• Archives of design research
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• v.11 no.2
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• pp.31-45
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• 1998

Human beings receive experiences and education in viewing and manipulating objects since birth, These experiences in forms and colours influence signifrcantty the formation of the person's humanity, sensibility and constituOOn until he becomes an adult. Considering that all objects coexist through space and time with human beings from birth to an adulthood, we can imagine how these things shape a person, Human beings' perception of form and colour might be different according to the person's living environment, experiences, education, age and job, However, when we see there are certain kinds of form and colour of that most people favor, we can understand that human beings have a certain inherent feelings about forms and colours, Let's suppose a man faces an object that dosen't correspond with his basic feelings about form and colour, He would avoid that object at least unconsoousty, All of his acts dealing with form and colour probably satisfy a desire for beauty which can be required from certain proper forms and colours, By revealing the feelings about forms and colours that human beings originally have, this study is going to explore what kinds of form and colour have what kinds of psychological and physical influences on human beings. Another purpose of this study is to be a theory suggesting more profitable and effective forms and colours psychologically and physically to the consumer. this study demonstrates that the basic feelings about forms and colours which human beings possess are different according to the individual's psychology and the body's condition. It also establishes the reality of the principle of how human psychology and the body change according to the surrounding environment. Finally, it will be appropriate for the suggested theory from this study to be used as fundamental material in deciding the forms and colours used in the design field in the future in that these forms and colours are more profitable and efftient.

• Journal of Information Display
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• v.4 no.1
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• pp.9-13
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• 2003

An overview of author activity in the area diffractive LCDs are given. The formation of colour spectrum DL CDs is made by switchable phase diffraction gratings created in a LC layer due to using of comb-like electrodes. The offered DLCDs functionate without polarizes, have high contrast and spectral of pure colours, broad viewing ngles. The existing production equipment can be adapted to manufacturing of DLCD without considerable alterations.

• Journal of the Korean Society of Costume
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• v.18
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• pp.111-131
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• 1992

This thesis was designed to study Symbolics of Chinese Liturgical Vestments. Chinese who regarded the life of human beings as the combination of heaven and earth considered garments as the traditional product of the movement of nature. Accordingly, they thought human beings are the center of the universe composed by heaven and earth and the chief of all things; therefore man only can utilize clothes to distinguish from all of the colours. This views of clothes led to the development of liturgical vestments esteemed courtesy than anything else, especially the thought of courtesy associated with Conficius who regarded courtesy as the highest things and since then the theory of Five Elements and courtesy were inherited by all the adherents of Conficius. Yin and Yang Five Elements in the liturgical vestments was given absolute symbolics in both formative side and in colourful side. results of research studied in this was can be summed up as follows : 1. The crown of rites was made imitating after the system of head, horn, beard, bread of birds and beasts and that form of crown is front-circ-ular and back-rectangular meant to be towards light and dark. That the upper part of faceplace is black represented the way of heaven and lower part of red symbolized the way of earth. 2. Upper vestment of liturgical rites symbolizes heaven and outskirt represented earth. So front of outskirt is YANG and back is Yin. It is why then are going to harmonize positive and negative making front part three width and back part four width. Therefore, emperor who symbolizes heaven made the subjects recognize high and low and wore Dae-gu(大 ), Kon-bok(袞服), Bel-bok, Chui-bok, and Hyonbok according to the object and position of rites so that he may rule the country based on courtesy. 3. As an accessory of liturgical vestments, Bul, Pae-ok, Su, Dae-dai, Hyok-Dai, Kyu, and Hol were used. Before Bul was used man dressed skirt as the first waist-dress in order to conceal intimate part of the body. Pae-ok, as decoration blended with jade was worn by men of virtue, so men of virtue symbolized morality and virtue by Pae-ok. Su began from Yeok, connected with Pae-su , in Chou-dynasty is said to be originated by practical needs and they are divided into large Su and small su, and maintained as decoration to signify the class positions. Dae-dai did the work as not to loose the liturgical vestments and leather belt hang Bul and Su to begin as the function of practical use are in later years it became decoration to symboliz e the class position. Kyu was a jade used when empeor nominated feudal lords and observe ceremony to God and Hol, was held in hands to record everything not to forget. These Kyu and Hol became to offer courtesy during the time of rites and in later years it became used according to class position rather than practical use. 4. As far as colours are concerned, colours based by five colours according to YIN-YANG Five Elements theory and they were divided into a primary colour and a secondary colours. Primary colours corresponded with the theory of Five Elements each other, Blue, Red, Tellow, White, and Black symbolized ive Elements, five hour space, five directions, and five emperors. Secondary colours contradict with Blue, Red, Yellow, White and Black and another as a primary colour and they are Green, Scaret, Indigo, Violet, Hun colour, Chu colour, and Chi colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour as primary colour and outskirt was used Hun colour as secondary colours. Thus symbolism in chinese liturgical vestments mainly began with heaven and earth and corresponded with YIN-YANG Five Elements Scool. They were developed as the scholary theory and Conficius and his followers in the later days and continued up to Min-dynasty.

