• Journal of Chest Surgery
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• 제21권5호
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• pp.893-898
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• 1988

A number of centers have recorded a significant incidence of primary tissue valve failure with the Ionescu-Shiley pericardial valve. Clinically, Endothelialization and host tissue ingrowth on the cloth and the leaflets at the edge of the frame greatly reduced the amounts of abrasion and the incidence of tissue failure. In most cases severe regurgitation was caused by leaflet tears adjacent to the edge of the cloth-covered stent. We report a case of spontaneous disruption of one cusp on the Ionescu-Shiley pericardial xenograft in mitral position at 6years and its successful management.

• 한국의상디자인학회지
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• 제5권1호
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• pp.85-88
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• 2003

In order to design a good ready-made cloth, it is important to consider not only body size but also morphological factor. However, most dissatisfaction of customer is focusing on the size of ready-made cloth which is graded with elements of body size. Various researches on body type have been doing but the study on part of body type is insufficient compared to the study on whole body type. The objective of this paper is to provide relationship of shoulder angle between value in pattern and real measured value after analysis and comparison with these two values.

• 한국의류학회지
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• 제36권6호
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• pp.583-591
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• 2012

This study selected three model designs used for air injection type welding clothes designed for insulation purposes and analyzed the performance of each design. The bending characteristics were analyzed in order to identify the flexibility of the welded areas; subsequently, the seam breaking strength and water pressure resistance were analyzed to identify the bonding strength. In addition, two types of waterproof fabric, polyurethane (PU) coated 2 layer and PU laminated 2 layer fabrics, were used for a performance analysis, according to fabric processing specifications. The circle type showed the highest flexibility in the terms of bending characteristics that influence wearability and were followed by the wave and the straight type. In terms of breaking strength, the straight type showed the highest breaking strength, followed by the wave and the circle type. The water pressure resistance analysis found that the wave type was superior to the straight type in terms of water pressure resistance. The wave type is deemed to be a design type suitable for maximizing performance, provided that the issue of stabilization in the welding production process is addressed. Looking at the bending characteristics of waterproof fabric for each specification, the laminating waterproof cloth outperformed the coated waterproof cloth in terms of flexibility. However, in terms of seam breaking strength, the coated waterproof cloth outperformed the laminated cloth. In contrast, the water pressure resistance of the laminated waterproof fabric was found to be higher than the coated waterproof fabric, leading to the conclusion that the bonding strength of the laminated waterproof fabric is higher than that of the coated waterproof fabric based on the assumption of injecting air.

• 복식
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• 제67권3호
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• pp.99-114
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• 2017

The uniqueness of Bali is inseparable from its culture and religion. Embedded in the cultural environment, textiles become one of the most important aspects in Balinese life as it is used as a medium in sacred ceremonies. Balinese textiles are made and used under special conditions according to Hindu teaching. This paper aims to observe the aesthetics of Balinese sacred cloths that are seen in their techniques, colors, and patterns. Quantitative research included in this study is based on 261 images taken from literature review and Museums. Field research was done in eastern part of Bali. This paper has divided the era between ancient and modern times. The ancient era before the 20th century used textiles for religious purposes. Modern era started from the colonialization period by the Dutch in Bali during 1910-1942 added economic values to the textiles. The independence of Indonesia in 1945 created Balinese textiles as a unifying value as one of the identity of Indonesia. The techniques are classified as Weft Ikat, Double Ikat, weave with Supplementary Weft, and Prada. The colors of the ancient era are 'fixed' with the restriction of the colors red, black, and white. The colors of modern era are 'festive' with combination of yellow, green, blue, and purple. The characteristics of patterns are geometric, natural, human, and animal groups. Field research in this paper observes Klungkung Village that produces Endek and Songket cloths. The aesthetics of Endek cloth is 'royal statement' and Songket cloth is a 'cultural heritage.' Nusa Penida Island produces Cepuk cloths and is a 'protective guardian.' Satria sub-district produces Prada cloths and appears to be an 'opulence charm.' Lastly, Tenganan Village produces Geringsing cloth which possesses a 'legendary legacy.' To sum up, Balinese sacred cloth essence is a balance of tradition and modern.

