• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.117-130
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• 2010

The main objective of this research was to understand the characteristics of contrast color coordination through the analysis of modern woman fashion color coordination as they appear in the 'Collections' from '04 SS to '09/'10 AW. Data collection of 122 was done through review of '$pr{\hat{e}}t$-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and qualitative interpretation of contrast color coordination characteristics were completed. The main findings were as follows; (1) The combined color type of 'red+blue' and 'yellow+blue' were the most frequently appeared in the same ratio, and followed by 'green+violet', 'red+yellow', 'green+orange', and 'orange+violet'. The contrast tone showed the most, and followed by the similarity and identity, and the type of tone harmony used differently according to the type of contrasting color combination. (2) The general characteristics of contrasting color harmony were as follows,; Some contrasting colors looked harmonious when used light colors and the contrast between light and dull colors which made the hues even more harmonious. Also combinations of dull colors which work well with other dull colors or vivid colors. Light & vivid color or light & dark color, however, often showed too much contrast and using two contrasting vivid colors presented awkward and restless look. When used one vivid color and one dark color, a little easier to looked at, but still not particularly elegance or effectively harmonious. (3) The types of contrasting color harmony showed some differences between seasons. Contrasting color harmony showed more frequently in the S/S collections than in A/W collections.

• Journal of Fashion Business
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• v.10 no.5
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• pp.45-57
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• 2006

In the previous study, african marigold petals extract was valued as an excellent natural yellow dye because of its distinguished reactivity with various mordants and color fastness. In this study, we were studied on effect of absorbed metal ion by after-treatment of mordants on the color and fastness in human hair and wool fiber dyed with african marigold petals extract because the proteinic and cellulosic fiber were very well dyed. The dyed human hair showed better dyeing ability in the color fastness than wool fiber on tests of light, wash and perspiration. The absorbed metal ion concentration of mordanted human hairs were 1 or 5 times higher than wool fibers. However, excess of absorbed metal ion haven't consistent effect on K/S and surface color. Human hairs dyed using african marigold extract and mordanted with Al, Sn, Cu and Fe were showed various reddish yellow color groups and good dyeing ability on african marigold extract.

• Journal of Fashion Business
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• v.14 no.1
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• pp.27-42
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• 2010

It was in the fifteenth century in Italy that men began to talk of a rebirth in the arts and literature. Today we consider the period to belong to the Renaissance. We noticed the splendour of costume and the important role it played, in the life of Italian society in that period. From elsewhere in Europe and also from the East, dyestuffs came to Italy overland or in shiploads. Red and blue, notably kermes and madder on the one hand, and indigo and woad on the other were fundamental textile dyes in Italy. Saffron was used for yellows, oak galls for blacks. Renaissance Italian costumes' main color symbolized various meaning. Red symbolized high rank, affection, lady, redemption and various cardinal virtueses. Yellow was evaded color which was symbolized the lower class, betrayal, and gold. Green symbolized penniless, youthfulness, hope and love. Blue symbolized humbleness, sincerity, knowledge and the Madonna. Purple symbolized nobility, vice and various meanings. Black symbolized death, grief, beauty and elegance. These color symbols in the Renaissance Italian costumes were very similar to that of modern color symbols.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.3
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• pp.19-34
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• 2007

The purpose of this research was to investigate the image dimension depending on the coloration of the Korean jacket of cromatic colors and the Korean skirt of acromatic color and to elucidate the image difference depending on the tone variation of the Korean jacket and the Korean skirt. The experimental materials used for this study were sets of stimulus and response scales(7 point semantic). The stimuli manipulated by computer simulation were 48 color pictures with various combinations of colors of jackets and skirts. The subjects were 576 female undergraduates living in Jinju city. This experiment was based on the $3{\times}4{\times}4$ factorial designs: jacket color(red, yellow and green), jacket tone(vivid, light, dull and dark), and skirt tone(N9, N7, N4 and N2). Image factor of the stimuli consisted of 4 different dimensions(youthfulness and activity, gracefulness, visibility and tenderness). Among them, the youthfulness and activity, and the gracefulness were important. According to the tone variation of Korean jacket of cromatic colors and Korean skirt of acromatic color, the images for a wearer were expressed diversely and showed the difference in image dimensions.

• Journal of Life Science
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• v.19 no.9
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• pp.1239-1244
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• 2009

This study was conducted to clarify the genetic relationship between Calanthe discolor, C. sieboldii and variants, and the cause of flower color variations by using a molecular linkage map and a quantitative trait loci (QTL) analysis for flower and lip color in Calanthe species native to Korea. Twenty plants were included in three C. discolor and three C. sieboldii, and fourteen variants were obtained from their habitat, Jeju-do in Korea. The flowers of C. discolor were brownish red, the values of Commission Internationale de I'Eclairage (CIE) Lab were between 40 and 50. The flowers of C. sieboldii were yellowish, the values of CIE Lab were between 110 and 130. The variants had various mixed colors that were thought to have originated from natural hybridization between C. discolor and C. sieboldii, and the values of CIE Lab were between 50 and 70. The colors of the lips were usually divided into white and yellow. C. discolor had a white lip, C. sieboldii had a yellow one, and the variants had a white to yellow one. The CIE Lab value of each color was 90 in white and 110 to 120 in yellow lips. A molecular linkage mapping was constructed based on the segregation of 154 RAPD markers using a MAPL program. Sixteen linkage groups containing 66 markers were established. It covered a total map distance of 220.4 cM. The distance between adjacent markers ranged from 0 to 6.6 cM, with an average distance of 3.3 cM. These markers are thought to be closely associated with flower and lip color expression. Among the 16 molecular linkage groups, 3 QTLs had flower color trait loci and 1 QTL had lip color trait loci.

