• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2002.05a
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• pp.261-265
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• 2002

The unique colors of paper, that is, blue, green, red, and yellow were used in the estimation of color from the subjective feeling. The monochrome with unique color or the unique color surrounded with the background color was presented. Subject gazed the monochrome or the unique color, which was called target color. The target and background color were the complementary color each other. The various ratios of the area of gazed color and background were taken. Subject answered the level of subjective feeling consisted of pair of adjective items for unique color presented. With the use of the subjective feeling fer the target color presented, the estimation of the unique color was carried out due to Fuzzy theory and neural networks. The results of color difference between unique color presented and the estimated color gave very small value for the case without background, while the results of the case with background color depended on the ratio of area of presented color and background color till the ration of 2:1, The relation showed the Kirschman's law. The color difference saturated in the increase of area of background with the ratio more than 2:1.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.22 no.52
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• pp.241-246
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• 1999

In this study, to specify an evaluation of human sensibility, the types of color, intensity of illuminations and lights consisting work environmental condition are decided, and image data from examining the change of human sensibility followed by changes of the above three conditions are obtained. Using the factor analysis and quantification theory in multi-variate analysis type of Sensibility Ergonomics, determinating the structure of factors, specifying the relations of environmental conditions and factors can be done so that the structure of image on human sensibility space with the change of environmental conditions is analyzed.

• Science of Emotion and Sensibility
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• v.5 no.2
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• pp.73-78
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• 2002

The unique colors of paper, that is, blue, green, red, and yellow were used in the estimation of color from the subjective feeling. The monochrome with unique color or the unique color surrounded with the background color was presented. subject gazed the monochrome or the unique color, which was tailed target rotor. The target and background color were the complementary color each other. The various ratios of the area of gazed color and background were taken. Subject answered the level of subjective feeling consisted of pair of adjective items for unique color presented. With the use of the subjective feeling for the target color presented, the estimation of the unique color was cai\ulcornerlied out due to Fuzzy theory and neural networks. The results of color difference between unique color presented and the estimated color gave very small value for the case without background, while the results of the case with background color depended on the ratio of area of presented color and background color till the ration of 2:1, The relation showed the Kirschman's law, The color difference saturated In the increase of area of background with the ratio more than 2:1.

• Science of Emotion and Sensibility
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• v.23 no.4
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• pp.21-32
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• 2020

The perception of a fashion product may vary depending on the texture and color of its material. Additionally, the product may appear differently in person versus on a digital screen. Therefore, in the present study, we sought to investigate the differences in visual sensibility evaluation between materials in person and on digital screens. In this study, three pairs of visual sensibility adjectives were tested for 60 samples selected as fashion materials. Fashion materials were divided into colors, embossings, and visual clarity categories. Results showed that each color had the same sense during in-person and digital evaluation. In terms of visual sensibility according to embossing, both in-person and digital evaluations of materials with embossings were found to have the same visual sense, whereas those without embossings looked different between in-person and digital evaluations. Assessments based on visual classification showed that both in-person and digital evaluations had the same sensibility. This study is meaningful in suggesting that when evaluating the visual sense of fashion material, the sensation for the digital screen versus in person may be different in some cases.

• Fashion & Textile Research Journal
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• v.12 no.1
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• pp.103-108
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• 2010

The purpose of this study was to analyze the effect of fiber contents of socks fabric on the subjective sensitivity and emotional sensibility of consumers. We investigated the relationship of subjective sensitivity and sensibility according to fiber contents and color value of socks. We made five plain knit fabrics as specimens, with a combination of chitosan/SUS fiber contents and three value levels of grayish color. The subjects were 15 males and 54 females in the twenties. The data analysis was conducted with Pearson's correlation analysis, ANOVA, Duncan multiple range test, and regression analysis. The major finds were as follows: A factor analysis showed that subjective sensitivity was classified into five factors (bulky, surface-rough, elastic, attention, and variety) and emotional sensibility was into four factors (salience, stability, luxury, and activity). There were significant correlation between the subjective sensitivity and emotional sensibility. The subjective sensitivities of 'surface-rough' and 'elastic' were significantly influenced by fiber contents. The sensibilities of 'salience' and 'luxury' were significantly influenced by fiber contents. Where as the 'salience' and 'roughness' were significant influenced by color value level. According to sex, there were significantly difference in 'bulky', 'elastic' and 'salience'. As a result of the regression analysis, preference, consuming desire and satisfaction appears to be closely related with all subjective sensitivity and sensibility.

