• 한국콘텐츠학회논문지
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• 제21권3호
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• pp.143-156
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• 2021

본 연구에서는 카이펑 시 역사 문화거리인 서점거리를 대상으로 서점거리의 경관 구성 요소에 나타난 경관 색채의 특징을 분석하여 서점거en리의 환경 색채에 대한 전체성을 이론적 배경을 제공하고자 한다. 문헌 고찰을 통해 역사 문화거리의 경관 구성요소에 대한 체크리스트를 도출하고, 청대 건축적 색채의 일반적인 특징과 경관 색채의 기본적인 분석방법에 대해 파악하였다. 또한, 서점거리 경관 구성의 요소 및 경관 색채에 대한 현장조사를 실시하고 색채 분석은 <한국표준색 색채분석> 프로그램을 적용하여 분석을 진행하였으며, 색상수치 표기는 먼셀 표색계를 사용하여 표기하였다. 연구 결과를 보게 되면 서점거리의 경관색채는 R계열, PB계열, Y계열, 무채색(N)계열로 구성되어 있으며 전체적으로 색채는 높은 전체성을 나타내었다. 청대 건축 색채의 일반적인 특성을 비교함으로써 서점거리의 전체적인 경관 색채는 청대 건축 색채의 일반적인 특성에 상당 부분 부합한다는 것을 알 수 있었다. 그러나 사인과 시설물, 조형물의 색채 활용에서는 미흡한 부분이 많이 존재하였기에 사인과 시설물 등 경관 요소의 색채계획을 추가하여 시각 정보의 식별 가능성을 강화하고 거리 색채의 단계적인 변화를 증가시켜야 할 필요성이 요구된다.

• 한국의상디자인학회지
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• 제11권2호
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• pp.23-32
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• 2009

The purpose of this study is to research fabrics, colors, and arrangement of color in Jogak-bo which were developed during the late Chosun dynasty. It is expected that from the analysis of the number, distribution and arrangement of colors of Jogak-bo in the late Chosun we can suggest various color arrangements thoset can be applied to modern fashion are summarized as follows. First, as for the number of colors of Jogak-bo according to material, silk fabrics Jogak-bo used a variety of colors whereas hemp fabrics Jogak-bo mostly used one color showing contrast between silk fabrics Jogak-bo and hemp fabrics ones. Second, as for the distribution of colors of silk Jogak-bo and hemp fabrics ones, warm colors were used most frequently. On the other hand, fewer achromatic colors were used to silk fabrics Jogak-bo, and they were more applied to hemp fabrics Jogak-bo. As for the use of cold colors, fewer cold colors were applied to hemp fabrics Jogak-bo compared to silk fabrics Jogak-bo. Third, as for the arrangement of colors, various colors were used in silk fabrics Jogak-bo, but a single color or not more than 1 color was applied to hemp fabrics Jogak-bo. It well demonstrates brilliance and glamour of silk Jogak-bo and stability and unity of hemp fabrics Jogak-bo. As for the arrangement of colors of Jogak-bo, most of Jogak-bo showed contrasting colors and shades, and similar colors and shades were hardly found in silk fabrics Jogak-bo whereas they were frequently found in hemp fabrics Jogak-bo.

• 한국의류산업학회지
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• 제12권2호
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• pp.224-232
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• 2010

The natural dyeing of fabrics with persimmon juice(astringent persimmon, sweet persimmon, astringent and sweet persimmon mix) was investigated. After dyeing of cotton and silk fabrics with persimmon juice, we evaluated the dyeability of persimmon juice, the observation of fabric surface with high magnification video microscope, physical properties and color fastness with the conditions of repeating times of dyeing and variables of mordants. The results obtained from this study were as follows: The fabrics dyed with astringent persimmon have shown the highest color difference, while the fabrics dyed with sweet persimmon and the fabrics dyed with astringent and sweet persimmon mix have shown similar color differences. With the increase of repeating times of dyeing, the brightness of fabric decreased. However, $a^*$ value increased gradually, so that it became dark brown color. The $a^*$ and $b^*$ values of dyed fabrics with Fe-mordant have dropped significantly, so that they have shown achromatic colors. But the fabrics treated with other mordants have shown yellowish brown colors. On the surface of the fabrics, threads were bonded together by the viscosity of persimmon juice. Regardless of the types of persimmon juice, stiffness was increased after dying, while crease resistance was decreased. The water repellency of silk fabrics were improved than cotton fabrics after dyeing with sweet persimmon juice, but in case of cotton, it hasn't changed. Washing fastness was improved with the EM(Effective Microorganism)-fermented liquid treatment, and rubbing fastness of two fabrics was better in dry condition than in wet condition.

