• Journal of the Institute of Electronics Engineers of Korea SP
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• v.40 no.4
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• pp.227-236
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• 2003

This paper proposes a modified jointly-blue noise mask (MJBNM) method using the S-CIELAB color measure as digital color halftoning method. Based on an investigation of the relation between the pattern visibility and the chromatic error, of a blue noise pattern, a halftoning method is proposed that reduces the chromatic error, while preserving a high quality blue noise pattern. Accordingly, to reduce the chrominance error, the low-pass filtered error and S-CIELAB chrominance error are both considered during the mask generation procedure and calculated for single and combined patterns. Using the calculated low-pass filtered error, the patterns are then updated by either adding or removing dots from the multiple binary patterns. Finally, the pattern exhibiting the lower S-CIELAB chrominance error is selected. Experimental results demonstrated that the proposed algorithm can produce a visually pleasing half toned image with a lower chrominance error than the JBNM method.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.97-109
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• 2000

The purpose of this study is to apply 3D computer graphics in fashion design as a creative medium and it attempts to fine out what advantages 3D technique can offer to fashion design. For this purpose, this study, first, tries to develop a 3D digital model in which designer can select design, color , pattern and fabric palette whatever necessary . This study uses of the software named 'Poser of Fractal Design' and the and the 3D digital model comprises four stages ; body modeling, item design (item coordination), color design (color coordination), pattern and fabric design (pattern and fabric coordination). Secondly, this study seeks to accumulate a data base which was produced in the course of case studies, which have applied 3D digital model to design. The outcome of the case studies shows that 3D digital model can enhance designing in the following four aspects. ⅰ) It can give more freedom to designer to try various ideas, revise and modify them, It can also produce random generation. Through this process, the designer test various input and output without damage on fabric after revision and alteration. ⅱ) It can help designers to enhance their accuracy. Since fault in the design developed by the 3D digital model can be detected in advance, designers can make correlation before actual work begins. In the end, designers can express their ideas and intention accurately as well as freely. ⅲ) Since design developed by the 3D digital model can be shared on screen by various actors in the course of priduction such designers , merchandisers, and supervisors, it can help communication between and cut the time of feedback.ⅳ) By using the 3D digital model, designers can work from the begining with awareness of actual outcome their design, since the 3D digital model provide animation, which helps designers to envisage visual changes as they apply various items, colors, pattern and fabrics.

• Journal of the Korea Society of Computer and Information
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• v.23 no.1
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• pp.91-102
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• 2018

The purpose of this study is to develop an excellent bodice prototype that is adapted to the body shape of middle-aged women using 3D measurement data. In the evaluation of appearance, S pattern 4.00, B pattern 2.80, E pattern 2.40, L pattern 1.40 were shown in order, and the best fit of S pattern was evaluated as excellent. As a result of looking at the color distribution chart to find out the amount, E pattern and S pattern were not space in the front bust, armhole, and the back waist line. The B pattern and the L pattern were marked in blue because of insufficiency space in the back neck. As a result of evaluation the amount of air gap in the clothing, the air gap of the bust was 0.12, which is the largest pattern of B. Next, the L pattern appears as a tight circle with smallest air gap in the order of the S pattern 0.096, the E pattern 0.08, and the L pattern 0.003. The S pattern was evaluated to be the most appropriate for the body shape of middle-aged women. But the waist and back were slightly tight. Middle-aged women have larger shoulder-related items and larger waist circumference. Therefore, when you set the perimeter item, you should add 1-2cm of space amount and give extra space to the circumference area.

• 한국정보디스플레이학회:학술대회논문집
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• 2003.07a
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• pp.311-314
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• 2003

Holographic diffuser(HD) layer was demonstrated to be located inside LC cell for a transmissive LCD of TFT-array on Color Filter structure. Master pattern of this layer was generated by holographic method and this pattern was replicated by the stamping of the master pattern on UV resin. Combined with a compensation film, TN-mode LCD with this layer showed improved viewing angle characteristics, especially along the up-down direction.

