• 보존과학회지
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• 제30권2호
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• pp.137-148
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• 2014

질소와 아르곤을 사용한 대용량 저산소 농도 살충 챔버 시스템(내용적 $28m^3$)을 이용하여 박물관에서 발견되는 문화재 해충에 대한 살충력 및 운용성을 평가하였다. 질소 환경에서 저산소 농도 살충처리를 하였을 때 산소 농도 0.01%, 습도 50%의 환경하에서 나무 블록 속의 권연벌레 성충, 애벌레, 알의 완전 살충에는 $20^{\circ}C$ 15일, $25^{\circ}C$ 10일, $30^{\circ}C$ 7일이 소요되었다. 아르곤 환경에서는 $20^{\circ}C$ 10일, $25^{\circ}C$ 7일, $30^{\circ}C$ 5일이 소요되어, 질소 저산소 농도 살충처리는 아르곤에 비해 살충시간이 50% 더 소요되었다. 살충 시험 결과로부터 최적 살충 조건은 산소 농도 0.01%, 온도 $25^{\circ}C$, 습도 50%, 살충시간 21일로, 질소발생기로 대량의 질소를 자동 공급이 가능한 질소 저산소 농도 살충법은 대용량 저산소 농도 살충 챔버 시스템의 안정적인 운용이 가능한 방법으로 평가되었다. 최적 살충 조건에서 나무 블록, 면직물, 견직물, 한지 서적에 넣은 권연벌레의 알, 애벌레, 번데기, 성충, 인삼벌레의 성충, 애벌레, 알락수시렁이 애벌레 및 사육함의 암검은수시렁이의 애벌레, 성충 그리고 쌀바구미 성충은 100% 살충이 되었다. 본 연구를 통해 대용량 저산소 농도 살충 챔버 시스템은 질소 저산소 농도 살충법으로 박물관 발생 문화재 해충의 완전 살충과 원활한 운용이 가능할 것으로 판단되었다.

• 한국염색가공학회:학술대회논문집
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• 한국염색가공학회 2012년도 제46차 학술발표회
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• pp.90-90
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• 2012

극세섬유는, 1970년대 말부터 일본의 합섬업체들이 천연소재인 Silk를 모방하기 위해 개발을 시작하였으며, 개발된 섬유의 굵기가 0.5d(1denier=1g/9,000m)이하인 것을 말한다. 이후 극세사에 대한 끊임없는 노력으로, 1980년대에는 천연스웨이드 풍의 인조피혁의 제조가 가능한 0.1d이하급 초극세사가 N/P(Nylon/Polyester) 복합방사된 형태로 개발되었으며, 일본, 및 한국 등에서 이들 소재로 제조된 직편물 제품이 첨단 고부가소재로서 호황을 누려왔다. 이러한 초극세사는 다양한 형태로 발전되어왔는데, 해도형(Islands-in-a-Sea Type), N/P(Nylon/PET), P/N(PET/Nylon) 등이 대표적인 형태이며, 가공공정 중에서 분할이 되면서 그 특성을 발현한다고 하여 분할사, 형태에 따라서 N/P 분할사라 하기도 한다. 최근들어 이러한 N/P 분할사는 기존의 의류용 용도뿐만 아니라, Wiping Cloth, 극세사 타울, 항진드기용 침장 등 다양한 비의류용 소재로도 확대 전개되고 있으며, 이렇게 다양화 되어가고 있는 용도에 따른 공정별 최적 가공 방법에 대한 연구가 진행 중이다. 사가공 공정에 있어서는 텍스쳐링 방법이 적용되기도 하는데, 가장 보편화된 텍스쳐링 방법으로는 DTY(Draw Texturing Yarn), ATY(Air Texturing Yarn) 등의 형태가 있으며, 이러한 텍스쳐링 방법은 물성에 민감한 N/P 분할사의 강도, 신도, 분할도에 영향을 미치게 된다. 본 연구에서는 기존의 텍스쳐링 방법이 아닌 Fancy사 형태로 사가공을 하였으며, 직물로 제직하고, 분할 가공하여 직물로써의 물성까지 분석하였다. Fancy사는 색이나 형의 변화로 디자인효과를 준 실을 말하는데, 심사, 부사, 압사로 이뤄지며 의장사, 장식사 등으로 불려지기도 한다. 주요 공정을 보면, 크릴형성용 부사를 500-600T/M으로 가연한 연사를 얻는 제1공정과, 이 가연된 부사와 심사를 합사하는 제2공정 및 합사된 크릴의 뒤틀림을 방지하기 위하여 압사로 크릴을 고정하여 주는 제3공정으로 이루어진다. 사용된 N/P 분할사는 NP30/36dty, NP50/36dty를 사용하였으며, 부사의 오버피드 및 피드되는 사에 따라 각각 8종, 7종의 Fancy사를 제조하여 섬도(Denier), 강도(Tenacity), 신도(Elongation)를 측정하였다. 또한, 이들 사들로 제직 및 분할가공을 하여 인장강도, 인장신도, 인열강도, 마모강도, 공기투과도 등의 물성과 중량, 두께를 측정하였으며, 온도, NaOH 농도, 시간 등의 분할 가공조건에 따른 직물의 인열강도 변화도 측정하였다. 이렇게 공정별 조건에 따른 물성의 변화분석을 통해 추후 N/P의 제품화 전개에 도움이 되고자 하였다.

