• 한국의류학회지
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• 제22권3호
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• pp.384-395
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• 1998

The objectives of this study were to analyze the color characteristics of Saikdong by the standardized color system and to applicate it's color characteristics to fashion design. 25 traditional costumes made with Saikdong were selected from four museums in Seoul. The colors were measured using CE 310 and analyzed by Munsell HV/C. The results were shown as follows; 1. The frequently used hues in Saikdong are warm colors such as red, orange, yellow. Except purplish blue, cool colors show low usage ratio. 2. The tones of medium lightness and saturation are most frequent in Saikdong colors. 3. The characteristics of color combination are the contrast of hue and the similarity in tones. This makes the saikdong splendid and harmonious. 4. Based on this anaylized characteristics of Saikdong color combination, fashion designs were developed by computer simulations.

• 복식
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• 제56권5호
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• pp.29-43
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• 2006

The purpose of this study is to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking the characteristics and the conceptual meanings of colors found in the majority’s culture. The scope of the basic culture was divided into folk belief, folk game and folk play. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. For the analysis of hue and tone, the secondary dimensional analysis using NCS color system and the three-dimensional analysis using the software, COLOR 3D Version 2.0, were done. The result of this investigation is that the colors of the costume in the Korean basic culture are white, gray and black of achromatic color and yellow, yellowish red and purplish blue. This confirms that the colors based on Five-elements color are becoming the basis too basic culture. And Arche-pattern, which is a characteristic commonly found in the Korean traditional society, was shown as a characteristic of color. The colors of the costumes in Korean basic culture are uniquely adopted by the Korean civilians according to their religious and philosophical living standard. This study is meaningful in seeking a root for the formation of their unique color culture.

• 대한가정학회지
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• 제20권2호
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• pp.37-43
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• 1982

The white color is the main characteristics of the traditional color of clothes. From the historical point of view, the Korean's pattern of wearing Baik-Eui can be found its origin from many people of North-East Asia in ancient time. The beginning of wearing Baik-Eui in Korea was at the age of tribes, and it was delivered to middle age, later on, to modern age near the end of Yi Dynasty. The other charactics of the traditional colors. are summarized as follows: 1. Prefered light color to dark color and light blue was noble and worthy. 2. The kinds of color were not various. 3. Color was native and pure not including grey or other colors. From the economical point of vie, the first thing is that Baik Eui was primitive in ti's color Though some say that wearing Baik-Eui is considered as a kind of worship of the Sun, yet we can also find that the every reason of it is that we had little dyes at that time. Especially the reddish dyeing materials were in short supply, so that had been imported mainly from Japan.

• 복식
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• 제54권4호
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

• 한국의류학회지
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• 제22권5호
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• pp.597-606
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• 1998

The purposes of the study were 1) to evaluate the visual image of colored Korean traditional dress for woman 2) to analyze the colors and, color combinations effect on the image perception using gestalt theory. The research method was a quasi-experimental with a between subjects design. The experimental materials developed for the study were a set of stimuli and a response scale. The stimuli was consisted of 17 drawings of females wearing Korean tradinational dress, by using CAD simulation. A response scale consisted of semantic differential scales. The subjects were 1138 undergraduate students of Taejon city, Chungnam province and Chungbuk province. Their responses to the semantic differential scales were analyzed using factor analysis, one-way ANOVA, Duncan's multiple range test, 1-test. Results were as follows; 1) The image of the stimulus was consisted of the 4 different dimensions.(sociability, evaluation, visibility, attractiveness) 2) Clothing colors had significant effects on image perception of the evaluation dimension, visibility dimension and attractiveness dimension in the mono-color set. The blue showed the most positive image on the evaluation dimension, and the yellow and the gray showed negative image on the same dimension. The yellow showed the most salient image and the gray showed the least salient image on the visibility dimension. The red showed the most attractive image and the green showed the least attractive image on the attractiveness dimension. 3) In hi-color set stimulus, the perceived image was influenced by color combinations. The yellow blouse-the red skirt set showed the most sociable image on the sociability dimension. The blue blouse-the green skirt set showed the most positive image on the evaluation dimension. The yellow blouse-the red skirt set showed the most salient image and the blue blouse-the green skirt set showed the least salient image on the visibility dimension. And the red blouse-the yellow skirt set showed the most attractive image on the attractiveness dimension. On conclusion the visual image of Korean traditional dress wearer was affected by dress colors and color combinations.

• 한국콘텐츠학회논문지
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• 제6권8호
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• pp.38-48
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• 2006

본 논문은 수묵화와 채색화에서 색채 사용이 다름을 착안하여 수묵화,채색화 그림의 스타일 양식 차이에서 오는 결과를 작품위주로 보여주며 소개하고 있으며 다양한 동양회화를 색채 사용 형식에 따라 수묵담채, 중채, 진채, 현대채색화의 네 가지 군으로 정리 하였다. 수묵화는 재료적 특성으로 인해 생긴 그림양식에서 색채는 담하게 선을 넘지 않는 범위에서 올라가다보니 고유색을 지정해주는 역할 이상이 아닌 그림의 보조적인 역할에 머무르게 되었고 그럼에도 불구하고 진한 색채를 보이는 몇 작품이 있으며 이를 중채라 불렀고 진한 채색 그림들은 단순히 색채로만 많은 부분을 표현해야하기 때문에 채색화의 재료적 특성과 함께 색채가 아주 중요한 부분을 차지하게 되었다. 이와 같이 그림의 양식 스타일에 따른 색채 사용의 차이에 대해서 본 논문은 정리하고 있으며 또한 현대에 와서는 서양화 같은 채색 작품도 많으므로 현대 채색화의 다양성을 작품의 예로써 제시하였다. 이러한 다양성 속에 현재진행형 작품들이 계속 전통을 이으며 현대적인 미감으로 동양 색채를 잘 풀어가야 하며 본 논문은 전통 회화와 현대회화가 잘 조화된 작품을 하는데 도움이 되고자 채색화의 다양성을 연구, 분류하였다.

