• 패션비즈니스
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• 제10권5호
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• pp.28-44
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• 2006

The purpose of this study is to study the movie costume and color image through the movie "The Aviator". Firstly, looking at the costumes of main characters and their color images expressed in the movie, one extreme of Hughes' image to another was expressed in order to show his extreme inner world by using the light-dark contrast rather than specific colors as the base. The gold color used to express the image of Hepburn represented an image expressing her intellectual elegance. As for her dress silhouette, the taste of intellectual elegance was displayed by a dress whose back was exposed with a grownup-style feminine silhouette or one with drapes and pleats ornaments. To express Gardner's image; that is, her alluring charm and glow, a vivid red color was used. As for her costume, her splendid and fascinating image was expressed by the 40s' rectangular- shouldered tailored suit, exotic peasant blouse and showy accessories. Secondly, the color image expressed in the background in the movie as a special space for Hughes. The red color image of screening room was shown to be as a space for passion and desire and the green color image of men’s room as a space for stability and rest.

• 대한치과보철학회지
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• 제39권2호
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• pp.197-207
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• 2001

Development of new ceramics and esthetic needs of patients increase the use of all ceramic restorations. Fractured teeth often need metal post and core as foundation for final restoration. When all ceramic restorations are planned, metal post and core may lead to compromised esthetics because of opacity and gray color of metal post and core. Many techniques have been proposed to solve this problem such as application of an opaque porcelain to the metal core or all ceramic post and core. This study was performed to evaluate effect on color of Empress 2 crown according to various post systems. Color was evaluated by the CIE $L^*a^*b^*$ systems and measured by spectrophotometer (Model CM-3500, Minolta, Japan). Specimens were divided into 4 groups as follows Group 1 : gold cast post specimen + Empress 2 crown specimen Group 2 : application of an opaque porcelain to gold cast post specimen + Empress 2 crown specimen Group 3 : cosmopost specimen + Empress 2 crown specimen Group 4 : In-ceram post specimen + Empress 2 crown specimen. The results obtained as follows, 1. $L^*$ Values showed that group 2, 3, 4 were higher than group 1 with significant difference and group 2, 3, 4 were not significantly different. 2. $a^*$ Values and $b^*$ values also showed that group 2. 3, 4 were higher than group 1 with significant difference and group 2, 3, 4 were not significantly different. 3. ${\Delta}E^* ab$ Values showed that ${\Delta}E^* ab$ 3 was the highest value and ${\Delta}E^* ab$ 5 was the lowest value.

• 패션비즈니스
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• 제19권1호
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• pp.95-105
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• 2015

This study investigated the color culture in the Japanese Medieval Age. The Japanese Medieval Age included the Kamakura period (1180-1333) and Muromachi period (1336-1573), and the leading group transitioned from the Kuge families to the Buke families. The taboos about colors from ancient times became nominal, and forbidden colors, such as purple, celadon, and red, became the colors of the samurai, leading to beautiful soldier gears that were unparalleled in history. In the Kamakura period, colors that conveyed a strong impression were created and preferred with the combination of a samurai's reasonable spirit and zen thoughts. The period was also called "the era of hari", and cross dyeing based on basic colors such as suou (red), ai (blue), and kuchinasi (yellow) was popular. In both the Kamakura and Muromachi periods, conspicuous and strong colors were sought for costumes, and embroidery was used with gold leaf, silver leaf, gold threads, silver threads, and background color. The colors of costume preferred by Buke men in the period included green, blue, and brown. In the characteristics of the kosode, the sugan and hitadare were used for men's formal dress, while kosode was used for the grooming of the working class. In these periods, additionally, the working class began to be socially engaged in actively wearing the one-layer kosode, which became popular, and the characteristics of the Japanese Medieval Age, during which functionality and practicality was valued, were also reflected in the dressing.

• 한국의류산업학회지
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• 제12권5호
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• pp.564-573
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• 2010

The purpose of this study is to investigate decoration techniques applied to the Korean traditional costume of modern style which are shown in special monthly magazines relevant to the traditional magazine. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are largely classified into single and composite types. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, embroideries and seonchigi or multi-colored stripes and seonchigi is often used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, seop, goreum or coat strings, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have no pattern on the surface and are commercially available irrespective of season. Git used for jeogori is largely classified into dangko git and donggrae git in type. Its color is in most cases same as the main color of jeogori. Keutdong for jeogori is usually 4 to 5.5 cm in breadth, classified as type II. Its color is in most cases white. Goreum for jeogori is usually large in length. Its color is most cases same as that of jegori or reddish purple or blackish red purple.

