• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.3
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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.

• Journal of the Korean Home Economics Association
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• v.20 no.2
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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.

• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.38-48
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• 2006

Paying attention to the fact that Korean traditional ink and color paintings are different in their use of colors this paper was intended to demonstrate outcomes from the difference in their painting style through specific paintings and thereby categorizing a broad range of oriental paintings into 4 types(Indian ink light color, middle color, deep color, present color) in accordance with the method of using colors, suggest directions that oriental color paintings should move toward in the future in the diversity of modem Paintings. Due to the characteristics of materials, oriental ink paintings, in style, are light in color within lines, which in return makes colors confined to a complimentary role in an overall picture, not having their unique color identity Nevertheless, there are some paintings that use dark colors, which is called moderate saturation. For such dark-color based paintings, colors play a key role, together with the characteristics of materials of color painting, as colors are used to express the most part of a picture. This study, thus, discusses the difference in the use of color depending on style on one hand, and examined the diversity of modem color paintings through specific works on the other hand, since a number of color paintings similar to western Painting in style have been created today. In such diversity, works that are being currently created should contribute to taking over the tradition and further develop oriental colors with modem aesthetic sensitivity. This paper is aimed to help to do harmonious works with traditional and modern paintings by studying and classifying varieties of colors

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.5
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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.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.97-105
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• 2011

In the modern urban landscape design, historical and cultural factors are drawing more and more attention in addition to the factor of beauty. To evaluate an urban landscape design, it's quite important to explore the history and culture background of the city. Color of a city reflects the city characteristics and shows the city image. Color planning has become an important part of city landscape design nowadays. A harmonious landscape cannot be without a unified color planning. The color planning should take not only the integrity but also the regionality into consideration. Color planning has a profound impact on public life. This paper studies on streetscape color of two famous places which are Seoul Insa-dong and Shanghai Xintiandi. According to the empirical and comparative study, this paper will give on-site assessment and comprehensive evaluation. Furthermore, this paper will indicate the differences and similarities of the traditional Streetscape of South Korea and China, using the color theories of Korea Image Resource Institute. This survey results will be helpful to the urban landscape color planning.

• Fashion & Textile Research Journal
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• v.6 no.3
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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.

• Journal of Fashion Business
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• v.19 no.2
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• pp.149-170
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• 2015

The purpose of this study is to link the Yi tribe's traditional patterns to bag design. Yi tribe is a minor ethic group in China, whose traditional pattern has a high artistic value in that its shapes are diverse and each one has peculiar elegance. Traditional patterns are also indicative of spiritual dept or symbolic stories, rather than being indicative of simple formative beauty. Thus, reorganizing these patterns and applying them artistically to design- in terms of resource utilization- would be significant. Out of all of the Yi tribe's traditional patterns, the cherry blossom_(马樱花), water wave_(水波), sky father and earth mother_(天父地母), pomegranate blossom, triangle, sheep' horn, wisteria vine_(藤条), square and diaper_(四角菱形) and the zigzag_(曲折) patterns were chosen for use during the development of a bag design. This study is based upon document study, including research papers and internet web sites, the point of which was to investigate the form of the traditional patterns, and the creative design process. The design procedure includes these sub-processes: selection, arrangement and color-scheme. In the selection process, the form of the pattern was edited using Adobe Photoshop. The pattern was freely arranged to reflect various emotions. In terms of the color-scheme of the patterns, the colors used by Henri Matisse(1869-1954) in his work were selected and adapted when dyeing the patterns. Subsequently, the final design resulting from these design development processes was applied to the actual production of the bag by using canvas fabric and leather, after which the bag image was proposed using computer simulation. In conclusion, six bag designs were created using traditional patterns from the Yi tribe. Through the processes explained above, this study confirmed that traditional patterns could be widely applied as design motifs and that more sophisticated, modern, and creative designs could be developed based on traditional patterns.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.38-52
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• 2012

The purpose of this study is to confirm the international unique color sensibility according to the ethnic color preferences. The existing studies about color sensibility were investigated to analyze the international color sensibility. The countries were chosen according to its, strong regional and racial color. Also, the documents and websites about environment color such as structure color, natural feature color, traditional folk costume color and customary color names were investigated, and then, the international color sensibility was analyzed by using the color image scale. As a result of the analysis about the differences of color sensibility, internationally distinguished color sensibility was discovered. There were differences not only for the preference trend of hue but also for the tone or contrast of color among the selected countries. Especially, Great Britain had a strong preference for G categories that they preferred the warm-grayish color image. Russia has a preference for R, G, and B categories with the preference for the warm-clear image. Netherlands had a preference for R, Y, and PB categories and it preferred the cool-hard-grayish, warm-soft-clear image. Italy had a preference for R and Y categories and it preferred the warm-clear image. Morocco had a preference for R and B categories and it preferred the warm and cool, clear image. Japan had a preference for R, G categories and it preferred the warm-grayish image. Korea had a preference for R and B categories and it preferred the warm-soft-clear, and cool-clear image. With these results, the researcher concludes that the integrated analysis of the environment color and the traditional racial color factors are very persuasive methods to comprehend the international color sensibility.