• 한국의류학회지
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• 제37권7호
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• pp.984-999
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• 2013

This research examines the interrelation of clothes, colors and sentiments based on clothes and colors that stimulate sentiment. This study provides data that is useful to color therapy by means of clothes as medium. The survey for this study targeted 200 Pusan National University students who analyzed the colors of association and clothes colors for nine positive vocabularies (passion, love, warmth, happiness, interest, softness, comfortable, freshness, and coolness) and six negative vocabularies (anger, fear, despair, nervous, gloomy, and loneliness). The data collection process used 120 standard colors as represented by Munsell's basic 10 colors (R, YR, Y, GY, G, BG, B, PB, P, RP) as chromatic colors classified into eleven tones of colors (V, S, B, P, VP, LGR, GR, L, DL, DP, DK) and achromatic colors divided into ten steps of brightness N1-N10. The results of the research are as follows. First, the warm class of colors were significant in the colors of association with positive sentiment and the cold class of colors were significant in the sentiment of refreshment and coolness. In addition, bright and clear colors (like V, S, VP, P) were associated with color tones. Second, the low bright achromatic colors were generally high for the colors of association with negative sentiment; in addition, the color of R, PB, P (as achromatic colors) were also significant. In addition, sober and dark tones (like GR, DL, DK, DP) were significant in color tones. Third, the interrelation between positive sentiment and clothes colors shows that colors of association were mainly used for upper garment colors. Similar colors against upper garments were used together for bottom garment achromatic colors and complementary colors; therefore, bottom garments play a subsidiary role in the concept of coordination with upper garments.

• 패션비즈니스
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• 제9권1호
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• pp.21-33
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• 2005

The main objective of this research was to understand the characteristics of identical color coordination through the analysis of modern female fashion color coordination as they appear in the 'Collections'. Data collection of 2026 was done through review of '$pr\hat{e}t-\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Lastly, statistical analysis of frequency and $X^2$-test and also qualitative interpretation of identical color coordination characteristics were completed. The main findings were; The color coordination of modern women's fashion produces a unified theme, or monochromatic harmony, through the use and coordination of identical colors. The clear contrast of tones portrays a strong image especially in achromatic color coordination, and through the use of texture variation, monochromatic color coordination becomes even more compelling. The tone variation, observed most often in monochromatic color coordination was the black and white contrast, which enhances the simplicity and clarity. Within chromatic color combinations, tone on tone color coordination was achieved by varying brightness. Furthermore, the observation of Faux Camaeu indicates that the coordination of different textures is used often in identical color coordination. While achromatic colors can lead to a hard and rough feeling, it also is compensated through the use of varying textures. In addition, adding variety of textures can add subtle interests to the simplicity of white. Lastly, in all four collections, the chromatic identical color coordination was found more frequently than the achromatic. In Paris, N.Y. & London, the chromatic identical coordination was used more often than chromatic. Milan showed most use of achromatic coordination. The use of the tones showed similar trends in all four collections, with contrasting tone being used most often, followed by similar and identical tones.

• 한국의상디자인학회지
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• 제6권3호
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• pp.139-152
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• 2004

The main objective of this research is to investigate the color coordination types and their characteristics of contemporary female fashion by reviewing 'pre-a-porter Collections' of four collections (i.e., cities) - Paris, Milan, New York, London - from the periods of 2000 S/S to 2002/3 A/W. Through the review of various books and articles written on the subject, the color coordination types and their characteristics were categorized and defined. The data was collected by reviewing 'pre-a-porter Collections' magazine and total 4,269 observations were made. These in turn were categorized into eight color coordination and three color tone categories through the content analysis. Frequency analysis was used to analyse the data. The findings are as follows; First of all, there were 8 observable color coordination categories in contemporary women's fashion. The most used color coordination was chromatic & achromatic color coordination. It was followed by chromatic identical, and then by achromatic identical color coordination. These three color coordinations were the majority, comprizing 73.4％ of the total. The rest were in the order of complementary, gradation, similarity, accent. And the most used tone type was contrasting tone and followed by similar and identical. Next, the analysis of each coordination categories shows that; The chromatic identical coordination focused on presenting its own unity or break it using the contrasting color tone. Meanwhile, the achromatic identical coordination project a clean and strong feeling through black and white combination or a subtle feeling through the different material combination. The chromatic & achromatic coordination showed strong colors and contrasting tones of clear and bright colors. Meanwhile, the characteristics of complementary coordinations are that these coordinations seem to free the colors and show the subtle changes in tones very clearly. The gradation coordination was used to create a cool and lively feeling. Next, the similarity coordination seems to create feminine and warm feeling by taking advantage of similar color feelings, often through the use of warm to warm, cool to cool color matching. Lastly, the accent coordination, through the use of contrasting tones emphasizes the differences in colors, while separation coordination mostly uses black and white on various color coordinations.

