• 한국염색가공학회지
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• 제19권1호
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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.

• 한국염색가공학회지
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• 제26권3호
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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.

• 한국염색가공학회:학술대회논문집
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• 한국염색가공학회 2006년도 춘계학술발표회 논문집
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• pp.222-224
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• 2006

• 천문학회보
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• 제36권1호
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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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• 제41권2호
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• pp.129-137
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• 2011

홍차함유 누드팩의 피부주름 형성 억제효과를 알아보기 위해 SKH-1 hairless 마우스 등 부위에 UVB를 5주간 조사하여 주름을 유발시키고 이와 병행하여 홍차함유 누드팩을 도포한 실험에서 다음과 같은 결과를 얻었다. (1) 육안적인 피부주름 양상 비교에서, 대조군은 정상군에 비해 주름 능선의 두께가 굵고 간격이 넓으며 주름이 깊게 형성된 반면, retinoic acid를 도포한 양성대조군과 홍차함유 누드팩 도포군은 대조군에 비해 상대적으로 주름 능선의 두께가 얇고 간격이 좁은 양상을 띠었으며 주름 총넓이 수치가 유의하게(p<0.001) 낮았다. (2) 피부의 조직학적 관찰에서, 대조군은 정상군에 비해 진피층내 교원섬유의 배열이 불규칙하고 양이 많이 줄어들었으며 변성된 탄력섬유가 군데군데 엉겨 있는 탄력섬유증이 관찰된 반면, 양성대조군과 홍차함유 누드팩 도포군은 대조군에 비해 상대적으로 교원섬유의 배열이 규칙적이고 밀도가 조밀하며 변성된 탄력섬유의 양이 줄어 있었다. (3) 피부조직의 MMP-3 mRNA 발현량 측정 결과, 정상군에 비해 대조군은 유의하게(p<0.001) 높았으며 양성대조군과 홍차함유 누드팩 도포군은 대조군에 비해 유의하게(p<0.001) 낮았다. MMP-2와 MMP-9 단백질 활성 측정 결과, 대조군은 정상군에 비해 현저하게 높은 반면, 양성대조군과 홍차함유 누드팩 도포군은 대조군보다 현저하게 낮게 나타났다. 본 연구를 통하여, 홍차함유 누드팩 도포군은 hairless 마우스에서 세포외 기질단백질의 분해 억제와 피부주름 형성 억제효과를 보였음을 확인하였다.

• 복식문화연구
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• 제3권2호
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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.