• 복식
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• 제65권6호
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• pp.79-98
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• 2015

This article studied women's headdresses that appeared in the paintings of Joseon Dynasty. This examined the shapes of women's headdresses painted in genre paintings, record paintings and nectar ritual paintings from Joseon Dynasty and compared them to literatures and relics in order to analyze their types and characteristics. Headdress can be categorized into three types: (1) square cloth worn on the top of the head; (2) a kind of small cap; (3) Cloth that completely covers the head. The first type of headdress resembles the shape of Garima. In the early period of Joseon Dynasty, it was worn not only by Gisaeng, but also by both upper and lower class women. The second type of headdress includes a cap made by connecting several cloths, round cap, and cone-shaped cap. These two types are worn on top of the head. However, sometimes these were worn between the head and the chignon to fix the chignon. Also, these were used as hair accessories for decorative purposes. In particular, old women wore these headdresses and braided their white hair around them to fix the chignon. This way, the headdress not only kept the head warm, but also hid the old women's scanty hair. Headdress was usually made of black fabric and it was a simple hair accessory that replaced the wig. The third type of headdress was widely worn among lower class women. The cloth completely covered the head so that the hair would not fall when working. It also provided protection from cold and hot weather. According to paintings, there were many ways of wearing the cloth around the head.

• 디자인학연구
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• 제19권1호
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• pp.59-68
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• 2006

스카프는 인체의 보온 역할뿐만 아니라 여성 의복의 액세서리로서 큰 역할을 해 왔다. 오늘날 액세서리에 관한 관심이 높아지면서 스카프는 의복의 보조적 역할에서 벗어나 점차적으로 패션의 전체적 분위기를 이끌어 가는 주도적인 위치로 그 비중이 확대되었다. 그러나 우리나라의 스카프 디자인은 해외 브랜드에 대한 모방의 단계를 벗어나지 못하고 있는 실정이므로 이제는 우리만의 스카프 디자인을 개발해야만 한다. 따라서 본 연구에서는 한국적이면서 현대적인 감각을 살린 스카프 디자인을 개발하기 위하여 분청사기에 표현된 연꽃문양과 전통 조각보를 디자인 개발의 소재로 선택하였다. 분청사기에 표현된 연꽃문양의 형태는 사실적인 표현보다는 그 문양을 단순하게 또는 반추상적으로 표현한 것이 많고 조각보의 기하학적인 조형미는 현대 감각에 맞는 한국적인 이미지를 잘 표현한 소재이다. 먼저 분청사기에 나타난 연꽃문양과 조각보에 대한 자료 조사를 실시하여 기초 자료로 활용하였다. 그 중에서 현대적인 이미지를 잘 나타내는 것을 선정하여 컴퓨터 디자인 프로그램을 이용, 기본 패턴 세 가지를 구성하였다. 구성된 각 패턴을 가지고 정사각형 스카프 및 장방형 스카프를 각각 재구성하여 완성하였다.

• 한국잠사곤충학회지
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• 제18권1호
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• pp.27-39
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• 1976

복합견방사 및 복합견직물을 시작하여 다음의 결과를 얻었다. 1 정연제별 처리효과는 규산소다, 가성소다, 탄산소 및 비누의 순이다. 2. 가성소다 3% 액으로 정연할 경우는 견담백질의 과잉 용해로 진면제조가 불가하다. 3. 견의 정연효과는 처리시간보다 농도가 크다. 4. 정연제의 단독사용보다는 이중이상을 혼용하는 것이 진면품질을 향상시킬 수 있다. 5. 견수방사의 명주소리와 광택향상을 위하여서는 유기산의 혼용이 요구된다. 6. 심사에 의하여 복합수방사의 강도는 증가한다. 7. 복합수방사의 성도변동율은 8∼l2%이다. 8. 견과 데도롱직의 염색은 이욕법으로 처리하여야 한다. 9. 복합수방사 견직물의 수축율은 23%이다. 10. 복합수방사직물은 여자용 동복지로 복합생사 직물은 부라우스지로 사용 가능하다.

