• Journal of Fashion Business
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• v.12 no.1
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• pp.30-44
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• 2008

The purpose of this study is to investigate the effect of eyeshadow color(brown, purple), lipstick color(red, red purple, and yellow red), and lipstick tone(vivid, light, dull, and dark), clothing tone(vivid, light, dull, and dark) on image formation. Sets of stimulus and response scales(7 point semantic) were used as experimental materials. The stimuli were 64 color pictures manipulated with the combination of eyeshadow color, lipstick color, lipstick tone, and clothing tone using computer simulation. The subjects were 384 female undergraduates living in Gyeongnam-do. Image factor of the stimulus was composed of 4 different components (attractiveness, visibility, gracefulness, and tenderness). In the 4 image components, eyeshadow color and clothing tone showed independent effect. Lipstick tone influenced independently on the visibility and tenderness. In the contrast color coordination of clothing and makeup, visibility image by the coordination of lipstick color with lipstick tone, lipstick color with clothing tone or lipstick tone with clothing tone, gracefulness image by the coordination of eyeshadow color with lipstick color, tenderness image can be produced by the coordination of eyeshadow color with lipstick color, eyeshadow color with lipstick tone or eyeshadow color with clothing tone.

• 한국정보디스플레이학회:학술대회논문집
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• 2008.10a
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• pp.745-748
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• 2008

The theory of Bartleson and Breneman that the perceived image contrast changes with surround luminance (the lighter surround provides higher contrast) was tested an over bright condition($8500d/m^2$). Contrarily to the Bartleson and Breneman's results, we observed the fact that perceived constrast was decreased when surround huminance increased from dark to over bright through two sets of psychophysical experiments based upon both uniform gray patches and complex color images.

• Journal of the Korean Society of Costume
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• v.30
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• pp.239-259
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• 1996

This research is to observe background of origination and process of changing style for men's suits and also to observe the root of aes-thetics which has made the changing style be maintained for nearly 200 years. The aesthetic characteristics are 1)The revival of the Neo-Classicism beauty in the 18th century could be regarded as the root of incipient style of the modern men's suits design. And the cutters recreated ancient nude hero which was an object of envy at that time and also reproduced men's suits through modifying the existed suits to make the ancientnude conform with the sewing regulations in order to describe and convey the perfect image of gender,. 2) The cutter who pursued merit of the classicismic aesthetics in the late 18th cen-tury artistically upgraded English rough country coat to keep pace with Nordic coat style of netherland Russia Germany while in constrast with the coat style mode which was in fashion in France and Italy then And also they changed the English country coat to a noble natural clothing structure in relation to ancient sculpture to keep the English tradition. 3) Im the 18th century Neo-Classicism art emphasized transparent and monochromatic beauty and thus color was limitedly used. In the use of the limited color however ancient aesthetical simple purity was well described within the more realistic outline. In those days the cutter who admired the English neo-Classicism removed color-luster and preferred colorless finished dimly and transparently. And thus color of the men's suits become to be also dim colored in los brightness. This means that it did not express pure beauty but brought such effect of the Classicism beauty that the nude itself was figured out.

• Journal of the Korean earth science society
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• v.42 no.3
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• pp.247-263
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• 2021

Climate change has been accelerating in coastal waters recently; therefore, the importance of coastal environmental monitoring is also increasing. Chlorophyll-a concentration, an important marine variable, in the surface layer of the global ocean has been retrieved for decades through various ocean color satellites and utilized in various research fields. However, the commonly used chlorophyll-a concentration algorithm is only suitable for application in clear water and cannot be applied to turbid waters because significant errors are caused by differences in their distinct components and optical properties. In addition, designing a standard algorithm for coastal waters is difficult because of differences in various optical characteristics depending on the coastal area. To overcome this problem, various algorithms have been developed and used considering the components and the variations in the optical properties of coastal waters with high turbidity. Chlorophyll-a concentration retrieval algorithms can be categorized into empirical algorithms, semi-analytic algorithms, and machine learning algorithms. These algorithms mainly use the blue-green band ratio based on the reflective spectrum of sea water as the basic form. In constrast, algorithms developed for turbid water utilizes the green-red band ratio, the red-near-infrared band ratio, and the inherent optical properties to compensate for the effect of dissolved organisms and suspended sediments in coastal area. Reliable retrieval of satellite chlorophyll-a concentration from turbid waters is essential for monitoring the coastal environment and understanding changes in the marine ecosystem. Therefore, this study summarizes the pre-existing algorithms that have been utilized for monitoring turbid Case 2 water and presents the problems associated with the mornitoring and study of seas around the Korean Peninsula. We also summarize the prospective for future ocean color satellites, which can yield more accurate and diverse results regarding the ecological environment with the development of multi-spectral and hyperspectral sensors.