• FLOWER RESEARCH JOURNAL
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• v.18 no.4
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• pp.308-314
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• 2010

Importance of color in floral design has been emphasized for long time, but it is difficult to find out standardization of color for floral design and for educational system. Wedding bouquet is major and important part of floral design and it shows same problem. The research is concentrated on color image analysis of wedding bouquet designs which have been submitted for 'Interflora World Cup Competition' with the intention to utilize the study result as the basic information of floral design. Colors of wedding bouquets from 20 different countries were analyzed. All of designers chose high brightness and saturation more for designing the bouquets. Warm colors and cold colors have been taken in similar portion. Blue color has been rarely used and it is probably because of the rarity of blue flowers. This study shows each continent has different color preference. European designers used wide variety of colors while Asian designers preferred red color. From this study, we found that color image scales of wedding bouquets represent 8 images out of 12 representative images. Four exceptions are 'clean', 'elegant', 'gentle' and 'modern' images.

• The International Journal of Costume Culture
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• v.13 no.2
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• pp.141-153
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• 2010

Fashion needs to be understood as practicality and creative behavior and various movements of paintings act as inspirations of original design for fashion designers. This study seeks to find sources of fashion designs in the works of Mark Rothko who is in the center of color-field abstract. Color-field of Rothko provides infinite inspirations as colors are identically treated as shapes and lighting and textures are all included on top of it. In this study, the purpose is to create color focused artistic fashion design by exploring the possibility of expression with the colors of Rothko as the main motive. The study method is as follows. First, the concept and significance of color-field abstract are researched through documented data. Works of Rothko is divided into three periods according to their characteristics. The background of the formation of color-field abstract of Rothko is understood by analyzing the trends of the works in each period. Second, twenty representative works from 1949 to 1969 are selected and analyzed in formative components of color, shape and textures in order to more accurately understand shape of colors, brilliance, simplicity that appear in the mature color-field abstract of Rothko. Third, preexisting methods of color-field of paintings developed into motives of clothing are studied focusing on the collections from 1997 to 2006. Examples of applications of color-field images in modern fashion designs are analyzed. Fourth, motives are selected based on general characteristics of color-field abstract of Rothko and the results of the formative analysis. Clothing is produced that expresses the colors of the paintings of Rothko more effectively. As the results of the study, restrained shapes and textures and various forms of color combinations shown in color-field abstract of Rothko provided deep inspirations on material composition and color planning for fashion design focused on colors. Additionally, needle-punching technique using wool for the production technique enabled relief texture expressions of materials by colors and effective applications of soft and warm atmosphere of color-field abstract of Rothko on clothing. Especially, the ideology of color-field abstract of Rothko of shaping of colors could be expressed and the direction of the development of motives could be presented at the same time by specifically applying color combination method using horizontal division of atypical color-field from the formative characteristics of color-field abstract of Rothko.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.61-78
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• 2016

This study through the literature research to understand the most representative art trend - the definition and evolution of the Cubism in the early 20th century, and through the analysis on the representative painter's works, such as works of Pablo Ruiz Picasso and Georges Braque, This article raises the unique characteristics of the Cubist painting, such as geometry modeling, simultaneity, transparency, collage, deconstruction and reconstruction, etc. On the basis of theoretical research in this study, in order to meet the novelty and originality of clothing design requirements in the field, this research uses the modeling characteristics of the Cubist painting, designs and makes five sets of works in costume designing. Research findings are as follows, 1) According to the geometry modeling, split garment surface into triangle or irregular polygon shaped. 2) Show front and side images of the characters in the same garment surface. 3) Overlapping the images of the characters in the same garment surface. 4) Make use of composite materials to express the characters. 5) Disassemble the characters recombine them in an abstract painting way. These works mainly completed by adopting some techniques like Patchwork and Figurative painting. The colors consist of red, yellow and blue caused "Three primary colors series" to achieve the goal of expanding visual effect. Additionally, for the sake of the formal beauty-deformation distortion, symmetric and asymmetric, for instance the structure of the costume adopts formal beauty technique.

• Journal of Korea Multimedia Society
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• v.3 no.5
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• pp.470-478
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• 2000

Color images from various application areas have their own characteristics. Practical segmentation systems need specialized methods to death with the characteristics. In this paper. we propose a distributed genetic algorithm based segmentation method for color breast carcinoma cell images. To extract positive nuclei and negative nuclei from the cell images, a distributed genetic algorithm with improved genetic operations and an evaluation function is used. As initial values, representative colors from images are introduced to work well with the cell images. A test to verify the validity of the proposed method shows well-segmented images. This result suggests that the method is pertinent to be but into practical use for the images haying limited objects with limited colors.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.201-215
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• 2014

This study explores the kinds and types of dyes used in the Joseon Dynasty. Some literature including "Sanga Yorok", "Gyuhap Chongseo", "Imwon Gyeonjeji" were reviewed for this purpose. The findings are as follows. The colors obtained from the dyes were divided into seven color series, such as red, yellow and orange, green, blue, purple, brown, gray and black. These are practical color categories differed from abstract five cardinal colors [五方色]. The diachronic dyes used during the Joseon Dynasty were safflower and Japanese alder bark for red, indigo leaves for blue, gromwell for purple, chestnut tree bark for brown. The representative dyes used in the late Joseon Dynasty were safflower and sappan wood for red, wild pear tree bark and Pentapetes phoenicea for yellow and orange, indigo leaves for blue, sappan wood and gromwell for purple, mulberry tree for brown, and Chinese ink for gray. Common dyes used both in Joseon and China were safflower and sappan wood for red, pagoda tree blossom for yellow, a combination of pagoda tree blossom (or Amur cork tree) and indigo leaves (or sediment) for green, indigo leavers or sediment for blue, sappan wood and hollyhock for purple, and a combination of indigo leaves and Galla Rhois for gray and black.

