• 한국버섯학회지
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• 제20권4호
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• pp.241-248
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• 2022

생육온도가 느타리류 품종의 갓색과 수량, 형태관련 형질에 어떤 영향을 미치는지 알아보고자 하였다. 주요결과는 다음과 같다. 느타리류의 모든 품종에서 생육온도가 12℃에서 21℃로 높아짐에 따라 갓색의 명도(L)가 높아졌지만, 산타리, 황금산타리, 순정은 21℃의 갓색 명도가 18℃ 보다 낮았다. 갓색의 적색도와 황색도는 생육온도가 높아 질수록 낮아졌는데, 유채색계열의 변화폭이 컸다. 유채색의 황색도는 생육온도 전반에서 무채색보다 높았다. 전체 수량은 생육온도가 높아질수록 많아지는 경향이었으나, 저온성 품종인 원형1호는 저온일수록 전체수량이 높았고 21℃에서는 발이가 불가능하였다. 유효경수는 대체적으로 18℃에서 가장 많았고, 수량과의 상관관계는 낮았다. 자실체의 전체 길이와 대두께는 생육온도의 상승에 따라 길어지고 뚜꺼워지는 경향이 뚜렸했으며, 흑타리의 전체길이와 온도사이의 결정계수(R²)는 0.514, 산타리의 대두께와 온도사이의 결정계수는 0.963로 나타났다. 상관분석의 결과 한 형질에 대해 복수의 형질이 높은 상관관계를 보였다. 앞으로 RNA 발현 분석을 통하여 생육온도에 따라 변화하는 느타리류 갓색물질과 관련 있는 유전자의 변화 양상을 밝힐 계획이다.

• 한국정보과학회논문지:컴퓨팅의 실제 및 레터
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• 제14권1호
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• pp.1-12
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• 2008

본 논문에서는 야외 및 실내에서 촬영된 차량 영상에 대해 실시간으로 차량 색상을 인식할 수 있는 GPU(Graphics Processing Unit) 기반의 알고리즘을 제시한다. 전처리 과정에서는 차량 색상의 표본 영상들로부터 특징벡터를 계산한 뒤, 이들을 색상 별로 조합하여 GPU에서 사용할 참조 텍스쳐(Reference texture)로 저장한다. 차량 영상이 입력되면, 특징벡터를 계산한 뒤 GPU로 전송하고, GPU에서는 참조 텍스쳐 내의 표본 특징리터들과 비교하여 색상 별 유사도를 측정한 뒤 CPU로 전송하여 해당 색상명을 인식한다. 분류의 대상이 되는 색상은 가장 흔히 발견되는 차량 색상들 중에서 선택한 7가지 색상이며, 검정색, 은색, 흰색과 같은 3가지의 무채색과 빨강색, 노랑색, 파랑색, 녹색과 같은 4가지의 유채색으로 구성된다. 차량 영상에 대한 특징벡터는 차량 영상에 대해 HSI(Hue-Saturation-Intensity) 색상모델을 적용하여 색조-채도 조합과 색조-명도 조합으로 색상 히스토램을 구성하고, 이 중의 채도 값에 가중치를 부여함으로써 구성한다. 본 논문에서 제시하는 알고리즘은 다양한 환경에서 촬영된 많은 수의 표본 특징벡터를 사용하고, 색상 별 특성을 뚜렷이 반영하는 특징벡터를 구성하였으며, 적합한 유사도 측정함수(likelihood function)를 적용함으로써, 94.67%에 이르는 색상 인식 성공률을 보였다. 또한, GPU를 이용함으로써 대량의 표본 특징벡터의 집합과 입력 영상에 대한 특징벡터 간의 유사도 측정 및 색상 인식과정을 병렬로 처리하였다. 실험에서는, 색상 별로 1,024장씩, 총 7,168장의 차량 표본 영상을 이용하여 GPU에서 사용하는 참조 텍스쳐를 구성하였다. 특징벡터의 구성에 소요되는 시간은 입력 영상의 크기에 따라 다르지만, 해상도 $150{\times}113$의 입력 영상에 대해 측정한 결과 평균 0.509ms가 소요된다. 계산된 특징벡터를 이용하여 색상 인식의 수행시간을 계산한 결과 평균 2.316ms의 시간이 소요되었고, 이는 같은 알고리즘을 CPU 상에서 수행한 결과에 비해 5.47배 빠른 속도이다. 본 연구에서는 차량만을 대상으로 하여 색상 인식을 실험하였으나, 일반적인 피사체의 색상 인식에 대해서도 제시된 알고리즘을 확장하여 적용할 수 있다.

