• 보존과학연구
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• s.26
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• pp.165-188
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• 2005

From the ancient to these days, there have been used many kinds of pigment which have two types that are inorganic pigment and organic pigment. At the ancient times, natural pigment had been used but the artificially mixed pigment has been used in modern times. By the way, searching for studies has been studied recently, it would be said the ancient pigments such as Danchung, Wall painting and Mural painting are the mainthema. However, studies about the pigments used in modern pictured relics have rarely can be found. Therefore, this analysis of Ilweolokdo would be important at the point of the pigments used in pictures of royal family in modern times and the results can be briefly summarized as below; Firstly, the results of qualitative analysis of the pigments that base or all pigments of picture was detected components of Ca, Fe and As, this results meaning that picture was used filler and basic paint. Secondly, a result of the analysis on the composition elements of the pigments shows that the main components in their composition are ;White - Lead Cyanamide($2PbCO_3$.$Pb(OH)_2$) or Titanium Oxide($TiO_2$)Blue - Ultramarine($2(Na_2O$.$Al_2O_3$ .$2Si_O2$).$Na_2S_2$)Green - Emerald green($C_2H_3A_s3Cu_2O_8$)Gold - Gold(Au), Red-Red Lead($Pb_3O_4$) or Cinnabar(HgS)Black - Carbon(C)Thirdly, X-ray diffraction analysis of crystalline structure for the blue and green pigment peeling off in picture shows that the components of blue pigment is Ultramarine($2(Na_2O$.$Al_2O_3$ .$2Si_O2$).$Na_2S_2$) and green pigment is Emerald green($C_2H_3A_s3Cu_2O_8$). Especially, microcrystalline structure of the green pigment was the shape like a cross section of wood. Consequently, we knew through the analysis of qualitative and microcrystallinestructures seen on the cross section of analyzed pigments layer that the all pigments used in the Ilweoloakdo is possible to use synthetic pigments in modern.

• 보존과학연구
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• s.22
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• pp.93-114
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• 2001

The composition analysis of Danchung pigments at Geunjeongjeon Hall in Gyeongbokgung Palace were carried out by FXRF and MXRD. The analytical result of the inside pigments at Geunjeongjeon showed that these painted in use the mineral pigments. Gold pigment was pure gold(Au).The main composition identified in green pigments were chalcanthite($CuSO_4$.$5H_2O$) and celadonite($K(Mg, Fe, Al)_2$.$(Si, Al)_4O_10(OH)_2$ ). Red pigments werecinnnabar(HgS).The analytical result of the outside pigments at Geunjeongjeon revealed that these applied to the artificial synthetic pigment. Yellow pigment was chromeyellow($PbCrO_4$). The main composition identified in red pigments were red lead($Pb_3O_4$)and hematite($Fe_2O_3$). Green pigments were emeral green($C_2H_3A_s3Cu_2O_8$) and chromegreen($Cr_2O_3$). Blue pigment was lazurite($Na_6Ca2Al_6Si_6O_24(SO_4)_2$), titanium dioxide($TiO_2$) of white pigment.

• Journal of Conservation Science
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• v.35 no.6
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• pp.689-700
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• 2019

This study aimed to analyze the nature and characteristics of the preserved state, materials, and colored pigments of a Buddhist painting of Eunhaesa temple(gwaebultaeng), which is Treasure No. 1270 of Korea, through scientific investigation and analysis. Based on the historical background of the subject, the study investigated the aspects of conservation and analyzed the material characteristics of each pigment in the painting. Results indicate that various colors were created using inorganic pigments such as white lead, minium, cinnabar, orpiment, gold, atacamite, malachite, and smalt and using organic pigments such as black and indigo. The Eunhaesa painting used "cho" as a material for wallpaper, which was unusual during the Joseon period. In addition, a white layer was formed using various white pigments, which was also rare during this period.

