• 복식문화연구
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• 제11권1호
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• pp.20-46
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• 2003

This study analyzes the garment decorations in the history of western costume based on their kinds and techniques, and consider the beginning and the development of costume decoration. The purpose is to promote a historical understanding of modern ornamentation. Based on the theoretical background concerning the origin and purpose of costume decoration, its symbolism and its relationship with images, this study classified the techniques and kinds of ornament and considered each costumes by their decoration. 1. The ornament was originated from the primitive custom of coloring the skin for the purpose of protecting the body, symbolizing the tribe, indicating the class, and threatening the enemies. As this custom changed into the decoration on the body as a form of tattoos or physical transformations, the practice of ornament seems to begin as a display of one's authority and wealth as well as a human instinct to decorate oneself beautifully. 2. The basic purpose of ornament is to look attractive by decorating oneself with ornaments. Addition of decorative design to the garment tends to complement the practical aspects of the whole clothing, and elevate its value and originality. 3. From the past, ornament has been used as a symbol of wealth and status. Originated from the desire to display one´s authority and power and to receive respect from others, the people's interest in ornament have rising. 4. The kinds and techniques of ornament can be classified into the structural and applied decorations. The former is decorating a part of a garment, such as the neckline, cellar, cuffs, or pockets. The latter includes braids, laces and embroideries. These ornament are diverse in their details and techniques, and should consider both functional aspects of clothing and its decorative functions emphasizing the aesthetic expressions. In the above considerations, we can see that costume ornament was most splendid in the premodern times and it was the simplest in the ancient times. And we also saw the possibility that decorative techniques could be created almost limitlessly.

• 한국의류산업학회지
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• 제12권6호
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• pp.705-714
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• 2010

This study has the purpose of classifying the types of decoration techniques applied to the Korean traditional costume of modern style which are shown in relevant monthly magazines and analyzing the characteristics of the techniques. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are classified into single and composite types according to decorative components. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, gold and silver foils and embroideries, embroideries and seonchigi or embroideries and stitches is usually used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. More notably, Korean traditional costumes for women shown in monthly magazines released during the period as mentioned above were investigated to find that a part of the women's clothes, that is, skirt was in most cases decorated with brilliant embroideries. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have brilliant patterns on the surface and are commercially available irrespective of season. Consequently, since 2010, flower motive patterns which are important in modern fashion trend will be used in embroideries, gold and silver foils. Additionally, embroideries such as seakdong, applique, drawing made with modern style will be the main stream of new HanBok style.

• 한국실내디자인학회논문집
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• 제20권3호
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• pp.190-197
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• 2011

The purpose of this study is to examine the characteristics of space design appearing in facade and interior composition factors of buildings in the colonial period in Indonesia. Research method is a field study, and subjects of the study is 14 buildings built in the colonial period located in Jakarta. The research result is as follows. First, Facade is divided into C type (colonial style), CT type (colonial style + traditional style), CA type (colonial style + art deco style), and CTA type (colonial style + traditional style + art deco style). Among them, CT type which shows both a colonial style and traditional style accounts for the most. As for Java traditional style mainly shows Joglo roof style and bratticing decoration on top of gates, and the colonial style presents both an Amsterdam canal housing style such as narrow Facade and unusual Gable, and a classical style such as pediment, entablature, and columns. Second, interior space is divided into C type (colonial style), CT type (colonial style + Indonesian traditional style), A type (art deco style), and CA type (colonial style + art deco style). Among them, CT type was also accounted for the most. Selected traditional style is a shape of bratticing decoration on top of gates and a shape of tenon of Joglo housing structure. Colonial style showed classical style such as exposed crossbeams, columns, and pilasters, and as for unique decoration, there are Ancona decoration and Delft tile decoration. On one hand, art deco style used typical art deco factors such as contrast of various materials and complementary color or golden color use as well as zigzag or vertical lines and geometric ornament by combining with colonial style or traditional style. It is expected that such research result will be a practical reference data when Korean construction companies or interior design companies advance Indonesia.

