• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.154-155
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• 2005

• Proceedings of the Costume Culture Conference
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• 2001.10a
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• pp.82-83
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• 2001

• Bulletin of the Korean Chemical Society
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• v.27 no.5
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• pp.699-704
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• 2006

Escherichia coli RNase P is a ribonucleoprotein composed of M1 RNA and C5 protein. Previously, analysis of RNA aptamers selected for C5 protein from a synthetic RNA library showed that C5 protein could bind various RNA molecules as an RNA binding protein. In this study, we searched cellular RNA motifs that could be recognized by C5 protein by a genomic SELEX approach. We found various C5 protein-binding RNA motifs derived from E. coli genomic sequences. Our results suggest that C5 protein interacts with various cellular RNA species in addition to M1 RNA.

• Fashion & Textile Research Journal
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• v.14 no.2
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• pp.173-183
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• 2012

This paper intends to find out any possibility that a traditional fan can be continuously used for design development of fashion cultural products which highlight the differentiated uniqueness of Korean traditional cultures. For this purpose, this paper will newly reinterpret design-based formative factors that the shape and the line of a traditional fan shows, and then, make a pattern. This paper studied the existing literatures of a traditional fan, made the shape of a traditional fan into a motif, using computer graphic programs, like Adobe Illustrator CS 2 and Adobe Photoshop CS2, and then, applied it to neckties, T-shirts, and scarves. Among various kinds of traditional fans this paper set 4 basic motifs of new formative images by use of the shapes of Dan-Seon and Jeob-Seon, and then, developed them into two basic motifs each. Pink, blue, purple, green, yellow, orange, and gray were used as the basic colors of the motifs, through which splendid, but calm images were planned. The design of a necktie, which used a developed motif design, was applied in the form of a repeated pattern, through which a calm image was expressed. 45o turn was applied to this design to make a striped pattern image or a refined and cheerful image. The scarf design was developed into a rectangular long scarf so it can be used like a shawl. The design of T-shirt was developed into three types: a round neck-lined half-sleeved box type; a round neck-lined sleeveless type; and a V neck-lined, tight half-sleeved type.

• Fashion & Textile Research Journal
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• v.15 no.4
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• pp.514-522
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• 2013

This study reviews the principles for the techniques of Impressionist paintings as well as analyzed contemporary fashion designs with a focus on a motif-building technique based on the laws of a screen equivalent as a visual formative approach. We provide design principles based on fashion design painting techniques. Previous research on the laws of the screen equivalent of Impressionist paintings were studied and a qualitative analysis was conducted on fashion design cases from 2011, 2012 S/S and F/W collections. The analysis resulted in the following outcomes. First, the development of new motifs were found directly correlated to the creativity of design if it was a motif-building design. Second, in the selected fashion design cases, cutting lines and details were covered by motifs and their shapes collapsed in regards to overall visual uniformity so that specific details were hard to identify. Third, clothing shapes are recognized the changing colors of motifs and not through construction pattern lines; therefore, the expressions of diverse visual forms were available without being disturbed by construction pattern lines. This is deemed equivalent to an Impressionist painting style that depicts shapes with colors instead of lines. Lastly, the cases covered in this study have created new visual aspects that replace the stereoscopic spatial depth of clothes with a 'sensuous surface'. The pleasures derived from the sensuous surface are deemed equivalent to the visual pleasures created by Impressionist paintings.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.53-64
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• 2014

The main objective of this research was to understand the characteristics of printed geometric patterns through the statistical & qualitative analysis of fashion appeared in contemporary female collections 2011 S/S to 2013 A/W. Data collection of 294 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency was conducted. Also qualitative interpretation of natural print design' characteristics were completed. The main findings were as followed; 1,636 of the total 15,852 designs were printed patterns in 12 Collections and the occurrence rate of printed geometric patterns in three collections were 8.6% in Milan, 9.2% in Paris and 12.9% in N.Y. Most geometric patterns were the types of compact or medium density in a front patterns with a variety of sizes and mainly applied to the one piece dress or two piece clothing item combination styles. Formative Characteristics of printed geometric patterns were classified into four types. First, a variety of thicknesses and shapes, such as a line or a rectangle shape to take advantage of the types of the typical geometric pattern. Second types were using the motifs which inspired by geometric shapes such as point, circle star and other special geometric shapes and arranging them regularly with various sizes and density. The third was repeated particular motifs which based on complex and sophisticated mathematical formulas. Fourth were the specific diagram types of bold and free shapes or dividing the flat and arranging them without rules, or the combination type of various geometric motifs.

• International Journal of Costume and Fashion
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• v.12 no.2
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• pp.67-82
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• 2012

21st century is the Age of Culture, and a period that is represented by symbolism and imagery. This is no exception for the countries that want to enhance their image in the international community. In order for a country to improve its brand, it has to select a representative emblem, symbols and cultural items. The usual suspects for this are its name, flag, and anthem. Each of these items can elicit different types of symbolism. It can also be used to differentiate the country from others; however, these are not the only sources of symbolism at the country's disposal. Other popular tools include cultural heritage, both tangible and intangible, climate, natural environment, and its national character. A country can use these items to associate itself with certain images. The purpose of this study is to find an objective way to effectively boost Korea's brand. This will be done by comparing and contrasting the ways countries including Korea have used their national emblems to enhance their image. Data from each of the countries were collected and analyzed. The results of this study will become empirical evidence in researches aimed to develop fashion designs that use Korea's national emblem as its motif in order to improve its national brand Countries that were used for this research were United States, United Kingdom, Japan, France and Korea, and they were chosen because their national brand rated highly. The items selected for the analysis were scarves and neckties. This was because, compared to other fashion items, it was easier to sort out scarves and neckties that used motifs of national emblems as well as these two items having the highest usage rate of this type of motif. Group of experts looked through a combined total of 370 scarves and ties and they analyzed the following factors in the design: type of motifs, frequency, use of color, methods of expression and images.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.125-134
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• 2011

