• Journal of the Korean Society of Clothing and Textiles
• /
• v.42 no.2
• /
• pp.224-236
• /
• 2018

This study analyzed differences between Jumchi-Hanji papers not dyed and dyed with persimmon juice (50% concentration) in five strength properties (tensile, wet tensile, tearing, bursting, and folding strengths). For the analysis, the undyed and the dyed Jumchi-Hanji papers were made by Jumchichigi during 40 minutes and made with the Dakji of different layer (a layer, two layers) and Choji method (Oebal-teugi, Ssangbal-teugi). Differences between Jumchi-Hanji papers dyed with the different concentration of persimmon juice (20% vs 70%) in the five strengths were also identified. For this examination, Jumchi-Hanji papers were made with two layer Dakji (Oebal-teugi Choji method) and by Jumchichigi during 60 minutes. Jumchi-Hanji papers made in this study were used as test samples. As a result, Jumchi-Hanji papers dyed with persimmon juice had higher tensile strength (CD), wet tensile strength (MD, CD), and bursting strength than those of undyed Jumchi-Hanji papers. However, tearing strengths (MD, CD) of dyed Jumchi-Hanji papers were lower than undyed Jumchi-Hanji papers. Folding strengths (CD) of dyed Jumchi-Hanji papers were low but the folding strengths (MD) of them were high compared to undyed Jumchi-Hanji papers. In addition, the concentration of persimmon juice influenced the five strength properties of Jumchi-Hanji. The tensile, wet tensile, and bursting strengths of Jumchi-Hanji papers dyed with a 70% concentration were higher than those one of Jumchi-Hanji papers dyed with a 30% concentration while the tearing and folding strengths of Jumchi-Hanji papers dyed with a 70% concentration were lower than Jumchi-Hanji papers dyed with a 30% concentration.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.46 no.4
• /
• pp.565-582
• /
• 2022

In recent years, Jumchi-Hanji made of mulberry paper is used as a material for fashion items. This study examined the effect of the type of Choji method (Oebal-teugi or Ssangbal-teugi), layer number (one or two layers) and Jumchichigi time (20, 40, or 60 minutes) on the tensile, wet tensile, tearing and bursting strengths of Jumchi-Hanji. Jumchi-Hanjis used as test samples in this study were made from mulbery paper which was manufactured with either bleached or unbleached paper mulberry from Thailand. The results showed that Jumchi-Hanji made with two layers of mulberry papers had higher strength properties than Jumchi-Hanji made with only one layer. The strength properties of Jumchi-Hanji also increased with longer Jumchichigi time. Furthermore, this study confirmed that the effects of Jumchichigi time on Jumchi-Hanji strengths differed based on the type of Choji method, the layer number of mulberry papers used, and the specific strength property measured. Therefore, to guarantee the strength properties required by the application of Jumchi-Hanji paper as a fashion material, it is necessary to carefully consider the adequate Choji method and layer number to apply in the manufacture of Thai mulberry paper and the adequate duration time needed to perform Jumchichigi to Thai mulbery paper.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.38 no.3
• /
• pp.397-403
• /
• 2014

In this study, various types of Jumchi Hanji were made to develop shroud materials as a new use for Hanji. The properties of Hanji (basis weight, thickness, apparent density, bulk, tensile strength, wet tensile strength, elongation ratio, tear strength, bursting strength, and folding endurance) are measured. In all cases, Jumchi Hanji had a higher thickness, lower apparent density and higher bulk than Hanji because pores in the intervals of mulberry fiber are composed of bulk. So, it is considered to carry a value as a textile material. As for the results of the strength analysis of Jumchi Hanji, Jumchi technique enhances 25% of elongation ratio, which is regarded the most important role in textiles and 35% of bulk. Moreover, it was shown that it enhanced overall strength. In conclusion, it implies the possibility of applying it as a shroud material. Jumchi Hanji is thought to have enough potential to be developed as a material to carry the characteristics of Hanji in the textile market.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.41 no.4
• /
• pp.633-645
• /
• 2017

This study examined the effects of the number of Dakji layer (a layer, two layers), the time of Jumchichigi (20, 40 and 60 minutes) and the type of Choji method making Dakji (Oebal-teugi, Ssangbal-teugi) on five strength properties of Jumchi-Hanji. As a result, the number of Dakji layer and the time of Jumchichigi influenced the five strength properties (tensile, wet tensile, tearing, bursting, and folding strengths). Jumchi-Hanjis made with two layers of Dakijis had higher properties than Jumchi-Hanjis with a layer of Dakji in the strength properties. The more the time for Jumchichigi is spent, the more the five strength properties of Jumchi-Hanji increased. The type of Choji was related to only three strength properties. The tearing strength of Jumchi-Hanjis with one and two layers, and the wet tensile and the folding strengths of Jumchi-Hanjis with two layers depended on the type of Choji. The differences of Jumchi-Hanji and Dakji were also identified in the strength properties. All Jumchi-Hanjis had low tensile and wet tensile strengths when compared to Dakjis. However, Jumchi-Hanjis, made by sixty minute Jumchchigi, had generally higher tearing, bursting, and folding strengths than the Dakjis. In conclusion, the strength properties of Jumchi-Hanji could be improved by controlling the number of Dakji layers and the time of Jumchichigi.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.3
• /
• pp.83-89
• /
• 2022

For the purpose of promoting the excellence of Korea's unique traditional hanji around the world, it was intended to promote 'modernization of tradition' by producing and presenting cultural products suitable for modern sensibility using traditional hanji which is widely used in the arts. First of all, using hanji as a material, jumchi hanji was made by jumchi technique. Cut to a certain width according to the cultural products such as laptop case, cell phone case, hat, and bag. Weave the cut jumchi hanji with plaine weave, twill weave, and hexagon depending on the purpose of the cultural products to be made. A cultural products were made by matching the woven jumchi hanji with artificial leather, cotton, and denim.

