• 패션비즈니스
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• 제2권1호
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• pp.25-34
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• 1998

This study has it's purpose in examining the materialized background. characteristic of African traditional costume and the A fro fashion of the year 1960. and it's influence on the contemporary fashion. Then the findings are applied to suggest a new way of image creation. 1960' s was the year in which people tried to free oneself from the ruling culture of the social standards. war. and the development of science. By such movement. people started to get interested in the environment and ecology. This then lead to the interest of the rights of the minority. With the youngs as the central figure A fro hair style and dashiki appeared as the street fashion. The characteristics of African costume applied to A fro fashion in 1990' s is as below. First. the North African style. Djellaba. and wrap style in the most common silhouette. Second. heavy materials such as stone. copper. silver. and gold are used. Necklace can be classified according to it's simple but. modern style. delicate but grand style. Bracelets are however. broad in width and many rings are worn widely. Third. Multi colored stripe and prints inspired by tattoo and deformation using red brown. dark beige. and orange are printed on textiles such as see through. Fourth. image of tattoo and deformation are applied to make-up. A fro hair and corn beads are also African taste. Fifth. African taste in recent fashion showed off the black beauty by appointing black models at the collection. In analyzing the study done above. characteristic images of African costume. accessaries and body painting was applied in presenting 3 creative designs. The first design named "Geometric I", took it's motif from the geometric pattern of the body painting with the afro hair. "Geometric II", the second design, showed it's application of geometric pattern of mutilation and the silhouette of the costume by using the see through. The third design called the "Geometric III" showed that the aesthetic and decorative side of clothing can be satisfied by applying various form and color of accessaries as the motif. A fro fashion is chosen as one of the folklore mood and it's beauty is conveyed on till today.

• 한국진공학회지
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• 제22권5호
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• pp.262-269
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• 2013

집속 이온빔 장비는 나노크기의 패턴을 제작하는 한 방법이지만, 정밀한 제작은 쉽지 않다. 그러므로 집속 이온빔 장비로 샘플을 제작할 때 고려해야 하는 공정 조건을 정리하여 초보자도 샘플제작이 가능하도록 도움을 주고자 한다. 본 장비로 원하는 나노크기의 패턴을 제작하기 위해서 집속 이온빔 장비의 공정변수들을 최적화 하는 과정이 중요하다. 가공할 때 고려해야 하는 변수에는 빔 전류량(빔 크기)과 도즈(빔 지속시간)가 있다. 도즈를 결정한 후에 패턴을 제작하는데 걸리는 시간과 패턴의 크기를 고려하여 빔 전류량을 선택하면 된다. 여기서 도즈는 제작하려는 나노크기의 패턴의 금속 두께에 따라 결정이 된다. 이 논문에서 최적화한 1 pA의 빔 전류와 $0.1nC/{\mu}m^2$의 도즈의 공정조건에서 100 nm 두께의 금 박막 위에 타원형의 구멍을 정밀하게 제작할 수 있다.

• 복식
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• 제53권3호
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• pp.51-61
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• 2003

1. This study is to veri(y the characteristics of gauze fabrics focused on the them found at Sukga Pagoda. The remains researched are those of the Unified Shilla Dynasty around 8∼10 century. The found textile remains seem to be used as rugs or to be used for filling in spaces, wrapping silver reliquaries, equipments preserving relics of the Buddha, a gold-plated outermost reliquary, and so on. Since other remains found inside the Sukga Pagoda are national treasures, the textile remains can be considered as the fabrics of the highest quality. 2. Seven gauze fabrics, four non-designed gauzes and three designed gauzes, are found. They are all four-end complex gauze, weaved with the complex gauze technique. Two designed gauzes out of three designed gauzes are weaved in pattern by the clamp-resist dyeing technique and one is weaved in pattern by giving some changes in weaving. 3. In addition to the characteristics peculiar to gauze fabrics, such as thinness, fineness, and sparseness, another characteristic is found. That is, the difference in thickness between wefts and warps is over two times on the average in all of the seven gauze fabrics. Some of the gauze fabrics look like laces because of the huge difference in their thickness. 4. This research verified that with their transparency, are such materials that their beauty can easily be realized without adding various colors or patterns on the fabric by painting, embroidery, stitching old foil, or compound weaving technique.

