• Animal Bioscience
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• v.36 no.9
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• pp.1367-1375
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• 2023

Objective: Pigment production and distribution are controlled through multiple proteins, resulting in different coat color phenotypes of sheep. Methods: The expression distribution of vimentin (VIM) and transthyretin (TTR) in white and black sheep skins was detected by liquid chromatography-electrospray ionization tandem MS (LC-ESI-MS/MS), gene ontology (GO) statistics, immunohistochemistry, Western blot, and quantitative real time polymerase chain reaction (qRT-PCR) to evaluate their role in the coat color formation of sheep. Results: LC-ESI-MS/MS results showed VIM and TTR proteins in white and black skin tissues of sheep. Meanwhile, GO functional annotation analysis suggested that VIM and TTR proteins were mainly concentrated in cellular components and biological process, respectively. Further research confirmed that VIM and TTR proteins were expressed at significantly higher levels in black sheep skins than in white sheep skins by Western blot, respectively. Immunohistochemistry notably detected VIM and TTR in hair follicle, dermal papilla, and outer root sheath of white and black sheep skins. qRT-PCR results also revealed that the expression of VIM and TTR mRNAs was higher in black sheep skins than in white sheep skins. Conclusion: The expression of VIM and TTR were higher in black sheep skins than in white sheep skins and the transcription and translation were unanimous in this study. VIM and TTR proteins were expressed in hair follicles of white and black sheep skins. These results suggested that VIM and TTR were involved in the coat color formation of sheep.

• Journal of Sericultural and Entomological Science
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• v.41 no.1
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• pp.20-28
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• 1999

Color qualities investigated on the basis of Munsell code and Korean standard color code for the cocoons from various strain of mulberry silkworm, Bombyx mori. 16 of different color qualities were identified from 21 of original silworm strains, and determinated international name with the revision of Korean color name for cocoon. The various cocoon color confirmed on the sphere from 567 to 593 nm wavelength, 78% of those located at the region about 580 nm (575~584) of sensitive "color difference limen". Y gene engaged broad ranges of wavelength (575~593 nm) in the color expression, by contrast with other genes of Pk (593 nm), F (584~593), Grc and relative G group (567~570 nm), on the transmission of carotenoid or flavonoid color substance. YC gene expression by original silk worm strain was also distinguished by those variation of specific yellow than other colors from Grc, GaGb, Gc, and YPkF. Appearance of chrome yellow cocoon was dominant than other yellow in the cross among vivid yellow group. F1 of pin${\times}$green produced the cocoon of yellow such as "additive mixture" as color light, however, most of the hybrid between yellow cocoon showed the color similar to "subtractive mixture" as a mixture of dyestuff. Hybrid cocoons among yellow or green colors were decreased their hue, value, and chroma, than those of parent. Diallel cross among the strain of various green cocoon suggest the existence of Grc, Ga, Gb, Gc genes. Cream colored cocoon of B. mandarina was differed from other yellow cocoon of Bobyx mori B. mori. Y$^A$ with Ymc showed the similar role of Y with C, therefore, segregated yellow cocoon from the B. mori${\times}$B. mandarina (+$^YC/Y^AYmc$). YC expression of $Y^AY$mc genes might be suppressed by deficiency of outer layer sericin on the middle division of silk giand in the B. mandarina.

• Journal of the Korean Graphic Arts Communication Society
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• v.15 no.1
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• pp.85-96
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• 1997

The color difference between original and printed copy is affected mainly by ink trapping and optical properties of overprinted ink layer. Since the general expression itself about ink trapping is affected also by the optical properties, the analysis of color difference using the ink trapping only cannot be certain. This study will show a new approaching method for optical analysis of spectral reflectance and the effect of printing sequence on color difference in multi-color overprints under the condition of excluding completely the ink trapping problems by means of using transparent film as a substrate.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.11a
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• pp.193-196
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• 2006

The meaning of the color which has from modern interior space has played important role, i.e. color itself Is the concept creation tool as well as the unique expression sphere in field of interior space far away from fixed idea relevant to the existing color which was only simple decoration or secondary element in space. Thus, this current work expresses that the color is related with decoration effect as well as basic designed-conceptual work process including the space is formed. Furthermore, through the side-composition with color, It activates the various space aspect perceptually, which created the colorful environment in using lightning, reflection of glass and penetrated nature etc. The keyword on color concept is as like various aspects, third dimension, non-materiality and symbolical meaning. In addition, it provides the color space equipped with functionality and artistry capable to arouse the diverse sensual capacity to space users on default of color image language.

• Journal of the Korean Graphic Arts Communication Society
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• v.24 no.1
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• pp.23-34
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• 2006

Color reproduction is one of the most important expression factors in digital printing. In this paper, an experiment was done where the characteristics of color reproduction in digital printing. The results could summarized as follows. The printing used device profile showed a color difference of less than printing used default value in digital printing. As a result of weighting color difference, a difference between color gamut of digital original and color gamut of printing, when transforming the RGB color space to CMY color space, a exclusion the gray revision. The solution is to optimize the color transformation by gamut mapping and gray revision.

