• 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.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.607-615
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• 2022

Animation is a popular art in the form of enlightenment that intimately approaches people of various ages and makes them reconsider the social problems they have ignored. Therefore, this paper analyzes how the character setting and formative symbolism in "The Willoughbys" raise awareness of social agendas. The previous studies found that the modern society needs to be aware of child abuse and various types of family, and examined that color and formativeness of animation induce psychological and behavior change from the audience. The work shows emotional abuse and neglect as characters, and presents the subdivided form of the family. The rainbow symbolizes diverse family members. The agents with visual characteristics express the modern principle-based secondary perpetrator along with apathetic neighbors to urge a change in audience perception. This paper insists the value of animation when it is essential to raise public awareness prior to the construction of a welfare society and support system.

• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.111-120
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• 2024

This study, we explored the representation of makeup in the artworks of Cheon Gyeong-ja (1924-2015), a female painter from Korea, with a focus on her women-centric paintings. Cheon Gyeong-ja, breaking away from the traditional Oriental framework of Korean modern art, emerged as a leading female artist who pioneered color painting. Through her distinctive techniques, she unfolded a world of art centered around women, using characteristic subjects such as women and flowers to express vibrant colors. This was aimed at clearly conveying the meanings she intended from her inner world to society. By examining the makeup depicted in female portraits, we investigated the diverse representations of women's makeup and its correlation with the painted figures. Exploring the characteristic makeup aspects in the artworks allowed us to delve into the inherent meanings embedded within the colors and paintings. Given the significance of this exploration in my life, I hope this translation serves the purpose well.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.261-270
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• 2020

In film, color is a tool for storytelling and a metaphor for a story's theme. This study constructs efficient and objective data by analyzing color images of movies delivered to the audience. This Research the visual perception process of color in films and studies the processes accepted by the audience. Through this research process, we examine the emotional response caused by the visual stimulus of film color and quantify the visual factor through color in the film as a factor that effectively induces the emotional response of viewers who watch the movie. This study analyzes the mise-en-scene of Wes Anderson's film, Royal Tenenbaum, and studies the role of communication in cinematic colors. Quantitative analysis of color distribution data is performed using computer color analysis program on the colors displayed through 10 chapters of mise en scene. Through color analysis, it was analyzed that Anderson composed the movie scenes in red and yellow red (YR) with low saturation and medium brightness. Through this analysis, we study how color is used throughout the film and how the quantitative form of its use is to be used as the psychological factor controlling audience's emotion.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.184-192
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• 2007

A social trend can change market trend because it influences on consumer's lifestyle. Therefore the trend has been considered as an important factor for planning and producing new items. If a new trend occurred, its impact on market needs to be examined. Recently, well-being became top global issue and it caused many changes on packaged food products. This study focuses on measuring the impact of well-being trend on package design. The range of products for this research is limited to packaged food product selling in discount stores because it is main category to show well-being trend. Generally, good package design generates impulsive buying at the point of purchase. Colors on packages are critical point for good product design and they are also reflecting social trend to meet their consumers' psychological desires. After gathering basic information from market research, several colors had been selected and classified. For providing specific evidences result from the trend, the role of four major colors have been compared and analyzed. Finally, questionnaire had been handed out to trendy consumers to reach consensus on well-being color.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Science of Emotion and Sensibility
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• v.16 no.4
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• pp.557-566
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• 2013

This study is to investigate the color emotion associations of the color vision defectives, considering that the colors do have an effect on human emotional conditions. To realize this investigation, firstly we selected 100 normal persons (group C)and other 34 color vision defectives(group A), dividing the last group into two small groups as protanomaly group(group P) with 8 persons and deuteranomaly group(group D) with 16 persons. All participants have been offered to select one color from ten colors for each of three positive emotions such as 'favorite', 'happy' and 'friendly' and of three negative emotions like 'sad', 'disliked' and 'awkward'. And they selected another one color for each active and passive emotions. For 'favorite color' the group C selected 'blue' and 'red' while the group A chose 'blue'. For 'happy color' the two groups selected 'yellow'. For 'friendly color' the group C chose 'green', but the group A selected 'blue'. For 'sad color' the group C preferred 'blue', but the group A chose 'purple'. For 'disliked color' all groups selected 'bluish green'. For 'awkward color' the two groups preferred 'bluish green'. For 'active color' all groups selected 'red'. And for 'passive color' the group C chose 'bluish green', but the group A selected 'blue'. Depending on the type of color vision deficiency(group P and group D) some more differences were revealed relatively. These results should be applied to develop some intelligent color conversion technology for enhancing the usability of culture contents for color vision defectives.

• 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.

• 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.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.31 no.1
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• pp.43-54
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• 2021

This work proposes a process to derive elements of emotional materials based on trend research in the application of materials in product development. It was intended to be applied to the development of a case model, a Korean sports wheelchair, and focused on the material portion of CMF-based research. Through research methodologies such as megatrends, competitor product and part-by-part analysis, and psychological color analysis, we studied optimization, verification, and DBization of materials, and drew the final application plan through FGI verification.