• 한국생활과학회지
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• 제15권2호
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• pp.283-292
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• 2006

The purpose of this study is to analyze and compare the color characteristics of preferred summer clothing textiles, such as shirts, blouse, slacks and skirt. 109 male and female college students evaluated the preference to clothing textiles in previous research and top 10 kinds of textiles were chosen for each clothing item. To analyze the color characteristics of preferred textiles, spectral data were measured with spectrophotometer. By the results, color and color tone, value of L, a, b according to clothing item and season were compared. Chromaticity diagram was drawn, too. The results of this study are as following: 1. Color characteristics of shirts textile college student preferred for summer was PB color and p tone. The textile, in general, represented simple color that is close to achromatic color with light and soft shade. 2. The most preferred color of blouse textiles was G color and It, d tone. The color characteristics of blouse textiles represented stronger and more brilliant than those of shirts. 3. For slacks, colors of preferred summer textiles were mostly B, YR color and p, It.g, dk tone. Therefore, preferred textiles for slacks represented simple bluish or brownish color that is close to achromatic color with light or dark shade. 4. The most preferred color of skirt textiles were Y, R color and It tone. Skirt textiles had various colors compared to slacks. 5. College students generally prefer simple cold color that is close to achromatic color, because shirts and slacks have high frequency of wearing. In color tone, light and soft tone were preferred for shirts, and for slacks, they preferred light or dark tone. Comparatively, blouse and skirt which have low frequency of wearing represented various colors which contain more brilliant and stronger toned warm colors. 6. By the result of analyzing L, a, b value, shirts and blouse textiles showed higher L value than those of slacks and skirt. The textiles preferred by college students were generally close to achromatic color, because values of a, b were very low. This was confirmed with the result of chromaticity diagram. 7. In pattern of preferred textiles, solid textile were preferred mostly for shirt, blouse, skirt and slacks, and stripe pattern was preferred secondly.

• 한국광학회지
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• 제13권4호
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• pp.275-282
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• 2002

2매 접합렌즈와 단렌즈로 구성된 2군 렌즈계의 구면수차, 코마, 종색수차 보정을 위한 3차수차 전개식을 얇은렌즈 근사를 이용하여 해석적으로 유도하였다. 유도된 3차수차 전개식은 telephoto렌즈계의 설계에 적용되었다. 초기설계에서 광학유리 조합은crown-flint-crown조합과 flint-crown-flint 조합에 관하여 조사하였다. Crown-flint-crown조합의 경우 2가지 형태의 achromatic aplanat 존재하였다. Flint-crown-flint조합의 경우에서도 2종류의 해가 존재하였으나, 해의 형태가 유용하지 못하였다.

• 한국의상디자인학회지
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• 제13권4호
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• pp.93-110
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• 2011

This study investigates the analysis on the acceptance of Foreign Fashion trends in Korean Fashion Collection by collections, years, season, and designers. The purpose of this study is Korean collection's degree to adopt and receive foreign collections, by comparative analysis of design features between Seoul and foreign collections. For such purpose, from 2006 S/S to 2011 F/W, 5185 pictures were collected from designer's photos of Seoul, Paris, Milan, NY, and London collections. The content analysis and statistical analysis using SPSS will be conducted for data analysis. The results of the research are as follows. First, regarding the design features, square-form silhouette, achromatic colors, and none pattern were presented as well. Second, there were significant differences in the design characteristics of each year. Particularly, in 2008, X-form silhouette, Yellow and Green color, and flower pattern were emphasized. Third, the design features by season were significant differences. In S/S season, square-form and X-form silhouette, achromatic colors of white and gray color, none pattern were evident while in F/W season, square-form Silhouette, achromatic colors of black and gray, and none pattern were emphasized. Fourth, the design features by designer are as follows. In terms of form, Seoul collection was influenced by Paris collection. In terms of colors, it was influenced by NY and London collections.

