• Proceedings of the Korean Vacuum Society Conference
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• 2012.02a
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• pp.238-238
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• 2012

현재 국내 주얼리(gold alloy) 제품을 생산함에 있어 주조 방법은 크게 대기 중 주조(흡입주조) 방법과 진공주조 방법으로 나누어진다. 국내 주얼리 제조업체의 약 90%이상이 대기 중에서 주조하는 흡입주조방법을 통해 제품을 제작하고 있고, 국외의 경우, 대다수 진공주조방법을 통해 제품을 제작하고 있다. 본 연구에서는 주얼리 제품을 생산할 때 사용되는 합금재료(master alloy)가 동일한 조건에서 주조방법을 달리하여 각각 24개씩 총 48개의 14K yellow gold alloy 제품을 제작한 후 열처리를 통해 각각의 기계적, 물리적 특성분석을 비교 분석하였다. EPMA (Electron Probe Micro Analysis)분석을 통해 합금재료 및 제품의 구성성분을 조사하였고, ICP-MS (Inductively Coupled Plasma Mass Spectroscopy)를 사용하여 성분에 대한 정량분석을 실시하였다. 용체화처리(solid solution treatment)는 $700^{\circ}C$, 30분의 조건으로 실시하였고, 시효경화처리(age-hardening)는 $200{\sim}300^{\circ}C$의 온도범위에서 $50^{\circ}C$ 간격으로 실시하였다. 열처리 전과 후 시료의 grain 들의 배열 및 size 변화를 관찰하기 위해 식각 후 OM (optical microscope) 및 SEM (Scanning Electron Microscope)를 통해 분석하였다. 열처리 전 제품의 경도측정결과 대기 중 흡입주조방법 및 진공 주조방법을 통해 제작된 제품이 각각 119 Hv, 126 Hv로 나타났고, 용체화 처리 후 98 Hv, 92 Hv로 감소하였다. 시효경화 처리 후의 경도변화는 대기 중 흡입주조 및 진공주조방법을 통해 제작된 제품 모두 $270^{\circ}C$에서 각각 154 HV, 166 HV로 가장 높은 경도 값을 나타내었고, $270^{\circ}C$ 이상에서는 과시효(over aging)현상으로 인해 경도 값이 다시 감소하는 경향을 나타내었다. EPMA mapping 분석을 통해 주조방법에 따라 각각 제품의 구성성분분포도를 확인하였다. 이를 통해 열처리 전 다소 불균일하게 분포되었던 성분들이 열처리 후 균일해짐을 확인할 수 있었다.

• Korean Journal of Materials Research
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• v.23 no.5
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• pp.286-292
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• 2013

Generally, the color gold has had a biased conception due to its traditional use. Thus, this bias has resulted in a lack of usage of golden glaze on ceramics and also a lack of extensive studies of such glazes. In this paper, optimum conditions and mechanism of formation of gold color crystallization glaze containing $Fe_2O_3$(hematite), which is developed for gold colors of ceramic glazes, were studied. Experimental result showed that there are pyroxene based on diopside and $TiO_2$ phase in the base of a crystallization glaze with a value of $TiO_2$ of 6 wt% confirmed by XRD and Raman Spectroscopy. When $Fe_2O_3$ was used as a colorant for the gold color, the $TiO_2$ peak became extinct and the intensity of the diopside peak was sharper. Feldspar of 60 wt%, talc of 20 wt% and limestone of 20 wt% were used as the starting materials and these were tested using a three component system. The best result of test was selected and extended to its vicinity as an experiment to determine $TiO_2$ and $Fe_2O_3$ contents. The glaze with $TiO_2$ of 6 wt% and $Fe_2O_3$ of 12 wt% addition showed stable pyroxene based diopside crystals and the development of gold color. This gold color was obtained with CIE-$L^*a^*b^*$ values of 51.27, 4.46, 16.15 (a grayish yellow brown color), which was gained using the following firing conditions: temperature increasing speed $5^{\circ}C$/min, holding for 1 h at $1280^{\circ}C$, annealing speed $3^{\circ}C$/min till $1100{\circ}C$, holding for 2 h at $1100{\circ}C$, and finally natural annealing.