• 패션비즈니스
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• 제14권1호
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• pp.86-105
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• 2010

Vintage fashion is a lot influenced by colors because an emotion is transmitted via images of "old feeling", "worn-out feeling" and "faded feeling" etc. Colors are visual sensation occurring at a time when lights stimulate an eye, which is a representative factor which humans first perceive when they touch objects. And colors in clothing function as a critical element which indicates an individual's impression and character as well as aesthetic sensation. In this study, I examined on the theoretical consideration and aesthetic characteristics via the previous literature on vintage fashion and colors. As an empirical study, I investigated on the colors of vintage fashion appearing in Pr$\hat{e}$t-$\grave{a}$-porter Collections, Paris from Spring/Summer, 2003 to Fall/Winter 2008. As a way for study, I investigated into the total 197 vintage fashion photos and calculated their RGB values by using photoshop. And I converted the values of the colors extracted into H V/C values by using Munsell Conversion Version 9.0.6 and analyzed on Munsell System of 10 Color Notation and the PCCS colors, classifying a color scheme by visual sensation measurement. The result of analyzing on the concept of vintage fashion and its color characteristics is as follows; Vintage fashion made an appearance the most in 2003 and 2004 and its colors appeared a lot in Y, YR, R and PB lines. Color tone concentrated on black and white, achromatic color and low chroma colors in a grayish line, chromatic color. Thus, the study found that colors suitable for a "worn-out", "faded" and "old" image are properly reflected in vintage fashion rather than a clear and bright background. In a color scheme, I found contrast color and same color appearing a lot, which gave an unharmonious feeling and a smack of the country. The study reveals that the color characteristic of vintage fashion is relatively diverse and complex in color, color tone or shade and color scheme, which shows a color trend which reflects a non-constructive and complex coordination characteristic instead of a standardized simple and clear image.

• 인지과학
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• 제28권1호
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• pp.27-42
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• 2017

스트룹 효과(Stroop, 1935)는 매우 신뢰롭게 관찰되는 현상으로 이를 응용한 다양한 연구들이 존재한다. 전통적인 스트룹 실험에서는 색과 색 이름을 실험자극으로 사용하였으나 이후 연구들은 어떤 색(예: green)과 그 색을 전형적으로 보여주는 대상의 이름 (예: grass)을 사용한 경우에도 일치 혹은 불일치 조건에 따라 유사한 효과가 발생한다는 것을 보고하였다(Klein, 1964). 그런데 의미표상(semantic representation)의 검증을 위해 스트룹 효과를 활용한 기존 연구들은 대부분 구체적인 대상들과 색의 연합을 검증했기 때문에 구체명사(concrete noun)와 그에 상응하는 색 이름을 연구에 활용하였다(예: Dalrymple-Alford, 1968, 1972; Klein, 1964). 그런데 최근 Sherman과 Clore(2009)는 구체적 대상이 없는 단어의 도덕적인 의미(예: honesty, crime)에 따라 흰색 혹은 검은색으로 제시되었을 때에도 색에 대한 반응이 빨라지거나 느려진다는 것을 보고하였다. 이에 근거하여 본 연구에서는 스트룹 과제를 사용하여 형용사의 온열감각 차원의 의미 (예: 따스한, 냉정한)와 색 온도 (따뜻한 색, 차가운 색)의 연합을 스트룹 과제를 통해 검증하였다. 그 결과 형용사의 온열차원의 의미와 색 온도가 불일치할 때 보다 일치할 때 참가자들은 색에 대해 더 빠르게 반응한다는 것을 확인할 수 있었으며, 형용사의 의미와 색 온도 간의 상호작용을 관찰할 수 있었다. 본 연구의 결과는 스트룹 관련 연구들에서 주로 사용해온 구체명사가 아닌 추상적인 형용사에서도 스트룹 효과가 발생한다는 것을 보여주었다는 점에서 기존 연구들과 차이점을 가진다. 또한 무채색을 사용한 Sherman과 Clore(2009)의 연구와 달리 색상을 사용한 경우에도 단어의 의미에 따라 스트룹 효과를 획득할 수 있다는 새로운 결과를 보여준다.

• 복식
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• 제64권3호
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• pp.108-125
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• 2014

