• KSBB Journal
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• v.14 no.3
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• pp.309-314
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• 1999

In order to produce high concentration of sodium gluconate, optimization of the fermentation conditions, such as glucose concentration, inoculum size, dissolved oxygen concentration and glucose feeding method, was examined. When the glucose concentration was maintained in the range of 30∼50 g/L during the batch fermentation, glucose conversion yield and productivity were 92.2% and 6.0 g/L/hr, respectively. In the case of the low concentration below 30 g/L, the yield decreased by about 25%. As the inoculum size increased above 20%(w/v), lag phase was shortened but the productivity decreased. The dissolved oxygen level of 60∼70% was shown to be the threshold point for 75% of increase in the productivity of sodium gluconate. Finally, optimal glucose feeding rate was determined using various feeding methods such as exponential feeding, feeding based on the average glucose consumption rate and was determined using various feeding methods such as exponential feeding, feeding based on the average glucose consumption rate and on the oxygen uptake rate and etc. Our result shows that glucose feeding, based on the oxygen uptake rate is a very simple, efficient and robust method, especially when oxygen is consumed as a substrate for the bioconversion. Using the above glucose feeding strategy under the optimized condition, 255 g/L of sodium gluconate concentration, 12 g/L/hr of productivity and 95% of glucose conversion yield were achieved with A. niger ACM53.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Conservation Science in Museum
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• v.15
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• pp.96-121
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• 2014

Portrait of Sim Huisu is a seventeenth-century Joseon portrait of a meritorious vassal. The National Museum of Korea currently owns two portraits of Sim Huisu, which are the eldest son's family and by the eldest grandson of the family's second eldest son. Both were donated in 1980. Portraits were still in its original mounting, but the supporting silk had been damaged and stained in a flood. Conservation treatment was undertaken to restore the original style, and scientific analysis, such as, X-ray, XRD, XRF and Graff "C" stain, was conducted to study the materials and painting techniques. The support silk was found to be refined fibroin and a plain weave consisting of two weft threads and one warp thread. The lining papers were found to be bamboo fiber paper of first layer in China and Korean traditional mulberry paper in second. Various pigments were identified in the painting, including white lead, cinnabar, atacamite, ink stick, azurite, silver, and gold. The study also confirmed the use of the back painting, with colors such as white ^{White Lead}, green ^Atacamite, orange ^Minium, black ^{Ink Stick}, and yellow ^Dye. Also, it was found that stick ink or dye was used with white lead.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1963-1970
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• 2008

Natural indigo dye in powder form was prepared by modifying traditional Niram method, using $Ca(OH)_2$ instead of baked oyster powder for precipitating indigo dye. The prepared dye was applied to dyeing Tencel fabrics to investigate the effect of experimental conditions for the optimization of dyeing process. The indigo dye powder contained 15.2%(w/w) of indigo content and 0.757%(w/w) of indirubin content on the basis of HPLC analysis. Maximum dye uptake was obtained at $60^{\circ}C$ for 20min. Almost saturated dye uptake was obtained at 2g/L of sodium hydrosulfite concentration up to 4g/L of indigo dye and then slowly increased for further increase of sodium hydrosulfite. Whereas at higher indigo dye concentration(8g/L) more than 3g/L of reducing agent concentration was required for obtaining the maximum dye uptake. At the same indigo dye and reducing agent concentration, K/S value of the sample dyed without sodium hydroxide(pH 5.75) was 15.19, much higher than one dyed in alkaline condition(K/S 5.76). There was no difference in colorfastness ratings among samples with different color strength. However, more fading was occurred for the sample with low color strength.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2012.03a
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• pp.54-54
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• 2012

