• 한국실내디자인학회논문집
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• 제20권6호
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• pp.236-243
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• 2011

The digital space color of new media environment denied not only the deterministic relationship of designed color and circumjacent color but also the deduced an special elements of digital space color. Such phenomena historical perspective of Gernot Wersig, new media principle of Lev Manovich and remediation of Bolter, J.K & Grusin, R. are expressed in various new media environment across. In particular, development of digital technology is moving away from its previous space color based on scientific, statistical and quantitative perspective by using diverse variables. The following research focuses on the fundamental concept of space color by type, composition of digital space color. The paper reflects on the meaning and concept of contemporary which enables the application of digital space color system on space through advanced technology. The principle of digital space color such as multidimensional malerisch, discontinuous video, vague original and copy, irregular repetitiveness of 'copy of copy', selective color of observer, experiential color of observer, and etc. makes it possible to extract the expressed element and method of digital space color. Meanwhile, the features of digital space color such as divided field of form, non-systematized of process and collage of communication can be inferred from case analysis.

• 한국실내디자인학회논문집
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• 제19권4호
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• pp.39-47
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• 2010

As various materials and new methods can be used due to developments in science and expansion of thinking, modern architectural color composes extensive possibilities exceeding its physical role of the past. In particular, rather than the initial external expression, the secondary connotative interpretation is more important in interpreting architectural color. This is because color interpretation changes the meaning of space based on light. Also, the development of digital technology has shifted the use of architectural color from passive realization to a more proactive concept and value. In other words, such shift leads to a new discussion on architectural color such as non-representation, invisibility, and non-physicality as the concept of fixed time, space and movement has been weakened. This paper begins by conceptualizing the digital space, a term widely used to interpret the architectural color of digital space. And it will be categorized as non-representational architectural color, invisible architectural color, and non-physical architectural color, by combining the characteristics of digital space with the modern architecture's color examples. Digital space overcoming the space time is differently interpreted from the past color expression. Modern architecture's color which substitutes the passive view with active body takes a role delivering various axes of discussions with synaesthesia.

• 한국인쇄학회지
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• 제22권2호
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• pp.163-178
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• 2004

In this study, the CIE RGB color space which was one of the most popular device-dependent application program in digital image processing was adopted to make the profile with the device information. The profile was applied to the digital image of a JPEG file format. The result was compared with the color reproduction of another digital image of a JPEG file format, which was made in the e-sRGB color space that had the color spaces allocated to each reproduced color of an image and device-independent colors. In this way it was investigated which color space was more appropriate for digital image processing for web printing and if the e-sRGB color space was good as a color management tool that didn't depend on a device in processing a digital image for web printing.

• ETRI Journal
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• 제38권1호
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• pp.164-173
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• 2016

Demosaicing, or color filter array (CFA) interpolation, estimates missing color channels of raw mosaiced images from a CFA to reproduce full-color images. It is an essential process for single-sensor digital cameras with CFAs. In this paper, a new demosaicing method for digital cameras with Bayer-like W-RGB CFAs is proposed. To preserve the edge structure when reproducing full-color images, we propose an edge direction-adaptive method using color difference estimation between different channels, which can be applied to practical digital camera use. To evaluate the performance of the proposed method in terms of CPSNR, FSIM, and S-CIELAB color distance measures, we perform simulations on sets of mosaiced images captured by an actual prototype digital camera with a Bayer-like W-RGB CFA. The simulation results show that the proposed method demosaics better than a conventional one by approximately +22.4% CPSNR, +0.9% FSIM, and +36.7% S-CIELAB distance.

• 한국인쇄학회:학술대회논문집
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• 한국인쇄학회 2000년도 추계 학술 발표회 논문집
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• pp.17-28
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• 2000

Recently, as the prepress mainstream is changed to the digital workflow, various digital proofing systems such as high price dye sublimation printers and low price ink jet printers are widely used in printing industry. However, most of the digital proofing devices have lower resolutions than analog proofing systems and differ with actual color presses in the color gamuts. Therefore, proper color compensations are needed for digital color proofing in order to match color between the proofs and the press sheets. In this paper, we used 3-dimensional look-up table(LUT) and tetrahedral interpolation method for the color space conversion between the device independent color space(CIEXYZ or Lab) and the device dependent color space(CMY) to reduce the color differences between the original copy and digital color proofs and the press sheets.

