• Journal of the Korea Fashion and Costume Design Association
• /
• v.14 no.3
• /
• pp.1-10
• /
• 2012

This study has purpose to understanding recent trends and image effect of textile in fashion by looking to dyeing technique and aesthetics of diffusing image pattern. Further the study will hope to provide basic data for fashion and textile designer fashion. The methods of this study are academic literatures as well as practical study through case studies about actual works. Dyeing techniques and aesthetics of diffusing image pattern since 2000 fashion collection and their results are as follows. First, Dyeing techniques of diffusing image pattern are wet-dyeing and printing. There are plangi dyeing, salt dyeing, alcohol dyeing and ikat dyeing in the wet-dyeing and spray dyeing, discharge dyeing in the printing. There are tie-dyeing, rumpling-dyeing and plank-dyeing in the plangi. Second, Forming of the diffusing image pattern are due to uneven seeping and the contingency of a chemical reaction by reducing the pressure and intensity. Third, Aesthetics of diffusing image pattern are extracted purity missing childhood, fantasy escaping facts of the situation and abstraction representing informal world from formative characteristics of diffusing image pattern.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.8
• /
• pp.1286-1298
• /
• 2008

This study was attempted to examine the indigo dyeing technique in the latter Joseon Dynasty, and to find diachronic specifics in the indigo dyeing method from 17C to 19C. The results are as follows: First, There were 2 kinds of indigo species-Yoram(Polygonum tinctorium Lour.) and Sungram(Isatis tinctoria L.)-in the latter Joseon Dynasty. Dangram was preferred in particular among Yoram species because of its high dyeing efficiency. Sungram was mainly used for making Jeon(indigo sediment). Second, Yoram cultivation took the following order: Sowing in April${\rightarrow}$planting out in June${\rightarrow}$harvesting leaves in August${\rightarrow}$collecting seeds in September. Sungram had more harvesting times and wider harvesting period than Yoram. Third, all indigo dyeing methods were grouped into two categories, one was temporary dyeing method, the other was permanent dyeing method. Mixture dyeing of the boiled and the raw, raw leaves dyeing, and fermentation dyeing belonged to the temporary dyeing. Jeon dyeing and Gaeogi dyeing belonged to the permanent dyeing. Finally, diachronic specifics from 17C to 19C were as follows: Decline in the mixture dyeing of the boiled and the raw, development in the raw leaves dyeing, continuance of the fermentation dyeing, and naturalization of Jeon dyeing technique.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.2
• /
• pp.254-267
• /
• 2019

Clamp resist dyeing is a resist dyeing technique in which a fabric is sandwiched between two or more pieces of woodcarving and then a pattern is expressed by dyeing. Records from nine years of King Heungdeok's reign during the Unified Silla dynasty show that the use of the clamp resist dyeing technique was banned for different garments. This was only for garments of YOOKDUPUMNYEO (六頭品女) or OHDUPUMNYEO (五頭品女). Given this, it can be assumed that clamp resisted fabrics were widely used, and the technique had been established during the Unified Silla dynasty or before. However, only the term can be found in the records. Neither its definition nor how this technique was used is explained. Also, it is difficult to assume the types and features of clamp resist dyeing due to a lack of materials. A small number of relics from the Goryeo dynasty still remain, though. Craft techniques have developed through international exchanges and have changed according to respective nations' circumstances including politics, economics, society, and culture. Hence, this research analyzed documents and relics from China and Japan, two countries neighboring the Republic of Korea, and studied the different types and features of clamp resist dyeing techniques. Clamp resist dyeing techniques were divided into monochromatic or multichromatic according to the number of colors that represented patterns, rather than according to the respective nations' features. They were also classified into mono, bilateral symmetry, or vertical-bilateral symmetry according to the structure of the patterns. Through the study of examples of inherited or reproduced dyeing techniques in China and Japan, it was confirmed that different engraving techniques, including relief, openwork, intaglio fit for the feature of a pattern and the number of colors, were applied in order to vividly represent patterns on fabric. Using small flower pattern clamp resist dyed fine tabby in Amitabha of 1302, the only relic showing its patterns and colors in Korea, as the experiment subject, this research successfully reproduced a clamp resist dyeing technique through a successful experiment based on the basic materials from the dyeing technique case study. Due to the significance of the experiment on a clamp resist dyeing technique that stopped its transmission and shows the features of the technique, this study is expected to be a basic resource that can be used for future reproductions of multichromatic clamp resist dyeing techniques. Also, it is expected to be helpful in widening and recreating the world of Korean pattern dyeing with modern dyeing techniques.

• The Research Journal of the Costume Culture
• /
• v.15 no.6
• /
• pp.1053-1062
• /
• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• Fashion & Textile Research Journal
• /
• v.6 no.2
• /
• pp.245-248
• /
• 2004

This study examied ned physical properties and surface characteristics of papers post-processed by Jumchi technique and stainability of extract from Amur Cork-Tree to use Dakji as clothing material. Then, it found the following results. After-treatment by Amorphophalus konjac K. Koch and persimmon juice showed stronger tensile strength and tearing strength than untreated samples and the drape stiffness was substantially increased. After-treatment by persimmon juice generated dyeing effects as well as excellent tensile strength and tearing strength all samples were generally dyed well by Amur Cork-Tree, While the untreated samples did not show any significant effects in dyeing for more than 5 minutes. It was found that after-treatment substantially contributed on concentration of dyeing as dyeing amounts of post-processed samples were gradually increased as time increased. After-treated sample with agar did not show any significant differences from untreated sample. Accordingly, it has to be studied further.

