• 한국의상디자인학회지
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• 제5권2호
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• pp.17-29
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• 2003

This survey paper examines general characteristics of "yellow" color, the oldest color in the history of art. Also the research aims to find meanings of the color and historical development embedded in clothing and textile both in orient and in occident where different philosophy and history developed. It is found here that the yellow symbolized both positive and negative meaning in the history of costume throughout the world. The color, however, was used to symbolize mostly positive meaning in the orient whereas not in the occident. "Yellow" color in orient used to symbolize the supremacy of the emperor, excellence and authority. The meaning of "yellow" color in the occident is two fold: from the positive viewpoint it represent god, king, wisdom, wealth and holy light, and from the negative viewpoint it represent image of betrayal and distrust, image of immorality, image of death and disease and image of jealousy and hatred. The concept of "yellow" was generalized in orient by the "Eum-Yang-O-Haeng Theory", while in occident by the Christianism. And the concepts came to hold concrete meanings and thereafter the symbol of yellow appeared.ings and thereafter the symbol of yellow appeared.

• 디자인학연구
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• 제12권4호
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• pp.317-326
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• 1999

한국전통색이란 시대를 초월하여 한국민족의 삶속에 살아있는 색이다. 이러한 전통색 중 한국전통색을 대표하는 청·홍의 색조특성을 알아보기 위하여 조선시대의 색명과 염직유물의 색조를 조사하였다. 한국전통색 청·홍의 색조를 조사하기 위해여 먼저 조선시대의 문헌을 통하여 출현색명을 조사하였다. 색조를 나타내는 한국말에는 대단히 다양한 형용사가 앞에 붙어 색조를 특징짓는다. 색명에는 여러유형의 형용사들이 앞에 붙는데, 그 중에 대표적인 것은 농색과 담색을 나타내는 형용사들이다. 이처럼 제한된 색명의 가능성을 증가시키기 위하여 조선인들은 다양한 톤의 청색계(32색)와 홍색계(40개)의 색명을 만들어 내었다. 이러한 청·홍색계의 출현율은 대단히 높고, 조선시대의 궁중복식에서도 주조색으로서 사용되었다. 조선인은 다양한 청·홍색계의 배색으로 그들의 음양론에 기초한 색체관과 세련된 미의식을 표현하였다. 박물관에 있는 염직유물들의 색체는 측색되어 먼셀컬러시스템과 ISCC-NBS의 계통색명법에 의해 분류되고, 고찰되었다. 또한 전통색조인 남염과 홍화염이 산업체에서 이용되어지도록, 남염과 홍화염의 염색방법을 계량화하여, 데이터를 제시하였다.

• 한국콘텐츠학회논문지
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• 제18권1호
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• pp.359-369
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• 2018

중세 기독교 회화에서 그리스도를 표현하는데 있어 가장 중요시한 문제는 그의 신성과 인성을 동시에 나타내는 것이다. '그리스도의 변형' 도상은 다른 어떤 주제보다 그리스도의 두 가지 속성을 뚜렷하게 보여준다. 본 연구의 목적은 예형론과 기독론을 통해 중세 그리스도 변형 도상의 신체와 복식에 나타난 그리스도의 신성과 인성의 표현을 고찰하는 것이다. 이를 위해 그리스도의 두상표현과 자세, 복식의 종류와 색상, 형태, 재질 및 장식, 조형성을 살펴보았다. 연구 결과 신성은 푸르거나 어두운 색조의 얼굴과 삼위일체와 강복을 상징하는 오른손, 오란스, 공중부양 자세로 나타났고, 인성은 홍조가 도는 따뜻한 색감의 피부를 지닌 장년 남성의 얼굴과 콘트라포스토 자세로 나타났다. 복식에서 흰색, 푸른색, 보라색, 금색 및 탈색효과는 신성을, 붉은색 및 고채도의 색상대비는 인성을 강조하기 위한 표현으로 분석되었다. 또한 비구조적인 주름과 직선적인 드레이퍼리, 목둘레의 장식선 등은 신성의 특징으로, 구조적이며 사실적인 주름의 묘사는 인성의 표현으로 나타났다. 중세 그리스도 도상은 인간의 모습으로 이 땅에 내려온 신의 형상을 구현하기 위해 철저히 계획된 의도의 산물이다. 이는 화가 자신의 신앙의 고백이자 중세 신학의 도그마를 전달하는 수단으로서 중요한 의의가 있으며 추상적인 개념을 시각화하여 전달하는 이미지의 중요성을 시사한다.

