Most fishing nets used in fish cage aquaculture are made of synthetic fibers such as polyamide (PA) and polyethylene (PE). Therefore, it is challenging to maintain the internal volume of the fish cage due to biofouling, which can increase the load on the cage or reduce dissolved oxygen levels by impeding smooth current flow. To address this issue, research has been conducted to replace conventional synthetic fiber cage nets with brass nets, demonstrating certain benefits such as improved productivity and ease of fish cage management. However, given the need for a more thorough examination of brass fishing net weaving technology and performance, this study assessed the optimal weaving method for brass fishing nets to be used in fish cages. Additionally, it provided essential data for the practical application of brass fishing nets by evaluating their weight, tensile strength, elongation, fatigue resistance, and wear resistance. The study concluded that weaving brass fishing nets using the chain link method ensures durability, ease of installation, and compact storage in a scroll-like form. Moreover, due to their superior fatigue and wear resistance properties, brass nets can offer increased utility if appropriate net diameter and length are selected to compensate for their higher weight per unit area and relatively higher cost compared to existing fiber fishing nets.

직조 미로는 굴다리 교차로와 같이 길 위로 다리가 놓은 형태를 허용하는 형태의 2차원 미로 중 한 종류이 다. 이러한 직조 미로를 2차원 이미지의 형태로 표시하는 경우에는 높이에 대한 요소를 포함하고 있지 않기 때문에 큰 문제가 되지 않지만 3차원 형태로 표시하려면 어려움이 발생한다. 길 위에 길이 놓여 있는 형태이 기 때문에 높이가 계속 쌓이는 형태로 표현하다보면 층수가 계속 증가하는 문제가 발생하는 문제와 상하관 계가 모순되는 형태도 발생할 수 있게 된다. 본 논문에서는 이러한 직조미로의 3차원 시각화에 있어 레이어 를 쌓는데 있어 발생할 수 있는 문제점들을 계단이나 램프 형태의 층간 구조물을 배치함으로써 2층 구조물 로 해결할 수 있는 방안에 대해 논의한다. 이러한 방법은 Escher-like 비디오 게임류에서 상용된는 착시 해결 방안과 같은 시각적 모순을 게임에 적용할 때 이용할 수 있다.

The aim of this research is to expand application areas of the advanced manufacturing concept and technology based on combining the traditional weaving techniques with digital forming technology. Through the man-machine interface of traditional weaving techniques of processing machines and craftsmanship complex data visualization and interactive operation, Virtual Reality Technology can realize computer model images, which is a kind of new form of artistic language and the key of VR art presenting its unique advantages. Combined with digital technology, the production of raw materials can generate 2D graphics, and 3D object can also be generated by using rapid solidification laser material preparation and forming technology (3-Dimension Printing). In one word, the traditional weaving techniques of processing machine and craftsmanship realized the complete inheritance. In this paper, main content are 4 parts including the analysis of ethnic traditional weaving technology in southwest areas of China, the usage of fashion digital simulation forming technology, the combination of traditional weaving technology with digital forming technology, and expanding of digital customized technology. We started our research work using grass linen and its weaving machine. In the end, the conclusion of study will be used to build the digital museum online for Southwest Ethnic Traditional Weaving Technology Museum, which is also bridging around world marketing for traditional culture.

