• Journal of the Institute of Electronics Engineers of Korea SP
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• v.38 no.4
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• pp.68-68
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• 2001

본 논문에서는 단일 영상에 포함된 광원의 분광분포를 추정하는 광원추정 알고리즘을 제안한다. 제안된 광원 추정 방법은 두 단계로 이루어져 있다. 첫째, 변형된 회색계 가정(modified gray world assumption)을 이용하여 부분적으로 광원의 영향을 배제한 후 밝으면서도 무채색에 가까운 최대 무채색 영역을 찾아 그 영역의 표면 분광 반사율을 구한다. 이때 최대 무채색 영역의 표면 분광 반사율은 1269개의 Munsell 색 표본에 대하여 주성분 분석 방법을 이용하여 추정하였다. 둘째, 주어진 Munsell 색 표본과 대표 광원의 조합으로 반사광의 모집단을 만들었다. 다음 최대 무채색 영역의 각 화소와 반사광 모집단과의 색차를 비교하여 최대 무채색 영역과 색차가 가장 적은 반사광 표본을 선택하고 이를 최대 무채색 영역에 대한 반사광의 분광분포로 정의한다. 최종적으로 최저 무채색 영역의 반사광 분광분포를 해당하는 표면 분광반사율로 나누어줌으로써 영상에 포함된 광원의 분광분포를 추정한다. 제안한 알고리듬의 성능을 평가하기 위하여 유색 광원에 조명된 영상에 대한 광원 추정 실험을 하였으며 기존의 방법과 추정된 광원의 분광 분포 비교 및 색차 비교를 통해 그 타당성을 검증하였다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2020.01a
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• pp.19-20
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• 2020

미디어 산업의 발전으로 스토리보드와 같은 선화 이미지의 자동채색 연구가 국내외에서 진행되고 있다. 하지만 자동채색 모델 용량에 초점을 두는 연구는 아직 진행되고 있지 않다. 기존 자동채색 연구는 모델 용량이 최소 567MB 이상으로 모델 용량이 큰 단점을 가지고 있다. 본 논문에서는 채색을 2단계로 나누는 이중 생성자 구조와 기존 U-Net을 개선한 생성자를 사용해 기존 U-Net에 비해 30%, VGG16/19를 사용한 기법과 비교해 최대 85% 작은 106MB 모델을 생성했고 FID(Fréchet Inception Distance)를 통한 이미지 평가결과 512x512px에서 153.69의 채색성능을 얻었다.

• Proceedings of the KIEE Conference
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• 2009.07a
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• pp.2119_2120
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• 2009

전압을 인가하였을 때 전계방향에 의해 가역적으로 색이 변화하는 현상을 전기변색(electrochromism)이라고 한다. 이러한 전기채색현상을 보이는 물질을 전기채색물질(electrochromism materials)이라고 하며, 전기채색 물질에 의한 소자를 전기채색소자(electrochromism device : ECD)라고 한다. 전기채색현상은 투과율(transmittance), 반사율(reflectance)의 가역적이며 가시적인 변화이고, 전기화학적인 산화환원 반응과 관련이 있다. 따라서 본 연구에서는 Titanate nanotube(TNT)를 제조하고 전기변색소자(ECD)에 응용하였다. SEM, XRD, UV-Vis등을 이용하여 재료학적 분석을 시행하였으며, 전기화학적 테스트로 cyclic voltammetry를 측정 하였다. 그 결과 TNT 분말은 직경 약 20~30 nm, 길이 약 500~600 nm 의 입자형상을 나타내었으며, X-선 회절시험결과 $H_2Ti_2O_5{\cdot}H_2O$의 층상구조를 나타내었다. 제조된 막은 FTO glass 위에 PEI/(TNT/TBAOH)$_{n-1}$/PDDA의 순으로 코팅되었다. 전기화학적 테스트를 위하여 2전극 시스템을 제작하였으며, 여러 종류의 액체 전해질을 제작하여 cycle voltammetry를 시행하였다. 그 결과, 각각의 전해질에서 "-"영역의 산화환원전위 피크가 뚜렷하게 나타났으며, 짙은 갈색으로의 채색현상을 나타냈다. 본 연구의 결과로서 TNT 박막을 이용한 ECD은 광조절 유리로서 뿐만 아니라, 여러 전기채색 디바이스에 응용될 것으로 사료된다.

