• Journal of the Korean Wood Science and Technology
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• v.42 no.4
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• pp.357-366
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• 2014

Based on fundamental properties and machining characteristics of Yellow poplar (Liriodendron tulipifera L.), it has well performance on machinability or workability, drying, and fine surface. Additionally, yellow poplar is light weight and has bright color with high performance of bending processing, so it could be used for furniture or artworks materials and wood-based panel materials. Recently, public attention has been focused on indoor air quality, and Ministry of environment drift more tight regulation on indoor air quality for an apartment house and public facility with the times. Construction materials has been assessed emission of volatile organic compounds (VOCs) and formaldehyde according to law (No.10789), so yellow poplar is also needed to assess these emission characteristics. Emission of VOC and aldehyde compounds from dry and green wood condition of yellow poplar were investigated with KS M 1998:2009. Based on results, more than 30 compounds were detected from yellow poplar, and lower NVOC (natural VOC) were emitted than AVOC (Anthropogenic VOC) and OVOC (other VOC). Formaldehyde emission was lower than $5{\mu}g/m^3$ and acetaldehyde, ketone, and propionaldehyde were detected from yellow poplar. From dry yellow poplar, m-Tolualdehyde ($33.6{\mu}g/m^3$) was additionally detected while no detection of propionaldehyde. After drying process, amount of ketone emission increased significantly. The unique smell of yellow poplar may not only come from emission of acetaldehyde and propionaldehyde.

• Architectural research
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• v.18 no.3
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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.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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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.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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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.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.4 no.1
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• pp.103-108
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• 1968

Resistance to various diseases of Korean native varieties were investigated in field. The results obtained are summarized as follows: 1) The varieties Ubangtchio and Osib-eubthio were moderately resistant to black shank, but Suantchio, Usultchio and Gwangtchio were slightly resistant. Dixie Bright 101, $H_2$ and Bright Yellow 4 were more resistant to black shank than any of the Korean native varieties. 2) Mokgitchio, Ubangtchio and Osib-eubtchio were moderately resistant to black root rot, but Useultchio Suantchio and Hoetchio were susceptible than Others. 3) Muktchio, Hoetchio and Ubangtchio were slightly resistant to wild fire. 4) Osib-ebthio was highly resistant to brown spot, but Ubangtchio, Hyangtchio and Mokgitchio were moderately resistant and Useultchio was susceptible to brown spot, but it was resistant than Bright ellow 4 or Bernhart 1000-1. 5) Hyangtchio was slightly resistant to CMV-Y. According to these results, except Virus disease, Ubangtchio was resistant to all of the above mentioned diseases. Osib-eubtchio, Hoetchio, Hyangtchio and Suantchio showed proferable disease resistant and these might be well utilized as breeding materials.

• The Research Journal of the Costume Culture
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• v.16 no.2
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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.

• Journal of the Korean Society of Costume
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• v.4
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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.

• 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.

• Bulletin of the Korean Chemical Society
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• v.25 no.5
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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/$m^2$.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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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.