• ETRI Journal
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• 제32권6호
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• pp.881-890
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• 2010

Conventional fire detection systems use physical sensors to detect fire. Chemical properties of particles in the air are acquired by sensors and are used by conventional fire detection systems to raise an alarm. However, this can also cause false alarms; for example, a person smoking in a room may trigger a typical fire alarm system. In order to manage false alarms of conventional fire detection systems, a computer vision-based fire detection algorithm is proposed in this paper. The proposed fire detection algorithm consists of two main parts: fire color modeling and motion detection. The algorithm can be used in parallel with conventional fire detection systems to reduce false alarms. It can also be deployed as a stand-alone system to detect fire by using video frames acquired through a video acquisition device. A novel fire color model is developed in CIE $L^*a^*b^*$ color space to identify fire pixels. The proposed fire color model is tested with ten diverse video sequences including different types of fire. The experimental results are quite encouraging in terms of correctly classifying fire pixels according to color information only. The overall fire detection system's performance is tested over a benchmark fire video database, and its performance is compared with the state-of-the-art fire detection method.

• 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.

• 산업경영시스템학회지
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• 제46권3호
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• pp.59-68
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• 2023

Currently, yellow phosphor of Y3Al5O12:Ce3+ (YAG:Ce) fluorescent material is applied to a 450~480nm blue LED light source to implement a white LED device and it has a simple structure, can obtain sufficient luminance, and is economical. However, in this method, in terms of spectrum analysis, it is difficult to mass-produce white LEDs having the same color coordinates due to color separation cause by the wide wavelength gap between blue and yellow band. There is a disadvantage that it is difficult to control optical properties such as color stability and color rendering. In addition, this method does not emit purple light in the range of 380 to 420nm, so it is white without purple color that can not implement the spectrum of the entire visible light spectrum as like sunlight. Because of this, it is difficult to implement a color rendering index(CRI) of 90 or higher, and natural light characteristics such as sunlight can not be expected. For this, need for a method of implementing sunlight with one LED by using a method of combining phosphors with one light source, rather than a method of combining red, blue, and yellow LEDs. Using this method, the characteristics of an artificial sunlight LED device with a spectrum similar to that of sunlight were demonstrated by implementing LED devices of various color temperatures with high color rendering by injecting phosphors into a 405nm deep blue LED light source. In order to find the spectrum closest to sunlight, different combinations of phosphors were repeatedly fabricated and tested. In addition, reliability and mass productivity were verified through temperature and humidity tests and ink penetration tests.

• 전자공학회논문지
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• 제53권9호
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• pp.110-117
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• 2016

컬러 영상의 콘트라스트를 향상시키기 위해서 가장 많이 사용되는 방법은 컬러 영상의 밝기 값에 콘트라스트 향상 알고리즘을 적용시키는 것이다. 이 방법은 색상 열화 없이 콘트라스트가 향상된 결과를 얻을 수 있지만, 원본 영상 대비 결과 영상의 채도가 감소되는 문제가 발생한다. 컬러 영상의 콘트라스트를 향상시키기 위한 또 다른 방법은 컬러 영상의 각 채널에 콘트라스트 향상 알고리즘을 적용시키는 것이다. 이 방법은 콘트라스트와 채도가 동시에 향상되지만 색상 열화가 발생하는 단점이 있다. 본 논문에서는 컬러 영상의 각 채널 처리 시 발생하는 색상 열화 원인을 분석하여 이를 보상해주는 방법으로 색상 열화 문제를 해결하였다. 또한 각 채널의 특성을 고려한 채널 적응적 콘트라스트 향상 방법을 이용하여 색상 열화를 방지하는 방법을 제안하였다. 제안하는 방법을 이용하면 컬러 영상의 콘트라스트 향상뿐만 아니라 색상 열화가 발생하지 않으면서 채도가 향상된 결과 영상을 획득할 수 있다. 실험 결과를 통해 제안하는 방법이 주관적 평가뿐 아니라 객관적 평가 지표들에서도 기존 방법들보다 우수한 성능을 보이는 것을 확인 할 수 있다.

• 유통과학연구
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• 제15권3호
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• pp.39-47
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• 2017

Purpose - The purpose of this study is to measure the effect of brand awareness by color marketing to purchase and revisit intentions in Traditional Markets. Research design, data, and methodology - For this study, 5 point Likert-scale was used based on previous research. Used SPSS ver.22, factor analysis and Cronbach's alpha, regression and correlation were tested. 254 samples were used for the analysis. Results - The three attributes of color marketing(symbolism, identifiability, association) exerted significant effects on brand awareness of traditional marketing explained 38.7% of the variance. Thus, , , and were supported. However, was not supported. Conclusions - Colors play important roles in establishing new images in consumers' minds. The visual sense affects emotions and attitudes and most of the visual sense is affected by colors. Colors that we see move people's heart and induce atmospheres thereby greatly affecting humans' physical and mental activities. To increase traditional market brand awareness, it is necessary for traditional markets to display a level of attractiveness through the use of colors and visuals. So to use color marketing in traditional market is very important for brand awareness which can cause purchase and traditional market revisit intension.

