• 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.

• 복식문화연구
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• 제20권3호
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• pp.330-346
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• 2012

The purpose of this study is to link traditional patterns to modern clothing. Of all the traditional patterns, the cloud pattern was chosen for use during the development of a modern one-piece dress design. This study is based upon document searches, including research papers. Through these searches, it investigates the symbolic meaning, historical change, and formation of the cloud pattern. Based on this investigation, the study attempts to modernize the cloud pattern and apply the modernized patterns to the design of a one-piece dress. The design procedure includes three sub-processes: selection, arrangement, and color-scheme. The selection process was divided in two: first, the original form of the cloud pattern was hand-drawn using tracing paper: second, the form of the pattern was edited using Adobe Photoshop. The arrangement of the pattern was made through the checklist conception method, containing the following functions: expand, reset, repeat, and overlap. For the color-scheme of the pattern, Roy Lichtenstein's(1923~1997) work was selected, and the colors in his work were adopted when dyeing the rest of the one-piece dress as well as the cloud features. In conclusion, six modern designs of the one-piece dress were created by using one of Korea's traditional patterns - the cloud pattern. Therefore, this study can offer invaluable suggestions for multifaceted research on how to come up with design concepts which apply Korea's traditional patterns to clothing design.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2002년도 International Costume Conference
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• pp.77-77
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• 2002

• 한국의류학회지
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• 제22권8호
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• pp.1001-1010
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• 1998

The purpose of this study was to investigate the images and characteristic formative elements of Korean traditional patterns. The Korean pattern image could be interpreted into visual elements of design based on the images, the characteristic formative elements of Korean traditional patterns, and their relationships. Fourteen patterns selected from 5 groups of Korean patterns were used as stimuli. An image evaluation using a 2-point sementica scale of 19 bipolar adjectives, and an impression evaluation of which results were presented by visual drawing using lines and shapes were carried out. The data were analyzed by correspondence analysis and cluster analysis. The major findings are as follows; 1. Fourteen patterns and 19 adjectives were marked on a perception map composed of two (x and y-) axes. The bipoles of x- and y axes were soft-hard and splendid-artless, respectively. 2. Four clusters semerged to account for the dimensional sturucture of 14 patterns and 19 adjectives. These were splendid image, soft image, individualistic image, and sophisticated image. However there was no pattern which belonged to the cluster, sophisticated image. The Korean pattern image was founded to be better related to the kind of patterns than the type of patterns. 3. The characteristic formative elements obtained from the impression test were contour of motif, repeated line or shape, various curved lines, and decorative elements. 4. The splendid image was related to Bongwhang patterns and detailed line and complexity. The individualistic image was related to the abstractive form of Bongwhang pattern and the decorative form of Cloud pattern both of which have the characteristics of point-symmetry and abstraction, and Turtle-back pattern. In this case, the related charac-teristic formative element was identified to be repeated lines. The soft image was related to Moran, Cloud, and Taegeuk patterns. The related characteristic elements were various types of curved lines, decorative elements, and rounded contours.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.87-96
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• 2007

Patterns have their own shapes and characteristics as a symbol in accordance with in what environment they are like a language. Especially our ancestor had wished present values as like riches and honors, longevity and health, love and happiness through all kinds of patterns of animals, plants, the sun, the moon, cloud, water and mountain, and expressed an aesthetic consciousness. Pattern design is important in fashion but it is insufficient in terms of the development of modern patterns based on Korean traditional patterns. Therefore, We need to create new senses and thoughts through the understanding and re-analysis about Korean traditional costume and a study on optical patterns could give an extreme effect without any changes of silhouette. Especially, Emilio Pucci and Missoni have been developing a variety of Pattern designs even though there are different tendencies each other. Consequently it could be a good chance to show Korean images and originality that develope the various textile patterns with applying to Korean traditional patterns based on an analysis of their works.

• 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.