• 한국인쇄학회지
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• 제24권1호
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• pp.23-34
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• 2006

Color reproduction is one of the most important expression factors in digital printing. In this paper, an experiment was done where the characteristics of color reproduction in digital printing. The results could summarized as follows. The printing used device profile showed a color difference of less than printing used default value in digital printing. As a result of weighting color difference, a difference between color gamut of digital original and color gamut of printing, when transforming the RGB color space to CMY color space, a exclusion the gray revision. The solution is to optimize the color transformation by gamut mapping and gray revision.

• 한국인쇄학회지
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• 제28권2호
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• pp.117-128
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• 2010

Advancements in digital image have put high quality digital camera into the hands of many image professionals and consumers alike. High quality digital camera images consist originally of raw which have a set of color rendering operation applied to them to produce good images. With color rendering, the raw file was converted to Adobe RGB and sRGB color space. Also color rendering can incorporate factor such as white balance, contrast, saturation. Therefore, in this paper we conduct a study on production of optimum profile considered color rendering in digital camera. To do the experiment, the images were Digital ColorChecker SG target and ColorChecker DC target. A profiling tool was ProfileMaker 5.03. The results were analyzed by comparing in color gamut of $CIEL^*a^*b^*$ color space and calculating ${\Delta}E^*_{ab}$. Also results were analyzed in terms of different $CIEL^*a^*b^*$ color space quadrants based on lightness, chroma.

• 디지털융복합연구
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• 제20권4호
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• pp.491-498
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• 2022

본 연구는 괴테의 색채이론을 바탕으로 디지털 공간에서 감각적, 정서적, 경험적 색채를 공간색채로 정의하기 위한 목적으로 개념 및 분류 방법을 다음의 연구 방법을 통하여 제시하였다. 첫째, 이론적 고찰을 통해 공간색채 개념을 정의하고, 공간색채 분류로 표면색채, 테두리색채, 물리 색채 3가지로 유형화하였다. 둘째, 디지털 공간의 특성과 색채 시스템을 고찰하였다. 셋째, 앞선 이론적 고찰을 통해 유형화된 공간색채와 디지털 공간의 특성 및 색채 감각유형을 바탕으로 디지털 공간색채 4가지를 테크노 색채, 센스 색채, 픽셀 색채, 블러 색채로 도출하고 유형화하여 제시하였다. 이와 같은 연구 내용을 바탕으로 본 연구는 괴테의 색채론이 현시대에 갖는 의미를 디지털 공간색채를 통해 체계화하였다는 데 의의가 있다.

• 보존과학회지
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• 제38권2호
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• pp.154-165
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• 2022

문화유산의 현색(顯色)은 제작기법 해석, 보존처리 활용, 상태 모니터링의 중요한 기초 자료이다. 이 연구에서는 권응수 초상을 대상으로 디지털 색관리시스템 기반 색재현 과정을 체계적으로 정립하고, 문화유산 기록 및 보존에 적합한 현색 활용방안을 제안하였다. 전체적인 색재현 과정은 촬영 환경 세팅, 색기준차트 측정, 디지털 사진 촬영, 색보정, 색공간 설정 순으로 진행되었다. 연구 결과, 사진기 제조사 프로파일이 적용된 디지털 이미지는 현색과 비교하여 평균 𝜟10.1의 색차를 보인 반면, 디지털 색재현 이미지는 평균 𝜟1.1의 색차를 보여 현색과 거의 유사한 것을 알 수 있다. 이 결과는 디지털 사진 촬영 환경과 조건을 최적화했더라도 디지털 사진기 제조사의 보정 알고리즘에 의존할 경우 대상 문화유산의 현색 기록에 어려움이 있는 것을 의미한다. 따라서 문화유산은 RAW 이미지 기반의 색보정 및 색공간 설정을 통해 디지털 색재현이 필요하며, 이는 현색 기록화를 위해 매우 중요한 과정이다. 또한 디지털 색재현을 통한 현색 기록은 문화유산의 보존상태 평가와 보존처리 및 복원의 중요한 기초자료가 될 수 있으며, 퇴색 및 변색 현상의 모니터링을 위한 기준 데이터로 활용성이 높을 것으로 판단된다.

• 한국정보디스플레이학회:학술대회논문집
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• 한국정보디스플레이학회 2009년도 9th International Meeting on Information Display
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• pp.1554-1556
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• 2009

In this paper, we propose a system to adjust specific color of image. The HSV of R/Y/G/C/B/M regions can be modified individually. The color reproduction can be preferred color, true color, or stander color for customer requirement.