• 복식
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• 제44권
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• pp.181-199
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• 1999

The industry of modern clothing has deviated from the overflow of commercialism and the standardization and nowadays is going toward pursuing art, creativity, and high added value. This trend brings the return of the natural materials from the synthetic textiles and increases the value of old and handmade fabrics. Finally, the handmade-paper, which is a natural material, comes to be reconsidered as a new material for the clothing. Therefore, as the natural materials and the manufacture of handmade clothing are rising again, the qualitative improvement and globalization of clothing industry should be first realized through the developments of creative and various clothing materials and new expressing techniques. The above investigation and study have been synthesized and analyzed as follows: First, through the study on the origin of the paper clothing, its historical background and the process of its development, we've learned these two facts following : the paper clothing of the East in the past mostly had practiced meanings. On the other hand, in the West it had meanings which were raised the artist's emotions and beauty-consciousness to the artistic level by the various kinds of expressing methods. Second, handmade-paper was manufactured by the embedding method, which mixed mulberry pulp, gauze, corn, hair, sisal, silk and so on. It was found that handmade-paper had the affluent and proper texture as the clothing material and was be able to control the clarity through the variation of thickness. It was also confirmed that the creative and original texture with hand-worked molding beauty was obtained by the use of handmade-paper. Third, when the handmade-paper is used, the molding beauty of plane, relievo, and solid can be freely pursued, and various and effective molding conformation can be constructed by the effect of superposition and repetition. Also, because the maximum discretion from the various optional manufacturing methods is allowed, the molding beauty can be maximized when the clothes are manufactured with handmade-paper. Fourth, the gauze with strong drape was combined to overcome the stiffness and the tearing of the paper. As a result, the durability and the wearability of the paper were strengthened and thus the thus the applications as the clothing material were enlarged. In conclusion, in order to enhance the value, creativity, practicality, and artistic sense of the design for modern clothing, the clothes made of handmade-paper should be more studied. Moreover, for the generalization of paper clothes, the studies on the development of practical paper with paper with water resistance, post-treatment after dyeing, flexibility, and durability should be done. I really hope that this study will be the motive to provoke the possibility of handmade-paper as new clothing material in not only practical sense but also artistic sense.