• 복식문화연구
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• 제15권2호
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• pp.311-325
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• 2007

The purpose of this study is to investigate the effect of eyeshadow color(brown, purple), lipstick color(red, red purple, and yellow red), and lipstick tone(vivid, light, dull, and dark), clothing style(formal, casual), clothing tone(N9, N7, N4, N2) on image formation. Sets of stimulus and response scales(7 point semantic) were used as experimental materials. The stimuli were 128 color pictures manipulated with the combination of eyeshadow color, lipstick color, lipstick tone, clothing style, and clothing tone using computer simulation. The subjects were 768 female undergraduates living in Gyeongnam-do. Image factor of the stimulus was composed of 5 different components, attractiveness, stability, cuteness, visibility, and tenderness. In the 5 image components, clothing style and clothing tone showed independent effect. In the stability, cuteness and visibility, lipstick color showed independent effect. Eyeshadow color and lipstick tone influenced independently on the attractiveness, stability and visibility. In the coordination of achromatic clothing with makeup face, attractiveness image by the coordination of lipstick tone with clothing tone, cuteness image by the coordination of lipstick tone with clothing style or clothing style with clothing tone, visibility image can be produced by the coordination of eyeshadow color with lipstick color.

• 대한가정학회지
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• 제37권12호
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• pp.1-11
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• 1999

The purpose of this study is to investigate the color preference of women living in Seoul, to provide materials which is useful for setting up the color plan for a better costume, and to suggest new information in the apparel study. This study is done on the basis of color preference only by age and the range of this study restricted on womens' clothes. The subjects of this research are 1,100 young adult women and 1,244 elderly women photographed in the street. The data are analyzed by frequency and percentage. The results of this study are as follows ; The preference of chromatic color and achromatic color, tint and tone, pattern of textiles are different mainly by age. 1. Elderly women prefer achromatic colors to chromatic colors. The most preferred achromatic color is black, especially elderly women prefer black. 2. Analysis of tint shows that blue, red and yellow red are commonly preferred by women. Especially blue is preferred by young women : red and yellow red are preferred by elderly women. 3. Analysis of tone shows that vivid, pale, dark tones are commonly preferred by women. Especially vivid tone is preferred by elderly women, while pale tone is preferred by young women 4. Analysis of pattern of textiles shows at, pattern textiles are preferred by elderly women rather than by young women. The most preferred pattern for elderly women is a flower pattern, and for young women a stripe pattern.

• 한국광학회지
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• 제4권3호
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• pp.243-251
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• 1993

두개의 모듈(module)로서 이루어진 telephoto형 망원경 대물렌즈의 각각의 모듈에 대해 Seidel 1차 수차중 구면수차계수와 코마계수를 영으로 하고, 또 종색수차계수를 영으로 하는 조건을 Gauss괄호를 써서 표현하고, 이어서 이들 연립방정식의 해를 구함으로서 눈으로 직접 관찰하는데 쓰이는 조준용광학계의 최초설계가 유도되었다. 이어서 눈의 분해능에 걸맞게 최적화 수치계산을 수행하여서 최종설계를 얻었다. Aplanat조건을 만족하고 색수차가 제거된 이 telephoto 형 망원경 대물렌즈의 f/${\sharp} 와 half field angle은 각각 8.5, 0.$3^{\circ}$이고 초점거리와 telephoto ratios 는 각각 30cm, 0.839이었다.

• 한국의류학회지
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• 제33권1호
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• pp.160-171
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• 2009

The purpose of this study was to classify the classic image by clothing design elements. This research was done by survey method with 20 kinds of classic image photos selected in fashion magazines. The data was analyzed by Reliability Analysis, Factor Analysis, ANOVA, Duncan's test and MDS. The results of this study are as follows: 1. Classic image was classified by 4 factors. Those were retro-classic, mannish-classic, elegant-classic and contemporary-classic images. 2. Retro-classic image was well-expressed by A silhouette and chromatic and chromatic color coordinations. Mannish-classic image was well-expressed by H silhouette, chromatic and achromatic color coordinations and hard texture. Elegant-classic image was well-expressed by fitted silhouette and chromatic and chromatic color coordinations. Contemporary-classic image was well-expressed by achromatic and achromatic color coordinations and hard texture. 3. Classic image was positioned into mostly retro and masculine on image scale.