• 복식
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• 제56권1호
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• 복식
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• 제45권
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• pp.5-16
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• 1999

본 연구의 목적은 Navajo 직물의 역사적 발달을 고전시대를 중심으로 살펴보고 특히 외부영향에 따른 직물의 변화를 고찰하는데 있다. 구체적으로 1) 고전시대의 전통적인 직물은 어떻게 발달하였는가\ulcorner 2) 고전시대 직물의 전통적 요소와 외부영향요인은 어떤 점이 다른가\ulcorner 예 초점을 맞추었다. 연구방법은 아메리카 인디언의 이동,문화 Navajo 직조 및 직물에 대한 문헌을 바탕을 조사하였고 아리조나 주립박물과 아리조나 역사 박물관을 방문하였으며 박물관 안에 있는 전문가들의 조언을 듣고 연구의 자료를 보완하였다. 또 비교 미학적 차원에서 고전시대 navajo 직물의 전통적 요소와 외부영향 요인을 분석하였고 외부영향을 받은 직물의 예를 시각적자료로 제시하였다. 이연구는 인디언직물에 대한 이해, 고전시대. Navajo 직물의 문헌고찰을 통한 민족의복의 문화적측면에 기여할수 이고 현대적 감각을 지닌 Navajo 직물을 한국직물에 접목 응용하는데 도움을 줄수 있다 본 연구의 결과는 다음과 같다. 1. Navajo 직물을 고전, 전환, 양탄자 시대로 구분되었고. 이중에서 고전시대가 navajo 직물의 특성을 가장 잘 나타내었으며 발달된 직조기술을 보였다. Navajo인들의 직조기술은 1863년경 최고조에 달했다. Navajo 직물의 디자인 주제로 주로 인간을 둘러싸고 있는 환경에서 얻어졌고 이것들은 직선의 기하학적 형태로 구체화되었다. 또한 직물에 표현된 색도 자연과 밀접한 관련성을 갖는 있었다. 2. Navajo 직물의 주용한 용도는 여성용 드레스, 남성용 셔츠는 어깨에 걸치는 두르개였다. 여성용 드레스는 동일한 크기의 직물의 두장을 직조한 후에 꿰매었고 남성용 셔츠는 머리가 들어갈수 있는 구멍이 있는 장방형 판쵸 스타일이었다. 어깨에 걸치는 두르개는 여성의 경우 가운데가 검은색이고 가장자리가 푸른색인형태오 흰색과 붉은 색이 교대로 나타나는 형태의 2가지가 있었고 남성용은 고전시대의 대표라고 일컬어지는 족장 두르개였다. 3. Navajo 직물은 외부의 영향을 받아 많은 변화를 가져왔다. 즉 스페인 사람들로 인하여 면 섬유대신 양모섬유를 사용하게 되었고 전통적 모양과 다른직물이 출현하게 되었다. 또한 인디고 염류, 색소니 실, 바에타 직물의 도입으로 다양한 색상의 표현이 가능해졌고 이와 관련하여 다이아몬드 십자형 톱니형 무늬드이 나타나게 되었다. 4, 고전시대를 대표하는 직물로 족장 두르개, 쇼올, 안장덮개를 들수 있으며 이 직물들에서 뚜렷하게 외부영향 요인을볼수 있다. 즉 족장 두르개의 가장 정교한 단계에서 다이아몬드 무늬가 가장가리 가운데 모서리에 위치하여 9지점 배치를 이룬 것 쇼올의 경우 폭보다 길이가 긴 형태의 비전통적 모습을 나타낸 것 안장덮개에서 보여지는 여덟포인트 별 무늬도 외부의 영향을 받은예이다. 뛰어난 직조기술로 유명한 navajo인들은 변화에 잘 적응하는 특성을 갖고 있었다. 외부의 영향을 그들은 긍정적으로 받아들였고 자기 자신들의 필요에 맞도록 수정하여 정체감을 잃지 않으면서도 문화를 발전시켰다. 따라서 고전시대의 Navajo 직물은 고유적 요인과 외래적 요인의 조화를잘 나타내고 있으며 디자인의 탁월함이 세련됨 천연염료와 인조염료의 배\ulcorner에 의한 색상의 우월성 등으로 오늘까지 높이 평가되고있다.

