• Journal of Mushroom
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• v.20 no.4
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• pp.241-248
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• 2022

To elucidate how cultivation temperature affected various traits including pileus color, yield and morphology of Pleurotusspp. Main results were as follows. Pileus lightness of all cultivars of Pleurotustested became higher as cultivation temperature increased, while those of Santari, Hwang-geumsantari and Sunjung at 21℃ were lower than at 18℃. Redness and yellowness of pileus decreased as cultivation temperature increased; those of chromatic pileus cultivars showed noticeable difference. Yellowness of cultivar with chromatic pileus was higher than that of cultivar with achromatic pileus. Yield was increased as cultivation temperature increased, Wonhyeung 1ho; low temperature favored cultivar showed high yield when it was cultivated at low temperature andno fruiting body at 21℃. Valid number of stipes were generally higher at 18℃, and its correlation coefficient with yield was low. Length and stipe thickness changed consistently (larger and thicker) upon cultivation temperature; the coefficient of determination(R²) 0.514 for lengthof Heuktari and 0.963for stipe thickness of Santari were high. Correlation coefficient of one trait was highly related with multiple traits. In the future, we will conduct research on the changes of expressed genes involved in the pigments for pileus color by RNA expression analysis.

• Journal of KIISE:Computing Practices and Letters
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• v.14 no.1
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• pp.1-12
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• 2008

In this paper, we present a real-time algorithm for recognizing the vehicle color from the indoor and outdoor vehicle images based on GPU (Graphics Processing Unit) acceleration. In the preprocessing step, we construct feature victors from the sample vehicle images with different colors. Then, we combine the feature vectors for each color and store them as a reference texture that would be used in the GPU. Given an input vehicle image, the CPU constructs its feature Hector, and then the GPU compares it with the sample feature vectors in the reference texture. The similarities between the input feature vector and the sample feature vectors for each color are measured, and then the result is transferred to the CPU to recognize the vehicle color. The output colors are categorized into seven colors that include three achromatic colors: black, silver, and white and four chromatic colors: red, yellow, blue, and green. We construct feature vectors by using the histograms which consist of hue-saturation pairs and hue-intensity pairs. The weight factor is given to the saturation values. Our algorithm shows 94.67% of successful color recognition rate, by using a large number of sample images captured in various environments, by generating feature vectors that distinguish different colors, and by utilizing an appropriate likelihood function. We also accelerate the speed of color recognition by utilizing the parallel computation functionality in the GPU. In the experiments, we constructed a reference texture from 7,168 sample images, where 1,024 images were used for each color. The average time for generating a feature vector is 0.509ms for the $150{\times}113$ resolution image. After the feature vector is constructed, the execution time for GPU-based color recognition is 2.316ms in average, and this is 5.47 times faster than the case when the algorithm is executed in the CPU. Our experiments were limited to the vehicle images only, but our algorithm can be extended to the input images of the general objects.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.23-34
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• 2013

The purpose of this study is to better understand the development and characteristics of knitwear fashion design by examining the transformation process of the modern knits. The subjects of the study are Missoni, Sonia Rykiel, and Azzedine Alaia, designers who are world-renowned knit designers, and the expressive techniques in their designs will be evaluated. The study also intends to analyze the aesthetic value of each designer's style through their product's silhouette, colors, and knitting techniques. On the basis of the analysis, we hope to research the factors in the designing process that will allow knits, which were made for practical purposes, to be valued as a luxury fashion item, and with the results, show the potential for knits in expanding its domain in fashion to become a more luxurious, creative fashion item. The characteristic comparison of the designers is as follows: First, in the case of colors, Missoni shows its distinct identity through a balance of splashy colors as well as nature-inspired color composition and balance. And, only with color use, is also able to express perspective, form composition, and rhythm. Sonia Rykiel designs are composed of black backgrounds with strong primary colors that are contrasted with one-point or stripes to express a light, urban image. Alaia emphasizes femininity by the use of black and white colors, which show modernity, in combination with neutral skin-toned colors, such as beige and gray. So, in other words, Missoni and Sonia Rykiel mixed colors for visual interconnectivity, while Alaia expressed femininity through the use of an achromatic color. Second, in the case of knitting techniques, Missoni uses the jacquard technique to make complex patterns that show balance of colors and patterns such as zigzag, stripe, geometries, and titan check, which are geometric, abstract, and symmetric. Sonia Rykiel who uses stripes as her trademark, most often utilizes the intarsia technique, which is expressed through one-point. Alaia combines diverse techniques, such as the Skashi weaving, by using computerized knitting. Third, as for silhouettes, Missoni eliminated exaggerated details in order to emphasize the flashy colors and delicate patterns and weavings of its designs, and this resulted in simplistic and relaxed silhouettes. Sonia Rykiel took advantage of the elasticity that the knit offers to get a tight silhouette, and in turn, emphasized the female sensuality. Alaia used curvilinear cuts that emphasized the womanly curves and gained an image considered soft and feminine.

