• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.05a
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• pp.223-226
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• 2009

최근 의생활에 있어서 가장 큰 변화는 쾌적성의 추구와 건강을 중심으로 한 기능성 소재에 대한 소비자들의 욕구가 증대된다는 것이다. 천연 섬유 중 모시는 통기성이 우수하고 감촉이 깔깔하여 고온 다습한 우리나라의 여름철 옷감으로 좋으므로 현대 의생활로의 도입이 요구되고 있다. 그동안 모시직물은 심미적인 욕구에도 잘 맞아 한국인의 정서에 좋은 이미지로 자리 잡고 있지만 수공예적 생산방식을 그대로 답습하고 있어 전통모시직물로는 많이 이용이 되어왔으나 현대 방적모시직물을 이용한 새로운 직물디자인 개발은 이루어지기 어려운 실정이었다. 그러나 최근 방적모시섬유에 대한 연구가 활발하게 진행되기 시작하면서 현대 방적모시직물의 생산이 가능하게 되었다. 따라서 본 연구에서는 원사의 특성과 제조공정 특성에 의해 미세한 감성촉감의 차이를 유발하기 좋은 폴리에스터를 경사로하고 방적모시와 라이오셀을 위사로 하여 현대 모시직물의 개발을 시도하였다. 모시의 소비를 증가시키고 현대인의 감성에 맞게 심미성을 향상시킬 수 있도록 직물문양을 디자인하였다. 직물의 복잡한 문양을 컴퓨터로 디자인하고 자동으로 제직이 가능하게 하는 시스템인 EAT 프로그램을 이용하여 자카드 직물 특유의 고급스러움을 살리며 공정과정에서의 실의 밀림 등을 고려하며 조직을 설계하였다. 설계된 직물은 제직 후 염색 가공하여 쿠션, 방석, 테이블 러너 등의 시제품으로 제작하여 고부가가치 모시제품의 개발가능성을 살펴보았다.

• The Research Journal of the Costume Culture
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• v.22 no.1
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• pp.16-27
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• 2014

This study investigated the characteristics of and changes in hemp textile production practices at Gurye in Jeollanam-do in modern times. To do this, in this study, both a literature review and fieldwork research were utilized as research methods. The literature review focused on Gurye's hemp data, and the fieldwork research involved two separate trials. Male and Female residents of Gurye who had experience in the area of hemp production from the 1920s to the 1980s participated in this study. The results were as follows. First, regarding hemp fiber cultivation in Gurye, hemp cultivation continued to the 1970s and there were no changes in hemp cultivation practices during the Japanese colonial-era. Second, there have been very important changes in hemp kilns over time. In the 1950s, there were both single-body kilns and separate-body kilns in Gurye. Later, specifically in the 1950s, a new type of kiln using an iron pot appeared, and the most modern kilns were concrete structures. Third, in Gurye, women cooperatively removed hemp husks immediately after stemming, subsequently bleaching the hemp by soaking it in lye or caustic soda. Over time, there have been changes in ash types and in soaking periods. Fourth, loom types changed from the traditional Korean back-strap loom to the treadle loom in the 1930s- to 1940s. Fifth, since the 1970s, the hemp textile output levels of Gurye have been reduced due to the westernization of clothing styles, the inflow of Chinese hemp fiber and government regulations pertaining to hemp cultivation.

• KSBB Journal
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• v.14 no.3
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• pp.309-314
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• 1999

In order to produce high concentration of sodium gluconate, optimization of the fermentation conditions, such as glucose concentration, inoculum size, dissolved oxygen concentration and glucose feeding method, was examined. When the glucose concentration was maintained in the range of 30∼50 g/L during the batch fermentation, glucose conversion yield and productivity were 92.2% and 6.0 g/L/hr, respectively. In the case of the low concentration below 30 g/L, the yield decreased by about 25%. As the inoculum size increased above 20%(w/v), lag phase was shortened but the productivity decreased. The dissolved oxygen level of 60∼70% was shown to be the threshold point for 75% of increase in the productivity of sodium gluconate. Finally, optimal glucose feeding rate was determined using various feeding methods such as exponential feeding, feeding based on the average glucose consumption rate and was determined using various feeding methods such as exponential feeding, feeding based on the average glucose consumption rate and on the oxygen uptake rate and etc. Our result shows that glucose feeding, based on the oxygen uptake rate is a very simple, efficient and robust method, especially when oxygen is consumed as a substrate for the bioconversion. Using the above glucose feeding strategy under the optimized condition, 255 g/L of sodium gluconate concentration, 12 g/L/hr of productivity and 95% of glucose conversion yield were achieved with A. niger ACM53.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• 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.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2012.03a
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• pp.54-54
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• 2012

