• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.105-110
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• 2020

In this study, two hats and a laptop bag were developed and produced as cultural products by using Hanji-fabrics dyed with various natural dyeing materials. First of all, for the cultural product development, I selected Hanji-fabric which made with traditional Korean paper with excellent durability and functionality. Secondly, it was dyed blue with indigo, brown with green persimmon juice, red by safflower, yellow by amur cork and purple by gromwell root. Third, two hats and a laptop bag were designed. Fourth, according to the designs, patterns of two hats and a laptop bag were made. And then two hats and a laptop bag were finished by cutting and sewing Hanji-fabrics dyed in various colors.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.23-27
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• 2019

Korea boasts outstanding cultural heritage accumulated over the 5 thousand-year-long history, but has neglected developing marketable commercial products out of its culture. As a result, despite the fact that Korea had successfully developed internationally well-acknowledged technologies, there isn't any exceptional cultural product that can be marketed globally. Therefore, it is necessary to re-design and commercialize a modern sense using unique materials in traditional culture. Fabrics made by natural dyeing have a low saturation, so they do not need special color harmony, they are natural and comfortable. Therefore, fabrics obtained by natural dyeing are considered to be a very suitable material for cultural product development. In addition, Hanji is a good material that can build a field of art by itself because it has a quality, a profound and elegant feeling. In this study, Hanji-fabric, which is made of excellent Hanji, is used for natural dyeing with. Using the dyed fabrics, the cultural products such as two parasols and a card holder was made and presented.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.1
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• pp.159-174
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• 2020

We selected 100% cotton fabric, 100% Hanji yarn fabric and two kinds of cotton / Hanji yarn blended fabrics and fused them with three kinds of interlinings in order to examine changes to the physical properties and the post-adhesion physical properties of Hanji yarn blended fabrics. Changes in KES values were examined after fusing. First, EM, B, 2HB, MMD values of Hanji yarn blended fabrics were higher than cotton fabric, and LT, RT, G, 2HG, LC, WC values of cotton fabric were higher than Hanji yarn blended fabrics. Tensile recovery was lowered, bending stiffness was increased, and shear stiffness was lowered when Hanji yarn was mixed. Second, the KES value of LT, B, 2HB, G, 2HG, LC, WC increased after fusing, while the EM, MMD values decreased. SMD was shown to decrease or increase depending on the type of fabric. The adhesive effect on bending stiffness and shear stiffness due to the mixing of Hanji shows a different tendency in the comparison of α_B and α_G.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.543-562
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• 2024

This study used persimmon juice, shuliang, and mud to develop the color of hanji fabrics. Persimmon juice and shuliang were used to perform single and mixing dyeing with heat treatment using the pad-dry-cure (PDC) method. Next, mud dyeing was performed, and the hanji fabrics dyed with persimmon juice and shuliang were developed into Yellow Red (YR) Munsell colors with very low values and chroma. Through scanning electron microscopy, the persimmon juice and shuliang were observed to be evenly treated on the hanji fabrics using the PDC method. Furthermore, the presence of iron ions in the dyed fabrics was confirmed using inductively coupled plasma-mass spectrometry analysis. The stiffness of the fabrics dyed with persimmon juice was the greatest, while it gradually decreased for the fabrics treated with mixing and mud dyeing. With mixing dyeing, the colorfastness to washing improved to grade 4, whereas with mud dyeing, the colorfastness to alkaline sweat greatly improved to grade 4~4-5. Based on these findings, this study confirmed that it is possible to develop hanji fabrics with differentiated textures and colors while ensuring practical colorfastness through mixing and mud dyeing.

• Journal of Conservation Science
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• v.20
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• pp.9-22
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• 2007

