesian textiles, focusing on 'sacred cloths.' The research is divided into two parts. The first part analyzes the creation period, religious importance, region where the cloths are found, and color of the 'sacred cloths.' The second part focuses on the textile-making techniques and the ritual patterns of the 'sacred cloths.' This research is the second paper. This research analyzes 225 Indonesian sacred cloth examples chosen for their religious function in ceremony, and reviews 10 books and 8 research papers. Field research was done in the Museum of Bali, the Indonesian Museum of Textiles, and nine weaving production houses in eastern Bali. Indonesian sacred cloths express their cultural philosophy and function through production techniques, colors, techniques, and visual patterns. The 'sacred cloth'-making techniques are classified as Batik, Prada, and Ikat. The regions that contribute to the textile production determine what patterns show up on the cloths. Sumatran patterns are philosophical, lavish, and prestigious. Bornean patterns are barbaric and prestigious. Balinese patterns are complex, decorative, warm, festive, calm, and aristocratic. Javanese patterns are symbolic and repetitive. Celebes patterns are artistic and simple. Nusa Tenggara patterns are symbolic and narrative. The forms shown on the textiles, whether geometric, human and animal, natural objects, or abstract patterns, determine how to classify the varied patterns. As a result, ancient Indonesian sacred cloths characteristics portray Indonesian identity as Bhinneka Tunggal Ika(Unity in Diversity).