• 한국재료학회지
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• 제22권11호
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• pp.591-597
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• 2012

For heat exchanger applications, 2-ply clad materials were fabricated by rolling of aluminum (Al) and mild steel sheets. Effects of annealing temperature on interface properties, especially on inter-layer formation and softening of strain hardened mild-steel, for Al/mild steel clad materials, were investigated. To obtain optimum annealing conditions for the Al/mild steel clad materials, annealing temperature was varied from room temperature to $600^{\circ}C$. At the annealing temperature about $450^{\circ}C$, an inter-layer was formed in an island-shape at the interface of the Al/mild steel clad materials; this island expanded along the interface at higher temperature. By analyzing the X-ray diffraction (XRD) peaks and the energy dispersive X-ray spectroscopy (EDX) results, it was determined that the exact chemical stoichiometry for the inter-layer was that of $Fe_2Al_5$. In some samples, an X-layer was formed between the Al and the inter-layer of $Fe_2Al_5$ at high annealing temperature of around $550^{\circ}C$. The existence of an X-layer enhanced the growth of the inter-layer, which resulted in the delamination of the Al/mild-steel clad materials. Hardness tests were also performed to examine the influence of the annealing temperature on the cold deformability, which is a very important property for the deep drawing process of clad materials. The hardness value of mild steel gradually decreased with increasing annealing temperature. Especially, the value of hardness sharply decreased in the temperature range between $525^{\circ}C$ and $550^{\circ}C$. From these results, we can conclude that the optimum annealing temperature is around $550^{\circ}C$ under condition of there being no X-layer creation.

• Korean Chemical Engineering Research
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• 제43권4호
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• pp.487-494
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• 2005

자동차, 기계금속, 전자 등 여러 산업에서는 부품 가공 중의 세정 과정에서 금속가공유와 각종 세정첨가물이 함유된 많은 폐수를 발생시킨다. 본 연구에서는 수용성 또는 비수용성 금속가공유로 오염된 수계 및 준수계 세정폐수를 한외여과막시스템을 이용하여 처리하고자 하였다. 이 실험에서 막을 친수성인 polyacrylonitrile(PAN)을 사용하고 막의 크기 및 오염물의 농도 변화에 따른 한외여과막 투과수량과 유수분리 성능(COD제거율)을 측정하여 한외여과법 처리의 적정성 여부를 조사 분석하였다. 그 결과 수계 또는 준수계세정제와 수용성 가공유로 오염된 가공폐수의 경우 한외여과막의 크기가 10 kDa에서 100 kDa로 증가함에 따라 COD 제거율은 90 wt％-95 wt％로 거의 일정하지만 투과플럭스는 4배 이상 증가하였다. 그리고 금속가공폐수의 오염물 농도가 3 wt％에서 10 wt％로 증가할수록 한외여과막의 COD 제거율은 증가하지만 투과플럭스는 감소하였다. 그러나 수계 또는 준수계세정제와 비수용성 오일로 오염된 가공폐수의 경우 오염물의 농도가 증가할수록 COD 제거율은 거의 일정하지만 투과플럭스는 급격히 감소함을 보여 주었다. 이러한 현상은 한외여과막 재질이 친수성인 PAN이기 때문에 비수용성 오일이 막을 통과하지 못하고 막의 기공을 막기 때문인 것으로 추론된다. 따라서, 수용성 오일이 함유된 세정액은 막재질이 PAN이고 세공크기가 100 kDa인 한외여과법 처리가 적정한 것으로 판단되었다. 이러한 기초실험 결과를 활용하여 PAN 재질의 막(MWCO=100 kDa)을 사용한 한외여과 pilot 시스템을 설치 운전하여 수용성 인발유로 오염된 알칼리 세정 폐액을 처리하고 알칼리세정제와 인발유를 재활용하고자 하였다. 현장 실험 결과 한외여과 공정은 수계세정제와 수용성오일을 효과적으로 분리하여 재활용할 수 있었고 기존 공정에 비하여 세정제 사용수명을 12배 이상 증가시킬 수 있었다.

• 조형예술학연구
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• 제10권
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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.