• Applied Chemistry for Engineering
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• v.10 no.1
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• pp.1-5
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• 1999

The dispersing performance of oligomer-type anionic surfactants ($C_mD-Na$), cooligomers of diethylester maleate and alkylvinylether of different alkyl chain lengths or polymerization degree were studied on the aqueous suspension of iron dxide or titanium dioxide particles which are hydrophilic pigments. The dispersion behavior of oligomer-type surfactants for these dispersoids, although anion charges on the surface of pigments particles showed different dispersing properties, was dependent upon the side alkyl chain length. Oligomer-type surfactants having more than $C_8$ side alkyl chain exhibited large dispersing action for relatively hydrophobic ${\alpha}-Fe_2O_3$ and Anatase $TiO_2$ in the concentration range of more than 0.1% oligomer-type surfactant solutions.

• Journal of Conservation Science
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• v.36 no.5
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• pp.351-367
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• 2020

The pigments of three old and new celestial charts folding screens(『Celestial Chart(Folding Screen)』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 of National Folk Museum of Korea and 『Koudou-Nanboku-Ryousouseizu』 of National Diet Library of Japan) were analyzed to estimate their dating. It was estimated that the 『Celestial Charts(Folding Screen)』 was painted using traditional pigments from the Joseon dynasty such as azurite, indigo lake, malachite, atacamite, vermilion, iron oxide, cochineal, gamboge, orpiment, lead white, talc and soot. The green and blue colors of the 『Old and New Celestial Charts, Eight-Panel Folding Screen』 and 『Koudou-Nanboku-Ryousouseizu』 were painted using artificial inorganic pigments such as emerald green and ultramarine blue. These pigments were imported from Europe post the mid-19th century. In the 『Old and New Celestial Chart, Eight-Panel Folding Screen』, only artificial inorganic pigments were used for green and blue colors. However in the 『Koudou-Nanboku-Ryousouseizu』, emerald green and atacamite in green color, and ultramarine blue and indigo lake in blue color were used together. Based on both the results of pigment analysis and the study of star charts and inscriptions, the 『Celestial Charts(Folding Screen)』 was painted post mid-18th century. The 『Koudou-Nanboku-Ryousouseizu』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 were painted after green and blue artificial pigments were imported in the mid-19th century. The 『Koudou-Nanboku-Ryousouseizu』 in which both traditional and western artificial pigments were used, can be dated earlier than the 『Old and New Celestial Chart, Eight-Panel Folding Screen』.

• Journal of Conservation Science
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• v.25 no.3
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• pp.283-291
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• 2009

Methyl Bromide that was used as fumigation gas turned out to be the substance of destroying the ozone layer. For that reason, at the Montreal Protocol in 1987 the use of methyl bromide was forbidden starting 2005 in the advanced country. Also according to the 2007 Bali Protocolly methyl bromide is expected to be forbidden and therefore the purpose of this study is to find out the effects of substitution fumigation gas (Ethylene Oxide+HFC 134a, Methyl Iodide, Cyanogen and Argon) on the metal(silver, copper and iron), wood(oregon pine), pigment(yellow, red, blue, white and black), textile(hemp, ramie, jute, silk1 and silk2 / indigo, safflower and cork) and paper. After the fumigation test, ethylene oxide+HFC 134a did not have changes in the weight and color of the material itself before and after the experiment. On exterior alteration, color change occurred partly on paper and metal. Also, in most materials color change extent was 0.5 to 1.5 on the average and showed scanty difference. The materials after the fumigation test with methyl iodide did not show weight changes after the test. However, color changes more than 1.0 was shown in most of the materials especially in dyed textile material. In blue pigment, the discoloration on the surface could be seen by naked eyes. Fumigation test with cyanogen gas did not show weight changes and discoloration is more than 1.5 before and after the test. The weight changes of test materials with the argon gas was decreased about 3 to 6%. It can be observed that discoloration on paper was generated. Color changes can be seen on jute dyed with safflower and cork for two weeks with argon gas and the extent was 6.3 and 6.0.

• Journal of Powder Materials
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• v.20 no.3
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• pp.210-214
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• 2013

This manuscript reports on compared color evolution about phase transformation of ${\alpha}-FeOOH@SiO_2$ and ${\beta}-FeOOH@SiO_2$ pigments. Prepared ${\alpha}$-FeOOH and ${\beta}$-FeOOH were coated with silica for enhancing thermal properties and coloration of both samples. To study phase and color of ${\alpha}$-FeOOH and ${\beta}$-FeOOH, we prepared nano sized iron oxide hydroxide pigments which were coated with $SiO_2$ using tetraethylorthosilicate and cetyltrimethyl-ammonium bromide as a surface modifier. The silica-coated both samples were calcined at high temperatures (300, 700 and $1000^{\circ}C$) and characterized by scanning electron microscopy, CIE $L^*a^*b^*$ color parameter measurements, transmission electron microscopy and UV-vis spectroscopy. The yellow ${\alpha}$-FeOOH and ${\beta}$-FeOOH was transformed to ${\alpha}-Fe_2O_3$ with red, brown at 300, $700^{\circ}C$, respectively.

