• Textile Coloration and Finishing
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• v.25 no.4
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• pp.337-344
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• 2013

This study aims to understand the advertising recall effect in accordance with color scheme of advertising by subdividing it into brand, picture, color, and style. The results of this study are like following. In the results of the study on advertising recall, first, there were significant differences in picture and color recall. The picture recall was the highest in complementary color scheme while color scheme was shown the highest in single and complementary color schemes. Regarding the advertising recall in accordance with subscription time of fashion magazines, second, the advertising recall can be different in accordance with subscription time of magazine, major, purchase experience, and interest. In case of picture advertising recall depending on major, third, majors highly recognized complementary color scheme in picture recall and also similar color scheme in color recall. Regarding the advertising recall depending on experience in purchasing magazines, purchasers highly recognized complementary color scheme in picture recall and also tone-in-tone color scheme in color recall. In case of the advertising recall in accordance with interest in fashion advertising, the group with interest highly recognized complementary color scheme in picture recall and also similar color scheme in color recall.

• Textile Coloration and Finishing
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• v.22 no.3
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• pp.194-206
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• 2010

This study was carried out to identify the optimum dyeing conditions for maximum dye uptake of Prunus yedoensis Matsumura flower extract on silk fabric and to investigate hue/tone characteristics and fastness properties of the dyed fabrics. As results, the flower extract was found to contain flavonoids by FT-IR and to show yellowish shade by UV-vis spectrum. Silk fabric was optimized for maximum dye uptake to five repetitions of dyeing at $80^{\circ}C$ for 60 min with an extract concentration of 600% owf in terms of both K/S and color differences. Pre-mordanting was more effective to dye uptake than post-mordanting for all of the mordants used. Un-mordanted and pre-mordanted fabric showed YR(Yellow Red) while most of post-mordanted ones did Y(Yellow). Main tones of dyed fabrics were sf(soft) and lt(light) in the case of unmordanting or Al-mordanting whereas they were d(dull) and g(grayish) by post-mordanting with Cu, Cr, and Fe, respectively. The fastness grades to rub and dry cleaning were reasonably good for most dyeing conditions while those to light were poor. Finally dyeing condition for each hue/tone of the dyed silk with the flower extract was optimized considering fastness properties.

• Textile Coloration and Finishing
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• v.23 no.3
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• pp.169-178
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• 2011

The purpose of this study is to develop eco-printing method using natural dyes combined with chitosan treatment to impart various pattern effect on cotton fabric. It was examined whether tone-on-tone pattern effects could be produced by screen printing with chitosan paste and subsequently dip-dyed in natural dye bath. For polychromic colorants, fabrics were pre-mordanted and then screen printed with chitosan, while only chitosan printing treatment was applied for monochromic colorants. Color, dye uptake, washing, light and rubbing fastnesses of printed fabrics were measured in relation to the presence of chitosan printing. Pre-mordanting and chitosan printing treatment were applied to such polychromic colorants as madder, sappanwood, onion and cochineal. Also, printing pattern formation on fabrics was evaluated by differences in dye uptake and color. The results suggested that madder, onion and cochineal were effective on pattern formation. Regarding sappanwood, since dye uptake was increased only by pre-mordanting without chitosan printing treatment, there was little color difference and thus patterns were not clearly distinguished. Chitosan printing treatment tended to increase washing, light and rubbing fastnesses of dyed fabrics with polychromic colorants. Chitosan printing treatment was applied to monochromic colorants such as chlorophyll, gardenia and indigo and the effect of printing formation was examined according to the difference in dye uptake. Among monochromic dyes tried, chlorophyll was effective and chitosan printing improved washing and light fastnesses.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.1-17
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• 2009

This study is to understand the characteristics of Korean Women's Jeogories in modern times on the changes of its color and coloration over the time. The research was that the characteristics of the costumes produced in modern times ($1890{\sim}2000$) can be categorized into six periods according to the change of times. 1106 women's Jeogories were researched intensively in order to understand them, the conclusions are following: When the Chi-Square Test is applied to conduct cross analγsis of the said six periods divided on the basis of relevant theories, it is found that there is just partial difference in the hues in1890-1959 while there has been a big change in the hues of all Jeogories since 1960. It also seems that such a sudden change In hues took place till the end of the 1970s but there have been no significant difference and no distinct changes in hues sin[e the 1980s. As for color tones, high luminosity and low chroma hues were mainly used in all periods, but low luminosity and high chroma hues have been frequently used since the 1960s. It indicates that the long-used conventional and traditional colors gave way to various colors which were freely applied according to the tendency of individualism In the selection of colors as well. As for the coloration, one-color arrangement was predominant in white clothes while the combination of main color Y and supplementary rotor R was overwhelming in two-color arrangement. After the 1960s, not just the five major rotors but diverse colors, including bluish green, dark blue, were used, even varied patterns for linings.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.35-46
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• 2008

