• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.31-48
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• 2013

It goes without saying that Yi Mae-Bang, as the sole owner of two of the intangible cultural assets including No. 27 Seungmu in 1987 and No. 97 Salpuri Chum, is a top-notch Korean traditional dancer. Moreover, in regards to traditional clothing, he is also known as the only traditional dancer who directly performs on stage as well as analyzes traditional clothing in order to apply them into his own dance performances by designing and producing them to meet his artistic spirit. In order to examine how Yi Mae-Bang's unique and creative stage clothing was developed, and what kind of process it went through to possess its unique style, which draws the attentions of people with its harmony of beauty and dance, this research first examined the change of the composition through the yearly picture data. Before 1984, the composition of the Salpuri Chum clothes changed by putting on 'Jeogori' on the 'Mudong-Bok' without the 'Kweia' (sleeveless), and in 1999 'Mudong-Bok' became widened with the decoration of embroidered hem making it more attractively colorful. after 2000 it became more splendidly adorned by embroidering hem on widened Mudong-Bok and tucking 'Kweja' in the layers which created silhouette like a dress that is seemingly wider and luxuriant than a skirt. One of notable features of Yi Mae-Bang's Salpuri is that its cloth and cuff ribbons are lightly colored in different colors enclosing the tip part. As for the ribbons, it was also changed as time went by from direct-cutting of the cloth just like the A-line of Mudong-Bok to drawing a diagonal line less than 5cm above the ribbon and 8cm below the ribbon so that it takes the form of getting widened as it gets to the lower part, and its length was also elongated in proportion to that of the bottom of Mudong-Bok.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.12
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• pp.1933-1946
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• 2010

This paper is a comparative analysis of the $19^{th}$ century practice of indigo dyes and dyeing in Korea and England. From over hundreds species of indigo plants in the world, it was dyer's knotweed and woad that were cultivated in Korea; however, the only indigo plant grown in England was woad. Indigo dye was produced in the form of damp indigo sediment (jeon) in Korea; however, imported indigo (as a main dye) and couched woad (as an additional dye) were indigo dyes used in England. There existed three kinds of indigo vats, the ice vat, ash-water vat, and indigo sediment (jeon) vat, in Korea. The fresh leaves of indigo were used for both the ice vat and ash-water vat. The ice vat was very convenient for preparation, but had a weakness in the inability to produce a very deep shade of blue. The ash-water vat and indigo sediment (jeon) vat were in use for producing a very deep shade of blue. The indigo sediment Goon) vat was employed presumably only by professional dyers. The indigo vat practiced in England was categorized into two types; one was woad-indigo vat, and the other was an indigo powder vat prepared by using imported indigo rock. There was a tendency to adopt different kinds of indigo vats according to the material to be dyed. The woad-indigo vat was employed for the dyeing of wool. A few of chemical vats with imported indigo were adopted, especially for the dyeing of cotton. Indigo dyers in 19th century Korea were differentiated from the rest of the dyers. They managed the growing of indigo plants as well as the production of indigo sediment (jeon). Woad dyers in 19th century England handled woolen cloth as well as worsted and woolen yarn in general. However, they sometimes dyed silk skein as well. They produced several colors such as black, blue, slates, grays, by using both woad and imported indigo.

• Journal of The Korean Astronomical Society
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• v.41 no.5
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• pp.121-137
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• 2008

We present optical and near-infrared imaging and long-slit spectroscopy for the blue compact dwarf galaxy (BCD) Mrk 49 in the Virgo Cluster. The surface brightness distribution analysis shows that Mrk 49 consists of an off-centered blue bright compact core of r = 10" and a red faint outer exponential envelope. The $H_{\alpha}$ image and color difference suggest that these two components have different stellar populations: a high surface brightness population of massive young stars and an underlying low surface brightness population of older stars. The redder near-infrared colors of the inner most region suggest that the near-infrared flux of Mrk 49 originates from evolved massive stars associated with the current star-forming activity. The total apparent magnitude is $B_T\;=\;14.32$ mag and the mean effective surface brightness is ${\mu}_{eff}(B)\;=\;21.56$ mag $arcsec^{-2}$. Long-slit spectroscopy shows that Mrk 49 rotates apparently as a solid body within r = 10" in a plane at position angle 55 degrees with an amplitude of about $20\;km\;sec^{-1}$. The measured radial velocity of Mrk 49 was derived as $1,535\;km\;sec^{-1}$; and the total mass of stars and gases is in the range of 3 to $6\;{\times}\;10^9\;M_{\odot}$. The mass-to-light ratios for the central region of Mrk 49 in I and B band are estimated 1.0 and 0.5, respectively. The upper limit of the dark matter to visible matter ratio seems to be < 5. The oxygen abundance is $12\;+\;\log(O/H)\;=\;8.21\;{\pm}\; 0.1$ which is about one quarter of the solar value while the relative helium abundance appears to be similar to that of the sun.