• Conservation Science in Museum
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• v.7
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• pp.53-62
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• 2006

The wooden armor frame and various lacquerware artifacts excavated from the low swamp remains in Imdang, Gyeongsan have very weak material and lacquer coating; in case they are exposed in the air, they are likely to be shrunken and deformed immediately. The wooden armor frame has large size and it might be dissolved during freeze-drying. The lacquer coating of lacquerware blocks the penetration of chemicals and it is very likely to swell or peel off during the treatment. Therefore, to prevent the dissolution during vacuum freeze-drying, the wooden armor frame was replaced with t-butanol and impregnated in t-butanol solution with PEG#3, 350 43%, and lacquerware was impregnated in PEG#3, 350 40% solution at room temperature and freeze-dried. According to the analysis of the lacquer fragment from the lacquerware, the lid and the mounted cup was pasted with the mixture of lacquer and black pigment (soot) on the base layer after the first coating and pasted two or three times more with natural lacquer; the red lacquered wooden cup was pasted with the mixture of lacquer and black pigment on the base layer and pasted once on the middle layer. The top lacquer (red) was pasted with the mixture of iron oxide(Fe₂O₃).

• Journal of the Society of Cosmetic Scientists of Korea
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• v.47 no.1
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• pp.41-48
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• 2021

Formulations which are dispersed in water are often used in color cosmetics because they are characterized by no powder flying, not sticky, and high adherence while giving a light feeling of use. However, little research has been considered on the effect of the pigment on the above formulations used in color cosmetics. In this study, experiments were conducted to measure and analyze the effect of pigments on the formulation of pigments, organic pigments, and pearl polish, which are mainly used in the manufacture of color cosmetics, on appearance changes, pH changes, and photometric stability. Carmine or ferric ferrocyanide coated titanium dioxide mica-based pigments were not suitable for use due to poor photostability, with colors appearing on the surface from low viscosity formulations. Organic pigments had a good photostability of 1% of the formulation which are dispersed in water, but were not suitable for use because they came out of color on the water surface and did not spread well due to the clumping of powders. The titanium dioxide mica system pigments coated with pearl polish, inorganic pigments, and iron oxide were suitable for use due to their excellent appearance and optical stability in the formulation. Furthermore, the pH of all samples distributed by each pigment seems to be within the range of 3.0 to 9.0, which is suitable for cosmetic applications. This is expected to help manufacture color cosmetics with a stable water dispersible formulations by selecting and using stable pigments in anticipation of the behavior of pigments in the formulations.

• Journal of Conservation Science
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• v.33 no.6
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• pp.485-495
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• 2017

The purpose of this study is to evaluate the functionality and lightfastness of the natural pigments according to the type of Seokganju used as Dancheong. The commercially available red iron-oxide-based natural pigments that are called Seokganju and Daija manufactured by traditional methods in Korea and Japan were selected. The analysis of the constituent minerals and constituents of 8 kinds of collected Seokganju showed that most of them contained hematite. There are two types of Seokganju according to the $Fe_2O_3$ contents. The type of Seokganju can be characterized not only using the main component but also from the burn-out processing. The chromaticity results for Seokganju with a high $Fe_2O_3$ concentration indicate dark red or grayish brown, while those for Seokganju with a low $Fe_2O_3$ concentration indicate yellowish red or yellowish brown. Samples were prepared by mixing with a glue solution and functional properties were evaluated based on the opacity and spreadability. Coated samples were used in the lightfastness test. The spreadability and opacity of the pigments were measured differently depending on the main component. Most Seokganju samples a showed slight color change until $9,000kJ/m^2$ but rapid color changes were detected after $18,000kJ/m^2$. In particular, burnt Seokganju showed superior lightfastness.

• Conservation Science in Museum
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• v.17
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• pp.69-84
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• 2016

Yuso is the term for decorative tassels of a braided string which hangs a scroll painting. This study, drawing on extant research concerning the yuso made for Joseon period portrait scrolls of kings and meritorious retainers, focuses on the yuso created to hang literati portraits. Concretely, It examines yuso of seven portraits in the collection of the National Museum of Korea in order to characterize their appearance and determine their material composition. The study found that most of the yuso are sixteen-strand strings braided into a rounded cross-section(dongdahoe). The seven yuso, of which six are red and one indigo-blue, reflect the popular style associated with Joseon period literati portraits. The yuso for the portrait of Yun Geup(duksu 3503) is made from gilded paper. Analysis showed Fe particles present in a red pigment underlying the gold layer, suggesting the presence of red ochre(seokganju), an iron oxide mineral. The yuso of the portrait of Shin Im(duksu 4846) is used a paper which contains gold as well as traces of Pb, Hg and Ag. The paper in the yuso for the portrait of Yi Seongwon(bongwan 10122) mainly consisted of Ag, indicating silver paper having been used in its fabrication. The inner paper in the yuso of the portrait of Yi Seogu(sinsu 1065) is a leather combined with Ag, Fe, and Br, according to chemical analysis. The FTIR of the leather sample reveals that the spectrum in the fingerprint region is nearly identical to that of sheepskin, indicating the yuso was made from gold-coated sheepskin.

• Conservation Science in Museum
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• v.23
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• pp.71-90
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• 2020

The scientific analysis of a 'F-51D Mustang Fighter'(Registered Cultural Heritage 666), one of the War Memorial of Korean collections, was carried out. The paint layer and canopy were discolored due to a constant outdoor exhibit. The results obtained through the scientific survey and analysis processes were intended to be used as basic data for the future dismantling and restoration of the fighter. The analysis results for the pigment components have confirmed red oxide of iron, Fe₂O₃ organic pigments, such as Cobalt Blue, phthalocyanine blue, etc., yellow PbCrO₄, white TiO₂, black Fe₃O₄, and gray Fe₃O₄ + TiO₂. It has been also confirmed that Alkyd resin was mainly used for painting. The fighter's canopy was Poly methyl methacrylate(PMMA), and Al was detected as the main component of the fighter body, wings, and tails.