• The Journal of Korean Institute of Communications and Information Sciences
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• v.27 no.3A
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• pp.276-283
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• 2002

This paper proposes a new color constancy algorithm using the maximum luminance surface. This method uses a linear model which represents the characteristics of human visual system. The most important process of linear model is the estimation of the spectral distributions of illumination from an input image. To estimate of the spectral distributions of illumination from an input image, we first estimate spectral distribution functions of reflected light on the brightest surface. Then, we estimate surface reflectance functions corresponding to the maximum luminance surface using a principal component analysis of the given munsell chips. We finally estimate the spectral distributions of illumination in an image. Using an estimated illumination, we recover an image by scaling it regularly for the lightness calibration. From the experimental results, the proposed method was effective in recovering the color images compared with others.

• Science of Emotion and Sensibility
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• v.10 no.4
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• pp.571-581
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• 2007

This Braille System for color recognition was designed for those who have lost eye sight after birth. This system was based on the idea that these people had the understanding of colours before they went blind. So when they touch the braille, they can feel and recognize colours. This system adopted the Munsell's hue circle system which is used worldwide for its simple way of colour identification. It also used some texture to help people in need identify the brightness and saturation of colors. In spite of its simple structure, this system has a range of up to 153 different colours. For a friendly use, minimal changes were made by modifying location and height of dots of the braille system which blind people are already accustomed to. Because of it's simplicity, this colour braille system can be used easily and broadly. I believe that many acquired blind people can feel colour again through using this system and get benefits of social and cultural communication.

• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.612-621
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• 2011

The process of making or cultivating indigo dyes is very cumbersome and complex. The dye extraction and dyeing methods using general plant dye, moth repellent dye, fast acting natural dye, and other dyes are very different. This research investigates the extraction of indigo dye and liquid dye extraction of polygonum(indigo) plants using calcium oxide water. While extracting indigo dye the concentration of purified indigo dye may be controlled by adjusting the pH level. Due to the various uses of dyes the adjustment of surface color must be considered. In regard to the change according to different concentrations of reducing agents, it was found that cotton fabrics and ramie fabrics show the highest color difference at 0.4% and 0.3% respectively. As the reduction temperature increases, the color difference increases as well. The maximum color difference was found to appear at $90^{\circ}C$. Cotton fabrics and ramie fabrics showed 70.55 and 67.01 respectively. The color difference increases as the concentration of dyes increases, but at a concentration of 300%, cotton fabrics was found to show 6.22PB in H value using the Munsell color system, containing purple and blue color. The pH of the polygonum dyes extracted through this experiment were adjusted by adding calcium oxide to the experimental water, without directly adding calcium oxide to the liquid polygonum extract. In a refine state, it was mixed with polygonum extract to extract a more refine and highly concentrated indigo dye. When lye and reducing agents are added to extracted indigo dye and sealed for long-term storage, it can be effective and easily used for dyeing.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.101-116
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• 2010

The purpose of this thesis is in investigating the Korean twenties face color, according to the seasons, thus presenting a sample Korean Facial Color Map. The face is divided into 20 parts to take measures, and investigated through the four seasons. Minolta Chrome Meter CR-200 has been used for taking measures of the face color. Measuring subjects and area are, University students of both sex, living in the Suncheon. They are of ages the twenties. Classified measuring values of the skin colors are expressed following to the A. H. Munsell's color system. The result of this study is as followed. When comparing parts among male and female(make-up and no make-up) groups for changes with seasonal hue and value of a face color, differences have been sighted among these three groups following the seasons ; Spring(March), Summer(June), Autumn (September) and Winter(December). According to the result of Duncan's proof, the differences of the women group with the make-up attitude was shown only in value from Summer and Autumn, but no differences have been sighted between the make-up group and the no make-up group, concerning hue. Concerning hue, it was shown that men had a redder hue than women in all seasons. In Spring, both men and women had the strongest red hue, then from Summer to Autumn a strong yellowish hue appeared, to make place to a diverse coloring in Winter, followed by a reddish hue, to start all over again. Value number proved to be lower in the Summer and Autumn for the no make-up group when compared to the make-up group, showing an averaging high number for all seasons when putting on make-up; and men value number shows the lowest of the three groups.

• Asian-Australasian Journal of Animal Sciences
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• v.23 no.4
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• pp.444-449
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• 2010

The aim of this study was to measure the hair melanins of various colors and to find the relationship between the quantity of melanins and hair color phenotypes in alpacas. According to the Munsell color system, 3 healthy alpacas were selected for each of the 22 different hair color phenotypes (66 alpacas altogether). Alpaca hair was taken from the lateral thoracic region and then dissolved with different solutions to obtain melanins. The values of alkali-soluble melanins (ASM), eumelanin (EM) and pheomelanin (PM) were measured by spectrophotometric assay, and labeled as Sp.ASM, Sp.EM and Sp.PM, respectively. Data were analyzed using SPSS11.5 software. Results showed that average Sp.ASM and Sp.PM were increased as the color deepened from white to black, ranging from 0.500 to 4.543 for Sp.ASM and from 0.268 to 1.457 for Sp.EM. However, average Sp.PM had no such apparent relationship with color. Based on the value of Sp.ASM and EM, 7 hues were produced and gray was a single hue. Most of the data were in a normal distribution (p>0.10). ANOVA analysis showed that mean values of Sp.ASM, Sp.EM and Sp.PM were significantly different (p<0.05). The results also showed that Sp.ASM was positively correlated with Sp.EM but the correlation between Sp.ASM and Sp.PM was not significantly different from 0. It is concluded that EM is the major constituent of alpaca hair melanin; there is a significant correlation among ASM, EM and alpaca hair colors, and EM is the most reliable parameter for distinguishing these groups.

