• Journal of the Korean Society of Clothing and Textiles
• /
• v.31 no.6 s.165
• /
• pp.974-984
• /
• 2007

The purpose of this study was to find differences in evaluation criteria and to find differences in preferred images based on benefits segmented groups of jeans products consumers. Male and female Korean university students participated in the study. Quota sampling method was used to collect the data based on gender and a residential area of the respondents. Data from 492 questionnaires were used in the analysis. Factor analysis, Cronbach's alpha coefficient, cluster analysis, one-way ANOVA, and post-hoc test were conducted. As a result, respondents who seek multi-benefits considered aesthetic criteria(e.g., color, style, design, fit) and quality performance criteria(e.g., durability, ease of care, contractibility, flexibility) more importantly when evaluating and purchasing jeans products. Respondents who seek brand name considered extrinsic criteria(e.g., brand reputation, status symbol, country of origin, fashionability) more importantly than respondents who seek economic efciency. Respondents who seek multi-benefits such as attractiveness, fashion, individuality, and utility tend to prefer all the images: individual image, active image, sexual image, sophisticated image, and simple image when wearing jeans products. Respondents who seek fashion are likely to prefer individual image, and respondents who seek brand name more prefer both individual image and polished image. Mean while, respondents who seek economical efficiency less prefer sexual image and polished image.

• Journal of the Korean Applied Science and Technology
• /
• v.36 no.2
• /
• pp.498-506
• /
• 2019

This study is based on a coating method that provides utilization value as a micronised powder for cosmetic raw materials using natural minerals buried in Bonghwa, Gyeongsangbuk-do in Korea. The mineral powder name is called Buseok, and chemical name is pumice powder. The results of a study on the efficacy of cosmetics are reported by the development of particulate powder to assess the performance of this powder. First of all, in order to coat the surface of this powder with oil, aluminum hydroxide was coated on the particulate surface and then coated with alkylsilan. In addition, it was coated with vegetable oil to prevent condensation of the powder and increase the dispersion in the oil phase. First; the particle size of pumice powder was from 10 to 50mm having porous holes on the surface of the particles. Second; The components of this powder contained $SiO_2$, $Al_2O_3$, $Fe_2O_3$, MgO, CaO, $K_2O_2$, $Na_2O$, $TiO_2$, $TiO_2$, MnO, $Cr_2O_3$, $V_2O_5$. Third: The particles of this powder have a planetary structure and are reddish-brown with porosity through SEM and TEM analysis. Fourth; the far-infrared radiation rate of this parabolic powder was $0.924{\mu}m$, and the radiative energy was $3.72{\times}102W/m^2$ and ${\mu}m$. In addition, the anion emission is 128 ION/cc, which shows that the coating remains unchanged. Based on these results, it is expected to be widely applied to basic cosmetics such as BB cream, cushion foundation, powderfect, and other color-coordinated cosmetics, sunblock cream, wash-off massage pack as an application of cosmetics. (Small and Medium Business Administration: S2601385)

• Journal of the Korean Society of Costume
• /
• v.65 no.3
• /
• pp.76-90
• /
• 2015

