• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.129-139
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• 1999

This paper analyzes the trend of fashion and make-up in 1990s and their relevancy to each other. Based on the chronological analysis, we propose a new category for the fashion and make-up trend in 1990s, which is 1) traditional ecology period(1990∼1994), 2) versatile trial or decadent period(1995∼1997), and 3) soft landing period based on the minimal neo-ecology and romanticism(1998∼2000). Between 1990 and 1994, there was no differentiation in seasons. It appeared that spring/summer and fall/winter trend have had no big differences. At the beginning in 1990s, it was basically based on ecology concept that emphasizes the natural image. However after 1995, seasonal differences in trend are appeared and there were various make-up designs. The trends of spring/summer in 1996 could be named as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel, and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. In 1998, pastel tone, pink, and purple color expresses the glamorous look based on the romantic feminism. S/S of 1999 is mainly represented by minimalism and avant garde. For fall/winter trends, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors in 1995 and 1996. These colors were the symbol of property and sentiment. Gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image. At that time, ethnic and romantic image appeared with vivid color lines, gold, red and violet. In 1998, romanticism was popular again with modernism and ethnic mood. It expressed the romantic elegant image. The trend has returned to the ecology mood again in 1999. This ecology is somewhat different from the previous ecology. It adds a sofistaiced feeling and sportic fashion. To express natural and sportic image, they choose pink blush. In coming 2000 as a new millennium, the yellow color will be main the stream to express vision, dream, and happiness in both fashion and make-up as an accent color. The minimal design and minimal tools will be used for the design and make-up, respectively. In addition, the fusion concept will dominate the fashion and make-up industry in the globalized and boundariless age. Through this paper, we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people and industry.

• The Transactions of the Korea Information Processing Society
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• v.7 no.9
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• pp.3037-3047
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• 2000

This paper describes a method of tracking a close leading vehicle by color image processing using the pairs of tail and brake lights. which emit red light and are housed on the rear of the vehicle in stop-and-go traffic condition. In the color image converted as an HSV color model. candidate regions of rear lights are identified using the color features of a pair of lights. Then. the pair of tailor brake lights are detected by means of the geometrical features and location features for the pattern of the tail and brake lights. The location of the leading vehicle can be estimated by the location of the detected lights and the vehicle can be tracked continuously. It is also possible to detect the braking status of the leading vehicle by measuring the change in HSV color components of the pair of lights detected. In the experiment. this method tracked a leading vehicle successfully from urban road images and was more useful at night than in the daylight. The KAV-Ill (Korea Autonomous Vehicle- Ill) equipped with a color vision system implementing this algorithm was able to follow a leading vehicle autonomously at speeds of up to 15km!h on a paved road at night. This method might be useful for developing an LSA (Low Speed Automation) system that can relieve driver's stress in the stop-and-go traffic conditions encountered on urban roads.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Cartoon and Animation Studies
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• s.39
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• pp.393-412
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• 2015

See and feel the emotion recognition is the image of a person variously changed according to the environment, personal disposition. Thus, the image recognition has been focused on the emotional sensibilities computer you want to control the number studies. However, existing emotional computing model is numbered and the objective is clearly insufficient measurement conditions. Thus, through quantifiable image Emotion Recognition and emotion computing, is a study of the situation requires an objective assessment scheme. In this paper, the sensitivity was represented by numbered sizes quantified according to the image recognition calculation emotion. So apply the principal attributes of the color image emotion recognition as a configuration parameter. In addition, in calculating the color sensitivity by applying a digital computing focused research. Image color emotion computing research approach is the color of emotion attribute, brightness, and saturation reflects the weighted according to importance to the emotional scores. And free-degree by applying the sensitivity point to the image sensitivity formula (X), the tone (Y-axis) is calculated as a number system. There pleasure degree (X-axis), the tension and position the position of the image point that the sensitivity of the emotional coordinate crossing (Y-axis). Image color coordinates by applying the core emotional effect of Russell (Core Affect) is based on the 16 main representatives emotion. Thus, the image recognition sensitivity and compares the number size. Depending on the magnitude of the sensitivity scores demonstrate this sensitivity must change. Compare the way the images are divided up the top five of emotion recognition emotion emotions associated with 16 representatives, and representatives analyzed the concentrated emotion sizes. Future studies are needed emotional computing method of calculation to be more similar sensibility and human emotion recognition.

• Journal of the Korean Association of Geographic Information Studies
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• v.12 no.4
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• pp.125-135
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• 2009

Owing to its fast computing capability for fusing images, the FIHS(Fast Intensity Hue Saturation) fusion is widely used for fusion purposes. However, the FIHS fusion also distorts color in the same way such as the IHS(Intensity Hue Saturation) fusion technique. In this paper, a FIHS fusion technique(FIHS-BR) which reduces color distortion by using the ratio of each spectral band and an adaptive FIHS fusion(FIHS-SABR) using spatial information and the ratio of each spectral band are proposed. The proposed FIHS-BR fusion reduces color distortion by adding different spatial detail improvement values for each spectral band. The spatial detail improvement values are derived from the ratio of spectral band. And the proposed FIHS-SABR fusion reduces more color distortion by readjusting the spatial detail improvement values for each spectral band according to the ratio of the spectral bands. The spatial detail improvement values are derived adaptively from the characteristics of spatial information of the local image. To evaluate the performance of the proposed FIHS-BR fusion and FIHS-SABR fusion, a computer simulation is performed for IKONOS remote sensing image. Results from the experiments show that the proposed methods have less color distortion for the forest regions which reveal severe color distortion in the traditional FIHS fusion. From the evaluation results of the characteristics of spectral information for fused image, we show that the proposed methods have best results.

