• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.6
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• pp.1085-1099
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• 2016

This article is designed to establish fundamental design criterion for theme park cast costumes in accordance with play type and space. There is an understanding that theme parks act as a play space that is designed to meet diverse playing desires. To analyze cast costumes, the theme park - 'Everland' in South Korea as an example, area was divided into attraction space and non-attraction space. Attraction space is mainly for full-scale play content areas and the non-attraction space is to enforce the attraction space experience. Roger Caillois's play theory states that there are 4 play types; Illinx, Mimicry, $Ag{\hat{o}}n$, and Alea. All 4 play types were shown through attraction and Mimicry at non-attraction. Each cast costume was analyzed in terms of apparel design elements - silhouette, textile, color, detail, and props - related to play type facility and cast role. Criteria for theme park cast costume designs were suggested based on the results. Illinx cast members who fulfill a safety-checking role wear high chroma warm color costumes with the accent on details in bodice cutting lines, collar edges, pockets, buttons and decorative ornaments. A complementary contrast is also used. The guidance cast in Illinx may wear a suit in bright/vivid color. Mimicry guidance cast costumes show meticulous perfection in imitation with the figure in its space. From head to toe, color, textile, and silhouette - every detail and even props should match the character. $Ag{\hat{o}}n$ cast costumes are strictly limited in detail and decorative ornament usage as well as in color, since they are in charge of the management and operation of a competition. Alea cast's role is a self-demonstrator. Alea cast members should be a real tarot card reader. However, a manual should control their costumes. A total of 10 cast roles at a non-attraction space should be designed to show job patterns clearly in accordance with the whole theme at the park.

• Animal Bioscience
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• v.36 no.10
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• pp.1596-1603
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• 2023

Objective: Sous-vide cooking offers several advantages for poultry meat, including enhanced tenderness, reduced cooking loss, and improved product yield. However, in duck meat, there are challenges associated with using the sous-vide method. The prolonged cooking time at low temperatures can lead to unstable microbial and oxidative stabilities. Thus, we aimed to assess how varying sous-vide cooking temperatures and durations affect the physicochemical and microbial characteristics of duck breast meat, with the goal of identifying an optimal cooking condition. Methods: Duck breast meat (Anas platyrhynchos) aged 42 days and with an average weight of 1,400±50 g, underwent cooking under various conditions (ranging from 50℃ to 80℃) for either 60 or 180 min. Then, physicochemical, microbial, and microstructural properties of the cooked duck breast meat were assessed. Results: Different cooking conditions affected the quality attributes of the meat. The cooking loss, lightness, yellowness, Hue angle, whiteness, and thiobarbituric acid reactive substance (TBARS) values of the duck breast meat increased with the increase in cooking temperature and time. In contrast, the redness and chroma values decreased with the increase in cooking temperature and time. Cooking of samples higher than 60℃ increased the volatile basic nitrogen contents and TBARS. Microbial analysis revealed the presence of Escherichia coli and Coliform only in the samples cooked at 50℃ and raw meat. Cooking at lower temperature and shorter time increased the tenderness of the meat. Microstructure analysis showed that the contraction of myofibrils and meat density increased upon increasing the cooking temperature and time. Conclusion: Our data indicate that the optimal sous-vide method for duck breast meat was cooking at 60℃ for 60 min. This temperature and time conditions showed good texture properties and microbial stability, and low level of TBARS of the duck breast meat.

• Journal of Fashion Business
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• v.14 no.1
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• pp.86-105
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• 2010

Vintage fashion is a lot influenced by colors because an emotion is transmitted via images of "old feeling", "worn-out feeling" and "faded feeling" etc. Colors are visual sensation occurring at a time when lights stimulate an eye, which is a representative factor which humans first perceive when they touch objects. And colors in clothing function as a critical element which indicates an individual's impression and character as well as aesthetic sensation. In this study, I examined on the theoretical consideration and aesthetic characteristics via the previous literature on vintage fashion and colors. As an empirical study, I investigated on the colors of vintage fashion appearing in Pr$\hat{e}$t-$\grave{a}$-porter Collections, Paris from Spring/Summer, 2003 to Fall/Winter 2008. As a way for study, I investigated into the total 197 vintage fashion photos and calculated their RGB values by using photoshop. And I converted the values of the colors extracted into H V/C values by using Munsell Conversion Version 9.0.6 and analyzed on Munsell System of 10 Color Notation and the PCCS colors, classifying a color scheme by visual sensation measurement. The result of analyzing on the concept of vintage fashion and its color characteristics is as follows; Vintage fashion made an appearance the most in 2003 and 2004 and its colors appeared a lot in Y, YR, R and PB lines. Color tone concentrated on black and white, achromatic color and low chroma colors in a grayish line, chromatic color. Thus, the study found that colors suitable for a "worn-out", "faded" and "old" image are properly reflected in vintage fashion rather than a clear and bright background. In a color scheme, I found contrast color and same color appearing a lot, which gave an unharmonious feeling and a smack of the country. The study reveals that the color characteristic of vintage fashion is relatively diverse and complex in color, color tone or shade and color scheme, which shows a color trend which reflects a non-constructive and complex coordination characteristic instead of a standardized simple and clear image.

