• Journal of Korea Multimedia Society
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• v.19 no.4
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• pp.717-724
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• 2016

Paintings can evoke emotions in viewers. In this paper, we propose a method for extracting emotion from paintings by using the colors that comprise the paintings. For this, we generate color spectrum from input painting and compare the color spectrum and color combination for finding most similarity color combination. The found color combinations are mapped with emotional keywords. Thus, we extract emotional keyword as the emotion evoked by the painting. Also, we vary the form of algorithms for matching color spectrum and color combinations and extract and compare results by using each algorithm.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Asia Marketing Journal
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• v.13 no.2
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• pp.99-130
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• 2011

In recent years, a new way of differentiating product design has emerged -better known as 'masterpiece marketing,' this is a strategy where famous art pieces are borrowed on to product designs. Because the recent trends of well-being and LOHAS have encouraged the consumers' desires to enjoy culture and live a more opulent lifestyle, famous and notable paintings have grown to be more of "approachable masterpieces" to the public. As a strategy intended to develop a new consumerism, while still prioritizing customers' values and their satisfaction, companies have been drawn to this new type of marketing. The current consumption society has converted renowned art pieces from simply works of 'high culture' to a further way of marketing, aimed to differentiate products and dominate the market. Though many products have had masterpieces applied to their designs and have been noticed for their marketability, there has been less systematic research done on the scientific background behind this marketing approach. This research focused on the art pieces' fundamental nature of inducing emotions in the viewer, and hypothesized about how the evaluation of a product may be influenced by the affect provoked by the art piece used. To be more specific, if art pieces with different levels of pleasure and arousal -the two axis of emotion suggested by existing research on emotion -were used on each product, the goal was to see how the different levels influenced the consumer's assessment of the products, focusing on product's type as well as the evaluation of their attributes. First, a pretest was done to verify the relationship between the emotion provoked by the art piece and the consumer's preference. There were two types of surveys, each with five drawings from the ten that were assumed to differ in levels of the two axis of emotion. The survey was composed of questions asking for positive emotion, negative emotion, level of arousal, and preference. The correlation between the measurements of positive and negative emotions was -0.792, so an integrated entry was used in the analysis by subtracting the measurement of negative emotions from that of positive emotions. The first hypothesis that paintings that provoke positive emotions will be more preferred than paintings that bring out negative emotions was supported; and through this research, paintings that were to be used for the products were selected. The second pretest was conducted to settle on an item that would be used in the research. Items meant to measure utilitarian and hedonic attributes of milk and chocolate, the two products to be used in the research, were extracted. Because milk is a utilitarian product with strong practical attributes while chocolate is a hedonic product with strong hedonic attributes, these two were selected to be used in this research. The first study was executed to see if there is a difference in attitude about products that have different painting on their designs, which either induces positive or negative emotions. It was also to verify whether this difference in attitude was mediated by the viewer's preference for the art piece. This study showed that when positive emotion inducing painting was used, the product was better evaluated compared to the product with a painting that provokes a negative emotion, thus supporting the second hypothesis. It was also supported that the effect of affect on product evaluation was mediated by preference for the art piece. The second study was done to see the influence of the level of arousal on the evaluation of the product's attributes. Art pieces that differ in the level of arousal were selected through the pretest, and later it verified the hypothesis that the level of arousal has an effect on the assessment of the attributes of the product. In the case of milk, a utilitarian product, the fourth hypothesis that a high-arousal painting will better evaluated for its hedonic attributes was supported, as well as the fifth, which hypothesized that a low-arousal painting will receive a higher assessment for its utilitarian attributes. However, for chocolate, a hedonic product, both fourth and fifth hypotheses were not supported. This study is significant for the following basis: first, it verified the importance of the emotion induced by the painting on the evaluation of the product's attributes, by applying a systematic and scientific method. Second, it expanded from the existing research on positive/negative emotions to confirm the additional influence of the state of arousal on product evaluation.

• Archives of design research
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• v.15 no.4
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• pp.111-120
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• 2002

Folk paintings influence the lifestyle of the general public, and is visible practical communication presenting emotion, feelings and phenomenon through various functions and aesthetic molding specificity. Illustration as a medium for conveying information in modern society is time communication forming time circumstance based on a creative image, becoming an importance in the means of molding an active information society. Folk paintings and illustration express the subject of various kinds of stories of surroundings of daily lives ironically, humorously and symbolically, convey it in an accurate and detailed way in the various use of color and shape representation, and have a similar specificity as the general public's art influencing the society, culture, and environment, the general public's emotion and feelings of that time. The current research is to suggest the possibility and direction of Korean image representation in illustration by analyzing folk painting and illustration characters based on social, cultural function and role and molding specificity.

• Journal of Science of Art and Design
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• v.11
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Journal of The Geomorphological Association of Korea
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• v.21 no.4
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• pp.149-164
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• 2014

The representative landscapes in Jeju Island called as Ten sceneries of Yeongju originates with Ten sceneries of Tamra which were organized in the late seventeenth century by Jeju governor Lee Iktae. In order to compose ten representative sceneries in Jeju Island, he selected four strongholds such as Jocheon, Byeolbang, Seogwi and Myeongwol and six places of scenic beauty such as Seongsan, Baekrokdam, Yeonggok, Cheonjiyeon, Sanbang and Chwibyeongdam, and made a painting named as Ten sceneries of Tamra. Since the scenes of strongholds also exhibit a lot of geomorphic landscapes, the painting could be considered a collection of representative landforms in Jeju Island. The painting depicts several types of landform such as volcano, crater, river, waterfall, pool, wetland, cavern, tor and rocky coast. The volcanic edifice appears most frequently in the painting, reflecting the particular emotion of Jeju people on Mt. Halla and oreums. However, another volcanic landform, a lava tube, was not highly evaluated due to its negative images. Three famous waterfalls in Jeju Island were included in Ten sceneries of Tamra, and it suggests that they are essentially outstanding landforms, and besides, there are few sites related with fresh water in Jeju Island. The ten sceneries were entirely organized in spite of the limitation of selecting places at that time. The landscape images of Jeju Island, which had been shared as collective representation by Jeju people, were firstly externalized through Lee Iktae's painting, and have long been passed down and established a kind of scenic stereotype.

