• 한국염색가공학회:학술대회논문집
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• 한국염색가공학회 2009년도 제41차 학술발표회
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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.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2003년도 정기총회 및 춘계학술발표대회
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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)

• 복식
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• 제50권5호
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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.

• 한국의류학회지
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• 제22권8호
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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.

• 한국염색가공학회지
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• 제17권2호
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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.

• 한국의류학회지
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• 제33권12호
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• pp.1883-1896
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• 2009

이 논문은 조선후기 보자기에 적용된 다양한 장식 특성을 연구한 것이다. 보자기는 물건을 싸거나 음식을 덮는 등 일차적으로는 실생활에 활용하기 위한 실용적 목적으로 제작되었지만, 보자기 제작은 전래된 상징적 문양의 표현을 통한 현세적 기원의 행위이기도 했으며, 또한 조선의 엄격한 유교 윤리 하에서 여성의 창작 욕구가 자유롭게 발현된 생활 속 여흥의 일부이기도 했다. 한국의 보자기에는 조각 잇기, 자수, 회염, 인염, 오려내기 세공 등 다양한 장식 기법이 활용되었다. 조각 잇기 기법이 활용된 조각보에서는 조선 여인들의 절약습관이 돋보이는데 이는 특히 자원의 재활용을 중시하는 오늘날의 가치와도 일맥상통하는 바가 있다. 자수가 놓인 수보에서는 상징적 문양의 표현을 통한 여인들의 소박한 바램이 읽혀진다. 한국 보자기는 회염이나 인염으로 장식되기도 했는데, 이들은 한국 복식 유물에서는 보기 어려운 장식 기법들이다. 농담을 조절한 다양한 색채의 당채 기법이나 단일색의 먹물 채색, 여러 종류의 도안이 새겨진 목판을 이용한 인염 기법 등이 이용되었다. 음식물이 묻지 않게 하기 위해 때로는 기름 종이로 보자기를 만들기도 했는데, 이러한 식지보에는 오려내기 세공이 장식 기법으로 활용되었다. 오려내기 기법의 원리는 스텐실 염색과 비슷하여 이를 또한 섬유제품 디자인에 활용할 수도 있다.