• 화훼연구
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• 제19권4호
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• pp.259-263
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• 2011

'Dimple' 품종은 경남농업기술원 화훼연구소에서 황색 홑꽃인 'Champy'를 모본, 황색 홑꽃의 'SP05-135'를 부본으로 인공교배를 실시하여 2005에서 2009년에 걸쳐서 계통선발을 통해 육성하였다. 품종의 특성검정은 2007년부터 2009년까지 촉성재배와 억제재배, 자연재배 조건 아래서 3회에 걸쳐 조사하였다. 'Dimple' 품종의 자연개화기는 10월 30일경이며, 일장조절에 의해 주년재배가 가능하다. 초장은 105.1 cm 정도이며, 생장유형은 단일줄기형이다. 꽃 크기가 4.7 cm, 설상화 길이 2.7 cm, 설상화 너비 0.8 cm인 스프레이국화로 착화수는 20.3개이다. 화색은 선명한 황색이며, 화서형태는 산방화서이다. 봄의 단일상태에서 'Dimple' 품종의 개화소요일수는 50일 정도인 7주 품종이며, 가을 절화수명 검정에서 21.3일로 긴 편이다.

• 한국식물병리학회지
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• 제1권1호
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• pp.33-37
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• 1985

황록색줄무늬모자익과 줄기 정단부가 구부러지는 증상을 보이는 대두 이병주를 채집하여 지표식물검정, 충매전염, 물리적 성질 조사, 항혈청검정 및 전자현미경검경을 하였다. 지표식물검정결과 T. expansa와 Scotia에 국부병반반응, 동부, 완두, 명아주 등에 전신감염 증상을 일으켰다. 복숭아혹진딧물에 의한 전염율은 $90\%$였다. 물리적 성질은 내열성이 $60^{\circ}C$, 내희석성이 1,000배였고, 내보존성이 2일이었다. 바이러스를 순화하여 항혈청제조결과 1:1024의 역가를 보였으며 일본 바이러스연구소에서 분양 받고 AMV 항혈청과 양성반응을 보였다. 전자현미경검경 결과 대부분 길이가 60nm인 박테리아 모양의 바이러스 입자가 검경되었다.

• 복식
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• 제60권8호
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• pp.132-150
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• 2010

The purpose of this research was to study the forms and styles of the costumes in the Peking Opera of China and to figure out the symbolism and aesthetic value of the costumes. The research was done using documentary Peking Opera, the costumes can be seen as a special kind of language which audience members can clearly understand it. Therefore, the spectators can understand instantly the sex, age, personality, and position of the character by seeing the style, color, and patterns of the costumes. As a result, one can call the costumes of Peking Opera, "picturizing costumes". The typical costumes are mangpao, pi, kao, xiezi, yi. Mangpao is the ceremonial robe often used by emperors and officials. It can be worn by lao sheng, xiao sheng and wu sheng. Bright yellow and apricot yellow colors are used exclusively by those who play the parts of emperors, foreign rulers, princes and the Monkey King. The next costume style to be discussed is Pi. Pi is the informal dress for the emperor, and young officials that are involved in civilian or military duties. The third costume style to be explored is Kao: the garment that a stage warrior wears when going into battle. This warrior can have three kinds of armor: the hard armor, the soft armor and the newly revised armor. Fourthly, the costume that is the most commonly worn, xiezi, is examined; it is the informal coat for every one regardless of one's age, sex, role, or level of nobility. Finally, the last of the typical costumes is Yi; this costume category includes numerous kinds of costumes, such as kaichang, baguaiyi, fayi, guanyi, yulinjia, kanjian, toupeng, jianyi, etc

• 한국생활과학회지
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• 제24권2호
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• pp.267-284
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• 2015

The purpose of this study is to extract the color chip from the works of Matisse with the exotic tastes, to analyze the characters of adjacent colors, and to suggest the color coordination of artistic character. The research method is based on the literature study which analyzes visual materials. The results are as follows. Considering the colors of Japanese taste, He employs vivid and strong tone in red, yellow, and blue, light tone in pink, purple, and green and deep tone in green, purple, blue and black. His color scheme is very bold and splendid. In his Algerian taste, red is very popular, but an attention should be paid in his development of orange and blue tones. In general, the usage of various tones brings colors into less relief and make the contrast of tones more conspicuous. His Spanish taste, based on red and orange, attracts attentions with strong impressions, but sometimes, dark or adjacent pale tones creates strong, mild and murky atmosphere. The Moroccan taste, based on the development of blue tones which have strong attraction implies the lightness but represents silent and calm. The Rumanian taste, represented in primary colors of red, yellow and blue and achromatic colors is bright and clear. In addition, its light tone in various colors represents peace and romance. The coordination of the exotic colors with the unique adjacent colors created by Matisse is not based on the established color coordination theory, but extracts colors in the aspect of culture borrowing. Therefore, it can double the effects of the color scheme expressed in the existing designs and be used as the global and multi-cultural design sources.

