• Journal of Conservation Science
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• v.35 no.5
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• pp.403-415
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• 2019

According to oral tradition, the King Sejo's palanquin is indeed the palanquin of King Sejo, the 7^th monarch of the Joseon dynasty who reigned from 1455 to 1468, which was left behind after visiting the Magoksa temple. The palanquin is painted in five colors, mainly black, white, yellow, red and green. The chromaticity measurement of the yellow pigment showed that orpiment and gold are a noticeable distinction between the lightness and b^⁎ values. In the case of the red pigment, a^⁎ values of areas painted with cinnabar tend to measure at high values. As a result of the optical microscopy, scanning electron microscopy and energy dispersive spectroscopy analyses, it was determined that Chinese ink was used for the black pigment, lead white and white clay were used for the white, and orpiment and gold for the yellow. The red pigment was found to be the result of minium, cinnabar and red ocher, atacamite was used as green pigment. Though the analysis results of the cross sections on very small exfoliation fragments of pigments, it was confirmed that white clay and lead white were used for the preparation layer. In addition, several coloration techniques were considered based on these analyses.

• Journal of Conservation Science
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• v.35 no.4
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• pp.345-361
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• 2019

This study demonstrates the application of hyperspectral analysis as a pigment identification method for modern and contemporary Dancheong, the polychrome surface on traditional Korean wooden buildings. In particular, green pigments are the focus of this study. Green pigments in modern and contemporary Dancheong have the largest variation of materials and show a noticeable timeline. Thus, they are most suitable for estimating the manufacture or restoration period of Dancheong. Hyperspectral analysis is a noncontact, long-distance measurement technique that has advantages in the field of Dancheong analysis. It is capable of identifying both organic and inorganic pigments, unlike existing analysis methods. For this experiment, green and other pigments used during the modern and contemporary era were selected and made into painted samples under various mixing conditions that reflect their actual uses. Through hyperspectral analysis, their reflectance characteristics were observed, which enables the derivation of four main features that can distinguish the type of pigments used for color mixture. Based on these, a pigment identification system was designed in the form of a flowchart, and its utility was confirmed through site application. Despite some limitations at this stage, the technique can be complemented by considering proper measurement methods or the continuous accumulation of samples and data. If a database on various materials, mixing ratios, painting techniques, and other external interference factors is developed in future research, it would provide the foundation for a faster and safer analysis environment of Dancheong sites.

• Journal of the Institute of Electronics and Information Engineers
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• v.53 no.12
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• pp.105-110
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• 2016

To reduce the cost and volume of a digital camera, a subsampled color filter array(CFA) image is used and demosaicking is applied to estimate the missing color values. However, aliasing, the overlaps of signals in the frequency domain, occurs when signals are subsampled. This causes aliasing artifacts such as false colors and zipper effects in demosaicking processes. In this paper, the algorithm estimating high-quality color images by removing aliasing artifacts in them is proposed. The aliasing region map is estimated using the sub-sampled signals of the CFA image. By using the aliasing region map and the estimated luminance image, the least squares problem of the observation models is designed and aliasing artifacts are eliminated. The experiments demonstrate that the proposed algorithm restores color images without aliasing artifacts.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.47 no.2
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• pp.70-79
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• 2015

This study was carried out to analyze deterioration characteristics of color-pigments painted Hanji to preserve and restore the cultural properties. On the traditional painting technique, glue was used with pigments in various ways for painting, but it eventually caused the deterioration of paintings. Thus, five colors were selected and analyzed for this study for investigating their characteristics of deteriration. Three kinds of glues (Wugyo, Nokgyo, and Togyo) and two kinds of pigments (Chinese and Gilsang) were painted on the Hanji for the accelerated aging test. And then color fastness of pigments and tensile strength of painted Hanji were measured for the estimation of deterioration degree. The results of SEM-EDS showed that Chinese pigments including blue, yellow, green, and red were composed of inorganic substances but the brown was organic substance. Gilsang pigments were composed mainly of Si and Ti ions. Color fastness of the Gilsang pigment blue, yellow, green, and brown were better than those of Chinese. Chinese pigment brown with organic substance showed the worst color fastness. Generally, Chinese pigments painted Hanji showed higher tensile strength than Gilsang in the accelerated aging test. Hanji treated with Chinese pigment and Nokgyo (antler glue) blends and Gilsang pigment and Togyo (rabbit pelt glue) blends showed higher tensile strength than the others. And Andong Hanji showed the highest tensile strength.

• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.16-26
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• 2006

There have been in the history of western costume a few studies on men's headgear that cannot be the second to the women's headdress in terms of the gorgeousness and variety whereas the studies on women's hair styles and head dresses have frequently been carried out. Such varieties of the headgear in terms of forms and ornaments have still been found with various types. Thus, the study on the change in designs and details of headgear and the recreation of them may contribute to the utilization of the fashion in current vogue and the guidance of the creation for the new design. The aim of this study is to find such changes in the designs and the methods for the production of bonnets which have played important roles to emphasize external characteristics of costumes. As a result, this study may provide key materials for the development of new designs. As with the previous studies on the women's headdress and men's hat, the methodology of this study is to recreate bonnets based on the literature review and the portrait analysis. this study will cover the eras from the late fifteenth century to the mid sixteenth century when bonnets began to be produced. First, the characteristics of hair styles and bonnets are to be reviewed for the selection of bonnets to be recreated. Next step is to make a literature review on the form, materials, colors and ornaments used for bonnets. Finally, the patterns of bonnets is to be illustrated for the reproduction of selected bonnets. Materials to be used in this study for such a reproduction are velvets, silks and wools as presented in the literatures and ornaments to be used are similar to those captured in photos.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.34 no.1C
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• pp.72-80
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• 2009

Look-up table based inverse halftoning from the digital color halftone image is proposed in this paper, which uses vector adaptive filter for the nonexisting patterns in the table. Halftone image is obtained from a continuous -tone image, which can be restored into continuous one from the digital binary image by way of inverse halftoning method. Look-up table based method usually processes fast and has even performances over the various halftoning. The numbers of pixels in the pattern of table and the method how to define the table elements for each R, G, B channels can effect largely for its performance. The proposed method uses 16 pixels in the table considering the diversity of the expressions from their patterns and with memory size as well. This also proposed how to combine R, G, B channels into one. Experimental results showed the better performance in the expression of colors, better color restoration and the short processing time compared with the conventional ones.

• Journal of Conservation Science
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• v.35 no.1
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• pp.19-31
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• 2019

To study the cleaning effects and post-treatment stability assessment of various methods of cleaning textiles with metal thread, six naturally-soiled historical textiles with metal thread were investigated at the Metropolitan Museum of Art, New York. Prior to the cleaning of fabricated gold, silver, and copper thread that had been glued onto a paper substrate, the artificial deterioration was carried out in a controlled environment with light(UV and daylight), and temperature and humidity factors which would weaken and damage the samples. A synthetic soil mixture was applied to the samples to imitate soil found on the historic and archaeological textiles with metal thread; the cleaning effect and post-treatment assessment were investigated by use of three textile cleaning methods: mechanical cleaning, wet cleaning, and solvent cleaning. While investigating the naturally-soiled textiles with metal thread, it was determined that the soil colors and sizes of contaminating particles of each textile were different due to the diversity of original environmental factors and conditions. After cleaning with kneaded rubber, Stoddard solvent, n-decane or n-hexane, a bright, clean effect was apparent. Kneaded rubber was successful in picking up both large and small particles, but its stickiness caused some of the metal leaf to peel off. Stoddard solvent produced a good cleaning effect, but after use of n-hexane and n-decane in the cleaning process, a white layer of residue remained on the textile's surface. Wet cleaning was not effective and the rapid humidity changes between wet and dry conditions caused the edges of the paper substrate to lose their original shape.

• The Journal of Advanced Prosthodontics
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• v.11 no.4
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• pp.215-222
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• 2019

PURPOSE. To evaluate the polishing effect on roughness and color change of pressed and layering ceramics after immersion in coffee solution. MATERIALS AND METHODS. 88 ceramic discs ($1.0mm{\times}10.0mm$) were manufactured - 44 nano-fluorapatite layering ceramics (IPS e.max Ceram. Group C) and 44 pressed lithium disilicate ceramic discs (IPS e. max Press - Group P). Each group was divided into 4 subgroups according to surface treatments: (G) Glaze, (S) Shofu polishing system (Shofu Inc.), (E) Edenta AG polishing System, (KG) $30-{\mu}m$ diamond granulation tip. Surface roughness (Ra) and color change (${\Delta}E$) measurings after the surface treatments were performed, before and 12 days after the immersion in coffee solution. A samples' qualitative analysis was conducted with a scanning electron microscopy (SEM). Data were statistically-treated with one-way-ANOVA and Duncan's tests, apart from paired t-test and Pearson's correlation test (${\alpha}=5%$). RESULTS. The decrescent order, both for surface roughness (Ra) and ${\Delta}E$ for both ceramics were: KG > E > S > G (P<.05). With exception for PG and CG subgroups, which did not present statistical difference between them, all other pressed ceramics subgroups presented smaller Ra values and greater ${\Delta}E$ values than the layering ceramics subgroups (P<.05). CONCLUSION. Although mechanical polishing systems presented intermediate Ra values, their colors were considered clinically acceptable. There is a strong correlation between the surface roughness and the color change of tested ceramics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.21-35
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• 2015

