• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.3_4
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• pp.343-353
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• 2003

In this research, the fashion images, which expressed the same theme during the same season in four different fashion collections, were interpreted as emotional characteristics stemming from different factors according to the emotions and images of the regions where the collections were held. The theme, futurism appeared to be hackneyed and oppressive in Paris fashion which emphasized artistic representation of the theme. And futurism appeared to be expressed to be dazzling, unnatural in London fashion which was innovative and avant-garde. And the New York fashion, which accentuated practical, sportive, and elegant styles created active and graceful image about the futurism and the Milan fashion showed the balanced mixture of the three cities' images above. It is interpreted that our domestic fashion consumers think artistic, formative, original, and emotional images as hackneyed and oppressive. On the other hand, they feel comfortable, cheerful, unaffected and graceful about the images that are functional (rather than artistic), sportive, and moderately elegant. And the innovative and avant-garde images like the ones in London collection seem to make people feel unnatural, dazzled, and even depressed. In short, domestic fashion consumers think that the excessive, innovative, original, and formative fashion images appeared I London and Paris are hackneyed and dark rather than artistic, original, or dynamic. On the contrary, the moderate, practical, sportive and elegant New York images and the Milan's which equally showed the three cities' characteristics are regarded as comfortable, elegant, bright, and positive. This result indicates that the fashion market in certain regions seek shared fashion trends and the difference between the regions reflects the different interpretation of fashion themes.

• Journal of Internet Computing and Services
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• v.9 no.5
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• pp.99-108
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• 2008

This paper proposes an image retrieval system which integrates metadata, contents, and emotions in textile images. First, the proposed system searches images using metadata. Among searched images, the system retrieves similar images based on color histogram, color sketch, and emotion histogram. To extract emotion features, this paper uses emotion colors which was proposed on 160 emotion words by H. Nagumo. To enhance the user's convenience, the proposed textile image retrieval system provides additional functions as like enlarging an image, viewing color histogram, viewing color sketch, and viewing repeated patterns.

• Journal of Korean Library and Information Science Society
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• v.50 no.4
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• pp.611-633
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• 2019

The purpose of this study is to look into the meaning of Hong Seongchan who has become the first generation picture book writers in the history of Korean picture books by considering the works of the picture book author 'Hong Seongchan', the characteristics of pictures and the artist's spirit. The career that he took up from 1955 as an illustrator to 2012 when the final picture book was published is in line with the developmental process of Korean picture books. He consistently devoted himself to publishing illustrations from the days when his job as an illustrator was not noticed to the days when he finished his life as a picture book writer through his full-length period. As a result, he built a unique world of works, such as the reproduction of Korean images and emotions through complete historical research. His strong illustration spirit and craftsmanship during his lifetime became the basis of the birth of a professional group called a full-time picture book writer, and Hong Seongchan became the first generation picture book writers in the history of Korean picture books.

• Journal of Korean Elementary Science Education
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• v.38 no.2
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• pp.244-262
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• 2019

The purpose of this study is to explore how the practical knowledge used by an elementary school science teacher during learner-centered science instruction can promote elementary students' construction of positive emotion. Using an auto-ethnographic approach over a period of three months, the researchers collected students' interest diaries, post interviews with students, video recordings in science classes, and students' personal diaries and analyzed them by means of the constant comparative method. In this way, the researchers categorized the structure of the practical knowledge held by the teacher and explained how it was applied in learner-centered science instruction to promote students' construction of positive emotion. Three images of an elementary science teacher's practical knowledge emerged and can be categorized under the following headings: 1) 'From science classroom to science $caf{\acute{e}}$', 2) 'Pleasant experiment class for all students and the teacher', and 3) 'A science class for students who were marginalized'. These images were backed up by principles and rules, and the teacher came to embody these images as he implemented these rules. This study also discusses how the impact of a science teacher's practical knowledge on students' construction of positive emotions can be interpreted as promoting positive outcomes rather than negative sanctions, meeting students' expectation from lab activities, and meeting the specific needs of marginalized students in a science class.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.1-14
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• 2010

This study is a discussion of the expressive characteristics of contemporary fashion design with floral images. It aims to help understand the overall trends of contemporary fashion design and textile motif design and expand the potential expression fields of originative design to natural objects such as flowers. Methodologically the study analyzed 976 pieces of data gathered from Haute Couture and Pr$\hat{e}$t-$\grave{a}$-Porter collections of 2005S/S-2009F/W, according to their types of expression. The study results show a share of 42.7% for plane type expressions by printing or weaving and a share of 51.5% for relief type expressions, compared with 5.7% for solid type expressions. However, those expressions represented elegant femininity with emphasis on formative beauty and were applied to fashion accessories or hair adornments. The expressive characteristics found from the analysis were represented by natural images, feminine elegance, and decorative aesthetics of handicrafts. Flowers in the contemporary fashion purify the internal emotions of humankind stand for personality and beauty in many different ways of expression and serve as a means of expressing more artistic values breaking out of stereotype.

• 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.

