• Journal of the Computational Structural Engineering Institute of Korea
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• v.18 no.2
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• pp.113-121
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• 2005

In order to resolve a common numerical integration inaccuracy of meshfree methods, we introduce an improved natural clement method called Petrov-Galerkin natural element method(PG-NEM). While Laplace basis function is being taken for the trial shape function, the test shape function in the present method is differently defined such that its support becomes a union of Delaunay triangles. This approach eliminates the inconsistency of tile support of integrand function with the regular integration domain, and which preserves both simplicity and accuracy in the numerical integration. In this paper, the validity of the PG-NEM is verified through the representative benchmark problems in 2-d linear elasticity. For the comparison, we also analyze the problems using the conventional Bubnov-Galerkin natural element method(BG-NEM) and constant strain finite clement method(CS-FEM). From the patch test and assessment on convergence rate, we can confirm the superiority of the proposed meshfree method.

• Journal of the Korean Society of Costume
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• v.53 no.3
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• pp.107-119
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• 2003

The purpose of this study is to explore ways toward the hat design development by looking into the formative and aesthetic characteristics of the works of Philip Treacy, the designer who raised hats to one of the important fashion accessories. This study concretely investigates the formative characteristics of Treacy's hats in terms of shapes, materials, colours and decorations. According to this study, the shape of his hats shows the natural and specific objects in three dimensions, not in basic shape of hats. He uses combination of a variety of materials, adding unique materials to existing ones, so that they not only create a specific atmosphere but also extend the limitation which used to be thought as materials for hats. In the field of colour, he mainly used black and white until 1999, but since 2000 he has been using vivid and splendid colors. And he uses feathers or nets for decorations of the hats. As the result of the comprehensive analysis of Treacy's works, this study characterizes his works by surrealistic, three-dimensional, rhythmic and future-oriented. Therefore, Philip Treacy's hat design can be defined three dimensional considering the formative beauty, and can be characterized by use of unique materials, vivid & bold colours, moderate decorations, f variety of lines, and asymmetrical structures. These characteristics show surrealistic, three-dimensional and futuristic message which rhythm can be felt. He presents unlimited capability in hat designs as a representative of human being's basic will for creating new ones beyond this real world. It is considered that this study can help broaden the limitation of the hat design which used to repeat simple forms in the Past and help explore ways for developmental direction of hat design in the future.

• The International Journal of Costume Culture
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• v.6 no.1
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• pp.38-51
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• 2003

Peking Opera, one of a representative Chinese dramas, is a synthesis of drama and stage art. Peking Opera's stage costume was set up in Qing dynasty though its style was embellished with mainly Ming dynasty's clothing style. The special patterns in the clothing were very important because they classified social rankings. There are two kinds of roles in Peking Opera. Sheng stands for male roles and Dan stands for female roles though Dan had traditionally been acted by male actors with female attire until the ruling of the People's Republic of China. There are five different kinds Peking Opera's stage costume. First, Mang is a formal dress for kings and generals. It is a very delicate long Po with special patterns. It has several names depending on the color and shape of a dragon. Second, Pee is a casual attire for kings, government officials, and their families. It is also a long Po with front opening and symmetrical neckline. Third, Kao is an armor of warrior which is made not for protection in a real war but for ornament of a formal dress. Kao reflects the wearer's authority when the wearer stays still, but it is a comfortable clothing for big dancing moves once the wearer starts dancing. The wearer puts a banner into the shoulder to alarm tension of a war. Fourth, Cheup is an outfit that one wears the left part adjust to the top. There are different lengths of Cheup and it has a straight neckline. There are twenty-one different kinds of Cheup according to its shape and color. Last, Yi is name for the rest of Peking Opera's stage costume other than Mang, Pee, Kao, and Cheup.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.4
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• pp.648-662
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• 1993