• 한국관광식음료학회:학술대회논문집
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• 한국관광식음료학회 2003년도 학술논문발표집
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• pp.51-58
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• 2003

The autoclave method and the traditional cooking method are compared for nutrients, mineral, color difference, viscosity, reducing sugar and amino nitrogen content of brown stock. For protein and amino nitrogen contents, the autoclave cooking method is better than the traditional cooking method. Also, reducing sugar content is increased by the autoclave cooking method. Since the color of brown sauce is related with reducing sugar content, the autoclave cooking method is more effective than the traditional cooking method for the color of brown sauce. Since the autoclave method can reduce the cooking time without the loss of quality in brown stock, the traditional method can be substituted by this new method.

• 패션비즈니스
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• 제13권4호
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• pp.21-36
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• 2009

The objective of the study is to create color plan for company D based on color images of the Bloomsbury Group paintings, which is an art institute based in Bloomsbury, London, a hometown of the company, to renew the traditional brand image of the company by blending fashion and art. This study analyzed 'D's previous F/W Color planning from 2003 to 2007 through NCS to understand characteristics of company D's color planning. It considered company D's color renewal concept by looking into Bloomsbury Group's backgrounds and pieces. Based on 2008-2009 F/W color trend and the analysis result, the study suggests a color plan with reference to a case study of the company D, for which I work as a colorist. The color renewal of the company D for 2008-2009 F/W season was categorized into theme I. Bloomsbury and theme II. Charleston for planning. The following table summarizes the result of 2008-2009 F/W season color plan with focus on development of new check and print patterns. The significance of the study can be found in that it advanced beyond the color planning stage to be applied to the actual renewal. Through a renewal of an existing brand, a fashion brand can be revitalized to have distinguished competitiveness.

• 한국의류산업학회지
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• 제6권3호
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• pp.266-274
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• 2004

This study is on the sensitive image of pattern expressed in the color & formative types of traditional Jokakbo(scraps of cloth). The object of this research is Korean traditional scraps of cloth in the latter period of Chosun Dynasty. This study is to be classified into 10 formative types like square type 1, square type 2, diagonal type, diamond type, many color striped type, concentric circle type, pinwheel type, vertical line type, cintamani pattern type, and free style type to apply the design of Jokakbo to Korean design. And color group is divided into vivid tone and pale tone. And it constitutes 17 patterns from the combination of these two types. As for the factors of constitution of scraps of cloth, it consists of factors like revelation, attraction, temperature sense, abstract, and rigidity. In the emotional image in the patterns, both vivid tone and pale tone showed dynamic and warm emotion together. Also, the factors of revelation and attraction were evaluated as opposite images, and it evaluated the plain and dim emotion as more attractive emotion. They preferred the pale tone to the vivid tone. They preferred the cintamani pattern in the vivid tone, and the diamond pattern in the pale tone most. From the research result above, this study made the abstract image of scraps of cloth standardized and prepared for a basis to execute it essentially. This research will be used as basic data to make traditional Korean image spotlighted in the world fashion markets as well as it will be helpful to the development of pattern design for the scraps of cloth essentially.

• 한국의류학회지
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• 제17권1호
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• pp.103-117
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• 1993

The purpose of this study is to clarify the adaptation of beauty of traditional dress depicted contemporary Korean fashion design. For this purpose, the external form and the internal meaning based on 'the double roots' proposed by W$\ddot{o}$lfflin were analyzed in Korean traditional dress. Documentary studies and objective studies were done with descriptive and content analytic methods. And homospatial process was devised in order to develop the traditional identity in contemporary fashion design. The results were as follows: 1. As the external form, H. O. A silhouette, chogori, ch'ima, paji, and po concerning internal type, kaftan, flat form related to structured type were represented. Traditional color sense were love of white, contrasting as well as analogous color harmony shown often in nature phenomena, and temperate achromatic color harmony. Texture were characterized as rough and coarse expressing vividness, fine and smooth expressing delicateness and tenderness. As the internal meaning, the beauty of purity related to nature, tragedy, and symbolism were represented. 2. Since 1980's. Korean fashion designers frequently applied unstructural kaftan form and H silhouette to Korean fashion design, and sought natural and pliable line in whole dress. Use of white and achromatic color harmony as well as use of linnen were prominent. Designers' aesthetic consciousness was pursuit of the beauty of nature. Representative designers who concentrated on expressing traditional beauty were Lee Shinwoo, Sul Yoonhyung, Jin Taiok and others. 3. A homospatial process could be a method in the creative design which enables to express Korean identity in fashion design, and could suggest ideas of new designs full of Korean identity by superimposed and fused imaginery.