Art Deco is a decorative and eclectic design style, popularized at the interwar period. The term Art Deco derives from the Exposition Internationale des Arts D$\acute{e}$coratils et Industriels Modernes held in Paris in 1925. The aim of the exposition was to create new modern aesthetics. This exposition introduced the modern decorative and industrial art to the world and influenced all designers of area, including architects, interior designers, industrial designers, craftsmen, fashion designers, etc. Art Deco designers applied inspirations from a variety of sources and movements such as the Cubist abstract, the Neoclassical refinement, Egyptian exotic elements, Babylonian and Aztec temples, the machine aesthetic, avant-garde movements, etc to their modern works. Art Deco style rapidly spread all over the design areas nationwide in America. In Art Deco architecture, in particular, its inception was French but its domination was American. Skyscrapers, airplanes, automobiles, ocean liners, jazz, Hollywood film, streamline, and native Indian symbols are the defining features of American Art Deco. This study began from questions on how these features are expressed and stylized to decoration elements as the modern aesthetics in American Art Deco architecture. Thus, the purpose of the study is to find out the ornamental and eclectic factors of Art Deco style and to define a concept of the modernity and the regionalism of Art Deco architecture in America. This article provides an overview of the decoration style of Art Deco architecture in America through the analysis of ornamental and eclectic factors reflecting diverse roots. It also analyzes the wide variety of building examples of American Art Deco which represent regionalism. In addition, this study focuses on Art Deco architecture in Miami, Florida. Miami is one of typical cities that has the most unique regional aspects of 1920's to 1940's in Art Deco architecture. Miami Art Deco architecture reveals the tropical and nautical references such as streamlined and curved walls, exotic animal motifs, flora and fauna motifs, and marine motifs: use of glass block, porthole window, terra-cotta, and pastel color stucco.

• BMB Reports
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• v.29 no.5
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• pp.468-473
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• 1996

The P38 promoter of minute virus of mice (MVM) is a very weak promoter which is strongly transactivated by viral nonstructural proteins. To analyze the upstream sequence of the P38 promoter which is responsible for the transactivation by nonstructural proteins in MVM, chloramphenicol acetyltransferase (CAT) reporter plasm ids containing a series of 5' deletion and internal deletion mutants of the P38 promoter were constructed. The wild type and mutant CAT constructs of P38 promoter were cotransfected into murine A92L fibroblast cells with a plasmid expressing viral nonstructural proteins by DEAE-dextran method. Each promoter activity was analyzed by CAT assay. As previously reported (Ahn et al., 1992), the proximal DNA cis-elements required for transactivation of the MVM P38 promoter are GC box and TATA box. However, the analysis of 5' deletion mutants showed that H-l tar like sequence (MVM TAR) which is located between -143 and -122 relative to the transcription initiation site is also required for transactivation of the P38 promoter by nonstructural proteins. Interestingly, even if the MVM TAR was removed by internal deletion, the level of the transactivation is still 70% of wild type level of transactivation. We also found that, in addition to the MVM TAR motif, there are two other motifs which are similar to the MVM TAR sequence. When these TAR like motifs were further deleted, the levels of transactivation were decreased further. Taken together, the MVM TAR sequence and TAR like motifs located upstream of P38 promoter are playing an important role for the transactivation of P38 promoter by nonstructural proteins in minute virus of mice.

• Journal of the Korean Society of Costume
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• v.66 no.1
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• pp.135-154
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• 2016

The purpose of this study is to research the characteristics and types applied to Korean and foreign luggage brands, and then develop pattern designs for the luggage by applying Korean cultural contents that meet the various fashion needs of travel goods. To select the Korean and foreign luggage brands, a web search was utilized by inputting the keyword, 'luggage brand'. The results, which were extracted from 200 web documents, produced 27 Korean brands and 29 foreign brands that met the requirements. For the data analysis, images and contents were collected through luggage brand websites, and then 927 pattern designs were extracted. The results were as follows. First, characters, figures, animals, and plants were commonly used for the pattern design motifs applied to Korean and foreign luggage. A notable trend was that these motifs were expressed in a stylistic way with a graphic touch. Also, a singular point was formed from the luggage overall, and regularly repeated patterns were very common as well. Secondly, pattern designs for luggage were developed through the application of 'Hangul', 'Hanbok', and 'Hanok'. Nine kinds of patterns were designed via the phases of change into a vector image and color adjustments, and were simulated in luggage design. Adobe Photoshop CS 7.0, and Adobe Illustrator CS 5.0 programs were used for the pattern designs and simulations. This study is meaningful in that it suggested pattern designs for different kinds of luggage in the motifs of Korean cultural contents. It can be used as a useful reference, as we are in a time period where travel goods have become individualized, advanced, and fashionable, as well as laying stress on original design based on cultural interpretation.