• 패션비즈니스
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• 제24권3호
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• pp.101-113
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• 2020

This study considers aesthetic characteristics by examining the fashion style of the silver fashion icon Iris Apfel. The research methods were a quantitative and qualitative analysis of Iris Apfel's images that were collected from 2015 to 2019 on various web-sites according to four criterions following advanced research analysis of fashion style. The results of the study are as follows. The analysis results on the fashion style of Iris Apfel, an icon of silver style, showed that cocoon, barrel and A-line silhouettes appeared most in terms of silhouettes. Second, in terms of colors, achromatic colors dominated among solid colors while one particular vivid color appeared most it came to mixed color. In terms of multi colors, these appeared according to the patterns applied to her clothing, in particular, colorful colors were used to emphasize splendor. Third, flower, bird and geometric patterns appeared most in terms of material patterns. Lastly, it was found that white short cut hair, large necklaces or bangle bracelets, over-sized black glasses and fur mufflers or canes were used in terms of hair and accessories. The features derived through analysis of the fashion style of Iris Apfel, an icon of silver style, are as follows. The first feature is exaggeration through splendid primary colors and over-sized silhouettes. The second feature is the hybrid of modern composition methods using natural images and exotic preferences. The third feature is her representation of identity using fixed items.

• 한국콘텐츠학회논문지
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• 제8권6호
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• pp.111-120
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• 2008

본 논문에서는 효과적인 애니메이션 제작교육 활동을 위한 교과통합 방법을 제안하기 위하여 컷아웃 애니메이션 제작을 중심으로 여러 과목의 교과통합 방법을 설계하여 구체적인 방법을 제시하였다. 컷아웃 애니메이션 제작 수업을 학생들에게 적용한 결과, 일반적인 수업 방식으로 한 집단에 비해 학업 성취도가 높게 나타났으며 실험 집단 학생을 대상으로 설문조사를 실시한 결과 이해도, 만족도, 참여도, 흥미도 영역에서 긍정적인 응답을 보여 교과통합을 통한 애니메이션 제작을 통한 수업활동이 창의적 학습 능력을 향상시킴을 확인하였다.

• 복식문화연구
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• 제22권2호
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• pp.300-312
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• 2014

This study seeks to offer practical suggestions for manufacturing jacket lining patterns through research on menswear brands. A researcher conducted interviews with a survey instrument targeting 12 menswear brands. To analyze the data, descriptive statistics were obtained using SPSS 18.0. The main findings were as follows. First, regarding lining production, most menswear brands were found to provide jacket lining patterns to their subcontractors, and pattern makers were found to design lining patterns based on their own know-how. The most important factor in the production of jacket lining patterns is whether linings are cut more than once during the sewing process. For suit jackets, linings are cut more than once, and for casual jackets, linings are cut once. Second, with regard to jacket production for different jacket styles, most menswear brands were found to use patterns that include seam allowance. Partial linings showed differences in terms of the methods used to sew edges and attach linings to the outer shell. Third, extra space in jacket lining patterns varied according to style. Jacket lining patterns for suit jackets and casual jackets showed differences in extra space in the following areas: the parts that cover the chest(suit jacket linings: 5.6cm, casual jacket linings: 2.4cm), the parts that cover the waist(suit jacket linings: 3.8cm, casual jacket linings: 1.3cm), hem(suit jacket linings: 2.7cm, casual jacket linings: 1.3cm), and bicep(suit jacket linings: 2.7cm, casual jacket linings: 1.1cm). However, extra space in the sleeve hems was identical for the two styles(suit jacket linings: 0.1cm, casual jacket linings: 0.1cm). Therefore, this research suggests that clothing manufacturers design linings in accordance with the jacket lining production style.

• 복식
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• 제53권3호
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• pp.137-154
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women's status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1910's, ideal beauty has changed to H-style. In other words, the outer garment has confined the lower part of the body with plain H-type Hobble silhouette to express plump bust, somewhat slim waist, and small hips, As the underwears, cylindrical corsets which fasten from under the bust down to lap, brassiere which are helpful for plump bust, and artificial busts were worn. In 1920's, outer garment were Straight box silhouette style which were cut as tubular without dart, and the underwears were corselets which have been tubular from the bust to hip and the tubular chemi-knickers. The former corsets which had been hard-boned and been fastened with strings have been replaced by the hook closure due to the development of elastic joining method. In 1930's, women pursued perfect body showing the line of bust, waist, and hip. In order to express elegant beauty of female of Slim and long silhouette, Doter and underwear have been cut with bias and gore, and soft and flexible materials were flowed along the body. World war II in 1940's has made the women as social. Ideal beauty has changed to Short straight box silhouette which no more shows body line. Outer and underwears were simple and Practical style. In 1950's, ideal beauty was well-matured, elegant Women which were represented by round shoulder, conical breast, tiny waist and round hip. Outer garment showed Hourglass silhouette representing the body-tight suits with round shoulder pad and the wide flare skirts. As the underwears, conical brassiere by top circular stitch were preferred for plump and bulged bust and tight corsets for tiny waist and magnificent petticoats were worn.

• 한국CDE학회논문집
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• 제3권4호
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• pp.236-242
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• 1998

This paper presents a development of computer aided cutting tool selection techniques for rough and finish turning operations. The developed system,. which is one of important activities for computer aided operation planning, firstly implements operation sequencing. Then, from relations of the size of machined area, recommended finishing allowance and maximum depth of cut, a main machining method is selected, a number of cut is calculated, cutting tools including toolholders and inserts are selected, and values for cutting parameters are determined. A cutting tool selection procedure is proposed for toolholders and inserts of ISO code in rough cutting, and some important parameters such as holder style, tool approach angle, tool function and its direction are described in detail. In order to demonstrate the validity of the system a case study is performed.

