• 패션비즈니스
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• 제13권6호
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• pp.125-136
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• 2009

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.

• 디자인학연구
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• 제16권4호
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• pp.255-266
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• 2003

본 연구는 환경디자인을 통한 대학 캠퍼스의 정체성과 이미지 확립에 바람직한 도움이 되고자 캠퍼스 내의 건축물을 대상으로 하는 색채 사용 기준을 제시하였다. 특히 오랜 역사와 고유의 학풍을 지닌 Y-대학교 S-캠퍼스를 대상으로 향후 건축물조성에 사용할 수 있는 색채 팔레트를 제시함으로써, 전통과 현대의 조화를 통해 다가올 미래의 변화를 수용할 수 있으며, 대학의 특성화 및 차별화 된 환경 디자인의 한 기준을 마련할 수 있을 것으로 기대한다. 연구의 진행은 기초조사, 본 조사, 분석 및 색채 팔레트 제안으로 이루어지는데, 기초조사 단계에서는 문헌을 통해 대학교의 역사와 교육 이념 등의 대학교 이미지를 형용사어를 중심으로 조사하였다. 본 조사에서는 다양한 건축 외장재를 수집하여 측색하고, 현재 캠퍼스 내의 건축물 색채 및 사계절에 해당하는 자연 색채를 계절별로 실측 조사하였다. 이 때에는 측색기와 NCS 표준 색채, 디지털 카메라 등이 보조 수단으로 사용되었다. 분석 단계에서는 위에서 수집된 자료들을 바탕으로 Y 캠퍼스의 지향 이미지 색채를 설정하고, 현재 건축물 색채와 자연 색채와의 조화를 고려한 배색 팔레트를 최종 제시하였다. 이를 바탕으로 설정한 최종 대표 색으로 주조 색은 중 명도/중 채도의 화강암을 주재료로 하는 YR 계열 및 무채색에 해당하는 색을 선정하였고, 보조 색은 고 채도와 어둡고 무거운 색을 제외한 P, Lgr, Dl, Dp에 해당하는 주조 색과 비슷하거나 약간 어두운 중 명도, 중 채도에 해당하는 색들을 지정하였다. 마지막으로 강조 색은 한국인 단색감성척도를 사용하여 추출한 Y 대학교가 지향하는 이미지 색채와 캠퍼스의 자연 색을 함께 사용하기로 하였다. 본 연구를 통해 얻을 수 있는 결과물은 자연 색 체계(NCS System)에 기초하고 색채 조화 원리에 의거한 Y 캠퍼스의 지향 이미지 색채를 설정하고, 현재 건축물 색채 및 자연 색채와의 조화를 고려한 배색 팔레트이다. 또한 건축물, 자연 색, Y대학교 지향 이미지를 바탕으로 향후 종합적인 색채 계획에 필요한 색채 팔레트 메뉴얼 제안이 이루어 질 수 있고, 최종적으로 Y 대학교 캠퍼스 이미지 통합을 위한 연구의 보조적 자료로서의 색채 팔레트 제안이 이루어 질 수 있을 것이다.

• 복식
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• 제40권
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• pp.25-35
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• 1998

