• 한국의류산업학회지
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• 제4권2호
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• pp.117-127
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• 2002

Patterns presented at baroque were mostly floral pattern. Abstract anonymous flower, tulip, Acandus leaf, pomegranate were blended with one another and had a distinct leaning toward continuation and repetition. Components of design could be classified into flower and leaf, flower and fruit, flower and circumferential ornament, bunch of flowers, flower and pot, flower and geometry, and flower and animal. Floral patterns in this era were mostly fullness type being large, simple, and having more formalized motive and were fronted with unit type and vine shape. Unit type shows reflection of baroque style which aims to present absolute unification rather than freedom, which was inherent property of baroque style, by using symmetric pattern. Vine type were unfolded with C type curved line which was main characteristics of that time and showed flowage as a whole and pliable beauty. Floral pattern was filled the whole surface of fabric, thus background of fabric can not be discerned. So, it showed extreme decorative tendency and lavishness.

• 한국자원식물학회:학술대회논문집
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• 한국자원식물학회 2018년도 추계학술대회
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• pp.114-114
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• 2018

Among the various volatile organic compounds (VOCs) emitted by the plant, floral scent plays a key role in attracting pollinators for reproduction and mediates ecological interactions. Floral scent is an important trait and industry drives the competition for flowers with novel scents. Chrysanthemum is one of the well-known ornamental plants and is a popular cut flower across the world. Floral scent and the genes responsible for the floral scent emission are poorly studied in chrysanthemum. In the present study, floral scent and the expression pattern of floral scent genes were analyzed in two chrysanthemum cultivars 'Golden Egg' and 'Gaya Glory'. Initially, intensity of the floral scent in five developing stages of flower including 'budding (B), bud developing (BD), initial blooming (IB), almost open (AO) and open flower (OF)' was analyzed using electronic nose (E-nose) with six metal oxide sensors. Based on the distance analysis, different stages of flower showed different relative intensity of scent according to the sensory evaluation. Although the scent pattern differed by stage, scent intensity was strongest in the OF stage in the completely opened flower in both the cultivars. Further, expression pattern of six genes in the floral scent pathway including FDS, IDI, ISPH, TPS2, TPS5 and TPS6 was observed in all the five stages of the flower in both the cultivars. The expression pattern of all the six genes differed by stage and the terpene synthase genes TPS2, TPS5 and TPS6 showed good expression levels in the $5^{th}$ flower stage compared to other stages. This study provides a preliminary data for understanding the regulation of floral scent in chrysanthemum.

• 복식
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• 제52권7호
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• pp.1-11
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• 2002

The shape of floral Pattern in the Period of Baroque could be divided single. bunch and vine. The style of representation was stylized, abstract and realistic. the most of style was stylized. The type of composition was fullness, independent and scattered. Floral patterns were shaped simple and complex and components of design could be classified into flower and leaf. flower and fruit. flower and band. bunch of flower, flower and geometry. flower and pot, flower and animal. flower and crest. Kinds of flower were tulip. common marigold, lily, carnation, small bel]flower. lotus, acandus leaf, pomegranate, strawberry. pine cone and abstract anonymous flower which were unfolded by repeat. Characters of floral Pattern were classical elegance, taste of royalty and lively and damask, velvet, brocade which made with gold and silver so, those were a very brilliant and gorgeous. Characters of design were illustrated plane style and stylization where developed arranged on front by repeat or repeat symmetric of vertical. Art, costumes and textiles in this era were a very rich and colorful. The result of study on Baroque's floral pattern will be used to develope a various textile design and chance to be adopted classical pattern into aesthetic value in our time.

• 복식문화연구
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• 제18권4호
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• pp.731-740
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• 2010

This study attempted to understand the value of traditional floral wall patterns reflecting the distinct aesthetic consciousness of Korean people and reinterpret the images of floral wall patterns in simplified forms. In addition, the study created new floral patterns to apply them to the design of neckties and scarves. In a methodological aspect, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop CS2 were used to make the traditional floral wall patterns motifs. Four basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating, and/or reducing shapes based on floral wall patterns, and each motif was developed in two variations with different colors applied to them. Each of the set motifs was expressed in a repeated arrangement and in a modified pattern of 45 degrees. Necktie design with a floral wall pattern made use of the motifs developed through a variety of effects such as simplification, repetition, size variation, and gradation and the pattern modified at a $45^{\circ}$ for application. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed and expressed them through such effects as repetition, rotation, compositional variation and gradation.