• International Journal of Costume and Fashion
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• 제13권1호
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• pp.23-34
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• 2013

The purpose of this study is to better understand the development and characteristics of knitwear fashion design by examining the transformation process of the modern knits. The subjects of the study are Missoni, Sonia Rykiel, and Azzedine Alaia, designers who are world-renowned knit designers, and the expressive techniques in their designs will be evaluated. The study also intends to analyze the aesthetic value of each designer's style through their product's silhouette, colors, and knitting techniques. On the basis of the analysis, we hope to research the factors in the designing process that will allow knits, which were made for practical purposes, to be valued as a luxury fashion item, and with the results, show the potential for knits in expanding its domain in fashion to become a more luxurious, creative fashion item. The characteristic comparison of the designers is as follows: First, in the case of colors, Missoni shows its distinct identity through a balance of splashy colors as well as nature-inspired color composition and balance. And, only with color use, is also able to express perspective, form composition, and rhythm. Sonia Rykiel designs are composed of black backgrounds with strong primary colors that are contrasted with one-point or stripes to express a light, urban image. Alaia emphasizes femininity by the use of black and white colors, which show modernity, in combination with neutral skin-toned colors, such as beige and gray. So, in other words, Missoni and Sonia Rykiel mixed colors for visual interconnectivity, while Alaia expressed femininity through the use of an achromatic color. Second, in the case of knitting techniques, Missoni uses the jacquard technique to make complex patterns that show balance of colors and patterns such as zigzag, stripe, geometries, and titan check, which are geometric, abstract, and symmetric. Sonia Rykiel who uses stripes as her trademark, most often utilizes the intarsia technique, which is expressed through one-point. Alaia combines diverse techniques, such as the Skashi weaving, by using computerized knitting. Third, as for silhouettes, Missoni eliminated exaggerated details in order to emphasize the flashy colors and delicate patterns and weavings of its designs, and this resulted in simplistic and relaxed silhouettes. Sonia Rykiel took advantage of the elasticity that the knit offers to get a tight silhouette, and in turn, emphasized the female sensuality. Alaia used curvilinear cuts that emphasized the womanly curves and gained an image considered soft and feminine.

• 보존과학회지
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• 제31권4호
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• pp.429-441
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• 2015

문화재 복원을 비롯한 회화용으로 많이 사용되는 녹색 안료 중 천연 무기안료인 석록과 뇌록의 물리적 특성 규명을 위하여 본 연구를 수행하였다. 석록은 Malachite가 주 구성광물이고, 뇌록은 Celadonite가 주 구성광물이다. 본 연구를 위하여 K사(社)의 A등급 석록, B등급 석록, 소성석록의 물리적 특성을 평가하였으며, 이와 비교하기 위하여 J사(社)의 송엽녹청, 소녹청을 평가하였다. 뇌록은 K사(社)의 뇌록을 평가하였다. 석록 및 송엽녹청의 소성 여부는 색도를 제외한 다른 물리적 특성에 큰 영향을 미치지 않는 것으로 판단되며, K사(社)의 석록과 소성석록과의 색차가 J사(社)의 송엽녹청과 소녹청의 색차보다 훨씬 높았다. K사(社)는 녹색도 $+a^*$가 J사(社)보다 가로로 넓게 분포하여 녹색의 다양한 색표현이 가능하다. 뇌록은 색도, 비중, 흡유량 등의 물리적 특성이 석록과는 많은 차이를 보였다. 뇌록의 색도는 $a^*$가 0에 가까이 분포하여 석록에 비하여 무채색에 더 가까웠고, 비중은 석록에 비해 작고, 흡유량은 2배 정도 컸다. 또한 뇌록과 암녹은 비록 구성 물질에 차이가 있어도 물리적 특성이 비슷하여 대체하여 사용 가능 할 것으로 보인다. 본 연구결과를 통하여 천연안료의 물리적 특성을 규명하여 품질기준을 확립하고, 문화재 보존, 복원의 선택적 사용에 대한 기초적인 자료로 활용되길 기대한다.