• Journal of the Korean Ceramic Society
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• v.46 no.4
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• pp.405-412
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• 2009

In high temperature ceramic glazes, a stable range of pink-red colors that produced $Cr_2O_3-SnO_2-CaO-SiO_2$ pigments were factored by Cassiterite($SnO_2$) and Malayaite($CaSnSiO_5$) by $Cr_2O_3$. The experiment examined the influence of $CrCl_3$, a Sn-Cr substitution added with a mineralizer ($H_3BO_3$), as a chromophore in pigments. The experiment also studied the effect of $H_3BO_3$ (2 wt%) when added to malayaite($CaSnSiO_5$) to see if the crystalline reaction will increase. $Cr_2O_3$ was also substituted with $CrCl_3$ in order to prove how much influence $CrCl_3$ had on the $H_3BO_3$. Malayaite and cassiterite were the basic compound materials and the experiment was conducted both with and without mineralizers (2 wt% of $H_3BO_3$). Each compound was synthesized at 800, 1000, 1200, 1300, 1400, $1500^{\circ}C$ for 2 h. Synthesized pigments were analyzed by XRD, FT-IR and UV-Vis. The temperature variation produced two crystal phases that showed the different engaging effects of Cr oxidation. $CrCl_3$ produced a better effect on the malayaite crystal phase, resulting in a more defined pigmentation of the pink-red coloration compared to $Cr_2O_3$.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.181-189
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• 2004

This study consists of two parts, in which the traditional discourses about light and color are analysed hermeneutically, The first part deals with the optical and chromatic discourse that stands in the same context with the aesthetic, and the second with the analysis of color phenomenon that is constituitive of space. From the ancient time the basic parameters of the conceptual thinking such as the virtual, simulacrum, have sticked to the inevitable status, which mediates to represent the original that can never present by oneself. In modern times this specificity of the virtual could have been connected with the problem, how and by which means objects can be perceived and grasped in itself. Among the barometers to the problem ‘color’ or ‘color perception’ has been regarded as the distinct one, in which the relationship between the image and the identifying of this one, the relationship between the perceived image and the perceiving subject and the problem of the spatiality of color and surface can be dwelled on. Through the explication of the chromatic and aesthetic discourse it can be recognized that color, surface and space are interacted with one another. Colors on the surface are not only the dynamic interpoints between the memory and the forgetfulness, but also the virtual interfaces, in which the spatialising actions happen incessantly. At this point it can be illuminated that the space-constituitive dimension of color is correlative with the dimension of chromatic effects of spatialising. Therefore color as well as surface as the spatial happening must be apprehended as the one, which constitutes the spatialising and at the same time varies and shifts itself into another on the purpose of the other spatialising.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.30-43
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• 2013

This study provides suggestions of cultural product design contents by using the cloud-shaped gong in traditional temple culture in order to find a high value-added approach. The research herein is part of cultural design contents projects embedded with the spiritual value and symbolic connotation of temple culture. This would be meaningful to enhance its degree of utilization. This can also be a way to find a strategic alternative to a high value addition of temple stay and dissemination of temple culture. For the research methodology, literature was reviewed over temple stay and Bulgeonsamul. For motive design and development of cultural product design, both Adobe Illustrator CS3 and Adobe Photoshop CS3 were used as computer design program. The template image of cloud-shaped gong for basic motive design was selected from those available at the domestic temples for accurate depiction of its head and body. Finally, samples were adopted from those temples of Gounsa, Songgwangsa, Guinsa, Hwaeomsa, and Naesosa. For each motive, different colors were applied and ten basic motives were practiced in total. By repeating the process for these motives, three types of textile design were prepared. T-shirt designs used a round neckline as basic form, and it was designed for sleeved and sleeveless styles. Apron designs stressed V-neckline and two types were processed: one for the back seam line and the other for side seam line. Pendants were designed with modern and luxurious image so that so that it could be used in various types of accessories. Designs for the bedding applied pattern design of the motives and this was done in a way that gave the images a sense of stability and splendor.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.34-49
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• 2016

