• 한국자원식물학회지
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• 제18권3호
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• pp.417-423
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• 2005

쪽 생즙액의 염색조건에 따른 견직물의 염색성을 조사하기 위해 염액온도, 염색시간, 염액농도 염액의 pH, 매염제를 달리하여 견직물을 염색하였다. 염액의 온도에 따른 견직물의 표면색은 온도가 낮을수록 b값이 작아져 $-5^{\circ}C$와 상온에서는 녹색(G) 계열로, $40^{\circ}C$ 이상에서는 녹황색(GY) 계열로 발색되었으며, 염착농도는 온도가 높을수록 높았다. 염색시간은 표면색에 영향을 미치지 않았으나 염색시간이 길수록 염착농도는 증가하였다. 염액농도를 $1\%,\;2\%,\;3\%,\;4\%$로 조정하여 견직물을 염색했을 때는 청록색(BG) 계열로 발색되었으나 $5\%$에서는 B계열로 발색되었고, 염착농도는 염액의 농도가 높을수록 증가하였다. 염액의 pH에 따른 견직물의 표면색은 pH 7이하에서는 G계열을, pH 8에서는 녹황색(GY)으로, pH 9에서는 황적색(YR) 계열을 나타냈다. 염착농도는 pH가 높을수록 낮아졌다. 매염처리는 견직물의 표면색에 영향을 미쳤으며, 염착농도도 증가시켰다.

• 한국감성과학회:학술대회논문집
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• 한국감성과학회 2009년도 춘계학술대회
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• pp.227-230
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• 2009

This study was aimed to determine color sensibility factors for naturally dyed fabrics and to investigate their relationship with color variables such as hue and tone and dyes. Two hundreds different fabric colors prepared by a variety of natural dyeing were subjectively evaluated by color experts, which resulted in three color sensibility factors including 'Pleasant', 'Comfort', and 'Modem'. Among hues, Yellowish shade by natural dyeing was found as more pleasant and more comfort than any others. Among main tones for natural dyeing, g(grayish) and ltg(light grayish) were more felt in 'Comfort' whereas d(dull) more in 'Pleasant'. As for dyes, Gardenia Blue, Gardenia Yellow, and Anato tended to give feelings of 'Pleasant' whereas Raw Indigo and Loess did 'Comfort'.

• 복식문화연구
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• 제24권4호
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• pp.431-440
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• 2016

The purpose of this research is to revive the colors of combination dyeing and mixed dyeing with natural dyestuffs. The fabrics used were cotton and rayon. The natural dyestuffs used in this research were indigo, Phellodendron amurense, and Caesalpinia sappan. The effects of combination dyeing were as follows. First, all samples showed deeper colors. Second, according to the results of the surface K/S measurement, while the surface K/S of cotton was over 15, that of rayon was over 17. Third, the results of the light fastness measurement showed the superiority (by over grade 4) of all the samples, except in the case of rayon fiber sample no. 6 (which had been pre-dyed with indigo five times before being dyed with P. amurense once and then being dyed with C. sappan once). In the color fastness to washing measurement, all fibers showed superiority (by over grade 3~4). In addition, the color fastness to dry cleaning of all fibers was satisfactory or excellent (by over grade 3). Fourth, according to the results of the tensile strength measurement, it tended to decrease in the case of cotton and increase in the case of rayon. Fifth, the results of the density measurement showed that the density of cotton decreased by about 15~20% in the case of warp and 10% in the case of weft for all samples. The density of rayon decreased 20% in the case of warp for all samples and increased 30% in the case of weft for all samples.

• 복식
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• 제52권2호
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• pp.91-101
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• 2002

In order to development of culture goods I made works with various color's silk fabrics dyed with water extract or methanol extract of plants. The Plants used for dyeing as dyeing material were indigo, safflower, amur cock tree, onion's Peel, citrus peel, mugwort, gromwell, sappan wood. Each of Plants were extracted by each of temperature and time. The mordants used for various color chanties are aluminium sulfate, cupric acetate mono hydrate, ferrous chloride. With fabrics of various color dyed like this I made works which give expression to an easy and natural image of the Korean nation of fabrics.

• 한국염색가공학회:학술대회논문집
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• 한국염색가공학회 2008년도 제39차 학술발표회
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• pp.87-88
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• 2008

전통 쪽 염색과정을 단순화하여 기존의 환원과 발생이 동시에 이루어지는 공정조건을 다룬다.

• 한국염색가공학회:학술대회논문집
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• 한국염색가공학회 2009년도 제41차 학술발표회
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• pp.39-40
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• 2009

• 복식문화연구
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• 제21권3호
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• pp.394-400
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• 2013

At a time when the demand for environmentally friendly products is soaring, the fashion industry is following suit. The industry is showing particular interest in natural-dyed products. Against this backdrop, this study conducted a literature review on the history of natural dyeing for textiles and on the types of natural dyes. In addition, this study identified recent trends in the fashion industry and applied the findings from the literature review to those trends. Through this process, possibilities for new designs were suggested. This study proposed designs for various items-t shirts, one-piece dresses, blouses, skirts, and knitwear-by using threads and textiles dyed from mugwort, Polygonum indigo, safflowers, Lithospermum erythrorhizon, and Sophora japonica flowers. This study is also meaningful in that it broadens the boundaries of design for natural-dyed fashion products. To that end, various designs were attempted by combining natural-dyed textiles or knits with leather, denim, and fur.