Three kinds of natural pesticides extracted from plants which are being sold in the Korean markets, were estimated effects on materials of art of museum. Tested samples were 1) silk fabrics : undyed, dyed(amur cork tree, gallut, gallut(alum post mordancy), gallut(copperas post mordancy), gardenia, turmeric, acorn, acorn(copperas post mordancy), gromwell, madder, madder(alum post mordancy), safflower, sappanwood, sappanwood(alum pre mordancy, post mordancy), indigo, indigo+amur cork tree, indigo+sappanwood) 2) cotton fabrics : undyed, dyed(amur cork tree, gallut, gallut(alum post mordancy), gardenia, acorn, acorn(copperas post mordancy), gromwell, madder, madder(alum post mordancy), safflower, sappanwood, sappanwood(alum pre mordancy, post mordancy), indigo, indigo+sappanwood) 3) undyed ramie fabric 4) Korean papers : undyed, dyed(sappanwood, indigo, gardenia, amur cork tree, safflower) 5) pigments : azurite, malachite, red lead, litharge, orpiment, hematite, iron oxide, cinnabar, vermilion, indigo, lake indigo, kaolin, lead white, oyster shell white 6) painted plates : azurite, malachite, red lead, litharge, orpiment, hematite, iron oxide, cinnabar, vermilion, indigo, lake indigo, kaolin, lead white, oyster shell white. Conditions of tests were that after samples were exposed to 10 times of promoted concentration for 9 months in relative humidity $55{\pm}1%$ and temperature $20{\pm}2^{\circ}C$, they were compared with standards. Items of estimation were color difference(${\Delta}E^*$) and tenacity. After exposure to pesticides, undyed silk cotton ramie fabrics and Korean papers were not nearly changed in their colors, but colors of most of dyed samples were clearly changed by pesticides except for partial samples(acorn- and madder-dyed fabrics etc, gardenia-dyed samples). Especially changes of colors of turmeric-dyed silk fabrics were most distinct. And colors of pigments and painted plates containing lead, copper, arsenic, mercury and vegetable pigments, were clearly changed. Tenacities of yams of undyed silk fabrics were not nearly changed and undyed cotton fabrics were a little reduced as compared with standards. But tenacities of yams of dyed silk and cotton fabrics were clearly reduced or increased as compared with standards. Especially, madder-dyed silk fabrics were increased 10% or more and indigo-dyed silk fabrics were reduced 10% or less in all pesticides. Also madder- and sappanwood(alum post mordancy)-dyed cotton fabrics were increased 10% or more in all pesticides.

• Journal of Conservation Science
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• v.30 no.2
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• pp.219-234
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• 2014

Fabrics, natural dyed fabrics, papers, natural dyed papers and paints were examined effects of colors and mechanical properties for materials of museum collections under anoxic treatment. Anoxic conditions using nitrogen and argon were oxygen concentration 0.01%, temperature($20^{\circ}C$, $25^{\circ}C$, $30^{\circ}C$), 50% RH and exposure time 30 days. Examined fabrics were raw silk fabric, UV irradiated raw silk fabric, degummed silk fabric, UV irradiated degummed silk fabric, cotton fabric, and UV irradiated cotton fabric. Natural dyed silk and cotton fabrics were dyed with fresh indigo, indigo, safflower, gromwell, madder sappanwood, amur cork tree, turmeric, gardenia, barberry root, pagoda tree flower, cochineal, lac, alnus japonica, gallnut, chestnut shell, and combination(indigo and safflower, indigo and amur cork tree, indigo and pagoda tree flower, indigo and sappanwood). Papers were Korean papers(mulberry paper, mulberry(70%) and rice straw(30%) mixed paper), Japanese paper(gampi paper), cotton paper, refined linen paper, cotton, linen & manila mixed fibre furnish, copy paper, news print, and alum sized mulberry paper. Natural dyed papers were dyed with indigo, sappanwood, madder, safflower, gardenia, amur cork tree, and pagoda tree flower. Paints were painted on alum-sized papers and silk fabrics using glue and pigments(azurite, malachite, cinnabar, vermilion, orpiment, gamboge, red lead, haematite, iron oxide red, indigo(lake), lac, cochineal, safflower, madder root lake, celadonite, smalt, ultramarine blue, lapis lazuli, prussian blue, kaolin, lead white, oyster-shell white, and clam-shell white). The color differences(${\Delta}E^*$) of all examined materials were below 1.5 or lowered than control samples after anoxic treatment. The variations of tenacity of yarns of fabrics and natural dyed fabrics after anoxic treatment were within that of standard silk and cotton fabrics. Gases(nitrogen and argon) and temperatures of anoxic treatment did not also affected color differences and variations of tenacity of materials.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.104-113
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• 2012

Traditional weaving crafts has the history, environment and lifestyle of country where the country is located. Thus it has been an regional industry because it has the representation of country due to a long history. However it has faced a threat which comes from lifestyle changes. Therefore a law on the protection of traditional weaving crafts was established and took action to protect weaving crafts. It was played importantly as protection system on weaving crafts. But traditional weaving crafts was a regional industry from long time ago, accordingly we need to think as not only cultural heritage but also crafts industry. This study will demonstrate how sustainable as designated cultural heritage and traditional crafts industry with case of Ojiya-chijimi and Echigo-jofu (Japanese traditional weaving crafts).

