• Textile Coloration and Finishing
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• v.33 no.4
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• pp.202-209
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• 2021

Natural dyes are more expensive than synthetic dyes and the dyeing process, which is mainly immersion of dye, is complicated. For this reason, relatively small-scale production methods were predominant. However, awareness and interest in environmental sustainability is rising globally, and the use of synthetic dyes causes various environmental problems such as wastewater and CO₂ emission, so the consumption of natural dyes is increasing. In addition, interest in digital textile printing, an eco-friendly dyeing method that can produce products of various designs and uses less water, is growing. In this study, natural indigo dye (Indigofera tinctoria) was used as a raw material for Digital Textile Printing ink, and ¹⁴C (Biocarbon) present in it was measured to confirm whether it was derived from natural ingredients. The performance was confirmed by testing the pH, viscosity, electrical conductivity, surface tension, and particle size analysis of natural indigo ink. In addition, the performance of natural indigo DTP ink and printing fabric was evaluated by inspecting the change in color fastness and corresponding index substances before and after digital printing with natural indigo DTP ink on textiles. Through this, the possibility of commercialization of DTP ink and printing fabric using natural indigo was confirmed.

• Conservation Science in Museum
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• v.28
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• pp.109-136
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• 2022

This study analyzes the , one of the three panels of 《Welcoming Banquets for the Governor of Pyeong-an》, a documentary painting of the late Joseon Dynasty, with the aim to identify the coloring materials used in the painting. The painting was first imaged at each wavelength in order to minimize the potential problems in the process of analyzing specific parts. This study applied X-rays to identify ink, gold, and organic and inorganic pigments and used infrared rays to find ink and copper-based pigments. It also applied hyperspectral imaging to distinguish organic pigments from black, blue, and green materials. It also analyzed spots selected for each color to identify the following materials: white lead (white), ink/indigo (black), a combination of red lead and cinnabar (red), pink dye, purple dye, iron oxides (brown), orpiment/dye (yellow), malachite/malachite and yellow dye/indigo (green), azurite/white lead and indigo/indigo (blue), indigo and cochineal (violet), and gold leaf (gold). It is expected that more efficient analysis will be made possible by securing a sufficient library for each wavelength.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.201-215
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• 2014

This study explores the kinds and types of dyes used in the Joseon Dynasty. Some literature including "Sanga Yorok", "Gyuhap Chongseo", "Imwon Gyeonjeji" were reviewed for this purpose. The findings are as follows. The colors obtained from the dyes were divided into seven color series, such as red, yellow and orange, green, blue, purple, brown, gray and black. These are practical color categories differed from abstract five cardinal colors [五方色]. The diachronic dyes used during the Joseon Dynasty were safflower and Japanese alder bark for red, indigo leaves for blue, gromwell for purple, chestnut tree bark for brown. The representative dyes used in the late Joseon Dynasty were safflower and sappan wood for red, wild pear tree bark and Pentapetes phoenicea for yellow and orange, indigo leaves for blue, sappan wood and gromwell for purple, mulberry tree for brown, and Chinese ink for gray. Common dyes used both in Joseon and China were safflower and sappan wood for red, pagoda tree blossom for yellow, a combination of pagoda tree blossom (or Amur cork tree) and indigo leaves (or sediment) for green, indigo leavers or sediment for blue, sappan wood and hollyhock for purple, and a combination of indigo leaves and Galla Rhois for gray and black.