• Journal of the Korean institute of surface engineering
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• v.23 no.2
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• pp.24-29
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• 1990

The TiN filmms were deposited on the stainless steel substrates by BARE techinique in order to investigate the effects of process parameters such as source-to-substate distance (15-35cm), N2 pressure(4$\times$10-10 -1$\times$10-3mb)and bias voltage(O-2000V), on the deposition rate, the concentration ratio [N/Ti] and the surface color of the films. The deposition rate was deduced from the weight measurement, the [N/ti] ratio by ESCA. The deposition rate decreased with a relationship of=40.2/D2 where D was source-to-substrate distance. The effect of the bias voltage and the N2pressure on the deposition rate, however, appeared negligble. The [N/Ti] ratio was in the narrow range of 0.7 tp 0.8 It increased slightly with the N2 partial pressure and deceased with the source-to-substrate distance. It was confired by ESCA that a significant amount of oxygen and carbon was contaminated after deposition in the top surface of TiN films. The surface color of TiN film was changed from light gold yellow to reddish gold yellow with increasing [N/Ti] ratio.

• Conservation Science in Museum
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• v.28
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• pp.109-136
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• 2022

This study analyzes the , one of the three panels of 《Welcoming Banquets for the Governor of Pyeong-an》, a documentary painting of the late Joseon Dynasty, with the aim to identify the coloring materials used in the painting. The painting was first imaged at each wavelength in order to minimize the potential problems in the process of analyzing specific parts. This study applied X-rays to identify ink, gold, and organic and inorganic pigments and used infrared rays to find ink and copper-based pigments. It also applied hyperspectral imaging to distinguish organic pigments from black, blue, and green materials. It also analyzed spots selected for each color to identify the following materials: white lead (white), ink/indigo (black), a combination of red lead and cinnabar (red), pink dye, purple dye, iron oxides (brown), orpiment/dye (yellow), malachite/malachite and yellow dye/indigo (green), azurite/white lead and indigo/indigo (blue), indigo and cochineal (violet), and gold leaf (gold). It is expected that more efficient analysis will be made possible by securing a sufficient library for each wavelength.

• Journal of Conservation Science
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• v.35 no.5
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• pp.403-415
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• 2019

According to oral tradition, the King Sejo's palanquin is indeed the palanquin of King Sejo, the 7^th monarch of the Joseon dynasty who reigned from 1455 to 1468, which was left behind after visiting the Magoksa temple. The palanquin is painted in five colors, mainly black, white, yellow, red and green. The chromaticity measurement of the yellow pigment showed that orpiment and gold are a noticeable distinction between the lightness and b^⁎ values. In the case of the red pigment, a^⁎ values of areas painted with cinnabar tend to measure at high values. As a result of the optical microscopy, scanning electron microscopy and energy dispersive spectroscopy analyses, it was determined that Chinese ink was used for the black pigment, lead white and white clay were used for the white, and orpiment and gold for the yellow. The red pigment was found to be the result of minium, cinnabar and red ocher, atacamite was used as green pigment. Though the analysis results of the cross sections on very small exfoliation fragments of pigments, it was confirmed that white clay and lead white were used for the preparation layer. In addition, several coloration techniques were considered based on these analyses.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.19-34
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• 2010

