• Journal of the Korean Society of Costume
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• v.42
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• pp.173-186
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• 1999

the object of this thesis is to find out the Chosun Dynasty's Fabrics of 17th century which founded in the buddhist statutes. The total 43 pieces of fabrics can be classified chronologically as follows; 14 pieces in the year of 1641, 18 pieces of 1679, and 12 pieces of 1701, These fabrics also categorized by the weaving method as follows; 25 plain weaved 8 twill weaved and 5 pieces of satine weaved. I could confirmed the width of fabrics are 38cm and 38.5cm through these fabrics. Because of the fabrics were composed of mainly plain weaved silk Chu. There weren't many fabrics with motif. The fabrics within the buddhist statues have their own meaning.

• The Proceedings of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.13 no.2
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• pp.171-171
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• 1999

In case of field weakening region torque is directly affected by flux. In this region the flux reference is decreased inversely proportional to the rotor speed. As the flux is decreased the magnetizing inductance is normally increased. The increased magnetizing inductance limited voltage for controlling current. In this paper, measuring q axis voltage in field weakening region magnetizing inductance in flux calculating can be readjusted. Computer simulation and experiment results demonstrate the efficacy of the proposed method. Proposed algorithm is expected to the application of the adjustable drive system in the spinning and weaving field.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Journal of Welding and Joining
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• v.14 no.6
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• pp.131-139
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• 1996

The response of the arc sensor using the welding current and/or welding voltage as its outputs has been obtained by the analysis and/or experiments of the static characteristics of arc sensor. But in order to improve the reliability of arc sensor, it is necessary to know its dynamic characteristics. So in this paper, it is presented the dynamic model of arc sensor including the power source, arc voltage, electrode burnoff rate, and wire feed rate. A numerical simulation of the dynamic model of arc sensor was implemented, computing the welding current with input of CTWD. The results of computer simulations and experiments of $CO_2$arc welding showed that a linear relationship between weaving center - weld line distance and current area difference was established. Additionally, a real-time weld seam tracking system interfaced with industrial welding robot was constructed, the result of the weld seam tracking experiment for weld line with an initial offset error of 5$^{\circ}$was good.

• Journal of the Korean Institute of Intelligent Systems
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• v.21 no.4
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• pp.530-535
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• 2011

This paper deals with the precise temperature control of the heater used at a weaving thread or a drawn process. For precise temperature control, we suggest a design method that is auto-tuning IMC-PID controller using an optimization method uDEAS. For this method, we model the roll heater from the measurement data and we automatically tune the low pass filter value of IMC-PID controller that satisfies stability and conrol performance. Finally, we implement the designed controller using DSP kit.

• Proceedings of the KWS Conference
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• 1996.10a
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• pp.139-141
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• 1996

Among various welding parameters, the welding current which is inversely proportional to the tip-to-workpiece distance in GMAW is an essential parameter to monitor the GMAW process of horizontal fillet joints. For the case of weld defect such as overlap in horizontal fillet welding, therefore, the signal processing for process monitoring or automatic seam tracking should be modified by considering the weld pool surface geometry including the corresponding weld defect. In other words, the adequate signal processing algorithm is indispensible to improve the performance of the arc sensor. However, arc sensor algorithm already developed usually focus on weld seam tracing but do not considering the weld qualities. In this paper, various experiments were carried out to investigate the tendencies of the weld defects when weaving motion is added, and the experimental method based on 2$^n$ factorial design was proposed for deriving the mathematical model between the leg length and the various welding conditions. Moreover, a signal processing method based on the artificial neural network(Adaptive Resonance Theory) was proposed far discriminating the current signal of sound weld beads from that of weld beads with overlap. Finally, the algorithm for weld seam tracking combined with the mathematical modeling and the signal processing method was carried out to track the weld line in conjunction with the improvement of the weld qualities. The reliability of the proposed algorithms were evaluated through various experiments, which showed that the proposed algorithms could be effectively used for arc welding automation.

