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1 Journal of the Korean Home Economics Association 2012;50(1): A Study on Scarf Design Development with a Combination of Traditional Korean Rice Cake Pattern and Jogakbo Patchwork Department of Fashion Design, Sunchon National University Associate Professor : Sun Young Kim Abstract The purpose of this research is to suggest a scarf design which reflects the traditional culture native to Korea by making use of the combined pattern of jokgakbo patchwork and ddeoksal(rice cake). For research methodology, the computer design programs of Adobe Illustrator CS3 and Adobe Photoshop CS3 were used along with the related literature. For the combined sets of motif pattern, the following were consider: first, a combination of jogakbo in square shape and chrysanthemum in a rice cake mold; second, a combination of radius jogakbo and geometrical pattern; third, a combination of vertical and horizontal s of jogakbo and rice cake pattern; fourth, a combination of yeouijumunbo and butterfly pattern in rice cake mold. For the scarf design with these applications, technical skills such as repeat, rotation, symmetry, free setup, and distortion were used for the combination motif. In terms of the shape of the design, there are two, square and lengthwise tetragons. (scarf design), (rice cake pattern), (jokakbo) Corresponding Author : Sun Young Kim, Department of Fashion Design, Sunchon National University, 255 Jungangno, Sunchon, Chonnam, , Korea Tel: Fax: ksy6341@sunchon.ac.kr

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Chrysanthemums are most common in floral rice-cake patterns and symbolic of high dignity and longevity. The lotus flower is a symbol of Buddhism and symbolic of new life and prosperity.

Plum blossom designs are used to represent purity, integrity or longevity.

3 Table 1. Types and symbols of traditional rice-cake patterns Division Types and symbols of traditional rice-cake patterns Floral patterns There are some realistic floral patterns, but most are in abstract s. Chrysanthemums are most common in floral rice-cake patterns and symbolic of high dignity and longevity. The lotus flower is a symbol of Buddhism and symbolic of new life and prosperity. The peony is symbolic of prosperity, abundance and happiness. The plum blossom constitutes the Four Gracious Plants, called Sagunja in Korea, along with chrysanthemum, bamboo and orchid. Plum blossom designs are used to represent purity, integrity or longevity. lotus peony chrysanthemum pear Geometric patterns Lettered patterns Animal patterns Moire fringes are the simplest of patterns and include straight line patterns, oblique patterns and designs combined with other s of patterns. Line patterns symbolize longevity and devotion. Crisscross patterns are produced by intersecting horizontal and vertical lines and represent the balance of yin and yang. Grid patterns, also called lattice patterns or jung-shaped( ) patterns, symbolize exorcism, and dolim patterns express transed motions of circles and represent eternity and longevity. Taegeuk and palgwae patterns symbolize abundance and fertility by expressing a dome-like sky and the balance of yin and yang. Chinese characters are used in the same s they are or in s designed or modified like drawings. The character (man) is regarded as a symbol of luck in Buddhism, and in Korea it is thought to bring people good luck and great fortune. The same s of the character are joined in a long extension to create a fret pattern. The fret pattern( ), or circular-letter pattern ( ), symbolizes thunder and represents the best of lucky signs. The patterns of (su) and (bok) use the characters as they appear without transing them. These patterns imply the whish for longevity and good luck. The pattern of (ssanghui) represents the harmony of heaven and earth and the unity of the male and female principles. Mainly used in the animal patterns are the images of Twelve Earthly Branches, Four Deities (four mythical animals), dragons, tigers, the oriental phoenix, birds and fishes. Fish images represent wealth and fertility, and bird images are associated with abundance in agriculture or life. In fish patterns, carp is symbolic of wisdom, sagacity and prosperity catfish is of promotion and success; and goldfish is of wealth and wellbeing. In insect patterns, butterflies are symbolic of pleasure, happiness and joy and the bat image is used as a symbol of happiness. moire fringe grid cross taegeuk transed floral butterflies fishes

structure. The cloth is an orderly combination of two or four isosceles triangles into a square shape.

of the cloth s a shape of # or arranged so that the cloth looks like a pinwheel is being spun in one

Different-size square patches are connected in horizontal and Verticalhorizontal vertical directions, so the

4 Table 2. The ative pattern of jogakbo Division Features Square The cloth itself is square and thus stable in structure. The cloth is an orderly combination of two or four isosceles triangles into a square shape. The cloth has a gradually expanding pattern like concentric circles are spreading out from the center of the cloth. Pieces of cloth are orderly Radial combined with consideration of colors and faces so that the central part of the cloth s a shape of # or arranged so that the cloth looks like a pinwheel is being spun in one direction. Different-size square patches are connected in horizontal and Verticalhorizontal vertical directions, so the wrapping cloth has no central point. This circular-type wrapping cloth, called yeouijumunbo, circles of a certain size overlap each other that four overlapping parts Circular of the same size are produced. A relief effect can appear as two kinds of fabrics are used to give layers to petal parts and the rest. Mixed The type of wrapping cloth is a harmonious combination of patches different in size, shape and color

5 Table 3. Motive design 1 and scarf design Rice cake original Basic motive Applying Color Jokakbo original Basic motive Applying Color1 Applying Color2 Pantone DS 182-2U, 182-4U, 180-7U, Pantone DS 182-4U, 184-9U, 23-6U / 33-5U, 32-2U, 37-2U Pantone DS 325-3U, 325-5U, 325-7U Motif combinations scarf design Design 1 Design 2 Design 3 Design