• Food Science and Preservation
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• v.17 no.6
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• pp.847-852
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• 2010

The anthocyanin pigment composition and color of several grape cultivars including Campbell Early, Muscat Bailey A, Kyoho (black berries), and North Red (red berries), were investigated. Twelve types of anthocyanins were identified in these cultivars by LC-MS. Black-colored cultivars, especially Muscat Bailey A, contained the widest range of anthocyanins, whereas the anthocyanin composition of North Red, the red-colored cultivar, was relatively simple. Anthocyanins extracted from the skin of berries were red in color at low pH, regardless of the origin of the extract. At higher pH, however, various colors, including blue, violet, brown, and black, were evident, depending on the cultivar. Differences in color expression among cultivars may be related to variations in the types and amounts of anthocyanidins synthesized, from which anthocyanin pigments are derived. The colors expressed by anthocyanin pigments were strong and diverse even at low concentrations. Therefore, anthocyanins extracted from grapes may be useful as natural food colorants.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.13-25
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• 2004

The purpose of this study was to show the analysis system and the expression which is applied to fashion illustration by three major components in visual sign, metaphor and metonymy. The results of this study were as follows : Firstly, metaphor in qualisign of syntactics was revealed as a color such as realistic description, a pattern such as clothing of figure. etc. Metonymy was revealed as a social and cultural background color, a concept pattern. etc. In sinsign of syntactics. metaphor was revealed as a human body, non-human body and metamorphosis human body and metonymy as a human body and non-human body. In legisign of syntactics, the metaphor by perspective was used for a fantasy of space. and the metonymy was revealed as a color perspective representation, etc. The degree of change of texture was revealed as a metaphor and metonymy of gradation. And conventional custom sign was almost revealed in metaphor. Secondly, semantics showed about fashion image as juxtaposition of two similar objects in metaphor and as real description and simplification in metonymy Alternative fashion image in semantics was presented as a object related to fashion image. Conventional symbolic sign was presented as a role to clarify a fashion message in metaphor. Thirdly, the metaphorical and metonymical expression in pragmatics were usually presented as drawing and painting.

• Journal of the Korea Computer Graphics Society
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• v.24 no.4
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• pp.1-9
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• 2018

We propose an emotional training framework that can determine the initial symptom of schizophrenia by using emotional analysis method through facial expression change. We use Emotion API in Microsoft to obtain facial expressions and emotion values at the present time. We analyzed these values and recognized subtle facial expressions that change with time. The emotion states were classified according to the peak analysis-based variance method in order to measure the emotions appearing in facial expressions according to time. The proposed method analyzes the lack of emotional recognition and expressive ability by using characteristics that are different from the emotional state changes classified according to the six basic emotions proposed by Ekman. As a result, the analyzed values are integrated into the image color transfer framework so that users can easily recognize and train their own emotional changes.

• The Research Journal of the Costume Culture
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• v.10 no.2
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• pp.146-159
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• 2002

This study examines the textile pattern design of Italian fashion brands and their brand extensions by comparing their images. Five Italian fashion brands are chosen and the textile pattern design of their brand extensions, which were presented during the eight collection. Then their design style is compared with the design style of their main brands. The five main brands and their brand extensions are as fellows: Anna Molinari-Blumarine, Dolce & Gabbana-D&G, Girogio Armani-Emporio Armani, Gian Franco Ferre'-GFF, and Prada-MiuMiu. Their color, motive type, motive layout, motive expression, and pattern drawing technique are examined and compared. Results suggest that most brand extensions generally use color, motive type motive layout. and motive expression similar to their main brands. In particular, their pattern drawing technique is a painting style white their main brands use a graphic style. This result suggests that to create and develop new brand extensions, Italian fashion (main brand) firms in general employ color, motive type, motive layout, and motive expression technique similar to main brands, but different drawing technique to differentiate from their main brands. The results of this study suggest that textile pattern design plays an important role in developing new brand extensions and thus should be considered as a crucial part of the product.

• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.250-258
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• 2007

Typography is the combination of language of formative art. It is indeed the core means of human communication through understanding of language and formative values. Studies began on introduction of various techniques to overcome the phenomenon of the 'reaction of language', which appears as an impediment in delivery and sharing of information as the most fundamental roles. Successively, mobile printing types more readable and effective in delivering of meanings have been developed, thus widely distributed for general use. However, although such printing types might be easily used in image and digital media, such as in computer monitors, screens and mobile phone LCDs, etc., it is in fact difficult to use these printing types in printed surfaces, the traditional medium of information delivery, or in sign systems frequently encountered in our surrounding environment. As a solution for this, it is intended to create an effect of communication closer to dynamic typography expression by approaching visual message delivery system from the essence and substance of the color application, which corresponds to the visual spatial expression effect, the core element of expression in dynamic typography to possess significantly more powerful effect in terms of both message delivery capacity and readability than the conventional means of static typography.