• Korean Journal of Mineralogy and Petrology
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• v.36 no.1
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• pp.1-17
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• 2023

On painting cultural properties to which Orpiment, a traditional yellow mineral pigment, is applied, the color's degeneration is frequently observed. To identify the cause of the degeneration, this study takes a look into orpiment and the various pigments that are mixed into it (Lead White, Lead Red, and Cinnabar) in powder and painting state. The pigment was mixed with Argyo glue and then applied to korean traditional paper and silk. Considering the possibility that alum causes the discoloration, it was applied to the specimen. With a UV tester, the powders and the painted specimens were subjected to a light resistance test in three phases (96 hour). Color changes were measured with a colorimeter and minerals, chemical composition and structural changes were analysed by XRD, SEM/EDS and Raman spectrometers. While the color change of pure Orpiment powder according to the light resistance test was small, the colored specimen became darker. The color change was large in the Orpiment colored on the silk and in the alum-treated specimen. In Orpiment powder was produced white arsenolite as altered orpiment after UV test. In the mixed powder of Orpiment and Lead White were detected only the constituent minerals of Orpiment and Lead White, and no altered substances were produced. Whereas after the UV test, orpiment and arsenolite, which were altered substances of orpiment, and the constituent minerals of Lead White were detected. In the case of mixing the two pigments in the powder state, darkening did not occur even by the UV test. However, the specimens colored with the mixed powder were darkened by the UV test. The color change of Orpiment was different depending on the mixed pigment and base material. The color change was greater in the case of alum treatment than in the case without alum treatment, and it was found that alum also had an influence on the color change of Orpiment.

• Journal of the Korea Society of Computer and Information
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• v.19 no.5
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• pp.19-25
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• 2014

In this paper, I seek the chromatic number, the maximum number of colors necessary when adjoining vertices in the plane separated apart at the distance of 1 shall receive distinct colors. The upper limit of the chromatic number has been widely accepted as $4{\leq}{\chi}(G){\leq}7$ to which Hadwiger-Nelson proposed ${\chi}(G){\leq}7$ and Soifer ${\chi}(G){\leq}9$ I firstly propose an algorithm that obtains the minimum necessary chromatic number and show that ${\chi}(G)=3$ is attainable by determining the chromatic number for Hadwiger-Nelson's hexagonal graph. The proposed algorithm obtains a chromatic number of ${\chi}(G)=4$ assuming a Hadwiger-Nelson's hexagonal graph of 12 adjoining vertices, and again ${\chi}(G)=4$ for Soifer's square graph of 8 adjoining vertices. assert. Based on the results as such that this algorithm suggests the maximum chromatic number of a planar graph is ${\chi}(G)=4$ using simple assigned rule of polynomial time complexity to color for a vertex with minimum degree.

• Journal of Conservation Science
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• v.32 no.1
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• pp.89-100
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• 2016

We estimated pigments and painting techniques with nondestructive analysis for Yu Eonho's portrait made in the eighteenth century, then compared with 11 portraits and painting characteristics at that time. The pigments used to Yu Eon-ho's portrait include lead white, yellow dye, cinnabar, minium, and pink dye, malachite, azurite, iron oxide red and brown dye, blue and pink dye for purple. In the result compared with painted pigments of 11 portraits, iron oxide red without cinnabar was used on the face part and organic green dye only was used instead of inorganic pigments on the other side of clothing after Yu Eonho's portraits portrait. This study is show the painting techniques on the portraits in the late $18^{th}$ century. We expect to use as useful referencing data for the study on the coloring technique of a portrait in the late Joseon Dynasty.

• Journal of Conservation Science
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• v.35 no.5
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• pp.403-415
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• 2019

According to oral tradition, the King Sejo's palanquin is indeed the palanquin of King Sejo, the 7^th monarch of the Joseon dynasty who reigned from 1455 to 1468, which was left behind after visiting the Magoksa temple. The palanquin is painted in five colors, mainly black, white, yellow, red and green. The chromaticity measurement of the yellow pigment showed that orpiment and gold are a noticeable distinction between the lightness and b^⁎ values. In the case of the red pigment, a^⁎ values of areas painted with cinnabar tend to measure at high values. As a result of the optical microscopy, scanning electron microscopy and energy dispersive spectroscopy analyses, it was determined that Chinese ink was used for the black pigment, lead white and white clay were used for the white, and orpiment and gold for the yellow. The red pigment was found to be the result of minium, cinnabar and red ocher, atacamite was used as green pigment. Though the analysis results of the cross sections on very small exfoliation fragments of pigments, it was confirmed that white clay and lead white were used for the preparation layer. In addition, several coloration techniques were considered based on these analyses.

