• Journal of the Korean Wood Science and Technology
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• 제42권4호
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• pp.357-366
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• 2014

백합나무 판재를 벽판재로 이용하기 위해 백합나무의 생재와 건조재에 대한 휘발성유기화합물(VOCs)과 알데히드류 방출 특성을 검토하였다. VOCs 및 formaldehyde를 포함한 aldehyde류의 방출량 측정은 다중이용시설 등의 실내공기질 관리법에 공시된 20 ${\ell}$ Chamber법에 따라 실시하였다. 백합나무의 생재 및 건조재에서는 30여 가지 이상의 VOCs가 검출되었다. 백합나무의 Total VOC 구성 비율 가운데 천연VOC (NVOC)의 비율은 11.1%로 다른 침엽수종과 비교하여 낮게 나타났다. 백합나무의 aldehyde류 분석 결과, 심재 및 변재에서 같은 3종(acetaldehyde, ketone, propionaldehyde)이 검출되었으며, formaldehyde의 방출량은 $4.01{\mu}g/m^3$ 이하로 나타났다. m-Tolualdehyde의 경우 백합나무 건조재의 심재에서만 $33.6{\mu}g/m^3$의 방출량을 보였으며, 심재와 변재 모두 ketone의 방출량이 가장 높게 나타났다. 백합나무 특유의 역한 냄새는 acetaldehyde와 propionaldehyde와 기타 VOCs에 의한 것으로 추정된다. 건조한 백합나무에서는 휘발성이 강한 ketone의 방출량이 증가하였다.

• Architectural research
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• 제18권3호
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• pp.83-90
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• 2016

Senescent effects are the gradual deterioration of function caused by biological aging. Senescent effects on color vision are not clearly understood even after considerable researches. Part of the reason is that the color vision is a complex phenomenon resulting from various factors such as organic systems, and the physical (neuro-optical) and the psychological (experiential) processes of color perception. We performed a field experiment on color perceptional differences due to aging vision. Our experiment was applied to two different groups in South Korea: an experimental group (46 subjects of over the age of 61 years) and a control group (49 subjects in their twenties). The experimental tools are comprised of (1) six gradual yellowing detector board (40%, 50%, 60%, 70%, 80%, 90%); (2) pairs of vivid-strong, vivid-deep, grayish-deep, deep-dull, and bright-light tones of Blue (B) and Purple (P) colors; (3) Red (R), Yellow (Y), Green (G), Blue (B), and Purple (P) colors of dull-tones and pale-tones; and (4) a questionnaire on the semantic differential scales of the color images and color differences. A diagnosis system of gradual yellow vision, developed by the authors for this study, was adapted to generate the color detecting boards. The results are as follows. (1) There are significant differences between the two groups in detecting colors that simulate 40% and 50% of yellow vision. (2) As to the color difference detecting ability between similar tones, the experimental group shows difficulties in pairs of vivid-strong tones and deep-dull tones of the B color. And (3), the emotional responses to the dull tone and the pale tone are not stable in the red, the yellow, blue, and purple. Thus, we empirically demonstrate the specific differences in color perception between the old and young groups.

• 복식
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• 제56권8호
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• pp.95-112
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• 2006

This study examines the Korean traditional and characteristic coloring through the color of Korean traditional embroidery. This research gives the chance to establish the cultural identity of Korea and presents the aesthetic standard of color images. Also, practical use of Korean traditional colors through this study provide opportunities which develope cultural merchandise in the world. were chosen as the references to analyzed the Korean traditional colors through gungsu: court embroidery, buddhist embroidery, everyday embroidery and clothing embroidery. Because this book published in commemoration of '20th General Conference and 21th General Assembly of ICOM' in 2004, which presented excellence of Asian culture. The color of these works were divided by 'Pantone Solid Color Chips' which organized by CMYK color system and categorized by Obangsaek. 'Gungsu' had vivid and splendid color sense which used strong and bright colors and 'buddhist embroidery' had mild and mysterious feelings which used low saturation.'Everyday embroidery' used the red color group frequently and 'clothing embroidery' had brighter colors comparing to other embroidery groups. The 'Chung(blue)' group had diverse color tone rather than one-tone color. This means that Koreans prefer the 'Chung' and used it regularly, also this color symbolized the racial characteristics. Even though 'Whang(yellow)' was prohibited because the color for emperor, in the case of embroidery, there were a variety of yellow colors from 'gold' to pale yellow and grayish yellow. The arrangement of colors in 'gungsu', tone on tone, complementary and bicolore coloring was used mostly which presented a strong and elegant color sense. On the other side, 'buddhist embroidery' used tonal coloring which gave gentle and noble feeling. 'Everyday embroidery' presented separation and accented coloring which was the example of common people's humor and originality. In the case of 'clothing embroidery', there was dominant lightness, separation, tone on tone and camaieu coloring which added gorgeousness in Korean traditional clothing.

