• Composites Research
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• v.18 no.6
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• pp.9-18
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• 2005

With the wide applications of fiber-reinforced composite material in aero-structures and mechanical parts, the design of composite joints have become a very important research area because the joints are often the weakest areas in composite structures. This paper presents an analytical study of the stress distributions in mechanically single-fastened and multi-fastened composite laminates. The finite element models which treat the pin and hole contact problem using a contact stress analysis are described. A dimensionless stress concentration factor is used to compare the stress distributions in composite laminates quantitatively In the case of single-pin loaded composite laminate, the effects of stacking sequence, the ratio of a hole diameter and the width of a laminate (W/D ratio), the ratio of hole diameter and distance from edge to hole (E/D ratio), friction coefficient and clamping force are considered. In the case of multi-pin loaded composite laminate, the influence of the number of pins, pitch distance, number of rows, row spacing and hole pattern are considered. The results show that P/D ratio and E/D ratio affect more on stress distributions near the hole boundary than the other factors. In the case of multi-pin loaded composite laminate, the stress concentration in the double column case is better than the other cases of multi-pin loaded composite laminate.

• Journal of Conservation Science
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• v.37 no.2
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• pp.120-134
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• 2021

A Woolen carpet from the late Joseon Dynasty was unearthed in the process of repairing Seongjeonggak in Changdeokgung. Since relics are rarer than documentary records, the woolen carpet is highly valued as a relics. It is presumed to have been woven in the late 19th or early 20th century because there is a record of repairing Seongjeonggak in 1907. In the carpet, a pattern is made by inserting colored yarn dyed yellow and red onto a reddish-purple ground weave. The selvage of the woolen carpet used cotton thread, and jute is used for the warp and weft of the ground weave. The colored patterns is made of wool in the form of loop pile. Cut piles may appear occasionally when the colored yarn changes, but are almost invisible from the surface because they are pressed tightly with a shuttered weft. Making carpets with jute and wool is thought to be influenced by the Brussels carpets of the mid-18th century. Furthermore, the woolen carpet is torn and the pattern is completely unclear; however, it is understandable that the pattern is partially repeated. Microscopic and Fourier transform-Infrared spectrometer(FT-IR) analyses were performed for the above investigation. To identify the dyes used in relics, we compared them with natural dyed fabric samples based on chromaticity measurements and Ultraviolet/Visible spectrophotometer(UV-Vis) analysis. These analyses revealed that the woolen carpet's dyed green yarn did not use indigo, and reddish-purple ground weave is estimated to have used Caesalpinia sappan.

• Conservation Science in Museum
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• v.15
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• pp.96-121
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• 2014

Portrait of Sim Huisu is a seventeenth-century Joseon portrait of a meritorious vassal. The National Museum of Korea currently owns two portraits of Sim Huisu, which are the eldest son's family and by the eldest grandson of the family's second eldest son. Both were donated in 1980. Portraits were still in its original mounting, but the supporting silk had been damaged and stained in a flood. Conservation treatment was undertaken to restore the original style, and scientific analysis, such as, X-ray, XRD, XRF and Graff "C" stain, was conducted to study the materials and painting techniques. The support silk was found to be refined fibroin and a plain weave consisting of two weft threads and one warp thread. The lining papers were found to be bamboo fiber paper of first layer in China and Korean traditional mulberry paper in second. Various pigments were identified in the painting, including white lead, cinnabar, atacamite, ink stick, azurite, silver, and gold. The study also confirmed the use of the back painting, with colors such as white ^{White Lead}, green ^Atacamite, orange ^Minium, black ^{Ink Stick}, and yellow ^Dye. Also, it was found that stick ink or dye was used with white lead.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.522-537
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• 2020

The Joseon dynasty had close communication with the Ming and Qing dynasties on multiple levels. In the development process of furniture modeling design, the same cultural source and mutual communication, and the same factor was reflected in each other's furniture modeling. In this paper, "Furniture in the later Joseon Period" and "Ming style furniture" are taken as the research noumenon, table furniture as the specific research object, and from the perspective of "similarity" in the history of exchanges between the two countries, the overall modeling design and the local modeling design are selected to discuss the modeling design of traditional furniture in the two countries. In the analysis of specific research cases, there are similar genes in the overall modeling design of table furniture such as soban, warp bed and inkstone bed in the later Joseon Dynasty and table furniture such as kang, square table, wine table and incense table in the Ming and qing dynasties. In terms of local modeling, the appearance of similar desktop, cloud horn, leg, foot and other modeling designs better confirms the similarity in modeling design between the two countries. In this paper for "type of air hole" formative source speculated that traditional furniture is for Korean peninsula a tentative study of cultural studies. Considering the fact that the exchanges between Korea and China are expanding in many aspects, exploring the similarities in the traditional furniture will help to analyze the cultural exchanges between the two countries and promote the exchanges.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.34 no.3
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• pp.238-244
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• 2001

A method of estimating the fluid drag of a fishing gear and otter board spread in a midwater trawl on full scale was described by implementing a three-dimensional semi-analytic treatment of the towing cable (warp) of a trawl system with the field experiments obtained with the SCANMAR system. The shape of hand rope, bridle and float(or ground) rope attached behind otter boards in a horizontal plane was assumed to be of form $y_r=Ax_r^B$. The distance between otter boards (otter board spread) obtained by the three dimensional analysis of a towing cable must be equal to that obtained by the functional equation of the shape of ropes behind otter boards, The angle of attack of ropes which can be obtained from the functional equation enables one to estimate the fluid drag of trawl net (net drag) by subtracting the fluid drag of the hand rope and bridles from the drag component of the tension of hand rope attached just behind the otter boards.

• Science of Emotion and Sensibility
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• v.15 no.1
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• pp.141-148
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• 2012

This study investigated the structural coloration and fabric hand of the caustic reduced fabrics for emotional garment using structural color yarns, which was spun by 37 alternating nylon and polyester layers capable of producing basic colors using biomimetic technology. The colorations of the three kinds of structural color yarns were confirmed using multi angle spectro-photometer, and their triangular cross sections composed with 37 alternating nylon and polyester layers were measured using SEM and were discussed with layer length in relation with coloration and spinning conditions were also set up. The apparent color difference and reflectance of the three kinds of fabrics with different density and weave pattern were analysed as ranging from 400nm to 700nm. The optimum fabric structural design which is made by warp and weft densities(194ends/in ${\times}$ 105picks/in) and caustic reduction condition by $100^{\circ}C$ temperature and 60minutes with NaOH, 20g/l solution were decided through analysis of the mechanical properties and fabric hands of these three kinds of fabrics treated with 3 kinds of the caustic reduction conditions. And it was shown that the rate of caustic reduction was increased from 13% to 23% with increasing temperature and time of caustic reduction. The extensibility, bending rigidity and shear modulus of caustic reduction treated fabrics were decreased by treatment of caustic reduction, on the other hand fabric compressibility was increased. And it was shown that the hand value of specimen number one which was treated with temperature $100^{\circ}C$ and time 60minute was the best and the hand of this fabric was better than that of Morpho $fabric^{(R)}$ made by Teijin co. Japan.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.