• Applied Chemistry for Engineering
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• v.28 no.3
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• pp.332-338
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• 2017

The objective of this work was to study the low temperature vacuum adsorption technology applicable to small and medium scale painting plants, which is the main emission source of volatile organic compounds. The low-temperature vacuum swing adsorption (VSA) technology is the way that the adsorbates are removed by reducing pressure at low temperature ($60{\sim}90^{\circ}C$) to compensate disadvantages of the existing thermal swing adsorption (TSA) technology. Commercial activated carbon was used and the absorption and desorption characteristics of toluene, a representative VOCs, were tested on a lab scale. Also based on the lab scale experimental results, a $30m^3min^{-1}$ VSA system was designed and applied to the actual painting factory to assess the applicability of the VSA system in the field. As a result of lab scale experiments, a 2 mm pellet type activated carbon showed higher toluene adsorption capacity than that of using 4 mm pellet type, and was used in a practical scale VSA system. Optimum conditions for desorption experiments were $80{\sim}90^{\circ}C$ and 100 torr. In the practical scale system, the adsorption/desorption cycles were repeated 95 times. As a result, VOCs discharged from the painting factory can be effectively removed upto 98% or more even after repeated adsorption/desorption cycles when using VSA technology indicating potential field applicabilities.

• Journal of Conservation Science
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• v.27 no.4
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• pp.403-414
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• 2011

This study is re-creational experiment of Goryeo gold-painted decoration based on the research of the gold remaining and gold painting technique on the two pieces of Goryeo gold-painted celadon and the three pieces of Chinese gold-painted porcelain on North Song period which ones have been owned by National Museum of Korea since 2007. For the observation of glue state and color developing ability, four kinds of agglutinative agent and gold powder were mixed over the porcelain sherds, then gradually fired from $100^{\circ}C$ to $1200^{\circ}C$. Visual effect and ideal temperature were measured. Among of them, oil and glue showed the best results in glue state and color developing ability. Through those results, the entire Goryeo engraved celadon were reproduced in modern facilities. Oil and glue were gold-painted over the glaze then it was fired at the ideal temperature 700 to $800^{\circ}C$. For observation the binding condition, the gold-painting cross section was looked by the scanning electron microscope (SEM). As the result, oil and glue did not make much difference in Agglutinative agent, but gold was good, the color developing ability, however, in the case of oil, the edge of gold is curled because of its interfacial tension, and it is not dried well at room temperature so the working property is not as good as the glue. Glue more effective in terms of work efficiency, but color developing ability to fall slightly in this experiment were able to see through.

• 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 Bio-Environment Control
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• v.29 no.2
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• pp.196-201
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• 2020

In order to increase the durability of the pipe framed greenhouse, galvanized steel pipes with four corrosion protection treatments were installed in the greenhouse. After 20 years, experiments on surface corrosion and strength change were conducted. Control (untreated) pipes exposed in the atmosphere showed a 1.3% reduction in strength, but little difference from other treatments. The strength of heavy protective coating pipes buried in the ground decreased by 0.6%, showing little change, but untreated pipes decreased by 15.7%. And antirust paint and asphalt coating pipes decreased by 4.2~4.4%. Pipes exposed in the atmosphere did not show severe corrosion in all samples. There was no change in heavy protective coating pipes, and no rust was found in antirust painting pipes either and there was only slight discoloration. Asphalt coating pipes discolored black and some rust was found, and untreated pipes were rusted by 20~30% of the surface. However, untreated pipes buried in the ground were completely rusted, and asphalt coating pipes were rusted by 80~90% of the surface. Antirust painting pipes were rusted by 20~30%, and heavy protective coating pipes did not change almost. The heavy protective coating treatment showed a clear corrosion protection effect even in the parts buried in the ground, and the antirust painting treatment also showed some corrosion protection effect. Therefore, it is judged to be applicable to the field of pipe framed greenhouses.

• Journal of Environmental Health Sciences
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• v.35 no.3
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• pp.153-161
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• 2009

The purpose of this paper is to evaluate 1) blood lead levels of workers at auto repair shops as Biological Exposure Indices (BEI) of toxic substances such as lead and toluene that are produced during automotive painting process, 2) the differences depending on personal characteristics of workers who have been exposed to toluene by using urine hippuric acid concentration as a marker and 3) the correlation between the concentration of hazardous chemicals in each workplace and the BEL. All subjects were male with a mean age of 36.2 years. In terms of age, most were in the 30 to 40 age group (13 persons, 48.1%). In relation to the length of work experience, the highest proportion had experience of 10 years of less (18 persons, 66.7%). Twenty three workers were cigarette smokers (85.2%) while 4 (14.8%) were non-smokers. In addition, more than 80% of the workers drank alcohol. Dust concentration and toluene exposure during automotive painting showed no significant difference with age, length of work experience, smoking and drinking while a significant difference (p<0.05) has been detected between lead concentration and smoking. The geometric mean of dust concentration, lead concentration and toluene concentration were $0.38mg/m^3,\;0.0021mg/m^3$ and 1.08ppm respectively. In addition, the geometric mean of blood lead levels and urine hippuric acid concentration were $1.70{\mu}g/dl$ and 0.25g/g respectively, which were lower than the standard levels suggested by the Ministry of Labor. To determine the influential factors on blood lead and urine hippuric acid concentrations, a correlation analysis has been conducted with variables of air, lead and toluene concentrations, age, length of work experience and amount of cigarette smoking. According to the analysis, a relatively high correlation (p<0.01) has been observed between air lead concentration and biological sample concentration.