• Fashion & Textile Research Journal
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• v.13 no.2
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• pp.263-268
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• 2011

One-step reduction/dyeing method was applied for ramie dyeing with natural indigo powder. The effect of reduction/dyeing conditions including the pH of bath, dye temperature and time, and concentration of indigo powder and reduction agent on dye uptake and color properties were investigated. Regardless of addition of alkali, the dyed fabrics appeared in the PB Munsell color range(${\lambda}_{max}$: 660 nm) and the dye uptake was much higher with no addition of sodium hydroxide. Dyeing was carried out through the use of only sodium hydrosulfite in the bath. The maximum dye uptake was obtained at 60 for 30min. Saturated dye uptake was obtained at 2 g/L of sodium hydrosulfite concentration up to 2 g/ L of indigo powder. Whereas, at higher indigo powder concentration (4 g/L), more than 3 g/L of reducing agent concentration was required for obtaining the saturated dye uptake. Color reproducibility was reliable with color difference in the range of 0.03~0.16. Regardless of color strength, fastness to rubbing was acceptable with a 3/4~4/5. Fastness to washing, dry cleaning, and light of samples with low color strength were poor. Whereas, fastness to washing, dry cleaning, and light of samples with high color strength were very good.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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• pp.193-204
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• 2002

Many fashion forecasting companies propose the fashion colors in every season. Modern fashion consumer respond to fashionable trends with utmost sensitivity. Therefore to satisfy the consumer with an trendy image, the fashion design must be found first, as image matters, followed by an analysis of each design element's effect on the total image composition. In previous studies of fashion image, has been discussed the positive correlation between fashion design elements of color, fabric, and form as the central issue. In this thesis, two of the fashion design elements, color and fabric are simultaneously considered to classify the image of fabric in fashion. For the color variables, 10 hues are selected from Munsell's system of color notation, and 12 tones from PCCS color notation., which are currently used in the domestic fashion industry. Texture variables used in this survey are classified by luster, prominence-depression of surface, thickness, and density of fabric. Graduate students from 20 to 50 years old and the specialists in fashion companies participated in the survey. The results of this survey are as follows: 1. The fashion fabric image is classified as 5 main images: 'elegant', 'comfortable', 'characteristic', 'light'and 'simple'. 2. The influence of hue, tone and texture is significant to the fashion fabric image. Following colors, yellow-red, red hues and light grayish, dark grayish tones convey the elegant image. The texture property for the elegant image is luster, thin and low density. Properties of fabric conveying the comfortable image are yellow-red and green-yellow hue, soft, light tones, matte and high density. Furthermore, hue turned out to be a insignificant variables for the unique image, whereas dark grayish, grayish tone, luster and prominent texture convey a unique image. For light image, properties of fabric are blue-green, purple hues, light, bright tones with thin, low density texture. Properties of fabric conveying the simple image are blue-green, purple-blue, green-yellow hues, and strong, vivid tones, with luster and flat texture.

• Journal of the Korea Institute of Building Construction
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• v.23 no.6
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• pp.863-873
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• 2023

This research explores the efficacy of safety vest colors at construction sites to enhance worker safety. Utilizing the Munsell color system and the Korean Standard Color Analysis program(KSCA), the study developed a prototype safety vest tailored to specific types of construction work. A safety vest with a color contrasting the site's environment significantly improves worker visibility and intuitiveness in identification, potentially reducing safety incidents. The study determined the optimal color specifications(hue, value, chroma) for safety vests in various construction roles, such as 10GY, 8, 8 for rebar placement, 8.75B, 7, 8 for Euroform, 3.75B, 2, 4 for Gangform, and 6.25BG, 5, 10 for steel erection. Feedback from construction experts on these prototypes, particularly regarding the safety vests for rebar placement and steel framework, was overwhelmingly positive(90% approval). Consequently, the proposed safety vest color scheme is deemed highly effective.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.103-121
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• 2012

The purpose of this study is to provide basic information to improve competitiveness of Korean fashion brands in the Chinese fashion market by taking photos of street styles in Seoul that is the hub of Korean fashion and in Dalian, the northeastern district where Korean fashion brands are launched as a test market China to compare and analyze the clothing colors preferred mostly by young women in their twenties and thirties who have the highest purchasing power. The study methods used literature review and empirical study simultaneously. Dalian and Seoul are two fashion cities in northeast of China and Korea where street fashion was photographed. Clothing colors that were mainly worn by young women in their twenties and thirties were qualitatively analyzed using the photos taken. Color analysis was based on the Munsell Color Order System to grasp general preferences of colors on the basis of previous researches, and color tones were based on the ISCC-NBS System. In order to grasp the basic materials on Seoul, the Korean fashion city and Dalian, the northeastern fashion city in China, street fashion styles of 2010/11 F/W season were compared and analyzed. As a result, black and deep tone PB color appeared most frequently. The vivid and strong tone of R, YR, Y color showed high frequency of clothing colors. For the top wear, women in both areas preferred similar tones in the YR color category and Dalian women preferred vivider and brighter S tones in the R color category. For the bottom wear, women in both areas highly preferred achromatic colors and colors in the PB color category. For bags, women in both areas preferred black and colors in the YR color category. Finally, for the shoes, while women in both areas preferred black in the achromatic color category, they showed different color preferences in the chromatic color category. R color categories were preferred by the women in Seoul and the YR color categories were preferred by the women in Dalian. Conclusively, women in both cities highly preferred achromatic colors especially black for the top and bottom wear, bags, and shoes. It may reflect their desire to look refined and slender through colors. Moreover, continuous and steady research on fashion trends in Seoul and Dalian may have positive effects on Korean fashion businesses that plan to be launched in China, the area of competition for global brands.

• 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.