• Journal of the Korean Society of Costume
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• v.50 no.6
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• pp.47-58
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• 2000

This paper analyses the geometric aspect of Soma Delaunay's works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration, One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Soma Delaunay's art was one of the first expressions of abstract painting and her "simultaneous contrasts"are among the earliest example of the aesthete. In Delaunay's geometric abstraction it is found that the technique of"simultaneous contrasts" is exploited almost without exception. colour as well as collage was the favourite technique Delnaunay used in creating a distinct simultaneity, Many "inobjective" paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.rant breadth of the execution.

• Journal of the Korean Ceramic Society
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• v.54 no.6
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• pp.535-538
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• 2017

Here we report the tunable electrical properties and chemical sensor of single-walled carbon nanotubes (SWCNTs) network-based devices with a functionalization technique. Formation of highly aligned SWCNT structures is made on $SiO_2/Si$ substrates using a template-based fluidic assembly process. We present a Platinum (Pt)-nanocluster decoration technique that reduces the resistivity of SWCNT network-based devices. This indicates the conversion of the semiconducting SWCNTs into metallic ones. In addition, we present the Hydrogen Sulfide ($H_2S$) gas detection by a redox reaction based on SWCNT networks functionalized with 2,2,6,6-Tetramethylpiperidine-1-oxyl (TEMPO) as a catalyst. We summarize current changes of devices resulting from the redox reactions in the presence of $H_2S$. The semiconducting (s)-SWCNT device functionalized with TEMPO shows high gas response of 420% at 60% humidity level compared to 140% gas response without TEMPO functionalization, which is about 3 times higher than bare s-SWCNT sensor at the same RH. These results reflect promising perspectives for real-time monitoring of $H_2S$ gases with high gas response and low power consumption.

• Korean Institute of Interior Design Journal
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• no.32
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• pp.90-96
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• 2002

Laying stress on the upper classes of Western Europe until from the seventeenth to the eighteenth century, the chinese mode in the fields of architecture, interior design and fashion was widely liked. It is called as ‘chinoiserie’into the French language. The chinese design with its quantity and ornamentation exerted an influence upon‘Rococo’in France and upon ‘Chippendale’ in England. The chinese mode that was made best use of the furniture design is the one of Ming dynasty. This was developed in relation to the interior design of ‘Siheyuan’ that is the architectural mode in those days. The furnitures at the times of Ming dynasty was raised to the position of the golden era in the history of chinese furnitures. The furniture has the technique laying stress on symmetrical proportion, simplicity. This technique showed as the formative modeling. also on the part of decoration ornamental designs showing the china ideology of Taoism, Buddhism and Confucianism it was used. In this formative modeling the ideological background of those days forms the groundwork. The combination of reason and sentiment and of heart and mind emphasizes that our emotion should be in control by the ration and our emotion and ration should be harmonized.

• Journal of the Korean Society for Precision Engineering
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• v.21 no.6
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• pp.28-34
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• 2004

The old technique of sandblasting which has been used for decoration of glass surface has recently been developed into a powder blasting technique for brittle materials such as glass, silicon and ceramics, capable of producing micro structures larger than 100${\mu}{\textrm}{m}$. In this study, we introduced oblique powder blasting, and investigated the effect of the impacting angle of particles, the scanning times and the stand-off distance on the surface roughness and the weight-loss rate of samples with no mask, and the wall profile and overetching of samples with different mask pattern in powder blasting of soda-lime glass. The varying parameters were the different impact angles between 50$^{\circ}$ and 90$^{\circ}$, scanning times of nozzle up to 40 and the stand-off distances 70mm and 100mm. The widths of mask pattern were 0.2mm, 0.5mm and 1mm. The powder was alumina sharp particles, WA #600. The mass flow rate of powder during the erosion test was fixed constant at 175g/min and the blasting pressure of powder at 0.2Mpa.

• 제어로봇시스템학회:학술대회논문집
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• 2003.10a
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• pp.882-885
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• 2003

In this paper, we describe a haptic jacket and wheel as a haptic interface to enhance VR game realism. Building upon the VR game system using this devices, our haptic interface technique allows the user to intuitive interact on game contents, and then to sense the game event properties such as walking, attacking, driving and fire in a natural way. In addition, we extended the initial haptic model to support haptic decoration and dynamic interactions due to the added game event in a real time display. An application example presented here is a VR Dino-Attack game. This game supports interactions among dynamic and our intuitive haptic interface. Modeling physic interactions involves precise collision detection, real-time force computation, and high control-loop bandwidth.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.47-59
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• 2006

The purpose of this study is to grasp the meaning of retro-fashion, to research the formative feature characteristic and aesthetic values. Retro-fashion is one of the expression of spatiotemporal-eclecticism, The formative of modern Retro-fashion are as follows: First, Retro-fashion based on spatiotemporal-eclecticism have been come from 40s, 50s, 60s, 70s, 80s style of time, and the asia, africa, middle east, latin America in region. Second, the design inspiration and technique is used more primitive crafts and decoration like handcrafted material, handmade ornaments as dyeing and embroidery of bohemian, jacqwuard pattern, oriental beads, applique, new hippie touch, patchwork, smocking, primitive button, woods, ethnic motives. Third, modern Retro-fashion is reflection of human feelings as nostalgia from the past, it supplies the sense of fashion creativity and new ideas.