• Journal of Fashion Business
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• v.27 no.6
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• pp.66-84
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• 2023

Handbags are a part of fashion and while their significance and value are increasing, research on this topic is lacking. This study defines handbags and categorizes the materials used for making handbags, sewing methods, expression techniques, and terminologies related to accessories. A total of 1,743 handbags that were released from the Spring 2020 to Fall 2023, Ready-to-Wear collections by 8 selected brands (Hermes, Dior, Fendi, Chanel, Louis Vuitton, Prada, Gucci, and Alexander McQueen), were analyzed. Out of these, 732 unique designs, excluding those with only color variations, were studied. The most common sewing methods were 'Cut, sewing, and edge painting', 'Cylinder arm sewing', 'Cut, edge painting, and sewing', and 'Inverted seam', in that order. Slim strap designs primarily used the 'Cut, sewing, and edge painting' method, whereas the body, especially with narrow and hard leather, was best suited for the 'Cylinder arm sewing machine'. For expression techniques, the most frequently used methods were 'Quilting', 'Metal Eyelet', 'Embossing', 'Printing', 'Punching', and 'Weaving', respectively. The characteristics of each brand's production methods, expression techniques, and accessories were as follows: First, the exposure of logos and monograms is prominent. Unlike clothing, handbags often prominently feature the brand's logo or monogram. Second, signature quilting is a prominent feature. Quilting effectively conveys the brand's signature style, providing cushioning, volume, and pattern effects. Third, sustainable development is a growing trend. Brands are increasingly applying eco-friendly and socially responsible designs.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.42-56
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• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.109-123
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• 2016

The purpose of this study is to examine the expression techniques and methods of Upcycling fashion brands and designers who have focused on Upcycling, and have found success. The study used collected literatures, press releases, and Internet searches using the word, 'Upcycling' in order to investigate the design characteristics and to set up criteria to classify the material expression techniques found in Upcycling fashion design. The results are as follows: Firstly, according to the result of analyzing the product images of Upcycling fashion design, the most frequently used expression methods are deconstruction and reorganization, $d{\acute{e}}paysement$, and assemblage/collage. Deconstruction and reorganization is used to make most of the Upcycling fashion design products using recycled materials. It is one of the ways to create new value that transcends the value of the previous item. Secondly, Upcycling fashion design's expression techniques generally attempt to use recycling material diversely to complement the recycling material that is limited in some way to the purpose of clothing. In this process, we can find expression techniques used to bring out) the characteristics of Upcycling fashion design. Patching, adding, cutting, folding, or weaving is the technique mainly employed.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.88-100
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• 2017

This study is for the textiles of at Sun Am Temple and characteristic of embroidery. Tak Ui was composed of orange body and green upper cover, and had no strings. The body plate was covered with embroidery, with Gauze base, and upper part was appliqued, by cutting dragon pattern, cloud pattern on satin damask. The thread for embroidery was silk floss, silk twisted thread, rapped gold thread, and rapped silk thread. For padding, it was used cotton thread in the part of dragon's scales. It was used satin stitch, outline stitch, split stitch, couching, and counted stitch, etc. as method of embroidery. In particular, it embroidered counted stitch of diamond shape consecutively on the whole of Tak Ui, it does so with counted stitch of same effect of weaving Brocade in the part of cloud. Besides, it is one of the characteristic for couching rapped silk thread. Such lead embroidery is the popular method in the Ming dynasty of China, in the 16~17 century. The design of Tak Ui is dragon, cloud, and wave in the theme. In the center, 'Seong-su-man-nyeon' was placed on the heads of dragon. This is similar to Dragon Robe of Four-petalled medallion patterns, period of Ming dynasty in China. Therefore, it confirmed that Tak Ui was remodeled the embroidered textiles, made for royal robe, originally, with Tak Ui at temple.