• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.39-50
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• 2005

The purpose of this research was to investigate the impression dimension and to elucidate the image perception depending on the tone of the Korean jacket and Korean skirt using the tone-on-tone coloration. As stimulators, the became same color by making the skirt and jacket red, yellow, and green at the same time. After the skirt and jacket became four kinds of tones, vivid, light, dull, and dark by altering value and fuing chroma in the assembled color, these tone-on-tone coloration stimulators $48(3\times4\times4)$ were used for the investigation of this study. Impression factor of the stimulus consisted of the 5 different dimensions(youthfulness and activity, attractiveness, gracefulness, concentration of attention, tenderness). Among these factors, youthfulness and activity, attractiveness were proved to be more important. In the tone-on-tone coloration of a Korean skirt and a Korean jacket, each dimensional image was affected by the character of color, also the evaluation of countenance showed the meaningful difference depending on tone. Thus, we can comprehend that the influence of tone as well as color affects the evaluation of an image.

• Textile Coloration and Finishing
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• v.15 no.4
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• pp.32-38
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• 2003

To get the variety of color by natural dyeing, cotton and silk fabrics were dyed with natural indigo and safflower in turn. The two ways of dyeing processes were carried. First, silk and cotton fabrics were dyed repeatedly in safflower dyebath to five times to get the five fabrics dyed in different shades. And then indigo dyeing process was carried on the top of the dyed fabrics with safflower. In second way, the fabrics were dyed in five stages of shade by repetition of dyeing process in indigo dyebath. And then safflower dyeing was carried on the top of the dyed fabrics with indigo. When indigo dyeing process was added on the top of the fabrics dyed in five shades with safflower, the color differences decreased between five shades of fabrics, their color values got similar in hue, shade and chroma. When safflower dyeing process was added on the top of the fabrics dyed in five shades with indigo, the fabrics showed different hue of colors between red and blue of Munsell color circle such as RP, P and PB. Like almost of fabrics dyed with plants materials, the lightfastness and laundering fastness of dyed samples were poet and drycleaning fastness were good.

• The Research Journal of the Costume Culture
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• v.23 no.5
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• pp.768-777
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• 2015

In this study, the dyeing of silk fabric with Polygonum cuspidatum extracts was investigated. The contents of this study are as follows. First, the proper dyeing conditions were investigated by measuring the dye uptake (K/S value) that depended on the dyeing conditions when silk fabric was dyed with Polygonum cuspidatum extract. Second, the brightness (L), hue, and chroma differences that appear after mordanting with Al, Cu and Fe were investigated by measuring the CIELAB and Munsell values. And third, the colorfastness and antibacterial property were measured. When the silk fabric was dyed with Polygonum cuspidatum extract, the proper dyeing conditions were a colorant concentration of 90% v/v, a dyeing of time 100 minutes, a dyeing temperature of $70^{\circ}C$, and a dyeing of pH 3. In mordanting methods, the dyeabilities of post-mordanting were higher than those of premordanting. The hue value displayed yellow (Y) and yellow-red (YR) in cases of pre and post mordanting. The C value decreased by the mordanting of Polygonum cuspidatum extracts. Generally the colorfastness of mordanted fabrics was improved by mordanting. The dyed fabrics showed a 90.6% of Staphylococcus aureus reduction rate, and the dyed and mordanted fabrics showed 97.1% bacteria reduction rate. The dyed and mordanted fabrics showed above 90.5% Klebsiella pneumoniae reduction rate, and Cu mordant revealed the most effective bacterial reduction.

• Journal of the Korean Ceramic Society
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• v.54 no.1
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• pp.61-65
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• 2017

Examined in this study were the effects of copper oxide (II) addition and sintering conditions on the chromatic characteristics of copper glaze. Oxidatively sintered samples exhibited the negative increase of $CIEa^*$ and the positive increase of $CIEb^*$ with the increase of CuO concentration, leading to Green and Green-Yellow coloration. On the other hand, $CIEa^*$ and $CIEb^*$ of reductively sintered samples were positively increased in direct proportion. The green color of oxidatively sintered samples was originated from the $Cu^{2+}$ ions formed by the dissolution of CuO. The reductively sintered samples resulted in dull tone red color with low chroma. Such behavior seems to be influenced by the interplay of metal Cu aggregation, metal Cu globule, and $Cu_2O$ formed in the glaze layer through the redox interaction of CuO during the sintering process.

• Proceedings of the Korean Institute of Building Construction Conference
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• 2008.05a
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• pp.183-186
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• 2008

Carbonation is measured as Phenolphthalein Solution, it is possible to confirm the scope of alkali through acid and basic reaction. Then, Concrete Basic Reaction is decided according to alkali concentration depending on Potassium Hydroxide Now that Carbonation is gradually produced toward inner side from outer side, with time going by, it doesnt work, to some adequate depth, in as fast time as compulsory facilitating test. Thus, this research thesis made a comparative analysis on concrete phenomenal discoloration borderline following Phenolphthalein Solution, as part of a bid to measure Carbonation. Also, the thesis measured Concrete Alkali Concentration. The result showed that concrete coloring is classified into red and scarlet according to alkali concentration, and into borderline breakpoint of the speckle of scarlet and carbonation reaction. The higher chroma becomes with concrete decolorizing, the higher alkali concentration becomes.