• 한국의류학회지
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• 제19권2호
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• pp.297-316
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• 1995

The system and symbolizing ideologic meanings of the metallic Kwon in period of the Three-Kingdoms were comsidered by comparing to their cultural path and structal styles throughout the tree and the deer worship ideology. The results of this study are as followings; Firstly, the beginning of the Korean, mostly northern style was originated from metal tools of the Bronze age in BC 6c-7c. The maJ;lufature of the metallic adornment brought the pr-evailing use of metallic objects of craftwork after the supply of ironmongery. Secondly, the cultmal characteristics of the metallic Kwan in the kor-ean Peninsula were influenced f-rom the northern chinese tribes, Momg Go, Hung No, and Sien-pi who were transmitted from the scythian of the southern Russia having a prefenence for gold. Thir-dly, the metallic Kwon of the Kogmgo and the Baekje era was ideologically based on the ar-t of Buddism of the pattern of blazing flame, the carved pattern of flower- of herb, and the honey. sukle which were tramsmitted to china thr-ough the silk noad. Fourthly, the metallic K wam of the silla era consisted of the tree and the antler types in closely nelated to the tree and the deer ideology which were based on the background of shamanism. It should be raid that the metallic Kwan of the silla esa are connected to the type of nor-them ancient K wan. Lasthy, the metallic Kwan-Mo of the Kaja esa was mosthy original type of flower of herb even if kome of these ar-e similiar to the tree adornment type of silla. This type of flower of herb in based on the scythian type with a statue im silveer founded at Alexandnopol in the southern russia.

• 복식문화연구
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• 제17권6호
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• pp.1112-1128
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• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• 복식
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• 제59권8호
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• pp.132-151
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• 2009

All of 132 kinds of fabrics are used in excavated costume from the Dongrae Jung's Tomb. Classified by its materials, it is divided into small groups as follows: 58 pieces of silk tabby 43.9%, 2 of filament silk tabby 1.5%, 14 of thin filament silk tabby 10.6%, 19 of spun yarn silk 14.4%, 4 of twill without a pattern 3.0%, 8 of patterned silk tabby 6.1%, 23 of satin damask 17.4%, 1 of damask with supplementary gold thread 0.8%, 2 of mixture fabric with silk and cotton 1.5%, and 1 of ramie fabric 0.8%. Classified by ways of weaving: 96 pieces of plain weave 73%, 23 of satin weave 17%, 8 of patterned silk tabby consisting of plain weave material and twill weave pattern-6%, 4 of twill weave 3%, and 1 of compound weave 1 %. In point of patterns, the most often used ones are plant patterns such as lotus patterns, peony patterns, plum blossom patterns, flowers representing seasons patterns, and small flower patterns. For animal patterns, it has phoenix patterns designed together with flowers representing seasons patterns. And for natural scenery patterns, it shows cloud patterns with treasures patterns together. For object patterns, it also shows treasures patterns mixed with cloud or lotus together. For geometrical patterns, it has rhomboid patterns and 卍 character patterns; some show only rhomboid patterns and others show material patterns of 卍 character patterns blended together with fruit, lotus, etc.

• Restorative Dentistry and Endodontics
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• 제23권1호
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• pp.468-476
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• 1998

The purpose of this study was to observe the morphologic change of dentinal surface, adhesion in interface between dentin and bonding agents, and penetration pattern of resin tags into dentinal tubles according to bonding procedure of ONE-STEP universal adhesive system. Ten extracted human molars were mounted in dental stone and sectioned to expose mid-coronal occlusal dentin and again sectioned tooth crown apically. Specimens were randomly assigned to three groups for dentin conditioning with 32% phoshoric acid, two coats of bonding agents after dentin conditioning, and bond of composite resin. The surfaces of dentin were treated with etch ant and applied bonding agent, and bonded composite resin according to the directions of manufacturer. Specimens which were boned composite were sectioned longitudinally for observing interfaces between resin and dentin. Two of specimens which were sectioned longitudinally were immersed in 6 N HCL for 30 seconds and 1% NaOCL for 12 hours to partially demineralize and deproteinize the dentin substrate. Each specimen was mounted on a brass stub, sputter-coated with gold and observed under SEM. The result were as follows : 1. On the dentinal surface which was conditioned with 32% phosphoric acid. the smear layer was completely removed. orifices of dentinal tubules were opened 3-$5{\mu}m$ wide. and dentinal surface was irregular. 2. On the dentinal surface which was applied ONE-STEP. bonding agent. resin particles were observed on the orifices of dentinal tubules and intertubular dentin. 3. There were close adaptation between dentin and resin and were the pattern which composite invaded into dentin. 4. 1-$3{\mu}m$-wide hybrid layer was visible in the interface between dentin and resin. 5. Long and funnel shaped resin tags were observed in demineralized specimens. and the surfaces of tags were rough.

• 디지털융복합연구
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• 제19권1호
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• pp.389-399
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• 2021

본 논문의 연구배경은 플로우 이론을 적용한 u-융합정보시스템이 관광객의 만족도 측정이 부족하기 때문에 연구를 시작하게 되었다. 본 연구의 목적 및 연구 방법은 다음과 같다. 첫째는 플로우 관계정보 표시형식 알고리즘 제안이다. 둘째는 이 알고리즘과 플로우 이론을 접목시켜 콘텐츠 정보품질과 관광객의 성격 유형에 따라 패턴 알고리즘을 생성한 것이다. 본 연구의 기대효과는 플로우 관계정보 표시형식과 관광객의 성격 유형에 따라 패턴 알고리즘을 생성함으로서 u-융합정보시스템의 성공요인을 도출한 것이다. 본 논문의 한계성은 한 지역을 한정적으로 하였으며 데이터의 부족과 소규모 지역으로 객관성이 떨어진다. 추후, 다른 관광지에 제시하는 방법 적용 후, 분석을 통해 효용성을 평가할 필요가 있다. 향후 과제는 전문가 집단의 데이터 보완이 필요하고 여러 지역의 객관성이 보완되어야 할 것이다.

