• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.35-46
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• 2008

The purpose of this study was to closely examine the history of glasses and their cases used in the middle and late of Joseon Dynasty and identify inherent quality of our traditional glasses cases through color analyses of glasses cases' material and shape. While theoretical examination was conducted based on the literatures of glasses and their cases that firstly appeared in around Japanese Invasion (Imjin war) of Korea in 1592, practical analyses were demonstrated on photos of glasses cases used in the middle and late of Joseon Dynasty collected from both museum pieces and the internet which were grouped into wood, fabric, paper, sharkskin, hawksbill and cow's horn in accordance with their materials. 623 color samples were abstracted from collected 159 glasses cases and quantity analyses on each material were performed respectively. Abstracted representative colors based on the result of color analyses were classified into the main materials and accessories' color scheme. The result of this study are as follow: firstly, both Yellow and Yellow Red were mostly used in main materials. In Fabric case's colors were widely used in embroidery and in animal matter material cases such as sharkskin, hawksbill and cow's horn, which can be used as itself or dyed, Green Yellow shown in high frequency. Secondly, accessories were analyzed into similarity coloration with main materials. From this finding, it turns out that our traditional cases have characteristic of similarity coloration between main materials and accessories. Red Purple and Purple Blue in high frequency in accessories used as an accent color. Finally, based on the analysis of hue and tone, while the middle and low value colors shown in very high frequency, the high-chroma colors hardly shown.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.112-124
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• 2006

Globally, several ethnic groups have expressed their spirit cultures based on their ethnic identity in diverse ways. Clothing has been one of the convenient objects to express ethnic identities. Therefore, patterns and colors used in traditional costumes have worked as a means to help understanding spirit cultures of ethnic groups. Since colors help strengthening solidarity of social members based on ethnic preference and community consensus, colors have performed a crucial role as a strategic tool in the fashion business closely related to consumers' individual characteristics. In survey results, color preferences of Korean and Italian specialists showed significant differences in signboard colors and disliked colors. Many Korean fashion specialists selected pink as a preferred color, black as a clothing color, red and white as a color with high visibility, and orange as a disliked color. In case of Italy, many specialists selected red and black as highly visible colors for a signboard, and green as a disliked color. In results comparing color preference for colors between Korean and Italian fashion design specialists, there were differences in color sensibility. Since this research used data from survey conducted using a very limited and much manipulated stimuli among a wide range of color schema and patterns, the study result may not be fully generalized. In future studies, more research using diversely segmented stimuli would be needed.

• Journal of the Korean Applied Science and Technology
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• v.41 no.3
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• pp.666-672
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• 2024

Shadow puppetry (皮影戏) is a traditional Chinese folk art that was inscribed in 2011 as an Intangible Cultural Heritage of Humanity by UNESCO. This study focuses on analyzing the character sculptures, colors, and patterns recorded in professional books from Shanxi Province in northern China. The findings indicate that Shanxi shadow puppetry can be categorized into two types. The 'Xiaoyi' in northern Shanxi mainly features characters from the story of 'The Investiture of the Gods' (封神演义) and is characterized by the use of both intaglio and relief carving, dark colors, and a paper screen background. The 'Houma' shadow puppetry in southern Shanxi is influenced by the traditional Shanxi opera 'Jinju' (晋剧) and features four roles: Sheng (生), Dan (旦), Jing (净), and Chou (丑), using a mesh screen background. Shadow puppetry represents costumes, beliefs, lifestyles, social status, social systems, and Confucian culture from the Song, Ming, and Qing dynasties, utilizing both intaglio and relief elements, and traditional five-element colors(五行色). This study aims to understand the characteristics of the modeling art in Shanxi shadow puppetry, and to maintain the traditional craft features while adding innovative elements from animation and film, thereby promoting and preserving the traditional values of shadow puppetry culture for children and youth.

• Journal of the Korean housing association
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• v.25 no.6
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• pp.111-121
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• 2014

The purpose of the study is to understand the unique characteristics of decoration style in traditional Javanese houses. Reviewing literature and visiting site were applied as the research method. Javanese House can be divided into three parts; roof, wall and floor. First, the roof of the traditional Javanese House is the most unique and important decorative element. The roofs are covered with roof-tiles and have clay carving ornaments on top. Usually there are no ceilings, just exposed to the oblique shape roof, which are made of wood to enable air ventilation. Joglo roof is the outstanding and representative roof type of Javanese houses. There is artistic and constructive roof structure named as tumpang sari in Joglo roof. The decoration on tumpang sari is the most colorful and symbolic ornaments. Secondly, the most unique element in the wall is the gebyok. Gebyok is made of wood and full of carved ornament, which has an artistic appearance, and also important function. The top part of doors are designed as perforated woodcarving, which give both aesthetic and ventilation purposes. Last, the stratified floor is begin with ground yard, then veranda that made from hardened clay, and main room constituted with a wood scaffold to provide air circulation and remove the humidity of the ground. The decorations of the column stand (umpak) are unique, where usually lotus flower is carved into black stone or lime stone. The outside of the buildings in Java Houses is not decorated by colors or symbols, whereas colors are only used in temples, pavilion or in royal housings. Instead they have carvings and decorations on important structural elements such as columns and beams inside. The ornaments and colors of decorations symbolize their god, ancestors and piece.

• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.375-390
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• 2017

The aims of this research were to characterize magic realism by analyzing existing magical reality literature reviews and research and to identify material that may inspire ideas for stage and film costume design by analyzing and drawing design characteristics and magic realism of costumes from Director Tarsem Singh's movie, 'Mirror, Mirror'. For the methodology, characteristics of magic realism in literature and, movies were analyzed, with a theoretical consideration of these materials on magical realism. Data on costume design and magical realism characteristics for use in the analysis were collected from the main characters of 'Mirror, Mirror' as well as from other characters. The result of this analysis was the emergence of five common characteristics of the magic realism Historicity, the most remarkable characteristic seen in Tarsem Singh films, was expressed through the symbolic meaning and decorative patterns shown by the traditional-style costumes, colors. Symbolization was expressed through the symbolic meaning, decorative elements, and traditional clothes, as shown by the colors and forms of the costumes. Fantasy was expressed through the colors, decorative elements, forms of traditional clothing, and forms with symbolic meaning. Reproducibility was expressed through the method of decorative element, symbolic meaning, traditional forms and de-structural clothes. Ambiguity, which can be associated with the combined characteristics of historicity and fantasy, was expressed in the clothes worn in the scenes that confounded time and space within the film.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.107-122
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• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• Korean Journal of Human Ecology
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• v.12 no.4
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• pp.539-552
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• 2003

The purpose of this study was to find out the proper evaluative words and colors according to various fashion images and to classify the fashion images according to certain criteria. 13 books which included the content of the fashion images were selected to draw evaluative words and colors. Evaluative words and colors were found out as follows: classic image-traditional, classical, conservative and brown, wine, dark yellow, modem image-intelligent, rational, westernized and achromatic color, cool colors, elegance image-dignified, graceful, chic and greyish tone, pale tone, romantic image-cute, lovely, girlish, natural image-natural, comfortable, gently and brown, ivory beige, khaki, casual image-energetic, comfortable, active and red, yellow, blue family. The classification of fashion images according to various criteria were as follows. According to sex: feminine-elegance, romantic, pretty and masculine-mannish, dandy, military. According to time: past-conservative, traditional, classical, and present-modern, contemporary, sophisticate. According to formality: formal-formal wear of classic, elegance, mannish, dandy style and informal-natural, casual. According to intelligence, the elite style-modern, elegance, classic, sophisticate and the public style-casual, natural.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.6
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• pp.2300-2305
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• 2010

This study was performed about color-contained mud to provide fun and diversity for the event of mud self massage as a core program of Boryeong Mud Festival which has become one of representative festivals in Korea. Adjusting its own lower brightness of mud and based on the primary study performed about the expressivity of yellowish colors, inorganic colors (oxidized steel in red, ultra marine pink, ultra marine blue, chrome oxide green) were added for the development of colored mud in diverse colors on the basis of Korean traditional colors. It had been judged about each expressivity of color by methods of colormeter, naked eyes inspection and feeling of usage, etc. For the color decided, it had been examined about the coloring when it got wet with the cleaning condition so that it can be used for the event of mud self massage as a program of Boryeong Mud Festival to increase diversity of the Festival and also attempted to develope colored mud to show Korean traditional colors.

• Journal of the Korean Society of Food Culture
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• v.28 no.1
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• pp.41-47
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• 2013

The purpose of this study is to obtain basic materials to complement the 'time series table serving' by analyzing external color elements. We selected traditional Korean restaurants in two five-star hotels and two famous traditional Korean style restaurants and analyzed their colors and the coloration of the Korean table settings. The results are as follows. By using strong luminosity contrast, restaurant A made its customer focus on the food and used red as the principal point (highlighted) color. Desserts, which have small dimensions, were served in 'Buncheong' ware with 'bakji' method, which has strong contrast; this broke the color balance. The use of small patterned dishes with 'johwa' method would achieve color harmony. Restaurant B used a stronger color for the tables than the foods, making the point color inconspicuous. Lowering the brightness and saturation of the table color would be beneficial. In restaurant C, thick green napkins provided the point color, making the atmosphere of the restaurant dull and dark and interfering with the overall bright atmosphere of the restaurant. Using lower saturation, high luminosity, and yellowish colors would bring harmony to the overall atmosphere. In restaurant D, the point colors were divided into three groups; their diversification during the entire course of the meal made the flow of the meal more natural. However, the use of the violet color, which gives a cold feeling, in the middle of the meal courses broke the overall flow of warm color in the meal. Considering the already-present contrast between red and green, it would be better not to use the violet chrysanthemum in the course of the meal. As mentioned above, there are several issues in terms of the color arrangement, the usage of table pads, and the natural flow of colors. Those issues indicate the necessity for an overall plan for the banquet table set-up in terms of color.

• Textile Coloration and Finishing
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• v.23 no.4
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• pp.241-249
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• 2011

Cotton fabrics was treated with persimmon juice by padding and their dyeability and functionality were assessed including antibacterial activity and deodorization ratio. The merit of padding-based dyeing was easier color reproduction over traditional hand dyeing where various colors and color fastness to light and laundering are hard to obtain. With larger number of padding, the dyed fabrics showed deeper red-yellow colors, which had low brightness and high chromatic colors. The dyed cotton fabrics had a perspiration fastness of 4~5 rating, a rubbing fastness of 3~4 rating, and a washing fastness of 4 rating, As the number of padding and exposed time to sunlight or UV light increase, the values of K/S and ${\Delta}E$ increased and the colors became much deeper gradually. The color development had completed about 70 hours exposure to UV. Among the light sources, the dyed fabrics exposed to UV light showed deeper yellow-red color than those of exposed to sunlight. The cotton fabrics treated with premordants like Al, Cr, Cu, and Sn revealed strong yellow colors, especially the fabrics treated with Fe mordant showed greenish red-yellow colors. As the padding times of dyeing with persimmon juice increased, stiffness and water repellent property were enhanced in warp and weft directions, respectively. Also, the dyed fabrics have good antibacterial activity and deodorization.