• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.28-40
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• 2004

The purpose of this study was (1) to identify the experimental bias which could appear person perception as results of development methods (2) to find out the most desirable method in developments of stimulus. The research was a quasi experiment and the subjects were 358 male and female undergraduate students by convenient sampling. The experimental instruments consisted of a set of stimulus and semantic differential scales of 7-point bi-polar adjectives. The collected data were analyzed by Principle Component Analysis, ANOVA(analysis of variance), Scheffe's multiple range test. The independent variables were developing methods of stimulus(live person, photography of real person, 2 kinds of black and white line drawing, 2 kinds of color drawing). The results were as follows. First, five factors which were potency, sociality, appearance, evaluation, activity impressional dimensions emerged to account for the methods of development of stimulus. Second, the methods of development of stimulus had significant effects on potency, sociality, appearance, activity factors. In sociality factors, the impression of photographic stimulus was the closest to the live person's impression. However in the appearance and activity impressions, significant difference existed between live person and other developing stimulus. In the potency impression, black and white line-drawing gave the highest impressional bias. In the sociability and appearance impressions, color-drawing stimulus gave the highest impressional bias. Result: On conclusion the developments of stimulus can effect on stimulus person's impressions and these effects can produce experimental biases, the photographic stimulus gave the least impressional bias. The study shows that photography of real person will produce minimize measurement error.

• Journal of the Korean Wood Science and Technology
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• v.26 no.1
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• pp.51-56
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• 1998

The bast fiber of paper bush misumada have been cultivated in south coast bay of the Korean peninsula were not used to handmade painting paper. Therefore, in using the bast fiber of paper bush misumada manufactured handmade painting paper, tested absorption speed, blot characteristics and organic functions. The results are summarized as follows; The handmade painting paper manufacured only the bast fiber of paper bush misumada proper to the absorption speed of China ink, didn't have difference of the length and width for blot. And it was most fitted to east writing-and-painting using. Also the flexibility excell, and light and shade in overpainting directly appeared, and fitted to black-and-white drawing. And the using increase plan of the paper bush misumada demanded.

• Journal of the korean academy of Pediatric Dentistry
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• v.24 no.1
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• pp.235-246
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• 1997

This study was done as a pilot study to develop a color test measuring children's dental anxiety. The subjects of study were 511 preschool children aged from 3 to 6. Caries experience was examined. Children's drawings of the dentist were collected and analyzed by the method of human figure drawing test modified by Sonnenberg and Venham. Colors of high dental anxiety level were black, brown, purple, red, yellow, pink, green, orange, blue, gray, yellow ochre, and white in that order. Colors of high frequency of use were yellow ochre, green, blue, red, orange, pink, black & purple, yellow, brown, gray, and white in that order. As the age increased, white & gray, yellow ochre, and blue increased and black, purple, and pink decreased. Boys liked green and blue, and girls liked orange and yellow. Filled teeth rate was highest in yellow ochre group and very low in black group. Children who had an educational dental visit before the test used green color more than the rest of children.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.78-90
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• 2014

This paper examines the way that the principles of coloration for Hoecha(繪次) and Sucha(繡次) were applied for shoe making in ancient China and Korea. Hoecha is the principle of drawing, and Sucha is the principle of embroidery. Hoecha and Sucha is the application principle of the five colors(五方色) from the five elements(五行: metal, wood, water, fire, and earth). Hoecha matchs a color with the opposite side color, and Sucha matchs a color with the beside color. A shoe consists of Sinul(body of shoe) and ornaments attached to it. According to the ratings of shoes, Hoecha and Sucha were differently applied for coloration of Sinul and its ornaments. In general, shoes were classified into Seok and Gu. For Seok, which was the high-ranked shoes, Hoecha was applied, while Sucha was applied to Gu, the low ranked shoe. As Hoecha was originally a principle of coloration for patterns on tops(jacket. 上衣), it was applied to the high ranked shoes i.e., Seok. Also, as Sucha was a principle of coloration for patterns on bottoms(skirt. 下裳), it was applied to the low ranked shoes i.e., Gu. Thus, black was decorated on red Seok, blue on white Seok, red on black Seok, yellow on hyeon(玄: a kind of black color) Seok, and white on blue Seok, all of which were applications of the principle of Hoecha. As the application of the principle of Hoecha to Seok was also done for red Seok for males and females in late Joseon, and red Seok for the crown prince in the period of the Korean Empire, black decorations were used for red Sinul. However, for blue Seok, worn by females in the period of the Korean Empire where Ming's systems prevailed, black decorations were used, which was an application of Sucha. Though there had been no discrimination between genders in the application of Hoecha and Sucha originally, the low ranked principle of coloration was applied to Seok for females.

