• Archives of design research
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• v.12 no.4
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• pp.317-326
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• 1999

The Korean traditional color passed down over countless generations has surpassed both surpassed both time and space and continue today to breathe life into its people's everyday. In order to clarify the characteristics of Korean traditional color blue and red, we investigate the names of them and measured the color tones of textile remains in Chosun era. The characteristics of Korean traditional color blue and red have been surveyed by means of the examination of color names in many famous literatures in Chosun era. Korean terms for color tones were characterized by enormous variety of epithes crowned on them. The color names mentioned contain many unaccountable epithes which were characterized also deep colors and light colors were dominant in it. As a means of enhancing possibilities within limited colors, the commoners increased the names for varying tones of blue color group(32kinds) and red color group(40kinds). These "blue(indigo dyeing)' and 'red(safflower dyeing)' in Chosun era were shown very high frequency in use and the costume colors in Royal Court. With combination of these various blue and red colors they represented a thought of color based on Yinyang Theory and created a polished aesthetic taste. The color samples of textile remains in museum were measured and designated by Munsell color system and the ISCC-NBS color designation system. THe appeared rates were derived on Chosun era and features of colors using on the period were discussed. We aim to present specific recipes in indigo dyeing and safflower dyeing for using our apparel product and folk art.

• Journal of Conservation Science
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• v.37 no.1
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• pp.13-24
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• 2021

Safflower, a natural dye representing red, is the dye that materials and dyeing method are recorded in the literature, including materials and dyeing. Although the safflower is the same, the ash used as a mordant is recorded differently in each literature, which greatly affects the aesthetic perspective in realizing the traditional safflower red. Therefore, the optimal conditions for realizing the traditional safflower red were sought. The experiment was conducted by pH investigation, dyeing and color analysis by dyeing solution water, concentration, and temperature by ash, and the unique color of red was confirmed. As a result of the test, the pH point of time when the uniq ue color was expressed was 11.53 as goosefoot ash (natural bedrock water), which was 1:100 for concentration and 70℃ for temperature, which was easier to extract red pigment than other ash, indicating that it is suitable for safflower dyeing. The analysis of the ash showed that K and Si play an important role in dyeing, especially Si, which is an element that inhibits carthamon. The color of red was similar to that of KS Standard vivid purplish red in the ash of the goosefoot, and the other ash was deep purplish pink. In the light of findings, it was possible to quantify the dyeing method through traditional materials and find the standard color of red color, and it is judged to be a basic data for studying the unique color of natural materials.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• Journal of the Korean Home Economics Association
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• v.43 no.5 s.207
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• pp.107-115
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• 2005

The purpose of this research was to compare the harmony of tone on tone coloration according to transformation of color area-ratio in traditional Korean dress. The respondents were asked to evaluate 36 stimuli of the traditional Korean skirt and jacket with different color tone. The subjects were 83 female undergraduate students. The results are as follows. For red colors, combinations of vivid/dull, vivid/dark, and light/dark made a difference in the harmony of coloration according to the transformation of color area-ratio. For yellow colors, combinations of vivid/dark, light/dull, and light/dark made a difference in the harmony of coloration according to the transformation of color area-ratio. For green colors, combinations of vivid/dull, vivid/dark, light/dull, and light/dark made a difference in the harmony of coloration according to the transformation of color area-ratio.

• Journal of Fashion Business
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• v.2 no.1
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• pp.12-24
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• 1998

The purpose of this study is to investigate the efficiency of systematic color combination for apparel and textile design. We planned the new color systems, HUE AND TONE COLOR SYSTEM 277 and HUE AND TONE COLOR SYSTEM 253 USED KOREAN TRADITIONAL COLORS. In order to emprove the efficiency, this study aims to explore the development of systematic color combination by computer graphics. With this purpose, this study progressed in the following order and we obtained these results. 1. First, we considered the possibility of the development of the systematic color combination used the new color system, HUE AND TONE COLOR SYSTEM 277. We considered the possibility of the development of the systematic color combination by graphic computer SDS-480. Through the experimental regulation of the RGB (Red, Green, Blue) and HLS (Hue, Lightness, Saturation) we obtained an approximation of the colors of the HUE AND TONE COLOR SYSTEM 277 on the CRT display of SDS-480. 2. We planned the new color system, HUE AND TONE COLOR SYSTEM 253 USED KOREAN TRADITIONAL COLORS for systematic color combination. 3. In a practical application, we tried five principal types of color combination in apparel and textile design, monochromatic combination, tone on tone combination, moderate combination, tonal combination, and contrast combination. 4. Furthermore, we applied the systematic color combination for the textile patterns by tone on tone combination. By using the systematic color combination for apparel and textile design, we realized the efficiency and utility of the systematic color combination.

