• 한국진공학회:학술대회논문집
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• 한국진공학회 2012년도 제42회 동계 정기 학술대회 초록집
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• pp.238-238
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• 2012

현재 국내 주얼리(gold alloy) 제품을 생산함에 있어 주조 방법은 크게 대기 중 주조(흡입주조) 방법과 진공주조 방법으로 나누어진다. 국내 주얼리 제조업체의 약 90%이상이 대기 중에서 주조하는 흡입주조방법을 통해 제품을 제작하고 있고, 국외의 경우, 대다수 진공주조방법을 통해 제품을 제작하고 있다. 본 연구에서는 주얼리 제품을 생산할 때 사용되는 합금재료(master alloy)가 동일한 조건에서 주조방법을 달리하여 각각 24개씩 총 48개의 14K yellow gold alloy 제품을 제작한 후 열처리를 통해 각각의 기계적, 물리적 특성분석을 비교 분석하였다. EPMA (Electron Probe Micro Analysis)분석을 통해 합금재료 및 제품의 구성성분을 조사하였고, ICP-MS (Inductively Coupled Plasma Mass Spectroscopy)를 사용하여 성분에 대한 정량분석을 실시하였다. 용체화처리(solid solution treatment)는 $700^{\circ}C$, 30분의 조건으로 실시하였고, 시효경화처리(age-hardening)는 $200{\sim}300^{\circ}C$의 온도범위에서 $50^{\circ}C$ 간격으로 실시하였다. 열처리 전과 후 시료의 grain 들의 배열 및 size 변화를 관찰하기 위해 식각 후 OM (optical microscope) 및 SEM (Scanning Electron Microscope)를 통해 분석하였다. 열처리 전 제품의 경도측정결과 대기 중 흡입주조방법 및 진공 주조방법을 통해 제작된 제품이 각각 119 Hv, 126 Hv로 나타났고, 용체화 처리 후 98 Hv, 92 Hv로 감소하였다. 시효경화 처리 후의 경도변화는 대기 중 흡입주조 및 진공주조방법을 통해 제작된 제품 모두 $270^{\circ}C$에서 각각 154 HV, 166 HV로 가장 높은 경도 값을 나타내었고, $270^{\circ}C$ 이상에서는 과시효(over aging)현상으로 인해 경도 값이 다시 감소하는 경향을 나타내었다. EPMA mapping 분석을 통해 주조방법에 따라 각각 제품의 구성성분분포도를 확인하였다. 이를 통해 열처리 전 다소 불균일하게 분포되었던 성분들이 열처리 후 균일해짐을 확인할 수 있었다.

• 한국재료학회지
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• 제23권5호
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• pp.286-292
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• 2013

Generally, the color gold has had a biased conception due to its traditional use. Thus, this bias has resulted in a lack of usage of golden glaze on ceramics and also a lack of extensive studies of such glazes. In this paper, optimum conditions and mechanism of formation of gold color crystallization glaze containing $Fe_2O_3$(hematite), which is developed for gold colors of ceramic glazes, were studied. Experimental result showed that there are pyroxene based on diopside and $TiO_2$ phase in the base of a crystallization glaze with a value of $TiO_2$ of 6 wt% confirmed by XRD and Raman Spectroscopy. When $Fe_2O_3$ was used as a colorant for the gold color, the $TiO_2$ peak became extinct and the intensity of the diopside peak was sharper. Feldspar of 60 wt%, talc of 20 wt% and limestone of 20 wt% were used as the starting materials and these were tested using a three component system. The best result of test was selected and extended to its vicinity as an experiment to determine $TiO_2$ and $Fe_2O_3$ contents. The glaze with $TiO_2$ of 6 wt% and $Fe_2O_3$ of 12 wt% addition showed stable pyroxene based diopside crystals and the development of gold color. This gold color was obtained with CIE-$L^*a^*b^*$ values of 51.27, 4.46, 16.15 (a grayish yellow brown color), which was gained using the following firing conditions: temperature increasing speed $5^{\circ}C$/min, holding for 1 h at $1280^{\circ}C$, annealing speed $3^{\circ}C$/min till $1100{\circ}C$, holding for 2 h at $1100{\circ}C$, and finally natural annealing.

