• Analytical Science and Technology
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• v.7 no.3
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• pp.371-378
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• 1994

The detection range of this galvanic oxygen sensor for oxygen concentration was 0.0% to 20.0%. By using gold or silver as cathode, reproducible response time and sensitivity to change of oxygen concentration were observed. The anode was Pb-Sn-Ca alloy. Oxygen selective permeable membrane was hydrophobic and porous Teflon film. The effect of the membranes varying in thickness have been studied on the temperature($10{\sim}50^{\circ}C$) and relative humidity(R. H 0~99%). Lead acetate buffer solution as the electrolyte has shown a high output voltage and longer life.

• Korean Chemical Engineering Research
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• v.48 no.1
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• pp.98-102
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• 2010

Magnolia kobus leaf extract was used for the synthesis of bimetallic Au core-Ag shell nanoparticles. Gold seeds and silver shells were formed by first treating aqueous solution of $HAuCl_4$ and then $AgNO_3$ with the plant leaf extract as reducing agent. UV-visible spectroscopy was monitored as a function of reaction time to follow the formation of bimetallic nanoparticles. The synthesized bimetallic nanoparticles were characterized with transmission electron microscopy(TEM), energy dispersive X-ray spectroscopy(EDS), and X-ray photoelectron spectroscopy(XPS). TEM images showed that the bimetallic nanoparticles are a mixture of plate(triangles, pentagons, and hexagons) and spherical structures. The atomic Ag contents of the bimetallic Au/Ag nanoparticles determined from EDS and XPS analysis were 34 and 65 wt%, respectively, suggesting the formation of bimetallic Au core-Ag shell nanostructure. This core-shell type nanostructure is expected to have potential for application in surface enhanced Raman spectroscopy and in the sensitive detection of biomolecules.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.99-116
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• 2008

This study reviewed pertinent literature and examined relics of manggon(a headband worn to hold a man's topknot hair in place), donggot(a topknot pin), and chigwan(a topknot cover). Before the modernized short hair style, wearing a gat was an important custom. Therefore, manggon, which was used to hold a man's hair in place under the gat, was considered an essential part of the man's official dress code. Donggot is a pin that held the topknot hair in place. It was a must have for a married man, like the binyeo, a lod-like hairpin, for a married woman. Unlike gwanja, it had nothing to do with official rank, but materials were of a variety of materials, including jade and gold. The structure of the donggot was studied in three parts-head, neck and body. Major forms for the head include the mushroom, bean and ball. Bullet and half-cut bullet forms were also found. Forms for the neck include straight-neck and curved-neck. A neck with a belt around a double chin was also found. Forms for the body include the tetrahedron, octahedron and cylinder. The most popular form for silver and white bronze donggot heads was the mushroom, followed by bean and pile forms. Chigwan is also called chipogwan, chichoal, choalgyesogwan, noingwan and sangtugwan. In poetry it was called chichoal, and it used to be called taegogwan in the past as well. Chigwan was so small that it managed to hold a topknot. According to confucian custom in the Joseon period, by wearing chigwan, men didn't display their bare topknot even when they didn't dress up. When they went out, they wore another official hat over the chigwan.

• The Journal of Korean Academy of Prosthodontics
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• v.37 no.5
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• pp.640-650
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• 1999

As an optimal quality of the restorations, there should be a least amount of seating discrepancy between the casting and abutment teeth. However, high viscosity of the cementing medium and its resulting thickness may prevent complete seating of the restoration. The use of die spacing material provides adequate internal relief for the cementing medium. The purpose of this study is to compare the thickness of three commonly used die spacing materials. Materials and Methods: Stone plates were fabricated and divided into 12 sections to be painted with die spacers. Tru-Fit, Whip-Mix and Belle do St. Claire die spacer which are commonly used in dental practice were tested in this study. Each die spacers were painted layer by layer according to the manufacturer's recommendation. The average thickness of each die spacers were measured with light microscope(${\times}100$) and compared between them. Results and Conclusions. A silver-colored Tru-Fit die spacer has the lowest value of thickness without statistical significance comparing with a gold-colored Tru-Fit die spacer and a gray layer of Whip-Mix die spacer has the highest value of thickness without any statistical significance comparing with Belle de St. Claire die spacer. Three and four layers of Tru-Fit die spacer and two layers of Whip-Mix and Belle de St. Claire die spacers seem to be in the acceptable range of thickness of 25 to $45{\mu}m$ for optimal seating of the restorations. The standard experimental design and method should be fur thor evaluated for more consistent and objective results.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.11-21
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• 2012

The purpose of this study is to understand of future image in fashion for 20C, to suggest a guideline's role in the development on fashion designs study. The methods of this study are used academic literatures as well as practical study. Futuristic image in fashion is to introduce about the future period, as fashion goes ahead times. Trends and formative characteristics of future image in 20C fashion are summarized as follows. First, futuristic images in fashion for 20C had emerged strongly futurism, space look, kinetic look, glitter look, techno look, cyber look. Second, perspectives on response for future society's changes are summarized as follows. Attitude of futuristic images of fashion, futurism, space look, kinetic look and glitter look, had been favorable about future society's changes until 1980. In 1990, techno look had been defensive and cyber look had been aggressive about future society's changes. Third, formative characteristics of future image in 20C fashion are studied shape, material, color, pattern. Shape was preferred linear and geometric form in the first half of the 20C, but body conscious type had appeared often in the second half of 20C. Material maintained the luster or the metal touch. Color was based image of colorless and preferred the gold, silver or color feels like metal. Pattern was preferred clarity with geometric type in the first half of the 20C. On the other hand in the second half of 20C pattern of future image was dominated by vague and abstract chaotic type.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.45-60
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• 2008