This study conducted a research on the position, construction of space and plants of Ten Evergreen's Garden(十靑園) and Oddly Shaped Stone Garden(怪石園) that are central gardens of Eunguhdang(恩居堂) in the poem 'Statement of Responsibility'(Heo Mok, 1595~1682) and Sochi(小痴) Heo Ryeon(許鍊)'s 'Taeyeongsipcheongwondo(漣川台嶺十靑園圖)' in order to bring light on the construction of space and characteristics of them as a garden of the deep pond, Eunguhdang that is a historic site of Misu Heo Mok(許穆, 1595~1682). The characteristics of Eunguhdang, and the meaning of it from the research are expected to be utilized as a basic data for future restoration of it. The results are as follow: In Eunghudang, there are the main building, a detached house, a separated building, and servants' quarters, and the garden consists of Ten Evergreen's Garden between the main building and a Byeolmyo(別廟), a backyard which leads to a green mountaintop, and Oddly Shaped Stone Garden including a pavilion in the front of the detached house. These gardens are thought to have utilized various oddly stones. From the analysis of existing documents such as 'Gwuimonwon(龜文園)' and several interviews, it is concluded that Gwuimunwon might have had Youngdoseo(龍圖墅) that imitated a stream, and Oddly Shaped Stone Garden might have had a garden which imitates Guimonwon standing for graffiti. The evergreen plants in Gwuimonwon correspond to the plants of Sipjangcheong(十長靑) in Youngdoseo, and through these facts, it is thought to have sought "The clean and cool". Furthermore, the diverse colors of flowering trees and flowers in Oddly Shaped Stone Garden and the surrounding of it is symbolizing dragon which is found in Gwuimonwon and that is contrasting with the evergreen plants in Gwuimonwon. The oddly shaped stones in the garden of Eunguhdang have a strange atmosphere which is felt across the whole buildings in Misu, and s a same aesthetic object that are thought to have created beauty of old greenery and antique appearance by utilizing oddly shaped stones. Misu is based on ever green plants seeking change with flowers along with stones that means spirit, body and bones, which is strengthening his intention.

• Restorative Dentistry and Endodontics
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• v.24 no.2
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• pp.299-309
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• 1999

The composite resin, due to its esthetic qualities, is considered the material of choice for restoration of anterior teeth. With respect to shade control, the direct-placement resin composites offer some distinct advantages over indirect restorative procedures. Visible-light-cured (VLC) composites allow dentists to match existing tooth shades or to create new shades and to evaluate them immediately at the time of restoration placement. Optimal intraoral color control can be achieved if optical changes occurring during application are minimized. An ideal VLC composite, then, would be one which is optically stable throughout the polymerization process. The shade guides of the resin composites are generally made of plastic, rather than the actual composite material, and do not accurately depict the true shade, translucency, or opacity of the resin composite after polymerization. So the numerous problems associated with these shade guides lead to varied and sometimes unpredictable results. The aim of this study was to assess the color changes of current resin composite restorative materials which occur as a result of the polymerization process and to compare the color differences between the shade guides provided with the products and the actual resin composites before- and after-polymerization. The results obtained from this investigation should provide the clinician with information which may aid in improved color match of esthetic restoration. Five light activated, resin-based materials (${\AE}$litefil, Amelogen Universal, Spectrum TPH VeridonFil-Photo, and Z100) and shade guides were used in this study. Three specimens of each material and shade combination were made. Each material was condensed inside a 1.5mm thick metal mold with 10mm diameter and pressed between glass plates. Each material was measured immediately before polymerization, and polymerized with Curing Light XL 3000 (3M Dental products, USA) visible light-activation unit for 60 seconds at each side. The specimens were then polished sequentially on wet sandpaper. Shade guides were ground with polishing stones and rubber points (Shofu) to a thickness of approximately 1.5mm. Color characteristics were performed with a spectrophotometer (CM-3500d, Minolta Co., LTD). A computer-controlled spectrophotometer was used to determine CIELAB coordinates ($L^*$, $a^*$ and $b^*$) of each specimen and shade guide. The CIELAB measurements made it possible to evaluate the amount of the color difference values (${\Delta}E{^*}ab$) of resin composites before the polymerization process and shade guides using the post-polishing color of the composite as a control, CIE standard D65 was used as the light source. The results were as follows. 1. Each of the resin composites evaluated showed significant color changes during light-curing process. All the resin composites evaluated except all the tested shades of 2100 showed unacceptable level of color changes (${\Delta}E{^*}ab$ greater than 3.3) between pre-polymerization and post-polishing state. 2. Color differences between most of the resin composites tested and their corresponding shade guides were acceptable but those between C2 shade of ${\AE}$litefil and IE shade of Amelogen Universal and their respective shade guides exceeded what is acceptable. 3. Comparison of the mean ${\Delta}E{^*}ab$ values of materials revealed that Z100 showed the least overall color change between pre-polymerization and post-polishing state followed by ${\AE}$litefil, VeridonFil-Photo, Spectrum TPH, and Amelogen Universal in the order of increasing change and Amelogen Universal. Spectrum TPH, 2100, VeridonFil-Photo and ${\AE}$litefil for the color differences between actual resin and shade guide. 4. In the clinical environment, the shade guide is the better choice than the shade of the actual resin before polymerization when matching colors. But, it is recommended that custom shade guides be made from resin material itself for better color matching.