• The Journal of the Korea Contents Association
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• v.7 no.1
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• pp.40-47
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• 2007

In the protein macro array image, it is important to find out the feature of the each protein chip. A decision error by the personal sense of sight occurred from long time observation while making an experiment in many protein chip image. So the feature extraction is needed by a simulator. In the case of feature analysis for macro array scan image the efficiency is maximized. In the fluorescence scan image, the response for each cell have been depend on R, G, B distribution of color image. But it is difficult to be classified as one color feature in the case of mixed color image. In this paper, the response color of a protein chip is classified according to the fuzzy integral value with respect to fuzzy measure as the user desired color. The result of the experiment for the macro array fluorescence image with the Scan Array 5000 shows that the proposed method using the fuzzy integral is important fact to be make decision for the ambiguous color.

• Asian-Australasian Journal of Animal Sciences
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• v.27 no.8
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• pp.1069-1074
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• 2014

In China and South East Asia, the duck (common duck) is important in egg production for human consumption. Plumage color is a breed characteristic and of economic importance, together with egg production. Our aim in this study was to investigate the inheritance of plumage color in three Chinese indigenous egg-type duck breeds, Shan Ma (S), Putian White (F) and Putian black (P), and some of their crossbreds. These three breeds have different plumage color and are used in crossbreeding. The crossbred laying ducks $F{\times}(P{\times}S)$ and $F{\times}(S{\times}P)$ showed highly improved laying ability but heterogeneous plumage color. Genotypes at four relevant loci were investigated by studying down color and pattern in ducklings after crossbreeding. $F_1$ ducklings from the matings $F{\times}S$ and $S{\times}F$, $P{\times}S$, and $S{\times}P$ were classified into four classes of plumage color (the Shan Ma plumage color, black, white, or multicolored) over three generations. Parents were selected for the Shan Ma plumage color of their progeny. In the fourth generation, P male and P female ducks were selected according to the frequency of the desired class of plumage color (Shan Ma) of their $F_1$ progeny to obtain the so-called "Brown Putian Ma duck". The Shan Ma duck genotype was identified as having the restricted mallard color pattern ($M^RM^R$), full expression of any of the patterns or colors (CC), no extended black (ee) and no brown dilution D (D). The Putian White genotype was recessive white (cc), no extended black (ee) and no brown dilution D (D). The Putian Black genotype exhibited full expression of extended black (E gene) and no brown dilution (CCEE D [D]). It was shown that $F{\times}S$ and $S{\times}F$ tests should be implemented to eliminate the recessive white c allele in the S line and the dominant extended black E allele in the F line. It was also shown that the Brown Putian Ma obtained from Putian Black, with no extended black genotype (ee), could be used to get rid of the black plumage (E gene) in the crossbred ducks. This could provide a solution for producing 3-way crossbred ducks Putian $White{\times}$(Putian-$Ma{\times}Shan$ Ma) and Putian $White{\times}$(Shan $Ma{\times}Putian$-Ma), with the desired Shan Ma feather color.

• Journal of Embryo Transfer
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• v.28 no.3
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• pp.215-222
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• 2013

Bovine coat color is decided by the melanocortin receptor 1 (MC1R) genotype mutation and melanogenesis. Specially, in the various cattle breeds, dominant black coat color is expressed by dominant genotype of $E^D$, red or brown is expressed in the frame shift mutation of recessive homozygous e by base pair deletion and wild type of $E^+$ is expressed in various coat colors. However, not very well known about the effected of MC1R genotype mutation on the coat color through family lines in KBC. Therefore, this study were to investigate effect of MC1R genotype mutation on the coat color, and to suggest mating breed system in accordance with of MC1R genotype for increased on brindle coat color appearance. Parents (sire 2 heads and dam 3 heads) and offspring (total : 54 heads) from crossbreeding in KBC family line with the MC1R genotype and phenotype records were selected as experimental animals. The relationship between melanocortin 1 receptor (MC1R) genotypes expression verified by PCR-RFLP, and brindle coat color appearance to the family line of the cross mating breed from MC1R genotype pattern was determined. As a result, 4MC1R genetic variations, $E^+/E^+$ (sire 1), $E^+/e$ (sire 2 and dam 3), $E^+/e$ with 4 bands of 174, 207 and 328 bp (dam 1) and $E^+/e$ with 3 bands of 174, 207, 328 and 535 bp (dam 2) from parents (sire and dam) of KBC. However, 3 genetic variations, e/e (24%), $E^+/E^+$ (22%) and $E^+/e$ (56%) were identified in offspring. Also, brindle coat color expressrated was the e/e with the 0%, $E^+/E^+$ with 67% and $E^+/e$ with 77% from MC1R genotype in offspring on the cross mating of KBC. Furthermore, when the sire had $E^+/e$ genotype and the dam had $E^+/E^+$ with the 3 bands or $E^+/e$ genotype, and both had whole body-brindle coat color, 62% of the offspring had whole body-brindle coat color. Therefore, the seresults, the mating system from MC1R genotype patterns of the sires ($E^+/e$) and dams ($E^+/E^+$ with the 3 bands or $E^+/e$) with brindle coat color may have the highest whole body-brindle coat color expression in their offspring.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.43-54
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• 2019