This study reports a court dress culture in 1719 shown in the Scene of a Royal Banquet given by the King at Gyeong-hyeon-dang(景賢堂) of Gisagyecheop(耆社契帖). It can be summarized as follows: First, King Suk-jong(肅宗) attending a Royal Banquet for members of the Hall of Elder Statement wore the Ikseonkwan decorated with flowers, red Gollyongpo, Okdae, and Heukpiwha. The Crown Prince(王世子) also wore the Ikseonkwan decorated with flowers, black Goliyongpo, Okdae, and Heukpiwha. Second, senior statesmen(耆老臣) over the age 70 wore Sarno, Heukdallyeong with a crane rank tablet, belt, and black boots. Royal family members and officers also wore Samo, Heukdallyeong with a crane or silver pheasant rank tablet, belt, and black boots. Third, Sakum(司禁) of King's body guards wore Yungbok and Muyaebyulgam(武藝別監) wore Ja-geon and the green Jikryeong. Ui-jang-gun(儀仗軍) wore Pirip and Hongui, Haengjeon, and Unhae. Saboksikwan(司僕侍官) wore Samo, Heukdallyeong, belt, black boots, and a sword. Fourth, boy dancers(舞童) wore Buyongkwan, Kwanbok, skirt, belt, and black boots. Cheoyong-dancers(處容舞童) wore outfits in fine colors, wide pants, skirt, mask with an earring, gold colored belt, and white colored sandal. Hyeopryulrang(協律郞) wore Sarno and Heukdallyeong. Jipbak(執拍) wore Morabokdu and Noksaui, and Ak-kong(樂工) wore Whawhabokdu, Hongju-ui, Ojungdae, and Heukpiwha. Singer(歌童) wore Jajeok-dugeon, nokju-ui, and jajeokdae.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.90-107
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• 2007

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. Also, operas are increasingly performed outside traditional theaters as the boundaries between stage and audience become less obvious. Accordingly, stage costumes are being differently designed than before. New attempts are being made to look costumes in a harmony with increasingly streamlined stage machinery. This helps increase public attention on operas, consequently promoting the opera industry. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the crowd are drawn from this study. A variety of splendid pink dresses, ribbons, dolls, hand mirror, and hair bands were used to express haughty girls with "Princess Syndrome." Fashion models, the envy of all woman, wore fashionable clothes including luxury dresses, fur-coats, high heels, purses, and hats, Models also had big shopping bags and gift boxes to symbolize shopping lovers in a modern society. Gay men wore tight leather trousers and vest and sleeves shirts with deeply cut neckline to express their preference for feminie style. their clothes were splendid colors that normally women liked such as gold, purple, light green, scarlet, and silver. Soldiers were in combat uniform representing their participation in the war. In particular, clothes stained with dirt, iron helmet, crutches, and canteens were used to vividly express soldiers coming back home from the war. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency, and meet the audience's needs for various style.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• Journal of the Korean housing association
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• v.25 no.3
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• pp.25-34
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• 2014

The major purposes of this study were to analyze main features of US Green Building Council's LEED for Homes rating system and examine residents' satisfaction on their LEED-certified homes and neighborhoods. The first part of this article shows the structure and features of the LEED for Homes rating system and the process to obtain credits of this rating system. The investigation to assess residents' satisfaction targeted LEED certified home residents in Midwest in the United State. The satisfaction was assessed in relation to socio-demographic and housing characteristics. To collect data, a quantitative survey was administered to the residents of LEED-certified homes in Midwest in the US. A total of 605 surveys was sent out and 235 were collected, yielding a 38.8% response rate. Findings revealed that LEED-certified home residents were highly satisfied with their homes and neighborhood although neighborhood satisfaction was lower than housing satisfaction. Residents' income and education were the significant socio-demographic factors that show significant relationships with housing satisfaction. Residents' home ownership, length of residence, housing types were significant housing characteristics on their satisfaction while the levels of LEED certifications (i.e., certified, silver, gold, and platinum) were not significantly related to housing satisfaction. The findings of this study suggest the importance of developing effective strategies for those who are less educated, lower income classes, renters, or multi-attached housing residents for more successful development of LEED-certified homes in the future.

• Korean Institute of Interior Design Journal
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• no.23
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• pp.109-115
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• 2000

The purpose of this study is to examine the interior textile color changes and trends by analyzing the characteristics of interior color hues and tones. Heimtextil in the interior field was selected for color trend analysis from 1996 to 2000. The conclusions of this study are as follows: First, In terms of hue, warm colors like Y, YR, and R were most prominent in all four years. Some new colors, however, emerged with higher frequency. The frequency of GY and B increased in 96/97, GY, BG and PB in 97/98 PB and B in 98/99, and B and PB in 99/2000. Especially between 96/2000, the frequency of PB and B has been increased, although the frequency of GY has been decreased. Over the four years, P, RP, and Neutral showed medium frequency, and G and BG showed low frequency. Gold appeared as an accent color in two years while silver appeared in one year. In summary, warm colors like Y, YR, and R were most prominent in interior color. Second, In terms of tone, p, b, v, and sf were most prominent over the four years. Although 에 and ltg appeared with high frequency n general, a wide variation was presented. The tones such as p, dp, and v appeared with high frequency in the three years of 96/97, 97/98 b and sf in 97/98 ; lt, dk and sf in 98/99. On the other hand, a new trend emerged in 99/2000. In this year, ltg, sf, s, d and dkg appeared with high frequency unlike the other three years. In other words, soft or light tones, such as pale, soft, light, grayish, and deep, and strong tones, such as vivid and bright, appeared with high frequency.