• KOREAN JOURNAL OF CROP SCIENCE
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• v.57 no.3
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• pp.209-214
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• 2012

Indigo crop, Persicaria tinctoria H. Gross is an annual plant containing natural colorant, the blue dye indigo, and local cultivars had been cultivated to produce natural indigo for textile dyeing in Korea since ancient times. Naju No. 2 is a new mass-selected line from the mother population, Naju Local cultivar. In this study, two breeding lines of Naju Local and Naju No. 2, have been cultivated in four different locations, the South regions of Korea, to compare plant growth and yield characteristics between two lines. Naju No. 2 was higher in plant height, and Naju Local has more 1st branches. Naju No. 2 has larger leaf area and higher width/length ratio of leaf, showing the round leaf type as morphological stable character without regional differences. Though there was considerable regional variation in fresh and dry top weight of harvested plant, the significant difference of plant weight between two lines were not shown. The ratio of leaf to total shoot of dry weight of Naju No. 2 was higher than one of Naju Local, indicating that Naju No. 2 has better yielding of colorant which is synthesized mostly in leaf. Naju No. 2 contained more Niram (crude indigo extract) and indigo, and showed much blueness at dyeing of silk using fresh leaves than Naju Local. We concluded that a new line, Naju No. 2 could be a superior cultivar due to having higher leaf yield and better quality of natural colorant than Naju local cultivar.

• Journal of Internet of Things and Convergence
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• v.7 no.4
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• pp.35-41
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• 2021

Natural dyeing has traditionally been used in many countries around the world, and as natural dyes are diversified, the diversity of dyeing patterns is also expanding. This study tried to establish standardization by providing numerical values that could provide quantified information to the Internet of Things by more accurately analyzing the color changes of dyes and mordants for the four natural dyes. The addition of copper acetate, iron II sulfate and potassium dichromate to the dye extracted from Juglans regia Linn changed the original color of brown to other colors of purple, khaki and dark brown, respectively. Except for potassium dichromate added to Sophora japonica L. or Phellodendron amurense Ruprecht, the concentration of other mordants was reduced, but the color difference of the dyed silk was very large. However, although there is a difference in degree, copper acetate and iron sulfate induced color changes of 35% and 15%, respectively. In summary, it was confirmed that the highest color change was induced when 15 grams of copper acetate was added to J. regia Linn, S. japonica L. and P. amurense Ruprecht and 150 grams of iron to Phytolacca americana. The results of this study suggested that the accurate color change by various mordants can be utilized as important information that enables more accurate color induction by dyes and mordants.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.52-69
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• 2021

The transcriptions of Buddhist sutra in the Goryeo Dynasty are more elaborate and splendid than those of any other period and occupy a very important position in Korean bibliography. Among them, the transcriptions made on indigo paper show decorative features that represent the dignity and quality that nobles would have preferred. Particularly, during the Goryeo Dynasty, a large number of transcriptions were made on indigo paper, often in hand-scrolled and folded forms. If flexibility was not guaranteed, the hand-scrolled form caused inconvenience and damage when handling the transcription because of the structural limitations of the material that is rolled up and opened. It was possible to overcome these shortcomings by changing from the hand-scrolled to the folded form to obtain convenience and structural stability. The folded form of the transcription utilizes the same principle as the folding screen, so it is a structure that can be folded and unfolded, and it is made by connecting parts at regularly spaced intervals. No matter how small the transcription is, if it is made of thin paper, it is difficult to handle it and to maintain its shape and structure. For this reason, the folded transcription was usually made of thick paper to support the structure, and the cover was made thicker than the inner part to protect the contents. In other words, the forded form was generally manufactured to suit the characteristics of maintaining strength by making the paper thick. Because a large amount of indigo paper was needed to make this type of transcription, it is assumed that there were craftsmen who were in charge only of dark dyeing the papers. Usually, paper dyeing requires much more dye than silk dyeing, and dyeing dozens of times would be required to obtain the deep indigo color of the base of the transcription of Buddhist sutra in the Goryeo Dynasty. Unfortunately, there is no record of the Goryeo Dynasty's indigo blue paper manufacturing technique, and the craftsmen who made indigo paper no longer remain, so no one knows the exact method of making indigo paper. Recently, Hanji artisans, natural dyers, and conservators attempted to restore the Goryeo Dynasty's indigo paper, but the texture and deep colors found in the relics could not be reproduced. This study introduces the process of restoring indigo paper in the Goryeo Dynasty through collaboration between dyeing artisans, Hanji artisans, and conservators for conservation of the transcription of Buddhist sutra in the late Goryeo dynasty, yielding a suggested method of making indigo paper.

