• Fashion & Textile Research Journal
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• v.19 no.2
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• pp.134-139
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• 2017

This study proposes 3D printed shoe designs with patterns made by reinterpreting traditional Korean muntin patterns as customized designs that are unique to individual consumers and different from existing products. In the fashion industry, shoes with diverse designs grafted with 3D printing technology have been introduced. Artistic 3D printed shoes showcase the unique designs of designers. Functional and practical 3D printed shoes that can be worn during daily activities and during exercise have been actively developed. Traditional Korean pattern designs are also being recreated into designs reflecting the aesthetic sense of modern times with our own identity. The uniqueness of the traditional muntin patterns in geometric shapes, such as intersections of lines, rectangles, and octagons, are expressed in shoe designs with modern aesthetic senses by utilizing the traditional patterns that conform well to the modern geometric beauty of forms. This study was intended to develop 3D shoe designs that reinterpreted the motif of muntin patterns from among traditional Korean geometric patterns with a modern aesthetic sense. The octagonal patterns that express the scenery of spring can be seen through the muntins in traditional Korean-style houses were designed on the heels of shoes. Utilizing the Rhino CAD program and ProJet 660 Pro 3D printer, shoes were designed and printed. The processes for making shoes using 3D printing technology proposed in this study are significant because they represent the creation of designs in a new area. The results of this study might help in the development of 3D printed fashion products.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.81-96
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• 2019

The study intends to seek the creative ideas that can satisfy the needs of individual consumers by rediscovering the modern meaning and the artistic value of geometric ornaments engraved on the backside of Danyugyung, which is a traditional Korean pattern. In terms of the study method, the symbolic meaning and formative characteristics of Danyugyung were determined, and the form of its pattern and the geometric characteristics were analyzed. Based on this, Photoshop and illustrations were used to apply the shapes of Danyugyung and internal patterns to the textile designs, and the results are as follows. Firstly, it was found that Danyugyung was associated with the bronze mirror, which was used from the Bronze Age to the Early Iron Age, and was the product of artistic activities and an object and acted as a shamanistic and authoritative symbol of the ruling parties, which were responsible for the acts related to the spiritual world. Secondly, it was discovered that forms of Danyugyung were classified into Jomungyung and Semungyung in accordance with Forms of Danyugyung (造飾), and the formative features of the geometric ornaments that were engraved in great detail on the backside could be found in the images which change according to the form of the inner patterns. Thirdly, with regard to the development of the textile designs utilizing the shape and inner patterns of Danyugyung based on the formative features, it was could discover that the simple shape of Danyugyung presented a value which can be applied as a unique design factor delivering a visual rhythm by attempting to create various harmonies overlapping lines engraved on the inner patterns and the shapes of Danyugyung. Based on the above-mentioned outcomes, the possibility was confirmed that Danyugyung can be used as a novel motif and as a standard unit of patterns for textile design. With future studies, I would like to utilize the unique and diverse images as pattern motif for textile design.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2005.05a
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• pp.848-853
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• 2005

3D geometric modeling of an object of interest has been intensively investigated in many fields including CAD/CAM and computer graphics. Traditionally, CAD and geometric modeling tools are widely used to create geometric models that have nearly the same shape of 3D real objects or satisfy designers intent. Recently, with the help of the reverse engineering (RE) technology, we can easily acquire 3D point data from the objects and create 3D geometric models that perfectly fit the scanned data more easily and fast. In this paper, we present 3D geometric model generation based on a stereo vision system (SVS) using random pattern projection. A triangular mesh is considered as the resulting geometric model. In order to obtain reasonable results with the SVS-based geometric model generation, we deal with many steps including camera calibration, stereo matching, scanning from multiple views, noise handling, registration, and triangular mesh generation. To acquire reliable stere matching, we project random patterns onto the object. With experiments using various random patterns, we propose several tips helpful for the quality of the results. Some examples are given to show their usefulness.

• Advances in robotics research
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• v.1 no.1
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• pp.41-59
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• 2014

This paper deals with the problem of steering a group of mobile robots along a reference path while maintaining a desired geometric formation. To solve this problem, the overall formation is decomposed into numerous geometric patterns composed of pairs of robots, and the state of the geometric patterns is defined. A control algorithm for the problem is proposed based on the Nash equilibrium strategies incorporating receding horizon control (RHC), also known as model predictive control (MPC). Each robot calculates a control input over a finite prediction horizon and transmits this control input to its neighbor. Considering the motion of the other robots in the prediction horizon, each robot calculates the optimal control strategy to achieve its goals: tracking a reference path and maintaining a desired formation. The performance of the proposed algorithm is validated using numerical simulations.

