• Journal of Conservation Science
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• v.32 no.1
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• pp.89-100
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• 2016

We estimated pigments and painting techniques with nondestructive analysis for Yu Eonho's portrait made in the eighteenth century, then compared with 11 portraits and painting characteristics at that time. The pigments used to Yu Eon-ho's portrait include lead white, yellow dye, cinnabar, minium, and pink dye, malachite, azurite, iron oxide red and brown dye, blue and pink dye for purple. In the result compared with painted pigments of 11 portraits, iron oxide red without cinnabar was used on the face part and organic green dye only was used instead of inorganic pigments on the other side of clothing after Yu Eonho's portraits portrait. This study is show the painting techniques on the portraits in the late $18^{th}$ century. We expect to use as useful referencing data for the study on the coloring technique of a portrait in the late Joseon Dynasty.

• The Journal of Advanced Prosthodontics
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• v.8 no.3
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• pp.181-186
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• 2016

PURPOSE. The opacity of zirconia is an esthetic disadvantage that hinders achieving natural and shade-matched restorations. The aim of this study was to evaluate the translucency of non-colored and colored framework zirconia and monolithic zirconia. MATERIALS AND METHODS. The three groups tested were: non-colored framework zirconia, colored framework zirconia with the A3 shade according to Vita Classic Scale, and monolithic zirconia (n=5). The specimens were fabricated in the dimensions of $15{\times}12{\times}0.5mm$. A spectrophotometer was used to measure the contrast ratio, which is indicative of translucency. Three measurements were made to obtain the contrast ratios of the materials over a white background ($L^*w$) and a black background ($L^*b$). The data were analyzed using the one-way analysis of variance and Tukey HSD tests. One specimen from each group was chosen for scanning electron microscope analysis. The determined areas of the SEM images were divided by the number of grains in order to calculate the mean grain size. RESULTS. Statistically significant differences were observed among all groups (P<.05). Non-colored zirconia had the highest translucency with a contrast ratio of 0.75, while monolithic zirconia had the lowest translucency with a contrast ratio of 0.8. The mean grain sizes of the non-colored, colored, and monolithic zirconia were 233, 256, and 361 nm, respectively. CONCLUSION. The translucency of the zirconia was affected by the coloring procedure and the grain size. Although monolithic zirconia may not be the best esthetic material for the anterior region, it may serve as an alternative in the posterior region for the bilayered zirconia restorations.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.71-85
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• 2020

The purpose of this study was to study the beauty-coordination characteristics of Genderless fashion, which is emerging as a new trend by analyzing the trend in the latest collection and classify the resulting expression characteristics of make-up. Methods and scope of the study were based on collections published in the 2020 S/S season and 35 out of 84 designers with design elements were selected to analyze the garments most likely to be genderless. The characteristics of the expression of the genderless derived through this analysis were classified into compromise, androgyny, sensuality, exaggeration, enjoyment, and historicity. Compromise was the highest, and the lowest was for enjoyment of the classifications. The designer's work according to the characteristics of each expression shows that the pieces by Saint Laurent were the highest in compromise, sensuality, and historicity, and the pieces by Maison Margiela were the highest in androgyny while Balenciaga was the highest in exaggeration and enjoyment. Compromise represented a mixture of discord, such as incongruous bonding and coloring of heterogeneous materials, and androgyny led to the use of silhouettes and colors, with sensuality utilizing see-through material and incision lines allowing for physical exposure. Exaggeration intentionally destroyed the existing concept by breaking the overall balance of the human body through the enlargement of certain parts of the body, while enjoyment showed unexpectedness by destroying the line and sides of the garment. Lastly, historicity was analyzed for its retro design that transcends time and space with regional cultural and period characteristics.

• International Journal of Advanced Culture Technology
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• v.4 no.4
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• pp.6-12
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• 2016

Due to the development of technology, the modern people became to require not only more convenient life but also more comfortable and emotional environment, and individually suitable living environment is applied to residents in a residential space. Recently, while the LED lighting was variously attempted in every sector in society, it is needed to express differentiated lighting according to the resident's individual lifestyle in a residential space. In this paper, we analyze the role of LED lighting suitable for the digitalized lifestyle of the modern people through the relevant literature survey and case studies. The following results are obtained in summary of the rapidly changed recent trends of LED lighting. First, LED light replace existing light sources due to the advanced new technology in LED industry, and take the spotlight as a new lighting solution with the development of variable color LED bulb and the control technology by the wired and wireless communications. Second, LED lighting can be structurally applicable to every lighting device because of its compact and lightweight units, can produce abundant light environment by expression of variable colors and moods with the easy coloring and dimming control, can be reborn as emotional lighting design. Third, as recently practices are constantly appeared that integrate LED lights in the interior elements, such as object and furniture, and combine advanced LED lighting technology to new materials, the portion of illumination on the indoor environment is further increased after integrating the LED lighting and interior elements make boundaries of lighting and product architecture become blurred. LED lighting is confirmed that is being changed from the external functionality including material, shape, color, and etc. into the contextual emotion design including the lights expression, variable color, brightness control, making image, and etc. as the light source in current smart lighting era.

