• Journal of Pharmaceutical Investigation
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• v.5 no.2
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• pp.57-62
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• 1975

It was many differances to evaluate of the effect of excipients on colour fading in FD & C Yellow No.5 by use Tintometer and nearly is not effective in FD & C Red No. 2. When we observed colour fading in suger coating formulations by tintometer, FD & C Red No.2 was appeared to follow zero order reaction and FD & C Yellow No. 5 was not follow zero order reaction or first order reaction. Also, we could know the tendency of colour fading by visible spectrum, but it was net suitable method for this experiment more than by tintometer. The relative colour fading effect of the surfactants(Polysorbate) was as follows: Tween 60> Tween 80> Tween 20. In addition to, Benzalkonium chloride was reacted with FD & C Yellow No.5, so the stronger colour was appeared. On the other hand, the weaker colour was appeared in FD & C Red No.2. While, the sunscreening agents was not almost effective in colour fading of FD & Yellow No. 5 and FD & C Red No. 2.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.24 no.3
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• pp.9-14
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• 2024

Hue, value, and chroma are the fundamental colour components used in colour property research to identify colour in the digital media environment. In the Munsell colour system, which is based on the characteristics of visual perception, the basic properties are classified into hue, value, and chroma. The methods for recording these three properties can be divided into the colour appearance system and the colour mixing system: in the former, they are documented based on a colour chart that focuses on visual perception, and in the latter, accurate numerical records are kept without concern for discolouration. Colour terminology is crucial for conveying and expressing colours, and colours can be classified and defined according to the combination of hue, value, and chroma. With the development of various media, it has become possible to represent a range of colours previously unachievable, necessitating basic research into the characteristics of colour perception by further subdividing digital-oriented colour studies. In this study, we conducted psychophysical experiments to identify and analyse the categories of value and chroma needed to recognise each colour among the ten representative colours of the Munsell colour system, based on visual perception on a display. This study analyses the results of these experiments, defines their significance as foundational research data on colour perception characteristics, and suggests directions for future research.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.18 no.4
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• pp.43-48
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• 2018

This study was conducted to reproduce digital colour based on the lightness of the background and size of the colour stimulus so that colour can be similarly perceived under different conditions. With the evolution of display technologies, display devices of various sizes can now reproduce more accurate colour and enhanced images, thus affecting the overall quality of display images. This study reproduced digital colour by considering the visual characteristics of the digital media environment. To accomplish this, we developed a colour appearance model which distinguishes the properties of foveal and peripheral vision. The proposed model is based on existing research on the lightness of the background and size of the colour stimulus. Based on experimental results, an analysis of variance was performed in order to develop the colour appearance model. The algorithm and modelling were verified based on the proposed model. In addition, to apply this model to display technologies, a practical colour control system and a method for handling complex input images were developed. Through this research, colour conversion errors which might occur when the input image is converted to fit a specific display size are resolved from the perspective of the human visual system. As a result, more accurate colour can be displayed and enhanced images can be reproduced.

• Journal of the Korean Society of Costume
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• v.20
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• pp.7-16
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• 1993

Influnced by the official uniform system of China, the colour culture of Korea has changed with time. The ancient colour has included the philo-sophical conception as well as the meaning of thoughts. Forming its tradition, the colour has been accepted in usual life. The philosophy of the Five Element has been developed in the area of Oriental culture and it has influnced to the colour of costume. The five colours(blue, red, yellow, white and black) as the Five Elements colours have disticted the social position. Owing to the fackt, the colour costume has preserved the important meaning. In accordance with the theory of the Five Elements the five colours of costume told its purpose, social position and age. Moreover the relationship among the Five Elements, the direction and the reason have been applied to it with time. Yellow and red have been usually used by kings and high ranking officals, white has been the basic colour for traditional Korean clothes, which hs indicated the integrity symbolizing our race. The Five Elements Colours preserving the theory of Korean the Five Elements have been the conception of Korean traditional colour and they have been developing as the meaning of custom.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.8 no.12
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• pp.4502-4512
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• 2014

This article presents a reformulation of the Grey Edge framework for colour constancy. Colour constancy is the ability of a visual system to perceive objects' colours independently of their scenes' illuminants. Colour constancy algorithms try to estimate the colour of an illuminant from image values. This estimation can later be used to correct the image as though it were taken under a white illuminant. The modification presented allows the framework to incorporate image-specific filters instead of the commonly used edge detectors. A colour constancy algorithm is proposed using PCA and FastICA linear component analyses methods for the construction of such filters. The results show that the proposed method improves the accuracies of the Grey Edge framework algorithms whilst on the other hand, achieving comparable accuracies with the state-of-the-art methods, but improving their time efficiencies.

