• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.977-982
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• 2012

We investigated the characteristics of subjects in marine leisure activities and the wearing conditions of a rash guard through a consumer survey. The questionnaire examined the number of rash guards owned by different styles, wearing size, choice of rash guard compared with ordinary clothes, and the satisfaction in a rash guard (color, textile, size, quality, price, function, and design) using Likeret Scales. The subjects were 105 adult men and the data analysis utilized an SPSS 20.0 Package. The results were significant for wearing conditions correspondent with the marine leisure activities. More years of experience resulted in a higher number of rash guards owned. A higher level of participation in sport resulted in more different styles of rash guards. More years of experience resulted in an increase preference for tight rash guards. In the case of wearing L and XL size that selected the smaller rash guard over the ordinary clothes, it was evaluated at "satisfaction" level in color, textile, size, quality, function, design. In the case of wearing XS, S and M size that did the larger and same as ordinary, it was at "ordinary" level and bellow.

• Journal of the Korean Graphic Arts Communication Society
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• v.27 no.1
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• pp.15-27
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• 2009

Since domestic offset print quality control depends on the experience of persons in charge rather than objective data, the standards from the data are needed for the well-organized quality management of high-quality prints. Based on the ISO standards, now the standard specifications, such as GRACoL 7, SWOP 11, SNAP, G7 in America, and EURO Color, ECI, BVDM in Europe, and Japan Color 2001, Japan Color 2004 in Japan, are employed. There exists KS for domestic standards. However, since it has been directly imported from ISO Standards, there are discrepancies in printing materials and media. Although the quality management of commercial prints has been focused and studied. For this circumstance, standards are needed for the production of prints to meet international standards. This paper aims to find out suitable ways to approach domestic printing standards using densitometric method and colorimetric method. Printing experiments on this study were performed with domestic process color inks(Cyan, Magenta, Yellow, Black) and domestic coated papers, under the same conditions as the actual commercial printing processes. In densitometric method, how to set up the optimal solid print density was studied through three tests such as the ways to match solid print density and print contrast to GRACoL standards respectively, and the way to get the highest contrast. In colorimetric method, how to get solid print density with the minimum color difference between the $CIEL^*a^*b^*$ color specification values in GRACoL standards and the measured color specification values in prints, was studied.

• Korean Journal of Materials Research
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• v.28 no.1
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• pp.1-5
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• 2018

Gas detection is necessary for various reasons, including the prevention of gas leakages and the creation of necessary environmental conditions. Among the gas detection methods, leakage of gas can be confirmed using materials that undergo color changes that are easily distinguished by the naked eye. Metal nanoparticles (NPs) experience variations in their absorption wavelengths under the localized surface plasmon effect (LSPR) with mechanical stresses, which change the distance between NPs. In this study, we attempted to detect the presence of gas utilizing the LSPR-related color change of a chain of Au NPs. The assembly of Au NPs, arranged in a chain shape, experienced a color change from dark blue to purple with a change in the distance between the NPs by applying a physical force, i.e., compression, stretching, and gas pressure. As the force of compression and the degree of stretching increased, the absorption wavelength shifted from doublet peaks at 650 and 550 nm to a singlet peak at 550 nm. Further, applying gas pressure caused an identical color change. With this result, we propose a method that could be applied to all gases that require detection based on gas pressure.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.19-34
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• 2010