• Journal of Conservation Science
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• v.33 no.5
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• pp.371-380
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• 2017

To investigate the pigments used in modern and contemporary oil paintings, thirty-two paintings by Jiho Oh and Bonung Gu were selected. The white pigment found in the ground and painting layers was identified as lead white (hydrocerussite), zinc white (zinc oxide), titanium white (titanium dioxide in anatase or rutile forms), calcite (calcium carbonate), and barite (barium sulfate). Further, this indicated that pigments differ according to the artist and date of the painting's creation. However, both Oh and Gu used zinc white during the modern and contemporary period, while lead white was replaced by titanium white, barite and calcite. Compared with the overseas studies on pigments and oil paints, the change patterns of pigments were the same with them but the periods of the use were partially different. It seems to be due to the fact that South Korea is linked to the historical background of the art material which was imported from Japan instead of Western countries. Therefore, it is inevitable that any change in the white pigments used for domestic oil paintings occurred at a different time from global transitions. If the results of this study are used in the analysis of art works it is suggested that a database recording such aspects as material properties of oil paints, artistic techniques, and chronology would become important for future conservation science and the study of art history.

• Proceedings of the Korea Concrete Institute Conference
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• 2008.11a
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• pp.673-676
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• 2008

Color concrete utilizes peculiar texture and color sense in external appearance actively as a finish. But, this color concrete is essential use of pigment for required color revelation, and color cone cleat from mixing of this pigment are different existent achromatic color concrete and basic properties of matter. this study progressed slump test and setting time examination through mortar injection resistance examination of mortar that mix Pigment.

• Korean Journal of Mineralogy and Petrology
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• v.36 no.1
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• pp.1-17
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• 2023

On painting cultural properties to which Orpiment, a traditional yellow mineral pigment, is applied, the color's degeneration is frequently observed. To identify the cause of the degeneration, this study takes a look into orpiment and the various pigments that are mixed into it (Lead White, Lead Red, and Cinnabar) in powder and painting state. The pigment was mixed with Argyo glue and then applied to korean traditional paper and silk. Considering the possibility that alum causes the discoloration, it was applied to the specimen. With a UV tester, the powders and the painted specimens were subjected to a light resistance test in three phases (96 hour). Color changes were measured with a colorimeter and minerals, chemical composition and structural changes were analysed by XRD, SEM/EDS and Raman spectrometers. While the color change of pure Orpiment powder according to the light resistance test was small, the colored specimen became darker. The color change was large in the Orpiment colored on the silk and in the alum-treated specimen. In Orpiment powder was produced white arsenolite as altered orpiment after UV test. In the mixed powder of Orpiment and Lead White were detected only the constituent minerals of Orpiment and Lead White, and no altered substances were produced. Whereas after the UV test, orpiment and arsenolite, which were altered substances of orpiment, and the constituent minerals of Lead White were detected. In the case of mixing the two pigments in the powder state, darkening did not occur even by the UV test. However, the specimens colored with the mixed powder were darkened by the UV test. The color change of Orpiment was different depending on the mixed pigment and base material. The color change was greater in the case of alum treatment than in the case without alum treatment, and it was found that alum also had an influence on the color change of Orpiment.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.33 no.5
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• pp.174-180
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• 2023

Porcelain (white ware, celadon ware) coated with a ferrous sulfate and ferrous/cobalt sulfate was sintered at 1250℃. The specimens were investigated by HR-XRD, FE-SEM, HR-EDS, and UV-vis spectrophotometer. Through X-ray rietveld quantitative analysis, quartz and mullite were found to be the main phases for white ware, and mullite and plagioclase were found to be the main phases for celadon ware. When the pigment of ferrous/cobalt sulfate was applied, were identified as an andradite phase for celadon ware and a spinel phase for the white ware, and the amorphous phase, respectively. The L^* value, which was the brightness of the specimen, was 72.01, 60.92 for white ware and celadon ware, respectively. The ferrous and ferrous/cobalt pigment coated porcelain had L^* values of 44.89, 52.27 for white ware and celadon ware, respectively; with a^* values of 2.12, 1.40, an d at b^* values of 1.45 and 13.79. As for the color of the specimens, it was found that the L^* value was greatly affected by the white ware, and the b^* value differed greatly depending on the clay. It was thought to be closely related to the production of the secondary phase such as Fe₂O₃ and andradite phase produced in the surface layer.