• 복식
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• 제60권1호
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• pp.101-116
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• 2010

In this study, the subjects are the expression methods and compositions of peony patterns in Chinese textiles. This study represents the peony patterns which are from Tang Dynasty to the Qing Dynasty, the research subjects are the peony patterns in fabric, except the peony patterns which are expressed by gold foil, embroidery and kesi. The objects of this study are 72 pieces of peony patterns. We sketched the configuration details of peony patterns through the Illustrator program. Analyze and classify the configuration accurately. Based on the 72 pieces of peony patterns, expression methods and compositions of the peony pattern are as following, firstly, we classified peony patterns into three categories, based on expression methods, as realistic shape, pattern shape and shape. Among these 72 fabric relics, there most of realistic shape 42 pieces(58.3%), pattern shape 25 pieces(34.7%), and shape 5 pieces(7.0%). Secondly, in the realistic shape peony, the most of pattern has petal accumulate as grape- shaped. This type is found in almost every Dynasty and was used regularly in the eras of Song and Ming Dynasty. In the era of Ming Dynasty, by using petals like the curly mushroom, Yeongji(靈芝), the pattern of symbolizing longevity was habitually used. The U-shaped flower pattern (type E) and the pattern of emphasizing the veins of petals are found only in the remains of the era of Qing Dynasty. Thirdly, in the pattern shaped peony, the most of pattern has some petals which are separated(type C). Fourthly, we classified peony patterns into four categories, based on compositions, as individual branch form, floral branch form, cluster branch form and floral nest form. Among these 72 fabric relics, there most of individual branch form 33 pieces(45.8%), floral branch form 18 pieces(25.0%), cluster branch form 13 pieces(18.1%), floral nest form 8 pieces(11.1%).

• The Korean Journal of Ecology
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• 제14권4호
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• pp.415-433
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• 1991

Seasonal variation in size and number of floral structures was examined in two massachusetts populations of chelidonium major, a self-compatible herb. All floral charcters except for anther number per flower declind significantly during a 3 week period. However, temporal patterns were not identical among characters or between popolations. The result indicate that floral characters varied in conjunction with flower diameter,but that the pattern of changes in floral characters in response to environments may not be easy to predict. Principal components analysis was conducted to environments may not be easy to predict. principal compenents analysis was conducted tl identify the functional relationship among floral male function, and female function, respectively, perhaps reflecting the functional distinction of floral characters. Based on this pattern, the relative allocation to sexual structures within flowers was examined: male allocation was relatively greater than female allocation eary or in the middle of flowering season, depending upon populations. Temporalvariation in relative allocation within flowers was not independent of seed tield components:; different combinations of the size and number of floral characters were correlated with different seed yield components, for example, either seed size or number per fruit, during a season. in particular, allocations to attractive and male structures were highly correlated with mean seed weight only earlier in the season. These result provide some evidence that flowering phenolgy is an important comportant to be considered in the study of sexual allocation.

• 복식
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• 제58권8호
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• pp.13-29
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• 2008

This study analyzes the patterns of Baekje accessories, including pattern kinds, symbolic meanings and pattern types. And also this study shows the characteristics of accessory patterns and gives a chance for reflecting upon the patterns of Baekje costume. This study is qualitative research using documentary records related with the accessories of Baekje and evacuated data. The results of the study are as the followings: First, the kinds of patterns were classified four groups, floral, animal, geometrical and other patterns. Also, the symbolic meanings of its were authority, prolificacy, longevity and protection against evil spirit. Floral pattern was expressed most frequently. Second, the types of patterns were classified two groups, individual and compound type. Both of them was variously expressed. Third, The major material was copper with gold. Most work techniques were boring and hammering. The patterns were the composition of floral or animal patterns as a main design and geometrical patterns as a section or border design. Forth, the expressive characteristics of Baekje accessory patterns were to prefer floral patterns and to express symmetrical composition of patterns, therefore the patterns of Baekje accessories showed their esthetic sense like elegance, mild, serenity, a sense of stability and the sense of balance. In conclusion, the expressive characteristics of Baekje accessory patterns would be expressed on the Baekje costume.