The summarized findings resulted from experiments and investigation are suggested as follows ; The analysis of measurements on the lower limb movements : For this experimentation, data was collected from three hundred and eighty female, age 19 to 23, who answered five lower limb movements(M1~M5). The statistics show that the order of the expansion ratio is gluteal area-length/knee-girth/back-line/knee-depth/thigh-depth/hip-girth, from the highest to the lowest in all movements. When comparing the correlation coefficient of the measurements, the values of the correlation coefficient of the height and the length items are very low, but those of the girth, the breadth, and the depth items are relatively high and those of the waist and the hip items are highest. For more sophisticated analysis, the factor analysis was conducted on the lower limb movements. Four factors were classified on the factor load by the "varimax rotation" method. Each movement shows the most important factor differently, as follows ; the most important factor in M1 is "the shape factor of lower limb below hip-line", that in M2 is "the cross-sectional shape factor", that in M3 is "the size factor of abdominal and loins region", and those in M4 and M5 accord with the interpretation of M3. When the investigation of the estimated function was conducted, in the selectional case of representative items on the slacks construction, it found that it would be better to add abdomen and thigh items as important considerations to waist girth, hip girth and crotch length.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.2
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• pp.224-241
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• 2017

This study considered the change process for Western style shoes in Korea during the time of modernization in the 1920s to 1930s. Western style shoes were one of the items imported by foreigners since the Joseon Dynasty and had a significant impact on Korean dress code. It influence started to spread in the 1900s; however, few high level people wore Western shoes until the 1920s. The trend started to spread through newspaper advertisements and news articles after the mid 1920s. Western shoes such as modern girl and modern boy in the 1930s then entered into Korean culture. Korea under Japanese colonial rule was reorganized on a war footing in the latter half of the 1930s and the main materials for western shoes (cow leather, horse leather and sheepskin) were mobilized as materials for war production; subsequently, new materials using rubber were introduced. The representative material is 'Marine Leather (水産皮革)' and Sharkskin 'Gyoheok (鮫革)' and Whaleskin 'Gyeongpi (鯨皮).' Form is like the material has changed over time. This study also observed the flow of westernized Korean modern shoes as well as analyzed the details of materials and shape of western shoes by period. This represent basic materials to understand the legacy of western shoes in the age; in addition, systemic summary is organized by each kind, shape and materials for each style of western shoes.

• Journal of architectural history
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• v.17 no.5
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• pp.71-94
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• 2008

This study examines the examples and changes of wooden member terms in Yeonggeon-euigwe(營建儀軌) in the era of Joseon Dynasty. As a result of examining examples, about 240 wood member terms were found on the basis of phonetic value and examples different from today's term use were also confirmed. Wood member terms were derived in variety and synonym and different style, that is, coexistence or transition of several notations as the term indicating the same member was found. Derivation of detail terms has the characteristic increasing on the basis of morpheme and formation of different notation followed Chinese notation or was caused by complex coinage features like a coined word of Korea by the meaning of a word and borrowed character notation borrowing sound and it is also related to the specificity of that time which had dual language system. The typical examples without different style for long were pillar, rafter, door and window. Examples with active generation and selection of different styles included beam, capital and bracket-system terms. Different styles were caused by the combination of several notations including borrowed character in the process of Chinese character notation borrowing sound, Korean unique character emphasizing and limiting combination of 木 (wood) with side of character and Chinese. Period showing remarkable change of example notation was the compilation of ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ 華城城役儀軌. ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ is the representative type uigwe made by printed type not by handicraft. Printing by type accompanies unification of the shape of a character necessarily and it was considered that it resulted in the unification of character of different style, the number of strokes and minute difference of strokes, and it was interpreted that common use of intentional notation with the unification of the shape of a character was achieved.