• International Journal of Contents
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• v.8 no.1
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• pp.69-73
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• 2012

This paper aims to present colour theories and show how they can be used to explain consumer's preferences of some products over others. It will, furthermore, attempt to link these theories to the design industry and look at how colour associations determine product success. Due to associative learning and personal preference, the colours of objects can cause consumers to either favour or dislike products over those with identical functions and efficiency. Age and gender affect the preferred colour choices of the individual, making some products more popular to particular groups of potential consumers. Designers can utilise colour theories to ensure that they use the most appropriate colour schemes to maximise and appeal to their targeted market successfully. A survey was conducted with 100 participants. It demonstrates the associative links between colours, emotions and product categories. It can be shown that the colour of an object can contribute to its success or failure in the market based on a number of different criteria. The design must use colour confidently to evoke certain emotions or connotations and must be carried out appropriately. The designer also has to consider whom it is that be viewing it and making the decision of preference.

• Journal of Conservation Science
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• v.38 no.1
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• pp.1-13
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• 2022

Colour consistency is an important consideration when selecting pigments used on works of art. In this study, we analyse the colour difference between two sets of synthetic blue glass pigments acquired at least 8 years apart from the same manufacturer in Japan. The old pigment set (unused, dry powder with four different grain sizes) appears faded compared to the new set. These pigments are made available for artistic use, commonly in Nihonga or Japanese paintings. Raman spectroscopy and SEM-EDS results characterize these pigments as cobalt aluminate spinels dissolved in leaded glaze, a special class of complex coloured inorganic pigments that is not well-understood in the field of conservation. Colour difference between the old and new pigments with four different grain sizes were quantified by analysing photomicrographs with image analysis software. Blue pigments with coarse and extremely fine grains showed significant colour change compared to pigments with medium and fine grain sizes. The high occurrence of crystallites in the finer grains give a final colour that is bluer and lighter. Possible causes for the colour difference including manufacturing methods and storage environment are discussed.

• The Journal of the Society of Korean Medicine Diagnostics
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• v.15 no.2
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• pp.149-158
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• 2011

Objectives: The objective of this study is to compare the colour intensity of tongue body and that of tongue coat under the visible light and the ultraviolet light. Methods: We selected 7 subjects with completely or partially peeled tongue coat among the recruited 94 adults for the experiment. We took each tongue picture under the visible light and the ultraviolet light (315-400 nm) and then extracted sample images from the tongue body and tongue coat regions. Mean, median and mode of colour intensity from the sample images were calculated in 256 RGB system. Results: The green and the blue colour intensities of the tongue coats were significantly higher than those of the tongue bodies under the visible light. In all channels, the red, green and blue, the colour intensities of the tongue coats were significantly higher than those of the tongue bodies under the ultraviolet light. The colour differences between tongue coats and tongue bodies under the ultraviolet light were significantly higher than the colour differences under the visible light. Especially the colour difference under the ultraviolet light was highest in the green channel. Conclusions: We suggested that green colour image of the RGB system taken under the ultraviolet light could be used for more easy separating tongue coat region from tongue body.

• Proceedings of the Korean Society of Crop Science Conference
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• 2017.06a
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• pp.278-278
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• 2017

Brown rice grains are increasingly attended by consumers due to their potential health benefits of antioxidant capacity. Therefore, this research was carried out to evaluate the antioxidant activity of brown rice in Korea-native weedy rice germplasm. Two hundred and twenty one accessions of weedy rice used in this study were received from the National Agrobiodiversity Center of RDA, and were regenerated in the experimental field of Chonbuk National University. The sampled seeds were extracted using methanol and the extracts were analyzed using the 1, 1-dipheny-2-picrylhydrasyl (DPPH) free radical scavenging assay for antioxidant capacity determination. Among the all germplasm, the samples of seed coat in red colour, white colour, red -white mixing colour and brown colour were 171 (81%), 26 (12%), 12 (6%) and 2 (1%), respectively. The antioxidant activity values of all samples were varied in the range from 22.31% to 95.53 % and mean value was 82.09%. Depend on the seed coat colour, the average antioxidant activity of the extract of weedy rice seeds indicated that the following order in seed coat colour: red colour (89.11%) > the red-white mixing colour (70.67%) > brown colour (53.16%) > white colour (45.99%). The antioxidant activity of red coloured weedy rice were significantly higher than those of the others. It is suggested that Korea-native weedy rice accessions with high antioxidant activity could be developed as a potential functional food material by further research of component analysis.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.05a
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• pp.273-274
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• 2005

The purpose of this design is to find out the design for an ophthalmic hospital focusing on the patient needs and changed healthcare environment. A cellularized hospital system appears variety design. This space needs well-balanced and ease of mind, because of ophthalmic needs a clear description attention. The concept of this design is to give human colour intellect and rich colour-sense. The waiting area wall is finished the graphic design sheet of leaves, which is covered with the fluting glass and indirect lighting. The colour is extracted in nature. The colour techniques of graphic design is gradation, the colour plan select from Y to G-GB. The material is selected within natural colour. The treatment area is functional space and the waiting area is sensitivity space. The hospital design must change with user as a leader.