• Journal of Korean society of Dental Hygiene
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• v.6 no.4
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• pp.339-348
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• 2006

The present paper described the relationship between dental anxiety and main colors of elementary student's drawing of dentists. This paper is based on the survey with 555 samples were chosen from a first, second and third grade students of the elementary school located in Chilgok-gun Gyeongsangbuk-do. During the survey, students were asked to picture a dentist by using 12 colors crayon randomly. And the survey result was summarized in three categories. Those are the main color(most frequently used color) distribution in the children's drawings, ratio differences of the main color in terms of gender and the anxiety score for the each color. 1. The order of main colors was blue, white, green, gray, yellow, purple, ocher yellow, orange, pink, red, black and brown from the top to bottom. 2. The main colors distribution in terms of gender, male mostly used green and black compare to female, and female mostly used pink, yellow and white compare to male(p<0.01). 3. The order of the anxiety score for main colors is black, brown, red, yellow, pink, orange, green, white, gray, blue, purple and ocher yellow form the top to bottom(p<0.01).

• Journal of English Language & Literature
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• v.55 no.5
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• pp.907-936
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• 2009

Quite arguably, W. E. B. Du Bois is the first figure in the history of black nationalism who engaged most persistently and systematically with the dominant ideology of racism and white supremacy. It is not too much to say that, by contending with the Eurocentric but taken-for-granted concept of the 'Negro' in the turn of the century, Du bois has laid the theoretical and ideological cornerstone of postcolonialism today. But his concept of race varied over time and was even contradictory in the same writings. The early Du Bois defined race as something historically made rather than biologically given and determined. Yet he didn't utterly deny the significance of physical traits and skin color in constructing racial identity. His notion of the 'Negro' was not unambiguous, either. While drawing on the 'soul' of 'black folk' to undermine the Eurocentric dichotomy of white/mind and black/body, Du Bois argued that there is some kind of 'spiritual' differences between whites and blacks, differences that are essentially inherent and hereditary in the 'Negro.' Such essentialist notion of race and the 'Negro' was on the wane in the later Du Bois, especially after his encounter with Marxism. He came to think of race merely as a discourse of racism that can be subverted and even appropriated for anti-racist practices. Following the Marxist assumption that 'the color line' is a class conflict on the international level, Du Bois contended that the 'Negro' is an outcome of slavery which is in turn a subsystem of Western capitalism. He also argued that, since the 'Negro' is not a biological essence but a sociocultural formation, the identity of the 'Negro' can and must be reconstructed according to historical change. For Du Bois, therefore, the resistance against colonialism and capitalism became a resistance against racism. This is why his Pan-African movement shifted its gear from the American program in the initial phase to a truly 'Afrocentric' and socialist one.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.90-111
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• 2021