Traditional textiles -- especially hand-woven ones -- have long been items of trade throughout the world. Notably, the Chinese shipped only finished textiles or cloth over the Silk Road to multiple trade centers en route to Europe. As early as the 16th century textile designs were customized to suit market needs; i.e., trading companies had Indian hand-woven naturally dyed textiles customized with motifs and colors that appealed to their Thai or Indonesian customers. These marketing and product development practices were demonstrated in "Interwoven Globe", the Metropolitan Museum of Art’s recent large exhibition and catalog (Peck, 2013). What are Traditional Textiles? Textiles were considered precious before they were machine produced. Today, people seldom understand how difficult it is – the time, effort, and cost – required to make hand-loomed textiles. The industrial revolution allowed textiles to be produced rapidly for the mass market at relatively low price points. Traditional textiles include a variety of textiles using historical or traditional production techniques. This paper examines hand-woven textiles using traditional hand-looms either backstrap or floor. Traditional textiles also encompasses felts, embroidered textiles, and batik textiles which are resist dyed -- the base cloth in this case is commercially produced. Some textiles – as cloth or those made into garments – are imbued with significant cultural meanings such as protection, luck, familial relationships, tribal membership, etc. These often have religious and magical meanings. Such textiles are often reverently passed down to descendants and can be required parts of ceremonies, such as the geringsing double ikats worn in many of their sacred rituals i.e. Sabah Usamba held in Tenganan Pergerinsingan, Bali (Crippen & Mulready, 2001, 2012). Traditional textiles continue to be used for lifecycle and religious ceremonies throughout Southeast Asia (SEA) including the many island cultures of Indonesia; these created some ongoing demand for continuation of textile traditions. Over the past few decades increased scholarly activities followed by increased cultural tourism expanded demand for newly made authentic contemporary traditional textiles. The paradox of increased demand simultaneous with few weaver made traditional textiles more valuable and created new opportunities for reviving traditional weaving. More newly woven traditional textiles were produced and generally sold in the locales where woven. In the 1980’s, increased tourism to Asia, Southeast Asia (SEA), and other areas as well as a larger expatriate community in SEA brought a much greater awareness of textile traditions to people previously unfamiliar with them. Many tourists wanted something more than a T-shirt to remember their trip so souvenirs diversified in type and quality/price points (Crippen & Mulready, 1995). The sale of authentic contemporary textiles woven using traditional techniques started to increase. Many organizations supported continuation of such traditions. Today more traditional textiles -- both antique and contemporary -- are for sale on the internet. This has the potential to expand the market for contemporary traditional textile products. A web-enabled global audience interested in traditional textile end products such as scarves, wall-hangings, pillows, etc., has the potential to expand demand. Lee and Littrell (2003) discuss potential problems when expanding from local to web-based global markets for cultural products. Traditional textiles would be considered a cultural product. Today, a global revolution is in progress which allows small companies – including cooperatives and others – to directly market to the global consumer. Telling their stories via the Internet brings attention and authenticity to their products, hopefully increasing sales and keeping textile traditional alive. The purpose of this exploratory research is to examine websites selling traditional textile products to determine how they demonstrate authenticity for contemporary traditional textiles. Two case studies from Southeast Asia (SEA) are presented to illustrate how storytelling techniques support such authentication efforts when marketing traditional textiles on the Internet. Authenticity Concepts of "authenticity" range from subjective producer/consumer evaluations -- sometimes with no basis in reality-- to highly technical specifications set by law or manufacturer's associations. A textile example of the first one is a so-called batik dress which in actuality has a surface printed design meaning that it is not authentic batik. Authentic batiks use wax or other substances to resist or prevent dyeing in covered areas when dyed. The terms batik tulis is used in Indonesia and Malaysia when the resist wax is drawn by hand; whereas batik cap (chop) designates stamped wax process. Machine printing requires no waxing and is faster and cheaper. Today, there is a market segment interested in authentic textiles and crafts (Anderson & Littrell, 1995). Textile study groups, tours, publications, and internet websites help to educate consumers interested in authentic textiles. Consumers vary in what aspect/s of authenticity they find interesting (Littrell et al, 1995). Uniqueness, workmanship, aesthetics, use, cultural and historical integrity (including age and documented provenance), creativity, and genuineness are all important. "Spinning a Yarn" Storytelling -- sometimes called "spinning a yarn" - is used to help demonstrate/create authenticity when marketing products. It is frequently used to explain the complex production processes of traditional crafts and textiles. This is often augmented by personally observing and/or viewing photos and/or videos of how traditional textiles/products are made. Many people contributed to the resurgence of traditional textile weaving. Most are unknown and often worked collectively in development efforts. Individuals travelled to remote areas and fell in love with the traditional textiles and the people who made them. Some of these individuals then found ways to monetarily support the people making the textiles -- globalization has made cash necessary to pay for such things as mandatory education and school uniforms. In the 1950s, Jim Thompson, an American, founded his company which continued to expand after his disappearance in Malaysia in 1967. The website Jimthomspson.com uses his romanticized personal history to promote an international market for luxury hand-woven Thai silk textiles. Carol Cassidy, an American found the Lao weaving traditions while serving as a UNDP (United National Development Programme specialist in an apparel factory in Laos. Carol, a weaver, started her business and trained local weavers, developed new products, and maintained quality control standard for her company Lao Textiles. Her website Laotextiles.com is informational only; she does list retail stores that carry her products and her contact information. Internet Marketing Internet marketing allows sellers to tell stories -- actually to tell many stories. Different websites or links within websites can target various consumer market segments. Specialty categories, including various aspects of authenticity can be demonstrated in different ways which can stand alone and/or mutually support one another and the website as a whole. For the consumer who values cultural and historical integrity, a story or page/s can be built around this aspect. With increased interest in fair trade, compensation, and working conditions some companies -- especially co-operatives and non-profits -- often focus on this aspect. Sustainability including environmental aspects often linked to Fair Trade can be easily addressed. The Internet allows consumers to read all of the story or only the parts that interest them the most. It offers a convenient way for sellers to broaden their reach to new customers who might not have the opportunity to travel to the craft or textile production site. This potential must be supported with good website design and operations (Lee and Littrell, 2003). Case Studies: Using Storytelling to Establish Authencity for Internet Marketing of Traditional Textiles This is an exploratory study which attempts to determine what storytelling methods are effective in internet marketing of authentic traditional textiles. The two chosen websites attempt to duplicate the experiences of tourists visiting weavers where they work. The two websites selected for analysis Ock Pop Tok (Laos) and Threads of Life (Indonesia). Criteria for selection included vetting by experts who had visited the in-country facilities and confirmed the websites accurately represent the facilities and their work. Websites were selected that actively support women in development efforts such as training and support-- financial and otherwise -- for women to earn living wages while being able to live near family, support for continuation of authentic traditional weaving, sustainability, environmental sensitivity, etc. Ock Pop Tok Ock Pop Tok (OPT) translates to “East Meets West”; their website Ockpoptok.com uses a banner to describe itself as having Lao Textiles with a tag line of "keeping it alive for the next generation". Lao characters in the background tend to give some Lao authenticity. The home page photographs rotate between a team picture (taken September 2013) of women and men workers -- who all look very happy and excited -- and other photographs. Some have spinning wheels or other tools they use in their work; their textiles are displayed in the background. This page describes their activities and programs as being a Laos based social enterprise working primarily in the field of textiles, handicrafts, and design. They work with women artisans, rural producer groups, and students who can work in their shops. They opened the Living Crafts Centre in 2004 which includes a weaving and dyeing studio, craft school, and an exhibition area. Their website also describes on-site lodging where themed rooms are decorated using their textiles. Their catchy categories for web pages are divided into learn, create, shop, stay, and eat. OPT has a non-profit gallery -- Fibre2Fabric -- which focuses on using textiles as a way to explain Lao culture. Their activities are well documented and the village weaver projects for rural development are described; its goal is to alleviate poverty. Laos has multiple ethnic groups and OPT, in combination with other partners, works training many rural area women to produce handicrafts for poverty alleviation. Their work in 11 rural areas is described and includes photographs. The website also includes a photograph of all their weavers. It would appeal to people who only want to purchase products as well as those who would like to plan a trip where they could not only visit the learning center but also take a class and even stay. OPT discusses their sustainable development policies in depth. Threads of Life Threads of Life (TOL) is described as a privately funded organization dedicated to the preservation, promotion, and marketing of traditional woven, natural dyed, and handmade ritual textiles. Their home page rotates and focuses on nature and culture. Their website Threadsoflife.com includes a list of associates who assist Threads of Life, as well as Balinese employees, with a quote from each. Under the "What We Do" section, they list revitalizing traditional textile traditions, field work, conservation efforts, and supporting women’s cooperatives. The description of supporting the cooperatives is as follows: “Threads of Life works directly with over 1,000 women in more than 35 cooperative groups on the Indonesian islands from Kalimantan to Timor. The common question among these cooperatives is, ‘How do we maintain our culture and identity, and make a living at the same time?’” “Threads of Life helps to answer this question. Our business model uses real markets to reward cultural integrity, promote conservation of the environment, and empower families in some of the world's poorest places to lift themselves out of poverty.” This site is rich in content and photographs which support the written materials. For example, the complete descriptions of the ikat, a technique which ties and dyes yarns before weaving include details such as not only who wove the textile but also who tied the resist yarns and who dyed it. The Threads of Life Textile Arts Center in Ubud, Bali, is their main store. Photographs of textiles with good descriptions and a code number are included from various locations; however, it is unclear how or if these can be ordered. TOL also offers accommodations and small group tours, including those related to traditional textiles. They too offer a newsletter and have a foundation which supports environmental issues. Commonalities and differences between the two websites will be presented including their use of storytelling, photography, ease of purchasing product, pricing, fair trade information, sustainability, and ecological issues.