• 한국의류학회지
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• 제26권2호
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• pp.193-204
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• 2002

Many fashion forecasting companies propose the fashion colors in every season. Modern fashion consumer respond to fashionable trends with utmost sensitivity. Therefore to satisfy the consumer with an trendy image, the fashion design must be found first, as image matters, followed by an analysis of each design element's effect on the total image composition. In previous studies of fashion image, has been discussed the positive correlation between fashion design elements of color, fabric, and form as the central issue. In this thesis, two of the fashion design elements, color and fabric are simultaneously considered to classify the image of fabric in fashion. For the color variables, 10 hues are selected from Munsell's system of color notation, and 12 tones from PCCS color notation., which are currently used in the domestic fashion industry. Texture variables used in this survey are classified by luster, prominence-depression of surface, thickness, and density of fabric. Graduate students from 20 to 50 years old and the specialists in fashion companies participated in the survey. The results of this survey are as follows: 1. The fashion fabric image is classified as 5 main images: 'elegant', 'comfortable', 'characteristic', 'light'and 'simple'. 2. The influence of hue, tone and texture is significant to the fashion fabric image. Following colors, yellow-red, red hues and light grayish, dark grayish tones convey the elegant image. The texture property for the elegant image is luster, thin and low density. Properties of fabric conveying the comfortable image are yellow-red and green-yellow hue, soft, light tones, matte and high density. Furthermore, hue turned out to be a insignificant variables for the unique image, whereas dark grayish, grayish tone, luster and prominent texture convey a unique image. For light image, properties of fabric are blue-green, purple hues, light, bright tones with thin, low density texture. Properties of fabric conveying the simple image are blue-green, purple-blue, green-yellow hues, and strong, vivid tones, with luster and flat texture.

• 한국작물학회지
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• 제4권1호
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• pp.103-108
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• 1968

담배 각종병해저항성 품종육성의 기초자료를 얻기 위하여 우리나라 재래종에 대한 몇가지 병해에 대한 저항성검정을 하였다. (1) 역병에는 우방초, 오심엽초만이 중정도의 저항성이 있으며 수안초, 우설초, 광초 등이 그 다음이고 그 외품종은 모두 나병성이였다. DB 101, $H_2$, BY 4 등은 재래종보다 저항성이였다. (2) 흑근병에는 목기초, 우방초, 오심엽초가 중정도의 저항성이며 우설초, 수안초, 회초가 다음이며 향초는 BY 4만은 못하나 재래종중에서 가장 나병율이 높았다. (3) 야화병에는 대부분 나병율이 높은 편이나 흑초, 회초, 우방초가 약간 저항성이 인정되고 그 외품종은 거의 나병성이다. (4) 적성병에는 오심엽초가 고도의 저항을 엿보이며 우방초, 향초, 목기초 등이 중정도이고 광초, 우설초는 나병성이였다. 대조품종인 BY4나 Beinhart 1,000-1보다는 모두 나병율이 낮았다. (5) CMV-Y에 대하여서는 향초가 고도의 저항성이 인정되고 회초, 가자초가 저도이기는 하나 저항성이 있는 듯하다. (6) Blue mold병에 대에 하여는 공시품종 모두가 고도의 나병성임으로 이에 대한 저항성품종의 발굴이 절실히 요망된다.

• 복식문화연구
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• 제16권2호
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• pp.293-304
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• 2008

The objectives of this study were to investigate the images in men's hairstyle by hair color, tone, texture, and perceiver's gender, and to examine the characteristics of hairstyle appropriate to seasons. A quasi-experimental method by questionnaire was used, and the experimental design was $4{\times}3{\times}2{\times}2$(hair color$\times$tone$\times$texture$\times$perceiver's$\times$gender) factorial design. The subjects were 372 men and women in their 20s through 50s. five factors of men's hairstyle image were derived by factor analysis: individuality, dignity, romanticism, refinement, and activity. Black hair was perceived to be high in dignity and activity. Bright tone was perceived to be high in individuality, but low in dignity. Men's wave hair was perceived to be higher in individuality than straight hair, but lower in dignity. Perceiver's gender did not give significant influence on evaluation of all image factors. In brown, neutral tone was perceived to be higher in dignity. romanticism, and activity than dark or bright tone. In black, wave hair was perceived to be more refined than straight hair. Black hair matches with winter the most, and yellow matches with spring the most. In terms of tone, dark tone matches with winter; neutral tone matches with autumn; bright tone matches with summer. The results of this study verified that hair color and texture affect men's image perception, and matching hair colors are associated with seasons.