Seojangdaeyajodo is a drawing of Jangyongyoung's military night training on February 12 (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the positions and roles of the low-ranking soldier belonging to Jangyongyoung, and the composition and characteristics of military uniforms for each role were examined. The results ascertained by the historical research on the military uniforms are as follows. Deungronggun, noeja, sunryeongsu and daegisu who were placed in front of the king's Seojangdae were the low-ranking soldiers belonging to Jangyongyoung. The soldiers who escorted the king around Seojangdae were lowranking soldiers belonging to Jangyongyoung. The military uniform of the deungronggun was consisted of a jeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon and black shoes. The low-ranking soldier's heopsu suggested that it could also be a sochangui. He carried a sword and a red lantern. Noeja were divided into a sinjeonsu and a jujangsu. The military uniform of the noeja was consisted of a Jujeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon, and black shoes. Sunryeongsu were divided into a sinsigisu and a younggisu. The military uniform of the sunryeongsu was consisted of a jeongeon, a black heopsu, red gweja, indigo jeondae white haengjeon and black shoes. He carried a sword and a red lantern. The military uniform of the daegisu was consisted of a jeongeon, a black heopsu, blue gweja, indigo jeondae, white haengjeon and black shoes. He carried a sword and a flag. The soldiers surrounding Seojangdae and the seongjeonggun defending the fortress were the Chogun. The military uniform of the chogun was consisted of a jeolrip, a black heopsu, houi, indigo jeondae, white haengjeon and straw shoes. Houi was applying the five directional colors: the east is blue, the west is white, the south is red, and the north is black. He carried a sword and a gun. It was presented as an illustration of costumes that could produce contents by reflecting on these historical results. The basic principle of the illustration was to present the standards for 3D content production or actual production. Samples of form, color, and material according to the times and status were presented. The front, the side, and the back of each costume and the feature were presented, and the colors were presented in RGB and CMYK.

• Acta Via Serica
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• v.3 no.1
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• pp.119-138
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• 2018

The dragon of the East was an object of worship and an authority to make rain, unlike the West. The dragon image, one of the positively accepted Chinese motifs with the blue-and-white porcelain of the Ming dynasty by the Ottoman Empire in the 16th century, was combined with gigantic saw-edged leaves to create a genre in Saz style. By combining Eastern dragons with plant motifs instead of clouds, dragons were no longer accepted as authority and nobility but as symbols of life and longevity. Unlike Iran and other countries, the image of dragons in Turkish miniature paintings has evolved into a unique style using Turkish calligraphy. The stylistic feature is that a thick black line that gives the impression of calligraphy forms the dragon's back or a huge saz leaf stalk and forms the axis of the screen. Most of the work was black ink drawing, not painting, and partly lightly painted. In the development stage, the dragon appears as a protagonist on the screen of the early works, but the dragon retreats to the latter half and the saz leaves play a leading role on the screen. A common feature in all paintings, whether early or late, is that they have a militant character and create tension on the screen. From the viewpoint of comparative culture, Turkish dragon miniature drawings of the 16thcentury Ottoman period and the Joseon dynasty are somewhat similar in that they are based on calligraphic character and desire for longevity and loyalty, and are drawn according to certain iconic principles.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.42-56
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• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• Proceedings of the Korean Society of Soil and Groundwater Environment Conference
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• 2003.04a
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• pp.97-99
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• 2003

Lineament density maps can be used for the quantitative evaluation of relationship between lineaments and groundwater occurrence. There are several kinds of lineament density maps including lineament length density, lineament cross-points density, and lineament counts density maps. This paper reports the usefulness of the representative elementary area (REA) concept for lineament analysis. This concept refers to the area size of the unit circle to calculate the lineament density factors distributed within the circle: length, counts and cross-points counts. The circle is a unit circle that calculates the sum of the lineament length, lineament counts and the number of cross-points within it. The REA is needed to obtain the best representative lineament density map prior to the analysis of relation between lineaments and groundwater well yield or other groundwater characteristics. A basic lineament map for the Yongsangang-Seomjingang watershed of Korea, drawn from aerial black-and-white photographs of 1/20, 000 scale was used for demonstrating the concept. From this study, the conclusions were as follows: (1) the REA concept can be efficiently applied to the lineament density analysis and mapping, (2) for whole Yongsangang-Seomjingang watershed which has 6, 502 lineaments with an average lineament length of 3.3 km, the lower limits of each REA used for drawing the three density maps were about 1.77 $\textrm{km}^2$ (r=750 m) for lineament length density, 7.07 $\textrm{km}^2$ (r=1, 500 m) for lineament counts density, and 4.91 $\textrm{km}^2$ (r=1, 250 m) for lineament cross-points density, respectively, (3) the lineament densities are inversely proportional to the size of REA, and the REA can be calculated with this inversely linear regression model, (4) if the average lineament density values for the whole study area are known, the most accurate density maps can be drawn using the REAs obtained from each linear regression model, and (5) but critical attention should be paid to draw lineament counts density and lineament cross-points density maps because.