• Asian Journal of Turfgrass Science
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• v.23 no.1
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• pp.23-34
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• 2009

Research was initiated to investigate early establishment characteristics and germination pattern of tall fescue(TF, Festuca arundinacea Shreb.). Four varieties of TF were evaluated in the study. Experiment was conducted under a room temperature condition of $5^{\circ}C$ to $25^{\circ}C$(natural conditions). Daily and cumulative germination patterns were measured and analyzed on a daily basis. Significant differences were observed in germination patterns, days to the first germination, days to 50% germination, days to 75% germination, and germination percentage with different environments and varieties. Germination percentage was variable with varieties at the end of study. It was 85.25 to 97.00% under natural conditions. There were considerable variations in early germination characteristics and patterns among the entries according to different conditions. The first germination was initiated between 7 and 9 DAS(days after seeding) under natural conditions, being 2 to 3 days later as compared with ISTA conditions. It was 11 to 12 DAS in days to the 50% germination, which was 3 to 4 days after the first germination. Days to the 75% germination were 12.38 to 14.29 DAS, being 1.55 to 4.77 days slower as compared with ISTA conditions. Olympic Gold was regarded as the fastest variety and Tar Heel II was slowest. Data from this study demonstrated that information on differences in germination characteristics and patterns among varieties would be usefully applied for TF establishment such as golf course construction.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.1-15
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• 2009

This study aimed to create a new costume design suitable for publicizing our traditional patterns in the world by using the traditional patterns of Northeast Asia region. The result of this study can be summarized as follows. First, China is characterized by a strictly fixed configuration and a realistic description, Japan a simplistic modality and an abstract-geometrical pattern, and Korea a eclectic type, whole-pattern, and part-pattern. This study aimed to make the pattern by using harmoniously these characters. Second, Korea, China, and japan have many similarities concerning a symbolism and a type of pattern. In the modern fashion, they often use dragon patterns, various flower patterns like peony, plum blossom, or mum, and geometrical patterns. This study focused on expressing patterns which contain the ornamental symbolism of Oriental Look, aside from an existing symbolism, and show a traditional sentiment of Northeast Asia. The method for expressing traditional patterns usually included weaving, dyeing, embroidery, or gold foil. Although these methods have been used in all the three nations, even rubbed metal foil and patchwork have been widely used in Japan.

• Journal of the Korean Society of Costume
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• v.52 no.7
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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.

• The Journal of Korean Academy of Prosthodontics
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• v.42 no.6
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• pp.654-663
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• 2004

Statement of problem. According to the fracture pattern in several reports, fractures most frequently occur in the interface between the ceromer and the substructure. Purpose. The aim of this in vitro study was to compare the macro shear bond strength and microshear bond strength of a ceromer bonded to a fiber reinforced composite (FRC) as well as metal alloys. Material and methods. Ten of the following substructures, type II gold alloy, Co-Cr alloy, Ni-Cr alloy, and FRC (Vectris) substructures with a 12 mm in diameter, were imbedded in acrylic resin and ground with 400, and 1, 000-grit sandpaper. The metal primer and wetting agent were applied to the sandblasted bonding area of the metal specimens and the FRC specimens, respectively. The ceromer was placed onto a 6 mm diameter and 3 mm height mold in the macro-shear test and 1 mm diameter and 2 mm height mold in the micro-shear test, and then polymerized. The macro- and micro-shear bond strength were measured using a universal testing machine and a micro-shear tester, respectively. The macro- and micro-shear strength were analyzed with ANOVA and a post-hoc Scheffe adjustment ($\alpha$ = .05). The fracture surfaces of the crowns were then examined by scanning electron microscopy to determine the mode of failure. Chi-square test was used to identify the differences in the failure mode. Results. The macro-shear strength and the micro-shear strength differed significantly with the types of substructure (P<.001). Although the ceromer/FRC group showed the highest macroand micro-shear strength, the micro-shear strength was not significantly different from that of the base metal alloy groups. The base metal alloy substructure groups showed the lowest mean macro-shear strength. However, the gold alloy substructure group exhibited the least micro-shear strength. The micro-shear strength was higher than the macro-shear strength excluding the gold alloy substructure group. Adhesive failure was most frequent type of fracture in the ceromer specimens bonded to the gold alloys. Cohesive failure at the ceromer layer was more common in the base metals and FRC substructures. Conclusion. The Vectris substructure had higher shear strength than the other substructures. Although the shear strength of the ceromer bonded to the base metals was lower than that of the gold alloy, the micro-shear strength of the base metals were superior to that of the gold alloy.