• International Journal of Contents
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• v.8 no.1
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• pp.69-73
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• 2012

This paper aims to present colour theories and show how they can be used to explain consumer's preferences of some products over others. It will, furthermore, attempt to link these theories to the design industry and look at how colour associations determine product success. Due to associative learning and personal preference, the colours of objects can cause consumers to either favour or dislike products over those with identical functions and efficiency. Age and gender affect the preferred colour choices of the individual, making some products more popular to particular groups of potential consumers. Designers can utilise colour theories to ensure that they use the most appropriate colour schemes to maximise and appeal to their targeted market successfully. A survey was conducted with 100 participants. It demonstrates the associative links between colours, emotions and product categories. It can be shown that the colour of an object can contribute to its success or failure in the market based on a number of different criteria. The design must use colour confidently to evoke certain emotions or connotations and must be carried out appropriately. The designer also has to consider whom it is that be viewing it and making the decision of preference.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.18 no.3
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• pp.23-28
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• 2018

Next generation displays show a trend of evolving from the display device environment (represented by existing televisions) to the mobile environment. The mobile display corresponding to the personal display is similar to a home theatre; however, they are advantageous because they are small and have a relatively lower weight. Therefore, the display industry has an interest in diverse product applications of displays, reproducing more accurate colours, and offering improved image quality from display devices of various sizes. To address these interests, a psychophysical experiment was conducted in this research. The experiment compared the size of the colour stimulation corresponding to foveal vision by gradually increasing the lightness of the background. This was based on the assumption of possible differences in colours being recognized by the lightness of the background and the size of the colour stimulation. Contrary to the results of previous studies, where the colours are identified more clearly as the size of the colour stimulation increases (assuming that the lightness of the background is not considered) here the results of the experiment showed that the attributes of the identified colours were different depending on the lightness of the background and the size of the colour stimulation. Based on the experimental results, it is possible to resolve errors in colour conversion that can occur when the input image is switched from a large screen size to a mobile size display, and to reproduce the colours more accurately and improve the image quality.

• Archives of design research
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• v.17 no.3
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• pp.27-38
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• 2004

It is important for designers to be supported with their decision-making on colours which is often based on personal distinction rather than logical dialogue that may lead to confusion within communicating with others. To help these problems and to gain productivity, we would like to propose a way to define colour grouping method. In other words, the purpose of this study is to help to improve the communication and productivity within the design and designers. The grouping was based and inspired by from the studies of Kobayashi, Hideaki Chijiawa, Allis Westgate and Martha Gill. The study of grouping is based on the "tones" of each group, as they seem to reflect a designer s sentimentalism of chosen colours the best. Each of these groups will be named Bright , Pastel ,Deep and Neutral The general concept of each groups are: - Bright: high quality of pixels of primary colour - Pastel: primary colour with white - - Deep: Primary colour with gray or black - Neutral: colours that does not include any of above Each of the colour group has been allocated into Si-Hwa Jung's colour charts and colour prism to visualize the relationships between the colour groups. These four groups and the colours included in them will be broken down to smaller groups in order to make colour palette. This would break the barrier and result in using colours in groups as well as crossover coordination. This study would result in new ways of using colurs for designers designers

• Publications of The Korean Astronomical Society
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• v.32 no.1
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• pp.49-53
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• 2017

The point sources in the Bright Source Catalogue of the AKARI Far-Infrared Surveyor (FIS) were classified based on their FIR and mid-IR fluxes and colours into young stellar object (YSO) and extragalactic source types using a Quadratic Discriminant Analysis method (QDA) and Support Vector Machines (SVM). The reliability of the selection of YSO candidates is high, and the number of known YSO candidates were increased significantly, that we demonstrate in the case of the nearby open cluster IC348. Our results show that we can separate galactic and extragalactic AKARI point sources in the multidimensioal space of FIR fluxes and colours with high reliability, however, differentiating among the extragalactic sub-types needs further information.

• Journal of Korea Multimedia Society
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• v.19 no.1
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• pp.41-50
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• 2016

Moblie device based financial services are vulnerable to social engineering attacks because of the display screen of mobile devices. In other words, in the case of shoulder surfing, attackers can easily look over a user's shoulder and expose his/her password. To resolve this problem, a colour-based secure keyboard solution has been proposed. However, it is inconvenient for genuine users to verify their password using this method. Furthermore, password colours can be exposed because of fixed keyboard colours. Therefore, we propose a secure mobile authentication method to provide advanced functionality and strong privacy. Our authentication method is robust to social engineering attacks, especially keylogger and shoulder surfing attacks. According to the evaluation results, our method offers increased security and improved usability compared with existing methods.

• The Bulletin of The Korean Astronomical Society
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• v.35 no.2
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• pp.28.1-28.1
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• 2010

Recent surveys have shown that many early-type galaxies have signatures of ongoing or recent star formation (RSF). These RSF galaxies show blue integrated UV-optical colours that set them aside in the NUV integrated colour-magnitude relation. Among them, NGC 4150 has been observed using the Wide Field Camera 3 (WFC3) on board the Hubble Space Telescope to inspect the galaxy with higher spatial resolution. In the WFC3 data, the galaxy reveals ubiquitous near-UV emission and remarkable dusty substructure. Our analysis shows this galaxy to lie in the near-UV green valley, and its pixel-by-pixel photometry exhibits a narrow range of UV-optical colours that are similar to those of nearby E+A (post-starburst) galaxies, and lie between those of M83 (an actively star-forming spiral) and the local quiescent early-type galaxy population. This work reaffirms our hypothesis that minor mergers play a significant role in the evolution of early-type galaxies at late epochs.

• Textile Coloration and Finishing
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• v.9 no.6
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• pp.51-57
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• 1997

The lightness, chroma and hue tolerances with respect to the standard colour position in the CIELAB space have been studied in detail using the various existing data sets and the set form this study. The lightness tolerance showed a clear dependency upon the metric lightness for medium to light colour, but in the case of dark colours there was a discrepancy between the data sets. Both the chroma and hue tolerances showed dependency upon both the chroma and hue-angle and not the single dependency upon the metric chroma, as assumed in the CIE94 formula. New weighting functions were derived from the above experimental evidence, and finally a new formula, LCD(Leeds Colour Difference) was proposed. The LCD formula is nearly as simple and flexible as CIE94 but smoothes the individual weighting functions, especially for lightness tolerances for light colours and chromaticity discrimination near the blue region.