• Journal of electromagnetic engineering and science
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• v.16 no.2
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• pp.87-99
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• 2016

This paper describes an implementation method and the results of numerical mobile phone models representing real phone models that have been released on the Korean market since 2002. The aim is to estimate the electromagnetic absorption in the human brain for case-control studies to investigate health risks related to mobile phone use. Specific absorption rate (SAR) compliance test reports about commercial phone models were collected and classified in terms of elements such as the external body shape, the antenna, and the frequency band. The design criteria of a numerical phone model representing each type of phone group are as follows. The outer dimensions of the phone body are equal to the average dimensions of all commercial models with the same shape. The distance and direction of the maximum SAR from the earpiece and the area above -3 dB of the maximum SAR are fitted to achieve the average obtained by measuring the SAR distributions of the corresponding commercial models in a flat phantom. Spatial peak 1-g SAR values in the cheek and tilt positions against the specific anthropomorphic mannequin phantom agree with average data on all of the same type of commercial models. Second criterion was applied to only a few types of models because not many commercial models were available. The results show that, with the exception of one model, the implemented numerical phone models meet criteria within 30%.

• Journal of Fashion Business
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• v.13 no.4
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• pp.124-136
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• 2009

This study was focused on classifying lower-body trunk and revealing the lower-body characteristics of the Chinese males in their 20s through 40s for their slacks pattern design. Compared with the 20s, the subjects in their 30s and 40s had small vertical and big horizontal sizes and showed a somatotype difference through a horizontal change. According to the size of absolute values, the lower body of Chinese men was "tall and normal trunk"(43.9%). Based on the shape of index values, Type 3(40.3%) was representative with average hip-surface length, waist-hip width difference and long upper hip. While Type 3 was seen a lot in the 20s(51.8%), 30s and 40s were each represented by Type 2(47.1%) with the smallest waist-hip width difference, average upper hip, and long hip-surface length and Type 1(45.9%) with small waist-hip width difference, average upper hip, and short hip-surface length. As this study is confined to Ningbo City of Zhejiang Province and has a small number of subjects, the generalization of the findings should be more serious. Further research will be centered on the development of slacks patterns in consideration of the body type changes.

• Fashion & Textile Research Journal
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• v.20 no.6
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• pp.722-732
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• 2018

This study was to develop a dress form that is highly representative of the body shapes of senior men in their 50s and 60s. And this research was compared the measurements and forms of three different dress forms available in the market, in order to analyze the body type and suitability and provide a standard for developing and utilizing the dress forms. After extracting the body shapes of the senior men's 3D shape, the body type that is curvature on the back prevalent among senior men, was chosen. The dress form was created as follows: 3D modeling and rendering, printing with a FDM-type 3D printer. The dress forms were 3D-scanned and the 3D data was analyzed - classification drop value, area deviation, compared horizontal section and vertical section. The results were as follows: This suggested that the area deviation amount at the chest and hip circumference levels was larger in the commercial products than in the dress form in this study, while that at the waist circumference level was larger in the dress form in this study. The vertical length of the lateral shoulder point-waist circumference was smaller, the side shape showed severe curvature on the back, and the waist circumference was larger in the senior men dress form than the commercial products. The dress form developed in this study reflected the body type of senior men and, therefore, were suitable for fitting when creating clothes for senior men.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.3-17
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• 2020

Through color analysis and survey of seasonal display cases using flower materials in department stores, hotels, and retailers, which are representative commercial spaces in Korea and abroad, it is designed to recognize the need for color planning that applies seasonal colors and emotional adjectives, away from the traditional method of relying on the season, shape and texture of materials, in the process of flower displays. The research method analyzed the colors used in the 48 domestic and foreign commercial space flower display cases collected. Based on this, the first expert questionnaire collected adjectives extraction and seasonal coordinates reminiscent of the case and examined the suitability of emotional adjectives extracted by the second public survey. The research results extracted typical colors and tones of spring, summer, fall, and winter, and recognized seasonal emotional adjectives. Based on these results, We could see that the color scheme should be advanced in the flower display, which used to depend solely on the shape or texture of the flower material, to produce the intended emotional design.