전통 날염방식(Silk Screen)과 디지털날염(Digital Textile Printing)을 비교해보면, 디지털날염은 디자인에서부터 날염까지의 전공정을 완전히 디지털화함으로서 다양하게 디자인할 수 있고 미묘한 색감의 흐름을 표현할 수 있어서 자연스러운 이미지의 표현이 가능하다. 그러나 현재 디지털날염을 피혁이나 직물에 적용하기에는 프린팅속도가 느려서 생산성이 낮고 이미지 내구성(세탁, 승화, 일광, 및 마찰견뢰도)이 낮은 등 많은 단점을 가지고 있다. 또한 신발산업은 현재 중국이나 동남아시아 등 개발도상국의 등장으로 수출의 국제적 경쟁시대에 접어들면서 대량생산이나 획일적인 디자인으로부터 벗어나 고부가가치 상품을 생산해야하는 과제를 안게 되었다. 한편 가죽에 응용가능한 잉크는 크게 수성, 유성, 용제형과 자외선 경화형의 잉크가 있으며 자외선 경화형 잉크는 자외선을 이용하여 기존의 잉크의 단점을 보완한 것이다. 자외선 경화형 잉크는 자외선 램프를 열원으로 하여 이온 또는 라디칼 중합, 광중합을 하며, 에너지 소비가 적어 경제적이며 시스템 가동시 비활성 기체가 필요하지 않다. 또한 자외선 경화형 기술은 상온에서 이용할 수 있으며 잉크의 경우 건조하는 데 걸리는 시간이 필요하지 않다. 또한 시스템을 가동 시키거나 중지 시키는 것이 쉬우며 고속으로 연속적인 일을 처리할 수 있다. 프린터의 크기가 작아 공간 효율이 유리하며 용제나 $CO_2$가 발생하지 않아 친환경적인 기술이라 할 수 있다. 따라서 본 연구에서는 자외선 경화형 시스템을 잉크에 적용하여 피혁 표면에 프린팅한 다음 그 견뢰도를 측정함으로써 그 효과를 알아보았다. 세탁에 의한 Matlab 측정값으로부터 용제형 잉크의 경우는 세탁 전, 후 line width가 큰 차이를 보이나 자외선 경화형 잉크의 경우는 그 차이가 적음으로부터 자외선 경화형 잉크가 용제형에 비해 색상 탈리가 적었음을 말한다. 또한 raggedness값 역시 마찬가지 결과를 보여 안료 색소와 피혁의 접착성이 향상된 것을 알 수 있다. SEM을 이용한 피혁의 표면과 단면 사진을 보면 용제형보다 자외선 경화형 잉크를 사용한 피혁이 좀 더 매끈한 표면을 보이는데 이것은 접착기능을 하는 아크릴레이트에 의해 균일한 날염이 가능하기 때문이라 고 생각된다. 이상의 결과로부터 자외선 경화형 잉크가 세탁, 마찰, 일광 견뢰도가 우수함을 알 수 있었으며 기존의 용제형 잉크를 대체할 수 있는 좋은 재료라고 생각된다.

• Archives of design research
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• v.20
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• pp.293-304
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• 1997

The Wiener Werkstatte created the most avangarde textile designs in Europe at the end of the 19th and the beginning of the 20th century. This study is to examine the distinctive characteristics of the textile design of the Wiener Werkstatte. The purpose of this study is to analyze the textile designs of the various designers who had contributed to shape the characteristics of the Wiener Werkstatte at various stages, and to catagorize the designs according to the subject matter, the design sources, the layout, the design principles, and the usages. The textiles of the first half of the Wiener Werkstatte are wovens for the homefurnishings. They were used as upolsteries. Wall coverings, and curtains in the commissioned buildings and houses which Hoffman designed and built in conjunction with the Wiener Werkstatte. The designs of this period have the simple and bold characteristics using less then three colors in a design. The subject matters used in the designs are firstly, stylized animals and plant forms; secondly, the purely geometric forms derived from the architural buildings. The textiles of the latter half of the Wiener Werkstatte put more emphasis on the printed textiles for the women's apparels. The textile designs of this period are categorized into four groups : firstly, the designs that stylized plant forms ; secondly, reinterpretational designs; thirdly, ethnic designs : and fourthly, the geometric art deco designs. The number of colors used in a design range up to 7 colors and all over, stripe, and ogee layouts are used.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.220-237
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• 2021

