• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2009.11a
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• pp.81-82
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• 2009

오징어에서 추출한 천연염료인 멜라닌 분말을 이용한 양모직물의 염색은 pH와 멜라닌 분말 농도의 변화에 따라 액비 20:1, 온도 $100^{\circ}C$에서 60분간 염색하였다. 5% owf의 멜라닌 분말을 사용하여 pH 4에서 염색 한 결과 6.6의 표면염착농도(K/S)를 보였고 면직물의 K/S보다 높은 염색성을 보였다.

• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.65-66
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• 2003

본 연구는 천연염색물 유물의 본래색인 전통색 추정을 위한 기초 실험중의 하나로, 천연염료와 전통섬유의 종류를 달리하여 전통염색방법을 따라 얻은 천연염색물을 이용하여 색변화에 가장 큰 영향을 주는 주변환경 중에서 세탁과 일광에 의한 천연염색물의 변퇴색의 거동경로를 분석하고자 하였다. 천연염료로는 우리나라에서 재배되는 홍화, 소방목, 치자, 황토, 능소화꽃잎, 지초, 먹물, 감물, 황련, 황백, 생쪽, 생쪽, 쪽, 산죽재, 신나무 등과 같은 15종류의 염료를 단독 혹은 혼합하여 이용하여 적색, 주황색, 연한 갈색, 진한 갈색, 황색, 청색, 자색, 흑색계열의 8종류의 색상을 지닌 천연염색물을 얻었다. (중략)

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.131-142
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• 2000

The philological consideration of Korean Buddhist Monk's robe and its reviving have been investigated in traditional way. The configuration and colour of Korean Buddhist monk's robes have been properly adapted for an period, territory, and atmospheric phenomena. In case of Korea, introduced Buddhism from China realize modern robe from under the influence of fusion of Chinese ornament culture and Korean traditional ornament culture. As a result of this modern robe has been consisted of a Buddhist monk's robe and a cope. The modem robes has been significantly affected by industrialization, contrary to ancient time taxed robes as public imposts. At present be familiar in mass production we have a preference for the easier way in making and even color forming. In this paper it is focused on dyeing part, which recognized its important in latest time, at first declined according to appearance of chemical dye, evaluated its convenience in use. That is, it is increased natural dye, people begin with recognition of difference of physical properties for dress dyed with chemical pigment and that with natural pigment. In consequence, I have presented that both making colour of gray using traditional method, and three demolished-color prescribed by Buddhist law. Of course, though it become generally know that dyeing of robes occupied significant part of traditional natural dyeing. But in case of religion, it also is important to know symbolical meaning involved in its colour. Most of Buddhism-believers or even Buddhists who actually be dress in robe are without knowing the meaning of colour, or its revealing method. There, I have considered mating three colour of demolished- color included blue, black, and red, and also represented dyeing method of Buddhist monk's robe using both charcoal and ink-spick. From religious font of view, as robes contains involving of blessing, I have an intention of improvement way in dyeing and succession and development of traditional culture through consideration of traditional dyeing method. And I have also intended to restoration the value of robe's colour, disappeared by the time. moreover, I have shown that dyeing with natural pigment is profitable for both environment and sanitary aspect.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.8
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• pp.1011-1019
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• 1998

The natural dyestuff(squid ink) was manufactured from squid ink by boiling in 0.1% NaOH solution and powdering in freeze dryer. Cotton, wool, silk and nylon fabrics were dyed under several conditions using the manufactured squid ink to investigate the dyeability and color fastness. Dyeing was operated in acidic dyebath of pH 4 because the squid ink is anionic. Dyeabilities on wool, silk and nylon fabrics were good, especially silk fabrics were dyed deeper than others because of being amine group. But dyeability on cotton fabrics was low and developed with chitosan treatment. All the dyed fabrics showed excellent in color fastness to crocking and laundering. Also light fastness of them were excellent except nylon. The light fastness of dyed-nylon fabrics was as poor as grade 1, but they could be improved to grade 4 by aftertreatment with gallicacid. Useing the natural dyestuff-squid ink powder, we could execute whenever we want to dye fabrics in the adequate concentration. Dyeabilities were developed according to repeating times of dyeing and the increased dye concentration. We could recycle the wasting sources.

• Textile Coloration and Finishing
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• v.17 no.2 s.81
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• pp.1-9
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• 2005

Mixed dyeing were carried out ll"ing yellow, red and purple loess as mineral dyes verify their dyeability, color shade and fastness. The proper density of Chinese ink were 0.5, 1.0, 2.0, 2.5, $5\%$(o.w.b). The grinded chinese ink had better stainability compared with the general Chinese ink. The mixed dyeing improvement of stainability in the density of loess of $40\%$(o.w.b) among the yellow, red, and purple loess. The colors in the mixed dyeing with Chinese ink were $3.801\~8.13Y,\;0.128\~7.038Y\;and\;4.222\~9.304Y$. The colorfastness were 1-2 in the homogeneous dyeing with Chinese ink. It was improved 1-3 in the mixed dyeing. Light colorfastness of the homogeneous and mixed dyeing were excellent as a value of 5. The dry rubbing fastness in the homogeneous dyeing was 3-3.5, and 3 in the wet rubbing. As for the mixed dyeing, the dyes of Chinese ink showed poor diffusion into the fiber, resulting in low fastness due to the existence of the dyes on the surface.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.