• 한국정보과학회:학술대회논문집
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• 한국정보과학회 2008년도 한국컴퓨터종합학술대회논문집 Vol.35 No.1 (C)
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• pp.478-481
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• 2008

기존 핑거 트래킹(Finger Tracking)을 수행하는데 있어 핑거팁(Finger-tip)을 구하는 방법 중 가장 일반적인 방법은 먼저 피부색 정보(Skin Color)를 추출한다. 그 다음 블럽(Blob) 함수의 블럽 컬러링(Blob Coloring) 알고리즘을 통하여 피부 윤곽선(Skin Contour)를 구하고, 그 중 가장 최상위 점을 핑거팁으로 정한다. 그러나 이 방법은 밴딩 핑거(Bending Finger) 상태에서 핑거팁 위치를 측정할 때 실제 손가락 끝이 아닌 잘못된 위치를 잡는 문제점을 가지고 있다. 본 논문에서 제안하는 방법은 밴딩 핑거 상태에서의 핑거 트래킹시 잘못된 핑거팁을 측정하는 문제점을 사용자들의 성향을 통해 미리 예상하고 보정함으로써 성능을 향상시키고자 한다.

• 대한원격탐사학회:학술대회논문집
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• 대한원격탐사학회 2007년도 Proceedings of ISRS 2007
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• pp.211-214
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• 2007

With the recent development of spatial information technology, the relative importance of satellite image contents has increased to about 62%, the techniques related to satellite images have improved, and their demand is gradually increasing. Accordingly, a standard processing method for the whole process of collection from satellites to distribution of satellite images is required in many countries for efficient distribution of images and improvement of their utilization. This study presents the processor standardization technique for the preprocessing of satellite images including geometric correction, orthorectification, color adjustment, interpolation for DEM (Digital Elevation Model) production, rearrangement, and image data management, which will standardize the subjective, complex process and improve their utilization by making it easy for general users to use them

• 한국컴퓨터정보학회논문지
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• 제7권2호
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• pp.79-86
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• 2002

본 논문은 다중 공급 전압을 이용한 저 전력 스케쥴링 및 할당 알고리듬을 제안한다. 다중 공급 전압스케쥴링에서는 전력소비를 줄이기 위해 다른 전압 레벨을 이용해 실험적으로 가능한 연산을 수행하여 제어 스텝을 결정한다. 그리고 다중 공급 전압 할당에서는 그래프 컬러링 기법을 이용해 레지스터 상의 스위칭 활동을 최소화한다. 상위 레벨 벤치마크 예제를 이용한 실험으로부터 우리는 다중 공급 전압을 이용한 제안한 알고리듬이 전력 소비를 줄이는데 효율적임을 보인다.

• 한국방재학회:학술대회논문집
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• 한국방재학회 2010년도 정기 학술발표대회
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• pp.47.1-47.1
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• 2010

도로의 기능은 사람이나 물품을 한 장소에서 다른 장소로 신속하게 이동하기 위한 통로로 이용되어져 왔으며, 이로 인하여 도로이용자들은 도로의 기능적인 측면, 즉 내구성 및 공용성이 중시되어왔다. 그러나 최근에는 삶의 질의 향상으로 인해 기능적인 편리뿐만 아니라 도로에서도 심미적인 고려의 필요성이 제기되어왔다. 따라서 도로연구자들은 다양한 방법 등으로 경관포장 연구를 추진하였으며, 이의 결과물로 칼라블록, 칼라아스팔트포장 등의 경관포장재의 개발이 이루어졌다. 하지만 기존 기술 등은 표현 및 내구성의 한계로 인하여 많은 문제점을 가지고 있다. 이를 위해 본 고에서는 새로운 착색기초재 및 이를 활용한 착색포장공법을 소개하고자하며, 이를 통해 새로운 경관포장공법을 제시하고자 한다.

• 한국진공학회지
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• 제5권4호
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• pp.365-370
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• 1996

전기적 착색 텅스텐 산화물박막의 전자비임 증착으로 제작하였으며 제작된 막의 화학적 안정성의 기판온도 의존성을 연구하였다. 실험결과로부터, 제작된 시료의 광학적 특성과 화학적 안정성은 강하게 기판온도에 의존하였다. 기판온도 $80^{\circ}C$에서 제작된 $WO_3$막은 유기성 용액 0.6몰 $LiClO_4$속에서 착색과 탈색이 반복되어도 가장 안정하였다.