• 한국표면공학회지
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• 제23권2호
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• pp.24-29
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• 1990

The TiN filmms were deposited on the stainless steel substrates by BARE techinique in order to investigate the effects of process parameters such as source-to-substate distance (15-35cm), N2 pressure(4$\times$10-10 -1$\times$10-3mb)and bias voltage(O-2000V), on the deposition rate, the concentration ratio [N/Ti] and the surface color of the films. The deposition rate was deduced from the weight measurement, the [N/ti] ratio by ESCA. The deposition rate decreased with a relationship of=40.2/D2 where D was source-to-substrate distance. The effect of the bias voltage and the N2pressure on the deposition rate, however, appeared negligble. The [N/Ti] ratio was in the narrow range of 0.7 tp 0.8 It increased slightly with the N2 partial pressure and deceased with the source-to-substrate distance. It was confired by ESCA that a significant amount of oxygen and carbon was contaminated after deposition in the top surface of TiN films. The surface color of TiN film was changed from light gold yellow to reddish gold yellow with increasing [N/Ti] ratio.

• 박물관보존과학
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• 제28권
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• pp.109-136
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• 2022

본 연구에서는 조선 후기 기록화인 《평안감사향연도》 총 3점 중 <연광정연회도>를 분석하여 채색 재료를 규명했다. 포인트 위주의 분석으로 인해 발생 가능한 문제를 최소화하고자 우선 파장별 이미지를 촬영했다. 엑스선을 통해 먹, 금, 유·무기 안료를 분류했고, 적외선으로 먹과 구리계 안료를 파악했다. 초분광으로는 흑색, 청색, 녹색 재료 중에서 안료와 유기 염료를 구별해냈다. 색상별 선정 지점을 분석하여 백색(연백), 흑색(먹/쪽), 적색(연단+진사), 분홍색(염료), 자주색(염료), 갈색(산화철), 황색(석황/염료), 녹색(석록/석록+염료/쪽)과 청색(석청/연백+쪽/쪽), 자색(쪽+연지), 금색(금박) 등의 재료를 규명했다. 향후 파장별 라이브러리가 확보되면 더 효율적인 분석이 가능할 것으로 기대된다.

• 보존과학회지
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• 제35권5호
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• pp.403-415
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• 2019

세조대왕연(충청남도 민속문화재 제14호)은 조선의 7대왕 세조(재위 1455-1468)가 마곡사에 두고 간 것으로 전해지는 가마이다. 세조대왕연의 채색에는 흑색, 백색, 황색, 적색 및 녹색 등 5가지 계열의 색상이 사용되었다. 색도 측정 결과 황색은 자황 채색부와 금칠 채색부에서 명도와 황색도의 차이가 두드러졌으며 적색은 진사로 채색된 지점에서만 적색도가 높게 측정되었다. 광학현미경 관찰, 주사전자현미경 관찰 및 성분 분석을 수행한 결과, 흑색은 먹, 백색은 백토와 연백, 황색은 자황과 합금, 적색은 연단과 주사 및 석간주, 녹색은 녹염동광을 안료로 사용하였다. 박락된 극미량 안료편의 단면을 분석한 결과, 백토와 연백의 순서로 바탕층을 올린 것이 나타났으며 이를 기초로 세조대왕연의 채색기법을 고찰하였다.

• 복식
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• 제60권5호
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• pp.19-34
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• 2010

This study aims to examine associationistic psychology and psychological operation associated with each color image, then to study the relation between particular colors used in paintings produced by Gogh and Klimt in different times and these painters' psychology in a bid to explore the meaning and role of psychological operation of colors. The findings of the study indicated that red and blue colors represent mainly negative images, while yellow and orange colors represent mainly positive images and psychologies. Specifically, in the case of Gogh, red expresses anxiety, a negative image, yellow symbolizes passion, a major positive image of emotional liberation, dark and thick green and the green involving blue symbolize negative images, emptiness and despair, and blue represents negative images of internal desire conflicts, and screaming. Also, purple used together with white represents anxiety and depression. In the case of Klimt, red represents negative images of anger toward mother and suppressed energy, yellow, an alternative to gold color, symbolizes the positive image of hope, passion, desire and eroticism, the arrangement of strong gold and orange colors represents a color of psychological healing more than a color of hope. As such, colors used in paintings produced by modern Western painters express the physiological conditions, psychological feeling and emotion in life, at the time when the artists produced such works. It was found that colors are yet another language of expressing emotions, and symbolize the psychologies of the artists, indicating that colors have something to do with the painters' experience and emotional impulses.

