• Journal of the Korean Society of Costume
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• v.50 no.8
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• pp.5-16
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• 2000

This study attempts to examine compound weave among silk fabrics of Cho-Sun Dynasty. These silk fabrics have colorful patterns. They can be classified into two types by their texture structure one is called polychrome woven silk of which structure is plain or twill fabric : another is called satan damask of which structure is stain fabric. Their texture structure consist of warp and weft. In addition. there are other types of warp and weft for pattern structure ; various twill structures were used for patterns. A variety of colorful threads, including gold and silver ones. are used fur patterns in them. The brocaded-type fabric was primarily developed during Won Era of China. It was most developed in Ko-Rye Kingdom. During that era flat strip was used the most but its length was usually not long enough to finish one pattern. However, wrapped thread was increasingly used during the middle and later period of Cho-Sun Dynasty due to the development of weaving technology for gold thread. The brocaded-type fabric was produced in Korea and it was also Imported from China according to some record. There are some domestic empirical documents that show the names of imported Satin Samite, Brocaded satin and these are good evidence to prove the nationwide use of the cloth during Cho-Sun Dynasty. The density ratio of warp and weft is almost same except Samite in the third and Satin with flower motif in the second period is most density among them. C·F of Brocaded satin with Mang motif in the third period values the highest price. Brocaded satin, used with both gold and silver threads, is thickest.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.190-197
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• 2008

Weaving design which is to be designed based on the machine words threading and treading is characterized by its strong limitation of expression. The concept of design has been set based on the patterns on the wooden rice-cake mold which arechosen from many Korean traditional patterns since the expressions of patterns limited by the wooden rice-cake mold is easy to be grafted upon each other. Particularly, literal patterns and geometrical patterns contain religious desire and wishes that are generated from man's fear and wonder about Nature rather than from the pursuit of beauty which is general characteristics of patterns. Based on these images, the twill technique, especially threading of Sally Nielson's rosepath which is easy in formal expressions is used to design Korean style patterns into the weaving structure. It is hoped that this study will provide an opportunity to introduce Korean style patterns to the weavers of the world and that the weaving designs will actively be utilized in the Korean industries so that they can acquire high value-added assets and commercialize our superior culture, thus being of great help to developing our cultural industr.

• Korean Journal of Materials Research
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• v.4 no.3
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• pp.339-348
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• 1994

The study has been conducted to know ablation microstructures and characteristics in carbon /phenolic composites. Ablation properties depend on mole fraction of $H_2O$ and $C0_2$ gas which were produced by reaction between propellant and oxidizer. However, the results of this study shown that the ablation also depended on weaving structure, density of fabric, and tow size of carbon fiber. 3K 8HS fabric showed superior ablation resistance to others, 3K twill and 12K 8HS fabric structures.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.910
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• pp.1282-1291
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• 2004

Kenaf was cultivated and harvested in large quantity in Cheju Island and Chinju, Kyungsangnamdo. It was chemically rotted with 3% NaOH for 60 minutes at 100$^{\circ}C$, neutralized using 1% acetic acid, washed and dried, and obtained 40kg of dry kenaf fiber. Kenaf 15/rayon 85, flax 15/rayon 85, and rayon 100% yam was spun and the physical characteristics were measured. Plain weave and twill weave fabrics were made using each of the above yarns as the filling yam. Cotton 100% yam was used as the warp yam in all fabrics. Kenaf/rayon blend yarns were higher in tenacity and elongation, lower in yam uniformity, higher in the number of nep than the flax/rayon blended yams. Kenaf/rayon blend fabric had higher tenacity and elongation compared to the flax/rayon blend fabric Kenaf/rayon blend fabric was most stiff in both plain weave and twill weave fabrics whereas drape characteristics was dependent upon the fabric structure of the kenaf/rayon blend and flax/rayon blend. There were little differences between the kenaf/rayon blend fabric and the flax/rayon blend fabric in the Kawabata physical measurements and the PHVs. The only drawback of kenaf fiber was it's surface roughness and it is expected that it can be improved by enzyme retting and mechanical bundle separation.

• Journal of the Korean Home Economics Association
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• v.40 no.7
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• pp.15-24
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• 2002

In this work, the effect of fusible interlining on the appearance related properties and mechanical characteristics of Lyocell fabric after fusing was investigated. Two different types(20's and 10's) of Lyocell face fabric with six different interlining(by thickness and structure) for earth Lyocell fabric were examined. In order to establish the optimum fusing condition for the different face fabric and interlining, peel strength of each fused fabric was measured, which was dependent on the fusing temperature, pressure, and time. The characteristics related appearance and mechanical characteristics of each fused fabric were determined. The results are as follows: The peel strength was excellent, when the fabric was fused with the force of 3kgf/$textrm{cm}^2$ at $120^{\circ}C$ for 15seconds. Flex stiffness, G, 2HG, 2HG5(shear), B, 2HB(bending) of 100% Lyocell fabric 10's were higher than those of 100% Lyocell 20's. Flex stiffness, crease recovery, G, 2HG, B, 2HB of thicker woven interlining were higher than those of thinner woven interlining. Crease recovery of twill interlining were higher than those of plain interlining. In case of shear and bending properties, however, plain interlining was higher than twill interlining. Flex stiffness, crease recovery, G, 2HG, 2HG5, B, 2HB of nonwoven interlining were higher than those of woven interlining. In case of drapability, however, woven interlining was higher than nonwoven interlining.

