• 한국의상디자인학회지
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• 제11권2호
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• pp.23-32
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• 2009

The purpose of this study is to research fabrics, colors, and arrangement of color in Jogak-bo which were developed during the late Chosun dynasty. It is expected that from the analysis of the number, distribution and arrangement of colors of Jogak-bo in the late Chosun we can suggest various color arrangements thoset can be applied to modern fashion are summarized as follows. First, as for the number of colors of Jogak-bo according to material, silk fabrics Jogak-bo used a variety of colors whereas hemp fabrics Jogak-bo mostly used one color showing contrast between silk fabrics Jogak-bo and hemp fabrics ones. Second, as for the distribution of colors of silk Jogak-bo and hemp fabrics ones, warm colors were used most frequently. On the other hand, fewer achromatic colors were used to silk fabrics Jogak-bo, and they were more applied to hemp fabrics Jogak-bo. As for the use of cold colors, fewer cold colors were applied to hemp fabrics Jogak-bo compared to silk fabrics Jogak-bo. Third, as for the arrangement of colors, various colors were used in silk fabrics Jogak-bo, but a single color or not more than 1 color was applied to hemp fabrics Jogak-bo. It well demonstrates brilliance and glamour of silk Jogak-bo and stability and unity of hemp fabrics Jogak-bo. As for the arrangement of colors of Jogak-bo, most of Jogak-bo showed contrasting colors and shades, and similar colors and shades were hardly found in silk fabrics Jogak-bo whereas they were frequently found in hemp fabrics Jogak-bo.

• 패션비즈니스
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• 제17권3호
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• pp.1-14
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• 2013

This study is about the evaluation of the color arrangements of working clothes that are harmonized with working environment and assist in the protection of workers in industrial sites. This study attempted color arrangement design with the intention of giving order to the colors of working environment and working clothes so as to help improve the safety of work and the management aspects including human resource management, efficiency improvement, and the practice of business ethics. The study method consisted of literature research, empirical research, and evaluation research. The literature research performed theoretical examination about colors, industrial safety, and visibility. Three actual outdoor work sites in the machine industry were chosen and pictures were taken at 20-30 m from workers. The background colors of the work environment of each work site and the colors of the working clothes that were actually worn were analyzed through color values measured with a color-difference meter(CR-400). As a result, it was found that between value and chroma which affect visibility, color arrangement based on differences in chroma could be a greater influence than color arrangement based on differences in value. The results of this study could assist the integration of color schemes among working environment colors, people and working clothes by suggesting color arrangements with improved visibility that are applicable to the working clothes of domestic machine manufacturers that are playing a pivotal role in domestic industries and by presenting appropriate guidelines.

• 한국의상디자인학회지
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• 제17권2호
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• pp.207-222
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• 2015

The purpose of this study is to set up the theoretical foundation for neon colors by recognizing them as important elements of sensitive design and by comprehending their existence as a color fashion responsive to psychological and social background. As the subject of the present the researcher has selected important oversea collections of these five years during which neon colors have fully emerged as popular colors of fashion. The procedure of research was to examine the concept and traits of colors and investigate the utility of neon colors in various fields. The important facts which are acquired from the present study are as follows. First, the analysis of frequency has found out the following color arrangements: neon color only-8.6%(35), neon color+colorless-58.3%(236), neon color+ colored -14.8%(60),neon color+colorless+colored-18.3%(74), and others. The case of neon color used as monochromatic (color) was distinguished into two: single neon color all through and the same color used differently. Color arrangements were divided into analogous arrangement, separation arrangement, dominant arrangement, multi-color arrangement, and accent arrangement. Second, the internal significance of neon colors expressed in fashion can be interpreted into three: emphasis, optical Illusion, and amusing. This study has attempted to raised up the aesthetic value of various color expression and to expand fashion image by interpreting the trends of color fashion together with the traits and aesthetic meaning of color in fashion. The future study intends to expand the expression area of fashion design and to interpret molding beauty through the image of color arrangement and through fashion style utilizing neon colors.