This study aims to examine associationistic psychology and psychological operation associated with each color image, then to study the relation between particular colors used in paintings produced by Gogh and Klimt in different times and these painters' psychology in a bid to explore the meaning and role of psychological operation of colors. The findings of the study indicated that red and blue colors represent mainly negative images, while yellow and orange colors represent mainly positive images and psychologies. Specifically, in the case of Gogh, red expresses anxiety, a negative image, yellow symbolizes passion, a major positive image of emotional liberation, dark and thick green and the green involving blue symbolize negative images, emptiness and despair, and blue represents negative images of internal desire conflicts, and screaming. Also, purple used together with white represents anxiety and depression. In the case of Klimt, red represents negative images of anger toward mother and suppressed energy, yellow, an alternative to gold color, symbolizes the positive image of hope, passion, desire and eroticism, the arrangement of strong gold and orange colors represents a color of psychological healing more than a color of hope. As such, colors used in paintings produced by modern Western painters express the physiological conditions, psychological feeling and emotion in life, at the time when the artists produced such works. It was found that colors are yet another language of expressing emotions, and symbolize the psychologies of the artists, indicating that colors have something to do with the painters' experience and emotional impulses.

• Archives of design research
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• v.14
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• pp.163-178
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• 1996

"Color" education aimed at cultivating creativeness and expressive techniques in the education of visual art, in the college of art and design, should be balanced with "form" education; nevertheless, the present situation at Korean universities is such that the overall environments of "color" education are far too inferior to those of "form" education.The problem is, among other things, that the curriculum of visual art education is centered around formal education; in addition, color education courses consist mostly of theoretical issues, not experimental, first-hand-experience-oriented activities that are best suited for the characteristics of the language of color as a visual language, thereby making it difficult to expect the efficiency of education.Particularly, it is a serious problem that the courses dealing with color are not offered in a step by step fashion, from the most elementary, to the intermediate, working up to the most advanced level. Another problem is that those people involved in color education seldom have an expertise in their area; furthermore, the educational environment, educational tools, and the content of the texbooks are far from being ideal.Moreover, it is a grim reality that most color theory courses that have been offered end up being a lecture of "general, basic" color theories, ignoring the students' diverse specialization areas.As a way of normalizing color education, rationalizing the curriculum and initiating the professorship exclusively teaching color education have to be introduced, so that we can increase the depth of color education and individualize the contents of color education according to the students' needs. It is believed that the introduction of the "color-education-only" professorship will greatly facilitate our effort to devise an efficient educational method, to determine the scope of individualized color education, and to improve the ovarial educational environment (such as facilities, instruments, and teaching materials) necessary for an in-depth education.ments, and teaching materials) necessary for an in-depth education.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.102-112
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• 2010

By understanding physiological characters of plants and the environment, plant design should decide the relationship with other plants from the designer's curiosity of the plant's color, texture, form and other aspects. There are a traditional tendency that many designers put the plant's color ahead of other aspects. This study explores 4 gardens of Gertrude Jekyll's Munstead Wood, Vita Sackvill-West's Sissinghurst, Christopher Lloyd's Grest Dixter and Lawrence Johnston's Hidcote Manner. The flower border of Munstead is started with light grey and blue at the edge and it gets stronger colors like red and orange as the line comes to the middle. It is noticeable that white an blue colors were used unlike before. Sissinghurst made use of purple color which was very seldom used before and Dixter added orange to magenta color that was already there, giving a strong visual effect and through juxtaposition it could realize the wanted effect. A strong red border line was created in Hidcote Manner. Above mentioned designers arranged various colors so that visitors can experience different spacial senses according to observer's direction. In the cognitive space the main color and the secondary color arranged leading to the fact that the observer recognizes it as a whole. In plant design time means seasonal performance which influences the main color arrangement like gradation or contrast. Moreover, space determines the color's zone when it comes to plant design.

• Trans-
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• v.11
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• pp.119-142
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• 2021