This study aims to examine associationistic psychology and psychological operation associated with each color image, then to study the relation between particular colors used in paintings produced by Gogh and Klimt in different times and these painters' psychology in a bid to explore the meaning and role of psychological operation of colors. The findings of the study indicated that red and blue colors represent mainly negative images, while yellow and orange colors represent mainly positive images and psychologies. Specifically, in the case of Gogh, red expresses anxiety, a negative image, yellow symbolizes passion, a major positive image of emotional liberation, dark and thick green and the green involving blue symbolize negative images, emptiness and despair, and blue represents negative images of internal desire conflicts, and screaming. Also, purple used together with white represents anxiety and depression. In the case of Klimt, red represents negative images of anger toward mother and suppressed energy, yellow, an alternative to gold color, symbolizes the positive image of hope, passion, desire and eroticism, the arrangement of strong gold and orange colors represents a color of psychological healing more than a color of hope. As such, colors used in paintings produced by modern Western painters express the physiological conditions, psychological feeling and emotion in life, at the time when the artists produced such works. It was found that colors are yet another language of expressing emotions, and symbolize the psychologies of the artists, indicating that colors have something to do with the painters' experience and emotional impulses.

• The Plant Pathology Journal
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• v.32 no.6
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• pp.545-551
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• 2016

A bacterial pathogen, Pseudomonas syringae pv. actinidiae (Psa), is a causal agent of kiwifruit bacterial canker worldwide. Psa biovar 3 (Psa3) was first detected in 2011 at an orchard in Dodeok-myeon, Goheung-gun, Jeonnam Province in Korea. In this study, we present the results of an epidemiological study regarding Psa3 occurrence on kiwifruit orchards in Korea for the period of 2013 to 2015. Since the first detection of Psa3 in 2011, there was no further case reported by 2013. However, Psa3 was rapidly spreading to 33 orchards in 2014; except for three orchards in Sacheon-si, Gyeongnam Province, most cases were reported in Jeju Island. Entering 2015, bacterial canker by Psa3 became a pandemic in Korea, spreading to 72 orchards in Jeju Island, Jeonnam, and Gyeongnam Provinces. Our epidemiological study indicated that the first Psa3 incidence in 2011 might result from an introduction of Psa3 through imported seedlings from China in 2006. Apart from this, it was estimated that most Psa3 outbreaks from 2014 to 2015 were caused by pollens imported from New Zealand and China for artificial pollination. Most kiwifruit cultivars growing in Korea were infected with Psa3; yellow-fleshed cultivars (Yellow-king, Hort16A, Enza-gold, Zecy-gold, and Haegeum), red-fleshed cultivars (Hongyang and Enza-Red), green-fleshed cultivars (Hayward and Daeheung), and even a kiwiberry (Skinny-green). However, susceptibility to canker differed among cultivars; yellow- and red-fleshed cultivars showed much more severe symptoms compared to the green-fleshed cultivars of kiwifruit and a kiwiberry.

• Industry Promotion Research
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• v.6 no.1
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• pp.15-21
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• 2021

The study aims to examine the connection between psychology in human unconsciousness and color, after looking at the meaning and symbolism of the characteristics and colors in Klimt's paintings from an analytical psychological point of view, Gustaf Jung's archetype theory. After analyzing Jung's archetype theory, First, in Klimt's paintings, the gold and yellow colorful decorations and patterns expressed desire with unconsciousness, sex, and especially a woman's desire for sex. The physical relationship between men and women is described as eros, life, and death. Second, the main colors in the paintings were blue, black green, gold, yellow, and orange, indicating anger and oppression, passion, desire, hope, and eroticism, and orange and yellow colors represented the inner healing colors of hope. Third, the artist's inner healing process contains color for himself and incorporates the inner unconsciousness and consciousness. The colors expressed in paintings are not only therapeutic meaning but also being conscious of inner unconsciousness, which is valuable as healing. Therefore, the color will be useful as a means of conveying psychological expression in the psychological counseling sessions.

• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.4
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• pp.149-160
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• 1995

We investigated the seasonal changes flower color of 163 deciduous woody landscape plants in the Suwon region from January 1, 1992 to March 20, 1993. The results were as follows; 1. By the month of anthesis of woody landscape plants, only one plant of Hamamelis japonica flowered in February, 15 species in March, 48 species in April, 63 species in May, 23 species in June, 12 species in July, and one plant of Hydrangea paniculata was flowered in August. 2. The flowering period was about 220 days from February 24, 1992 that Hamamelis japonica was anthesis to October 5, 1992 when Hydrangea paniculata was deblossomed. 3. By the flowering period of woody landscape plants, 81 species continued for 11 days through 20 days, and Rosa spp., 118 days, Hibiscus syriacus 'Yungkwang', 80 days, Largerstroemia indica, 65 days, and 6 species continued for 41 through 60 days, 10 species were 31 through 40 days, 43 species were 21 through 30 days, and 20 species were for less than 11 days. 4. The woody landscape plants flowering before leaf spreading, Hamamelis japonica, Abeliophyllum distichum, Prunus mume 'Hwahyangmi', Prunus mume 'Baekkaha', Lindera obtusiloba, Cornus officinalis, Prunus armeniaca. The others were plants with leaves spreading white flowering; Forsythia ovata 'Tetra gold', Forsythia ovata, Corylus hetrophylla, Rhododendron mucronulatum, Magnolia denudata, Forsythia koreana 'Seoul Gold', Forsythia koreana, Magnolia stellata, Acer negundo 'Elegans', Magnolia kobus, Forsythia viridissima 'Bronxensis', Prunus yedoensis, Prunus leveilleana var. pendula, Prunus persica for. albiplena, Prunus tomentosa, Prunus persia, Magnolia liliflora, Prunus glandulosa for. sinensis, Cercis chinensis, Poncirus trifoliata. 5. In terms of flower color based on KBS standard color number, 83 species were white, 44 species wer red, 21 species were yellow, 12 species were violet, and 3 species were green. 6. In terms of the flower color by month. Hamamelis japonica was yellow February. Flower colors in March were : yellow-7 species, red-3 species and white-5 species. Flower colors in April were : White-21 species, red-19 species and yellow-6 species. Flower colors in May were : White-36 species, red-16 species. The white flowers in June were 16 species. Flower colors in July were : white-4 species, red-4 species. 7. The white flower color of woody landscape plants of trees was 35 species. The red flower color was 18 species, yellow flower color was 5 species, violet flower color was 2 species, and green flower color was 3 species. Also the white flower color of woody landscape plants of shrubs was 48 species, red flower color was 25 species, yellow flower color was 17 species and violet flower color was 10 species. 8. The new 'Cultivars' of woody landscape plants are needed to introduced the development of planting design. 9. Present data of illustrated books of plants should be checked by new data that was studied in this research.

• Journal of agriculture & life science
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• v.46 no.6
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• pp.17-24
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• 2012

Soil types for cultivated crops are approximately compose of volcanic ash soils for black(21%) and dark brown soils(41%), and non-volcanic ash soil of red-yellow soil(17%) in Jeju Island. The effects of these soils on fruit qualities of kiwifruit 'Jecy Gold'(Actinidia chinensis cv. Jecy Gold) were investigated in non-heating plastic house. Soil moisture potential was the lowest in the red-yellow soil during fruit growth. However, transverse diameter of fruit in the red-yellow soil was tends to be smaller than in volcanic ash soils, but longitudinal length of fruit was not shown difference by soil types during fruit maturation. Soluble solids in fruit was not differed by soil types until 140 days after of anthesis, after that the red-yellow soil was the highest. No difference on acid contents and hardness of fruit by soil types. Fructose, glucose and sucrose contents in harvested fruit were $4.45{\pm}2.08$, $5.43{\pm}1.13$, and $2.40{\pm}0.40%$ for the red-yellow soil, $2.51{\pm}0.55$, $3.52{\pm}0.86$, and $0.79{\pm}0.33%$ for the black soil and $2.54{\pm}0.47$, $3.52{\pm}0.73$, and $0.73{\pm}0.38%$ for the dark brown soil, respectively. These results show that soluble solid and free sugars in fruit were affected by soil types. It is estimated that soil moisture was rapidly drought in the red-yellow soil of non-volcanic ash soil than in the black and dark brown soils of volcanic ash soil.