• Journal of Korean Ophthalmic Optics Society
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• v.19 no.4
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• pp.435-443
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• 2014

Purpose: The purpose of this study was to analyze the design identity visual elements of optical shop brand$\underline{s}$ in order to provide objective data necessary for optical shop brands' design development. Methods: This study examined the design identity concept of the optical shop brands and analyzed visual elements of brand design identity with a focus on the symbols of domestic franchise optical shops, type of a symbol mark, representation style of logo type, color usage, use or non-use of character, etc. Results: Many symbols were directly associated with the eyeglasses, such as eyeglasses and eyes, face and iris. Along with that, letters or figures were also observed. For the type of symbol, most types were found to have the designs that took spherical and word mark shapes. Particularly, the word mark type had English words more often than Korean words. For logo types, the gothic format was dominant. In relation to the thickness of letter, thick boldface type was commonly used. The combination of 2 degrees was the color frequency used most often in the optical shop brand design. For the frequency of color usage, black and red colors were used most often. Particularly, the orange color, as well as the black color, was also often used for the main color of symbols or logo types. Meanwhile, the characters were used only in some optical shop. Most characters were animals and expressed in the cartoon and graphical forms. Conclusions: Typifier, symbol mark, logo type, color, and character are the elements forming the basic development system for brand design identity. Systematic design is needed which clearly ensures the function and role along with the mutual consistency as a important visual component of the optical shop brand.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.79-94
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• 2004

The main purpose of this study is to discribe the transfiguration process and the symbols of theatrical costume of Sandai masque(산대놀이) during the Choson Dynasty. Sandai masque as a popular play is a very important form in the history of the Korean theatre. Furthermore in order to analyze the mutual relationship and difference between in the early and later Chosen Dynasty, Narye has is stressed deeply a national amusement event. In the early years of Choson Dynasty, non-official culture such as outside of Seoul and Seoul were subject to the official culture of the Court. In the late years, actors become more and more libral, separating themselves from the systemical restriction. The main reason for this is the growth of capitals in private sectors as well as the growth in demand for entertainment among private citizens. On these backgrounds, the transfiguration process of Sandai masque have changed the treatrical costume. The treatrical costume carries symbolic meaning to the obserber. The value of symbol changes as the time passes, overtime thereby altering its meaning as well. The caracters and plots change inevitably over years but the basic theme remains. The symbols of theatrical costume of Sandai masque are mainly focused on three subjects: first, the entrance of a dragon and tiger originated in the exorcism for good harvest; second, color symbolism expressed in the confrontation between red and black; and third, associate characteristics of dress forms related to regoinal classification of the mask dance.

• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.62-71
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• 2007

The color is one of the important key words in Fashion arena today. In fashion, the image and concept changes by use of color or color combinations. The purpose of this research is to pursue the characteristics of color and color combinations through analyzing the colors utilized in oriental fashion design. It is necessary to define the oriental fashion design to build a criteria for collecting law materials for analysis of the research. As a conclusion, traditional oriental colors already used in various traditional artifacts were popular in use by many fashion designers with volatile attitudes towards its original symbolic meanings or philosophy. For example, yellow and red stands for gorgeous or sexy images through fashion design instead of express its original symbols of power and prosperity. The Complimentary Color Combination in hue, value and intensity of colors were also found in fashion design impling oriental images. While Contemporary Fashion Trend Color were also used in expressing Oriental images with oriental details considering fashion market. In using Oriental colors The characteristics of oriental colors and its combinations used in fashion designs are significant and their influences are meaningful not only in fashion design but also adjacent design areas.

• Journal of the Korean Society of Costume
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• v.25
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• pp.157-169
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• 1995

The confucianism, the Taoism, the Budd-hism and the Folk-Faith actually coexisted and all of them had also widespread infuluence on the Chosun Society. This thesis is designed to study symbol of Color Scheme expressed in the clothing of Chosun dynasty. For this thesis I examined records of Royal archives, books containing lifestyle of Chosun dynasty, genre paintings, documantary pain-tings, excorcist clothing and existing remains. And I synthetically studied symbol of the Clothing Color Schemes in Chosun dynasty on the bases of theoretical researches. The result were as follows. There were many cases of 1. Upper·lowergarments : Red-Blue, White-Blue, White-Blue Color Schemes. 3. Exorcist clothing : Red-Red, Blue-Yellow, Blue-Blue Color Schemes. 4. Multy-colored stripes : Same color arrange-ments were avoided in Color Schemes. In the case of Green Wonsam, Blue-Red-Yellow-White Clothing Color Scheme was obvious. 5. Dance wear : Red-Blue, Yellow-Red Color Schemes. Generally more than anything else Blue-red Clothing Color Scheme was widely used. Be-sides Blue-Red Color Scheme, there were also many cases of Red-Yellow, White-Blue Cloth-ing Color Schemes. As a whole, compatible Color Schemes were more often used than in-compatible Color Schemes were used with various symbols that were based on color concept of Yin-Yang O-haeng, Tae-il theory Folk-Faith and so forth in Chosun dynasty.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.43-54
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• 2019