• Journal of the Korean housing association
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• v.26 no.3
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• pp.77-84
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• 2015

The purpose of this study is to analyze the aesthetic factors in color combinations of house exteriors in hillside villages, Busan. The so-called 'Hillside renaissance' is a representative urban regeneration project in Busan. The towns in hillside area in Busan have developed colorful sceneries. But all the colorful sceneries are not the same. Each town has own color characters and different aesthetic color effects. This study is to determine the unique aesthetic components in color combination of Gamcheon and Daecheong. This study is based on the traditional color harmony theories. The analysis focuses, inter alia, on Moon-Spencer's 'Aesthetic Measure'. A house exterior color has relations with two neighboring colors in array. And those three colors with next two houses have again each three hue, value and chroma relations. This analysis is first to determine whether each sample color combination is harmonized, and if harmonized, next step to list which aesthetic factor is dominantly contributing to color harmony. And at last, to study the subcategorized sectors of each color components of the hue, value and chroma.

• Journal of Korea Society of Industrial Information Systems
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• v.8 no.4
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• pp.82-93
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• 2003

With the development of the Internet, the behavioral manner of offline world has been introduced into online sites. One of representative areas is the Internet banking. The number of the Internet banking users has continually increased. But researches on the characteristics of online users are not enough to prevent any mistakes in online world. They haven't studied any rules that guarantee safety in the Internet. This paper studies the design of main homepage of banks. It tries to study the web design colors in the homepages of banks and give reliable color system that can be used in homepage design

• Journal of the Korean housing association
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• v.25 no.6
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• pp.111-121
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• 2014

The purpose of the study is to understand the unique characteristics of decoration style in traditional Javanese houses. Reviewing literature and visiting site were applied as the research method. Javanese House can be divided into three parts; roof, wall and floor. First, the roof of the traditional Javanese House is the most unique and important decorative element. The roofs are covered with roof-tiles and have clay carving ornaments on top. Usually there are no ceilings, just exposed to the oblique shape roof, which are made of wood to enable air ventilation. Joglo roof is the outstanding and representative roof type of Javanese houses. There is artistic and constructive roof structure named as tumpang sari in Joglo roof. The decoration on tumpang sari is the most colorful and symbolic ornaments. Secondly, the most unique element in the wall is the gebyok. Gebyok is made of wood and full of carved ornament, which has an artistic appearance, and also important function. The top part of doors are designed as perforated woodcarving, which give both aesthetic and ventilation purposes. Last, the stratified floor is begin with ground yard, then veranda that made from hardened clay, and main room constituted with a wood scaffold to provide air circulation and remove the humidity of the ground. The decorations of the column stand (umpak) are unique, where usually lotus flower is carved into black stone or lime stone. The outside of the buildings in Java Houses is not decorated by colors or symbols, whereas colors are only used in temples, pavilion or in royal housings. Instead they have carvings and decorations on important structural elements such as columns and beams inside. The ornaments and colors of decorations symbolize their god, ancestors and piece.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.145-156
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• 2004

This study is regarding closed and open forms, which have relatively high recognition among visual perception phenomena in costumes. In particular, this study reviewed closeness and openness of ethnic look, which is a representative open costume. Closed form can be summarized as simple and clear silhouette, conspicuous differentiation from the background, simple construction of the costume and colors with low brightness and clearness. It Is modern, functional, rational and modest. On the other hand, open form can be summarized as complicated and inconspicuous edge line, complicated inner shape and colors with high brightness, high clearness and vividness. It includes concepts of pleasure, entertainment, joy, eroticism, rebel and resistance. Modern costumes have been simplified for a long time and they have functional and closed characteristics in their shape, structure and form. On the other hand, modern open form costumes are usually found in sub-cultural styles such as punk, hippie, kitsch and vintage, and some ethnic looks. Following is a summary of the characteristics of open form shown in the ethnic look. 1. The shape, structure of costumes, hair accessories, lace, ruffle and ornaments are complicated and irregular. 2. The silhouette is inconspicuous because of ambiguity between backgrounds and ABC (Apparel-Body-Construct) or the use of see-through materials. 3. It makes complicated visual shapes because it does not have a single type but is composed of various clothing items together. 4. It gives complex feelings by matching various colors or more than two different fabrics. 5. It looks like the open type because of the complex patterns shown in the costumes.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.3-17
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• 2020

Through color analysis and survey of seasonal display cases using flower materials in department stores, hotels, and retailers, which are representative commercial spaces in Korea and abroad, it is designed to recognize the need for color planning that applies seasonal colors and emotional adjectives, away from the traditional method of relying on the season, shape and texture of materials, in the process of flower displays. The research method analyzed the colors used in the 48 domestic and foreign commercial space flower display cases collected. Based on this, the first expert questionnaire collected adjectives extraction and seasonal coordinates reminiscent of the case and examined the suitability of emotional adjectives extracted by the second public survey. The research results extracted typical colors and tones of spring, summer, fall, and winter, and recognized seasonal emotional adjectives. Based on these results, We could see that the color scheme should be advanced in the flower display, which used to depend solely on the shape or texture of the flower material, to produce the intended emotional design.