• 복식
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• 제4권
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• pp.13-24
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• 1981

The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. It is generally known to usthat the color yellow was controled in use both for the general public and in the royal palaces. However, in the later part of Chosun Dynasty, the color yellow was used not only for the king's costumes but also used for women's tops and for the linings of clothing. Especially, in some of the costumes that belonged to the later period of the Chosun Dynasty, we can still see lots of bright yellow tops. Also there are many green dyed official robes and various costumes for women. It is a true fact that people could not derive the color green from the plants as they did with yellow. The only way they could make the color green was to mix indigo and yellow together. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color. Those plants used to make the color yellow are ; Gardenia, Phellodendron amurense, Turmeric, Coptis, Safflower, Arthraxon hispidus, Styphnolobium japonicum. While synthetic dye causes pollution, natural coloring by plants is as safe and useful as the color itself is lovely. Yet it is tragic to know that this traditional culture of making beautiful natural colors was cut off. There is no way to know today the traditionally correct method to derive colors from the plants. Therefore, it is our aim and challenge to find out the original way to dye and develop it and preserve it as our non-polluted folk art. In regard to natural dyeing, we must say that is very difficult to prepare and preserve natural dyes. In the first place, people had to get the right plants at an appropriate time. Then they could not keep those plants too long. Finally, much depended upon the mordant as well as various conditions and dyeing procedures. All those things influenced greatly the quality of color, some times producing a very pretty color and other times a very dull one. It is very appropriate that the natural dye art should be recognized and appreciated anew by Korea since it provides satisfaction to historical and folk artistic demands as well as to those of fashion conscious modern society for high quality consumption items. We propose two stages of development. The first stage is to explore native dye plants and encourage their cultivation. The second stage is to extract from the plants desirable dye which will enhance national culture.

• 한국염색가공학회지
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• 제16권6호
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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.

• Bulletin of the Korean Chemical Society
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• 제25권5호
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• pp.652-656
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• 2004

A new luminescent polymer, poly{1,4-phenylene-1,2-ethenediyl-2'-[2"-(4'"-octyloxyphenyl)-(5"-yl)-1",3",4"-oxadiazole]-1,4-phenylene-1,2-ethenediyl-2,5-bis-dodecyloxy-1,4-phenylene-1,2-ethenediyl} (Oxd-PPV), was synthesized by the Heck coupling reaction. Electron withdrawing pendant, conjugated 1,3,4-oxadiazole (Oxd), is on the vinylene unit. The band gap of the polymer figured out from the UV-visible spectrum was 2.23 eV and the polymer film shows bright yellow emission maximum at 552 nm. The electroluminescence (EL) maximum of double layer structured device (ITO/PEDOT:PSS/Oxd-PPV/Al) appeared at 553 nm. Relative PL quantum yield of Oxd-PPV film is 3.6 times higher than that of MEH-PPV film. The HOMO and LUMO energy levels of Oxd-PPV figured out from the cyclic voltammogram and the UV-visible spectrum are -5.32 and -3.09 eV, respectively, so that more balanced hole and electron injection efficiency can be expected compared to MEH-PPV. A double layer EL of Oxd-PPV has an maximum efficiency of 0.15 cd/A and maximum brightness of 464 cd/$m^2$.

• 복식
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• 제57권6호
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• pp.62-70
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• 2007

The purpose of this study was to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking Five-elements color found in Korean civilian's costume culture. The scope of Korean basic culture was 32 items specified as an import intangible cultural asset in the side of religion and art for the majority of the Korean people. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. The result of this investigation was that Red was yellowish red and high chromatic and deep tone within 4area. Blue was purplish blue and high chromatic and deep tone within 4area, similarly Red. Yellow was pure yellow and high chromatic and bright tone within 3area. Red and Blue in Korean basic culture were more primary color and more high brightness than Korean traditional colors. Religion and art fer Korean civilian revealing the Korean basic culture reflected impending real-life of Korean civilian who intend to overcome their desperate reality at using Five-elements color in their costume.