• FLOWER RESEARCH JOURNAL
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• v.19 no.4
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• pp.259-263
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• 2011

A new spray chrysanthemum (Dendranthema grandiflorum) cultivar, 'Dimple' was developed from a cross between 'champy' and 'SP05-135', by selection of seedlings and lines at the Flower Research Institute, Gyeongnam Agricultural Research and Extension Services (ARES) from 2005 to 2009. Its characteristics were investigated three times from 2007 to 2009 under condition of forcing culture in spring and retarding culture in autumn. The natural flowering time of 'Dimple' was October 24th, and year-round production was possible by day-length control. This cultivar has single type flowers with bright yellow ray floret and green center. The plant is very vigorous and very stable in the color of petals when it is cultivated even under high temperature condition in summer. Its flower was 4.7 cm in diameter, and it had 20.3 flowers per stem in autumn. The days to flowering under the short day treatment is about 50 in spring season, and 'Dimple' showed the vase life of 21.3 days in autumn. This cultivar was registered for the protection in 2009.

• Korean Journal Plant Pathology
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• v.1 no.1
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• pp.33-37
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• 1985

A yellow stripe and bud benting disease of soybean was commonly observed on the field at Suweon area. The causal agent was identified as alfalfa mosaic virus (AMV) by indicator plant reactions, physical properties, serological test and electron microscopy. AMV produced vein clearing, top necrosis, top bent and mottling on the parts of soybean plants. Local lesions were produced on the inoculated leaves of Vigna sesquipedialis, Vicia faba and Tetragonia expansa, while Chenopodium am, anticolor, C. quinoa, Pisum satvium, Petunia hybrida and Nicotiana tabacum 'Bright yellow' were systemically infected. The thermal inactivation point was $60^{\circ}C$, dilution end point was $10^{-3}$, and longevity in vitro was 2 days at room temperature. AMV from soybean was reacted with AMV - antiserum in agar gel diffusion test. Electron microscopy of AMV from soybean exhibited bacilliform particles of 60nm in length.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.132-150
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• 2010

The purpose of this research was to study the forms and styles of the costumes in the Peking Opera of China and to figure out the symbolism and aesthetic value of the costumes. The research was done using documentary Peking Opera, the costumes can be seen as a special kind of language which audience members can clearly understand it. Therefore, the spectators can understand instantly the sex, age, personality, and position of the character by seeing the style, color, and patterns of the costumes. As a result, one can call the costumes of Peking Opera, "picturizing costumes". The typical costumes are mangpao, pi, kao, xiezi, yi. Mangpao is the ceremonial robe often used by emperors and officials. It can be worn by lao sheng, xiao sheng and wu sheng. Bright yellow and apricot yellow colors are used exclusively by those who play the parts of emperors, foreign rulers, princes and the Monkey King. The next costume style to be discussed is Pi. Pi is the informal dress for the emperor, and young officials that are involved in civilian or military duties. The third costume style to be explored is Kao: the garment that a stage warrior wears when going into battle. This warrior can have three kinds of armor: the hard armor, the soft armor and the newly revised armor. Fourthly, the costume that is the most commonly worn, xiezi, is examined; it is the informal coat for every one regardless of one's age, sex, role, or level of nobility. Finally, the last of the typical costumes is Yi; this costume category includes numerous kinds of costumes, such as kaichang, baguaiyi, fayi, guanyi, yulinjia, kanjian, toupeng, jianyi, etc

• Korean Journal of Human Ecology
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• v.24 no.2
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• pp.267-284
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• 2015

The purpose of this study is to extract the color chip from the works of Matisse with the exotic tastes, to analyze the characters of adjacent colors, and to suggest the color coordination of artistic character. The research method is based on the literature study which analyzes visual materials. The results are as follows. Considering the colors of Japanese taste, He employs vivid and strong tone in red, yellow, and blue, light tone in pink, purple, and green and deep tone in green, purple, blue and black. His color scheme is very bold and splendid. In his Algerian taste, red is very popular, but an attention should be paid in his development of orange and blue tones. In general, the usage of various tones brings colors into less relief and make the contrast of tones more conspicuous. His Spanish taste, based on red and orange, attracts attentions with strong impressions, but sometimes, dark or adjacent pale tones creates strong, mild and murky atmosphere. The Moroccan taste, based on the development of blue tones which have strong attraction implies the lightness but represents silent and calm. The Rumanian taste, represented in primary colors of red, yellow and blue and achromatic colors is bright and clear. In addition, its light tone in various colors represents peace and romance. The coordination of the exotic colors with the unique adjacent colors created by Matisse is not based on the established color coordination theory, but extracts colors in the aspect of culture borrowing. Therefore, it can double the effects of the color scheme expressed in the existing designs and be used as the global and multi-cultural design sources.

• 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.

• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.346-352
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• 2011

The purpose of this study were to see what is the color preference for college students and the meaning of color, based on color psychology. The subjects are the male and female university students in Busan and the survey is conducted in March 2009, September 2009. Analysis is based on eight kinds of colors such as red, orange, yellow, green, cyan, blue, purple which are used in the psychological analysis of Howard & Dorothy Sun Corporate CRR (Colour reflection reading), and words representing the meaning of colors. A total of 259 questionnaires were used to analyze data and analysis was conducted by using SPSS 14.0 statistical package. First, by examining the best three colors among eight colors, the red which represents sociable and passionate leadership and a lot of energy was the first. Second, in terms of positive and negative sense, the green is stable, protected, red is passionate, strong', yellow is bright, happy and green is' clean, young. The Blues has peaceful, tranquil image', the orange is lively animation, cheerful, and the purple shows a positive meaning of beautiful, precious, often mature, loving. Third, the preferences of boys and girls to compare colors in the first preferred color, there were significant differences between boys and girls. Most boys prefer blue, while the girls like red the most. Both boys and girls look at the meaning of green color with the most positive sense and especially male students have the negative connotation about the green color than female students.

• Journal of Fashion Business
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• v.11 no.3
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• pp.79-86
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• 2007

The purpose of this study is to understand the dyeing properties and color analysis of fabrics knitted with ramie, cotton, wool and acrylic by using scoria and to analyze whether the knitted fabrics can be used for industrialization by measuring color fastness after and before sliver-nano process. The following is the conclusions. Firstly, when ramie fabric regarding cotton, wool and acrylic was dyed at the temperature of $50^{\circ}C$ for fifteen minutes by using 10, 25, 50, 100g/ $\ell$ of scoria, dyeing absorption gradually increased up to 50g/ $\ell$, and over the point of 50g/ $\ell$ it showed slow increase. Secondly, regarding saturation, among ramie fabric, wool, cotton and acrylic, wool appears as the lowest brightness. Therefore, it can be dyed with bright color and the highest value. In terms of the value of chromaticity, wool also emerges as the lowest brightness. On the contrary, acrylic showed the lightest red as it had the value of the smallest b. Cotton takes the lightest yellow as the b value of the cotton showed the smallest. Thus, scoria dyestuff is a material that showed strong red and yellow on knitted fabric mixed with wool that is the biggest a. b value. Thirdly, in terms of dyeing fastness, sunlight fastness did not show noticeable differences before and after silver-nano processes, but in terms of washing and friction fastness, the material processed by silver-nano indicated that all knitted fabrics are over 4-5 point. which means silver-nano process can be effective for the industrial applications. As mentioned above, as a result of dyeing knitted fabrics with scoria, this study found a possibility of dyeing in the fabric materials, and if there is deeper dyeing experiments, fastness experiments and speculations, it might be possible to be a big issue just like loess and charcoal.

• Korean Journal of Medicinal Crop Science
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• v.15 no.1
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• pp.6-11
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• 2007

This study was conducted to identify physiologically active substances from leaves and stems of peony plant. MeOH extracts and column chromatography were employed to isolate active compounds and chemical structure were identified by IR, UV, Mass and NMR. The results obtained can be summerized as followings : Chemical structure of compound 1 was identified as oleanolic acid (white color form) of triterpenoid group, which is firstly identified from the above part of peony. Compound 2 was identified as kaempferol (yellow needle form) of flavonoid group, which was firstly identified from the root, leaf and stem of peony. Compound 3 was identified as methyl gallate (white power form) of phenol group, which was firstly identified from the above part of peony. Compound 4 was identified as astragalin (bright yellow needle form) of flavonoid group, that was firstly identified from the leaf and stem of peony. Compound 5 was identified as paeoniflorin (white color form) of monoterpene group, that was firstly identified from the above part of peony.

• FLOWER RESEARCH JOURNAL
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• v.17 no.1
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• pp.44-47
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• 2009

A new spray chrysanthemum(Dendranthema grandiflorum Ramat.) cultivar 'Yes Uri' was originated from a cross between 'SP03-033-02' and 'SP03-005-04'. This cultivar was tested on the characteristics from 2005 to 2007 for the evaluation and selection including shading and retarding culture. The natural flowering time of 'Yes Uri' is the late October, but year-round production is possible by shading, lighting and retarding culture. This cultivar was pompon in flower type with a color of bright yellow(RHS 7A), 13.8 flowers per plant and 91.5 cm of plant hight. The diameter of flower was 4.4 cm and the preference was high at 4.14 ranged up to 5.00. The days to flowering under the short day was 8 weeks and plant was very vigorous. It had resistance to white rust and showed 23.6 days of vase life in autumn season.

• Fashion & Textile Research Journal
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• v.20 no.3
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• pp.257-265
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• 2018

This study investigated the colors of the costumes in the film 'The Handmaiden'. The author categorized and examined the hue and tone of the main character's costume as well as provided an adjective image surveyed from the standpoint of the audience in order find if the intended story of the director is delivered to the audience through costume colors. Study method analyzed 25 set costume colors of the heroine 'Hideko'. The color analysis were analyzed by capturing DVD images that showed the costume of 'Hideko'. The colors of costumes were analyzed by recognition through the eyes based on the IRI, Hue, and Tone 120. In addition, the analysis of the IRI adjectives image were conducted through the survey. Costume hue of the heroine 'Hideko' in the film 'The Handmaiden' were black, yellow, white, green, and purple. There were many colorful costumes in the movie. Tones were very pale, deep, bright, vivid, strong, and pale. Chroma were evenly distributed and brightness were distributed in the order high, middle, and low. They were interpreted as the intention of showing the situation and psychology of 'Hideko' in various scenes of the film through various costume colors. Color images of the film 'The Handmaiden' were classified as feminine, mature, classy, delicate, classic, noble, polished, refined, showy, western, mellow, pure, and decorative.