• Korean Journal of Materials Research
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• v.21 no.8
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• pp.450-455
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• 2011

[ $Al_2TiO_5$ ]has a high refractive index and good solubility of the chromophore in the $Al_2TiO_5$ lattice, which allows this structure to be a good candidate for the development of new ceramic pigments. However, pure $Al_2TiO_5$ is well known to decompose on firing at $900{\sim}1100^{\circ}C$. However, this process can be inhibited by the incorporation of certain metal cations into its crystalline lattice. In this study, the synthesis of gray ceramic pigment was performed by doping cobalt on the $Al_2TiO_5$ crystal structure. The $Al_2TiO_5$ was synthesized using $Al_2O_3$ and $TiO_2$, and doped with $Co_3O_4$ as a chromophore material. In order to prevent the thermal decomposition during the cooling procedure, MgO was added to samples by 0.05 mole, 0.1 mole, and 0.15 mole as a stabilizer. The samples were fired at $1500^{\circ}C$ for 2 hours and cooled naturally. The crystal structure, solubility limit, and color of the synthesized pigment were analyzed using XRD, Raman spectroscopy, UV, and UV-vis. $Al_2O_3$ was available for the formation of $CoAl_2O_4$, which should also be considered in order to explain the small amount of this phase detected in the sample with the higher $Co^{2+}$ content (${\geq}$ 0.03 mole). It was found that the solubility limit of $Co^{2+}$ in the $Al_2TiO_5$ crystal was 0.02 mole% through an analysis of Raman spectroscopy. Through the addition of a pigment with 0.02 mole% of $Co^{2+}$ to lime-barium glaze, stabilized gray color pigments with 66.54, -2.35, and 4.68 as CIE-$L^*a^*b^*$ were synthesized.

• Journal of the Korean Society of Food Science and Nutrition
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• v.35 no.2
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• pp.177-181
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• 2006

In this study, phytochemicals from the wold and cultivated Lithospermum erythrorhizon (gromwell), which has been used for medicinal purpose or natural coloring material from the old days, were extracted by methanol and fractionated with hexane. The shikonin compounds in the fraction was isolated and their chemical structures were identified by $^1H$ and $^{13}C-NMR$. It was found that compound I was the shikonin substance with molecular weight of 288.3 and chemical formula of $C_{16}H_{16}O_5$, and compound II being deoxyshikonin substance with molecular weight of 272.3 and chemical formula of $C_{16}H_{16}O_4$. The Quantities of these compounds in the wild and cultivated gromwells was determined.

• Fashion & Textile Research Journal
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• v.18 no.2
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• pp.244-251
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• 2016

Viscose rayon filament fabrics have been called 'artificial silk' and beloved as summer clothing materials for a long time in Korea. This is because the viscose rayon filament fabrics reveals glossy surface and cool touch feeling compared to other conventional fabrics composed of staple fibers. Therefore, we tried to prepare the higher value added viscose rayon filament fabrics for summer textile products. In this study, we applied gallnut extract to the viscose rayon filament fabric to develop summer fabrics with natural color and multi-functions such as antibacterial and antioxidant properties. This process also pursue eco-friendly and multi-functional fabric finishing from the natural material "gallnut". In addition, various pre-treatment with cationizer, chitosan, or chito-oligomer was applied to the finishing process to improve the finishing efficacy and durability. Consequently, it was found that the active component of gallnut extract was successfully incorporated to the viscose rayon filament fabric through a pad-dry-cure process. And, the treated viscose rayon filament fabrics showed excellent antibacterial and antioxidant properties. Therefore, it was expected that the rayon filament fabrics treated by gallnut extract could be used as effective summer fabrics preventing the growth of bacteria and skin ageing as well as providing cool touch feeling. However, the pre-treatments were not that meaningful on the functionalities but effective on coloring.

• Conservation Science in Museum
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• v.19
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• pp.69-82
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• 2018

The gilt-bronze standing Buddha and bronze standing Buddha statues excavated from Yeongguksa Temple in Yeongdong, currently held in the collection of the Cheongju National Museum, underwent conservation treatment after scientific study. Materials analysis showed that the gilt-bronze statue was made with a ternary alloy of copper, tin, and lead, while the bronze statue is of a binary alloy of copper and tin. The analysis also revealed that the bronze statue contains gold, and it is therefore recommended to change its description to gilt-bronze standing Buddha. The gilt-bronze statue appears to have been made with lead produced in Korea. The material observed on the surface that is presumed to have been used as an adhesive for the gold coloring is thought to be lacquer. For conservation treatment, the statues were minimally cleaned using physical and chemical methods and were treated through consolidation and protective coating.

• Journal of Science of Art and Design
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• v.2
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• pp.5-41
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• 2000

The purpose of this thesis is to study about destructive method in late twentieth Century Paintings. To do this we will consider the examples of Frank Stella and Anselm Kiefer's expressive methods. And this thesis is designed to investigate the change of the two Modes. The centering change is in the destructive manner of them, and they are traced systematically. In these chapters we will study the procedure of the destruction and specification of the Modes; the subject which contains the special element, the relation between it and the artist's willful meaning, morphological specification, symbol system formative language, subject, material and coloring way. etc. The origin of the methodology is systematically studied and the procedures of the content applicated are considered. In the special characteristics of the methodology, the special feactures it contains will be considered. The basis of the deconstructive idea from Nietsche, Derrida, Saussire, Andrew Benjamin and others will be applied to understand the two Modes of artistic methodology, and whether or not they can be tools of explaining the methodology of our time is distinguished. Next, the methodologically founded contents and concepts from Chapter#2 are related and intertwined together. The outer destructive aspect and inner destructive specification are centrally uncovered by the Interpretation. The resulting background of the Mode, the factor of destruction and central concept, along with the works, applied ideas, and pre-scholar's writings, are conjoined and explained. The characteristics of S Mode are revealed as being similar to those of Vandalic Destruction and Baroque formalistic Style, while K Mode is closely related to Iconoclastic Destruction and Neoclassical Antiformal Style.