• 한국표면공학회지
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• 제30권5호
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• pp.320-332
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• 1997

The development of colored surface on zinc coating by the oxidation of a melten alloy of zinc with a minor amount of oxygen-avid additive such as tianium has been studied. Using a galvanizing Zinc alloy containing 0.1 to 0.3wt%Ti, gold, purple or blue color was developed clearly and stably, depending upon the extent of oxidation, by air cooling after hot dipping in a bath at temperature of $550^{\circ}C$ to $600^{\circ}C$. The source of the color is light interference with surface oxide layer. THe final color depends on the thickness of the color depends on the thickness of $TiO_2$, played So compositing, temperature and time at elevated temperature after are all controlling variables. Since oxidation film such as $TiO_2$ played role of passivation film, the corrosion resistance in a colored galvanized steel sheet. It is also thought that surface oxide layer of $TiO_2$ inhibited dissolution of the coating layer.

• 한국기계가공학회지
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• 제15권6호
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• pp.95-100
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• 2016

We suggest and simulate an optical filter that a red wavelength range cannot transmit to protect the psychological stress that originates from the cognition of red color in emergency medical technicians. When a nanohole hexagonal array is fabricated on gold film using Anodic Aluminum Oxide (AAO), the blocked wavelength can be tuned by the hole diameter and film thickness. The characteristic of the transmittance for normal incident white light is simulated with Finite Element Method (FEM) in the MATLAB platform. Although the transmittance of the overall wavelength is reduced by 50% by the gold film, the transmittance of the red wavelength range is decreased by over 87%.

• 한국표면공학회지
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• 제23권2호
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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.

• 복식
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• 제32권
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• pp.31-43
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• 1997

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

• 박물관보존과학
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• 제8권
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• pp.13-24
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• 2007

미술부에서는 "한·중 도자교류전" 연구집에 개제할 목적으로 소장품 중 한·중 금채자기의 금채기법을 보존과학팀에 조사의뢰하였다. 대상 소장품은 금을 사용하여 도자기 유약 층을 장식한 개성 106 청자상감수하원문금채편호 고려청자 1점과 중국 송나라시기에 제작된 본관 10011 천목다완, 본관2027 시유초화접문화금완, 덕수3322시유완이다. 조사 결과, 금채장식의 안정화 방법은 고운 금분에다 매용제 성분을 혼합하여 채식을 한 후 저온에서 번조한 것은 유사하였지만, 채식처리방법에서는 다소 차이가 있었다. 즉, 고려 화금청자는 화려한 상감기법 위에 세필로 일일이 금채장식을 하였다면 중국 화금자기는 아무런 장식이 없는 도자기 유약면에 나비나 당초문을 스텐실 기법으로 장식한 것이 큰 차이이다. 이런 조사결과에 따라 일부 박락된 금채 부분을 새롭게 복원한 결과, 제작 당시 화금자기가 얼마나 화려한 자기이었는지를 확인할 수가 있었다.

• 식물병연구
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• 제20권1호
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• pp.15-20
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• 2014

A rapid, user-friendly and simple immune-chromatographic dipstick kit named 'rapid immune-gold strip' (RIGS) kit was developed in a novel single strip format to detect on-site detection of Tomato spotted wilt virus (TSWV). Immunoglobulin G (IgG) from polyclonal antisera raised in rabbits against TSWV was purified through protein-A affinity chromatography and then the purified TSWV-IgG was conjugated to colloidal gold nano-particles which served as a test line on nitrocellulose membrane. Protein A that non-specifically binds to TSWV antibody was used as a control line on the same strip. The diagnosis process with the TSWV-RIGS involves simply grinding the suspect plant sample in a bag that contains the extraction buffer and inserting the strip the bag. Results can be seen in 2-5 minutes. The flow of the complexes of gold particles coated with TSWV-IgG and a crude sap from TSWV-infected pepper, tobacco and tomato plants resulted in intensive color formed on the test lines proportional to the concentrations of TSWV. The RIGS-TSWV kit did not show any cross-reactions against other tomato-infecting viruses unrelated to TSWV. These results indicate that the TSWV-RIGS kit is highly sensitive and is not required for laboratory training and experience prior to testing. The TSWV-RIGS kit is suitable for on-site detection of suspect TSWV-infected plants as well as for laboratory diagnosis.