• 복식문화연구
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• 제23권4호
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• pp.661-672
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• 2015

In this study, nine scarf designs expected to be effective for accent design for the fashion style of new senior women were suggested by reflecting purchase behavior and scarf preference after conducting surveys and an analysis by targeting 136 new senior women in order to propose scarf design-matching with the preferences of new seniors. As a result of the study on the scarf purchase features of new seniors, it was revealed that the purchase time for scarves was mainly autumn and winter, even though it is regardless of season, and in spring and summer, they seldom purchased scarves. The purchase frequency was four times a year, and what they first thought of at the time of purchase was represented in the order of color, design, and the material of the scarf. They most preferred department stores, mixed and achromatic colors, cotton and silk fabrics, natural and geometric patterns, and long scarves of a rectangular shape. In the case of the consumer attributes of scarves, it was revealed that $50^{th}$ desired more individuality-oriented, unique scarf designs than $60^{th}$, and $60^{th}$ desired scarf designs with convenient management considering others' attention compared with $50^{th}$. As concepts for scarf designs, the aspects of individuality, co-existence, and maturity were extracted by reflecting the features of new senior women, and a total of nine scarf designs were suggested by developing three sub-designs for each concept.

• 복식
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• 제67권3호
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• pp.15-30
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• 2017

The purpose of this study is to analyze the formative characteristics of Hanbok among youngsters based on SNS proof shots, identify new characteristics of Hanbok as part of play and travel rather than as formal Hanbok, and provide information for the Hanbok market. As research methodology, our search was carried out by using '#Hanbok Travel' as the search word in Instagram, where the Hanbok proof shot phenomenon is actively under way. A total of 535 posts from March 21, 2016 to April 1, 2016 were selected as objects of this study, excluding posts containing Hanbok with indiscernible shape, Korean traditional costume manufacturers' promotional posts, and repetitive posts by one person. First, the 535 posts were analyzed by season, region, number of people, and gender, and after men's data were excluded, 644 Hanboks were left for analysis. Their formative characteristics were analyzed by using SPSS 21.0. The results showed that the formative characteristics of Hanbok shown in SNS proof shots included diversification of length in jeogori(Korean traditional jacket), skirt, and sleeve, use of pragmatic material and achromatic color, and reduced use of decorative technique. Hanboks shown in the Hanbok proof shots should be considered as significant data because each shots show clothes selected and worn directly by user's side, unlike the existing studies centering on Hanbok designers' works.

• 한국의상디자인학회지
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• 제18권2호
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• pp.115-125
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• 2016

This study analyzes the characteristics of the motifs and colors in flower and bird paintings which contain and present Korea's unique aesthetics based on its richest data among all other types of Korean folk paintings. With a theoretical exploration of folk paintings and an analysis of the motifs and colors, textile design with an aim to present highly valued korean modern fashion design was developed. Two hundred and seventy flower and bird paintings were selected from relevant materials, resulting in an extraction of 5,068 colors. A palette of representative colors was made based on densely distributed hues and tones. The research can be summarized as follows: Flower and bird paintings contain flowers, birds, trees and animals and the motifs in the paintings stand for spirituality, philosophies from different times and other symbols of our nation. Each of the motifs in these paintings is a prayer for good luck, especially conjugal harmony and fecundity to bring about happiness and richness. Colors in flower and bird paintings are characteristic of the order: YR(25.5%)>R(19.2%)>Y(10.6%)>PB(9.2%)>G(7.9%), with low-chromatic YR and highly bright R taking up a larger percent. The order of tones is: d(13.5%)>dk (10.5%)>s(10.4%)>dkg(10.0%)>sf(9.1%)and the tone is dark in general. YR, taking up the largest percent, was dull, light, and soft. As for the achromatic colors, the order is: W(5.2%)>Gy(1.9%)>Bk(0.7%). Based on the above analyzed color data, those colors which were high in their hue and tone were extracted to present representative colors. In this way, representative colors like yellow, yellowish red, red, green, and purplish blue were extracted. This was the basis to present motifs and colors originating from subjects of folk paintings in various patterns using Illustrator CS6, to create modern fashion design.