• 한국가정과교육학회지
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• 제13권2호
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• pp.15-24
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• 2001

The purpose of this study is to find out practical teaching material about$\boxdr$Cloth$\boxul$part of home economics course in highschool and prove it's effect on learning as the result of applying to teaching and learning activities. The objects of this study were 144 first grade students of Puyo girl's high school located in Puyo county of Chung-nam province. They were identified to have the same quality through such inspections as intelligence quotient and previous scholastic ability test. Experiment group is composed of 72 students of two class in first grade and those students utilized swatch. Controlled group is also made up of 72 students like experiment group and they didn't use swatch. The procedure of this study was as follows : First we collected the real clothing material which was necessary in $\boxdr$Cloth$\boxul$part of high school home economics and made teaching plan that could be used to make use of swatch. In this study. we first seek the averages and variations to know how much is the influence of using real things as the studying materials on the class. Then we verified the level of attention to compare and the level of student's schoolwork accomplishment. interest and attitude between experiment group that used the swatch and controlled group who didn't use those material. The result of this study are as follow : 1) After using swatch. students'attitude toward receiving information was getting better. 2) Students'interest toward$\boxdr$Cloth$\boxul$part was getting higher. 3) Scholastic accomplishment of experimental group became higher than that of controlled group.

• 한국컴퓨터그래픽스학회논문지
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• 제8권1호
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• pp.37-45
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• 2002

본 논문은 매우 안정적이며 동시에 사실적인 직물 시뮬레이션 기법을 제안한다. 제안된 방법을 통해 안정성을 향상시킴으로써 고정된 큰 시간 간격을 사용할 수 있게 되었고, 따라서 복잡한 옷감의 변형 및 움직임을 효율적으로 시뮬레이션 할 수 있었다. 또한 제안된 방법은 직물의 가장 중요한 특성중의 하나인 주름 현상을 자연스럽게 표현한다. 안정성과 사실성에서 동시에 큰 향상을 가져올 수 있었던 것은, 수치적 안정성 외에 옷감의 좌굴 후 거동시의 불안정성을 극복함으로써 가능했다. 좌굴에 의한 불안정성은 직물의 구조적 불안정성으로부터 기인하며 단순히 암시적 시적분 방법을 사용함으로써 해결되지 않는다. 그러한 불안정성은 감쇠력을 더하여 안정성을 회복할 수 있으나 직물의 움직임을 둔화 시켜 사실적인 움직임을 얻을 수 없게 한다. 본 논문에서는 즉좌굴(immediate buckling) 가정에 기반 한 새로운 직물의 좌굴 모형을 제시한다. 즉좌굴 가정은 직물이 좌굴되는 순간 안정한 상태로 곧바로 변형되는 것을 의미하며, 이러한 가정을 통해 가상적인 감쇠력을 더하지 않고도 안정적으로 직물을 시뮬레이션 할 수 있다. 결과적으로 즉좌굴 모델은 직물의 고유한 좌굴 현상을 적절히 모델링하여 안정성을 향상시킬 뿐 아니라 외부 힘에 민감하게 반응하는 직물의 움직임을 사실적으로 생성할 수 있도록 한다.

• 복식
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• 제63권7호
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• pp.164-175
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• 2013

This study examined the Yemou(a hat for a dead woman) from the ladies' clothes excavated from the Lady Lee's tomb in order to trace the significance of the clothing composition and its social origin in the Chosun dynasty. The compositional characteristic of Yemou covers the body of the hat which is not connected with the cover, Wonsal which has a round shape that covers the face of the dead body, and two Gae(a ribbon on the backside of a hat). Seongho Lee-ik(one of representative Confucian scholars in the Chosun dynasty) stated in his book entitled "Seongho Notes", that the structural elements of Yemou originated in Yum(wrapping cloth for the head of a dead body). According to Seongho, Yemou's body part came from the scarf used to cover the head. Wonsal(the cloth of round shape for covering the face) and Gae were derived from Yum made of two ends of long cloth for covering and binding the head of a dead body. Yongjae Kim-kunhang(one of Confucian scholars in the late-Chosun dynasty) demonstrated in his "Yongjae Collection" the social background of the emergence of Yemou. Yemou was the hat produced from the process of nationalizing the Chinese courtesy of clothing. In other words, Bokgun(a man's hat) in the Chosun dynasty replaced the Chinese Yum. Unlike the Chinese custom, man and woman in the Chosun dynasty wore different clothes respectively. According to the clothing custom of the Chosun dynasty a woman wore a female hat, Yemou instead of men's Bokgun.