• 문화기술의 융합
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• 제9권3호
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• pp.407-413
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• 2023

본 연구는 디지털 패션디자인 영역이 확장되고 있는 현시점에서 자수 특유의 시각적 표현효과를 보다 쉽고 다양하게 의복 디자인에 접목할 수 있는 기초자료를 제공하고자 자수 디자인의 디지털화에 의한 시각적 표현 효과가 실제 의상과 가상의상에서도 동일한 효과를 나타내는지 비교하였다. 컴퓨터 자수기를 이용한 실제 자수 모티브와 디지털화에 의한 DTP 자수 모티브, 디지털 모티브를 생성하였으며 의복에서의 시각적 표현효과를 비교하고자 각각의 자수 모티브가 들어간 패치포켓 형태의 T-셔츠를 제작하였다. 자수기로 제작한 자수가 삽입된 의복과 디지털화된 자수 모티브를 디지털텍스타일프린팅하여 제작된 의복의 시각적 효과를 비교한 결과, 색상(3.5), 질감(4.0), 광택(3.8), 두께(3.5)에서 자수원사의 컬러와 두께감 등 시각적으로 충분히 자수의 질감, 광택의 표현 효과를 나타낼 수 있음을 알 수 있었다. 가상의복의 자수 표현효과에 있어서도, 색상(3.8), 질감(4.3), 광택(3.9), 두께(3.6)의 높은 일치도를 보여, 우리는 디지털화된 자수모티브도 기존 자수 특유의 시각적 표현 효과를 충분히 구현할 수 있는 도구임을 확인할 수 있었다.

• 패션비즈니스
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• 제8권3호
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• pp.20-33
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• 2004

The creative energy of the Korean women who pursued spiritual artistic practices under the limited situation of male-dominated confucian society in the Chosun Dynasty(AD 1392 - AD 1910) constituted the background for the development of Gubang Craft. Gubang Craft represented their artistic abilities, moral and family values, and the pursuit of self-esteem. Especially embroidery successfully showed four main elements of Gubang Craft such as embellishment, diversity, femininity, and craftsmanship. This paper is designed to explore how the traditional elements of embroidery works are restored and have influence on the modern Korean fiber art.

• 전기학회논문지
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• 제65권5호
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• pp.862-867
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• 2016

In this study, the embroidery textile conductive wire of conductive yarn was designed into the wearable integrated clothing for sensing the infant's body temperature. To develop a high quality of the stable fiber-based textile conductive wire, firstly the five types of conductive yarns were twisted or covering polyester yarns and the coated conductive fiber with silver(Ag) or iron(Fe). As a result of comparative conductivity in conductive yarns of yarn processing, the 250 denier of conductive yarns with $0.74{\Omega}$/1~5cm were proposed and used for the integrated embroidery textile conductive wire for sensing. During experiments using the proposed embroidery textile conductive wire, measured resistance of thermistor according to the body temperature was correctly delivered to amplifier module, and showed feasible reliability of temperature sensing. As a wearable application, conductive yarns which takes forms of embroidery textile conductive wire would seems to be reliable as a conductive wire and could be replaced by the conductive metal wires.

• 복식
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• 제67권2호
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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.

• 한국의류산업학회지
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• 제12권1호
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• pp.10-20
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• 2010

In this research, by yearly subdividing and analyzing the characteristic of the embroidery design according to the garment item with a season the high value added is raised for a differencing and high performance conversion of the high fashion design and there is an object. In 2004, when the total 474 chapter was selected in S/S season till F/W season in 2008 and the embroidery design characteristic according to the kind of an item the analyzing method and statistical method was used. As to the first, and the embroidery design in which it follows of the garment item showed the stylized, and the plant motive of the geometric pattern by an edge and composite arrangement in an one-piece and blouse with the satin stitch and cut work technique. A monotone and the bright tone were used. The second, and the season different difference, the out line stitch, an applique, and the cut work technique S/S season were a feature. A plant, and the animal motive were expressed as the front arrangement and the monotone of the achromatic color appeared. As to F/W season, the long short stitch and satin stitch techniques were with the characteristic profit. The abstract motive showed up as the edge alignment and composite arrangement. And the plain tone and the monotone of the chromatics combination color are used. In the third, and the chronological difference, an applique the embroidery technique showed up in the out line stitch, and 2007 years in 2004 years and 2006 years. And the sentence motive of the animal, and the abstract motive the embroidery motive are embossed in 2005 years and 2006 years in 2008 years.