• Smart Media Journal
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• v.1 no.3
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• pp.36-42
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• 2012

Recently, the smart applications, such as smart phone and smart TV, become a hot issue in IT consumer markets. In particular, the smart TV provides 3D video services, hence efficient coding methods for 3D video data are required. Three-dimensional (3D) video involves stereoscopic or multi-view images to provide depth experience through 3D display systems. Binocular cues are perceived by rendering proper viewpoint images obtained at slightly different view angles. Since the number of viewpoints of the multi-view video is limited, 3D display devices should generate arbitrary viewpoint images using available adjacent view images. In this paper, after we explain a view synthesis method briefly, we propose a new algorithm to compensate view synthesis errors around object boundaries. We describe a 3D warping technique exploiting the depth map for viewpoint shifting and a hole filling method using multi-view images. Then, we propose an algorithm to remove boundary noises that are generated due to mismatches of object edges in the color and depth images. The proposed method reduces annoying boundary noises near object edges by replacing erroneous textures with alternative textures from the other reference image. Using the proposed method, we can generate perceptually inproved images for 3D video systems.

• Journal of Advanced Information Technology and Convergence
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• v.9 no.1
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• pp.115-125
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• 2019

In this paper, the image is received from the camera and the lane is sensed. There are various ways to detect lanes. Generally, the method of detecting edges uses a lot of the Sobel edge detection and the Canny edge detection. The minimum use of multiplication and division is used when designing for the hardware configuration. The images are tested using a black box image mounted on the vehicle. Because the top of the image of the used the black box is mostly background, the calculation process is excluded. Also, to speed up, YCbCr is calculated from the image and only the data for the desired color, white and yellow lane, is obtained to detect the lane. The median filter is used to remove noise from images. Intermediate filters excel at noise rejection, but they generally take a long time to compare all values. In this paper, by using addition, the time can be shortened by obtaining and using the result value of the median filter. In case of the Sobel edge detection, the speed is faster and noise sensitive compared to the Canny edge detection. These shortcomings are constructed using complementary algorithms. It also organizes and processes data into parallel processing pipelines. To reduce the size of memory, the system does not use memory to store all data at each step, but stores it using four line buffers. Three line buffers perform mask operations, and one line buffer stores new data at the same time as the operation. Through this work, memory can use six times faster the processing speed and about 33% greater quantity than other methods presented in this paper. The target operating frequency is designed so that the system operates at 50MHz. It is possible to use 2157fps for the images of 640by360 size based on the target operating frequency, 540fps for the HD images and 240fps for the Full HD images, which can be used for most images with 30fps as well as 60fps for the images with 60fps. The maximum operating frequency can be used for larger amounts of the frame processing.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.3_4 s.141
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• pp.414-424
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• 2005

This study aims to suggest new directions for the development of make-up design by understanding characteristics of deconstruction make-up and to search for new directions and methods in theme expressions and design conceptions by making illustrations with deconstruction themes. This study examines conceptual characteristics of Derrida's deconstruction, and analyzes the various deconstruction make-up styles through the famous fashion magazines such as Beauty Collection, Collections, Fem, Modain, and Vogue since 1997. The make-up illustration works in this study were made depending on these styles. At first, the nature of deconsouction make-up can be explained as deconstruction of existing methods, deconstruction of the sexes and deconstruction of history or ethnicity. The deconstruction of existing methods can be subdivided into decadence make-up, detester make-up, graphic make-up and collage make-up. Deconstruction of the sexes can be explained androgynous make-up. Deconstruction of history or ethnicity is subdivided into white makeup, ancient Egyptian dark eye make-up and raceless make-up. The deconstruction make-up illustrations present infinite possibilities in expression styles through three dimensional expressions and media mixture using not only drawing materials including watercolor, poster-color, and color pencils but also objets including magazines, coarse fabrics, screentone, beads, suede, sand and so on. The study shows that since deconstruction make-up illustrations are not limited to depiction-centered expressions, they serve creating unique images and future inspirations.

• Journal of the Korea Convergence Society
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• v.7 no.1
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• pp.25-30
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• 2016

Virtual reality items are increased take-all type of markets like Universal, such as the United States as a leader in the virtual reality technology. Multi-user have to get direct experiences with the whole body like visual, tactile, hearing, sense of movement, and it must be developed new forms of content platform to enjoy immerse deeply into the content. Visitors are not to enjoy the content passively but rather to enjoy the content actively. So it like that should develope content to maximize the immersion. It need the development of new forms of mixed 5D virtual reality Attraction content with all of factors like $360^{\circ}$ circle vision, stereoscopic images, interaction, simulator, and the environmental effect. We proposes how to make the color and brightness calibration technology for this purpose.