• Textile Coloration and Finishing
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• v.26 no.3
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• pp.187-194
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• 2014

To improve the deep coloring effect of PET fabrics, the alkali treated and black dyed PET fabrics were treated with 2 kinds of low refractive compounds such as acrylic resin and silicone resin. The color depth effect of treated PET fabrics was evaluated as lightness(L) change by UV-visible spectrophotometer. As the weight loss of PET fiber treated with alkali increased, the color depth of PET fabrics increased. Lightness(L) of PET fabrics treated with deep coloring agent was lower than that of untreated PET fabrics. The optimum concentration of treated PET with deep coloring agent was 4% o.w.s. The deep coloring effect of PET fabrics treated with silicone resin was higher than one treated with acrylic resin. PET fabrics treated with silicone resin only might be more appropriate process than PET fabrics treated with acrylic and silicone resin for giving deep coloring effect for polyester fabrics.

• Textile Coloration and Finishing
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• v.15 no.4
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• pp.1-7
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• 2003

We investigated the effect of color depth on polyester fabrics by plasma treatment. In this study, although it have many paper about effects of plasma treatment, we observed interfacial electrokinetic potential of polyester fabrics by plasma treatment and also we investigated relationship between deep coloring agent and plasma treatment to get the effect of color depth on polyester fabrics. The results obtained are as follows, 1. Plasma treatment did not enhanced the effect of color depth of polyester fabrics by plasma treatment independently. 2. In the case of using the deep coloring agent with plasma treatment on polyester fabrics, lightness was more decreased than using the deep coloring agent itself. 3. Plasma treatment could not affect surface shape and tensile strength of treated polyester fabrics.

• Journal of the Korean institute of surface engineering
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• v.52 no.1
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• pp.30-36
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• 2019

In this study, we investigated the effects of anodizing time, dyeing treatment time, and variations in coloring concentration on the color of an AA5052 alloy processed by dye-treated anodizing. The outward color of the anodized film changed to deep red according to increases in anodizing time, dyeing treatment time, and coloring concentration; accordingly, lightness $L^*$ decreased and saturation $a^*$ and $b^*$ increased. The concentration of the dye and the UV-visible absorbance showed a nearly perfect linear relationship, allowing a quantitative analysis of the absorbed dye. Because the quantity of absorbed dye increased as anodizing time, dyeing treatment time, and coloring concentration increased, the outward color of the anodized film deepened. In addition, from the GD-OES depth profile, we found that the dye was preferentially absorbed on the surface of the porous anodized film.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2001.04a
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• pp.66-68
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• 2001

• Journal of the Korean Wood Science and Technology
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• v.46 no.3
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• pp.253-259
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• 2018

To determine the depth of preservative penetration in ACQ treated wood, the degree of penetration of Cu was measured. In this study, we developed a DDAC coloring method to investigate the penetration depth of DDAC, which is one of the active ingredient of ACQ, into wood. The following conclusions were obtained. The DDAC component reacts with a 2', 7'-dichlorofluorescein indicator and results in a deep orange color. This orange coloring reaction appears not only in DDAC solutions but also in ACQ treated wood tissues in which DDAC is present. It is possible to visually verify that DDAC has better wood penetration than Cu in the spruce, which is an refractory wood species, by the DDAC coloring method developed this study. In addition to the results, it is necessary to investigate the difference in penetration of Cu and DDAC for other wood species with poor preservative penetration.

• Journal of the Korea Computer Graphics Society
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• v.24 no.2
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• pp.1-9
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• 2018

In this paper, we propose a method to restore corrupted black and white facial images to color. Previous studies have shown that when coloring damaged black and white photographs, such as old ID photographs, the area around the damaged area is often incorrectly colored. To solve this problem, this paper proposes a method of restoring the damaged area of input photo first and then performing colorization based on the result. The proposed method consists of two steps: BEGAN (Boundary Equivalent Generative Adversarial Networks) model based restoration and CNN (Convolutional Neural Network) based coloring. Our method uses the BEGAN model, which enables a clearer and higher resolution image restoration than the existing methods using the DCGAN (Deep Convolutional Generative Adversarial Networks) model for image restoration, and performs colorization based on the restored black and white image. Finally, we confirmed that the experimental results of various types of facial images and masks can show realistic color restoration results in many cases compared with the previous studies.

• Journal of Fashion Business
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• v.21 no.1
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• pp.166-176
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• 2017

This study is fundamental research on how to be able to scientifically quantify and reproduce a natural dyeing procedure. By dyeing silk fabrics, the establishment of a reproducible dyeing method was sought. Juglans mandshurica has been known as one of the most widely used black vegetable dyes. Repetition conditions and combination dyeing were performed with Juglans mandshurica cortex, gallnut, clove, and Eclipta prostrata L. extracts to express a deep black color. Juglans mandshurica cortex, gallnut, clove, and Eclipta prostrata L. extracts were suitable for black coloration and showed a darker black color when combined with iron mordant. Specifically, Juglans mandshurica cortex and clove can be used for deep black coloring. Color fastness when washed or dry cleaned was found to be strong with a grade of 4-5 and fastness to light was rated at a 3-4. The grade of color change when exposed to rubbing and perspiration was good at a 4-5. In regards to functional property aspects, it showed excellent results with a 99% deodorization rate at 120 minutes of dyeing time, 97.1% UV protection rate, and 85.9% and 62.3% bacterial reduction against Staphylococcus aureus and Streptococcus pneumoniae, respectively. Therefore, it is considered that the extract from the Juglans mandshurica cortex is of great value as an eco-friendly, natural dyestuff.

• Journal of Bio-Environment Control
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• v.2 no.1
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• pp.53-57
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• 1993

This study was carried out to investigate the appropriate hydroponic system when cherry tomatoes were grown in summer. The base diameter of the trunk, leaf length, leaf width, and the length of cluster were good in deep flow culture(DFC), and not different between NFT and rockwool culture. The first time of flowering and the fruit coloring per cluster were not different among cultural systems, but the marketable yields were good in DFC. In DFC, ％ dry weight, firmness, the content of organic acid and sugar were low, and the ratio of sugar/organic acid and vitamin C were high. So DFC is recommended for the summer cultivation of cherry tomatoes.

• Journal of the Korean Burn Society
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• v.24 no.2
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• pp.30-33
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• 2021

Purpose: Dalgona, a kind of candy made of caramelized sugar, is a popular snack for children. Given the popularity of preparing dalgona, increasingly many patients are treated for burns sustained while preparing dalgona. We report the clinical features and dangers of burns from dalgona. Methods: We retrospectively reviewed the clinical records of 11 inpatients and outpatients who had been treated for burns they received while preparing dalgona from March 2020 to December 2020. The data reviewed were age, sex, the severity of the burn, the size and location of the burn, the type of treatment, and the place where the injury occurred. Results: The age of the patients ranged from 3 to 19 years, and the average age was 10.2 years (2 male, 9 female). Three patients had superficial second-degree burns, while eight had deep second-degree or third-degree burns. Most of the cases were treated with a local skin flap or skin graft. All the burned lesions were on the hands and feet. In all cases, the burns occurred at home due to accidental spillage. Conclusion: Most of the patients were children and teenagers, and they had serious burns. Therefore, we report these findings to emphasize the need for public awareness of the potential for burn injuries to occur during dalgona preparation.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.