• 대한금속재료학회지
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• 제56권12호
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• pp.910-914
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• 2018

Since catalyst technology is one of the promising technologies to improve the working performance of next generation energy and electronic devices, many efforts have been made to develop various catalysts with high efficiency at a low cost. However, there are remaining challenges to be resolved in order to use the suggested catalytic materials, such as platinum (Pt), gold (Au), and palladium (Pd), due to their poor cost-effectiveness for device applications. In this study, to overcome these challenges, we suggest a useful method to increase the surface area of a noble metal catalyst material, resulting in a reduction of the total amount of catalyst usage. By employing block copolymer (BCP) self-assembly and nano-transfer printing (n-TP) processes, we successfully fabricated sub-20 nm Pt line and cross-bar patterns. Furthermore, we obtained a highly ordered Pt cross-bar pattern on a Ni thin film and a Pt-embedded Ni thin film, which can be used as hetero hybrid alloy catalyst structure. For a detailed analysis of the hybrid catalytic material, we used scanning electron microscope (SEM), transmission electron microscope (TEM) and energy-dispersive X-ray spectroscopy (EDS), which revealed a well-defined nanoporous Pt nanostructure on the Ni thin film. Based on these results, we expect that the successful hybridization of various catalytic nanostructures can be extended to other material systems and devices in the near future.

• 헤리티지:역사와 과학
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• 제54권4호
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• pp.232-245
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• 2021

최근 들어 세계 각국의 컬처노믹스(Culturenomics) 현상이 국가 브랜드 구축에 있어 중요한 핵심적 가치로 작용하고 있다. 말하자면 지구촌 사람들은 저마다 고유한 미의식을 계승하여 이를 경제적으로 활용할 수 있는 문화 산업이 민족의 정체성을 확립하고 그 존재성을 확고히 할 수 있다고 믿고 있는 것이다. 현재 지구촌의 환경 변화에 따른 언택트(untact) 시대에 현대인들은 인터넷상에서 온라인 마케팅을 통해 그 어느 때보다 쉽고 빠르게 품질 좋은 디자인을 선택할 수 있다. 따라서 기업은 자국의 전통미를 간직한 문화적 소산물을 현대적 조형 디자인으로 재해석하려는 이른바 '문화 브랜딩' 전략을 구축하고 '브랜드 아이덴티티'를 확립해야만 고립된 경제에서 벗어날 수 있을 것이다. 본 연구는 오랜 전통이 담겨 있는 단청 문양 중 금문(錦紋) 패턴을 현대적 조형 디자인으로 재해석하였다. 즉 한국 전통 문양을 활용한 국가 브랜드의 개발 전략을 제시하려는 게 본 연구의 목적이다. 본 연구자는 그동안 전통 건축의 목 부재를 보호할 목적으로, 그리고 건축의 의장적 성격에 따라 달리 도채(塗彩)되었던 단청 문양을 현대적으로 재조명하고자 하였다. 전통 건축에 채색되는 단청 문양은 궁궐, 사찰, 유교 단청에 따라 문양과 색상을 달리한다. 그 중 금단청에 채색되는 금문(錦紋)은 부처님이 계시는 주불전(主佛殿) 공간을 장엄하기 위한 의장적 요소를 내포하고 있다. 이러한 금문은 과거의 존속이 아니라 현재의 전통성을 이어가는 새로운 매개체라 할 수 있다. 단청의 일부인 금문은 독창적인 구성 방식과 소재, 그리고 장식적인 기법이 뛰어나기 때문에 현대적으로 재해석하기에 적합하다. 또한 동일한 문양이라 할지라도 색상에 따라 시각적으로 달리 해석되는 금문에 내포되어 있는 심미성은 시사하는 바가 크다. 또한 전통 문양은 탐구와 이론적 연구로서의 보전 가치도 중요하지만 이를 현대적 조형 디자인으로 재창조하여 국가 브랜드화하고, 더 나아가 자국민의 자긍심을 높일 수 있는 중요한 수단이라고 할 수 있다. 따라서 본 연구는 평면 디자인 과정과 입체적인 조형 방법을 거쳐 전통 문양을 실물처럼 재현하고자 하였다. 과거에 머물러 있는 한국적 조형미가 국가 브랜드 제고에 있어서 중요한 역할을 하기를 기대한다.