• Journal of the Korean Society of Costume
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• v.36
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• pp.53-75
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• 1998

The kind, the structure, and the motif of the Chosun dynasty's fabrics found mainfy within the Buddhist statues were studied. The total of 62 pieces of fabrice can be classified chronologically as follows ; 27 pieces in the year of 1431, 20 pieces of 1550, 9 pieces of 1664, and 6 pieces of 1735. These 62 fabrics also categorized by the weaving method as follows; 27 plain weaved, 17 twill weaved, 10 pieces of satine weaved, 7 pieces of Leno weaved, and 1 piece of double weaved fabrics. Most of the studied fabrics were silk, the rest were 2 pieces of yam and 1 piece of cotton, Kyun, Chu, and Cho were the plain weaved silk as Nung and Ki were the twill weaved silk, Satine weaved silk was called as Dan and double weaved silk was called Chikum in the Chosun dynasty. 1. The antique fabrics were composed of mainly silk. This is believed due to the utmost devotion to the buddhist statue as an object of worship. 2. In the fabric's structural point of view, th ecrossed 4-ply threads of warp yarn which is one of Leno weaved can be observed fre-quently in the period of Korea dynasty's fabrics. But it started to disappear in the beginning of Chosun dynasty, since only one piece of Ra could be found in the 1431's fabrics. Keum, one of the double weaved structure is assumed to be extinct from the Korea dynasty. Satin weaved fabrics started to be woven from the latter period of Korea dynasty and was very popular in Chosun dynasty. 3. The widths of fabrics in the Chosun dynasty gradually decreased compared with those of Korea dynasty.

• Journal of the Korean Society of Costume
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• v.49
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• pp.85-94
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• 1999

The fabrics attached to the remains of the Okjeon old tomb in the Kaya period were examined. Most of fabrics examined were composed of hemp and silk. Considering that silk was found in the old tomb of the Kaya period in the late 5th century and that various kinds of silk were used in the other area silk was assumed to be used before 5th century in the Kaya period. Only the structure of the densely plain weaved fabrics were analysed as silk and the other physical properties of the fabrics could not be the examined fabrics were plain weaved and altered structure with twill and plain weaving were found indicating that diverse weaving structures were used in the Kaya period. This indicate a certain level of cultural exchange between Kaya and Silla PaikJae, Kokuryo and weaving technique were almost similar in the Korean peninsula in the 5th century.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.137-151
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• 2012

In 1966, $Seokgatap$ pagoda in $Bulguksa$ temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in $Sarigong$(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like $Geum$, $Neung$(twill), $Rha$(complex gauze), silk tabby and linen were also excavated. In this study, $Geum$ fabric from the $Seokgatap$ was closely examined. $Geum$ of $seokgatap$ is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of $Geum$: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. $Geum$ of $Seokgatap$ was made in the $8^{th}$ century, since it was weaved in weft-faced compound weave twill which was popular in the $8-9^{th}$ century. And also, the arrangement of the colors was done in the same way of gradation $Geum$ silk which was popular in the $7-8^{th}$ C in China and Japan. Third, we restored the pattern of $Geum$ of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the $Geum$ of $Seokgatap$ was used for $geumdae$(a pouch made of $geum$) by analyzing all the documents and the characteristics of the fabric.

• Composites Research
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• v.31 no.5
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• pp.276-281
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• 2018

In this paper, elastic behavior of woven fabric composites with various fiber yarn structure were predicted through a theoretical calculation model. A representative volume elements (RVE) that can represent the mechanical properties of the woven composites were selected and crimp angle of the weave yarn was defined by several sinusoidal functions. The effective material properties of the woven composite such as young's modulus, shear modulus and poisson's ratio was predicted by classical laminate theory (CLT). The fiber volume fractions were calculated according to the shape and pattern (plain, twill weave) of the fiber yarn, and the elastic behavior of each woven composite was obtained through a theoretical calculation model. Also, to verify the theoretical predictions, woven composite specimens of plain and twill weave were fabricated by vacuum assisted resin transfer molding (VARTM) process and then mechanical test was conducted. As a results, a good correlation between theoretical and experimental results for the elastic behavior of woven composites could be achieved.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.3
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• pp.429-439
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• 2000

This study was aimed to investigate the handle and mechanical properties of silk woven fabrics according to the fabric structure and yarn types 56 male and female students evaluated 16 black specimens with semantic differential scale of 20 hand adjectives. Mechanical parameters such as surface properties, bending properties and compression properties were tested using by KES-FS system. Data were analyzed through factor analysis, pearson correlation coefficient and t-test using PC SAS package. The results were as follows: The hand adjectives were grouped as 4 'surface roughness', 'flexibility', ;sense of thermal', and 'dryness'. 'Surface roughness' was highly sensed at satin fabrics of hard-twist yarn, noil yarn and spun yarn, while it was not at the fabrics of normal satin and twill at all. 'Flexibility' was reverse to 'surface roughness'. Thermal sense was felt highly at satin fabrics of noil-yarn, while low at plain fabrics of normal yarn. 'Dryness' was high at satin fabrics of hard-twist yarn and while it was low at normal satin fabrics. Predicted equations for subjective hand from mechanical properties of fabrics were developed using Stevens's law and stepwise regression and the coefficients of determination were high.