• Journal of the Korean Wood Science and Technology
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• v.50 no.1
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• pp.31-45
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• 2022

After manufacturing the natural dyed actual size Hanji using 11 kinds of plant natural dyeing materials and 2 kinds of animal natural dyeing materials, the color characteristics and color change and color fastness after post-mordanting were compared and discussed. The hues of 13 types of natural dyed Hanji were black, PB, and RP, each with 1 type, YP with 3 types, and Y with 7 types. Among the natural dyeing materials, Chinese ink, indigo and Lac showed high color yield and color difference, and violet-root cromwell and gardenia seeds showed low color yield. The color fastness of Hanji dyed with turpentine diluted Ottchil, Pagoda tree seeds, Chinese ink and indigo was excellent, while that of gardenia seeds and violet-root cromwell were very poor. After post-mordanting of natural dyed Hanji with Al, Cu, and Fe mordants, the hue changes were show up the Alnus firma, clove, lac and cochineal. In addition, the color difference was very diverse and was overall the most biggest due to Fe mordant. After 72 hr. of UV irradiation on post-mordanting natural dyed Hanji, hue change was observed in 3 types and color fastness was improved in 8 types by post-mordanting. The Hue and color fastness are significantly different depending on the type of natural dying materials and post-mordants. Therefore, when dyeing Hanji with natural dyes, it is necessary to dye with sufficient knowledges and informations about the desired color and fastness.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.844-851
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• 2021

Due to the increase in consumers' interest about well-being, interest in eco-friendly products has been increasing due to the harmful effects of various harmful substances contained in textile products and environmental issues. As a result, natural dyes of less potential risk than synthetic dyes and digital textile printing(DTP) textile products with less environmental pollution are drawing attention. However, due to the lack of evaluation criteria for DTP textile products with natural ink and the nature of many colors are stacked layer by layer for dying, the need for simultaneous analysis is emerging. To evaluate whether the natural dye is derived from natural ingredients, the biocarbon content is analyzed. However, in the case of ink made using natural dyes and DTP textile products using natural ink, it is difficult to analyze the biocarbon content due to the limitation of the presence of a small amount of dye contained therein. In this study, we were shown the possibility of natural derived verification by cross-checking the analytes of natural dyes (Persicaria tinctoria, an indigo dye; Dactylopius coccus, a light red; and Curcum longa L., i.e., turmeric) and natural ink with HPLC-MS/MS. The coefficient of determination was 0.999 or higher, the limit of quantification was 0.647-3.664 ㎍/L and a %RSD of each indicator material was less than 10. Then, the extraction amount of natural dyes for five patterned fabrics was analyzed.

• Analytical Science and Technology
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• v.29 no.6
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• pp.283-292
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• 2016

Conventional fingerprint powders used during crime scene investigations pose potential health hazards. Thus, multiple natural replacement powders, including squid ink powder, indigo and rice powder were used to develop (visualize) latent fingerprints on non-porous surfaces (e.g., glass, plastic and tile). Fingerprints developed using the natural powders were compared using the Automatic Fingerprint Identification System (AFIS) with those developed with traditional black powder. The peak areas of ridges were also compared using densitometric image analyses. Collectively, objective and quantitative evaluation methods were developed. The effectiveness of natural powders varied depending on the surface but, in general, squid ink powder performed well on most surfaces. Indigo powder performed well on tile surfaces, while rice powder performed well on glass surfaces. Plastic was the most difficult surface from which to develop fingerprints. Image analysis using Field Emission Scanning Electron Microscopy (SEM) demonstrated the importance of the size and shape of natural powder particles to properly adhere to the ridges. Although densitometric image analyses did not correlate the number of minutiae and ridge peak areas, an unbiased, objective evaluation method would be possible using image analyses with a reference image. Additional experimentation will yield safe and cost-effective natural powders with which adequate fingerprint development can be performed.

• Conservation Science in Museum
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• v.8
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• pp.71-79
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• 2007

The Conservation Science Team at National Museum of Korea has Reproduced the silk wrapper that was used the sarira reliquary found from Pagoda in the Bonginsa, in order to use it in the process of alternating the relics on display in the Hangeul(the Korean language) of the Historical Gallery. Silk fabric of the same texture as the original was used for reproduction. As for the process of dyeing silk fabric, fermented Indigo deposits was used for bluish color, while fruits of the alder trees were used to express the parts that have been faded into yellowish. The Korean characters(court style hangeul) written on the wrapper have been replicated through the use of Ink-stick.