본 연구는 스마트 포토닉 의류 중 발광 의류에 적용될 수 있는 유연 광섬유 직물 디스플레이의 구현 방식을 고찰하였다. 유연 광섬유의 가공방법, 직물의 디스플레이 반사구조, 광원 색채에 따른 고유 휘도를 비교·분석하고, 이를 토대로 발광효과가 높은 광섬유 직물 디스플레이의 최적의 조건을 도출하고자 하였다. 광섬유 가공방법은 ‘직물화전 에칭(Pre-etching) 방법’과 ‘직물화후 에칭(Post-etching) 방법'을 비교하였고, 직물의 디스 플레이 반사구조는 ‘백색 직물(White Fabric)’과 ‘재귀반사 직물(Reflective Fabric)’을 사용한 두 경우를 비교하였다. 광원 색채는 RGB(Red, Green, Blue)의 휘도값을 비교함으로써, 유연 광섬유 가공방법과 배면소재에 따른 휘도값 차이를 광원 색채별로 비교·분석하였다. 분석 결과, 유연 광섬유의 가공방법과 직물의 디스플레이 반사구조의 두 직물화 방식의 변인 중 유연 광섬유의 가공방법이 직물의 디스플레이 반사구조보다 더 지배적인 영향을 미치는 것으로 나타났다. 유연 광섬유의 가공방법 중에서는 ‘직물화후 에칭’ 방식이 ‘직물화전 에칭’ 방식보다 광섬유 직물의 발광효과를 높이는데 좀 더 주요한 것으로 나타났고, 직물의 디스플레이 반사구조에서는 전반적으로 ‘재귀반사 직물’ 배면이 ‘백색 직물’ 배면에 비해 유연 광섬유 직물의 발광효과를 높이는데 더 효과적인 것으로 나타났다. 유연 광섬유 직물 디스플레이의 발광효과를 높이기 위한 최적의 구현 조건은 유연 광섬유의 ‘직물화후 에칭’ 방식과 ‘재귀반사 직물’의 배면 배치가 조합되는 경우인 겻을 알 수 있었다.