• Fashion & Textile Research Journal
• /
• v.5 no.1
• /
• pp.59-63
• /
• 2003

This study aims at developing of textile design expressed not only Korean natural image but also modern sensibility using fabrics dyed by tie dyeing with various natural dyes. And it attempts to practicality of high value-added goods revived traditional beauty. With the aqueous extract of various natural dyes, i.e., indigo, amur cock tree, onion's peel, citrus peel, mugwort, gromwell, sappan wood silk fabrics dyed by tie dyeing. Also various color changes were examined by mordants, i.e., aluminium sulfate, cupric acetate mono hydrate, ferrous chloride. With these fabrics, I made works using the techniques of applique, mola, fabric's connection and weaving. I think the developed textile design gave expression to natural image of Korean nation.

• Proceedings of the Korean Society of Dyers and Finishers Conference
• /
• 2001.11a
• /
• pp.3-11
• /
• 2001

Fundamental studies at the CSIRO division of Wool technology and ICI on the diffusion of dyes into wool〔1,2〕have let to development of a new approach to wool dyeing. In this method, the cell membrane complex of wool is modified before dyeing by treatment under mildly alkaline conditions with a special chemicals. Wool pretreated with ethoxylated quaternary ammonium salt has an increased rate of dyebath exhaustion and dye penetration early in the dyeing cycle. This enables the treated material to be dyed below the boil for a similar time to the conventional cycle. This technique can be used on untreated and shrinkresist-treated wool and wool/nylon blends. In addition to good macro-levelness and excellent coverage of tippiness, the low temperature dyeing process give higher exhaustion levels of dyestuffs and insect-resist agent and hence cleaner effluent liquors, compared with conventional dyeing process. Low Temperature Dyeing process cause significantly less fiber damage than conventional way. The reduction in damage is reflected in improved processing performance of the dyed wool.

• The Research Journal of the Costume Culture
• /
• v.28 no.5
• /
• pp.607-620
• /
• 2020

The aim of this study is to define the new expressive techniques for multicolored clamp resist (hyuphill) dyeing, based on empirical verification on relics that are estimated to be dyed by the exchange of more than two wood blocks: a previously undiscovered technique. Clamp resist dyeing (assumed to be made by exchanging wood blocks) have uneven resist printing lines or cloudy gradation. These are reproduced as follows: first, they have uneven contour lines, particularly with the color blue. It is possible to exchange wood blocks separately on patterns with uneven resist printing lines, and it has been verified that the exchange of wood blocks makes these irregular resist printing lines. It has also been verified that exchanging the wood blocks according to the gradation (to emphasize the cubic effect on the patterns) yields clamp resist dyeing with no resist printing lines but with cloudy gradations that have accented borders. This study provides basic information that enables methods of multicolored clamp resist dyeing through wood block exchange to be deduced (something that has not been attempted for a long time). Thus, the revival of the modern Korean dyeing culture based on the conservation and perseverance of the traditional dyeing techniques can be achieved.

• Journal of the Korean Society of Costume
• /
• v.60 no.2
• /
• pp.68-80
• /
• 2010

In order to get the information needed for the preservation and application of Korean traditional dyeing techniques to modern textiles products, the present study analyzed the color and color differences of dyed goods according to the contents of fabrics and the traditional techniques of dyeing the Buddhist priests' robes. A spectrophotometer was used to measure the differences in achromatic color according to dyeing techniques, dyestuff, kinds of dyed fabrics, and after-treatment methods. Through experiments based on the traditional dyeing techniques used by Korean Buddhist priests, a total of 144 pieces of dyed fabrics were made and all the colors of those 144 pieces were analyzed. Among three dyeing techniques tested; (1) dyeing with a dye-bath made of ink stick that was ground down with water, (2) dyeing with a dye-bath made by shaking a bag containing ink powder in water, and (3) dyeing with a dye-bath made by rubbing a boiled ink stick on a fabric, dyeing with a dye-bath made of ink stick that was ground down with water was shown to be the best technique in terms of coloring. For fabrics, ramie was the best of all three techniques in terms of making achromatic color. Starching and rubbing was the most effective after-treatment method used on both fabrics dyed with a grounded ink stick and on fabrics dyed by rubbing a boiled ink stick on them. As a whole, yangyeonmook, made from minerals' soot, is better than songyeonmook, which is made by burning old pine trees or yooyeonmook, which is made by burning oils from seeds. Therefore, yangyeonmook could help to preserve and utilize the traditional dyeing techniques of Korea in a practical way in modern life.

• Fashion & Textile Research Journal
• /
• v.10 no.5
• /
• pp.771-778
• /
• 2008

The natural dyeing of cotton fabric with Perilla frutescens var. acuta extract was investigated. The proper extraction temperature and time were $100^{\circ}C$ and 120 minutes. The proper temperature, time and colorant powder concentration for the dyeing of cotton fabric with Perilla frutescens var. acuta powder were $90^{\circ}C$, 60 minutes and 15%(o.w.b.), respectively. In various mordanted methods, the K/S values of simultaneous-mordanted methods were higher than those of pre-and post-mordanted methods. And the Cu-and Fe mordant showed higher K/S values than those of other mordants. Light colorfasness of mordanted cotton fabric was poor, but the other colorfasnesses were shown to be good. The cotton fabric mordanted with Cu mordant was showed effective bacterial reduction.