• 폴리머
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• 제36권3호
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• pp.268-274
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• 2012

실란 커플링제를 사용하여 알루미나 나노 입자의 표면을 처리하였다. 표면을 개질한 나노 입자를 in-mold decoration(IMD) 포일의 경질 코팅 층에 도입하여 표면 경도 및 내마모성을 중심으로 도막의 물성 변화를 평가하였다. 전자빔(electron beam, EB) 조사가 IMD 포일을 구성하는 color layer 및 anchor layer에 미치는 영향을 색도변화와 cross-cut tape 시험을 통하여 평가하였다. 또한 EB 조사 온도에 따른 경화 거동을 표면 물성 변화 평가 및 Fourier transform infrared(FTIR) spectroscopy 관찰을 통해 정량적으로 분석함으로써 EB 경화 공정의 실용화에 필요한 데이터베이스를 구축하였다.

• 한국의류산업학회지
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• 제12권5호
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• pp.564-573
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• 2010

The purpose of this study is to investigate decoration techniques applied to the Korean traditional costume of modern style which are shown in special monthly magazines relevant to the traditional magazine. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are largely classified into single and composite types. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, embroideries and seonchigi or multi-colored stripes and seonchigi is often used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, seop, goreum or coat strings, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have no pattern on the surface and are commercially available irrespective of season. Git used for jeogori is largely classified into dangko git and donggrae git in type. Its color is in most cases same as the main color of jeogori. Keutdong for jeogori is usually 4 to 5.5 cm in breadth, classified as type II. Its color is in most cases white. Goreum for jeogori is usually large in length. Its color is most cases same as that of jegori or reddish purple or blackish red purple.

• 복식
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• 제55권7호
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• pp.142-155
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• 2005

This study shows historical Gagye(가계) The process of change and Characteristics through analysis on the old documents, related papers, and visual data, and represents its meaning in Korean Clothing history through analysis on originality of Korean Gagye(가계) style. Gagye(가계) is the cubic hair style which add other accessories on hair and is divided into two; Gagye(가계) and Chegye(체계) according to its material, role, and function. And Korean Gagye(가계) has been transformed suited to the times and showed various features according to pattern, wearing, and decoration aspect. In its style aspect, Korean Gagye(가계) style shows Hwangye type, Sseugae type, Gogye type, Dagye type, and Braided & coiled hair type. Each shows historical features. In its Wearing aspect, Gagye(가계) style shows Wearing ornamental hairpin on the head, Wearing Rag Ribbon on the head, and Attaching (Detaching) Wearing. And in its Decoration aspect, Gagye(가계) style shows decoration with accessories, one with flower arrangement, and one with shaking.

• 한국실내디자인학회논문집
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• 제17호
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• pp.157-165
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• 1998

This study aimed to identify characteristics of design and decoration of Danish peasant furniture especially painted storage furniture used during the 18-19th century before modern design movement of Internationalism prevailed all over the world. Owing to the fact that Danish peasant furniture were made of available conifer around the farms painting method was preferred to carving. Remoted from main land of western and southern Europe Scandinavian countries longed to imitate their Baroque style architecture and furniture made of marble of hard woods. Painting method was adopted to disguise cheap wood so that it looked like expensive or exotic materials such as marble oak metal granite etc. what they could not afford to buy. Eventually they evolved unique materials equipments and methods for imitation painting in order to decorate folk storage furnitures as well as formal architecture : palaces churches and other official buildings,. Marbling clouds marbling graining stencil spatter painting trompe-I'oeil were common to imitate stones or hard woods. Strong and bright colors had good combination together with dull colors on the Danish peasant painted furniture.