• Journal of Korea Technical Association of The Pulp and Paper Industry
• /
• v.43 no.4
• /
• pp.11-22
• /
• 2011

Jeonji technique was widely used in general Hanji handicraft including Jihwa handicraft. But the technique itself has not been passed on. By contrast, Jiseung technique and Jiho technique have been passed on and continuously developed. And although the Huji technique has not been transmitted, it should be vigorously used as a technique of producing the frame in order to revive the authenticity of traditional Hanji handicraft. Jumchi technique, a method of using water to connect between layers, is an effective technique of diversely expressing the feel of materials of Hanji craftworks. Modern Hanji handicraft has used the characteristics of paper and paperboard diversely produced nowadays as much as possible, which shows that it is more likely to develop as handicraft.

• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
• /
• 2011.10a
• /
• pp.307-313
• /
• 2011

• Journal of the Korean Society of Clothing and Textiles
• /
• v.45 no.6
• /
• pp.1035-1051
• /
• 2021

This study compares the strength properties of Jumchi-Hanjis dyed with 70% and 100% persimmon juice concentrations and undyed Jumchi-Hanjis. The Juumchi-Hanjis were made from Dakjis (mulberry papers), which were mixed with different ratios of fibers from paper mulberries originating in Korea and Thailand, including wood pulp from Canada. Research results showed that tensile, wet tensile, and bursting strengths of Jumchi-Hanjis dyed with 70% concentration were higher than those of undyed Jumchi-Hanjis. However, the tearing strengths of the dyed Jumchi-Hanjis were lower than those of undyed Jumchi-Hanjis. The wet tensile strengths of Jumchi-Hanjis dyed with 100% concentration were higher than those of dyed with 70% concentration. The increase and decrease of tensile, tearing, and bursting strengths depending on persimmon juice dyeing differed as per the mixing ratio of the raw materials of Jumchi-Hanjis. Dyeing with 100% persimmon juice concentration tends to be more useful than 70% to increase the tensile (MD) and wet tensile strengths of Jumchi-Hanjis containing only Korean mulberry fibers (90%) and wood pulp (10%) as raw materials. Dyeing with 100% concentration tends to be less useful than 70% to increase the tensile, tearing and bursting strengths of Jumchi-Hanjis with high proportions (90% or 60%) of mulberry fibers from Thailand.

• The Research Journal of the Costume Culture
• /
• v.26 no.3
• /
• pp.450-470
• /
• 2018

This study examined the risk components and risk types perceived in the context of purchasing decisions of paper fashion products. This study also identified the levels of perceived risk by consumers and the differences between age groups in risk perception. First, qualitative data were collected through a focus group interview with 7 Korean females in their 20s to 50s. The interviewees were presented with two types of paper materials (undyed and dyed Jumchi-Hanji) and products (bags and wallets) made with the papers. The interviewees mentioned 11 risk components which were classified into five types of risks: performance (easily torn/lack of durableness, lint/pilling/wear-out, lack of water-resistant, no washability, and deformation and discoloration over time), social-psychological (old and traditional image), aesthetic (lack of design diversity, unsatisfactory appearance due to repair), financial (expensive price, lack of usability in daily life) and time/convenience (difficulty in handling) risks. Based on the results of the interview, a measurement for evaluating the risk perception of paper fashion products was developed. Second, quantitative data were collected from 64 Korean women in their 20s to 50s using the measurement. Respondents who were presented with the paper materials and the products perceived the performance risk more strongly than the social-psychological risk and aesthetic risk. In addition, differences between age groups were found: younger respondents perceived performance risk and social-psychological risk more strongly than older respondents, but older respondents perceived financial risk more than younger respondents. Based on this study, strategies for the risk reduction of paper fashion products were proposed.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.2
• /
• pp.336-344
• /
• 2010

Stage costumes are characterized by the importance as a medium of total visual expression on a synthetic art and need to be designed more effectively. This study followed the stage costumes of the play 'Long long time ago whuo-ee whuoee' which participated in the China-Japan-Korea University Theatre Festival. By consisting of the framework of a Korean story that tells and expands the visual expression province by the access method of a producer, the unique costume in the play was created by the dyeing of the traditional hangi. First, the use of hanji in theater represents originality and a fresh variation with the formative beauty of stage costumes in accordance with hanji that conforms to the recreation of tradition. Second, the dip dyeing technique made it possible to express colors limitlessly and the airbrush dyeing technique along with dyeing twice could account for the weak points of the color. As a result, the color brought effect as expected. Third, the weak points were supported by a Jumchi technique that created the fibroid material tangled with stronger adhesion in the creation of a hangi costume. In addition, dyed hangi was attached to the outer fabric. It allowed the costume to have a unique texture that was both soft and tough. This enforced the visualization of the costume and durability to prevent possible damage by the performers. Forth, pieces of hanji were attached to the damaged parts of the costume after re-visiting the dress rehearsal. As a result, the stage costumes represented the shabby clothes that express the social class of the characters. A new understanding of the excellence of traditional hanji was found and confirmed the possibility of it as a material for stage costumes through the study.