• 복식
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• 제64권1호
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• pp.64-76
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• 2014

This study aimed to analyze the expressive characteristics of design elements and fashion images shown in wedding dress styles in the 2000s. The findings were as follows. First, in wedding dress style the fashion images analysis showed that classic images appeared the most frequently, and fantastic, modern, kitsch, sexy, futuristic and ethnic images appeared the most, respectively. Second, design elements analysis of fashion images concluded that as for the appearance frequency of the silhouette, A line was the highest in classic, fantastic and kitsch images and H line was the highest in ethnic, modern, futuristic and sexy image. As for the appearance frequency of the necklines, bared top neckline was the highest in all of the fashion images. As for waistlines, natural waistlines except modern image of obscure waistlines appeared the most frequently in all of the images. As for sleeve, sleeveless appeared the most frequently in all of the images. As for material, see-through was the highest in ethnic, classic, sexy, fantastic and kitsch images. Luster material was the highest in modern and futuristic image. As for colors, white and achromatic, traditional wedding dress color, appeared the same in all of the seven fashion images, but chromatic colors appeared the most frequently in ethnic images. Third, the distinguishing expression features of fashion images shown in the wedding dress style of the times is as follows: 'Total fashion in wedding dress style', 'Emphasizes sexy image expression in wedding dress style', 'Various co-existence of wedding dress style', and 'Avant-garde expression in wedding dress style'.

• 한국의류학회지
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• 제33권7호
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• pp.1038-1049
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• 2009

A hat is an important fashion accessory item for a total fashion coordination and the number of millineries is increasing in the current accessory market. This research provides basic information about the millinery in relation to consumer consumption behavior, preference, and satisfaction with hat products. A survey was conducted among 395 individuals age 20 and over who were quota sampled according to age and gender to investigate the differences between genders and different age groups. The collected data were statistically treated with the SPSS 12.0 program in terms of frequency, percentage, mean, standard error, cross tabulation, t-test, one-way ANOVA, and a Duncan-test. The results are as follows: 1. Respondents wear hats for ornamental purposes regardless of the season. They discard hats when they become out of style 2 to 3 years after the purchase. 2. In general, consumers prefer the baseball cap design among various hat product categories. Achromatic colors were the favorite color tone and the preferred material was woven cloth. 3. Consumers were most satisfied with colors and most dissatisfied with deformation after laundering. 4. There was a significant difference in preferences among the different age groups. Younger consumers were more concerned about individual image and style. Older consumers considered hats as a functional means such as protecting themselves from the sun. 5. There was a significant gender difference. Compared to males, female consumers were more concerned about the quality of sewing and colorfastness than male consumers.

• 한국생활과학회지
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• 제12권4호
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• pp.539-552
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• 2003

The purpose of this study was to find out the proper evaluative words and colors according to various fashion images and to classify the fashion images according to certain criteria. 13 books which included the content of the fashion images were selected to draw evaluative words and colors. Evaluative words and colors were found out as follows: classic image-traditional, classical, conservative and brown, wine, dark yellow, modem image-intelligent, rational, westernized and achromatic color, cool colors, elegance image-dignified, graceful, chic and greyish tone, pale tone, romantic image-cute, lovely, girlish, natural image-natural, comfortable, gently and brown, ivory beige, khaki, casual image-energetic, comfortable, active and red, yellow, blue family. The classification of fashion images according to various criteria were as follows. According to sex: feminine-elegance, romantic, pretty and masculine-mannish, dandy, military. According to time: past-conservative, traditional, classical, and present-modern, contemporary, sophisticate. According to formality: formal-formal wear of classic, elegance, mannish, dandy style and informal-natural, casual. According to intelligence, the elite style-modern, elegance, classic, sophisticate and the public style-casual, natural.