• 한국의상디자인학회지
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• 제19권2호
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• pp.129-144
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• 2017

Throughout the rich human history, patterns have developed as a symbolic sign and representation of the inner psychology of human beings. Thanks to its intrinsic beauty and emotional richness, the flower has been utilized as a one of the major materials for patterns used in everyday life and art. As a product of nature, floral patterns have played a key role in fashion trends as a Surface Design with other elements of fashion design such as silhouette, fabric and color. Therefore, this research sought to identify the trends of floral patterns of women's garments that appeared at the four major global fashion collections (Paris, Milano, New York and London), and to analyze how importantly the fashion magazines' prediction were applied in the actual collections. Furthermore, the research aimed to suggest possible methods to utilize trend magazines for collections in the future. As a main research method, the authors investigated professional fashion literature and internet websites to extract a total of 4,681 items presented by sixteen designers who participated in the four major global fashion collections each time during the period of the 2012 S/S~2017 S/S seasons. First View Korea and Samsung Design Net were used as major sources for the pattern extraction and analysis. According to the analysis, floral patterns account for 31%(1,454 items) among the total number of patterns appearing in the four major global fashion collections(4,681 items). For the reflection ratio, Samsung Design Net recorded a 4% higher ratio(52%) than First View Korea(48%). Based on the data and analysis of this research, the authors expect that floral patterns in various forms will be continuously presented in fashion collections, and conclude that utilizing fashion magazines is highly useful due to their appropriate predictions.

• 한국의상디자인학회지
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• 제24권2호
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• pp.131-146
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• 2022

The purpose of this study is to implement the textile design applying the floral pattern shown in Korean traditional fabrics and the New-Hanbok Chulic Dress in 3D through a virtual fitting system. As a research method, first, we analyzed the floral pattern types of fabrics in the literature related to traditional Korean textiles. Second, we developed textile designs of traditional flower motifs using 13 extracted flower types. Third, we applied the floral textile designs to the 3D original form of new-Hanbok Dress produced based on design preference survey results. The findings derived through this study are as follows. First, among Korean traditional patterns, the type of flowers used in textiles were blossom of chrysanthemum, orchid, camellia, apricot, peony, peach, pomegranate, hydrangea, narcissus, lotus, plum, chinese rose, and rosa rugosa. Second, this study found that the value of traditional culture can be further increased by using traditional flower patterns as an infinite source of creative design. Third, it was confirmed that the new-Hanbok can be developed endlessly as a clothing design that combines various morphological modifications and patterns without departing from traditional designs. In the future, if the research on costume design using various items of traditional clothing and the development of textile designs based on traditional culture continues, the development of new clothes design that leads to the development of Korean traditional clothing culture and meets the sensibilities of modern people will be endless.

• 대한가정학회지
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• 제35권2호
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• pp.159-172
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• 1997

The purpose of this study was to investigate visual evaluation according to various methods of motif presentation and the value contrast between the motif and background. The instruments developed for this purpose were two sets of stimuli and a response scale. the first set consisted of pattern stimuli. they were eight photographs of floral patterns constructed by using six different motif presentation methods and two different value contrasts. The second set had eight clothing stimuli, photographs of clothings with the above floral patterns. The 7-point sementic differential scale of 19 bipolar adjectives was used as the response scale. The data was analyzed by factor analysis, ANOVA and T-test. The major findings from this study were as follows; 1. Four factors emerged to account for the dimensional structure of the floral pattern image. These factors were attractiveness, tenderness, attention, and maturity. among them attractiveness and tenderness were the major dimensions 2. The patterns and the clothings had no significant difference from each other in terms of attractiveness and tenderness, but in terms of maturity and attention. The pattern presented a cute and sober image, but the clothing presented mature and gorgeous image. 3. methods of motif presentation had significant effects on all the factors. The pattern by shading method gave the most attractive and soft image, the one by line the most soberest, the one by area the most gorgeous, the one by collage the most unattractive, hardest, and cutest, and the one by mosaics the maturest. 4. The value contrast between the motif and background had no significant effects on attractiveness and maturity, but on tenderness and attention. The patterns with a high valued background presented a soft image, but the one with a low valued background a hard image. The patterns with a low valued area presented gorgeous image.