• The Research Journal of the Costume Culture
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• v.24 no.5
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• pp.577-587
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• 2016

Natural dye extracted from Salicornia bigelovii was applied to silk fabrics by dip dyeing process. The dyeing properties and the functionalities of the silk fabrics were determined. Factors affecting the dyeing properties such as dyestuff concentration, temperature, time and pH were studied. The colorimetric parameters $L^*$, $a^*$, $b^*$, and H, V/C values were measured to select the optimal mordanting conditions. The color-fastnesses of the dyed and mordanted fabrics were estimated for practical use; in addition, the antibacterial property, ultraviolet protection properties were evaluated. The dyeabilities of silk increased depending on the increasing dye concentration, dyeing time, and dyeing temperature. And optimum dyeing results were achieved when dyeing with 300% (o.w.f.) of dye concentration at $90^{\circ}C$ for 100 minutes and at pH 3. The dyed silk fabrics without mordants produced yellow (Y) color and showed yellow (Y) or green yellow (GY) colors depending on the mordants type. The light fastness of dyed and Al mordanted silk fabrics were found to be excellent, and the drycleaning and rubbing fastness were good. The dyed silk fabrics showed no antibacterial property, but Al and Cu mordanted silk fabrics showed 99.9% reduction rate. The ultraviolet protection properties of the dyed silk fabric was improved. And the ultraviolet protection properties of mordanted samples showed very good ultraviolet protection properties.

• Textile Coloration and Finishing
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• v.27 no.2
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• pp.105-112
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• 2015

In order to detect gas phase strong acid on fabrics, a hexyl-substituted monoazo yellow dye, which was the modified form of a conventional pH-indicating dye, Methyl Yellow, was studied in view of acid-gas sensing properties and its fastness. The dye was printed on polypropylene non-wovens for protective coveralls and examined under various conditions of strong acid such as hydrochloric acid. The dye showed color change from yellow to red on exposure to gas phase hydrochloric acid as low concentration as 1~3 ppm very instantly. Considering reuse of the dye-printed non-wovens, the repeatability of color change was tested on the same sample for 50 repeats and 100 days. The acid-gas sensing function was maintained almost the same level of initial performance. The color fastness of the dye on polypropylene non-wovens was very good showing higher than ratings 4 except for 3~4 to rubbing under wet condition.

• Current Optics and Photonics
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• v.1 no.6
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• pp.613-617
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• 2017

Due to optimal advances such as chromatic performance, durability, low power consumption, high efficiency, long-lifetime, and excellent environmental friendliness, white LEDs (WLEDs) are widely used in vehicle front lighting, backlighting, decorative lighting, street lighting, and even general lighting. In this paper, the remote packaging WLEDs (RP-WLEDs) with bi-layer red-emitting $Sr_2Si_5N_8:Eu^{2+}$ and yellow-emitting YAG:Ce phosphor was proposed and investigated. The simulation results based on the MATLAB software and the commercial software Light Tools indicated that the color rendering index (CRI) of bi-layer phosphor RP-WLEDs had a significant increase. The CRI had a considerable increase from 72 to 94. In conclusion, the results showed that bi-layer red-emitting $Sr_2Si_5N_8:Eu^{2+}$ and yellow-emitting YAG:Ce phosphor could be a prospective approach for manufacturing RP-WLEDs with enhanced optical properties.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.201-215
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• 2014

This study explores the kinds and types of dyes used in the Joseon Dynasty. Some literature including "Sanga Yorok", "Gyuhap Chongseo", "Imwon Gyeonjeji" were reviewed for this purpose. The findings are as follows. The colors obtained from the dyes were divided into seven color series, such as red, yellow and orange, green, blue, purple, brown, gray and black. These are practical color categories differed from abstract five cardinal colors [五方色]. The diachronic dyes used during the Joseon Dynasty were safflower and Japanese alder bark for red, indigo leaves for blue, gromwell for purple, chestnut tree bark for brown. The representative dyes used in the late Joseon Dynasty were safflower and sappan wood for red, wild pear tree bark and Pentapetes phoenicea for yellow and orange, indigo leaves for blue, sappan wood and gromwell for purple, mulberry tree for brown, and Chinese ink for gray. Common dyes used both in Joseon and China were safflower and sappan wood for red, pagoda tree blossom for yellow, a combination of pagoda tree blossom (or Amur cork tree) and indigo leaves (or sediment) for green, indigo leavers or sediment for blue, sappan wood and hollyhock for purple, and a combination of indigo leaves and Galla Rhois for gray and black.

• Journal of the Korean Society of Costume
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• v.54 no.4
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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.