• The Journal of Korean Academy of Prosthodontics
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• v.37 no.3
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• pp.343-357
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• 1999

The color change of maxillofacial silicone has been attributed to certain environmental factors such as exposure to the UV component of natural sunlight, wetting and drying of the elastomer and surface abrasion resulting from the application and removal of cosmetics. The purpose of this study was to evaluate the color change of maxillofacial silicone (Silastic MDX4-4210) according to type of pigment (cadmium yellow, titanium white, cosmetic red), and UV absorber application method after 200, 400, and 600 hours of 350nm UV light irradiation. The results were as follows. 1. According to type of pigments, after 200 hours cosmetic red showed significantly larger color change than cadmium yellow and titanium white, and after 400 and 600 hours color change significantly decreased in the order of cosmetic red, cadmium yellow, and titanium white (p<0.05). 2. In the cadmium yellow group, after 200 hours, the non-treatment group showed significantly larger color change, but after 400 and 600 hours, color change significantly decreased in the order of non-treatment, surface application and mixed group (p<0.05). 3. In the titanium white group, there was no significant color change difference between the three groups after 200 and 400 hours, but after 600 hours, the mixed group showed significantly smalt or color change than the non-treatment and surface application groups (p<0.05). 4. In the cosmetic red group, there was significant decrease in color change in the order of non-treatment, surface application and mixed group (p<0.05). From the results above, the effect of UV light absorber differed according to the type of pigment, but mixing UV light absorber with maxillofacial silicone is thought to give superior resistance against UV light irradiation in the long run.

• Journal of Plant Biotechnology
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• v.36 no.2
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• pp.124-129
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• 2009

In general, the root color of Codonopsis lanceolata is white, but red or blue-colored root is found at a low frequency in nature. Red or blue-colored roots have scarcity value, thus farmers wish to produce colored roots. The factors for determining the color of roots are unclear whether the color is controlled by genetically or simply by environmentally such as soil environment. Using in vitro culture system which is advantageous for setting of the same culture condition, we analyzed the physiological and morphological characteristics and genetic differences among red-, blue- and white lines of C. lanceolata. In the red colored roots, stems of in vitro cultured plantlet were colored in dark red pigment. Histological analysis revealed that the red pigment was accumulated in the outer cortex layer of the stem and determined as anthocyanin. Chlorophyll contents in red root lines were higher than those in white- and blue root lines. Plantlets from red roots were smaller in both shoot length and total leaf area than those from white- and blue roots. Genetic differences among the three different colored C. lanceolata were determined by RAPD (Randomly Amplified Polymorphic DNA) analysis. Each line of colored roots had clear DNA polymorphism. These results indicate that the occurrence of red- and blue colored roots in nature was determined by genetic factors rather than soil enviromental conditions.

• Proceedings of the Korea Concrete Institute Conference
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• 2006.05b
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• pp.457-460
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• 2006

There are many kind of materials decorating outward of building such as paint, tile, brick, wood, stone and so on. But it has been pointed out some problems because of the industrial pollutions and wastes. Color concrete is a method of expressing out surface of exposed concrete. Generally, color concrete is manufactured by adding pigment to concrete. In this paper we used cement paste as a preparation step to apply to concrete. Pigment was added to white cement for easy observance of color difference. And color change was measured by color reader. Finally, we can predict color difference according to amount of pigment. Also, we investigate the color concrete technology for Art type using developed color concrete.