• 패션비즈니스
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• 제12권4호
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• pp.73-87
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• 2008

The main objective of this research was to investigate the characteristics of achromatic & chromatic color coordination of contemporary female fashion by reviewing 'pre-a-porter Collections' of four collections (i. e. cities) - Paris, Milan, New York, London - from the periods of 2002 S/S to 2006/7 A/W. The data was collected by reviewing 'pre-a-porter Collections' magazine and total 677 observations were made. Statistical analysis of frequency and also qualitative interpretation of achromatic & chromatic color coordination characteristics were completed. The main findings were; (1) The achromatic & chromatic color coordination was identified as one of most used color coordination in contmeporary women's fashion collections. (2) Black and white mainly used for achromatic color, and brown used the most often, then followed by blue, red, yellow, green and the others for chromatic color in achromatic & chromatic coordination of contmeporary women's fashion collections. (3) The characteristics of achromatic & chromatic color coordination of modern women's fashion collections from 2002 S/S to 2006/07 A/W showed various images according to chromatic colors and tone variation. The combination of achromaticand brown color variations produced an intelligent and sophisticated image. The soft or light chromatic color and chromatic color combination projected soft, feminine and subtle feeling, while the combination of vivid or strong chromatic color and achromatic color projected a clean and strong feeling through contrasting tones of clear and bright colors. The chromatic color of deep or dark tone and black combination demonstrated supernatural and gloomy image. (4)In all four collections, Paris showed most use of two color coordination and then followed by Milan, N.Y, and London. N.Y showed higher rate of using achromatic & chromatic color coordination, and then followed by Paris, London and Milan.

• 한국콘텐츠학회논문지
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• 제10권7호
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• pp.107-114
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• 2010

색채는 빛을 통해 인간이 시각적으로 느끼는 감각으로, 사람이 인지할 수 있는 색채인 유채색(chromatic color area)과 무채색(achromatic color area)으로 구분할 수 있다. 유채색은 색상, 명도, 채도의 속성이 존재하지만 무채색은 유채색의 속성 중 명도는 있지만 색상과 채도의 성격을 갖지 않는다. 따라서 인간의 시각에 기초하여 인간이 색채를 인지할 수 있는 영역과 인지하지 못하는 영역을 분리하는 것은 중요하다. 본 논문에서는 영상의 유채영역인 색상영역과 무채영역인 비색상영역을 분리하는 함수를 도출한다. 먼저 입력된 RGB 컬러공간의 입력영상을 인간의 시각을 고려한 HSI 컬러공간으로 변환하여 이진영상을 구한 후 색상 영역(ROC: Region of chromatic)과 비색상 영역(ROA:Region of achromatic)으로 분류하기 위한 함수를 도출한다. 일반영상에서 ROC와 ROA의 영역을 분리하기는 어려우므로 색상영역과 비색상영역을 도출하기 위해 색상값의 변화가 크지 않고 명암과 채도가 변화하는 그레디언트 영상을 생성하여 함수를 도출한다. 성능평가는 실험영상과 일반영상의 결과영상을 비숙련가 50인에게 주관적 화질평가를 실시하였으며 제안방법은 기존의 방법에 비해 27.5~32.96%가 개선되었다.

• 패션비즈니스
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• 제12권5호
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• pp.94-110
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• 2008

The main objective of this research was to understand the characteristics of separation color coordination of contemporary female fashion through the analysis of 'pre-a-porter Collections' of four collections (i. e. cities) - Paris, Milan, New York, London - from the periods of 2004 S/S to 2008/9 A/W. The data collection of 265 was done by reviewing 'pre-a-porter Collections' magazine and total 265 observations were made. Statistical analysis of frequency and also qualitative interpretation of separation color coordination characteristics were completed. The main findings were; (1) In separation color coordination of contemporary women's fashion collections, there were three main types of color scheme which were classified into seven detailed categories of color combination. First was the achromatic color & one chromatic separation color scheme which was classified into four categories of - black & white, black & grey, white & grey, and grey & grey - color combination. Second was the chromatic colors & one achromatic separation color scheme which classified into two categories of achromatic & chromatic color & one achromatic separation color combination, and chromatic colors & one achromatic separation color combination. Third was chromatic colors and one chromatic separation color combination. (2) The achromatic colors and one chromatic separation color scheme showed two phases of reinforcing the strong and modern image, or softening the hard and dull image of achromatic color combination. In color schemes which used more than two chromatic colors, the separation color frequently converted the tedious and monotonous fashion image, which caused by identical or similarity in color or tone harmony, into more attractive and interesting. (3) In conclusion, through the various use and coordination of various color schemes, color harmony and separation colors, the separation color coordination in contemporary female fashion has been suggested the effective way of color combination which can lead the visual pleasure and the vitality along with the unity and the harmony. This characteristics can create various images and visual diversity for fashion. The types and the use of color scheme and separation color showed different trends in four collections.