• Journal of Pharmacopuncture
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• v.15 no.4
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• pp.52-65
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• 2012

Objectives: Toad venom, called Chan-Su, is a traditional Oriental medicine secreted from the auricular and the skin glands of the Bufo bufo gargarizanz Cantor or B. melanosticus Schneider and has been widely used in China, Korea and other parts of Asia for the treatment of pain, heart conditions, and cancer. We examined the concentrations of the main chemical constituents within a commercially available toad venom product and compared the levels for different extraction methods. Methods: Toad venom was extracted using either cold or hot water, ethanol (EtOH), methanol (MeOH), or ethyl acetate (EtOAc), was fractionated using precipitation or reflux, and was then analyzed using thin layer chromatography (TLC), high-performance liquid chromatography (HTLC), and liquid chroma-tography - mass spectrometry (LC-MS). Individual components were identified by comparisons of the retention times, the ultraviolet spectra, and mass spectras and differences in chemical constituents for different solvents and extraction methods are presented. Results: Components with authentic standards, including serotonin and bufodienolides (cinobufagen, bufalin, cinobufalin, and resibufogenin), were detected. The water extract of toad venom contained the greatest amount of serotonin ($75.7{\pm}0.1$ mg/g), but very small amounts of bufodienolides ($3.8{\pm}0.0$ mg/g). In contrast, the use of MeOH or EtOH extraction solutions resulted in 5-26 times higher concentrations of bufodienolides, with only trace amounts of serotonin. The relative and the absolute concentrations of the component also varied based on the extraction method; i.e., EtOH extracts yielded the greatest total amounts of bufodienolides, and EtOAc precipitation had the lowest amounts of bufodienolides. Conclusions: Toad venom consists of serotonin and several bufodienolides, and the choice of solvent to extract chemical the constituents is important as a way to enrich the purported active components for treating different conditions.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.359-369
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• 2018

When expressing Christ visually in the medieval Christian painting, the most important issue was how to express the divinity as Son of God and the humanity as attribute of human in a balanced manner. The purpose of the study is to examine both formative and symbolic characters of divinity and humanity on the Christ's body and clothes in the Medieval paintings, Transfiguration of Christ. In the paintings, Christ's body is definite evidence to show both his divinity and humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the Transfiguration of Christ were as follows: Blue, gold, purple, white and bleaching effect are the emblem of divinity, and red and color contrast effect with a high chroma stand for humanity of Christ. In addition, unstructured wrinkles of clothes reveal Christ's divinity, on the other hand, structured drapery shows his humanity through emphasizing volume of the body. Finally, divinity of Christ is shown on the gold clavus and red clavus intensify his humanity. Medieval Christian paintings are products planned out to express Christ's dual nature. There is a significance that the paintings represent the profession of painter's faith and the dogma of the era. Furthermore, they suggest the importance of the image to deliver the abstract concepts by visualizing.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.48 no.1
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• pp.1-7
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• 2011

In this paper, we propose the digital image enhancement method including local tone reproduction and preservation of the hue. In recent studies, an integrated multi-scale retinex (IMSR) has produced great naturalness in the resulting images through enhancement of visibility in dark area in input images. However, most methods, including IMSR, work in RGB color spaces. As such, this produces hue distortion from the perspective of the human visual system, that is, hue distortion in CIELAB color space. Accordingly, this paper proposes an tone reproduction and enhancement of saturation method in a device-independent color space, CIELAB, to preserve the hue and obtain a high contrast and naturalness. First, to achieve the desired objectives, the IMSR is then applied to only the $L^*$ values in CIELAB color space, normalization, and simple mapping function, thereby preserving the balance of the color components and enhancement of visibility. Then, saturation adjustment is performed by applying the ratio of the chroma variation at the sRGB gamut boundary according to the corrected luminance. In experiments, the proposed method is shown to improve the visibility in dark shadows and bright regions in the resulting images and reduce any color distortion then preference test are performed.

• Journal of Sericultural and Entomological Science
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• v.41 no.1
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• pp.20-28
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• 1999

Color qualities investigated on the basis of Munsell code and Korean standard color code for the cocoons from various strain of mulberry silkworm, Bombyx mori. 16 of different color qualities were identified from 21 of original silworm strains, and determinated international name with the revision of Korean color name for cocoon. The various cocoon color confirmed on the sphere from 567 to 593 nm wavelength, 78% of those located at the region about 580 nm (575~584) of sensitive "color difference limen". Y gene engaged broad ranges of wavelength (575~593 nm) in the color expression, by contrast with other genes of Pk (593 nm), F (584~593), Grc and relative G group (567~570 nm), on the transmission of carotenoid or flavonoid color substance. YC gene expression by original silk worm strain was also distinguished by those variation of specific yellow than other colors from Grc, GaGb, Gc, and YPkF. Appearance of chrome yellow cocoon was dominant than other yellow in the cross among vivid yellow group. F1 of pin${\times}$green produced the cocoon of yellow such as "additive mixture" as color light, however, most of the hybrid between yellow cocoon showed the color similar to "subtractive mixture" as a mixture of dyestuff. Hybrid cocoons among yellow or green colors were decreased their hue, value, and chroma, than those of parent. Diallel cross among the strain of various green cocoon suggest the existence of Grc, Ga, Gb, Gc genes. Cream colored cocoon of B. mandarina was differed from other yellow cocoon of Bobyx mori B. mori. Y$^A$ with Ymc showed the similar role of Y with C, therefore, segregated yellow cocoon from the B. mori${\times}$B. mandarina (+$^YC/Y^AYmc$). YC expression of $Y^AY$mc genes might be suppressed by deficiency of outer layer sericin on the middle division of silk giand in the B. mandarina.