• Journal of the Korean Society of Costume
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• v.51 no.3
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• pp.33-49
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• 2001

The purpose of this study was to analyse the previous color studies. A number of publications and journals were reviewed and analyzed carefully. The results of review and analysis were as follows : There were many different subjects in color studies and they were usually categorized into ten fundamental groups : color preferences, color image/symbol/association of ideas, emotion and colors, image making with colors, colors related with consumers' decision making, traditional colors, semantic color description, color plan of apparel merchandise, influential factors on colors, and color coordination preferences. In general, the color preference studies are conducted most actively, and they are followed by the studies of color image/symbol/association of ideas and traditional colors. In the previous studies on the color preferences, they provided sufficient amount of information on the preferred colors and the preferred apparel colors. however, they lacked in providing appropriate explanation on how these color preferences were related with colors in fashion. Also, there have been no thorough studies that questioned the reliability of measurement methods for obtaining color preference data. The authors also realized that it was extremely difficult to find any related publications on the studies that focus various influential variables on the disagreement between the preferred color and preferred apparel color. Thus, this study directed the future studies to solve the problem discussed above.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.53-59
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• 2010

This paper mainly focuses on the Korean Folk Village and Beijing Si-He-Yuan, according to the color theory of hue, value and chroma of Munsell color system to demonstrates the similarities and differences of the traditional upper-class housing between South Korea and China. As the neighboring countries sharing very similar culture and philosophy which owe to the continual communications between China and Korea in the history. The Obangsaek which is derived from the thought of five-elements profoundly and deeply impact on the color selection of traditional housing in both countries. According to the quantitative analysis of photographs, it was found that: 1. The commonly used colors in Korea are Y, YR and neutral color, but in China, people usually used R and GY, especially the high chroma red in Beijing Si-He-Yuan was used as a symbolic color. 2. The chroma preference of traditional housing reveals that people in China used to apply the polychrome and various brightness, on the contrary, the color of low chroma and high lightness were used to be applied in Korea which can give the sense of simplicity and tranquility. 3. Red, one of the Obangsaek affects the color characteristic of Beijing Si-He-Yuan critically but scarcely impact on the color characteristic of Korean Folk Village.

• Journal of Korean Society of Rural Planning
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• v.16 no.3
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• pp.1-10
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• 2010

The purpose of this study is to find out the color preference on rural rooftop color. Today, public profit value of a rural community has been heavily recognized in the areas of preservation of pro-environmental and traditional life styles and foundation of collective community. Comparatively with urban, rural town conserves the scenic of those days when the historic landscape existed. Therefore, elements of historic and tradition in rural town are interesting resources to people who want traditional experience. Color is one of the most influenced elements for the image of Landscape. On the other hand, radical modernization has brought conflicting color element that does not blend with existing environmental color. Among others, roof represents one of the important traits of rapidly developing rural community due to vast amount of space it covers. In order to come up with more appropriate coloring scheme, it is necessary determine color that forms a balance with present conditions of rural life and historic landscape. This study provides more objective rooftop coloring selection process by employing additional surveys regarding color image adjective. I justified necessity of the balance between environmental color and roof color through analyzing correlation between environmental color of the rural town and Color Image Scale of the preliminary selection of roofs.

• Fashion & Textile Research Journal
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• v.12 no.5
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• pp.564-573
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• 2010

The purpose of this study is to investigate decoration techniques applied to the Korean traditional costume of modern style which are shown in special monthly magazines relevant to the traditional magazine. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are largely classified into single and composite types. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, embroideries and seonchigi or multi-colored stripes and seonchigi is often used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, seop, goreum or coat strings, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have no pattern on the surface and are commercially available irrespective of season. Git used for jeogori is largely classified into dangko git and donggrae git in type. Its color is in most cases same as the main color of jeogori. Keutdong for jeogori is usually 4 to 5.5 cm in breadth, classified as type II. Its color is in most cases white. Goreum for jeogori is usually large in length. Its color is most cases same as that of jegori or reddish purple or blackish red purple.

• International Journal of Costume and Fashion
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• v.14 no.2
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• pp.81-96
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• 2014

The meanings of colors vary with time and space. For the most important events in a person's life, such as wedding or funeral, people use color to symbolize their identities or roles. Traditionally, the colors of dress had indicated the wearer's age, class, or marital status in Korea. However, Korea's exposure to western cultures has affected in many dimensions of its modern history. Especially, influenced by social change, the traditional dress has undergone many modifications in forms, silhouettes, materials, and color. However, women's mourning dress has been maintained as a long lasting tradition and the use of white in mourning dress has been regarded as a norm until recently, while men have worn a regular black suit with a black tie. But, the shift from white to black in mourning dress has been observed in recent mourning practices. To examine this change of color in Korean traditional mourning dress, a historical approach utilizing multiple resources, such as interview, observations of events, documents, and archival records was applied.