• Journal of Powder Materials
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• v.28 no.1
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• pp.38-43
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• 2021

A high NIR-reflective black pigment is developed by Mn doping of Fe2O3. The pigment powders are prepared by spray pyrolysis, and the effect of the Mn concentration on the blackness and optical properties is investigated. Mn doping into the crystal lattice of α-Fe2O3 is found to effectively change the powder color from red to black, lowering the NIR reflectance compared to that of pure Fe2O3. The pigment doped with 10% Mn, i.e., Fe1.8Mn0.2O3, exhibits a black color with an optical bandgap of 1.3 eV and a Chroma value of 1.14. The NIR reflectance of the prepared Fe1.8Mn0.2O3 black pigment is 2.2 times higher than that of commercially available carbon black, and this material is proven to effectively work as a cool pigment in a temperature rise experiment under near-infrared illumination.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.543-562
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• 2024

This study used persimmon juice, shuliang, and mud to develop the color of hanji fabrics. Persimmon juice and shuliang were used to perform single and mixing dyeing with heat treatment using the pad-dry-cure (PDC) method. Next, mud dyeing was performed, and the hanji fabrics dyed with persimmon juice and shuliang were developed into Yellow Red (YR) Munsell colors with very low values and chroma. Through scanning electron microscopy, the persimmon juice and shuliang were observed to be evenly treated on the hanji fabrics using the PDC method. Furthermore, the presence of iron ions in the dyed fabrics was confirmed using inductively coupled plasma-mass spectrometry analysis. The stiffness of the fabrics dyed with persimmon juice was the greatest, while it gradually decreased for the fabrics treated with mixing and mud dyeing. With mixing dyeing, the colorfastness to washing improved to grade 4, whereas with mud dyeing, the colorfastness to alkaline sweat greatly improved to grade 4~4-5. Based on these findings, this study confirmed that it is possible to develop hanji fabrics with differentiated textures and colors while ensuring practical colorfastness through mixing and mud dyeing.

• The Journal of Internal Korean Medicine
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• v.34 no.1
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• pp.71-85
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• 2013

Objectives : The aim of this study was to evaluate the distribution of tongue color and the correlation of the tongue colors with clinical laboratory parameters. Methods : Statistical analysis on the frequency of each tongue color and the results of the clinical laboratory parameters in each tongue color group. Results : Tongue colors that appeared most frequently were 702c, 695c, 493c, 694c, 701c, 500c, 7432c, 7431c, 7634c, 7419c in that order. Following them, 494c and 507c were rarer colors, and 501c, 673c, 687c, 693c, 696c, 703c, 7418c were equally rarest colors. Among each tongue color group, a significant difference was found in the result of complete blood cell count (CBC). The level of red blood cell (RBC) of 7432c group was significantly higher than that of the other groups except 694c group. The level of hemoglobin (Hb), hematocrit (Hct) of 7432c group were significantly higher than those of all the other groups. The level of RBC of 7431c group was lowest and significantly different from 694c, 7432c group. In results of the other tests were not significantly different. However the level of total cholesterol was higher in 695c, 694c, 500c group, and the level of triglyceride was higher in 500c, 7431c, 694c group. Those four colors have a low chroma and 7431c, 695c take blue violet color. Conclusions : The tongue color is distributed throughout following colors by order of frequency: 702c, 695c, 493c, 694c, 701c, 500c, 7432c, 7431c, 7634c, 7419c, 708c, 494c, 507c, 501c, 673c, 687c, 693c, 696c, 703c, 7418c. Some parameters of CBC has a significant correlation with some tongue colors. Other results including lipid profile, renal function test, and liver function test had no significant difference according to tongue color. However, the colors which have low chroma or take blue violet color tented to be higher in the levels of total cholesterol and triglyceride.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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• pp.69-85
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• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.108-123
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• 2006

This Study is about the color images oi clothes in the early 20th century in the Eastern and Western culture and the recreation of this color images through modern costume design in film. The aim of this study is to show how early 20th century color has born reinterpreted through present film costumes and how different cultural perspectives can influence color images. For the purposes of this study, 30 pictures of clothing, representative of the early 20th century, as well as films which have been internationally recognized for their costume design and strong cultural identity('Farewell M) 'Concubine', 'Raise the Red Lantern', 'Chicago' and 'The English Patient') were chosen and analyzed. The color image of these photographs and scenes from the movies were divided by Pantone Solid Chips and categorized by color groups such as red, orange, yellow, green, blue, violet, neutral and metallic. The analysis results of the color images in the early 20th century showed that the red group was used a lot in both cultures and the orange group was more often used in the West. In regards to the yellow group, goldish yellow were commonly used in the West but pale yellow was preferred in the East. The green group more used In the West but the blue group appears more in the East. Also, there were differences in color combination, texture and technique which demonstrates different cultural color recognition and association. In the case of film color image, present color image was added to past color image. In the West, color was used as a tool for visualizing the state of characters' mind and the mood of movies' story but in the East color image was intended to make the character stand out by changing the value and chroma. By comparing the color image of clothes from the early 20th century and color image from film in the West and the East, it is possible to analyze the cultural symbolic image of color. This study is one of first trials to analyze the cultural differences in rotor images and their symbolic meaning. Thus, further studies should persue to find out the influence of culture on the rotor image in terms of specific quantity and quality.