• 한국정보처리학회:학술대회논문집
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• 한국정보처리학회 2016년도 춘계학술발표대회
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• pp.787-788
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• 2016

현재 많은 증강현실 콘텐츠는 장면에 따른 미리 지정된 3D 모델을 표시하고 있다. 이렇게 고정된 모델만 표시하는 콘텐츠는 짧은 사용시간을 가지게 된다. 본 논문에서는 증강현실 콘텐츠의 사용시간을 늘리기 위해 증강현실의 마커 이미지를 실시간으로 추출하는 기법을 이용한 컬러링 종이 증강현실 콘텐츠를 제작하였다. 이 콘텐츠는 사용자가 컬러링 종이에 있는 도면에 채색하면, 채색된 도면의 내용을 반영한 3D 모델을 표시하는 증강현실 콘텐츠이다.

• Journal of the Korean Society for Industrial and Applied Mathematics
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• 제25권2호
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• pp.26-38
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• 2021

Image coloration refers to adding plausible colors to a grayscale image or video. Image coloration has been used in many modern fields, including restoring old photographs, as well as reducing the time spent painting cartoons. In this paper, a method is proposed for colorizing grayscale images using a convolutional neural network. We propose an encoder-decoder model, adapting FusionNet to our purpose. A proper loss function is defined instead of the MSE loss function to suit the purpose of coloring. The proposed model was verified using the ImageNet dataset. We quantitatively compared several colorization models with ours, using the peak signal-to-noise ratio (PSNR) metric. In addition, to qualitatively evaluate the results, our model was applied to images in the test dataset and compared to images applied to various other models. Finally, we applied our model to a selection of old black and white photographs.

• 자원환경지질
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• 제43권3호
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• pp.269-278
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• 2010

우리는 단청안료의 착색제에 대한 특성을 살펴보았고, 이번 연구가 우리 전통 단청의 색을 재현하는데 기여하길 바란다. 광주 전남지역 목조 고건축물에서 자연적으로 박리가 일어난 부분의 단청안료 시료를 채취하고, 이를 XRD와 EDS-SEM분석을 이용하여 착색제를 분석하였다. 백색안료에서는 고대부터 착색제로 사용되어온 석고$(CaSO_4{\cdot}2H_{2}O)$,석영$(SiO_2)$, 백연석$(PbCO_3)$ 및 호분$(CaCO_3)$과 현대에서 많이 사용되는 산화지당$(TiO_2)$이 모든 시료에서 확인되었다. 적색안료에서는 고대부터 착색제로 사용된 석간주$(Fe_{2}O_{3})$와 연단$(Pb_{3}O_{4})$ 및 현대안료 착색제인 C. I. pigment orange $13(C_{32}H_{24}C_{12}N_{8}O_{2})$이 확인 되었지만, 진사(cinnabar, HgS)는 관찰되지 않았다. 황색안료에서는 납을 주성분으로 하는 황연인 홍연석$(PbCrO_4)$과 고대부터 사용된 밀타승(PbO)이 확인되었다. 청색안료에서는 착색제인 소달라이트 $(Na_{4}BeAlSi_{4}O_{12}Cl)$와 노제안$(Na_{8}Al_{6}Si_{6}O_{24}SO_{4})$이 확인되었으며, 현대안료 착색제인 C. I. pigment blue $29(Na_{7}Al_{6}Si_{6}O_{24}S_{3})$ 도 확인되었다. 녹색안료에서는 착색제로 카루머타이트(calumetite, $Cu(OHCI)_{2}{\cdot}2H_{2}O$), 에스콜라이트$(Cr_{2}O_{3})$, 디크롬트리옥사이드(dichromium trioxide, $Cr_{2}O_{3}$), 에머랄드그린$(C_{2}H_{3}As_{3}Cu_{2}O_{8})$ 및 현대안료 착색제인 C. I. pigment green$(C_{32}H_{16}-XCl_{x}Cu_{8})$이 확인되었다. 흑색안료에서는 먹(송연)이 확인 되었다.

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 한국의류학회지
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• 제37권6호
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• pp.827-836
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• 2013

Indigotin, indirubin, berberine, palmatine, alizarin, and purpurin are major pigments of indigo plant, Phellodendron bark, and madder. The six pigments were examined using the HPLC-DAD-MS instrument for the purpose of the simultaneous detection of the pigments in a single sample run. The HPLC-DAD-MS method examined the individual pigment solutions in DMSO, a solution containing 6 pigments, and the DMSO extract of the silk dyed with a dye solution of 5 pigments excluding indirubin. The retention times of the HPLC chromatograms, ${\lambda}_{max}$ of the uv-vis absorption bands in the DAD analyses, and the molecular ions detected for the compound peaks in the MSD analyses were consistent throughout the analyses of individual pigment solutions, mixed pigment solutions, and dye extracted from silk dyeing. The developed instrumental method of the simultaneous detection of six pigments can identify dye in an exhumed textile if the textile is dyed using any one (or multiple) pigments of indigo, Phellodendron bark, or madder plant.