• 한국실내디자인학회논문집
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• 제7호
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• pp.31-37
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• 1996

The purpose of this study is to grasp the characteristics by image type in interior color. This experiment is carried out by the evaluation method of color simulation with the color image processor. And the result of this experimental evaluation is analyzed quantitatively by HAYASI 1 Program. The results of this analysis are as follows : 1) In casual and clear images, the most main colors are GY, PB, Y , and N, Casual image has high chroma and the most arrangement of colors is hue-contrast or contrast -harmony with white. Also the main colors of clear image are in identical or similar harmony with the hues of floor. 2) In romantic, elegant, pretty, and gorgeous images, the most main colors are GY, RP, R , YR and Y and the most arrangement of colors is identical or similar harmony. The romantic image of pastel tone is wholly lighter than the pretty image of bright tone. And elegant image is lower in chroma than romantic images, so generally dark. Also gorgeous image is the vivid tone with high chroma. 3) In chic and modern images, the main colors are the hues of B, PB, high value and low chroma with bright tone. Also, the main colors are in identical or similar harmony with the hues of floor : BG , B, PB and P. 4) In natural and semiclassic images, the main color is the warm color of Y, YR and the most arrangement of colors is identical or similar harmony. Also Semiclassic images is the dull tone with middle value and middle chroma and darker tone than natural image. 5) In dynamic image, the main color is the hue of N, Y, PB and GY and most of color is high chroma. And the most arrangement of colors is value-contrast.

• 패션비즈니스
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• 제23권2호
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• pp.110-123
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• 2019

This study aims to investigate the color characteristics of female fitnesswear by analyzing the status of color usage and color arrangement method of each item of female fitnesswear of sports brands. This study targeted eight global total sportswear brands. A total of 2956 colors of female sportswear were collected and analyzed from the homepage of each brand. As a result of analyzing the color of fitnesswear, first, the overall color of the fitnesswear showed high distribution centered on PB, Bk and R of low color tone, such as p and dkg. Moreover, bright tone colors were added for vitality and functional image of sports. Second, as a result of analyzing the color of each item, commonly, the PB, Bk and R had large proportions. Third, as a result of analyzing 2-color arrangements of fitnesswear, color arrangements including achromatic color had overwhelmingly higher frequency than color arrangements that had only chromatic colors. This shows that the color arrangement using achromatic color is important and has a higher preference. Fourth, as a result of extracting the representative color arrangement as color chip and comparing, the 2-color arrangement of female fitnesswear had the characteristics of the color arrangement of large area main color and small amounts of emphasized color centered on achromatic colors of Bk and W. This study is meaningful that it can be utilized as basic data for color planning of fitnesswear brands by subdividing female fitnesswear into 4 items and analyzing the color-tone and arrangement.

• 복식
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• 제57권9호
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• pp.88-96
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• 2007

The purpose of this study is to present examples for modern application with traditional color on ceremonial costume of Korean folk belief which is regarded as representative research material standing for Korean cultural archetype. The arrangements of color on the ceremonial costume of Korean folk belief were selected from 11 items specified as an import intangible cultural asset. These color arrangements were composed of fundamental colors from the viewpoint of modern color sensation, but had a excellent harmony in Hue. Therefore, not shifting Hue of color arrangement on ceremonial costume, traditional color arrangement was apply to contemporary it by shifting tone. Brilliant and deep chromatic tone that belong to 3, 4 area was converted into toned light grey, light clear, dark deep, toned dark grey, and greyish chromatic tone that belong to 1, 2 area or 5, 6, 0 area or 2, 7, 9 area. The plan that applies arrangement color with brightness contrast of traditional fundamental colors on a modern color harmony was presented from that. Like this, we can combine traditional color into modern color sensation, stylize and apply it on a production of character, logogram design, fashion design for characters in animation or game. From this, we'll be able to be close to the color arrangement sensation including our racial emotion in the everyday life.