전통 날염방식(Silk Screen)과 디지털날염(Digital Textile Printing)을 비교해보면, 디지털날염은 디자인에서부터 날염까지의 전공정을 완전히 디지털화함으로서 다양하게 디자인할 수 있고 미묘한 색감의 흐름을 표현할 수 있어서 자연스러운 이미지의 표현이 가능하다. 그러나 현재 디지털날염을 피혁이나 직물에 적용하기에는 프린팅속도가 느려서 생산성이 낮고 이미지 내구성(세탁, 승화, 일광, 및 마찰견뢰도)이 낮은 등 많은 단점을 가지고 있다. 또한 신발산업은 현재 중국이나 동남아시아 등 개발도상국의 등장으로 수출의 국제적 경쟁시대에 접어들면서 대량생산이나 획일적인 디자인으로부터 벗어나 고부가가치 상품을 생산해야하는 과제를 안게 되었다. 한편 가죽에 응용가능한 잉크는 크게 수성, 유성, 용제형과 자외선 경화형의 잉크가 있으며 자외선 경화형 잉크는 자외선을 이용하여 기존의 잉크의 단점을 보완한 것이다. 자외선 경화형 잉크는 자외선 램프를 열원으로 하여 이온 또는 라디칼 중합, 광중합을 하며, 에너지 소비가 적어 경제적이며 시스템 가동시 비활성 기체가 필요하지 않다. 또한 자외선 경화형 기술은 상온에서 이용할 수 있으며 잉크의 경우 건조하는 데 걸리는 시간이 필요하지 않다. 또한 시스템을 가동 시키거나 중지 시키는 것이 쉬우며 고속으로 연속적인 일을 처리할 수 있다. 프린터의 크기가 작아 공간 효율이 유리하며 용제나 $CO_2$가 발생하지 않아 친환경적인 기술이라 할 수 있다. 따라서 본 연구에서는 자외선 경화형 시스템을 잉크에 적용하여 피혁 표면에 프린팅한 다음 그 견뢰도를 측정함으로써 그 효과를 알아보았다. 세탁에 의한 Matlab 측정값으로부터 용제형 잉크의 경우는 세탁 전, 후 line width가 큰 차이를 보이나 자외선 경화형 잉크의 경우는 그 차이가 적음으로부터 자외선 경화형 잉크가 용제형에 비해 색상 탈리가 적었음을 말한다. 또한 raggedness값 역시 마찬가지 결과를 보여 안료 색소와 피혁의 접착성이 향상된 것을 알 수 있다. SEM을 이용한 피혁의 표면과 단면 사진을 보면 용제형보다 자외선 경화형 잉크를 사용한 피혁이 좀 더 매끈한 표면을 보이는데 이것은 접착기능을 하는 아크릴레이트에 의해 균일한 날염이 가능하기 때문이라 고 생각된다. 이상의 결과로부터 자외선 경화형 잉크가 세탁, 마찰, 일광 견뢰도가 우수함을 알 수 있었으며 기존의 용제형 잉크를 대체할 수 있는 좋은 재료라고 생각된다.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Archives of design research
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• v.18 no.4 s.62
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• pp.25-34
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• 2005

The purpose of the present study is to investigate the characteristics of the current Victorian-style interior by reviewing the basic Victorian-style house in the past. this research was analyzed various prior studies and literatures, and found the following results: First, the Victorian-style house and interior space showed various historical trends and adopted every style from Gothic to rococo, and sometimes more than one style influenced a single place. Its formality was applied depending on the function and standard of each room. Second, the interior had many decorative things with free, irregular or other patterns, influenced by Romanticism and Naturalism. The several environmental factors such as air pollution and hygienic matter were also related with its trend. the dramatic changes in the kitchen and sanitary facilities were appeared based on the technical development, and affluent design styles were also used. All these reflected the characteristics of the Victorian age. In conclusion, the characteristics of Victorian-style were influenced by many factors including: (a) the trend of Romanticism and Naturalism, (b) consideration of family convenience based on the technical development, (c) the Socio-Environmental factors like air pollution and the social norm, and (d) reflection of the individual value in accordance with frequent contacts with foreign cultures. In this respect, it is necessary to reevaluate the Victorian-style after paying due regard to such factors.