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.122-147
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• 2012

The Four-guardian statues in Song-gwang buddhist temple, Suncheon, Korea, have been remade in AD 1628 and have been repaired and repainted over several times since then. Therefore, the study of the pigments applied on the statues can provide good chance for investigation about pigments used in the late Chosun Period. Pigments on fragments from Gwang-mok(Virupaksha), one of the Four-guardian statues, have been analyzed by optical microscope, SEM-EDX and XRD in order to identify the components and compounds. Six types of materials were found from the fragments, which are soil layer with brown clay band, soil layer containing a lot of fibers, Korean paper with loose texture, Korean paper with dense texture, silk, and hemp textile. Presumably, the soil layer which have brown clay band is basis layer and the other layers are repaired layers. From comparative study for the components of the pigments, applied on upper and lower parts of the repaired layers, we have concluded that those repaired layers had been applied on the statue by the following order; basis layer ${\rightarrow}$ Korean paper with loose texture ${\rightarrow}$ soil containing a lot of fibers ${\rightarrow}$ silk ${\rightarrow}$ hemp textile and Korean paper with dense texture. In addition, the years that those materials were applied on the statue have been estimated as 1720~1891, 1926, 1946 and 1976, respectively. The distinct features of each age are as the following; lead white and copper chloride hydroxide are major white and green pigments before 1891, zinc white, barium white, emerald green, and ultramarine blue appear after 1926 and titanium white uprises around 1976. Our result presented here, study on pigments applied on traditional statues over several different periods, will provide good database for future study on pigments used for traditional painting in Buddist temples and Dancheong.

• Journal of Conservation Science
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• v.38 no.3
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• pp.243-253
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• 2022

Using non-destructive analytical methods, we identified the material characteristics of two gold fabric artifacts excavated from the Cheongsong Sim clan (Bugeum Wonsam, Jikgeum Chima), including the artifact condition, fiber type, surface contamination, and metallic threads. We found that the artifacts were buried and had turned brown; thus, we were unable to determine their original color. The fiber type was determined to be silk from cocoons, based on scanning electron microscopy, Fourier transform infrared (FT-IR) analyses of Amide I, II, III, and IV peaks, and color reactions Further, the FT-IR and X-ray fluorescence (XRF) analyses identified the white and black stains as natural resin hydrolyzed substances, such as lipids and proteins, that occurred as microbial decomposition due to body decay. Finally, the XRF analyses identified the thin gold layer of the metallic yarn as gold (Au). According to the FT-IR data and the color reaction to the metallic yarn medium, the adhesive component of the medium was a product of-Amides I, II, III, and 3000 cm^-1 within Amides A and B (an animal type), respectively. Thus, the medium was identified as Hanji (Korean paper), which is made from domestically produced Broussonetia kazinoki fibers.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.149-163
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• 2011

Hanjisa(Korean paper yarn), a new material made from the traditional Korean paper, has been developed through local R&D efforts, reflecting the current trend highly valuing environmental friendly. This new material is considered suitable for the 21C lifestyle and culture pursuing improved quality of human life and the environment. Therefore, this study aims to widely make known the originality and functions of the environmentally friendly Korean paper yarn, as well as to increase its commercial value. Furthermore, a new category of apparel design is presented by studying painting dyeing based on transformational tuck techniques and wax resist dyeing with formative features of repeated lines and rhythms of shells in order to implement three-dimensional and decorative artistic expressions. The texture of the Korean cotton paper yarn was particularly suitable to employ tuck and dyeing techniques Which express formative features of shell. Also, the material was useful for expressing the three-dimensional feelings with repeated curves and cross sections of shells. Moreover, paraffin resist dyeing and stitch techniques were used in order to avoid monotony and the images of shells visually materialized. Through the results stated above, this study could explore how to overcome obstacles to globalization of the Korean modern apparel such as its uniqueness, limit of materials or absense of internationality by applying modern design to the Korean paper fabrics. In the future, it is expected that more manufactures could produce and supply the new materials so as to make widely known the originality of the Korean paper fabrics and develop the material into a popular organic product fitting the modern lifestyle.