• Journal of Educational Research in Mathematics
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• v.24 no.2
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• pp.205-225
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• 2014

This study analyzed how two sixth graders recognized, generalized, and represented functional relationships in exploring geometric growing patterns. The results showed that at first the students had a tendency to solve the given problem using the picture in it, but later attempted to generalize the functional relationships in exploring subsequent items. The students also represented the patterns with their own methods, which in turn had an impact on the process of generalizing and applying the patterns to a related context. Given these results, this paper includes issues and implications on how to foster functional thinking ability at the elementary school.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Journal of Fashion Business
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• v.13 no.4
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• pp.178-190
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• 2009

The purpose of this study is to make reference for geometric fashion by investigating geometric patterns by linear types and to propose high value added print and fashion design by designing and producing geometric prints and apparel with them focusing on digital textile printing. As a method of the study, visual and textural data were investigated for theory of geometric pattern and fashion design samples were illustrated. The geometric pattern could be defined as abstract pattern which was crossed with straight line or curve. We could group it into three classes such as straight linear, curved, and mixed type. Images varied with linear types. The image of straight linear type was sharp and modern, that of curved one was soft and feminine and that of mixed one was gorgeous and artistic. And then, 3 geometric prints and 3 one-pieces were designed. The concept of design was simple optimism which was based on sixties. Target was young optimistic women group from the mid teens to the mid twenties who continued to seek after their unique individuality keeping their modern lifestyle. Geometric patterns with straight linear, curved, and mixed type were designed and dresses which went well with them were designed and produced. According to the result of this study, images of geometric fashion can be represented diversely by varying linear type, digital textile printing is good method for high value added geometric fashion because of its high quality and degree of sensitivity, and geometric pattern is a good source for contemporary fashion.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.24 no.4
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• pp.386-393
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• 2015

A study is carried out on investigation on pattern costs, identification of geometric parameters for the cost, and development of cost estimation models for casting patterns. Pattern costs for machine tool structures are collected and analyzed to identify the important geometric parameters that affect the costs. The parameters are used for the development of the costing models. It is found that the geometric parameters can be easily obtained from a CAD system and then the costing models estimate a pattern cost in a minimum time. The models are verified with the structures whose pattern cost was used for this study. It is expected that this costing models can evaluate the cost of casting structures of machine tools in search of a near-optimal design based on manufacturing cost and, for example, weight at the design stage.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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• pp.50-64
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• 2006

This study was performed the analysis on the final usage and the pattern type of Jacquard fabrics through the surveyed data from the domestic and foreign textile fashion magazines[Book Moda, Fashion biz, Vogue] during recent 5 years(2000-2004). The result of this study can be summarized as follows. 1 Jacquard fabric mostly applies to apparel followed by accessory, interior decoration and bedding. As classified by uses, in apparel, it applies to One-pieces most followed by jackets and coats. In interior decoration, Slipcover uses Jacquard fabric most and then cushions, curtains and carpets. In accessory, neck ties use it most and then hand bags, hats and mufflers. In bedding, Jacquard fabric evenly applies to sheets, pillows, blankets and coverlet. 2. As classified by uses above, flowered patterns apply to each use most followed by geometric patterns, abstract patterns, ethnic patterns, art patterns and animal patterns. In addition, flowered patterns apply to apparel most and then interior decoration, accessory and bedding. Geometric patterns apply to apparel, accessory, interior decoration and bedding orderly. It is researched that abstract patterns and ethnic patterns also apply to apparel partially.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.13-24
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• 2004

This study was analyzed three basic patterns of the Islamic arts. These are natural flora, geometrical and calligraphy pattern. Islamic belief in Aniconism, doctrine of unity and worship of arabic language demanded delicate, decorative, and abstract patterns instead of patterns of real image. Natural flora pattern was classified into arabesque and various flower patterns. Muhammad commands that "The artist who fashions a representation of living things is competitor of God and therefore destined to eternal damnation, so if you want to represent living things, you should only depict flowers and trees". Then the natural flora patterns developed into main Islamic pattern. Geometric pattern was composed of geometrical elements like, circle, trigon, square, rectangle, pentagon, hexagon, octagon or other polygons, stars or motifs with straight or curved lines. Circle symbolized ′celestial′ sphere and crystal of the lower octagon symbolized ′earthly existence′. Therefore if the circle join with the octagons, it means fusion of celestial and earthly existence. Another important influence on the Islamic art was the calligraphy pattern, the writing of Arabic language. The major language of calligraphy pattern was Arabic script and often Persian script. Calligraphy pattern was composed of Kufic and Cursive script. The cursive script was developed various forms. The Islamic tenet prohibit depiction of sacred images, the sacred Arabic calligraphy such as ′Alla′ or ′Mohammad′ was substituted of them. And the content of calligraphy pattern was used with Quranic phrases. The aesthetics of Islamic patterns analyzed aesthetic of ′rhythmic lines′, aesthetic of ′unity in multiplicity′, aesthetic of tessellation and aesthetic of harmony. On the textiles of the Islamic culture, the arabesque, floral, geometric and calligraphy patterns were frequently used.