• Proceedings of the Korea Multimedia Society Conference
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• 2003.11b
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• pp.731-734
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• 2003

최근에 개인의 경험을 통해 얻어지는 외부의 물리적 자극에 대한 복합적인 감성을 측성 및 분석하여 공학적으로 처리함으로서 인간이 보다 편리하고 안락한 생활을 영위하도록 하는 연구가 활발히 진행되고 있다. 본 논문에서는 단일 색상기반의 색채 심리를 파악하는데 RGB 컬러정보를 분석하여 퍼지논리와 추론을 이용하여 감성을 인식하는 방법을 제안하였다. 제안된 감성인식 방법을 알슈울러와 해트왹(Alschuler and Hattwick)의 색상에 대한 감성 상태를 파악하는데 적용한 결과. 제안된 감성인식 방법이 효율적인 것을 확인하였다.

• Korea Science and Art Forum
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• v.20
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• pp.255-265
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• 2015

When it comes to how to define history·culture streets, people think of the streets as street environments that would create local identity in association with this local community's particular historical and cultural resources as well as urban streets. In order to build such streets, any relevant fields first need to apply some original design based on understanding on historical and cultural resources. With Street of Gaya in Gimhae selected as a research subject, this study aims to look into components and color characteristics of the history·culture street and finds ways to create other streets of that kind. As a frame to understand the history·culture streets, what this study would come up with is considered significant in that it helps the value to be re-recognized and promoted. In order to achieve the research goal, the study (1) extracted components of streetscapes referring to relevant previous researches and then, (2) analyzed a current status of these components of Street of Gaya via field investigation. (3) The study examined color characteristics of each of the components. Findings of the research are summarized as follows. (1) From a comprehensive point of view, the study categorized and subdivided the components of the history·culture street into nonphysical and physical elements. (2) After analyzing the current status of the components, the study learned that Street of Gaya basically consists of historical and cultural remains and sculptures as well as street facilities. (3) Results of the color investigation reported that the plan on designing of Street of Gaya had been processed with a focus laid on harmony of historical remains and cultural remains which are told to be natural components. However, the study also figured out that as long as relevant fields want to create different identity in each section and to efficiently deliver information, they should first prepare this smart design system to integrate each pieces of a streetscape as a whole.

• Journal of Satellite, Information and Communications
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• v.9 no.3
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• pp.64-69
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• 2014

Exhibition which was a boring and rigid image once has recently hold a place as an intimate culture to the public such that audiences can feel and participate in exhibition at first hand. Along with this, forms and directions of exhibition become diversified, and various attempts have been made. In addition, with such changes, ways of expressing exhibition contents become diversified as well and ways of inducing sensible and psychological expressions and experience are receiving attention rather than formal and physical expressions. This study aims to provide audiences with ways of being able to more effectively expressing exhibition contents, atmospheres, sensibility and so on by applying lights and colors to in expression of exhibition contents.

• Science of Emotion and Sensibility
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• v.23 no.4
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• pp.21-32
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• 2020

The perception of a fashion product may vary depending on the texture and color of its material. Additionally, the product may appear differently in person versus on a digital screen. Therefore, in the present study, we sought to investigate the differences in visual sensibility evaluation between materials in person and on digital screens. In this study, three pairs of visual sensibility adjectives were tested for 60 samples selected as fashion materials. Fashion materials were divided into colors, embossings, and visual clarity categories. Results showed that each color had the same sense during in-person and digital evaluation. In terms of visual sensibility according to embossing, both in-person and digital evaluations of materials with embossings were found to have the same visual sense, whereas those without embossings looked different between in-person and digital evaluations. Assessments based on visual classification showed that both in-person and digital evaluations had the same sensibility. This study is meaningful in suggesting that when evaluating the visual sense of fashion material, the sensation for the digital screen versus in person may be different in some cases.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• 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.