• 복식
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• 제56권8호
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• pp.95-112
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• 2006

This study examines the Korean traditional and characteristic coloring through the color of Korean traditional embroidery. This research gives the chance to establish the cultural identity of Korea and presents the aesthetic standard of color images. Also, practical use of Korean traditional colors through this study provide opportunities which develope cultural merchandise in the world. were chosen as the references to analyzed the Korean traditional colors through gungsu: court embroidery, buddhist embroidery, everyday embroidery and clothing embroidery. Because this book published in commemoration of '20th General Conference and 21th General Assembly of ICOM' in 2004, which presented excellence of Asian culture. The color of these works were divided by 'Pantone Solid Color Chips' which organized by CMYK color system and categorized by Obangsaek. 'Gungsu' had vivid and splendid color sense which used strong and bright colors and 'buddhist embroidery' had mild and mysterious feelings which used low saturation.'Everyday embroidery' used the red color group frequently and 'clothing embroidery' had brighter colors comparing to other embroidery groups. The 'Chung(blue)' group had diverse color tone rather than one-tone color. This means that Koreans prefer the 'Chung' and used it regularly, also this color symbolized the racial characteristics. Even though 'Whang(yellow)' was prohibited because the color for emperor, in the case of embroidery, there were a variety of yellow colors from 'gold' to pale yellow and grayish yellow. The arrangement of colors in 'gungsu', tone on tone, complementary and bicolore coloring was used mostly which presented a strong and elegant color sense. On the other side, 'buddhist embroidery' used tonal coloring which gave gentle and noble feeling. 'Everyday embroidery' presented separation and accented coloring which was the example of common people's humor and originality. In the case of 'clothing embroidery', there was dominant lightness, separation, tone on tone and camaieu coloring which added gorgeousness in Korean traditional clothing.

• 복식
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• 제56권1호
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• 복식
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• 제62권8호
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• pp.149-165
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• 2012

This study is to understand the characteristics of women's Hanbok fashion in the modern Korea by investigating the features of colors and color arrangements of remaining relics. The summary of findings from the researches and analysis from over 1840 pieces of Hanbok relics in modern Korea are as follows: First, since western-style cloth were introduced and utilized for Hanbok from 1960, the number of colors have drastically increased. However, the most commonly used colors and parts throughout all the periods remained the same. These are Y, R and white colors for Jeogori and Y, R and PB colors for Chima. And, as for the representative color of each of the six periods, significant changes of color were found Jeogori in the 1960~1970s. While no clear color changes were found in the period prior to the 1960s and after the 1980s. Secondly, as for the color tones, although the high luminosity-low chroma were generally used over the periods, it was observed that various colors of low luminosity-high chroma began to be used from 1960 and so Jeogori became more colorful. And lastly, Y and white color were taking up the highest percentage in the solid color arrangement. When composing 2 colors, the Y tone color dominants with R tone as sub-color was the most prevalent, and when 3 and 4 colors were combined, the extra color were increasingly seen in the upper garment cuff and collar so that the arrangement of different colors increased the aesthetic symbols when combined with the colors of the Chima.

• 한국컴퓨터그래픽스학회논문지
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• 제18권4호
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• pp.9-15
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• 2012

색의 조화로움(harmony)은 조화로운 색들의 선택 뿐 아니라 각 색들의 배치에 따라서도 영향을 받는다. 본 논문에서는 색상의 배치 순서에 따라서 사람이 느끼는 조화로움에 차이가 있다는 사실을 보인다. 특히 색의 배색 및 선택에서 자주 사용되는 색 테마(Color Theme)의 구성 색들에 대한 예제를 보인다. 이를 위해서, 먼저 Ou [1][2]가 제안한 방법을 이용한 색상 배치 방법을 소개하고, 색 간의 차이를 최소로 하는 방법에 대해서도 제안을 한다. 이를 통하여 다수의 색이 구성되어 있을 때는, 각 색들 간의 조화로움을 계산하여 순서를 정하는 것도 중요하지만, 그 보다는 전체 색들 간의 차이가 적을 때 더욱 조화롭게 느껴진다는 것을 보인다. 사용자 평가를 통하여 본 논문에서 제안하는 방법이 색 테마의 전체적인 조화로움을 더욱 증가시킴을 알 수 있었다.