• 감성과학
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• 제9권2호
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• pp.133-140
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• 2006

본 연구에서는 의복 착용 시 직물이 스치면서 발생하는 왕복마찰음에 대한 물리적 소리특성과 주관적 감각을 고찰하기 위해, 왕복운동을 이용한 직물마찰음발생장치를 개발하고 이 장치를 이용하여 5가지 직물의 왕복마찰음을 녹음한 후, 총음압(LPT), 음압차(${\Delta}L$), 주파수차(${\Delta}f$)를 계산하였다. 왕복마찰음에 대한 주관적 감각은 7개의 소리감각(부드러움, 시끄러움, 날카로움, 맑음, 거침, 높음, 유쾌함)에 대하여 의미미분척도로 평가되었다. 나일론 태피터와 폴리에스테르 레노 직물의 왕복마찰음은 높은 LPT를 나타내어 시끄럽고 날카롭고 거칠며 불쾌한 소리로 인지되었다. 반면 LPT와 ${\Delta}f$의 값이 작은 폴리에스테르 울트라스웨이드와 실크 크레이프드신 직물의 왕복 마찰음은 부드럽고 조용한 소리로 평가되었다. 마찰방향(왕복 방향, 한 방향)에 따른 직물의 마찰음 비교시, 왕복 방향 마찰음은 한 방향 마찰음보다 더 날카롭고 시끄럽고 거칠게 인지되었으며 마찰방향에 상관없이 LPT가 소리감각을 예측하는 중요한 요인으로 나타났다.

• 보존과학회지
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• 제28권1호
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• pp.21-27
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• 2012

조선시대 양반가의 장례시 매장방식은 회곽묘제를 사용하였으며, 그 유물들이 현대에 형태를 유지한 채로 출토되는 경우가 종종 있다. 그러나 그 내부에서 발견되는 섬유유물들은 예전에는 염직물이었을 것으로 예상되나 오랫동안 시즙과 수분에 의해 오염되어 고유의 색상 및 물성에 변화를 일으킬 수 있다. 이러한 오염은 출토 후에도 계속적으로 유물의 변퇴색 및 열화에 영향을 미칠 것으로 예상되므로 적합한 세척이 요구된다. 따라서 본 연구는 습식세척 후 출토염직물의 색변화를 최소화할 적합한 세정조건을 조사하기 위하여 적색계 7종, 청색계 1종, 황색계 6종, 녹색계 4종, 자색계 4종의 천연염색 염색포(견과 면)을 만들어서 이를 돈육과 함께 6개월간 냉장보관한 후 꺼내어 물, 음이온계면활성제(SDS), 비이온계면활성제(TritonX-100), 천연계면활성제(Saponin) 등 4종의 세정액를 이용하여 $20^{\circ}C$와 $40^{\circ}C$의 온도에서 습식세척하여 염직품들의 색상변화에 대한 영향을 조사하였다. 그 결과 색상의 변화는 세정온도, 섬유소재, 세정제, 이용한 염료의 종류에 따라 차이를 나타내었다.

• 복식
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• 제36권
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• 복식
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• 제14권
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• pp.145-165
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• 1990

This study examine closely conditions of costume between the Modernized period and Liberation with newspaper materials. Because newspaper generally appear society conditions in those days on rapid and across-the boad basis. The Modernized period is extremely change among history of costum (ordinance prohibiting top knots, allowance of foreign clothes putting on). Because this change have been spontaneously not by internal desired but Western input by the strong nation of imperialism to enclose Chosun, they was accepted by the general public later under the rule of Japaneses Imperialism. Consequently, study of costume play an important part periods between the Japanese annexation of Korea and Liberation. This study apply to newspaper characteric for costume, and closely examine an important costum condition of those days next time, and present costume material in those days that composed the account catalog appeared periods between the first publication(1920) of the Dong A II Bo, and in the year 1945, it is as follows. 1. Foreign clothes of men generally accept the general public on look at from form change, in the 1920's had come short Jackets and narrow throusers into fashion, in the 1930's had come trousers of generous waist band with broads shoulder and long Jackets. Catalog of Major clothes is as follows; Spring coat, Jacket, Vest, Shirt, etc. While pants had come trousers into fashion 2. Functional characteric of Foreign clothes was the possible acceptance of women's foreign clothes. It relate with much discussion to improve Korean development in those days and substitute foreign clothes for Korean clothes because of institence in those days to improve functional clothes life. 3. An improvement women's Korean clothes generally take aim at women's nipple liberation, substitute vest waist for skirt waist, appear seamless one-piece skirt of shade length, and long dress length of Jacket. 4. Children's clothes give an account of functional and sanitary conditions, handling method, washing method. 5. Clothes materials give account of foreign clothes material, artificial silk, furs, cotton fabrics, and etc. 6. Clothes management give an account of washing, keeping method, washing method of foreign clothes, and keeping of furs. 7. The hair generaly had come short hair into fashion in men's case, while accounts on long hair fashion of foreign nation effect in case of women. 8. Describing on beauty care manage primary beauty care, reform, plastic operation, and shade beauty care. Ideal beauty care deal with natural and dignified buauty care. 9. Accesaries (hat, handbag, handkerchief, gloves) change with fashion of clothes, it rapid more than clothes fashion. 10. On encouragement of abolition of white clothes and putting on dyeing clothes, because of economic defect of white clothes, psychology and beauty consequently, white clothes is on the rise abolition. In national level almost substitute dyeing clothes for control and improvement of people of all social standings consequently, dress and its ornaments conditions in those days analyzed account of Dong-A II Bo accept the foreign clothes that introduced internal country of the whole century, and substitute dyeing for white clothes. Costume condition in those days appear the mixed conditions of Korean clothes and Foreign clothes. In the 1920's is the first consideration dress and its ornaments form of Korean clothes. As later goes on foreign is given much weight in the whole clothes life. Account of foreign clothes managemental ways appear in the 1920's, while those facts prove the point that appeared the account that always dealed with concrete content of foreign fashion in the 1930's.