• Journal of Conservation Science
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• v.31 no.4
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• pp.429-441
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• 2015

The purpose of this study is to analyse the properties of Seokrok and Noerok that are used for restoration of heritage and arts. Malachite is main constituent mineral for Seokrok and Celadonite is Main component of Noerok. To evaluate the physical properties of pigment, A,B-class Seokrok and heated Seokrok that are sold in market were selected. To compare this results, Noerok sold in Japan were studied. In addition, we studied the pigments of Noerok. The heat treatment had no significant effect on the physical properties, except for the color-difference. The color-difference of Seokrok is larger than that of the Noerok sold in Japan. The $a^*$ values of Seokrok specimens are horizontal distribution, so it will expand the coloring ranges. The properties that are chromaticity, specific gravity and oil-absorption of Noerok are different from Seokrok. Noerok is suggested that achromatic color because the values of $a^*$ located near zero. Specific gravity of Noerok is smaller than Seokrok, but oil-absorption is larger twice. Noerok and Amnok, although ingredients are different, it is possible to use alternative because of similar physical characteristics. The result from this study expects to be used as useful referencing data for conservation and restoration of cultural heritage and understanding phenomena of the properties.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.661-672
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• 2015

In this study, nine scarf designs expected to be effective for accent design for the fashion style of new senior women were suggested by reflecting purchase behavior and scarf preference after conducting surveys and an analysis by targeting 136 new senior women in order to propose scarf design-matching with the preferences of new seniors. As a result of the study on the scarf purchase features of new seniors, it was revealed that the purchase time for scarves was mainly autumn and winter, even though it is regardless of season, and in spring and summer, they seldom purchased scarves. The purchase frequency was four times a year, and what they first thought of at the time of purchase was represented in the order of color, design, and the material of the scarf. They most preferred department stores, mixed and achromatic colors, cotton and silk fabrics, natural and geometric patterns, and long scarves of a rectangular shape. In the case of the consumer attributes of scarves, it was revealed that $50^{th}$ desired more individuality-oriented, unique scarf designs than $60^{th}$, and $60^{th}$ desired scarf designs with convenient management considering others' attention compared with $50^{th}$. As concepts for scarf designs, the aspects of individuality, co-existence, and maturity were extracted by reflecting the features of new senior women, and a total of nine scarf designs were suggested by developing three sub-designs for each concept.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.15-30
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• 2017

The purpose of this study is to analyze the formative characteristics of Hanbok among youngsters based on SNS proof shots, identify new characteristics of Hanbok as part of play and travel rather than as formal Hanbok, and provide information for the Hanbok market. As research methodology, our search was carried out by using '#Hanbok Travel' as the search word in Instagram, where the Hanbok proof shot phenomenon is actively under way. A total of 535 posts from March 21, 2016 to April 1, 2016 were selected as objects of this study, excluding posts containing Hanbok with indiscernible shape, Korean traditional costume manufacturers' promotional posts, and repetitive posts by one person. First, the 535 posts were analyzed by season, region, number of people, and gender, and after men's data were excluded, 644 Hanboks were left for analysis. Their formative characteristics were analyzed by using SPSS 21.0. The results showed that the formative characteristics of Hanbok shown in SNS proof shots included diversification of length in jeogori(Korean traditional jacket), skirt, and sleeve, use of pragmatic material and achromatic color, and reduced use of decorative technique. Hanboks shown in the Hanbok proof shots should be considered as significant data because each shots show clothes selected and worn directly by user's side, unlike the existing studies centering on Hanbok designers' works.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.115-125
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• 2016