6 Table 4. Motive design 2 and scarf design Rice cake original Basic motive Applying Color Jokakbo original Basic motive Applying Color1 Applying Color2 Pantone DS 325-8U, 325-7U, 325-6U, Pantone DS , 325-5U, 325-6U / 325-5U, 325-4U, 325-3U, 325-2U Pantone DS 136-1U, 136-3U, 136-5U Motif combinations Scarf design Design 5 Design 6 Design 7 Design

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8 Table 5. Motive design 3 and scarf design Rice cake original Basic motive Applying Color Jokakbo original Basic motive Applying Color1 Applying Color2 Pantone DS 161-6U, 207-7U, 142-8U, Pantone DS 201-4U, 207-7U, 204-6U, 204-5U / 164-7U, 98-9U, 338-8U Pantone DS 183-4U, 142-8U, 164-7U, 49-7U, 207-7U Motif combinations Scarf design Design 9 Design 10 Design 11 Design

9 전통 떡살문양과 조각보를 조합한 스카프디자인 개발 Table 6. Motive design 4 and scarf design Rice cake original Basic motive Applying Color Pantone DS 92-1U, 123-1U, 86-1U, 1-7U / Pantone DS 92-1U, 325-2U, 86-1U, 309-5U 4-1 Jokakbo original Basic motive 9 Applying Color1 Applying Color2 Pantone DS 110-1U, 1-7U, 86-1U / Pantone DS 325-2U, 309-5U, 325-5U, 1-7U, 92-1U Motif combinations 4-2 Scarf design Design 13 Design 14 Design 15 Design 16 화사한 이미지를 준 바탕에 나비 떡살 모티브를 자유 배치하 구실을 하고 있는 상징적 조형물이라고도 볼 수 있다. 특히 여 문양의 효과를 강조함과 동시에 화려하고 생동감 있는 이 전통 문양은 각 민족이 공유한 미의식과 정체성이 내재된 산 미지를 나타냈다. 물이며 새로운 미적창조의 한 수단으로, 섬유 및 패션 문화 상품에 있어 우리나라의 국제 경쟁력을 강화하기 위해서는 전통문화를 기반으로 한 새로운 디자인 장르의 활성화가 필 요하다고 하겠다. Ⅳ. 결론 이에 본 연구는 우리 고유의 문화를 반영시킬 수 있는 조 문양은 생활 미술의 한 부분으로 자리하고 있지만 단순히 각보와 떡살문양의 조합을 이용하여 스카프디자인을 제안하 감상의 대상만이 아닌 인간의 욕망과 기원을 담은 주술적 대 였다. 이러한 연구를 통해 한국인의 정서와 미적 감각의 본 상으로 또는 인간의 미적 정서를 표현하고 전달하는 매개체 질을 재조명하고, 한국 전통문화산업의 세계화를 구축하는

10 Center for art studies. (1997). Design? Design!. Seoul: Sigongsa. Cha, M-J. (2003). Study of a scarf design appearing in modern fashion. Unpublished master s thesis, Konkuk University, Seoul, Korea. Cho, H-J., & Kim, J-H. (1999). A study on modern costume design applied the ativity of korean traditional cloth wrappers. Journal of korean society of design science, 13(1), Hanam museum of history. (2005). A wooden rice-cake pattern and beauty. Seoul: Hanam museum of history. Heo, D-H. (1998). Our gyubang culture. Seoul: Hyeonamsa. Jang, S-K. (2002). Using aspects and the meanings of design in the ddeoksal. Unpublished master s thesis, Andong National University, Andong, Korea. Jung, J-S. (2006). The development of scarves design by mixing lotus flower patterns expressed on buncheon pottery and korean traditional patchwork cloth. Journal of korean society of design science, 19(1), Kim, J-M. (2006). A study on developing the modern fashion design with the application of plasticity of patchwork wrapping cloth. Journal of the korean society of clothing and textiles, 30(4), Kim, J-Y., & Kim, M-J. (2000). Crafts of gyubang. Seoul: Cultureline. Kim, S-J. (2007). study on the change of jewelry design using rice-cake pattern. Unpublished master s thesis, Seoul national University of science & technology, Seoul, Korea. Kim, S-W. (2000). A study on scarf design utilizing clay figurines from the shilla. Journal of the Korea Society of Craft, 3(2), Kim, S-Y. (2010). Characteristics and styles of wearing scarves in the contemporary fashion. Journal of the Korean Home Economics Association, 48(6), Korea cultural heritage foundation. (1995). Patterns in korea. Seoul: Yemaec. Lee, E-J., & Song, M-R. (1997). The creation of textile design for practical use chogakbo s patterns. Design Forum 21, 3, Lee, J-S., & Song, M-K. (2006). A comparative study on the ative pattern of chogakpo and

11 tessellation. Journal of the korean society of clothing and textiles, 30(6), Lee, Y-J. (2002). Study on knit wear design with the application of pattern in the rice-cake s of chosun dynasty. Unpublished master s thesis, Ewha Woman s University, Seoul, Korea. Mun, I-S., & Lee, J-H. (2006, October). The correlation between symbolic meaning of traditional patterns and communication. Poster session presented at the 2006 Biannual Convention of the Korean Society of Design Culture, Rhee, S-C., & Kim, J-H. (2010). A Study on the development of the scarf design utilizing traditional patchwork in korea. Journal of the Korean Society of Design Culture, 16(1), Rice cake pattern. (2011, December 15). Daum encyclopedia. /view.do?docid=b05d3033a. Yoo, H-A. (2008). Development study of new weaving structures by korean traditional patterns. Journal of the Korea Contents Society, 8(12),

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-02-...... Characteristics of Blue Costumes in Contemporary Fashion Department of Fashion Design, Sunchon National University Associate Professor : Sun Young Kim This paper purports to find the characteristics