This study carried out the conservation treatment for the mattress put on the bed, which is one of 4 items in National Folklore Cultural Heritage, the Red-lacquered Furniture with the inlaid mother-of-pearl design used by Empress Sunjeonghyo (presumed), after identifying the characteristics of the manufacturing techniques and the used materials. And the study intends to compare it with the mattress placed in the Daejojeong in the Changdeokgung Palace in order to identify the characteristics of mattresses domestically used during the 1920s and 1930s. From the analysis of the mattress presumably used by Empress Sunjeonghyo, it was identified that the mattress frame was made of pinaceous hemlock spruce while the webbing and twine in the structural parts were made of jute. The findings are as follows: the burlap had a filling material that was made of jute; the straw mat was made from Oryza; and, the rest of the filling material was cotton. Rayon was used for the top cover while cotton was used for the bottom. As a result of research on the materials and the inner structure, it was found that mattress was manufactured in the form of the upholstery style mainly found in chairs and day-beds in Western furniture. Based on analysis results, materials identical to the original were adopted during the conservation treatment. Next, the process of dismantling, cleaning, repair, reinforcement and assembling was conducted. During the dismantling process, the top cover was newly discovered and some letters (Yokohama, Kobe, and Joseon) were found in the burlap filling, but there was no trace which can clarify its maker or production place. dry cleaning was carried out on the structural parts, filling materials, and the cover, and then the repair and reinforcement were done, preserving the existing materials in the upholstery structure and using the same materials for conservation. The webbing in the structural parts was reinforced using materials identical to the original, and the twine was used for arranging and fixing the springs into wooden frames. For the damaged cotton cloth and burlap, reinforcement materials identical to the original were put over it and sown. For the damaged area of the top cover, reinforcement cloth was cut and then added inside and the damaged area was sown. Assembling was carried out in the reverse order of the dismantling. After the burlap identical to the original material was inserted into the areas in contact with the springs and then fastened, a filling pad, reinforcement cloth, a straw mat, cotton cloth, cotton felt, wide cotton cloth for protecting the cover, and the cover were layered and fastened with tacks. The two mattresses used by Empress Sunjeonghyo differed only by the period of production and followed the same Western upholstery style consisting of the frames, filling materials, and covers. During the conservation treatment process, a velvet cover was newly discovered and the traces of repair in the past were found. Furthermore, identifying straw mats, straw bags, and straws for filling material, this study confirmed changes in the materials used according to the production environment. In the future, it is expected to see changes in the conservation materials during the conservation treatment and manufacturing techniques used for chairs and sofas in the upholstery style belonging to the modern cultural artifacts.

• Archives of design research
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• v.18 no.4 s.62
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• pp.25-34
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• 2005

The purpose of the present study is to investigate the characteristics of the current Victorian-style interior by reviewing the basic Victorian-style house in the past. this research was analyzed various prior studies and literatures, and found the following results: First, the Victorian-style house and interior space showed various historical trends and adopted every style from Gothic to rococo, and sometimes more than one style influenced a single place. Its formality was applied depending on the function and standard of each room. Second, the interior had many decorative things with free, irregular or other patterns, influenced by Romanticism and Naturalism. The several environmental factors such as air pollution and hygienic matter were also related with its trend. the dramatic changes in the kitchen and sanitary facilities were appeared based on the technical development, and affluent design styles were also used. All these reflected the characteristics of the Victorian age. In conclusion, the characteristics of Victorian-style were influenced by many factors including: (a) the trend of Romanticism and Naturalism, (b) consideration of family convenience based on the technical development, (c) the Socio-Environmental factors like air pollution and the social norm, and (d) reflection of the individual value in accordance with frequent contacts with foreign cultures. In this respect, it is necessary to reevaluate the Victorian-style after paying due regard to such factors.

• Science of Emotion and Sensibility
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• v.19 no.2
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• pp.55-66
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• 2016

This study was aimed to characterize the color of cotton fabric dyed with three different natural resources such as persimmon, citrus, and brown algae and to propose new trend color themes for fashion color planning for newborn and toddler wear. A variety of color shades by dyeing cotton fabric with persimmon, citrus, and brown algae respectively was obtained and each color was also determined if it could be matched with one of Pantone TPX considering authorized color trends for 2016 Spring/Summer. Finally a group of new trend color theme for 2016S/S newborn and toddler wear were proposed for naturally dyed cotton fabric. As results, the three natural dyeing resources gave color gamut with hue ranging from Purple Blue to Green Yellow and with tones including pale, light grayish, soft, grayish, and dull by their single and compound dyeing. A total of 23 colors matched to Pantone TPX were considered for the fashion color planning by natural dyeing. The selected natural colors were grouped as three different color ways and thereafter the color ways were differentiated in terms of representative color sensibility by using subjective evaluation. Finally three characterized color themes were proposed as 'Serenity', 'Juicy', and 'Fancy', each of which has tried to express differentiated feeling of each natural resources for dyeing, to follow up to global color trends, and to contribute to newborn and toddler wear's own requirements and marketability. These results suggest that natural dyeing colors could be applied into fashion color planning in current fashion industries in order to produce more sensible and emotional design of fashion goods using natural dyeing.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.