Video was a cultural practice based on image. The audience longs to experience new things, not everyday things through by video images. There are many components of the image, but among them, color, a visual representation, plays a big role. Since the advent of color films, color has constantly evolved as an important component of visual art and has become an important role in innovative visual art design. According to film history data, filmmakers were interested in color since the film was created in 1895, but in the early stages of film development, film colors were only black and white. Because these two colors no longer satisfy viewers, more natural colors began to emerge from the film as it was colored. However, with the development of historical paintings, the lack of artistic creation and the public's level increased, making people more active in using colors because simple reproduction of natural colors alone does not satisfy people. The colors in the video are both techniques of expression and can be understood by mind and thought. It is also an indication that colors do not just exist, but they work strongly on human psychology. Now people are so motivated by repetitive and unimportant information that they find that the human intuitive system simplifies the information they receive unconsciously that they have certain customs and characteristics when they see things. Color is part of the film language, or color language can express the film's ideological themes or portray vivid characters in the film, and people are receiving more intuitive messages. This study analyzed the basic color components of bisexual lighting, namely, pink, blue, and purple, and analyzed how human psychology is affected through color, combining the scenes from the video. The purpose of this paper is to explore what color language bisexual lighting is expressed using color properties in images and how bisexual lighting interacts with human psychology through color.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.143-153
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• 2013

The purpose of this study is to explore how to make use of the light and expression methods to embody phenomenal space by considering the representation techniques and characteristics of a variety of 'Phenomenal light' in his works focused on the Steven Holl's views that thought the light as object of creating space. The process is summarized as follows: (1) Study on the relationship between light and color, Classify concept and type of phenomenal light by phenomenal color (2) Consider the characteristics and expression methods of the phenomenal light in the Steven Holl's architecture (3) Finally, organize the concepts and representation techniques of phenomenal light, and then present method to embody phenomenal space by light. According to this, the results are as follows: (1) Perceptual color by the light of the sense forms a variety of perception and texture of light and shadow according to the contrast of shades and the change of materiality, thus embodying multisensory space with the light as the medium approach that helps to experience formal and tactile senses. (2) Spatial color by the light of volume distinguishes the flow and movement of sight, and embody inducing space with the light as Atypical activity that forms atmosphere of space through concentrated or overlapped mass of light and darkness. (3) Existential color by the light of the light source visualizes the existence of the uncertain light, and embody the receptive space with the light as emotional communication that forms symbolic and psychological meaning through metaphorical phenomena of colored light.

• The KIPS Transactions:PartB
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• v.15B no.5
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• pp.397-406
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• 2008

Despite the effectiveness of oriental medical practice in the diagnosis of symptoms and providing cure to it, the preferences in western medicinal values is socially prevalent. The diagnosis of a disease using western medicinal practices provides us with an objective diagnostic result, however, decisions by oriental doctors are based on their heuristic intuitions developed by practice and experience. Objective solutions for the cure of symptoms using oriental medical therapy can have a high impact on the world market. Therefore, development of diagnostic machines based on oriental therapy can enhance the Ocular Inspection which is evaluated as one of the best diagnostic treatment among Oriental Medical Science, is not researched much compared to other diagnoses. Because there is no color diagnosis rules for digital machines to analyze the actual color, looking at the person's face color is one of the most important components to diagnose the disease or illness. The thesis proposes the implementation of absolute observing a person's face color standards of the color settings for objective diagnosis. As a results, comparative digital color analysis for observing a person's face color can be the most effective rule based Color scheme system to diagnose disease. A standard solution for the researching conditions is suggested to reduce the variable which may occur depending on the differences between the researching conditions.

• KEPCO Journal on Electric Power and Energy
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• v.2 no.2
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• pp.293-298
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• 2016

Recently, interests for maintenance of transmission tower are increasing to extend life of structures and reduce maintenance cost. However, existing classical diagnosis method of corrosion deteriorated degree on the transmission tower steel members, visual inspection, has a problem that error often due to difference of inspector's individual knowledge and experience. In order to solve the problem, this study carried out to develop the corrosion deterioration inspection tool for transmission tower steel members. This tool is composed of camera equipment and computer-aided diagnosis system. We standardized the photographing method by camera equipment to obtain suitable pictures for image processing. Diagnosis system was designed to evaluate automatically degree of corrosion deterioration for member of transmission tower on the basis of the RGB color image processing techniques. It is anticipated that developed the corrosion deterioration inspection tool will be very helpful in decision of optimal maintenance time for transmission tower corrosion.