This is a basic study of the two remaining armors (artifacts number K2366, K2368) from the late Joseon dynasty that is part of the Korean costume collection, which is preserved in the Mission Museum of Saint Ottilien in Germany. The armor No. 1 (artifacts number K2366) is a coat-styled armor with brass studs. It has a U-shaped neckline with the non-overlapping collars and sleeve straight-lined inseam. The armor No. 1 has the Mu to the sides and is not back slit. Both its inner and outer material are padded with cotton. Leather mails are attached on the inner lining, and studs are attached on the outer lining to match the leather mails. For this reason, the armor No. 1 can be named MyeonPiGab (brass studded armor consisting of a cotton coat with internal leather mails). The outer material is faded to have the natural white, or antique white look and the patterns on it are indigo blue. The inner material is blue, but the original color is unknown since it is faded. The lotus blossoms and vine patterns are dyed on the surface of the outer material and a name is written on the inner material. The armor No. 1 was worn between the late 17th century and the 19th century. It is estimated that it was worn by military officers who were above the mid-rank in the end of the Joseon dynasty. The armor No. 2 (artifacts number K2368) is a coat-styled armor with brass studs and a low-cut U-shaped neckline. The armor No. 2 has a slit on the left armpit and a string around it. Studs are evenly attached on the armor. The iron mails are attached to the left chest area on its inner lining. It seems that it was designed with both formality and functionality in mind. The outer material is red flannel, the inner material is blue satin and the pads are cheesecloth. The side of its collars, cuffs, front lines, sidelines, back slit, and bottom lines are trimmed with fur. There are armors called "JeonCheolGap (brass studded armor consisting of a felt coat with internal iron mails)," which is similar to the armor No. 2, however, the similarities are limited because they are not made of the same material nor do they follow the same principle of nomenclature.

• Journal of the Korean Society of Food Science and Nutrition
• /
• v.42 no.3
• /
• pp.410-414
• /
• 2013

Styela (S.) clava (Korean name: miduduk) tunic is produced as a by-product after processing of S. clava. For utilizing this tunic, a konjac containing the tunic extracts was prepared and the qualities evaluated for their color, textural properties, and sensory attributes. The tunic extract was prepared by boiling tunic with water, followed by filtration through filter paper. Significant 2,2'-azino-bis(3-ethylbenzothiazoline-6-sulphonic acid) radical scavenging activity was found in the tunic extract. Increasing the concentration of tunic extract in the konjac tended to decrease lightness (L) and increase the redness (a) and the yellowness (b) of the konjac. The strength and hardness of the konjac increased with increasing concentrations of the tunic extract. All test samples with a 3 mm thickness had good flexibility and did not break even after 4 times folds. In sensory evaluations, the konjac containing 25% S. clava tunic extracts acquired a relatively higher score. The results suggest that S. clava tunic can be applied to konjac products to improve their quality and functionality.

• Science of Emotion and Sensibility
• /
• v.10 no.2
• /
• pp.177-186
• /
• 2007

The purposes of this study were to investigate consumer's needs for golf wear and to suggest a direction of product development and planning, based on the analysis of golfer's needs. The subjects used for the research were 150 male and female golfers who were in golf practice fields. The data were analyzed by frequency analysis, factor analysis, ANOVA, t-test and Duncan test. In summary, the results of this study were as followers; Dimensions of consumer's needs for golf wear were extracted from factor analysis as following properties; fashion/design property, textile property, hygiene property, body-shaped property. The most important consumer's need for golf wear was "wearing comfort" and second one was "moisture absorbency" Respondents evaluated that wearing comfort, stretchability, tactile, size of golf wear were very important but price, pilling, shrinkage or color-fading after laundry of golf wear were relatively less important. The evaluation of consumer's needs for golf wear according to demographic information had significant difference. The female golfers were found to consider that fiber characteristics, easy-to-laundry, wrinkle resistance, stretchability, sewing quality were relatively more important, when compared with the male golfers. Also, There were significant differences on the evaluation of consumer's needs for golf wear on fiber characteristics, stretchability, brand name between age groups.

• Journal of the Korean Society of Costume
• /
• v.18
• /
• pp.225-245
• /
• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

• Journal of Conservation Science
• /
• v.33 no.2
• /
• pp.85-95
• /
• 2017

Oil paints are mixtures of pigments, drying oils and additives. In the past, oil paints were mainly composed of inorganic pigments. However, recently color matching techniques vary depending on manufacturers due to the development of various kinds of synthetic pigments. Despite this, most studies of oil paints in South Korea are about durability tests, and there is no comparative study on the characteristics of commercial oil paint components. This study aims to compare the properties of four different kinds of oil paints from four manufacturers, which are the most popularity used. Extender pigments in oil paint from C brand differed from that of other manufacturers and various kinds of coloring pigments were differently used depending on the oil paints and the manufacturers. The mixing ratios and the pigment types differed even for oil paints having the same product name. It is assumed that these differences could affect the colors. The result of this study is expected to contribute to the analysis of artworks through the accumulation of scientific data of oil paints. In addition, it can be utilized as a scientific basis for art history studies, including the characteristics of artists or production year.