• Korean Institute of Interior Design Journal
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• no.2
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• pp.46-53
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• 1994

The Soubise Mansin which construction ended in the latter half of 1730s has several rooms which symbolize Rococo which appeared in the 18 century. The work of the Soubis Mansion done by an architect, Boffrand , is a significant work in which he had introduced a new style of building , Rococo, based on a style of Regency, thereby showing a big leaf in that kind of art. In other words, with the elements already established in the days of Regency-white wood panel, gold molding, mirror technique, etc. -and the characteristics of unprecedent, outstanding spatial forms and Rococo decoration introduced. Rococo had enjoyed its peak of full flourish within the moderation of being never excessively magnificent, beautiful, and dignified. It is a remarkable thing that a model of such perfect ideal beauty was suggested even in the begining state of Rococo and it is deemed that such a point resulted in such influence on other places like the Versalilles Palace, etc.

• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.325-334
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• 2016

This study explores developing a large round table with Bosang flower pattern for a contemporary meeting room made by a cabinet maker, Kim Byeung-soo, who has built the traditional Korean furniture in Korean Western Gyeongnam Province since after his elementary school. He uses the post finger joint from one of the middle level of his education process based on the traditional Korean technique, develops it into flower stem joint, and adds flower patterns' carving decoration called Bosang flower patterns. Hence, the table makes the table be strong, useful, and beautiful. Therefore, the modernized round table will be able to make the people access more easily and to make more demand on the traditional Korean furniture and the adopted furniture than ever.

• Journal of the Korean Society of Costume
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• v.61 no.9
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• pp.39-49
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• 2011

The presented study was designed to investigate the attribution of the visual perception of decorating techniques that have often been witnessed in the realm of modern fashion since 2006. The form is more impressive, more suitable to convey a message and, most of all, more memorable. In this study, attempts were made to categorize and create an order of prioritization among components such as surrounding, pattern (closure), space arrangement, area, overlapping, and community (proximity) surrounding that comprise the place and arrangement of decorating techniques in modern fashion. The results were as follow: First, centered decorating technique surrounded by other techniques is prioritized. Second, the more standardized the clothing with patterns, the more it was noticed. Third, the space arrangement also had an impact on prioritization in the following order: center of the sight, horizon, vertical, and diagonal in relation to the central axis. Fourth, concentrated area attracted more attention. Fifth, when overlapped, what is placed in the front became the center of recognition. Sixth, the technique that formed a community was more recognized. Therefore, the study suggests that as the decorating technique is gaining more significance, these findings would help to find the most effective method to utilize an acute visual stimulus to apply for a technique and maximize its aesthetic effects.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.2
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• pp.103-109
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• 2004

This study attempted to investigate the plasticity of Korean paper expressed in contemporary fashion after general inquiry into Korean paper and examine the aesthetic beauty of fashion design using Korean paper. It used the literature review and empirical data analysis together. Korea-paper fashion design, the object of actual investigation, was for Korean-paper fashion from the 1990s to the present. As a result of analysis, the following findings were obtained: First, the natural, warm and soft texture seen as pureness in Korean paper enables us to elicit naturalness from liberalness. In addition, Korean paper not only has the tough characteristic of its material but also has the natural characteristic of abandoning its original nature and complying and adhering to its a given nature. Korean-paper fashion design, using this natural beauty and frank nature, bears the pure image of excluding decoration. Second, the overlapping of the surface on the surface expressed in Korean-paper fashion design forms one space with the sense of depth because of its transparency and expresses temporality through repetition. And the work of folding it with other materials and pasting them up with together demonstrates the effect of reflection because its original transparency. This effect is the specificity created in the collage technique using Korean paper and is the advantage of coming to obtain a wider freedom of expression. Korean-paper fashion design expresses transparency using this repetition and overlapping, Third, Korean paper has the simple rather than luxurious aspect. Owing to this nature, fashion design looks as if there were the greed inherent behind the work made from Korean paper though the complex technique applied to it. And it expresses the restraint of Korean paper using its original white color, the exclusion of decoration and simple design. Fourth, Korean paper is more likely to be changed by the outside influence because of formation. It has its peculiar aesthetic value and original artistry to an extent that it is regarded as one artistic work. The quality and texture of Korean paper diversely vary according to the artist's working process. Like this, Korean paper is easily fused into some object without exclusivity though it may be added to it. Korean-paper fashion design has the beauty of creation that is to create a new world because Korean paper is fused into another material due to its soft nature.