• Science of Emotion and Sensibility
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• v.12 no.3
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• pp.351-356
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• 2009

The study is about how the difference in education levels can affect the subjects' use of color and find out the features of the effect. This experimental study focused on the differences in color expression using the outline picture of a painting before and after being exposed to a full-color picture of the original painting. Differences between two conditions with two different stimuli were observed and the cause of the differences was analyzed based on the number of colors and the quantity of colors and composition of the colors used by the subjects. The study precedes an experiment based on how the level of education though experience can affect the use of colors. This study is focused on the various effects of color usage by children and adults who have various degrees of visual experience. In addition, the study analyzes how design majored subject differed in the use of color from non-design majored subject and compares the use of colors by the two groups. The results showed that design majored subject tended to use less coloring patterns after seeing the stimulus of the Monet picture with more colors, and included the colors from the stimuli they were exposed to. The non-design majored subject who viewed the Mondrian painting demonstrated opposite results by using less number of colors than before seeing the stimuli. In comparison to design majored subject, the variations in selected colors and the quantity of color by non-design majored subject were not consistent.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.125-140
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• 2000

The major findings of basic women wear in genre painting were ; 1. Due to the influence of Shill-Hak (practical science) philosophy, Jeogori became shorter and a tighter fit came to be the norm. 2,. The shortening of the Jeogori influenced a longer Chima with a wider span providing comfort in movement or at work. The end of the skirt was often held by one hand to the waist adding to comfort. This was called the Go-dul-chima(Lifted Chima). 3. Because the Geo-dul-chima exposed a portion of one underwear at the bottom of the dress this influenced the "irnamentation' of underpants and underskits. 4. Collars or lapels came in the form of Dang-ko, Kal, Mok-pan and Ban-Mokpan. Among there Dang-ko style collars were the most common which allows us to conclude that this was the most popular. 5. The most commonly used colors for Jeogori were white (39.8%) and jade(18.3%) . The most commonly used colors for CHima were deep blue(34.4%) and jade(20.4%) . The lower Chima used the darkercolors to give stability to the overall costume. 6. Clothing had the function of differentiating the classes. Only the Yang-ban were allowed to wear the Samhijang Jeogori and the Gob-Chima(double layered Chima) and the knotting of the Chima to the left. But the painting show that these rules were not adhered to in the strictest manner. With the bases of these types of chima and Jeogori can look at the characteristical beauty of the ordinary women during the late Cho-sun dynasty. First is the beauty which comes from mystery of those parts of body which can not be seen. A sense of subtle and sensual beauty as well as that coming from the enlargement of reduction of the upper body, narrow waist and abundant lower body parts creating an ideal silhouette of sexual charm. An expression of emotion through clothing by those who lived during those times.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.101-114
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• 2016

In the center of our ancestor's culture, there were poetry, calligraphy, and painting. Above all, poetry was the heart of the culture involved in everyday life. The beauty of poetry was not limited to appreciation of the poetry but it influenced calligraphy, painting, seals, music, architecture and even how the ancestors viewed their lives. Categories of poetry(詩品, CP hereafter) is the poetry written to deliberate the style of poems and its influence went beyond the fields of calligraphy and painting. Even now, our architecture reflects the sentimental influences and values of CP. In order to understand the attitude, mind, and the world view of the architects in the past, comprehensive and deep understanding of their philosophy as well as their cultural and social norms is needed. In this paper, CP is used as the means to investigate and develop such understanding of our ancestors' philosophy and culture. This paper also intends to investigate how the seclusive thinking of Neo-Confucianism is reflected in CP and the overall literature. In addition, this paper aims to examine the trace of CP in traditional architecture as well as the relationships and the flow among various styles of CP. This study therefore serves as an important base in understanding the ancestor's philosophy that pursued balance between life and art, reason and emotion, study and practice, and their architectural expression. It is also expected that this study would work as the groundwork to regain our traditional culture identity.

• The Research Journal of the Costume Culture
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• v.21 no.5
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• pp.684-698
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• 2013

Interest and desire for analogue emotion increased with the dazzling development of digital technology. Especially, as analogue emotion got grafted in the design field, analysis through various expression media is being done. This study seeks to propose design of t-shirt using unique advantage of Hangeul calligraphy that can satisfy the modern flow and pattern design's various expressions. Calligraphy is being used in various fields such as advert, package, logo, movie poster, signboard, graphic design, calligraphy and abstract painting. Formative yet effective in readability and conveying meaning as it's expressed in letters, calligraphy is a field of attention with its contribution in extending the new design area. As a method of the study, altogether 8 pieces of t-shirts were proposed through related preceding research, literary research, co-work with calligraphy author, computer graphic program, and heat transfer. As such, the t-shirt designs which were created by suggesting various design and using traditional materials like calligraphy, can be used as novel and sensual factor, where one can get a glimpse at the potential of development as traditional fashion product.