• 복식
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• 제59권4호
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• pp.67-81
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• 2009

This study aims to characterize the effect of different combinations of chromatic-achromatic colors and 1:2:3 area-ratio variation of stripe necktie, and gender on the image of male wearer. The experimental materials developed for this study are a set of stimuli and response scales. The stimuli consist of 84 color pictures manipulated with every combination of 12 different colors and 7 different area-ratio. The 7-point scale designed for visual evaluation of image formation included 26 bipolar adjectives. The subjects were 2016 undergraduate students in Gyeongnam, Seoul, Busan, and Daegu areas. The results of this study were as follows. The analyses of images of male wearer in terms of combinations of chromatic-achromatic colors and I :2:3 area-ratio variation of oblique stripe necktie reveal that the concerned factors are of five characteristic dimensions of youth-activity, ability, attractiveness, appeal, and warmness. In addition, it has been found that individual images of male wearer are affected by observer's gender as well as combinations of chromatic-achromatic colors and 1:2:3 area-ratio variation of stripe neckties and that those images vary with every combination of each factor. The study results are highly expected to be used as useful sources in developing necktie designs.

• 한국의류학회지
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• 제28권7호
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• pp.962-973
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• 2004

The purpose of this research is to understand the harmony of chromatic and achromatic colors of the traditional Korean dress. The subjects were women＇s college students in Korea and America. Chromatic colon, red, yellow, and green color, were chosen for the color of the Korean jacket, and achromatic colors were chosen for the color of the skirt, and then the colors＇ chroma were controlled and value of color was changed. In addition, the three colors of the jacket were combined with four kinds of the colors＇ tone. Then, the students of both countries assessed about the harmony for 48 colorations which were variously incorporated with the tones of skirt and jacket. The results of research can be summarized as follows. When red jackets were combined with skirts of achromatic colors, students of both counties showed the different views in the range of harmony and disharmony for colorations of white(N9) skin and vivid jacket, and white(N9) skirt and dark jacket, and black(N2) skirt and light jacket, and black(N2) skirt and dull jacket. In the tone of yellow jackets and achromatic skirts, students of both counties showed similar responses in that a light yellow jacket was well matched with dark grey(N4) and black(N2) skirt. While Korean students generally evaluated that coloration was well harmonized when low value color was arranged below, American students thought, that the tones of a harmonized skirt were different, according to the jacket＇s tones. When green jackets were combined with stills of achromatic colors, colorations that showed their different views of both countries were a white(N9) skirt combined with vivid, light, dull jackets, and a light grey(N7) skirt and dull jacket, and a dark grey(N4) skirt and dark jacket. Among 48 stimuli of coloration on the chromatic and achromatic colors, Korean students evaluated 16sets and American students judged 28 sets as harmonized colors. Therefore, it came to the conclusion that Korean students had the sense of harmonious coloration of more narrow range than American students.

• 한국의상디자인학회지
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• 제16권1호
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• pp.125-138
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• 2014

The purpose of this study was to investigate emotional images, preference, and purchasing intention on the color combination for knitwear cultural goods development. The subjects were 719 university students in Daejeon and Chungnam province, and the measuring instruments were 12 stimuli manipulated by the combination of chromatic and achromatic colors, and self-administrated questionnaires consisted of general color preference, emotional images, preference, and purchasing intention items of the knitwear cultural goods, and subjects' demographics attributions. The data were analyzed by Cronbach's ${\alpha}$, factor analysis, t test, ${\chi}^2$ test, ANOVA and Duncan's multiple range test, using SPSS program. The results were as follows. University students highly preferred black and gray color and deep tone on knitwear items, while they generally preferred blue and black color, and deep and pastel tone. The chromatic color combination was perceived as warm and conspicuous, but unattractive image. The achromatic color combination was perceived as cold and ordinary, but attractive image. Among the combination of chromatic and achromatic colors, gray & blue combination was perceived as more attractive image than red & dark gray combination. Color combination types of chromatic and achromatic color was showed some important differences on emotional image, preference and purchasing intention of knitwear cultural goods. Achromatic color combination was perceived as attractive image, and showed higher preference and purchasing intention than other color combination types.