This thesis is a study of Kas ya, robes of buddhist monk, which is having peculiarity among human clothes. I kept my attention mainly on the symbolism of the color of Kas ya. To elucidate this, I chose the principle of T -chi and Yin-yang and Wu-shing as a frame-work of interpretation. In the first place, the original meaning of Kas ya mean a name of peculiar color. The concrete names of the color are color of persimmons juice, brown, yellow tinged with red, radish brown, non-primary color etc. The main motive to dye three robes of buddhist monk from white or primary color to the color of Kas ya was to differentiate buddhist monks from heathen or laymen. Therefore, as luxurious and primary colored cloths was donated to the buddhist monks, they are necessary to discolor them. Accordingly. they established 'non-primary color' as well-mate one for a ascetic. The non-primary color is called discolored color' as a result of discoloring primary colors. The discolored color is a synonym of Kas ya and the process of discoloring is necessary for making robes of buddhist monk. Secondly, discoloring means to mash five primary color. That is say, the process of discoloring means to return five primary colors back to 'profoundity·abstruseness·obscurity, namely darkness' as the source of them. Darkness as a condition amalgamated and not appeared all materials is the source and at the same time the terminus of all colors. Therefore, color of Kas ya symbolizes 'profound color' as the ultimate meaning of discoloring. Thirdly, discoloring garments of buddhist monk symbolize to destroy evil passions and haughtiness arising in ascetic's mind as well as means don't attach to the shaped materials'. Fourthly, discoloring means to return 'color'. namely 'all kinds of shaped material' to the inherent nature. Process of discoloring means to reture to the empty. nya. nya essentially do not make any colors, but over and over again come into being and become extinct as becoming colors. R pa, by one time Yin and the other time Yang'. R pa, color is a metaplasia of nya and nya is discoloring one of all colors. Then, discoloring means R pa is nya, R pa is nya at the same time and Because this is another expression of Dharma the original meaning of Kas ya symbolize true robes. Consequently, Kas ya means truth and beyond time and space do not be changed and conserve the color of the first till now.

• 패션비즈니스
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• 제6권2호
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• pp.41-52
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• 2002

At the beginning of the modern times, orientalism and ethnic character was the main stream of current fashion. Early in the twentieth century, orientalism had a tremendous affect on various areas of society, culture, and art. Particularly, it inspired and activated the design of costume. A great variety of colors and construction of the Orient and geometrical simplicity were based on the creation of modern costume. Ethnic placed weight on the Orient because Japan strengthened competitiveness and China opened the door to foreign countries. Therefore, a large number of the oriental costume produced by a variety of fashion designers. The oriental handicraft, motif and colors of the traditional costume have been used in modern costume. In addition, they are precious ideas for designers. This thesis is about a Study on costume embroidery close to fashion through the oriental embroidery and the concept of oriental embroidery. It is also a study on patterns, skills and colors of the oriental embroidery shown in modern fashion and practical use through the designers works. First, concept, process of change, patterns, skills and colors of the oriental embroidery are mainly discussed. 1.The oriental embroidery consists of life, Buddhism, appreciation and costume embroidery. Embroidery was widely used for a variety of purposes. First, it is to make a good impression and beauty. Second, to decorate many kinds of patterns and shapes. Last, to indicate social status and stages. 2.The origin of the oriental embroidery started in Persia. was It greatly developed in Iran and was introduced in Korea via China. We are reminded of the oriental embroidery of China. China is the original place of oriental embroidery. Oriental embroidery has developed the peculiar embroidery according to each climate, custom and nationality. On the basis of these, the practical use of the oriental embroidery on modern fashion is presented through patterns, skills and colors which leads Korean designers use. Even though the oriental embroidery is not very popular among people owing to a great deal of cost and a demand for labor, the patterns and colors of the embroidery has been already familiar with the contemporaries A more profound study on the oriental embroidery will supply a great deal of material and ideas to the fashion industry. Moreover, an effort to raise self-pride in traditional culture will be also in need.

• 보존과학회지
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• 제33권5호
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• pp.331-344
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• 2017

본 연구에서는 오산 수청동 유적에서 확인된 10가지 색상 중 다수를 차지하는 적갈색, 벽색, 감청색을 연구시료로 선정하여 화학 조성을 중심으로 각 색상별 유형을 분류하고 이에 따른 시기별 전개 양상을 살펴보았다. 유형 분류한 결과, 적갈색과 감청색은 5가지, 벽색은 4가지 유형으로 구분된다. 이를 출토 유구의 시기별로 살펴볼 때, 적갈색은 2가지, 벽색과 감청색은 1가지 유형이 시기의 연속성을 보여 각 색상의 주된 유형으로 판단된다. 주된 유형은 산화알루미늄($Al_2O_3$)의 안정제 함량이 높은 소다유리군인 공통적 특징을 보여 본 유적 조영집단은 지속적으로 유리구슬을 교역한 경로를 가지고 있었을 것으로 추정된다. 또한 오산 수청동 유적은 4세기 후엽 유구에서 다양한 유형이 확인되어 이전시기에 비하여 다양한 유통 경로를 통해 유리구슬이 유입되었을 가능성이 높다고 할 수 있다.