• Conservation Science in Museum
• /
• v.8
• /
• pp.13-24
• /
• 2007

The Department of Fine Art requested the conservation science team to examine the technique of painting with gold powder on the gold painted porcelains, which were made in Korea and China, among the items possessed by National Museum of Korea in order to publish it in the research paper collection of the Exchange Exhibition of Korea and China Porcelains. Among the items possessed by National Museum of Korea, such items were included as, an item of Koryo inlaid celadon (No. Gaesung 106), called the celadon with inlaid work (Korean name: Cheongjasanggam suhawonmun geumchaepyunho), which was decorated in the layer of glaze using gold power, an items of tea cup called "Temmku da wan" (No. Bongwan 10011), which was manufactured in the time of Song dynasty of Chinese history, an items of gold cup called "Siyuchohwamun hwageumwan" (No. Bongwan 2027), and an items of a porcelain called "Siyuwan" (No. Duksoo 3322). As the result of the examination, the stabilizing method of baking the decorated porcelains is similar, after they are painted with the pigment mixed with fine gold powder and the glaze solvent, but the treatment method of the colors is a little different among them. In other words, there is a big difference between them, for example, in the case of Koryo celadon, because the gold coloring was painted carefully one by one on the splendid decorations of inlaid works, while in the case of Chinese porcelains, butterflies or arabesque designs are decorated on the layer of the glaze in the porcelains of no decoration, using the stencil skill. According to the result of this examination, the part of the porcelain, whose layer of gold color was peeled off, could be restored, and as the result of the restoration, it was confirmed how beautiful and splendid the gold porcelain had been at the time of being manufactured.

• Journal of the Korean Society of Food Science and Nutrition
• /
• v.41 no.11
• /
• pp.1591-1595
• /
• 2012

Styela clava (Korean name: miduduk) tunic was produced as a byproduct after processing of S. clava. To utilize S. clava tunic, fish paste containing tunic powder was prepared, and quality characteristics were evaluated for color, textural properties, and sensory attributes. Increasing the amount of S. clava tunic in fish paste tended to decrease lightness (L), redness (a), and yellowness (b) values of the surface part of fish paste. Strength and hardness of fish paste increased with increasing amount of tunic. All test samples with 3 mm thickness showed good flexibility and did not break even after folding in half four times. For overall acceptance in the sensory evaluation, fish paste containing 1% S. clava tunic acquired a relatively higher score. These results suggest that S. clava tunic can be applied to fish paste products to improve quality and functionality.

• Journal of Mushroom
• /
• v.12 no.2
• /
• pp.127-131
• /
• 2014

We bred a new strain of Pleurotus eryngii having few number of fruit body per bottle. It's name is 'Saegonji' and it was bred by mating monokaryotic strain isolated from E12-176 and monokaryotic strain 'aerini No.3' in Mushroom Research Institute, Gyonggi province A.R.E.S. The characteristics of a new strain 'Saegonji' are as follows. The optimum temperature for mycelium growth was from 23 to $26^{\circ}C$ on PDA medium and those for the primodium formation and the growth of fruit body were about $15^{\circ}C$. The period from spawn innoculation to harvesting required around 51 days at $20^{\circ}C$. The number of fruit body per bottle was 12.8 and it was 9.3 less than 'Keunneutari No.2'. The length was 135.8 mm. It was longer than 'Keunneutari No.2', The color of cap was white grey, while that of 'Keunneutari No.2' was grey. The yield was about 159 g per bottle(1100cc) and it was same as Keunneutari No.2.