• Korean Journal of Plant Resources
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• v.13 no.2
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• pp.111-117
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• 2000

In an attempt to select grape bag, which elevates grape quality and make easy maturation period determination, the following research was carried out at Chungbuk Institute of Agricultural Technology, Grape Experiment Station. Light transmittance rate of bag reached to 11-65% with non-woven fabric and non-dripped vinyl bags. Non-dripped vinyl perforation and white painting bag resulted in 50 and 75%, respectively. Berry weights in non-woven fabric and non-dripped vinyl bag were high than that in paper bag. Non-dripped vinyl perforation 50%, white painting bag brought into fruit cracking, shattering, and rotten fruit, making the investigation difficult. Maturation period preceded about 1-4 day with non-woven fabric and non-dripped vinyl compared with that in paper bag. Soluble solids content with non-woven fabric and non-dripped vinyl bags was high and acidity showed a reverse result. Coloring extent was developed rapidly with non-woven fabric and non-dripped vinyl than paper bag. During initial state of coloring, coloring was rapid with Maekban-Stone mixed non-woven fabric and non-dripped vinyl + non-woven fabric bag. This was rapid with non-woven fabric bag as long appropriate maturation period. Abnormal berry rate was 5.4-7.0% with paper and non-woven fabric bags but brought about as much as 16.6-100% with non-dripped vinyl and it's mixed bags. Appearance quality was the best with index 9.0 for non-woven fabric bag. Maekban-Stone mixed non-woven fabric but non-dripped vinyl performance 50% white painting bag was the least, showing index 1.0. The time consumed for maturation determination was reduced to 74-93% with non-woven fabric and non-dripped vinyl bag compared with 17.4h/10a with paper bag.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.359-385
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• 2005

Red ocher, red lead or cinnabar has been as red colorant for ages. Cinnabar of the red pigments has been highly regarded as a valuable ingredient because it represent a symbol of exorcising and a haute image. It was used as a pigment of painting and mural painting, bowl, clothes, rock writing, gravestone, etc. It is powder which dissolves in perilla oil or glue before using. Because it is high-priced, the use of cinnabar may be limited to the privileged class. Therefore, red ocher or red lead was used instead of cinnabar. "Gongsagyunmunrok" demonstrated that government official's gravestonea has been painted red by two colorants in the period of the Goryeo dynasty. However, cinnabar may be used to paint gravestones for the first time in the period of the Three States because it has been transmitted since the times. This study discuss the results obtained from an analysis of the pigments used on the red pigments of the Stone Monuments. The results can be briefly summarized as below; First, the microcrystalline structures seen on the surface section of analyzed pigments, samples of which were taken from various parts of red pigments show that different sizes and shapes of pigment particle. Second, a result of the analysis on the composition and structure of the pigments shows that the main components in their composition are : Red pigments - Red lead($Pb_3O_4$), Cinnabar(HgS) and Hematite($Fe_2O_3$) White pigments - Calcite($CaCO_3$) Especially, we knew that red Stone Monuments were found to be natural mineral pigments, which were used as a singular or a mixture.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.15-24
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• 2015

Dahoe is a traditional Korean term for cords and Dongdahoe for round cords. The main purpose of this study is to analyze the structure of a semi-automatic loom depicted in the paintings of Jun Geun Kim, and verify whether it actually worked or not. Jun Geun Kim is a genre painter of the late Joseon Dynasty. His nom de plume is Gisan and he drew genre paintings for foreigners who visited Korea in the late 19th century. These paintings are important in understanding the lifestyle and custom of the times. His paintings at the Staatliche Museen zu Berlin in Germany and the British Museum in England both depict a semi automatic loom that operates two looms at the same time. This is a unique loom that is not found in any other country and currently no artifacts of such loom exist in Korea. The study went through the following steps: We first analyzed the structure and the operating mechanism of the loom in the painting. The structure of each parts and their roles were also analyzed. Then a loom that was similar in structure and size was made to check if it was operational. The loom depicted in the paintings had some problems, and adjustments to fix the said problems were made accordingly. Wood was primarily used to make the $80{\times}90cm$ loom. The loom was used to make Dahoe and the study confirmed that there were no differences between the handmade Dongdahoe and the Dongdahoe made with the semi automatic loom.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.125-134
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• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.