• 복식문화연구
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• 제9권4호
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• pp.616-628
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• 2001

The purpose of this research is to create a polyester sample book that serves as a point of reference that exporters in the Taegu area can allude to when exporting to the U.S. By getting this project off the ground, we can expect to make a worthy contribution to the manufacture of high-quality, value-added fashion & textile goods. The research was conducted as follows. First, a study was carried out in the local market ensued by consumer surveys with regards to consumer attitude on man-made fibers, market researches, and interviews with experts, all in conjunction with the Color Association of the U.S. Also, a diverse array of fabric swatches were collected from Manhattans fabric wholesalers and then classified by color and fabric type fur the sample book. In short, this research found that man-made fibers have full marketability in the U.S. Thus, in order for Taegus synthetic textile firms to be successful in exporting to the US, it is essential that they come up with fabrics that have properties resembling natural fibers such as having a soft hand, natural sheen, smooth draping, and diverse textures as well as being in line with the current trends. In addition, it is also necessary to develop fabrications that are versatile and functional. Thus, by developing innovative fabrications, the synthetic textile business will turn toward the production of high-quality synthetics and will also provide a platfrom for strengthening the competitive edge of Koreas textile & fashion business.

• 복식
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• 제53권2호
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• pp.35-55
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• 2003

The purpose of the study is to get some pieces of prior information to eventually develop competitive swimming suit designs with Korean traditional images. The study has been accomplished in following steps. First, as theoretical research, the history of swimming suit design and the requirements in designing competitive swimming suits were studied. Second, as practical research, at first, the trend of the competitive swimming suit designs in the national swimming suit market was examined. And then. the questionnaire surveys of both professional and amateur swimmers about their design preferences with purchasing and fabric-related tendencies were conducted for understanding professionals' characters more exactly. This data were analyzed through cross-analysis and multi-response analysis and x 2 was used. The results of this study can be summarized as follows : First, athletes' preferential design tendency for the swimming suit designs were examined in the aspects of style, color, pattern, logo, and accessary. In style, female athletes preferred an athletic one-piece style and male ones preferred a brief style. In color. neutral, mostly black was preferred most and cold color group like dark blue and navy blue next, regardless of sex. In addition, they preferred similar color coordination. In pattern, though solid fabrics were mostly preferred in both sexes, especially Taeguk motive were considered the most appropriate pattern to show Korean image. Besides, logo was considered importantly, and swimming caps and goggles of accessaries were generally used. Second, athletes' swimming suit purchasing tendency was as a following. the number of swimming suits possessed was more than 4 pieces. the durable period was less than 3 months. and the most important point considered in purchasing was an easy fitting for men and a design with an easy fitting for women. And most of swimming athletes preferred foreign products than domestic ones, which was attributed to excellent quality, easy fitting, and good design. and so on. Third, in fabric-related tendency, food touch, easy fitting. and opaqueness were considered importantly. and durability to chlorine, elasticity, color fastness, easy draining, lightness, and so on were demanded forward.

• 복식
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• 제50권5호
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• pp.131-142
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• 2000