• 한국의상디자인학회지
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• 제6권3호
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• pp.1-8
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• 2004

The purpose of this study was to investigate gather as decoration techniques of clothes. In this study, we defined 21st century as the modern fashion. And analyzed design that applied gather concerned with Milan, New York, London, Paris, Tokyo Woman's Collections. Data were used from Fashion News and Gap Press Magazine (2001-2004). The results of this study were as follows: 1. Gather was the most original techniques among decoration techniques of clothes and formed three-dimensional space. 2. There were many kinds of gather such as cluster gather, all gather, shirring, smoking, frill, flounce, ruffle. and it gave a different impression with Fabrics, cutting method, sewing method, parts that were used. 3. Gather had practical functions providing enough space in activity and was presented as new shape by three-dimension body motion when it was put on. 4. After analyzing design that applied gather showed in collections, there were various appearance according to designer's sensitivity.

• 한국산업융합학회 논문집
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• 제5권4호
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• pp.353-359
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• 2002

The focus of this study is that spacial, material, functional, cubical reasons are visually expressed on high-rise office Architecture in Korea according to the period of their completion. Office buildings are analyzed in three of exterior composition : Lower, Middle, Top part of the Building, Comparing the whole composition of the Building, forty-five types of compositions are extracted ; expression of formal, material, structural, functional Decoration which show the tendencies of Korean office buildings.

• 헤리티지:역사와 과학
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• 제56권1호
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• pp.182-205
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• 2023

1795년 화성 행차를 정리한 『원행을묘정리의궤』에서 도식과 기록을 통해 왕실 채화의 용도와 사용방법이 비로소 체계적으로 정리되었다는 것을 알게 되었다. 봉수당 진찬에 사용된 채화의 용도를 구분하고 형태, 사용자, 사용방법을 고찰한 결과는 다음과 같다. 조선시대 채화 기록을 고찰한 결과 전기에는 금·은·견사 등의 고급 재료로 만들었으나, 후기에는 재료에서 종이의 비중이 높았다. 채화의 척도는 예기척 28.4cm를 적용하였다. 채화의 용도는 관모를 장식하는 수공화(首拱花), 공간을 장식하는 준화(樽花), 잔칫상을 장식하는 상화(床花)로 구분되었다. 사권화(絲圈花)는 왕실 구성원의 수공화인데, 상품(上品)의 것을 어잠사권화(御簪絲圈花)라 하였다. 봉수당 진찬에서 정조와 혜경궁이 어잠사권화를 사용했고, 관모의 오른쪽에 꽂았다. 백관 이하의 수공화는 홍도이지화(紅桃二枝花)가 사용되었고, 관모의 왼쪽에 꽂았다. 홍도이지화는 수공화의 가장 기본적인 형태로, 관직의 유무나 높고 낮음에 따른 차등이 없었다. 악공과 여령의 수공화는 백관 이하의 수공화보다 비싸고 화려했다. 정재에 따라 관모에 수공화를 여러 개 꽂기도 하였다. 준화는 2개의 용준(龍樽)에 홍도화와 벽도화를 꽂아서 2개의 주칠한 아가상(阿架床)에 각각 올렸다. 아가상과 용준을 홍색 무명 얼기로 서로 묶어서 준화가 넘어지지 않도록 고정하였다. 정조·혜경궁·군주들만 사용한 상화는 대수파련, 중수파련, 목단화, 월계화, 사계화, '별(別)'자가 붙은 홍도화 등이었다. 내빈과 신하들이 사용한 상화는 소수파련과 홍도화였다. 봉수당 진찬에서 수공화·준화·상화에 가장 많이 사용된 것은 복숭화꽃[도화(桃花)]으로, 복숭아는 장수와 벽사의 의미가 있었다. 그 외에 사용된 여러 종류의 꽃과 문양은 길상적인 의미였다. 이상의 연구 결과가 정조대 채화의 용도별 특징과 사용방법에 관해서 이해하고, 궁중잔치 재현행사와 전통문화콘텐츠 및 궁중채화 제작에 도움이 될 것으로 기대한다.