This study analyzed the casula wearing by Catholic priests. By understanding various applications of the priests' wearing of casula, we can understand the meaning of wearing casula, situational judgment, and the role and status of priests. Ultimately, the Catholic symbol and meaning of the casula can be found. The purpose of this study is to examine the basic setting of the casula, the setting according to the status of the priest, and the origin of the casula. Second, this study to understand the design of the pattern shown in the casula. The patterns containing the symbol and the liturgical period were examined, and the method of making the pattern design was considered. Third, various symbols appearing in examples of priests' rituals were considered and analyzed. The method of this study was to utilize various pictures acquired during interviews with priests and nuns and to perform content verification. As a result of this study, the aspects of form, color, and pattern were shown through the wearing of casula during various situations. First, the morphological symbols appearing in the rituals are the simplified casula that hangs on the stola on the top of the alb and the symbols of the form according to the priest's status. In the liturgy, the casula is put on the outermost side as for basic wearing, but in the case of celebration or the attendance at celebrations other than the liturgy, it is the same as simplified wearing. Second, in terms of the symbol and color, the basic colored casulas were worn to match the time and character of the liturgy, and in addition, on the priests' ordination ceremony and celebration day the priests wore white casulas. Third, the symbol of the pattern used in the casula was a Cathoric pattern according to the period in the basic casula wearing of the liturgy. In addition, the patterns were produced by combining the patterns and meaning of the priests that were used in the casulas of the priests' ordination ceremony. The design of the pattern used in the beatification mass casula and the Mass of Peace casula during the Pope's visit to Korea in 2014 used the same motif as the Pope's design, but the simplified pattern was produced for the casula of the Cardinal and bishops. Through this, it is possible to understand the situation where a morphological symbol appears due to a distinction according to the role and status of the priest. This shows that the symbols that appear are the cross and should also consider the complexly, shape, color, and pattern.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.114-123
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• 2002

Koreans have regarded the red as a major color from old times. The red is a traditional color to have symbols of high position, national foundation and especially royalty. So, we can see the reds in the palace for kings very much.The purpose of this study is to draw out the features of color red in the Kyungbok palace. The color was analyzed by two categories-architectural buildings${\cdot}$structures and ornamental painted patterns. The major findings from this research are summarized as follows:1. Seokganju(similar to terra rossa) and toyugsaek(light seokganju) are found main colors in architectural space, while seokganju has a linear effect and toyuk has a facial effect. 2. Yugsaek(similar to light vermillion) and Jangdan(similar to orange) are found main colors in ornamental painted patterns. These colors are more vivid and brighter than those for architectural space.3. As for two-color combination, reds and blues(including greens) are found major combination both of architectural space and ornamental patterns. And reds and white are the following combination, which gives an bright image by white. 4. As for three-color combination, red-white-black combination of pediment and red-blue-white combination of openings are found very popular in architectural space, while red-blue-yellow combination is most popular in ornamental patterns.The reds are found dominant color of both architectural space and ornamental patterns in the Kyungbok palace. The color design as shown in the Kyungbok palace can be considered as the feature of traditional color design.

• Journal of the Korean Society of Costume
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• v.64 no.8
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• pp.179-190
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• 2014

In traditional costume, colors have been used to express the religion, society, culture, custom, and other aspects of a country. This is mainly due to color being the most conspicuous visual factor of a costume. In Thailand, there is a symbolic color for each day of the week, and the purpose of this study is to contribute to deeper understanding of the Thailand culture in regards to color and its costumes. The study method is as follows: literatures and photos were researched for social and religious background of the seven days Buddha history, which was the source of the color a day culture, symbols and significance of each Buddha were studied and precedent studies were reviewed. The study attempted to investigate the effect of the symbolic color on costumes as it passed down from generations. Originally, the symbolic colors of seven days Buddha in Thailand was a religious component that was exclusive to the upper class. However, it has expanded to the lower classes today. Currently, it obtains an aspect of health and wealth gospel for oneself or others as well as being used to express individual personality because people regard certain color as their symbolic color.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.1
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• pp.129-141
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• 1995

The Purpose of this study was to investigate the preference of fashion style, the clothing attitude and the preferred fashion style based on sex-role attitude. Sample.; in this study were 305 white collar adult male in Seoul, Korea. The stimuli consisted of 16 color photographs made by identical manipulations of 4 independent variables (jacket, pants, vest, neck-tie) consisting of two levels each (classic and fashion style). For analyzing data, frequency analysis, percent, mean, standard deviation, ANOVA, $X^2$ test, Duncan test, and Cronbach's u were used The results are as follows. 1. According to the preference analysis of the fashion style, white collar adult male prefer to wear clothing style than fashion in all clothing style, except for rolled-up pants. 2. According to the fashion interest (I) based on the preference analysis of the fashion style, the fashion oriented group had high fashion interest (I) in jacket, pants, and neck-tie. 3. According to the clothing attitude based on the preference analysis of the fashion style; for jacket, the fashion oriented group had high fashion interest, but had no relation with status symbols consciousness, clothing conformity, individuality; for vest, the fashion oriented group had high fashion interest (II) and individuality, but had no relation with status symbols 4. According to the clothing attitude based on the sex-role attitude, the group of masculine and feminine had high score in fashion interest (II), status symbols consciousness, and individuality

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of the Korea Society of Computer and Information
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• v.9 no.1
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• pp.25-30
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• 2004

In this Paper, a beat recognition method from a sequence of images of conducting person was proposed. Hand position was detected using color discrimination, and symbolized by quantization. Then a motion of the conductor was represented as a sequence of symbols. HMM (Hidden Markov Model), which is excellent for recognition of sequence pattern with some level of variation, was used to recognize the sequence of symbols to be a motion for a beat.