• The Plant Pathology Journal
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• 제32권6호
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• pp.545-551
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• 2016

A bacterial pathogen, Pseudomonas syringae pv. actinidiae (Psa), is a causal agent of kiwifruit bacterial canker worldwide. Psa biovar 3 (Psa3) was first detected in 2011 at an orchard in Dodeok-myeon, Goheung-gun, Jeonnam Province in Korea. In this study, we present the results of an epidemiological study regarding Psa3 occurrence on kiwifruit orchards in Korea for the period of 2013 to 2015. Since the first detection of Psa3 in 2011, there was no further case reported by 2013. However, Psa3 was rapidly spreading to 33 orchards in 2014; except for three orchards in Sacheon-si, Gyeongnam Province, most cases were reported in Jeju Island. Entering 2015, bacterial canker by Psa3 became a pandemic in Korea, spreading to 72 orchards in Jeju Island, Jeonnam, and Gyeongnam Provinces. Our epidemiological study indicated that the first Psa3 incidence in 2011 might result from an introduction of Psa3 through imported seedlings from China in 2006. Apart from this, it was estimated that most Psa3 outbreaks from 2014 to 2015 were caused by pollens imported from New Zealand and China for artificial pollination. Most kiwifruit cultivars growing in Korea were infected with Psa3; yellow-fleshed cultivars (Yellow-king, Hort16A, Enza-gold, Zecy-gold, and Haegeum), red-fleshed cultivars (Hongyang and Enza-Red), green-fleshed cultivars (Hayward and Daeheung), and even a kiwiberry (Skinny-green). However, susceptibility to canker differed among cultivars; yellow- and red-fleshed cultivars showed much more severe symptoms compared to the green-fleshed cultivars of kiwifruit and a kiwiberry.

• 산업진흥연구
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• 제6권1호
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• pp.15-21
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• 2021

이 연구는 분석심리학적 관점에서 구스타프 융(Jung)의 원형이론의 내용과 클림트(Klimt)의 회화를 중심으로 작품의 특성과 색채가 가지는 의미와 상징성을 살펴보고, 인간의 무의식 속에서 발현되는 심리와 색채의 연관성을 살펴보는 데 그 목적이 있다. 융의 원형이론으로 분석해 본 결과 첫째, 클림트의 회화에서 황금색과 노란색의 화려한 장식과 문양은 무의식과 성(性), 그리고 여성의 성(性)으로 욕망을 표출하고, 남녀의 육체적 관계를 에로스와 삶과 죽음으로 표현했다. 둘째, 작품에 나타난 주요색은 푸른색, 검은빛 초록, 황금색, 노란색, 주황색으로 분노와 억압, 열정, 욕구, 희망, 에로티시즘을 나타내고, 주황색과 노란색의 배색은 희망의 내면적 치유 색으로 표현했다. 셋째, 작가 내면의 치유과정으로는 자신을 위한 컬러를 담고 있으며 내면의 '무의식과 의식'을 통합하고, 회화에 표현된 색채가 치유적인 의미뿐만 아니라 내면의 무의식을 의식하는 그것으로 치유로서 가치가 있음을 확인했다. 이에 상담심리 장면에서 색채는 심리표현 전달 도구로 활용하는 데 의미가 있다.