This study analyzes the characteristics of the motifs and colors in flower and bird paintings which contain and present Korea's unique aesthetics based on its richest data among all other types of Korean folk paintings. With a theoretical exploration of folk paintings and an analysis of the motifs and colors, textile design with an aim to present highly valued korean modern fashion design was developed. Two hundred and seventy flower and bird paintings were selected from relevant materials, resulting in an extraction of 5,068 colors. A palette of representative colors was made based on densely distributed hues and tones. The research can be summarized as follows: Flower and bird paintings contain flowers, birds, trees and animals and the motifs in the paintings stand for spirituality, philosophies from different times and other symbols of our nation. Each of the motifs in these paintings is a prayer for good luck, especially conjugal harmony and fecundity to bring about happiness and richness. Colors in flower and bird paintings are characteristic of the order: YR(25.5%)>R(19.2%)>Y(10.6%)>PB(9.2%)>G(7.9%), with low-chromatic YR and highly bright R taking up a larger percent. The order of tones is: d(13.5%)>dk (10.5%)>s(10.4%)>dkg(10.0%)>sf(9.1%)and the tone is dark in general. YR, taking up the largest percent, was dull, light, and soft. As for the achromatic colors, the order is: W(5.2%)>Gy(1.9%)>Bk(0.7%). Based on the above analyzed color data, those colors which were high in their hue and tone were extracted to present representative colors. In this way, representative colors like yellow, yellowish red, red, green, and purplish blue were extracted. This was the basis to present motifs and colors originating from subjects of folk paintings in various patterns using Illustrator CS6, to create modern fashion design.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.64-76
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• 2014

This study aimed to analyze the expressive characteristics of design elements and fashion images shown in wedding dress styles in the 2000s. The findings were as follows. First, in wedding dress style the fashion images analysis showed that classic images appeared the most frequently, and fantastic, modern, kitsch, sexy, futuristic and ethnic images appeared the most, respectively. Second, design elements analysis of fashion images concluded that as for the appearance frequency of the silhouette, A line was the highest in classic, fantastic and kitsch images and H line was the highest in ethnic, modern, futuristic and sexy image. As for the appearance frequency of the necklines, bared top neckline was the highest in all of the fashion images. As for waistlines, natural waistlines except modern image of obscure waistlines appeared the most frequently in all of the images. As for sleeve, sleeveless appeared the most frequently in all of the images. As for material, see-through was the highest in ethnic, classic, sexy, fantastic and kitsch images. Luster material was the highest in modern and futuristic image. As for colors, white and achromatic, traditional wedding dress color, appeared the same in all of the seven fashion images, but chromatic colors appeared the most frequently in ethnic images. Third, the distinguishing expression features of fashion images shown in the wedding dress style of the times is as follows: 'Total fashion in wedding dress style', 'Emphasizes sexy image expression in wedding dress style', 'Various co-existence of wedding dress style', and 'Avant-garde expression in wedding dress style'.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1038-1049
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• 2009

A hat is an important fashion accessory item for a total fashion coordination and the number of millineries is increasing in the current accessory market. This research provides basic information about the millinery in relation to consumer consumption behavior, preference, and satisfaction with hat products. A survey was conducted among 395 individuals age 20 and over who were quota sampled according to age and gender to investigate the differences between genders and different age groups. The collected data were statistically treated with the SPSS 12.0 program in terms of frequency, percentage, mean, standard error, cross tabulation, t-test, one-way ANOVA, and a Duncan-test. The results are as follows: 1. Respondents wear hats for ornamental purposes regardless of the season. They discard hats when they become out of style 2 to 3 years after the purchase. 2. In general, consumers prefer the baseball cap design among various hat product categories. Achromatic colors were the favorite color tone and the preferred material was woven cloth. 3. Consumers were most satisfied with colors and most dissatisfied with deformation after laundering. 4. There was a significant difference in preferences among the different age groups. Younger consumers were more concerned about individual image and style. Older consumers considered hats as a functional means such as protecting themselves from the sun. 5. There was a significant gender difference. Compared to males, female consumers were more concerned about the quality of sewing and colorfastness than male consumers.

• 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.