• 한국의상디자인학회지
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• 제12권3호
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• pp.133-143
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• 2010

The purpose of this study was to investigate the clothing image according to gender, coloration of chromatic and achromatic color, and interval of checked pattern. The experimental materials developed for this study were a set of stimulus and response scales. The stimuli were 16 color pictures, in which the gender(male, female), interval(0.5cm, 1.5cm, 3.5cm, 5.5cm), and coloration(WR: white+red, WY: white+yellow, WB: white+Blue, WP: white+purple) were manipulated. The 7-point scale was used for evaluation of clothing image. Data were obtained from 192 male college students and 192 female college students living in Seoul, Gwangju, Daegu, Jinju, and Changwon on March 2010. For data analysis, ANOVA and Duncan-test were used by using SPSS program. Results of this study were as follows.; Clothing image according to coloration of chromatic and achromatic color, and interval of checked pattern consisted of six dimensions of attractiveness, appeal, activity, freshness, modesty, and cuteness. Gender showed an independent effect on attractiveness, appeal, activity, freshness, and cuteness. Interval showed an independent effect on attractiveness. Coloration showed an independent effect on appeal, activity, freshness, modesty, and cuteness. Also, interaction effects of gender and coloration on freshness and cuteness were found.

• 감성과학
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• 제11권3호
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• pp.325-338
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• 2008

본 연구는 남녀 대학생을 대상으로 유채-무채 배색, 면적비, 성별이 남성복 착용자의 이미지에 미치는 영향을 규명하고자 한다. 이들 단서로 사용된 84개의 자극물에 대한 이미지를 평가하기 위해 경남, 서울, 부산, 대구 등지에 거주하는 남녀 대학생 2016명의 피험자를 대상으로 하였으며 26쌍의 의미미분척도를 요인 분석하여 이미지 차원을 밝혔다. 그 결과 이들 단서들이 어떻게 조합되어 이미지에 영향을 미치는지 규명하였으며 다음과 같은 결론을 얻었다. 유채-무채 배색, 면적비, 성별에 따른 3색 사선 스트라이프 넥타이 착용자의 이미지 차원은 젊음.활동성, 능력성, 매력성, 현시성, 온유성의 5개 차원으로 도출되었으며, 유채-무채 배색, 면적비, 지각자의 성별이 이미지 형성에 미치는 영향은 이미지 차원에 따라 차이를 나타내었다. 이러한 연구결과는 넥타이 디자인 기획 시 소비자의 감성을 충족시킬 수 있는 자료제시가 될 것으로 본다.

• 한국의류학회지
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• 제33권1호
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• pp.160-171
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• 2009

The purpose of this study was to classify the classic image by clothing design elements. This research was done by survey method with 20 kinds of classic image photos selected in fashion magazines. The data was analyzed by Reliability Analysis, Factor Analysis, ANOVA, Duncan's test and MDS. The results of this study are as follows: 1. Classic image was classified by 4 factors. Those were retro-classic, mannish-classic, elegant-classic and contemporary-classic images. 2. Retro-classic image was well-expressed by A silhouette and chromatic and chromatic color coordinations. Mannish-classic image was well-expressed by H silhouette, chromatic and achromatic color coordinations and hard texture. Elegant-classic image was well-expressed by fitted silhouette and chromatic and chromatic color coordinations. Contemporary-classic image was well-expressed by achromatic and achromatic color coordinations and hard texture. 3. Classic image was positioned into mostly retro and masculine on image scale.

• 패션비즈니스
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• 제9권1호
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• pp.21-33
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• 2005

The main objective of this research was to understand the characteristics of identical color coordination through the analysis of modern female fashion color coordination as they appear in the 'Collections'. Data collection of 2026 was done through review of '$pr\hat{e}t-\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Lastly, statistical analysis of frequency and $X^2$-test and also qualitative interpretation of identical color coordination characteristics were completed. The main findings were; The color coordination of modern women's fashion produces a unified theme, or monochromatic harmony, through the use and coordination of identical colors. The clear contrast of tones portrays a strong image especially in achromatic color coordination, and through the use of texture variation, monochromatic color coordination becomes even more compelling. The tone variation, observed most often in monochromatic color coordination was the black and white contrast, which enhances the simplicity and clarity. Within chromatic color combinations, tone on tone color coordination was achieved by varying brightness. Furthermore, the observation of Faux Camaeu indicates that the coordination of different textures is used often in identical color coordination. While achromatic colors can lead to a hard and rough feeling, it also is compensated through the use of varying textures. In addition, adding variety of textures can add subtle interests to the simplicity of white. Lastly, in all four collections, the chromatic identical color coordination was found more frequently than the achromatic. In Paris, N.Y. & London, the chromatic identical coordination was used more often than chromatic. Milan showed most use of achromatic coordination. The use of the tones showed similar trends in all four collections, with contrasting tone being used most often, followed by similar and identical tones.