• Journal of the Korean Society of Costume
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• v.38
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• pp.233-244
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• 1998

This research wants to find the possibility for new paradigm of modern Korean dress by accepting and harmonizing the tradition and the modernization of Korean design when Korean designers enter into Paris collection and express identity of Korean fashion, and investigates the characteristics of Korean design with concentrating on the works of Young-hee Lee, Shin-woo Lee, Tae-ok Jin who have exhibited their works at Paris Collection. For one of the above characteristics Young-hee Lee, a designer of Korean clothes, emphasized to build up image of Korean fashion as a form of Korea without any modification, and expressed universal western-style silhouette as Korean image by using traditional technique including dyeing and silk made by herself, quil-t and decorative saddle stitching. In the as-pect that a chain of work has made not by westernization of Korean clothes but by re-creation of Korean clothes, it suggested a new way of modern Korean fashion with harmonizing tradition with modernizations as of present based on our own dress tradition and have got good reputation from the press and the field in Paris as well. Therefore the tradition and the modernization of Korean design is not confronted or compromised in form, color, material, motif and decoration but has to be harmonized and reconciled independently in order that visual characteristics of dress can be made as one of Korean image.

• Journal of the Korean Society of Costume
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• v.37
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• pp.149-162
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• 1998

This study is thed Embroidery, Cross-stitchery, Weaving, Wax-Printing of technique and design appeared in textile of Miaos dwells in south-west among the minority people of china. The study is as follows. First, the technique of textile1) satin stitch, couching stitch, french-knot stitch, etc. using anther silk thread or cotton thread color 2) cross-stitchery 3) hand-weaving technique which is shaped other warp or weft using simple loom 4) the technique of dyeing of pattern using effect with wax. These methods are singly used mixing together, therefore doubled beauty. Second, these technuque of ornament have other independence, specially ornament apron, sling, sleeve borders, slack borderss, edge of upper garment, take off and put on easily, heighten effect of various ornament, can preserve many years. Third, Maker, female born in this country fashion by need of herself, used liberal method shown in unique creativity of life. This texture make standards capable female proud of intelligent and skill of herself. Fourth, Design appeared in textile like as pattern flying bird in the sky, strolling beast in the field, lion rolling gem, laughing dragon winding snake at gem, birks, flowers, fish, butterfly is used as the wish of long life, a lucky sign. They expressed creativity and unique conception using formation : the technique transform other shape using by omitting or adding or overestimating. Geometric pattern of tartan, revealing, Fifth, composition structure having balance and symmetry or contradiction towards center and circumstance of the center harmonized repeatedly method, expressed unique artful attraction by full composition.

• Journal of the Korean Home Economics Association
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• v.38 no.9
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• pp.119-130
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• 2000

The purpose of this study was to confirm the possibility of screen printing with Natural dyes. The coloring matter such as sappan wood was used in order to obtain the colorant powder through the processes of extraction, low pressure concentration and the spray dry. After the screen printing on silk and cotton fabrics with colorant, K/S value changes of color and color fastness were measured. The main resets were as follows : 1. The viscosity of printing thickeners of sappan wood powder was about 15,200 cps, and the highest K/S value of the fabrics printed with sappan wood was obtained at 90$\pm$2$\^{C}$ of steaming temperature and 80 minutes of steaming time. 2. For the fabrics printed with sampan wood, adding of urea was not effective, since the more the concentration of urea increased, the more K/S values decreased. 3. For the natural dyes printing, the more the concentration of colorants increased, the more K/S values increased. In general, the K/S values of the printed fabrics were higher when treated with mordants rather than without mordants. Specifically, the λmax sappan wood was 520∼570 nm, and the K/S value was highest when treated with Cu mordant and lowest when treated with Sn. 4. Generally, the color fastness was relatively fair.

