• Title/Summary/Keyword: 미 세기둥

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Microfabrication by Localized Electrochemical Deposition Using Ultra Short Pulses (초단펄스 응용 전해증착에 의한 마이크로 구조물 제작)

  • 박정우;류시형;주종남
    • Journal of the Korean Society for Precision Engineering
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    • v.21 no.11
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    • pp.186-194
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    • 2004
  • In this research, microfabrication technique using localized electrochemical deposition (LECD) with ultra short pulses is presented. Electric field is localized near the tool tip end region by applying a few hundreds of nano second pulses. Pt-Ir tip is used as a counter electrode and copper is deposited on the copper substrate in 0.5 M CuSO$_4$ and 0.5 M H$_2$SO$_4$ electrolyte. The effectiveness of this technique is verified by comparison with LECD using DC voltage. The deposition characteristics such as size, shape, surface, and structural density according to applied voltage and pulse duration are investigated. The proper condition is selected from the results of the experiments. Micro columns less than 10 $\mu$m in diameter are fabricated using this technique. The real 3D micro structures such as micro pattern and micro spring can be fabricated by this method. It is suggested that presented method can be used as an easy and inexpensive method for fabrication of microstructure with complex shape.

A Study on Textile Design of William Morris (월리엄 모리스의 텍스타일 디자인에 관한 연구)

  • 이경희
    • Archives of design research
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    • v.14 no.2
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    • pp.163-174
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    • 2001
  • William Morris(1834-1896) was the most versatile and talented of all British nineteenth century polymaths. Since his death over one hundred years ago his achievements as an artist, designer, manufacturer, shop-keeper, poet, author, publisher, printer, collector, teacher, conservationist, political activist and environmentalist have influenced the lives and work of people throughout the world. Moris is now best known for his attractive and colorful patterns. The decorating firm of Morris, Marshall, Fault & Company(Morris & Company after 1875) was established in 1861. Over the years it produced works, ranging from stained·glass windows and furniture to tapestries, carpets and printed and woven fabrics, that had great influence on the course of British design. His earliest experiments with the craft were amateurishly worked embroideries made for his own use. Before long, Morris began to produce textiles on a more commercial basis. In order to control production properly, Morris set about learning the various textiles techniques, first dyeing and blockprinting, hand-loom jacquard and eventually, carpet and tapestry weaving. This extraordinary involvement with the practical side of manufacture separated Morris from all other designers of his time and contributed in no small way to his success. Morris's designs for textiles, embroidery, dyeing, woven, carpet and tapestry were commercially produced, that are most universally admired and frequently copied today. These have a timeless quality arising from the designers respect for and knowledge of the technique. Of equal importance was his love of nature, evidence of which can be seen in even the smallest details of each of his patterns.

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Broadening the Understanding of Sixteenth-century Real Scenery Landscape Painting: Gyeongpodae Pavilion and Chongseokjeong Pavilion (16세기(十六世紀) 실경산수화(實景山水畫) 이해의 확장 : <경포대도(鏡浦臺圖)>, <총석정도(叢石亭圖)>를 중심으로)

  • Lee, Soomi
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.96
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    • pp.18-53
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    • 2019
  • The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