The philological consideration of Korean Buddhist Monk's robe and its reviving have been investigated in traditional way. The configuration and colour of Korean Buddhist monk's robes have been properly adapted for an period, territory, and atmospheric phenomena. In case of Korea, introduced Buddhism from China realize modern robe from under the influence of fusion of Chinese ornament culture and Korean traditional ornament culture. As a result of this modern robe has been consisted of a Buddhist monk's robe and a cope. The modem robes has been significantly affected by industrialization, contrary to ancient time taxed robes as public imposts. At present be familiar in mass production we have a preference for the easier way in making and even color forming. In this paper it is focused on dyeing part, which recognized its important in latest time, at first declined according to appearance of chemical dye, evaluated its convenience in use. That is, it is increased natural dye, people begin with recognition of difference of physical properties for dress dyed with chemical pigment and that with natural pigment. In consequence, I have presented that both making colour of gray using traditional method, and three demolished-color prescribed by Buddhist law. Of course, though it become generally know that dyeing of robes occupied significant part of traditional natural dyeing. But in case of religion, it also is important to know symbolical meaning involved in its colour. Most of Buddhism-believers or even Buddhists who actually be dress in robe are without knowing the meaning of colour, or its revealing method. There, I have considered mating three colour of demolished- color included blue, black, and red, and also represented dyeing method of Buddhist monk's robe using both charcoal and ink-spick. From religious font of view, as robes contains involving of blessing, I have an intention of improvement way in dyeing and succession and development of traditional culture through consideration of traditional dyeing method. And I have also intended to restoration the value of robe's colour, disappeared by the time. moreover, I have shown that dyeing with natural pigment is profitable for both environment and sanitary aspect.

• 복식
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• 제35권
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• pp.195-210
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• 1997

Movie clothing is what is recreated as a character in work after being worn for actors (or actresses). And it is not added for heightening only fantasy but it acts for heightening only fantasy but it acts for reinforcing the side of character or subject. Especially the clothing in color movie gets to have very psychological effect. Thus Accord-ing to the clothing the effect of the represen-tation style may become large and small. So as to make the gesture or attitude of each character valuable in accordance with the ac-tion and expression of the figure clothing is different from other device essentially One may attain various goals through the color of movie clothing, First movie clothing may show the vogue color of the time and the representative time color, Second the color of movie clothing helps one to able to recognize the socio-econmic position of character easily as the color to symbolize the specific jobs such as nurse soldier and doctor etc. Third the color of movie clothing may show the charcter temperament as to whether one is young or old and whether one has pessi-mistic temperament or one is extrovert or introversive etc. easily. Fourth setting the clothing color of hero as the color to set off helps it easy to distinguish from representation staffs. Fifty the whole color establishment of movie clothing gives help to expressing the at-mosphere of movie. Color is one of the most powerful means that the person in charge of clothing may express the character of movie. He should ex-press the feature of a wearer with the colors of each clothing through showing the lack of taste of characters or hinting the resistant character with the clothing color which is not suitable for situation or the conservative character with suppressed color etc. Thus he (or she) should express the clothing color which is suitable for being able to express each character by analyzing the work whole through script and grasping the character of each character so as to establish the clothing which is suitable for individual character.

• 복식
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• 제56권4호
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• pp.160-170
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• 2006

The purpose of this study is to analyze the image of color combination in fashion design. For this study 14,121 color samples were collected from 116 fashion brands selected by the market segmentation based on the results of the previous studies. The brands have high market share and brand recognition in each segmental market. The color samples were measured by spectrophotometer and analyzed by the Munsell's H V/C and CIE $L^*a^*b^*$ value. The representative colors of each market were selected concerning the tensity in CIE $L^*a^*b^*$ color space and the distance between the color samples. h4 a result, 2,213 representative colors were chosen. These color samples composed top and bottom color combination samples by the program 'Item Comparator' that calculated the color differences$({\Delta}E^*)$. Top includes the items such as blouse, shirt, and coats, bottom includes the items such as skirt and pants. The color combination samples were divided into two groups. In one group ${\Delta}E^*$ was less than 30, and In the other group ${\Delta}E^*$ was 30 or more. For investigating the image of color combination, 480 rotor combination samples were classified. The image adjectives for the survey from preceding studies and brand dictionaries were 'classic', 'modern', 'feminine', 'casual', and 'romantic', which have highly preferred in women's wear brands. The result of the study is as follows; For 'classic' 'image, YR, and greyish tone were generally preferred. In the color combination of 'casual' image, the samples with PB color and greyish tone were preferred. For 'feminine' image, RP was preferred as a top color, R, RP, P were preferred as a bottom color. For 'casual' image, PB was preferred as a top color, PB, B were preferred as a bottom color. For 'romantic' image, RP was preferred as a top color, R, P were preferred as a bottom color. The bigger the color differences between the color combination samples were, the more remarkable the image of color combination samples was.