This study analyzed the casula wearing by Catholic priests. By understanding various applications of the priests' wearing of casula, we can understand the meaning of wearing casula, situational judgment, and the role and status of priests. Ultimately, the Catholic symbol and meaning of the casula can be found. The purpose of this study is to examine the basic setting of the casula, the setting according to the status of the priest, and the origin of the casula. Second, this study to understand the design of the pattern shown in the casula. The patterns containing the symbol and the liturgical period were examined, and the method of making the pattern design was considered. Third, various symbols appearing in examples of priests' rituals were considered and analyzed. The method of this study was to utilize various pictures acquired during interviews with priests and nuns and to perform content verification. As a result of this study, the aspects of form, color, and pattern were shown through the wearing of casula during various situations. First, the morphological symbols appearing in the rituals are the simplified casula that hangs on the stola on the top of the alb and the symbols of the form according to the priest's status. In the liturgy, the casula is put on the outermost side as for basic wearing, but in the case of celebration or the attendance at celebrations other than the liturgy, it is the same as simplified wearing. Second, in terms of the symbol and color, the basic colored casulas were worn to match the time and character of the liturgy, and in addition, on the priests' ordination ceremony and celebration day the priests wore white casulas. Third, the symbol of the pattern used in the casula was a Cathoric pattern according to the period in the basic casula wearing of the liturgy. In addition, the patterns were produced by combining the patterns and meaning of the priests that were used in the casulas of the priests' ordination ceremony. The design of the pattern used in the beatification mass casula and the Mass of Peace casula during the Pope's visit to Korea in 2014 used the same motif as the Pope's design, but the simplified pattern was produced for the casula of the Cardinal and bishops. Through this, it is possible to understand the situation where a morphological symbol appears due to a distinction according to the role and status of the priest. This shows that the symbols that appear are the cross and should also consider the complexly, shape, color, and pattern.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.21 no.1
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• pp.58-64
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• 2012

Instead of the surface pattern arranged repeatedly in two axial direction on a plane, we propose double patterns superposing two one-axial linear patterns as a reference target for surface encoding. A upper layer of the superposed pattern is the transparent glass with grooves cut in it at a fixed pitch. The position is sensed by detecting a shift of beam due to difference of a refractive index. And a lower layer is the aluminum with color-coated grooves. The amount of beam reflected on the layer varies according to its targeting position and is detected for encoding. For the above reference pattern, we can detect two-axial positions using only the single beam. Furthermore, the pattern size can be expanded with a size of the detector kept constant, meaning that the measured range can be expanded easily. In this paper, we review the existing optical encoding methods for grid pattern, and discuss the hardware implementation of the suggested surface encoding method.

• The Research Journal of the Costume Culture
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• v.18 no.4
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• pp.755-773
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• 2010

The purpose of the study was to examine concept of subculture and style of subculture by each age and to analyze internal meaning of hairstyle in subculture. The study carried out literary review on the basis of books related to subculture and hairstyle focused on the cradle of subculture and preceding researches of subculture style, and strived to find internal meaning of hairstyle by describing in-depth descriptive methods of qualitative research. And the study limited its range in the hairstyle in style of subculture from 1930s to early 1990s commonly described in subculture related books. As a result, there were natural pattern, cutting pattern, exaggerated pattern, set pattern, braid pattern, color pattern and addition pattern in types of hairstyle in subculture. The hairstyle in subculture symbolizes their internal value and ideology and hairstyle is a kind of language to express identity of subculture.