• Journal of the Korean Society of Costume
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• v.28
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• pp.47-64
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• 1996

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner Makuranosorsi(枕草子) \lrcorner$ This book was written by a Japanese servant in the Royal Court about the year 10000. In this book many kinds of clothing ornament color and materials were mentioned. The discoveries of this paper were as follows. 1. There were 85 different kinds of name In detail there were 46 Clothing and Accessories 32 Clors 11 Materials Patterns the method of Dyeing. 2. All the Clothing and Textiles in Makur-anosorsi were reflections of the reality of that times. 3. From ancient times japanse Costume was much influenced by Korea. but around the 7th century the influence increased. 4. Almost all clothing and Accessories used in Japan in the 10th century had been pre-viosly used in neighboring countries Korea and China But after they were imported to japan some of them were changed to japans hybrids especially in name and shape. 5. In Japan Clothing Colors were used in various ways sometimes colors coordinated by over lapping dress and othertimes the colors were weaved together Namely the width and length of these colorful fibres are also signifi-cant meaning. This meas that the Japanese was much more interested in color than other countries and this also proves Clothing Colors were very developed in japan by the 10th cen-tury. 6. The Materials discovered in this book were almost all silk This is the reason why $\ulcorner Makuranosorsi \lrcorner$ was the expression of the Royal Court.

• Biotechnology and Bioprocess Engineering:BBE
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• v.11 no.3
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• pp.230-234
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• 2006

In this study, we describe a one-step chemoenzymatic reaction for the production of natural blue pigments, in which the geniposide from Gardenia extracts is transformed by glycosidases to genipin. Genipin is then allowed to react with amino acids, thereby generating a natural blue pigment. The ${\beta}-glycosidases$, most notably Isolase (a variant of ${\beta}-glucanase$), recombinant ${\beta}-glycosidases$, Cellulase T, and amylases, were shown to hydrolyze geniposide to produce the desired pigments, whereas the ${\alpha}-glycosidases$ did not. Among the 20 tested amino acids, glycine and tyrosine were associated with the highest dye production yields. The optimal molar ratio of geniposide to glycine, two reactants relevant to pigment production, was unity The natural blue pigments produced in this study were used to dye cotton, silk, and wool. The color yields of the pigments were determined to be significantly higher than those of other natural dyes. Furthermore, the color fastness properties of these dyes were fairly good, even in the absence of mordant.

• Fashion & Textile Research Journal
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• v.7 no.1
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• pp.23-32
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• 2005

This study attempts to address the development processing of yarn-dyeing jacquard design by using jacquard textile design professional CAD system to create high valued worth products. To carry out this purpose, two kinds of necktie samples were designed and each of them was different in three types of weaving method. The results are as follows; All over type is appropriate when the motive's size is small. And the work can be finished within short time and design can be illustrated by basic jacquard system. However, one point type can represent rather big and audacious motive but it needs lots of working hours and jacquard system. Though the motives are identical, showed many changes in cubicle representation according to weaving methods and the structure. To express simple and modest design, single fabric woven is suitable and in the need of colorful and technical design, expressing by double weft cloths and triple weft cloths rather than single fabric woven are better to give creativity and colorfulness. For the production of jacquard design, cad system using ability is important but the understanding and study of the whole process of weaving development should be made.

• Journal of the Korean Society of Costume
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• v.49
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• pp.137-154
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• 1999

This study was designed to unify two types -traditional and western- of wedding dress in one and to develop new wedding dress which can be used to wedding ceremony as well as Pae-Bae(Greeting) as an alternative for the modernistic utilization of traditional wedding dress. The wedding dress for a bride and bridegroom was developed to be used not only for wedding ceremony but also for engagement. The children's dress which can be worn for carrying flowers in front of a bride and a bridegroom was also developed. All six dresses two of each for a bride and a bridegroom one of each for a body and a girl were developed from the review of literature and photos to be introduced traditional wedding dress. The results were as follows: 1. The Korean characteristics in the developed dress were expressed well in the curves straight lines oblique lines and cracks. 2. The traditional symbolic meanings were expressed by using the pattern which was on traditional wedding dress. Changes from five original colors -red, blue, yellow, white, black- to pastel colors also could modernize the dress. 3. The Korean characteristics could be effectively expressed in dying techniques and piling -up by using hand-made silk and No-Bang, 4. The children's dress for a ceremony was re-established to modernized design with traditional beauty. 5. The expenses could be saved practically because the dress was developed for wedding ceremony as well as for engagement.