• 문화기술의 융합
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• 제10권5호
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• pp.261-268
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• 2024

본 논문은 조선 후기의 왕실 보자기에 나타난 운보문(雲寶紋) 양식을 고찰하고, 이를 재해석하여 현대의 문화콘텐츠 산업에서 활용도가 높은 패턴디자인으로 개발한 것이다. 디자인의 원천은 서울공예박물관 소장 명안공주(明安公主)의 유물로 알려진 운보문단 보자기이다. 운보문은 운문(雲紋)과 보문(寶紋)이 조화되어 상서로운 의미를 지니는데, 왕실 보자기에 사용되어 귀한 예물을 소중하게 전달한다는 의미가 더해진 것으로 보인다. 왕실의 전통문화는 고품격을 지향하는 다양한 문화상품 개발에 활용될 수 있는 미적, 조형적 요소가 풍부하기 때문에 현대적으로도 활용가치가 매우 높다. 우리는 희소성 있는 왕실 보자기 유물을 고찰하고, 무늬와 조형을 가지고 대중적인 패키지 디자인으로 개발하여 전통문화와 디자인 융합에 있어서 또 다른 가능성을 제시하였다. 특히 보자기의 문양을 단순 차용한 것이 아니라, 이를 해체하여 2024년 패션 트렌드와 적극적으로 접목함으로써 독창적이면서 대중성을 높이는 패턴디자인을 개발하였다. 우선 디자인의 정확한 원형을 얻기 위하여 서울공예박물관에서 왕실 보자기 유물을 직접 조사하여 무늬의 형태와 특성에 관한 상세한 자료를 확보하였고, 이를 바탕으로 운문 1종, 보문 9종 안에서 총 14개의 디자인 모티프를 추출하였다. 이것을 가지고 2024년 패션 트렌드 중 도트 및 리본 패턴과 융합하고 재구성하여 총 6종의 패턴을 개발하였으며, 보자기로 물건을 포장한 모습과 유사한 디자인의 박스 형태에 패턴을 맵핑하여, 패턴디자인이 적용된 실제 패키지의 모습을 가상 구현하였다.

• 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.

• 한국의상디자인학회지
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• 제6권1호
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• pp.25-33
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• 2004

This study is aimed at reviewing how the Orientalism trend is expressed in the modem fashion in terms of silhouette, color, materials, and detail. To this end, the geographic scope of this study is limited to China, Japan, Korea, while data are collected from fashion collections, domestic and foreign magazines since 2000's, literature, and internet sites. The results of this study can be summarized as follows: 1. Silhouette: the basic square silhouette of the Oriental traditional costume do not disturb the body movement and have an effected on design to smoothly follow the body line rather than cutting out materials into several parts or emphasize the curved body. 2. Color: due to the influence of the Oriental Zen thought, color trend seems to pursue simplicity rather than complexity, and natural aesthetics. In addition, the Oriental colorfulness shall not be ignored. 3. Materials: golden embroidered material, polished satin, jersey, tough or rough materials, etc. have used with materials of the Oriental traditional costume came into fashion. In pattern, the Orientalism trend is expressive of pattern by Chinese ink-spread technique, simple brush touch technique, cloud pattern, lotus flower pattern or dragon pattern, all of which feature the Oriental calm aesthetics or those motivated by the Oriental traditional patterns. 4. Detail: the techniques of handicrafts and manual arts such as meticulous embroidery, tassel or patchwork reflect well the Orientalism trend in the modem fashion.

• 패션비즈니스
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• 제7권6호
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• pp.10-20
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• 2003

The object of this research is to develop the designs with aesthetics and function for making the uniforms of specialty restaurants of Korean dishes in pursuit of the image of excellent dignity and its result is as follows: As for designs, this research chose the traditional image as the basic concept and made visual Korean lines, colors, and patterns. As for lines, it made visual the curve of the eaves, the straight line of polls, and the fret of windows and doors represented in architecture and applied them, as for color tones, it chose traditional 'Obangsaek', five direction colors. As for the patterns, it symbolized 4 trigrams( Geon, Gon, Gam, and Yi), the cloud pattern, also it tried to get the formative beauty from traditional patchwork wrapping cloth and windows and doors. The expectant effects on the design of Uniform are as follows: First, it offered basic clothes for male and female employees working in the hall and suggested two kinds of skirt and pants for the latter. It tried to find out both the function of pants and the female beauty of skirts by wrapping on pants to eliminate the feeling of rejection towards the style of them, the use of which have been recognized for man only in spite of many merits of them. Second, it sought for the characteristics of shape on collar, breast-tie, and fold etc. of Korean clothes and designed clothes according to each employee's role and finally emphasized their traditional aesthetics.