• 한국펄프종이공학회:학술대회논문집
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• 한국펄프종이공학회 2008년도 제33회 펄프종이기술 국제세미나
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• pp.47-70
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• 2008

Cost efficiency is today the primary requirement in the paper and board industry. This has led therefore, to a greater preponderance of products with specifically designed functionality to take account of current industry needs. Continually increasing machine coating speeds together with these new coating colour components have put more emphasis on the importance of the correct rheology and water retention of the coating colours to achieve good runnability and end product quality. In the coating process, some penetration of the aqueous phase, to the base paper or board must occur to anchor the pre-coating to the base or the topcoat to the pre-coat. The aqueous phase acts as a vehicle not only for the binder, but also for the other components. If this water or material penetration is not controlled, there will be excessive material shift from the coating colour to the base, before immobilization of the coating colour will stop this migration. This can result in poor machine runnability, unstable system and uneven coating layer, impacting print quality. The performance of rheology modifiers or thickeners on the coating color have tended to be evaluated by the term, "water retention". This simple term is not sufficient to explain their performance changes during coating. In this paper we are introducing a new concept of "material retention", which takes note of the total composition of the coating colour material and therefore goes beyond the concept of only water retention. Controlled material retention leads to a more uniform z-directional distribution of coating colour components. The changes that can be made to z-directional uniformity will have positive effects on print quality as measured by surface strength, ink setting properties, print gloss, mottling tendency. Optical properties, such as light scattering, whiteness and light fastness delivery should also be improved. Additionally, controlled material retention minimizes changes to the coating colour with time in re-circulation giving less fluctuation in quality in the machine direction since it more closely resembles fresh coating for longer periods. Use of the material retention concept enables paper and board producers to have more stable runnability (i.e. lower process costs), improved end product quality (i.e. better performance of used chemicals) and/or optimized use of coating colour components (i.e. lower total formulation cost)

• 문화기술의 융합
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• 제7권4호
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• pp.273-280
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• 2021

강암(剛菴) 송성용(宋成鏞)(1913~1999)은 전북 김제 출신으로서 20C 마지막 유생(儒生) 서예가이자 시·서·화 삼절작가이다. 그는 평생 보발과 한복을 유지하며 선친 유재(裕齋) 송기면(宋基冕)과 장인 고재(顧齋) 이병은(李炳殷)의 학문과 사상, 서화예술을 구체신용론적(舊體新用論的) 관점으로 접근하여 인격 도야 및 정심(正心)을 유지코자 하는 주체적 철학정신을 견지하였다. 법고(法古)에 대한 충실한 계승이라는 '구체(舊體)'를 근간으로 어려서는 구양순을 중심으로 미불, 동기창을 익혔고, 국전 출품기에는 황정견, 한예, 오희재, 소전체 등을 접목하였다. 이후 1965년(53세)에 전주로 이거, 추사체 등 여러 서체를 자가화하여 무대자득(無待自得)한 강암체(剛菴體)를 이루었고, 기괴적이고 파격적으로 사의화(寫意化) 한 풍죽(風竹)으로 '신용(新用)'을 창출해 내었다. 또한, 서예의 본원적 정신과 자연적 예술미를 재점검하여 정체성을 재확립하고, 이를 바탕으로 부단한 탐신(探新)의 미학을 추구하여 현대서화의 심미를 확장하는데 크게 이바지하였다. 특히 풍죽은 사의(寫意) 정신을 원리로 한 추상성이 강하며, 수양론적으로는 궁리(窮理)와 진성(盡性)을 바탕으로 하여 이소관대(以小觀大)의 고아미(高雅美)를 발현한 화이재도론적(畵以載道論的) 이학미학(理學美學)을 구현함으로써 도예일치(道藝一致)를 이루었다. 전북 서단은 강암(剛菴) 시대에 최고봉을 이루면서 20C 말 한국서예의 중심 서단으로 자리 잡으면서 중흥기를 맞이하게 된다.