• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.3
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• pp.503-515
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• 2018

In this research, the three-dimensional structural and colorimetrical modeling of yarn-dyed woven fabrics was conducted based on the Kubelka-Munk theory (K-M theory) for their accurate color predictions. In the K-M theory for textile color formulation, the absorption and scattering coefficients, denoted K and S, respectively, of a colored fabric are represented using those of the individual colorants or color components used. One-hundred forty woven fabric samples were produced in a wide range of structures and colors using red, yellow, green, and blue yarns. Through the optimization of previous two-dimensional color prediction models by considering the key three-dimensional structural parameters of woven fabrics, three three-dimensional K/S-based color prediction models, that is, linear K/S, linear log K/S, and exponential K/S models, were developed. To evaluate the performance of the three-dimensional color prediction models, the color differences, ${\Delta}L^*$, ${\Delta}C^*$, ${\Delta}h^{\circ}$, and ${\Delta}E_{CMC(2:1)}$, between the predicted and the measured colors of the samples were calculated as error values and then compared with those of previous two-dimensional models. As a result, three-dimensional models have proved to be of substantially higher predictive accuracy than two-dimensional models in all lightness, chroma, and hue predictions with much lower ${\Delta}L^*$, ${\Delta}C^*$, ${\Delta}h^{\circ}$, and the resultant ${\Delta}E_{CMC(2:1)}$ values.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.3
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• pp.373-383
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• 2019

This research investigated the effect of individual yarn colors on the perception of overall colors of yarn-dyed woven fabrics. The way the colors of yarn-dyed woven fabrics are perceived is known as visual color mixing: when the different colored yarns juxtaposed on the fabric surface are observed from some distance away, they are visually mixed in our eyes and perceived as a solid color. However, we can still see individual yarn colors that make the fabrics look obviously different from actual solid colors. To quantify this visual color mixing effect, twenty-one sateen fabrics were produced in a wide range of colors using cyan, magenta, and yellow yarns, and the colors were measured instrumentally. The obtained colorimetric values were converted into solid color images on a CRT monitor. Then, the physical fabrics were scanned, and the scanned images were displayed on the monitor with solid color images in pairs for visual color difference evaluation. The woven and solid colors in each pair were of physically identical color; however, the visual color difference was as large as $4.81{\Delta}{E^*}_{ab}$ on average. A visual color difference model was proposed by considering this parametric effect of individual yarn colors.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2012.03a
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• pp.49-49
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• 2012

바닥재 자카드직물에 사용이 예상되는 LMP(low meltig polyester) 복합사는 사염 시 높은 수축율 및 열융착의 가능성 때문에 일반적인 폴리에스테르의 염색조건에서는 염색이 불가하다. 따라서 적정의 수축율 내에서 가능한 염색조건에 대해 고찰하였다. LMP 복합사는 웅진케미컬에서 생산된 Regular PET/LMP(75:25) 260d/48f 원사를 사용하였다. 수축율은 KS K 0215에 준하여 측정하였다. 염색은 E-type 및 S-type(Foron Dark Blue S-WF) 분산염료를 사용하였으며, E-type 중에서는 아조계(Lumacron Blue SERL 200%) 와 안트라퀴논계(Foron Blue E-BL 150)의 2 종류를 사용하였다. 염색된 시료는 현미경 단면사진을 이용하여 염료의 내부확산을 확인하였으며, 환원세정 전후의 K/S 값을 측정하였다. LMP원사의 수축율을 시험한 결과 $90^{\circ}C$에서 9% 정도의 수축율을 나타내어, $90^{\circ}C$ 이상에서는 사염이 어려운 것으로 나타났다. 따라서 염색온도는 $80^{\circ}C$와 $90^{\circ}C$로 하였다. S-type의 염료를 이용한 경우 $90^{\circ}C$에서 4일 이상 염색해도 염착이 이루어지지 않아 대상 염료에서 제외하였다. E-type 염료인 경우 아조계는 흡진율은 높았으나 내부 regular PET에의 확산이 매우 느리고, 안트라퀴논계는 상대적으로 확산이 빠른 것으로 나타났다. 안트라퀴논계 분산염료는 $80^{\circ}C$에서 내부로의 확산에 4일 이상이 소요되며, $90^{\circ}C$에서는 2일 이상이 소요되었다. 이 후 환원세정에 의한 K/S 값의 변화 및 마찰견뢰도를 시험하였으며, 환원세정 후의 섬유단면 사진을 통해 염료의 migration성을 평가하였다.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.164-183
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• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.