• 한국환경농학회지
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• 제17권1호
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• pp.48-53
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• 1998

1975년부터 산업활동이 시작된 익산 제1공단내 토양 중에 중금속함량을 비오염지 자연토양 중의 이들 함량과 비교하고 산업활동의 종류에 따른 토양 중 중금속 함량 변화와의 관계를 구명하기 위하여 주로 표층토를 중심으로 $0{\sim}3$ 및 $3{\sim}6cm$ 토양층에 있는 Cd, Cu, Ni, Pb 및 Zn의 함량을 조사 분석한 결과는 다음과 같다. 공단 내 토양 중 중금속별 함량변화는 Cd와 Cu는 시료의 $16{\sim}25%$, Pb와 Zn은 93% 이상이 비오염지 자연토양 중 이들 중금속함량 평균치 이상의 토양 중 축적현상을 보였고, Ni함량은 산업활동에 의한 토양 중 변화를 인정할 수 없었다. Cd의 분포는 $0{\sim}3cm$ 토양층은 섬유산업지역에서 5ppm이상의 최고치를 나타내었고, 그 다음이 화학약품 및 식품산업지역에서 높은 것으로 나타났다. $3{\sim}6cm$ 토양층에서는 금속가공지역에서 5ppm 이상의 최고치를 보였고, 다음이 섬유산업지역에서 높은 것으로 나타나 토양층위에 따라 Cd의 축적분포가 조금씩 달랐다. Cu함량은 $0{\sim}3cm$의 토양층에서는 전선류를 제조하는 지역에서 400ppm 이상의 최고치를 나타냈으며, $3{\sim}6cm$ 토양층에서는 전기 저항기, 기계제작 및 전선류 제조지역에서 400ppm이상의 토양축적현상을 보였다. Ni은 도금 및 금속가공지역에서 시료채취 토양층과 관계없이 35ppm이상의 함량을 보였고, 그 다음으로 석재 및 반도체 산업지역에서 25ppm이상의 토양 중 함량을 나타냈다. Pb는 화학약품 및 견직물공장에서 시료채취 토층과 관계없이 $400{\sim}1000ppm$이상의 토양 중 함량을 보였다. Zn은 화학약품과 견직물공장지역에서 토양 깊이와 관계없이 1200ppm이상의 가장 높은 함량분포를 보이는 곳도 있었으며, 그 다음이 도금 및 금속가공, 그리고 피혁공장순으로 Zn함량이 많은 것으로 나타났다. 결과적으로 산업활동의 형태 및 종류는 토양 중의 중금속의 종류 및 함량변화의 원인이 되고 있었고 이 지역에서는 Pb 및 Zn 토양중 함량변화가 뚜렷하였다.

• 패션비즈니스
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• 제2권3호
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.