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 2004.11a
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• pp.49-56
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• 2004

본 연구는 1997년 세계문화유산으로 지정된 수원화성의 야간경관조명연출에 따른 조명실태와 효과를 조사 분석하였다. 평가대상은 화성의 경관조명시설이 설치된 33개소 중 측정당시 설치가 완료된 성곽의 내 외부와 서북공심돈을 선정하였다. 평가방법은 야간에 조명현황조사 및 물리량의 측정을 실시하였다. 물리량은 피조면의 휘도, 색온도 및 색도를 측정하였으며, 이를 토대로 경관조명의 연출효과를 분석하였다. 분석결과, 전체적인 조명방식은 건축물 하단부에 설치된 지주등으로 상향조명을 하거나, 외곽 투광기를 이용한 전반조명이 병용되고 있었다. 조명연출실태는 성벽의 경우 연속된 성곽의 이미지를 강조하고, 빛의 콘트라스트를 이용하여 건축시설물을 강조함으로써 리듬감을 연출하였다. 색온도의 경우 성곽의 차가운 이미지를 보완하기 위하여 따뜻한 색온도의 광원을 사용하여 전체적 이미지를 안정적이고 부드럽게 표현하였다. 색도의 경우 전체적으로 황색의 색도가 나타났는데, 우리나라 전통건축에서 강조되어야 할 단청이나 부재를 위해서는 광원의 색채선정에 신중한 고려가 요구된다.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2002.11a
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• pp.79-84
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• 2002

디지털 삶에서 인간들은 더 이상 보호막으로써의 건축 환경이 아닌 함께 상호작용 할 수 있는 감성반응 환경을 요구한다. 즉, 실내 공간은 사람들의 요구를 충족시키거나 사람들의 기분을 만족시키기 위해 건물이 마치 살아 있는 유기체처럼 쉬지 않고 변하는 공간이다. 그러나 건축공간의 물리적 특성의 한계에서 유동적인 감성반응 환경의 요구를 충족시키는 데에는 많은 한계점이 따른다. 그래서, 본 연구에서는 이러한 한계점을 극복하기 위해 디지털 환경을 이용한 가상공간에서 실행하였다. 이는 실제공간에서의 시행착오를 줄일 수 있을 뿐만 아니라 빠른 시간 내에 인간의 반응을 연구할 수 있다. 특히, 본 연구에서는 감성반응의 실내배색에 의해 실내공간에서의 디지털 벽면의 디자인을 가상공간에서 개발하여 거주자의 감성 반응을 평가하는 것을 연구 목적으로 두었다. 이와 같은 거주자의 감성반응형 환경 디자인은 미래의 디자인의 패러다임이 될 것이다.

• Proceedings of the Korea Multimedia Society Conference
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• 2003.05b
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• pp.536-540
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• 2003

최근에 개인의 경험을 통해 얻어지는 외부의 물리적 자극에 대한 복합적인 감성을 측성 및 분석하여 공학적으로 처리함으로서 인간이 보다 편리하고 안락한 생활을 영위하도록 하는 연구가 활발히 진행되고 있다. 본 논문에서는 색채 심리를 바탕으로 한 감성을 인식할 수 있는 생리학적 퍼지 신경망은 제안하였다. 본 논문에서 제안한 생리학적 퍼지 뉴런 구조를 기반으로 하여 입력층, 퍼지 귀속 시넵스(Fuzzy Membership Synapse) 및 출력층으로 구성되며 지도 학습(supervised learning)으로 동작된다. 제안된 생리학적 퍼지 신경망을 단일 색상 정보에 따른 감성 인식에 적용한 결과, 단일 색상 정보에 따른 감성 인식에 있어서 효율적임을 확인 할 수 있었다.

• Science of Emotion and Sensibility
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• v.14 no.4
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• pp.495-502
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• 2011

The plastic optical fiber has been previously known to have the limits in fabrication and care, due to its lack of flexibility and durability. Recently, an innovative technology of 'water-resistant & flexible optical fiber', in which the surface of etched POF(i.e., plastic optical fiber) is to be coated with a type of synthetic resin, has been developed. In this study, the post-treated POF-based flexible textiles were evaluated in terms of luminance, physical visibility and perceived visibility, according to the fabric lengths and colors of the light source. The POF-based flexible textile with 10cm fabric length and green light source appeared to show relatively higher illuminating effects. The maximum distance for perceived visibility of the POF-based flexible textiles was found to be 100m. Therefore, the results of this study are expected to be utilized as a fundamental for the further studies to develop the digital color clothing with application of POF-based flexible textile.