• 대한화장품학회지
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• 제24권3호
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• pp.73-80
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• 1998

This Study was performed to get the suitable oil dispersion agent by assessment of color strength of organic pigment in non-aqueous systems. Organic pigment is used as a color expression material with other body pigments in the make-up products. But occasionally aggregation or agglomeration occurs for the lack of affinity with medium, This function is the cause of disturbing homogeneous dispersion, and then bring about an instability of products. Our study, research of dispersion mechanism between the pigment and oil phase, has been executed to solve this problem, and find a oil dispersion agent having optimum dispersion condition. Generally dispersion is related to between the solid-liquid mutual properties and electrical phenomena associated with solid-liquid interface. This factor is determined to input energy, milling time, optical properties, particle size, rheological properties, etc. Ideal dispersion state is told that coloring primary solid particle is homogeneously dispersed in medium. Good dispersed colorants are strongly and clearly appeared. We are already known that the particle size of organic pigment, chemical properties and viscosity of medium, refractive index. Consequently We determine the affinity of medium and organic pigment by measuring of color strength in the same mechanical condition. UV-VISIBLE RECORDING SPECTRO PHOTOMETER is used for measuring apparatus. We can decided the dispersion level of oil dispersion agent by measuring absorbance of color strength in the visible range that diluted medium for colloid colorant particles.

• 한국습지학회지
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• 제16권2호
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• pp.275-280
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• 2014

수중 암모니아성 질소는 각종 수질오염을 일으키는 물질로서 관리대상이다. 인도페놀법을 변형한 발색대 길이 측정으로 암모니아성 질소를 분석하기 위한 기초 실험을 수행하였다. 1-naphthol을 발색제로 사용한 암모니아성 질소 분석에서 최대 흡광도는 720nm 부근의 파장대에서 관찰되었고, 적정 주입양은 $0.5-1.5m{\ell}$였다. 발색 반응은 신속히 진행되어 20분이 경과하여 전체 최고 흡광도의 80%으로 나타내었고, 발색 시약을 조제하는 과정에서 NaOH 농도는 1.5-2.5M 농도로 설정하였으며, 초기 pH는 영향을 미치지 않았다. 또한, $25^{\circ}C$의 온도에서는 발색대의 길이에 미치는 영향이 미미한 것으로 나타났다.

• 복식
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• 제54권5호
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• pp.27-39
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• 2004

Since around 1990. some experimental and shocking ugliness images have been expressed in Fashion and Make-up as well as Fine arts. The purpose of this study is to investigate the trends of ugliness images expressed in Modern Make-up from 1995 to 2003, especially focusing on color, and to enlarge the expressions through formative elements and to anticipate the prospect of Make-up in the future. Ugliness is the most negative aesthetic value which is lack of beauty. The 20 century art trends representing the ugly shape have been distorted or deformed or destroyed and extremely exaggerated with yellow, red, black, blue, white, green. The image and color of ugliness can be summarized as historical, avant-garde, decadence, de-constructive, humorous, futuristic trend and Most of colors are the achromatic ones like black, white, dark gray and red. blue, dark brown and so on. These colors cause some negative attributes such as fear. anger, death, devil, Pain, bad, ill omen, sorrow, despair and the like. At the turning Point in 21C are to be extended the range of color according to the experimental attempts such as informal, collage, graphic and the forth. Lastly, The characteristics of ugliness images expressed in the color of Modern Make-up have been analyzed into formlessness and inaccuracy and deformation by Karl Rosenkranz＇s theory.

• 대한원격탐사학회지
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• 제20권3호
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• pp.153-162
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• 2004

In the summer of 1998-2001, a huge flood occurred in the Yangtze River in the eastern China. Low salinity water less than 28 psu from the river was detected around the southwestern part of the Jeju Island, which is located in the southern part of the Korean Peninsula. We studied how to detect low salinity water from the Yangtze River, that cause a terrible damage to the Korean fisheries. We established a relationships between low salinity at surface, turbid water from the Yangtze River and digital ocean color remotely sensed data of SeaWiFS sensor in the northern East China Sea, in the summer of 1998, 1999, 2000 and 2001. The salinity charts of the northern East China Sea were created by regeneration of the satellite ocean color data using the empirical formula from the relationships between in situ low salinity, in situ measured turbid water with transparency and SeaWiFS ocean color data (normalized water leaving radiance of 490 nm/555 nm).

• 한국광물학회지
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• 제22권2호
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• pp.97-106
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• 2009

천연 자수정을 열처리 하면 황수정으로 변색하는 것으로 알려져 왔다. 그러나 잠비아산 천연 자수정 시료를 $350{\sim}380^{\circ}C$에서 1시간 열처리한 결과 총 8개의 시료 중 5개의 시료가 황수정으로 변화하였고 3개는 백수정으로 변화하였다. 이들의 발색의 차이는 열처리 전 본래의 자수정이 가지고 있던 색상에 의해 영향을 받는 것 같다. 열처리 전 황색을 함유한 자수정은 열처리 후에 황수정으로 변하였고, 황색을 함유하지 않은 자수정은 백수정으로 변하였다. 색상 변화의 차이를 분석하여 비교한 결과, 적외선 분광분석에서 3,400 $cm^{-1}$의 피크의 세기와, 5,200${\sim}$5,400 $cm^{-1}$의 영역에서 피크의 존재 유무에 차이점을 나타냈으며, WD-XRF에서 미량원소인 Cr의 양에 차이가 나타났다. 열처리 전과 후의 FT-IR 스펙트라의 동일한 결과는 열처리가 주 구성성분이나 결정구조의 변화를 일으키지 않는 것으로 사료된다.