The purpose of this study was to closely examine the history of glasses and their cases used in the middle and late of Joseon Dynasty and identify inherent quality of our traditional glasses cases through color analyses of glasses cases' material and shape. While theoretical examination was conducted based on the literatures of glasses and their cases that firstly appeared in around Japanese Invasion (Imjin war) of Korea in 1592, practical analyses were demonstrated on photos of glasses cases used in the middle and late of Joseon Dynasty collected from both museum pieces and the internet which were grouped into wood, fabric, paper, sharkskin, hawksbill and cow's horn in accordance with their materials. 623 color samples were abstracted from collected 159 glasses cases and quantity analyses on each material were performed respectively. Abstracted representative colors based on the result of color analyses were classified into the main materials and accessories' color scheme. The result of this study are as follow: firstly, both Yellow and Yellow Red were mostly used in main materials. In Fabric case's colors were widely used in embroidery and in animal matter material cases such as sharkskin, hawksbill and cow's horn, which can be used as itself or dyed, Green Yellow shown in high frequency. Secondly, accessories were analyzed into similarity coloration with main materials. From this finding, it turns out that our traditional cases have characteristic of similarity coloration between main materials and accessories. Red Purple and Purple Blue in high frequency in accessories used as an accent color. Finally, based on the analysis of hue and tone, while the middle and low value colors shown in very high frequency, the high-chroma colors hardly shown.

• Journal of the Korean Ceramic Society
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• v.54 no.1
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• pp.61-65
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• 2017

Examined in this study were the effects of copper oxide (II) addition and sintering conditions on the chromatic characteristics of copper glaze. Oxidatively sintered samples exhibited the negative increase of $CIEa^*$ and the positive increase of $CIEb^*$ with the increase of CuO concentration, leading to Green and Green-Yellow coloration. On the other hand, $CIEa^*$ and $CIEb^*$ of reductively sintered samples were positively increased in direct proportion. The green color of oxidatively sintered samples was originated from the $Cu^{2+}$ ions formed by the dissolution of CuO. The reductively sintered samples resulted in dull tone red color with low chroma. Such behavior seems to be influenced by the interplay of metal Cu aggregation, metal Cu globule, and $Cu_2O$ formed in the glaze layer through the redox interaction of CuO during the sintering process.

• Textile Coloration and Finishing
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• v.17 no.1
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• pp.1-6
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• 2005

This study were carried out to investigate the effects of mordants and mordanting methods under the various dyeing conditions such as temperature, time, pH, repetition of dyeing in the silk fabrics with Petasites japonicus leaf. It was the most high K/S values of the silk fabrics dyed with Petasites japonicus leaf according to co mordanting and used cupric sulfate, ferric sulfate as mordanting agents. K/S values of the silk fabrics dyed with Petasites japonicus leaf were increased gradually with dyeing temperature, dyeing time, repetition of dyeing was higher and the optimum pH was pH 7. Silk fabrics were colored yellowish orange and surface color(munsell value) was changed from 8.3YR to 2.0Y by using mordanting agents and those of the silk showed high tone when mordanting with cupric sulfate but decolored and darked when mordanting with ferric sulfate. Washing fastness of silk fabrics were good in 4 ～ 5 grade, so washing fastness of the silk fabrics was significantly improved when washed with the neutral detergent.

• Textile Coloration and Finishing
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• v.16 no.6
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• pp.16-22
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• 2004

This study was carried out to investigate K/S values, surface color, the fastness to washing, bacteria reduction rate of the silk and cotton fabrics dyed with Rhus verniciflua extract under the various dyeing conditions. The optimum dyeing temperature, dyeing time, dyeing pH and repetition of the silk fabrics dyed with Rhus verniciflua extract were $l00^{\circ}C, 30min., pH 5, five times repetition respectively, but in the cotton fabrics, it were $60^{\circ}C . 30min., pH 7, one times repetition. It were colored orangish Yellow in the silk fabrics and colored bright yellow in the cotton fabrics dyed with Rhus verniciflua extract. Surface color(munsell value) was not changed by the mordanting agents but those of the silk showed high tone when mordanting with stannous chloride, and it was decolored and darked when mordanting with ferric sulfate. The fastness to washing in the silk fabrics dyed with mordanting agents improved in 4～5 grade, but the cotton fabrics were 3～4 grade, so washing fastness of the silk and cotton fabrics were significantly improved when washing with the neutral detergent. The bacteria reduction rate of the silk fabrics increased drastically by dyeing of Rhus verniciflua extract.

• Textile Coloration and Finishing
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• v.27 no.3
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• pp.202-209
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• 2015

Many of the natural dyes used for natural dyeing are difficult to maintain colorfastness due to their complex structure and specific properties. Therefore, there is a need for developing of color sustainable ability for use as an advanced coloring agent for fabrics, which would eco benign or not. In this study, the natural dye extracted from the waste of grape fruits was used to dye cotton fabric. Thus, the present study aims at extraction of color from grape seeds, skin, and stem through fermentation and then employing the same in dyeing and mordanting of cotton. Dyeing experiments were done under different conditions of fermentation and protein type mordants which were treated before and after dyeing. Experimental fabrics were used with cotton after scouring. Color value of dyed fabrics and color fastness of cotton dyed fabrics to washing and light were measured. The fastness of dyed experimental fabrics was increased by mordanting of protein fermentation and the color of dyed cotton was light red purple. The color of dyed fabric found with the optimum mordant treatment when treated with pre milk-mordant at $40^{\circ}C$ for 30min and 3% grape seed extract. On the whole, reddish tone very slightly increased with the milk pre-mordant. The color fastness of dyed cotton fabrics to light and washing was increased after fermentation.