• Textile Coloration and Finishing
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• v.19 no.1 s.92
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• pp.53-60
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• 2007

In order to optimize the process for development of super deep black fiber, the silica-containing polyester fabric, SN2000, was investigated in terms of mass reduction process by sodium hydroxide, selection of high color strength dyes, and resin treatment. As the results, the mass reduction condition which used 15g/L of sodium hydroxide at $120^{\circ}C$ was determined and Dianix Deep Black Plus was selected for the best deep coloration at around 5% owf. Contrary to the prevailed understanding that the additional use of chromatic dyes would enhance the deep coloration, four kinds of chromatic dyes such as yellow, red, blue, and green dyes did not make great effect on the deep coloration. To increase the effect, the commercial resin that has low refractive index was used additionally and the resin made it possible to lower the lightness of the fabrics down to 8.7 which was generally accepted for super highly deep black fabric.

• Textile Coloration and Finishing
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• v.26 no.3
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• pp.187-194
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• 2014

To improve the deep coloring effect of PET fabrics, the alkali treated and black dyed PET fabrics were treated with 2 kinds of low refractive compounds such as acrylic resin and silicone resin. The color depth effect of treated PET fabrics was evaluated as lightness(L) change by UV-visible spectrophotometer. As the weight loss of PET fiber treated with alkali increased, the color depth of PET fabrics increased. Lightness(L) of PET fabrics treated with deep coloring agent was lower than that of untreated PET fabrics. The optimum concentration of treated PET with deep coloring agent was 4% o.w.s. The deep coloring effect of PET fabrics treated with silicone resin was higher than one treated with acrylic resin. PET fabrics treated with silicone resin only might be more appropriate process than PET fabrics treated with acrylic and silicone resin for giving deep coloring effect for polyester fabrics.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2006.04a
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• pp.222-224
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• 2006

• The Bulletin of The Korean Astronomical Society
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• v.36 no.1
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• pp.48.2-48.2
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• 2011

Using the newly commissioned Fiber-Multi-Object-Spectrograph at the Subaru telescope, we obtained near-IR spectra of a sample of 19 AGNs at 0.6 < z < 2.6, selected from the NOAO Deep Wide-Field Survey (NDWFS) Bootes field, in order to calibrate high-z black hole mass (MBH) estimators. MBHs are generally determined through the kinematics of ionized gas clouds around the black hole assuming virial equilibrium. The velocity profiles of $H{\beta}/H{\alpha}$, MgII and CIV are used to infer the gas kinematics of low-z, mid-z, and high-z quasars, respectively. However, the MBH based on MgII and CIV is not very well calibrated. We compare the $H{\alpha}$ - based MBH estimates from the new FMOS near-IR spectra, with the MgII-based MBH estimates from our existing optical spectra, and investigate the systematic differences.

• Applied Microscopy
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• v.41 no.2
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• pp.129-137
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• 2011

The aim of this study was to evaluate the inhibitory effect of nude pack containing black tea water extract (NPBT) on skin wrinkle formation in hairless mice. Skin wrinkles were induced by UVB irradiation to the backs of hairless mice for 5 weeks. And at the same time, NPBT was applied topically. Wrinkle formation, histological changes, expression of matrix metalloproteinase-3 (MMP-3) and protein activities of MMP-2 and MMP-9 were observed or analyzed. Wrinkles for the control group were formed as a pattern of deep furrows and thick crests. Whereas wrinkles for the NPBT treated group were formed as a pattern of shallow furrows and thin crests, and their wrinkle areas were significantly (p<0.001) lower than the control group. Collagen fibers were arranged irregularly and sparse in density and some elastic fibers were degenerated in the control group, while they were almost intact in the NPBT treated group. MMP-3 mRNA expression in the control group was significantly (p<0.001) higher than the normal group, and that of NPBT treated group was significantly (p<0.001) lower than the control group. The NPBT treated group showed remarkably lower protein activities of MMP-2 and MMP-9 than the control group. NPBT could have a considerable inhibitory effect on skin wrinkle formation in hairless mice.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.