• Journal of the Institute of Convergence Signal Processing
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• v.2 no.2
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• pp.39-46
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• 2001

In this paper we propose a new method that can be estimation the spectral power distribution of the light source from three-band images. the light source is estimated by dividing the reflected spectral power distribution of the maximum achromatic region(L(λ)) by the corresponding surface reflectance(Ο(λ)). In order to obtain reflected spectral power distribution of the maximum achromatic region from three-bend images, a modified gray world assumption algorithm is adapted. And the maximum surface reflectance is estimated using the principal component analysis method along with achromatic population. The achromatic population is created from a set of given Munsell color chips whose chroma vector is less than threshold. Cumulative contribution ratio of principal components from the first to the third for classified achromatic population was about 99.75%. The reconstruction of illumination spectral power distribution by using achromatic population and three-band digital images captured under various light source was examined, and evaluated by RMSE between the original and reconstructed illumination spectral power distribution. This work was supported by grant No (2000-1-30200-005-3) from the Basic Research Program of the Korea Science & Engineering Foundation.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.150-171
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• 2013

The most important part of conservation treatment of murals is to preserve them against the risk of a damage by injecting fixative into them when the painting loses its cohesion or powderization of pigments occurred due to occurrence of cracks inside the painting layer. However, studies on the stability of fixative used for painting layers of murals are still insufficient. This study manufactured a mural as a specimen and colored it with four kinds of pigments including oyster shell white, cinnabar, malachite and red clay and applied four kinds of fixative, including, Paraloid $B-72^{(R)}$, Caparol-$binder^{(R)}$, glue and Hydoxypropyl $cellulose^{(R)}$. artificially generated environmental changes in temperature, humidity and ultraviolet rays which may occur after the completion of conservation treatment. Then the changes in physical properties were observed in multifaceted ways such as color stability, contact angle, brilliance, adhesive strength and surface. As a result, this study found that ultraviolet rays and hot?humid environment have a large impact on color stability causing changes in brightness and chroma of all painting layers where the fixative were applied, except for oyster shell white and are considered the main factors of decomposition by accelerating the aging process of fixatives applied. In comparison to the synthetic resins that were also tested in this study, the traditional glue showed satisfactory results in terms of color stability and influence preservation and the hydrophile property. As it showed exceptionally outstanding adhesive strength in all painting layers in the aspect of adhesive strength, it is considered to be highly stabile for the fixation treatment of painting layers of mural.

• Proceedings of the Korea Information Processing Society Conference
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• 2016.04a
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• pp.808-810
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• 2016

Color constancy는 다양한 광원 아래에서 사물의 색을 인지하는 능력이다. 사람의 눈은 절대적인 색상을 인지하는 것이 아니라 주변 환경과의 상대적인 색상을 인지하지만[1], 기계는 절대적인 색상 값으로 받아들이므로 기계가 광원의 영향을 받은 사물의 색상을 정확히 알기 위해서는 기계가 받아들이는 색상 값에서 광원의 영향을 제거해 주는 과정이 필요하다. 이를 카메라에서는 화이트 밸런싱 또는 칼라 밸런싱이라 부르기도 하며 이러한 과정을 위해서 다양한 기법들이 존재하는데, 영상 전체의 각 색상 채널의 평균값은 무채색이라는 Grey world 기법[2]부터, 영상에서 가장 높은 색상 값을 갖는 곳이 광원을 가장 잘 표현한다고 가정하는 White patch(Max RGB)기법[1], 색상 히스토그램 보정을 통한 화이트 밸런싱[3], 최근에는 무채색 지점에서의 각 색상 채널의 변화량이 모두 같다는 가정을 통해 무채색 지점을 찾는 Grey pixel[4] 등 많은 기법이 연구되었다. 본 연구에서는 칼라 히스토그램 보정으로 칼라 대비 개선 효과를 통해 각 색상 채널의 비율이 비슷한 곳을 무채색 지점으로 표본을 수집하여 해당 표본으로부터 칼라 벡터로서 PCA를 통한 대표 값을 추출하여 광원을 예측하는 기법을 소개한다.