황금배 동녹 방지용 및 갈색배 방균.방충처리용 봉지 개발

  • 류정용;여성국;신종호;송봉근;한점화
    • Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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    • 2000.04a
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    • pp.148-149
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    • 2000
  • 황금배는 1967년에 신고에 이십세기를 교배하여 1977년 1차선발과 1982년 2차선발을 거 쳐 1984년 최종선발, 명명한 품종으로, 당도가 높고 육질이 부드러워서 최근 몇년 사이에 캐 나다, 미국, 호주, 그리고 유럽 지역에서의 수요가 급증하고 있는 수출전망이 매우 밝은 품 종 중의 하나이다(92년 재배면적 lOha 수출량 5. 8M/T, 95년 재배면적 150ha 수출량 2 200.6M/T), 황금배는 비교적 대과이고 과형은 원형에 가까운 편원형으로서 사과 골든처럼 과피가 황금색이고 과육은 연황백색으로 투명하며 보기에 극히 미려한 특징이 있다. 아울러 육질이 유연치밀하고 과즙이 극히 많으며 당도가 높아 13$^{\circ}$ Bx이상, 15도 Bx까지 측정되는 둥 감산이 적화되어 맛이 극히 우수하다. 그러나 이러한 황금배는 동녹, 흑반병 등 병충해로 인한 상품가치의 하락으로 현재 수요를 충족시키지 못하고 있는 실정이다. 1 16세기부터 씌워진 과실봉지는 초기 병해충을 방지할 목적만으로 사용되어 왔지만, 현 재는 방균과 방충의 효과와 함께 자연현상의 최적화를 위한 차광성, 발수성, 투기성을 조절 하며 과실의 외관까지 영향을 미치는 바, 과실봉지의 기능성 부여를 위해서는 고도의 기술 력이 요구되고 있다 하겠다. 상기한 배에 방균방충처리된 과설봉지를 씌워서 재배하면 농 약 살포횟수를 줄이고 배에 농약이 직접 묻지 않아 배의 농약오염을 예방할 수 있으며, 봉 지 안으로의 해충이나 균의 침투를 원천적으로 봉쇄할 수 있다. 그러나 기존의 황금배용 봉 지는 비록 기타 병충해 피해를 방지하는 효과는 있었으나, 동녹을 억제하는 효력이 다소 미 흡하였다. 과피의 비정상적인 코르크화로 인해 발생하는 동녹은 과피의 물리적 할렬과 생리적 장 해에 의해 발생하는 것으로 알려져 있다(永澤 1940). 과실이 비대해짐에 따라 과피의 기공 (과점)이 할렬하면서 코르크화가 진행되는데 그 발생정도나 시기는 배의 품종에 따라 다르 나 일반적으로 코르크화는 기상조건, 특히 습도와 밀접한 관련이 있다고 알려져 있다 황금 배의 재배에 봉지를 적용하면 일반적으로 과피의 코르크화가 억제되는데 그러한 이유는 다 음과 같이 설명할 수 있다. 과실은 하루를 주기로 하여 수축과 팽창을 반복하면서 비대화하 는데 이러한 현상은 과실 내의 수분 조건에 따르는 것으로, 봉지재배의 경우 무대재배보다 단기간에 변화되는 습도의 범위가 좁아 급변을 방지하기에 과점의 할렬이 완화될 수 있다. 즉, 봉지를 씌웅으로서 봉지 내의 대기 환경이 외기보다 안정적으로 유지되고 직사광선이나 농약 및 마찰로부터 과실을 보호해 주기에 동녹이 어느 정도 방지될 수 있는 것이다. 그러나 기존의 황금배봉지는 동녹의 정도를 완화시킬 뿐 완전히 방지할 수 없었으며, 봉지를 적 용한 재배조건에서의 동녹발생 기구를 정확히 이해하지 못했었기에 효과적으로 봉지의 기능 을 개선하는 것이 불가능하였다. 과설의 미려도는 과실의 맛과 함께 그 가치를 결정짓는 중요한 물성으로서 우리나라 황 금배 재배환경과 특성에 알맞은 배봉지의 제작이 선결될 때, 배 품질의 향상, 안정된 공급이 가능하게 될 것이며 아울러 농가의 수업증대와 수출 경쟁력 강화가 이루어질 수 있을 것으로 판단된다. 이러한 측면에서 황금배 재배농가가 당면한 동녹발생의 문제점을 신속한 해결 을 위한 새로운 기능성 국산 황금배 봉지의 개발이 절실히 요구되고 있다. 위와 같은 문제를 해결하기 위하여 본 연구에서는 과실봉지의 종류간에 동녹발생 정도 가 상이한 점에 예의 주시하여 다양한 봉지의 적용실험을 통해 다음과 같은 결과를 얻었다. 황금배의 동녹 발생 정도는 배봉지의 발수성과 투기 및 투습도에 의해 크게 영향받는다. 상기한 바와 같이 과점의 코르크화로 인해 동녹이 발생된다고 할 때, 봉지 내의 습기 및 웅결수의 양은 황금배의 동녹에 중대한 영향을 미친다. 태양광이 내려찍는 낮 시간동안 황 금배는 증산작용을 하며 습기를 배출하는데 봉지 내의 온도가 높은 낮 시간 동안 수분이 습기로 존재하지만 기온이 급격히 떨어지는 일몰 이후에는 상대습도가 높아짐에 따라 결로 현상으로 인해 응결수가 된다. 이때 응결수와 접촉한 과피는 건조한 상태보다 세균의 침입 이 용이할 뿐만 아니라 기공(과점)의 호홉에 지장이 초래됨에 따라 과점의 할렬이 더욱 조 장되어 코르크화를 유발하고 결과적으로 동녹이 발생한다고 판단된다. 따라서 만일에 봉지 의 투기, 투습도가 양호하여 봉지 내의 과다한 수분이 충분히 배출될 수 있었다면, 수분의 응결을 피하고 동녹을 완화시킬 수 있을 것이라 판단되었다.

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