• Journal of the Korean Society of Costume
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• v.58 no.8
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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.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.88-101
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• 2011

This study emphasizes on the characteristics of the excavated fabrics from the tomb of Kimwhoak in the late 16th and early 17th centuries. All of 118 kinds of fabrics are used in excavated costume from the tomb of Kimwhoak. Classified by its materials, it is divided into small groups as follows: 63 pieces of spun silk tabby(53.6%), 14 of spun yarn silk(11.9%), 13 of thin filament silk tabby(11.0%), 8 of thin silk tabby(6.8%), 4 of satin without pattern(3.4%), 3 of filament silk tabby(2.5%), 3 of twill without pattern(2.5%), 2 of satin damask(1.7%), 2 of mixture fabric with silk and cotton(1.7%), and 2 of ramie fabric(1.7%), 1 of simple gauze without pattern(0.8%), 1 of damask with supplementary gold thread(0.8), 1 of cotton(0.8%), 1 of etc(0.8%). Classified by ways of weaving: 106 pieces of plain weave(89%), 6 of satin weave(5%), 3 of twill weave (3%), 1 of gauze weave(1%), 1 of compound weave(1%) and etc(1%). In point of patterns, the most of textiles are without pattern, there are only two of them are patterned textile. such as lotus patterns with vine, peony patterns with vine. Their patterns are very similar to those of other tombs in the same age.

• Journal of the Korean Society of Costume
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• v.44
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• pp.235-247
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• 1999

The influences of Art nouveau and Art Deco are as follow: The first, in the side of silhouette, hourglass style and bell shaped skirt influence on mordern fashion chiefly and S-curve style was mollified. Empire style, hobble style in art deco age are all showed diversely, in these styles especially boyish style give an outstanding trasts to modern fashion. The second, the color of art deco, characterized by pastel in art nouveau's color tone, original color and black and gold was reflected on the textile design and showed diversely in the color fo modern fashion. The third, in the field of textile and pattern, flower and plant which was a motive of art nouveau style, organic curve and geometrical pattern and exotic motive was seperately used with motive in the pattern and design of mordern. Textile of goldish and silver tone, metal stuff, lace embroidery, fur, artifical flower, feather etc. showed up on the many parts of clothing. Like this Art Nouveau and Art style not only had a great effect on the costume but also decorations and formative arts.

• Journal of the Korean Home Economics Association
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• v.45 no.2
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• pp.51-62
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• 2007

This study explicates some properties of the fabrics used in the 16th century by examining and analyzing the 90 pieces of fabric excavated from the graves of Mr. Ryu of Jinju and his wife Mrs. Park of Euiin. The fabrics were classified into silk tabby(紬), thin silk tabby, satin damask(段), complex gauze(羅), mixture fabric with silk and cotton(絲棉交織), cotton(棉布) etc. Compared to other contemporary fabrics excavated previously, the fabrics unearthed from the couple's graves presented very naive feelings. Patterned satin damask occupied a small portion. In the case of plain fabric, little filament silk tabby(絹) or thin filament silk tabby(細紬) was unearthed. Important data on the history of Korean costumes are provided by the noteworthy, first-ever excavation of a small cap made of complex gauze(羅) and the tiger-leopard embroidered patches called hyoongbae(胸背), which were worn on the front and back of official robes made of tabby with supplementary gold thread(金線). Only 3 pattern types could be clearly identified in form, cloud pattern, lotus and vine pattern(蓮花蔓草), and small flower and treasures pattern(七寶細花). These three patterns are very similar to those of other 16th century fabrics unearthed previously in terms of the form and arrangement of patterns.

• Journal of the Korean Society of Costume
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• v.67 no.2
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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.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.7
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• pp.993-1004
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• 2002

This study was designed to examine the aesthetic characteristics of traditional wedding dress in Japan based on the internal$.$external aesthetics. They were extruded external and internal aesthetics based on pattern, color and fitting. The results of this study can be summarized as follows; Decorative characteristics in external aesthetics extracted into three factors; fantasticism, movement, amusement. The fantasticism was based on the omitted pattern, painting gold. The movement was presented through irregular composition, fitting method, and silhouette. The amusement was expressed through the composition focus on a near view and pattern reminded of bring up the image. Fitting characteristics in external aesthetics extracted into four factors; grace, cubic effect, optical illusion, and tradition. The pace was expressed through the weight, formativeness, and layered look The cubic effect was presented through spacing of belt and H-line silhouette. The optical illusion was based on the straight line of seam, V-pleats and straight silhouette of fitting, and high-waisted belt. The tradition expressed through the unchanged form since Heian-dynasty. Internal aesthetics were characterized by the naturalism and the moderation. The naturalism was presented through the natural pattern which based on subjective feeling, indignity and position of wearing man, and color based on taste. The necessaries, or pressed artificial moderation, were expressed through the clothing silhouette by simplicity.