• 한국염색가공학회지
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• 제23권4호
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• pp.263-273
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• 2011

Digital textile printing(DTP) technology made considerable advances in recent years. In this study, a pre-treatment agent has been prepared for the better coloration of digital textile printing. The ink formulation contained three kinds of 5g thickener (CMC, Sodium alginate, Dextrin), 25g urea, 5g sodium carbonate, and 465g distilled water. The optimal sharpness of outline was found in the 1-3% concentration of the pre-treating agent with a viscosity of 10-15 cSt. Even if the color difference between untreated and treated samples was not apparent in the printing step, the color appearance increased after steaming. The color appearance of cyan, magenta, yellow, black reactive colorants increased in the order of CMC>Sodium alginate>Dextrin. Wash fastness to shade change and staining for the treated samples were 4-5 rating, while untreated sample was 1-2 rating. Also, the pre-treated sample with 1:1 mixtures had 4-5 rating. Both dry and wet rubbing fastness to shade change and staining were excellent in the treated samples, whereas rubbing fastness of untreated sample was 1-2 rating. With exception of 3 rating to black color, light fastness properties were 4 rating for the remaining three colors in the regardless of treatment condition and mixing of pre-treating agents. Dry cleaning fastness of all samples were also 4-5 rating irrespective of treatment condition and mixing of pre-treating agents.

• 한국염색가공학회지
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• 제22권1호
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• pp.14-20
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• 2010

Squid ink was purified to melanin powder by repeated treatments with aqueous sodium hydroxide and acetic acid solutions. The exhaustion dyeing conditions of melanin to wool fabrics were investigated in relation with pH, melanin concentration, dyeing temperature and time. The melanin was dyeable to cotton and wool fabrics but higher dyeability of the wool was observed. A K/S of 7 was obtained on the optimally dyed wool fabrics with 5 % owf melanin under pH 4 at $100^{\circ}C$ for 60 minutes. Color fastness to both washing and rubbing was excellent and color fastness to light was also very good probably due to the polymeric nature of the extracted sepia melanin.

• 패션비즈니스
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• 제16권2호
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• pp.138-150
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• 2012

Nano Inkjet DTP technology, a new technology introduced recently, can be applied to various types of fabric, and pre-treatment process can be omitted, which makes the whole printing process compact. Some important factors for DTP are color difference between the color selected by the designer on PC and the color on the final product and durability of the final fabrics. In this study, the twenty-three trend colors of 2012-2013 F/W suggested by PeclersParis have been picked to be printed on cotton, silk and polyester fabrics, then K/S and ${\Delta}E$ value and color fastness were measured. The results show that dyeability of fabric is varied for each color group, and that also tone of color affect to dyeability when measured for colors in the same group. In general, for all fabric, light fastness, washing fastness and color fastness to sublimation are outstanding. However, because of poor rubbing fastness, additional treatment to fix colorant on fabric is required.

• 복식
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• 제61권7호
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• pp.125-134
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• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.

• 헤리티지:역사와 과학
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• 제52권4호
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• pp.56-77
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• 2019

비석은 상례문화의 보고이자 서예사의 정수로서 시대사·사회사를 조명할 수 있는 중요한 문화재지만 그 연구는 아직 미미하다. 특히 비각의 제작 방식에 관한 것은 아직 미증유의 분야로 남아 있어 연구가 절실한 편이다. 비석의 제작은 석재의 탁마 과정과 조각, 그리고 글씨를 새기는 북칠 과정으로 대별할 수 있다. 본고에서는 이와 관련하여 몇 가지의 사실을 밝히고 있다. 첫째, 신과 관련한 의물(神儀物)인 상석, 혼유석, 비석에는 정교한 마정(磨正) 작업을 가한다. 이는 임진왜란, 병자호란의 영향으로 인한 유교적 상·제례의 정착과 전파로 혼유석에 대한 인식의 변화에 기인한다. 둘째, 영조 때 오석(烏石)의 비약적인 확산과 사저취용(私儲取用)은 사회·문화사적으로 큰 의미를 가지고 있다. 상품(上品)의 강화석이 고갈되자 사대부에서 사용하던 오석을 천릉한 장릉에 사용한 이후 사대부들을 중심으로 퍼지게 된다. 특히 오석의 사용과 마정 작업은 화학적·물리적 손상을 최소화시킬 수 있었다. 셋째, 비석의 각자 기술은 북칠(北漆)에 있다. 효종 영릉 천릉 시에 송시열의 지문을 북칠한 이후부터 북칠 과정은 동아시아에서 우리나라가 가장 성행했고 제도화된 점은 특기할 만하다. 북칠은 오석의 검은 색으로 인해 흑묵보다 붉은 당주를 이용하면서 더욱 정교화된다. 넷째, 조선 후기에 들어서면서 각자 방식에도 변화가 일어난다. 영조 연간까지 각자는 획의 두께에 따라 각의 깊이를 결정해 음영을 표현하고 양감을 나타냈다. 물론 이 같은 기법은 모든 표석이나 신도비에서 나타나는 것은 아니나 내수사에 소속된 뛰어난 경공장들의 전습에 의해 유지되었다. 따라서 비석을 제작하기 위해서는 숙석, 연정, 마정, 정간, 초도서입, 중초, 입각, 교정, 장황의 단계를 거쳐 하나의 완성품이 이뤄진다. 이러한 것은 묘주에 대한 존경심과 공업을 알리는 목적이지만, 이를 통해 공예 기능의 분업과 협업에 바탕을 둔 작업이 표석의 전체 제작 과정에 나타난다는 사실을 알 수 있다.