본 연구에서는 PET 직물의 물성개선과 품질의 향상을 위해 직물 제조 공정 중 제직준비공정인 ITY, P/W, 2-for-1공정에서 여러 가지 공정인자의 변화를 주어 염색 가공 공정을 거친 최종 11가지 직물의 역학적 특성치 및 각 공정별 시료의 물성을 측정하여 직물의 감성특성인 Handle, 의복성능 및 봉제성을 평가하여 직물 제조 공정특성이 직물 감성에 미치는 영향에 대해 분석하였다.

현재 이동용 캐리지에 장착하여 사용하고 있는 용접기의 경우는 용접토치가 고정이 되어 비드 폭이 일정한 부분의 직선용접에 주로 사용되고 있다. 이러한 용접기는 비드 폭이 일정 폭 이상으로 큰 경우는 용접작업이 복잡해지고 여러 번 반복해서 위치를 바꾸어가며 용접을 해야 한다. 본 연구에서는 비드 폭이 넓은 곳에서 용접토치를 일정한 폭으로 움직여주는 기능을 갖도록 시스템을 구성하였다. 반자동 캐리지에 용접선 추적센서, 센서이동용 모터 슬라이드, 위치 추적용 로터리 엔코더 및 MCU(80C196KC)와의 인터페이스회로를 설치하여 자동으로 용접선을 추적할 수 있게 설계하고, 용접기의 위빙실험을 하여 그 성능을 실험적으로 확인하였다.

본 연구에서는 경사와 위사의 장력에 기인되는 감성 봉제용 직물의 마찰특성을 KES-FB 계측기를 이용하여 분석하였다. 직물의 마찰특성은 직물표면의 마찰계수, 마찰계수의 평균편차, 그리고 표면요철도를 측정하였다. 이들 표면특성치를 분석하기 위해서 75d/36f PET 필라멘트를 경사로 사용하고 100d/192f PET 필라멘트를 위사로 사용하여 5매 주자직 직물을 Omega와 Picanol 직기에서 각각 제직하고 이들을 같이 연결하여 염색가공 공정을 진행시켰다. 이들 가공된 직물의 직물표면특성은 제직시 측정된 경사와 위사의 장력특성과 함께 분석되어 졌으며 직물의 중앙부위와 양 셀베지 부분의 직물 위치에 따른 표면특성의 차이가 분석되어졌다.