• Science of Emotion and Sensibility
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• v.18 no.1
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• pp.67-78
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• 2015

This study investigated whether people experience a correspondence between color hue-tone and the main characters' emotions in the 2012 British musical drama film, Les $Mis\grave{e}rables$ through three practical experiments. Six screen images, which represent the characters' different emotions (Parrot's six primary types including love, joy, surprise, anger, sadness, and fear) were selected. For each screen image, participants were asked to judge the degree of the character's dominant emotions evoked from 17 varied screen images, which consisted of original chromatic and achromatized images as well as 15 color-filtered images (5 hues X 3 tones of the IRI color system). These tasks revealed that a chromatic color scheme is more effective to deliver the characters' positive emotions (i.e. love and joy) than an achromatic one. In addition, they proved that the hue and tone dimensions partially influence the relationships between the character emotions and colors.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2000.04a
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• pp.144-148
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• 2000

A new paradigm is urgently needed to create the textile product that appeal to human Kansei or Gosei. A future of textiles depends heavily on this new paradigm. In order to create new paradigm Kansei color designs by pleasant sound are tried. These computing color designs are treated by the method of Fast fourier Transformation. As several result good color designs are given in forms of ring color patterns and band. But these judgments depend finally on human kansei. These new technology give us good hints in order to create new paradigm that appeal to Kansei goods. This new concept should be developed to higher level by additional improvements.

• Proceedings of the KOSOMBE Conference
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• v.1997 no.05
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• pp.422-425
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• 1997

The purpose of this study is to estimate human sensibility quantitatively under color stimulation. We measured biological signals such as EEG, ECG, skin conductance and the number of respiration and eye blinking that were compared with color sensibilities mutually. Our result showed that red, yellow and violet color provoked active and exciting senses dominatively and blue, cyan, pink, and black color were involved in tranquil and resting emotions deeply. Our quantitative estimations of color sensibilites are useful in the design of manufactured goods and color therapy.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2002.11a
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• pp.74-78
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• 2002

소비의 패턴이 이성소비에서 감성소비로 전환되면서 오감이 중요한 마케팅 요소로 등장하고 있다. 특히 시각적 요소는 인간이 사물을 인지하는데 있어서 83%정도의 영향력을 발휘하기 때문에 매우 중요하게 고려된다. 따라서 본 연구는 Color Code를 토대로 사용자의 성격을 분류하고 동시에 사용자가 선호하는 색상을 이용하여 색채배색을 제안하는 방법을 설명하고 있는데 성격을 RED, BLUE, WHITE, YELLOW의 4개의 컬러코드로 분류하기 위해서 ‘The Hartman Color Code Personality Profil’을 이용하였다. 조사결과 사용자의 컬러코드 중 가장 많은 코드는 BLUE코드였으며 선호도도 가장 높았다. 이러한 BLUE 코드의 특징 중 색채와 대응할 수 있는 감성어휘를 중심으로 색채배색안을 제시하고 이를 주택상품의 컬러마케팅에 이용하고자 하는 것이 본 연구의 목표이다.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.23 no.60
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• pp.47-55
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• 2000

Two experiments were conducted to examine the relationships between the color structure and the user preference of a CNS (Car Navigation System) digital map in terms of HSE (Human Sensibility Ergonomics). In the first experiment, the user's preference of color structures were investigated from the subjects' self-designed digital maps using a CNS digital map UIMS (User Interface Management System): in the second, statistical relation models between the user's color structure satisfaction level and the color components of CIE (Commission Internationale de ι'Eclairage) of the real products were suggested. For each experiment, CIE L*u*v* and CIE LCH color space were adapted, respectively, because they have their own characteristics of perceptual uniformity which enables the color components to transform a linear function.