• 원예과학기술지
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• 제19권3호
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• pp.373-377
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• 2001

본 연구는 나팔나리(L. longiflorum) 'Gelria'(LG)와 자생 솔나리(L. cernuum, LC)와의 종간 교잡종을 육성할 목적으로 여러 가지 수분방법을 이용하여 수정 전 불화합성의 타파방법을 조사하였다. L. longiflorum 'Gelria'${\times}$L. cernuum의 교잡 수분 시 수분방법에 관계없이 모든 교배조합에서 착과가 이루어졌으며, 주두수분법에 비해 모든 화주절단수분법 처리구에서 착과율과 종자수가 높게 나타났다. 이들 중 화주를 2-3mm 남기고 자른 것과 화주를 모두 잘라버리고 자방기부에 수분시킨 처리구에서 각각 76.4%와 73.3%로 가장 높은 착과율을 나타내었다. 그러나 $LC{\times}LG$ 교잡에서는 전혀 착과되지 않았고 어떤 종자도 얻을 수 없었다. LG의 자가수분과 $LC{\times}LG$ 교잡에서는 속도에는 차이가 있었으나 수분 후 약 90시간 정도가 되면 자방까지 화분관이 신장하였다. 그러나$LC{\times}LG$ 교잡에서는 수분 후 90시간까지 자방에 도달하지 못하였고, 화주 중간에 선단이 비대되고 callose가 이상 집적된 기형적인 화분관이 많이 관찰되었다. 개화 후 수분시기도 착과율과 종자 형성률에 영향을 주었으며, 개화 후 3일에 수분하였을 때 가장 높은 종자수를 획득하였다. 주두 분비물질은 자방비대에는 영향을 미쳤으나, 수정배주수는 증가하지 않았다.

• 패션비즈니스
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• 제27권6호
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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.

• 한국의류산업학회지
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• 제17권1호
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• pp.22-32
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• 2015

The purpose of this study is to investigate the aesthetic characteristics of check fashion of the 20th century and to analyze the formativeness for them shown in recent collections. The results of this study are as follows; 1) Before the First World War, check patterns were used for S silhouette dresses and hobble dresses. During the two wars, they were used for garçonne style dresses and military suits. Check patterns were used for mini style in the 1960s, uni-sex style in the 1970s, and power suits in the 1980s. Especially after the 1980s, check patterns have followed the fashion trend of each season and appeared in retro styles. Consequently, the aesthetic characteristics of check dresses of the 20th century are traditionality, ornamentation and eclecticism. 2) Traditionality of check fashion shown in recent collections was implied in the classic styles like suits with its grey glen check, avant-garde styles like boxy coat with its dark blue tartan check, and so forth. Ornamentation was shown in the modern styles like jackets decorated with block check colored white and black, casual styles like bomber jackets with hound tooth check colored white and black, and so forth. Eclecticism was reflected in the romantic styles like one-piece dresses with hound tooth check colored white and light blue, elegant styles like low-cut dress with its dark blue window pane check, ethnic styles like long cape with gingham check colored white and black, and so forth.

• 한국게임학회 논문지
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• 제14권5호
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• pp.137-146
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• 2014

최근 게임시장은 게임제작과정과 게임디자인 분야의 많은 발전에 의하여 게임 상 컷씬(cut-scene)의 디자인 스타일과 완성도 또한 지속적인 발전을 이루고 있다. 따라서 항상 게임 디자이너들은 여러 디자인 방향성에서 보다 쉬운 인지와 인기 있는 디자인을 얻으려는 노력을 한다. 그러나 개발자에 의존한 디자인 전략은 최종 디자인결과물이 게임플레이어에게 사랑 받고 있는지 성과여부를 판단 할 수 없게 되며 모든 면에서 빠르게 변화하는 게임시장의 요구를 충족 할 수 없다. 또한 디자인 최종 완성도와 같은 어려운 절차들은 게임 컷씬 장면의 제작 및 이용을 어렵게 한다. 따라서 본 연구는 사용자 중심 디자인(UCD) 바탕의 비디오 게임 속 컷씬 디자인방법을 제시하여 제작환경에서 원작의 느낌을 훼손하지 않으면서 디자이너가 전하고자 하는 메시지를 더욱 부각시키고 흥미를 이끌어 몰입감을 높이는데 도움이 될 것이다.

• 한국패션뷰티학회지
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• 제3권1호
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• pp.1-12
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• 2005

The purpose of this thesis is to study the formative characteristics and symbolism shown in Rock stars' hairstyles through rock music to have influenced youth culture. There were a D.A style and a mop top style which included the youth characteristic to seek a new desire and value as the hairstyles of Rock & Roll stars, along with the characteristics of Rock & Roll music to represent the feeling of teenagers in 1950's at that time unlike the previous music due to high beats mixed with Rhythm & Blues (R & B) and Country music, and use of electronic guitars. We can see the desire for challenge and freedom against the then present regime, shouting love and peace, and resistance in the Psychedelic Rock music stars' hairstyle, which are untrimmed and disheveled, that is, natural. We can find explosiveness in Mohican and Spike style of Punk Rock stars playing fierce and aggressive music, along with words including indignation and assertion against the society's regime. The Artistic characteristic is implied in the following hairstyles: Glam Rock stars' hairstyle, a man's long-haired but a little long crew-cut style to reduce the bulky feeling and to give a bisexual, visible shock with hair dyed in orange to emphasize magnificence, and Punk Rock stars' hairstyle showing beauty in their own way with expression of anti-beauty to intentionally look ugly. Like this, the 20th Century's Rock music and youth culture are closely associated each other, and showed a new style, and played a leading role in street fashion, which became a momentum to much influence high fashion as a look of the 20th century modern fashion.