The ancient 'sacred cloths' of Indonesia have diverse characteristics. The purpose of this study is to analyze the characteristics of ancient Indonesian textiles, focusing on 'sacred cloths.' The research is divided into two parts. The first part analyzes the creation period, religious importance, region where the cloths are found, and color of the 'sacred cloths.' The second part focuses on the textile-making techniques and the ritual patterns of the 'sacred cloths.' This research is the second paper. This research analyzes 225 Indonesian sacred cloth examples chosen for their religious function in ceremony, and reviews 10 books and 8 research papers. Field research was done in the Museum of Bali, the Indonesian Museum of Textiles, and nine weaving production houses in eastern Bali. Indonesian sacred cloths express their cultural philosophy and function through production techniques, colors, techniques, and visual patterns. The 'sacred cloth'-making techniques are classified as Batik, Prada, and Ikat. The regions that contribute to the textile production determine what patterns show up on the cloths. Sumatran patterns are philosophical, lavish, and prestigious. Bornean patterns are barbaric and prestigious. Balinese patterns are complex, decorative, warm, festive, calm, and aristocratic. Javanese patterns are symbolic and repetitive. Celebes patterns are artistic and simple. Nusa Tenggara patterns are symbolic and narrative. The forms shown on the textiles, whether geometric, human and animal, natural objects, or abstract patterns, determine how to classify the varied patterns. As a result, ancient Indonesian sacred cloths characteristics portray Indonesian identity as Bhinneka Tunggal Ika(Unity in Diversity).

• Fashion & Textile Research Journal
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• v.16 no.3
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• pp.476-484
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• 2014

The purpose of this study was to investigate the dyeing properties and anti-microbial ability of silk and wool fabrics dyed with Terminalia chebula Retzius(TCR) extract using two extraction solvent, hot water and methanol. Dyeing properties of fabrics were studied by investigating the characteristics of colorant, changes in dye uptake under different dyeing conditions, and by investigating color change when mordants were applied. Also, color fastness, and antimicrobial activity of dyed fabrics were estimated. Regardless of extraction solvent type, colorant showed maximum absorption wavelength at 280 nm and 578 nm, which implied that tannin was the major pigment component of TCR. Also, through FT-IR spectrum result, it was confirmed that tannin of TCR methanol extract was hydrolysable tannin. But for the hot water extract, it was only assumed that its tannin was condenced tannin. Fabric dyed with hot water solvent extract showed higher dye uptake than fabric dyed with methanol solvent extract, dye uptake increasing by higher concentration of the dye, longer dyeing time and higher dyeing temperature. And the absorption curve between TCR extract and protein fiber was shaped in the form of Langmuir adsorption isotherm. Fabric dyed without mordant was yellow in color, and when dyed with mordant, fabric showed various colors depending on mordant types except Sn. Color fastness to washing was generally fine and color fastness to light was moderate. But color fastness to rubbing and dry cleaning was outstanding. Lastly, dyed fabrics showed very good antimicrobial activity of 99.9% against Staphylococcus aureus and Kiebsiella pneumoniae.

• Journal of Korea Multimedia Society
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• v.13 no.3
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• pp.457-466
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• 2010

In this paper, we propose a new method for detecting digital forgery that identify interpolated region between digital composited images. For detecting the interpolation factor and the tampered regions, we perform two algorithms: The first algorithm is to estimate the interpolation factors using the differential equation for forgery image along the horizontal, vertical, and diagonal directions, respectively; The second algorithm is to scan the interpolation factors along each direction for detection areas as the mask of the optical window size($64{\times}64$) in order to find out the forgery region. A detection map of the forgery is classified with the magnitude of estimated interpolation factors into colors. This detection map can be used to find out interpolated regions from the tampered image. Experimental results demonstrate the proposed algorithms are proven on several examples. We also show the proposed approach is to accurately detect interpolated regions from digital composite images.

• Journal of Broadcast Engineering
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• v.16 no.3
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• pp.561-565
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• 2011

This paper presents an imaging system for reconstruction of enhanced color images using the conventional Bayer CFA. By extracting various colors such as RGBCY from two sequential images which consist of a image by broadband G channel lens filter and the other image captured without one, the proposed color image reconstruction system can reduce the computational complexity for demosaicking and make high resolution color information without aliasing artifacts. Because the proposed system uses the common Bayer CFA image sensor, fabricating a new type of CFA is not necessary for obtaining a multi-spectral image, which can be easily extensible for applications of multi-spectral imaging. Finally, in order to verify the performance of the proposed system, experimental results are performed. By comparing with the existing demosaicking methods, the proposed camera system showed the significant improvements in the sense of color resolution.