• 한국의상디자인학회지
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• 제16권4호
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• pp.117-136
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• 2014

The purpose of this study is to present a classification system of the hand-made and machine-made lace according to the configuration method and re-make the category and definition of lace to consider the emergence and development of major laces techniques. The re-made category and definition of the lace is as follows. The lace usually consists of ground and motifs, however, the techniques of netting and sprang are suitable for making ground than motif, so I think it is appropriate to exclude them from the category of the lace. Many scholars are excluded openwork embroidery fabric from the category of the lace. But, an openwork embroidery fabric is the basis of a needle point lace called true lace and is consist of motif and ground. I think it is appropriate to include it in the category of the lace. I think it is also appropriate to include in the category of the lace that the eyelet embroidery fabric which mimics the openwork embroidery fabric in the machine. Lace is redefined that a fabric with openwork decoration consists of motif and ground, constructed by a variety of ways such as plaiting, twisting, looping, knotting of threads or embroidering by hand or machine. The classification of the lace is presented as follows. Hand-made lace is classified bobbin lace, needle point lace, embroidery lace, knotted lace, crochet lace, and knitting lace. Machine-made lace is classified raschel lace, leaver lace, torchon lace, and machine-made embroidery laces which include tool lace, eyelet embroidery lace, chemical lace, etc.

• 복식문화연구
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• 제23권4호
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• pp.705-725
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• 2015

A Beoseonbongip is a pouch that holds patterns for making Beoseons. This study aimed to identify the aesthetic and symbolic contents of the embroidery patterns by analyzing the kind, combination types, expression and arrangement types of patterns. In total, 140 Beoseonbongip artifacts, which were mostly made in the Joseon Dynasty, were quantitatively and qualitatively analyzed. The results indicated that about 83% of the total had flower patterns. Various kinds of embroidery patterns used for Beoseonbongips were newly identified. About 73% of the total had different kinds of patterns. Pattern combination types were identified by the kinds of patterns, the number of paired patterns, and the traditional painting styles used. The patterns of Beoseonbongips were expressed schematically more than realistically or abstractly. Beoseonbongips with different patterns on the four triangle tips of the front face and Beoseonbongips with the same/similar patterns on two opposite tips of the front face were observed more than the other types. On the back face, the embroidery patterns were symmetrically arranged, showing various division structures. It was inferred that wishes (e.g., marital harmony, fertility, good health and longevity, happiness, and wealth and fame) were expressed through the symbolic patterns embroidered on the Beoseonbongips. In terms of Korean traditional beauty, the union with nature, the harmony of yin and yang, symmetric balance, and neatness were also emphasized as a esthetic characteristics of Beoseonbongips.

• 복식
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• 제52권1호
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• pp.21-36
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• 2002

The Miaos have their own unique and luxurious culture traditional and modern formed as they have experienced repeated fusion into and resistance against the Han Race or the Chinese in their long and old history. Taijiang County of Guizhou Provice, in which whey have been living, is endowed with natural beauty. Thus their culture enjoys abundant and diverse contents of artificial and natural character. Naturally, their costume reflects cultural and natural features in abundance and variety. This dissertation aims to investigate the artistic character of Miaos' traditional costume as reflected in patterns for their embroidery. As for the artistic character of the patterns for embroidery, the following were found. To begin with, the space in the Miaos' embroidery is, unlike the measurable three-dimensional space found in Greek art, unmeasurable and fantastic with its beauty, majesty and peculiarity. It is as if immersed in limitless space, they were in communion with gods and universe. Another characteristic is the use of image construction beyond mere imitation. Their mode of image construction was realistic in that patterns as a whole reveal an abstract form or meaning but separately they portray visual representations of concrete thins in nature. Still another is that sense of motion conveyed by the basic curve line is full of life. It was the result of using light rhythm breaking stereotypic balance and symmetry. Finally, the colouring was abstract, and a strong contrast between black and white was gorgeous and fantastic.

• The International Journal of Costume Culture
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• 제3권2호
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• pp.161-174
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• 2000

Today's advanced transport and mass media enables people to access easily and frequently to traditional costumes from different countries in the world. Consequently, fashion designers who are fascinated by the variety and beauty of traditional costumes, tend to adapt them to modern fashion design. The continuous study of traditional costumes at such time contains a meaning as a source of inspiration for the creation of a new fashion design. Therefore, among various costumes of the world, this study will focus on the costume of Palestine, that is situated at the crossroads of Europe, Asia and Afria and has exchanged various historical cultures with other cultural regions. It, especially, expects to provide a unique idea in the material modification field of today's fashion design by examining mainly the embroidery ornament which is the most distinctive feature of Palestinian costume. The conclusion was revealed that Palestinian women's costume largely consists of embroidered silk and cotton garments with a V-slitted square panel (gabeh) attached to the chest part. And a variety of luxurious embroidery was employed to emphasize different parts of the dress. These embroideries differ from area to area. Especially the embroidery from Bethlehem was well-known in many places and influenced those of other regions.

• 한국정밀공학회:학술대회논문집
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• 한국정밀공학회 2013년도 춘계학술대회 논문집
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• pp.503-504
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• 2013