• 한국조경학회지
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• 제22권4호
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• pp.149-160
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• 1995

We investigated the seasonal changes flower color of 163 deciduous woody landscape plants in the Suwon region from January 1, 1992 to March 20, 1993. The results were as follows; 1. By the month of anthesis of woody landscape plants, only one plant of Hamamelis japonica flowered in February, 15 species in March, 48 species in April, 63 species in May, 23 species in June, 12 species in July, and one plant of Hydrangea paniculata was flowered in August. 2. The flowering period was about 220 days from February 24, 1992 that Hamamelis japonica was anthesis to October 5, 1992 when Hydrangea paniculata was deblossomed. 3. By the flowering period of woody landscape plants, 81 species continued for 11 days through 20 days, and Rosa spp., 118 days, Hibiscus syriacus 'Yungkwang', 80 days, Largerstroemia indica, 65 days, and 6 species continued for 41 through 60 days, 10 species were 31 through 40 days, 43 species were 21 through 30 days, and 20 species were for less than 11 days. 4. The woody landscape plants flowering before leaf spreading, Hamamelis japonica, Abeliophyllum distichum, Prunus mume 'Hwahyangmi', Prunus mume 'Baekkaha', Lindera obtusiloba, Cornus officinalis, Prunus armeniaca. The others were plants with leaves spreading white flowering; Forsythia ovata 'Tetra gold', Forsythia ovata, Corylus hetrophylla, Rhododendron mucronulatum, Magnolia denudata, Forsythia koreana 'Seoul Gold', Forsythia koreana, Magnolia stellata, Acer negundo 'Elegans', Magnolia kobus, Forsythia viridissima 'Bronxensis', Prunus yedoensis, Prunus leveilleana var. pendula, Prunus persica for. albiplena, Prunus tomentosa, Prunus persia, Magnolia liliflora, Prunus glandulosa for. sinensis, Cercis chinensis, Poncirus trifoliata. 5. In terms of flower color based on KBS standard color number, 83 species were white, 44 species wer red, 21 species were yellow, 12 species were violet, and 3 species were green. 6. In terms of the flower color by month. Hamamelis japonica was yellow February. Flower colors in March were : yellow-7 species, red-3 species and white-5 species. Flower colors in April were : White-21 species, red-19 species and yellow-6 species. Flower colors in May were : White-36 species, red-16 species. The white flowers in June were 16 species. Flower colors in July were : white-4 species, red-4 species. 7. The white flower color of woody landscape plants of trees was 35 species. The red flower color was 18 species, yellow flower color was 5 species, violet flower color was 2 species, and green flower color was 3 species. Also the white flower color of woody landscape plants of shrubs was 48 species, red flower color was 25 species, yellow flower color was 17 species and violet flower color was 10 species. 8. The new 'Cultivars' of woody landscape plants are needed to introduced the development of planting design. 9. Present data of illustrated books of plants should be checked by new data that was studied in this research.

• 농업생명과학연구
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• 제46권6호
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• pp.17-24
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• 2012

동일한 무가온 하우스 내에서 화산회토양(흑색, 농암갈색) 및 비화산회토양(암갈색)에 재배되고 있는 5년생 참다래 '제시골드'(Actinidia chinensis cv. Jecy Gold) 과실의 품질에 미치는 영향을 토양유형에 따라 비교하였다. 토양유형별 토양수분포텐셜은 암갈색 비화산회토양이 가장 낮았다. 개화 후 과실 종경의 비대는 토양에 따른 차이를 나타내지 않았고, 횡경비대는 암갈색 비화산회토양이 흑색 및 농암갈색 화산회토양보다 작은 경향이었다. 과실의 당도는 개화 후 140일까지는 차이가 없었으나, 140일 이후에는 암갈색 비화산회토양이 흑색 및 농암갈색 화산회토양보다 높았다. 수확 후 과실의 산함량 및 경도는 토양유형에 따라 차이가 없었다. 과즙의 과당, 포도당 및 자당함량은 각각 암갈색 토양이 $4.45{\pm}2.08$, $5.43{\pm}1.13$, 및 $2.40{\pm}0.40%$, 흑색 토양이 $2.51{\pm}0.55$, $3.53{\pm}0.86$ 및 $0.80{\pm}0.33%$, 농암갈색 토양이 $2.55{\pm}0.47$, $3.53{\pm}0.73$ 및 $0.73{\pm}0.38%$ 이었다. 따라서 과실의 당도는 토양특성에 따라 영향을 받는다. 이러한 원인은 비화산회토양인 암갈색 토양이 화산회토양인 흑색 및 농암갈색 토양보다 토양수분 보유능력이 낮기 때문으로 판단된다.