• Title/Summary/Keyword: Gold Artifact

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A Study on the Expression of Techno Fashion in Modern Fashion (현대패션에 나타난 테크노패션의 표현성에 관한 연구)

  • Lee, Eun-Kyung
    • Korean Journal of Human Ecology
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    • v.13 no.1
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    • pp.173-183
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    • 2004
  • The techno fashion presents the new formative beauty of fashion with a stream of light and dynamic phenomenon on human body. Also it opens the futurism arising from the combination of technology with fashion. The purpose of this paper was to investigate the internal trend and external form that techno-fashion aims at, and to analyze the expressive characteristics in design. The results were as follows. ${\cdot}$ The techno fashion created the new formative artifact through the dismantlement and reorganization of form. ${\cdot}$ The techno fashion used the composition of the geometrical abstraction as an expression of beauty symbolizing the modernity. ${\cdot}$ The techno fashion created the diverse colors by using the light along with colors of gold, silver, metal, intense fundamental colors, and artificial rotor. ${\cdot}$ The techno fashion expressed the dynamism, brilliance, youthfulness, futuristic image by using the sense of dazzling brightness by means of metal. ${\cdot}$ The techho fashion along with the development of science and technology made the atmosphere of silhouette of clothes different by expanding the category of materials more widely, together with the possibility of continual emergence of new material. ${\cdot}$ The techno fashion expressed the dynamic movement on clothes and gave the sense of periodical rhythm by the reflective action of light when they were clad. ${\cdot}$ The techno fashion grafted wearable technology into the fashion and made the information instruments recognized as a concept of clothes. ${\cdot}$ The techno fashion pursued the values of not only the beauty of the simple geometrical design, but also the values of functionality and expressed the image of high quality of life through the harmony of technology with human.

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Development of 4D CT Data Generation Program based on CAD Models through the Convergence of Biomedical Engineering (CAD 모델 기반의 4D CT 데이터 제작 의용공학 융합 프로그램 개발)

  • Seo, Jeong Min;Han, Min Cheol;Lee, Hyun Su;Lee, Se Hyung;Kim, Chan Hyeong
    • Journal of the Korea Convergence Society
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    • v.8 no.4
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    • pp.131-137
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    • 2017
  • In the present study, we developed the 4D CT data generation program from CAD-based models. To evaluate the developed program, a CAD-based respiratory motion phantom was designed using CAD software, and converted into 4D CT dataset, which include 10 phases of 3D CTs. The generated 4D CT dataset was evaluated its effectiveness and accuracy through the implementation in radiation therapy planning system (RTPS). Consequently, the results show that the generated 4D CT dataset can be successfully implemented in RTPS, and targets in all phases of 4D CT dataset were moved well according to the user parameters (10 mm) with its stationarily volume (8.8 cc). The developed program, unlike real 4D CT scanner, due to the its ability to make a gold-standard dataset without any artifacts constructed by modality's movements, we believe that this program will be used when the motion effect is important, such as 4D radiation treatment planning and 4D radiation imaging.

Jangdo(Small Ornamental Knives) manufacturing process and restoration research using Odong Inlay application (오동상감(烏銅象嵌)기법을 활용한 장도(粧刀)의 제작기술 및 복원연구)

  • Yun, Yong Hyun;Cho, Nam Chul;Jeong, Yeong Sang;Jang, Chu Nam
    • Korean Journal of Heritage: History & Science
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    • v.49 no.2
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    • pp.172-189
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    • 2016
  • In this research, literature research on the Odong material, mixture ratio, casting method and casting facility was conducted on contemporary documents, such as Cheongong Geamul. Also, a long sword was produced using the Odong inlay technique. The sword reproduction steps were as follows; Odong alloying, silver soldering alloying, Odong plate and Silver plate production, hilt and sheath production, metal frame and decorative elements, such as a Dugup (metal frame), production, Odong inlay assembly and final assembly. For the Odong alloy production, the mixture ratio of the true Odong, which has copper and gold ratio of 20:1, was used. This is traditional ratio for high quality product according to $17^{th}$ century metallurgy instruction manual. The silver soldering alloy was produced with silver and brass(Cu 7 : Zn 3) ratio of 5:1 for inlay purpose and 5:2 ratio for simple welding purpose. The true Odong alloy laminated with silver plate was used to produce hilt and sheath. The alloy went through annealing and forging steps to make it into 0.6 mm thick plate and its backing layer, which is a silver plate, had the matching thickness. After the two plates were adhered, the laminated plate went through annealing, forging, engraving, silver inlaying, shaping, silver welding, finishing and polishing steps. During the Odong colouring process, its red surface turns black by induced corrosion and different hues can be achieved depending on its quality. To accomplish the silver inlay Odong techniques, a Hanji saturated with thirty day old urine is wrapped around a hilt and sheath material, then it is left at warm room temperature for two to three hours. The Odong's surface will turn black when silver inlay remains unchanged. Various scientific analysis were conducted to study composition of recreated Odong panel, silver soldering, silver plate and the colouring agent on Odong's surface. The recreated Odong had average out at Cu 95.57 wt% Au 4.16wt% and Cu 98.04 wt% Au 1.95wt%, when documented ratio in the old record is Cu 95wt% and Au 5wt%. The recreated Odong was prone to surface breakage during manufacturing process unlike material made with composition ratio written in the old record. On the silver plate of the silver and Odong laminate, 100wt% Ag was detected and between the two layers Cu, Ag and Au were detected. This proves that the adhesion between the two layers was successfully achieved. The silver soldering had varied composition of Ag depending on the location. This shows uneven composition of the silver welding. A large quantities of S, that was not initially present, was detected on the surface of the black Odong. This indicates that presence of S has influence on Odong colour. Additional study on the chromaticity, additional chemical compounds and its restoration are needed for the further understanding of the origin of Odong colour. The result of Odong alloy testing and recreation, Odong silver inlay long sword production, scientific analysis of the Odong black colouring agent will form an important foundation of knowledge for conservation of Odong artifact.