The purpose of this study is to provide the basic information necessary to develop sports uniform design by comparing and analyzing the color features and images of professional football uniforms in Korea and foreign countries. The subjects of this study were limited to 5 top leagues in Europe (Premier League, Primera Liga, Bundesliga, Serie A, and Ligue 1) as well as J-League, and K-League. This study was done using the 2012/2013 season home and away uniforms for European leagues and 2013 season home and away uniforms for Korean and Japan leagues. Using the Adobe photoshop CS2 eyedropper tool, color chips and RGB values were extracted from digital images and converted into HV/C of Munsell Conversion. Finally, a total of 735 colors were used for the analysis. The color image scale by Shigenobu Kobayashi was used to position the color images. The results are as follows. First, the color analysis of professional football uniforms in leagues suggested that chromatic color (53.7%) was more prevalent than achromatic color (46.3%). The two most common colors of the ten chromatic colors were R(19.7%) and PB(18.0%), followed by Y(5.4%), RP(2.0%), G(1.9), GY(1.8%), B(1.6%), YR(1.5%), P(1.1%), and BG(0.7%). Second, for the color tone comparison and analysis of professional football uniforms in leagues, the most commonly used color tone was W(28.4%), followed by v(25.5%), Bk(16.3%), s(5.8%), dk(5.2%), b/lt(5.2%), dp(3.0%), sf(2.0%), ltGy(1.0%), p(0.5%), G/dkGy(0.4%), and ltg/mGy (0.1%). Third, for the comparison and analysis of color and color tone of professional football uniforms in leagues, W(28.4%), R(v)(17.7%), and Bk(16.3%) were commonly used. Finally, for the comparison and analysis of color images of professional football uniforms in leagues, the most commonly used color image was a casual image(31.8%), followed by modern image(26.5%), dynamic12.8%), cool casual(12.0%), gorgeous(9.3%), clear(6.6%), chic(3.5%), and elegant images. Dandy, classical, romantic and pretty images(0.4% respectively) were also used.

• 정보처리학회논문지B
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• 제15B권3호
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• pp.205-210
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• 2008

본 논문에서는 잡음에 의해 손상된 텍스트 영상으로부터 복원 및 분할을 위한 새로운 접근 방법을 제안한다. 제안된 방법은 손상된 영역의 복원을 위하여 색상 및 비색상 성분을 2차 대칭 스틱 텐서로 표현하고 보팅 기반의 손상된 영역을 복원하였으며, 마지막으로 클러스터링 방법에 의해 분할을 수행한다. 먼저 우리는 제안된 색상 선택함수에 의해 잡음에 강건한 색상과 비색상 성분을 선택한다. 두 번째 단계에서는 각각의 선택된 특징 벡터들은 스틱 텐서로 표현하였으며 제한된 보팅 커널의 필드내에서 이웃하는 보터들과 통신을 통하여 새롭게 정의된다. 따라서 2차 보팅 후 각각의 스틱 텐서는 이웃하는 텐서와 같은 특성을 가지며 손상된 영역들을 복원할 수 있다. 마지막으로 복원된 영상의 성능을 평가하기 위하여 적응적 평균 이동 알고리즘과 클러스터링 알고리즘을 이용하여 영상 분할을 수행하였다. 실험에서 제안된 방법은 전체적인 처리과정을 자동적으로 수행 가능하였으며 배경 및 객체의 영역에서 효율적인 복원 및 분할을 수행할 수 있었다.

• 복식
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• 제59권10호
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• pp.151-171
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• 2009

The purpose of this study is to analyze the formative relationship between clothes and hat with the works by Philip Treacy, the designer who raised hats to one of important fashion accessories. The method to analyze the relationship between clothes and hats was the formative analysis by Marian L. Davis and Marilyn R. Delong. The results suggest that clothes and hat had an organic relationship, and a hat style was changed with formative elements of clothes. Clothes and hats by Philip Treacy were analysed in the aspects of Form, Color, Material, and Decoration. As a result, hats by Philip Treacy were mainly designed by the relationship between whole types without a closed line and showed geometric and formative forms, similarly harmonized with clothes. To highlight hats, the achromatic colors such as black and gray were used. Besides clothes and hats were coordinated by the same colors, but contrary colors were used to express a strong image. Felt or straw materials maily used to express a formative and fixed form were well matched with smooth, opaque, and lusterless materials such as wool. Also when transparent materials were used for hats, lace was used for clothes. A hat made of acrylic was matched with clothes made of glossy vinyl coating materials. Decoration was mainly removed but if used, feather decoration was added to clothes.

• 한국의류학회지
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• 제32권7호
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• pp.1160-1168
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• 2008

The purpose of the study was to examine the effect of motif categories and motif colors on evaluating impressions of dress wearers. The research was conducted on a quasi experimental basis, with subjects numbering 187 male and 207 female college students. Data were collected in the period from march 19th to march 31st, 2007. A set of stimuli of dress wearers and semantic differential scales were developed. The stimuli were thirteen photographs editing by Youngwoo CAD system. Variables included; (a) motif colour(red, blue, achromatic and white) (b) motif categories(flower, paisley, stripes, zebra effect and plain). The semantic differential scale to measure impressions of dress wearer stimuli included 22 sets of hi-polar adjectives. The data were analysed by factor analysis and ANOVA and the major finding were as follows. Four factors emerged to account for dimension of impression. There were salience, attractiveness, comfort and femininity. The motif category effected on the four impression dimensions while the motif color effected on salience, comfort and softness sensory dimensions, and the results supported the gestalt theory of the impression perception.

• 한국정보처리학회:학술대회논문집
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• 한국정보처리학회 2016년도 춘계학술발표대회
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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.