• 조형예술학연구
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• 제10권
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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.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.35-35
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• 2003

During the reign of King Kwangjong(光宗) in Goryeo(高麗) there was specific purpose to decide that the government officials should have worn their uniforms in four colors. The main purpose had been to establish new bureaucracy around royal authority. Therefore, it is necessary to analyze four coloured official uniform regulation(四色公服制) concerning the bureaucracy at the time.

• 제어로봇시스템학회논문지
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• 제12권2호
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• pp.119-129
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• 2006

Art psychotherapy is widely accepted as an effective tool for diagnosis and treatment of psychological disorders. Important factors for art psychotherapy diagnosis, based on the projection theory that the world of the inner mind appears in drawings, include main color and imbalance of a drawing. This paper develops a system for a machine to determine the main color and the imbalance of a drawing by color recognition and edge detection. Our proposed color recognition procedure adopts NBS(National Bureau of Standards) distance between colors in HVC(Hue, Value, Chroma) color space which is most similar to the human eye's color perception. Our edge detection procedure applies blurring, clustering and transformation to a standard color in a series. Our system considers the numbers of pixels and clusters for each color as a criterion for main color and the frequency of edge coordinates for each region for imbalance. The proposed machine procedure, verified through case studies, can help overcome the subjectivity, ambiguity and uncertainty in human decision involved in art psychotherapy.

• 한국조경학회지
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• 제52권2호
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• pp.39-50
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• 2024

색채는 중요한 시각적 요소로서 도시 이미지와 사람들의 인식 형성에 중요한 영향을 미친다. 도시환경에서 색채를 정량적으로 분석하는 작업은 복잡한 과정을 필요로 하여 과거에는 실행하기가 어려웠다. 그러나 최근 머신 러닝 기술의 급속한 발전으로 관광객이 공유한 사진을 이용하여 도시 색채를 분석하는 것이 가능해졌다. 본 연구는 중국의 인기 관광지인 대리시를 사례로 선정하여 관광객이 공유한 대리시의 사진을 수집하였으며, 머신 러닝 기술을 결합하여 대규모 도시 색채를 측정하는 방법을 탐색하였다. 구체적으로는 먼저 DeepLabv3+ 모델을 사용하여 ADE20k 데이터 셋을 기반으로 관광객이 공유한 사진의 의미 분할을 수행하여 사진에서 인공 요소를 분리했다. 다음으로 K-means 클러스터링 알고리즘을 사용하여 대리시의 인공 요소의 주요 색상을 추출하고, 이러한 색상 간의 상관관계를 분석하기 위해 인접 매트릭스를 구축했다. 연구 결과에 따르면 대리시의 인공 요소의 주요 색상은 주황-회색이 가장 높은 비율을 차지한다. 또한, 회색 계열의 색상이 다른 색상과 자주 조합되어 사용되는 경향이 있다. 분석에 따르면 대리시의 인공 요소의 색채 특성은 지역의 민족 문화와 불교 문화의 영향을 받는 것으로 나타났다. 본 연구는 색채 분석을 위한 새로운 접근 방법을 제공하며, 연구 결과는 대리시가 관광객의 기대에 부합하는 도시 색채 이미지를 형성하는 데 도움이 될 뿐만 아니라 향후 대리시의 색채 계획을 위한 참고 자료를 제공하고자 한다.

• 복식문화연구
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• 제17권3호
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• pp.383-395
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• 2009

The purpose of this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.