• 한국실내디자인학회논문집
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• 제20권6호
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• pp.236-243
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• 2011

The digital space color of new media environment denied not only the deterministic relationship of designed color and circumjacent color but also the deduced an special elements of digital space color. Such phenomena historical perspective of Gernot Wersig, new media principle of Lev Manovich and remediation of Bolter, J.K & Grusin, R. are expressed in various new media environment across. In particular, development of digital technology is moving away from its previous space color based on scientific, statistical and quantitative perspective by using diverse variables. The following research focuses on the fundamental concept of space color by type, composition of digital space color. The paper reflects on the meaning and concept of contemporary which enables the application of digital space color system on space through advanced technology. The principle of digital space color such as multidimensional malerisch, discontinuous video, vague original and copy, irregular repetitiveness of 'copy of copy', selective color of observer, experiential color of observer, and etc. makes it possible to extract the expressed element and method of digital space color. Meanwhile, the features of digital space color such as divided field of form, non-systematized of process and collage of communication can be inferred from case analysis.

• 한국실내디자인학회논문집
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• 제19권4호
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• pp.39-47
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• 2010

As various materials and new methods can be used due to developments in science and expansion of thinking, modern architectural color composes extensive possibilities exceeding its physical role of the past. In particular, rather than the initial external expression, the secondary connotative interpretation is more important in interpreting architectural color. This is because color interpretation changes the meaning of space based on light. Also, the development of digital technology has shifted the use of architectural color from passive realization to a more proactive concept and value. In other words, such shift leads to a new discussion on architectural color such as non-representation, invisibility, and non-physicality as the concept of fixed time, space and movement has been weakened. This paper begins by conceptualizing the digital space, a term widely used to interpret the architectural color of digital space. And it will be categorized as non-representational architectural color, invisible architectural color, and non-physical architectural color, by combining the characteristics of digital space with the modern architecture's color examples. Digital space overcoming the space time is differently interpreted from the past color expression. Modern architecture's color which substitutes the passive view with active body takes a role delivering various axes of discussions with synaesthesia.

• 한국인쇄학회지
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• 제22권2호
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• pp.163-178
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• 2004

In this study, the CIE RGB color space which was one of the most popular device-dependent application program in digital image processing was adopted to make the profile with the device information. The profile was applied to the digital image of a JPEG file format. The result was compared with the color reproduction of another digital image of a JPEG file format, which was made in the e-sRGB color space that had the color spaces allocated to each reproduced color of an image and device-independent colors. In this way it was investigated which color space was more appropriate for digital image processing for web printing and if the e-sRGB color space was good as a color management tool that didn't depend on a device in processing a digital image for web printing.

• 한국인쇄학회:학술대회논문집
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• 한국인쇄학회 2000년도 추계 학술 발표회 논문집
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• pp.17-28
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• 2000

Recently, as the prepress mainstream is changed to the digital workflow, various digital proofing systems such as high price dye sublimation printers and low price ink jet printers are widely used in printing industry. However, most of the digital proofing devices have lower resolutions than analog proofing systems and differ with actual color presses in the color gamuts. Therefore, proper color compensations are needed for digital color proofing in order to match color between the proofs and the press sheets. In this paper, we used 3-dimensional look-up table(LUT) and tetrahedral interpolation method for the color space conversion between the device independent color space(CIEXYZ or Lab) and the device dependent color space(CMY) to reduce the color differences between the original copy and digital color proofs and the press sheets.

• 대한전자공학회:학술대회논문집
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• 대한전자공학회 2000년도 ITC-CSCC -1
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• pp.470-473
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• 2000

Digital watermarking is a technical solution to the copyright problem and is a necessary technique to protect copyright of multimedia content. Recently, there are many digital watermarking methods that deal in grey scale still images. However, only a few researchers are interested in digital watermarking fro video and color images. In this paper, we focus on digital watermarking for color images. At first, in order to embed the watermark signal in color image, we converted RGB color space to YCbCr color space which is a world-wide digital component video standard. In addition, we adopted the acceptable degree of color difference in order to keep the invisibility.

• 한국인쇄학회지
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• 제28권2호
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• pp.117-128
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• 2010

Advancements in digital image have put high quality digital camera into the hands of many image professionals and consumers alike. High quality digital camera images consist originally of raw which have a set of color rendering operation applied to them to produce good images. With color rendering, the raw file was converted to Adobe RGB and sRGB color space. Also color rendering can incorporate factor such as white balance, contrast, saturation. Therefore, in this paper we conduct a study on production of optimum profile considered color rendering in digital camera. To do the experiment, the images were Digital ColorChecker SG target and ColorChecker DC target. A profiling tool was ProfileMaker 5.03. The results were analyzed by comparing in color gamut of $CIEL^*a^*b^*$ color space and calculating ${\Delta}E^*_{ab}$. Also results were analyzed in terms of different $CIEL^*a^*b^*$ color space quadrants based on lightness, chroma.

• 감성과학
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• 제10권4호
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• pp.631-637
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• 2007

이미지의 유사성을 결정하는 요인을 톤(tone), 즉 명도와 채도로 결정하여 정보 엔트로피를 계산하여 상관 계수를 계산하였다. 이미지의 톤을 알아보기 위해 영상정보의 색 공간을 RGB color space에서 HSI color space로 전환하였다. 이후 유사성을 판단하기 위해 이미지의 전체 픽셀수가 아닌 엔트로피 값의 범위에 따라 전체 70%의 픽셀 또는 이미지를 가장 많이 구성하는 세 가지 톤의 픽셀 수에 의해 결정되었다. 'Romantic'이라는 인간의 감성으로 판단된 18개의 영상정보를 선정하여 위의 모델을 적용, 이미지 유사성을 판단하였다.

• 한국인쇄학회:학술대회논문집
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• 한국인쇄학회 2000년도 춘계 학술발표회 논문집
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• pp.45-55
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• 2000

Recently, as the prepress mainstream is changed to the digital wolkflow, various digital proofing systems such as high price dye sublimation printers and low price ink jet printers are widely used in printing industry. Generally, CRT monitors are also often used as a soft proofing device for hard-copy image output. However, displayed color image on CRT monitor does not match to the actual color printing sheets. Because, the color space of CRT monitor used RGB color space, and it is differ with printing device color space, CMY. Therefore, proper color compensations are needed to match the colors between hard-copy proofs on the printing device and soft copy proofs on the monitor. For the proper compensation, we used LUT and gamut mapping method for color space transformation between device dependent color space and device independent color space, vis a vis. This paper shows the application method and the usefulness of CRT monitor for the soft-copy proofing using the output characteristics of printing device.

• 한국인쇄학회지
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• 제24권1호
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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.

• 대한전자공학회:학술대회논문집
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• 대한전자공학회 2000년도 제13회 신호처리 합동 학술대회 논문집
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• pp.701-704
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• 2000

In this paper, we focus on digital watermarking for color images. At first, in order to embed the watermark signal in color image, we converted RGB color space to YCbCr color space which is a world-wide digital component video standard. In addition, we adopted the acceptable degree of color difference in order to keep the invisibility.