• Conservation Science in Museum
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• v.13
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• pp.13-22
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• 2012

The patterns for Jeogui and Pyeseul (patterns of the queen's ceremonial robe worn and a belt ornament covering knees in the front) as owned by National Museum of Korea were made in the early 20th century and both of them were colored on paper. Through a non-destructive analysis on pigments and dyes used on both the patterns, it was attempted to identify the coloring materials. As for the analysis of the coloring pigments, the XRF was used. As a result of the pigment analysis on the pattern for Jeogui, it is presumed that lead white was used for obtaining the white color, ink stick for black color, orpiment for yellow color, cinnabar and red lead for red color, copper and arsenical or a mixture of copper carbonate and orpiment for green color whereas brass seems to have been used for obtaining other colors. The pigments used for obtaining the colors of white, black, yellow and green on the pattern for Pyeseul are the same as those used on the pattern for Jeogui whereas the red pigments used on each of the two patterns are seen to be different. Although it may be difficult to identify the kinds of blue pigments that were used on the patterns for Jeogui and Pyeseul, a mixture containing lead white is presumed to be used as blue pigment. Also, as a result of the UV-Vis spectroscopic analysis performed on the blue hanji (traditional Korean paper) of the pattern for Jeogui, it was presumed to have been dyed with indigo.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.1-13
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• 2005

This study is for the construction of Cheo-Yongdance Costumeby historical research based on Ak-Hak-Gue-Peom(樂學軌範). Through the production of Cheo-Yongdance Costume by historical research, it is examined and this study is expected that be a help of the right succession of a traditional costume. Cheo-Yongdance Costumeis draught to real size by comparing the size and picture suggested in Ak-Hak-Gue-Peom. In the specialty of Cheoyong(處容) dance Costume in the drawing, the length of clothes was 152cm that is longer than the length of the excavated Danlyeong(團領) of Chosun Dynasty period. Width was 81.9cm that is very big and the width of Danlyeong is 11.7cm. The sleeve length of Hansam(汗衫) is 20O.60cm and it is one that attached Hansam to Jeogori(저고리). The material used for Cheoyong dance Costume is Dan(緞), Cho, Joo(紬), Red gold patterned brocade(紅金線). At the same part, and as the goal was differently used at the same clothing. As the methods of dyeing, the process of dyeing naturally is suggested. A gardenia seeds, indigo plant, and ink stick are used for the color of blue, red, yellow and black. The producing process is made in concrete by suggesting the process of producing clothing. Danlyeong is required the technique of smoothing out wrinklesin case of attaching. Goon(裙) was made by making plaits below and attaching string for making form in the literature. Ui(衣), Chon-ui(天衣) and Goon(裙)'s Bang-sul(方膝) are drawn a Man-hwa Mun(蔓花紋) on Ak-Hak-Gue-Peom by using the golden dyeing material. As the result of producing the clothe by using the recorded size in Ak-Hak-Gue-Peom, it could be examine a pertinent dance clothing for expressing the dance performance with big motions.

• Journal of Conservation Science
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• v.30 no.1
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• pp.13-25
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• 2014

This study interpreted the chemicals of the pigments and the coloring techniques employed on Youngsan Ritual Ceremony Buddhist Painting through a nondestructive analysis method and a microscopic observation. Based on the interpretation, this study closely examined the chemical properties of the names of the coloring materials specified on the ceremonial writing of the Buddhist painting. It is estimated that lead white was used for the white pigments, orpiment and organic pigment for the yellow pigment, cinnabar/vermilion, minium, red ochre, and red dyes for the red pigments, malachite or atacamite for the green pigments, azurite and indigo for the blue pigments, and ink stick for the black pigments. The pigment names specified on the ceremonial writing are juhong, jungcheong, hayeop, whangdan, and whanggeum, and it was verified that juhong is cinnabar or vermilion, jungcheong is azurite, hayeop is malachite or atacamite, whangdan is minium, and whanggeum is a gold foil.