• Journal of KIISE:Software and Applications
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• v.32 no.3
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• pp.141-152
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• 2005

A new emotion-based image retrieval method is proposed in this paper. Query emotion descriptors called query color code and query gray code are designed based on the human evaluation on 13 emotions('like', 'beautiful', 'natural', 'dynamic', 'warm', 'gay', 'cheerful', 'unstable', 'light' 'strong', 'gaudy' 'hard', 'heavy') when 30 random patterns with different color, intensity, and dot sizes are presented. For emotion image retrieval, once a query emotion is selected, associated query color code and query gray code are selected. Next, DB color code and DB gray code that capture color and, intensify and dot size are extracted in each database image and a matching process between two color codes and between two gray codes are peformed to retrieve relevant emotion images. Also, a new relevance feedback method is proposed. The method incorporates human intention in the retrieval process by dynamically updating weights of the query and DB color codes and weights of an intra query color code. For the experiments over 450 images, the number of positive images was higher than that of negative images at the initial query and increased according to the relevance feedback.

• The Journal of Sustainable Design and Educational Environment Research
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• v.5 no.2
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• pp.53-66
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• 2006

Recent color plans in school buildings are made by experts through public offerings for prizes for designs etc in relatively many cases. But it is necessary to review if such color plans are actually well conform to students' emotions and what trend the color plans made as such have. Therefore, this study examined and analyzed the exterior colors of the school buildings planned by public offerings for prizes for designs and reviewed the result comparing to the color preferences of students that had already been studied to figure out the differences between existing theories and the realities. And it was examined what differences were existing in the trends of color plans and color images examined between each of school levels. The result of the study compared to theories is as follows. First, when the color distributions were reviewed for each school level, it could be confirmed that the overall distributions moved from Y category to B category and whereas warm colors were more widely distributed and the number of colors were greater compared to cold colors in case of elementary schools, the distributions of warm colors gradually decreased as school level moves to high schools. Second, the color use distributions of elementary school students were revealed to be more diversified than middle and high school students and also the number of colors used was 9.5 in average in elementary school and middle schools and high schools were similar to each other with average 5.86 colors in middle schools and 6.33 colors in high schools showing a little differences in color use distributions among school levels of elementary schools, middle schools and high schools. Third, in case of elementary schools, except main colors, both of subsidiary colors and emphasizing colors had the distributions of warm colors of R, YR, Y categories and cold colors of B, PB categories and this is also consistent with the results of existing research results indicating that low grade students prefor for warm colors and high grade students prefer for cold colors. Fourth, in case of middle schools and high schools, although the distributions of warm colors decreased, the distributions of warm colors and cold colors were revealed to be similar. This is considered to be consistent with the existing research results indicating that girl students prefer for warm colors even if their ages go up. Fifth, as for the images of main colors, subsidiary colors and emphasizing colors resulted from the comparisons by solid color Image Scales and adjective Image Scales, first, in case of main colors, natural images or clear images appeared the most in all of elementary schools, middle schools and high schools indicating that basically calmness is emphasized with soft images rather than hard images and static images rather than dynamic images. Also, in case of subsidiary colors or emphasizing colors, cheerful images or splendid images are also seen to decrease as school level goes from elementary schools to high schools in adjective Image Scales and this is considered to reflect the color sentiment differences between children and juveniles based on ages.

• Journal of Internet Computing and Services
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• v.10 no.6
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• pp.113-121
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• 2009

In order to retrieve images with different emotions in regions of the images, this paper proposes the image retrieval system using emotion sketch. The proposed retrieval system divides an image into $17{\times}17$ sub-regions and extracts emotion features in each sub-region. In order to extract the emotion features, this paper uses emotion colors on 160 emotion words from H. Nagumo's color scheme imaging chart. We calculate a histogram of each sub-region and consider one emotion word having the maximal value as a representative emotion word of the sub-region. The system demonstrates the effectiveness of the proposed emotion sketch and our experimental results show that the system successfully retrieves on the Corel image database.

• Nutrition Research and Practice
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• v.9 no.5
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• pp.523-529
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• 2015

BACKGROUND/OBJECTIVES: Commensality, eating together with others, is a major representation of human sociality. In recent time, environments around commensality have changed significantly due to rapid social changes, and the decline of commensality is perceived as a serious concern in many modern societies. This study employs a cross-cultural analysis of university students in two East Asian countries, and examines cross-cultural variations of perceptions and actual practices of commensality and solo-eating. SUBJECTS/METHODS: The analysis was drawn from a free-list survey and a self-administrative questionnaires of university students in urban Korea and Japan. The free-listing survey was conducted with a small cohort to explore common images and meanings of commensality and solo-eating. The self-administrative questionnaire was developed based on the result of the free-list survey, and conducted with a larger cohort to examine reasons and problems of practices and associated behaviors and food intake. RESULTS: We found that Korean subjects tended to show stronger associations between solo-eating and negative emotions while the Japanese subjects expressed mixed emotions towards the practice of solo-eating. In the questionnaire, more Korean students reported they prefer commensality and tend to eat more quantities when they eat commensally. In contrast, more Japanese reported that they do not have preference on commensality and there is no notable difference in food quantities when they eat commensally and alone. Compared to the general Korean cohort finding, more proportion of overweight and obese groups of Korean subjects reported that they tend to eat more when they are alone than normal and underweight groups. This difference was not found in the overweight Japanese subjects. CONCLUSION: Our study revealed cross-cultural variations of perceptions and practices of commensality and solo-eating in a non-western setting.