• 한국의상디자인학회지
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• 제6권1호
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• pp.34-45
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• 2004

The purpose of the study was to investigate weaving, traditional dyeing, fiber material, pattern how carpet developing according to Turkey area for using the data that can rear to the export strategic industry for carpet production and development that is correct in culture. The result are followed: 1) Life of the age was expressed in color and pattern using according to geographical environment, climate, lifestyle, religion etc. 2) In the case of weaving, there is Kilim, Soumak that appears only weft on the surface as plane weaving without knot and carpet of knotted pile weaving and knot of carpet is duplex knot difference with carpet of the other country. 3) In the case of textile material, there is use most wool fiber that can get easily from breeded sheep by nomads. 4) In the case of dyeing, did the local traditional color to use dye extracting in dyeing material that can get easily in the area. Red that can extract in madder that can get easily in which area of Turkey, dark navy blue of indigo dye that indigo plant fermentation and cream beige that is wool's natural color were exposed representative traditional color of Turkey carpet. 5) Pattern was advanced uniquely as culture of the area; weaving person's sensitivity and desire are reflected through centuries. Amulet, riches ＆ honors, fecundity and happiness appeared most pattern in any area.

• 패션비즈니스
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• 제15권4호
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• pp.144-154
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• 2011

Polygoum tinctoria dye is the one using the method of reducing dyeing, and so is made by the mechanism different from natural dye in general, and the reproductive dye is more difficult because it varies in accordance with manufacturing method and days being manufactured in case of natural indigo dye that has been used traditionally. In addition, overall analysis is short of color changes in accordance with natural dyeing condition and barely none of the research for cellulose system such as cotton in particular. Accordingly, this study tries to research on the natural dyeing method optimal for color development that is desirable in designing and development of natural dyeing as comparing and contemplating the change of dyeing quality and color in accordance with reduction temperature and time, reductant quantity, dyeing temperature and time, NaOH quantity, and dyeing repetition times in order to expand dyeing methods and use variously polygoum tinctoria by improving traditional dyeing methods as well as to establish exact dyeing method of cotton which is a fabric of cellulose system in order to make such polygoum tinctoria quantificated and reproductive. The optimum conditions in the dyeing procedure are as follows: Reducing temperature is $50^{\circ}C$. Added concentration of the reducing agent is $3g/{\ell}$. Reducing time is 30minutes. Dyeing temperature is $30^{\circ}C$. Added concentration of NaOH is $1g/{\ell}$. Dyeing time is 30minutes.

• 헤리티지:역사와 과학
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• 제54권1호
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• pp.52-69
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• 2021

고려시대의 사경은 어느 시기보다도 정교하고 화려한 기록물로 우리나라 서지학상 매우 중요한 위치를 차지하고 있다. 그 가운데에서도 감지(紺紙) 바탕에 제작된 사경은 장식성과 귀족들이 선호하였을 법한 품위와 격을 여지없이 보여주는 예라고 할 수 있다. 특히 이 시기에 제작된 많은 양의 사경들은 감지에 권자본(卷子本)과 절첩본(折貼本)의 장황 형태가 대표적인 것이다. 권자본은 유연성이 보장되지 않으면 그 자체가 갖는 구조적 한계 때문에 취급에 있어 불편함과 손상을 야기한다. 이를 보완하기 위해 절첩 형태로 바꿔 제작함으로써 편의성과 구조적인 안정성을 꾀하여 단점을 극복할 수 있게 되었다. 절첩 형태는 병풍의 형태와 유사하여 접었다 펼 수 있는 구조로 한 면의 크기에 맞추어 규칙적으로 연결되어 만들어진 것이다. 아무리 작은 크기라 하더라도 얇은 한지로 제작하면 취급에 어려움이 따르고, 형태를 유지하기 힘든 구조라고 볼 수 있다. 이러한 이유로 통상 절첩형의 사경은 두꺼운 종이로 만들어 첩의 구조를 지탱할 수 있는 힘을 가지도록 하였으며, 표지는 내지보다 더 두껍게 제작되어 내지를 보호할 수 있도록 하였다. 즉, '절첩형'은 종이에 두께를 주어 강도를 유지해야 하는 특성에 맞게 제작되는 것이 일반적이다. 그렇기 때문에 많은 양의 한지를 진하게 염색 가공하는 것은 오롯이 장인의 몫이 될 수밖에 없었다. 비단에 비해 흡수량이 몇 배 이상이고, 수십 차례 염색을 하여야만 진한 감색을 얻을 수 있는 '감지 제작 기법'은 구체적으로 문헌에 남아 있지 않고, 기법도 명맥이 끊긴 지 오래이다. 최근 한지장인과 천연염색가, 수리복원가에 의해 제각기 시도는 되고 있으나 유물에서 보이는 질감과 깊은 색감은 도저히 흉내낼 수 없다. 본 연구에서는 고려 말 사경을 보존 처리하기 위해 실제 유물에 적합한 보강지를 제작하는 과정에서 염색장과 한지장, 그리고 수리복원가의 협업으로 고려시대 감지를 재현하는 일련의 과정을 소개하고, 감지의 재현·제작 방법을 유추해보고자 한다.