• 복식
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• 제54권4호
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

• 한국의류산업학회지
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• 제13권3호
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• pp.346-352
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• 2011

The purpose of this study were to see what is the color preference for college students and the meaning of color, based on color psychology. The subjects are the male and female university students in Busan and the survey is conducted in March 2009, September 2009. Analysis is based on eight kinds of colors such as red, orange, yellow, green, cyan, blue, purple which are used in the psychological analysis of Howard & Dorothy Sun Corporate CRR (Colour reflection reading), and words representing the meaning of colors. A total of 259 questionnaires were used to analyze data and analysis was conducted by using SPSS 14.0 statistical package. First, by examining the best three colors among eight colors, the red which represents sociable and passionate leadership and a lot of energy was the first. Second, in terms of positive and negative sense, the green is stable, protected, red is passionate, strong', yellow is bright, happy and green is' clean, young. The Blues has peaceful, tranquil image', the orange is lively animation, cheerful, and the purple shows a positive meaning of beautiful, precious, often mature, loving. Third, the preferences of boys and girls to compare colors in the first preferred color, there were significant differences between boys and girls. Most boys prefer blue, while the girls like red the most. Both boys and girls look at the meaning of green color with the most positive sense and especially male students have the negative connotation about the green color than female students.

• 패션비즈니스
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• 제11권3호
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• pp.79-86
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• 2007

The purpose of this study is to understand the dyeing properties and color analysis of fabrics knitted with ramie, cotton, wool and acrylic by using scoria and to analyze whether the knitted fabrics can be used for industrialization by measuring color fastness after and before sliver-nano process. The following is the conclusions. Firstly, when ramie fabric regarding cotton, wool and acrylic was dyed at the temperature of $50^{\circ}C$ for fifteen minutes by using 10, 25, 50, 100g/ $\ell$ of scoria, dyeing absorption gradually increased up to 50g/ $\ell$, and over the point of 50g/ $\ell$ it showed slow increase. Secondly, regarding saturation, among ramie fabric, wool, cotton and acrylic, wool appears as the lowest brightness. Therefore, it can be dyed with bright color and the highest value. In terms of the value of chromaticity, wool also emerges as the lowest brightness. On the contrary, acrylic showed the lightest red as it had the value of the smallest b. Cotton takes the lightest yellow as the b value of the cotton showed the smallest. Thus, scoria dyestuff is a material that showed strong red and yellow on knitted fabric mixed with wool that is the biggest a. b value. Thirdly, in terms of dyeing fastness, sunlight fastness did not show noticeable differences before and after silver-nano processes, but in terms of washing and friction fastness, the material processed by silver-nano indicated that all knitted fabrics are over 4-5 point. which means silver-nano process can be effective for the industrial applications. As mentioned above, as a result of dyeing knitted fabrics with scoria, this study found a possibility of dyeing in the fabric materials, and if there is deeper dyeing experiments, fastness experiments and speculations, it might be possible to be a big issue just like loess and charcoal.

• 한국약용작물학회지
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• 제15권1호
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• pp.6-11
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• 2007

작약의 지상부인 잎과 줄기에서 물질을 분리 동정하기 위해 MeOH 추출 및 column chromatograpy하여 단일 물질 5종을 분리하였으며, 분리한 물질에 대하여 IR, UV, Mass, NMR 등을 이용하여 화학구조를 동정하였다. 그 결과 oleanolic acid, kaempferol, methyl gallate, astragalin, paeoniflorin의 구조가 확인되었으며 이들 화합물은 작약의 지상부인 잎과 줄기에서는 처음으로 분리되었다.

• 화훼연구
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• 제17권1호
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• pp.44-47
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• 2009

충남농업기술원 예산국화시험장에서 황색의 폼폰형 스프레이국화 신품종 육성을 위하여 2003년에 'SP03-033-02'를 모본으로 'SP03-005-20'을 부본으로 인공교배하여 'Yes Uri'를 육성하였다. 이 품종의 주년재배 특성검정을 위하여 2005부터 2007년까지 촉성, 억제, 자연 일장 재배를 3년 동안 조사하였다. 'Yes Uri'의 자연개화기는 10월하순경이고 전조 및 단일처리에 의해 연중재배가 가능하다. 꽃잎은 황색이고 폼폰형이며 착화수는 13.8개이고 절화장은 91.5 cm로 장간종이다. 꽃의 크기는 4.4 cm이고 촉성 및 억제재배가 가능하며 소등후 개화 반응기간은 8주이면서 기호성은 4.14점으로 높은 편이다. 또한 이 품종은 흰녹병에 대하여 저항성이고 절화수명은 23.6일로 길은 편이다.

• 한국의류산업학회지
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• 제20권3호
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• pp.257-265
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• 2018

This study investigated the colors of the costumes in the film 'The Handmaiden'. The author categorized and examined the hue and tone of the main character's costume as well as provided an adjective image surveyed from the standpoint of the audience in order find if the intended story of the director is delivered to the audience through costume colors. Study method analyzed 25 set costume colors of the heroine 'Hideko'. The color analysis were analyzed by capturing DVD images that showed the costume of 'Hideko'. The colors of costumes were analyzed by recognition through the eyes based on the IRI, Hue, and Tone 120. In addition, the analysis of the IRI adjectives image were conducted through the survey. Costume hue of the heroine 'Hideko' in the film 'The Handmaiden' were black, yellow, white, green, and purple. There were many colorful costumes in the movie. Tones were very pale, deep, bright, vivid, strong, and pale. Chroma were evenly distributed and brightness were distributed in the order high, middle, and low. They were interpreted as the intention of showing the situation and psychology of 'Hideko' in various scenes of the film through various costume colors. Color images of the film 'The Handmaiden' were classified as feminine, mature, classy, delicate, classic, noble, polished, refined, showy, western, mellow, pure, and decorative.