• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.29-43
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• 2006

The purpose of this study is to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking the characteristics and the conceptual meanings of colors found in the majority’s culture. The scope of the basic culture was divided into folk belief, folk game and folk play. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. For the analysis of hue and tone, the secondary dimensional analysis using NCS color system and the three-dimensional analysis using the software, COLOR 3D Version 2.0, were done. The result of this investigation is that the colors of the costume in the Korean basic culture are white, gray and black of achromatic color and yellow, yellowish red and purplish blue. This confirms that the colors based on Five-elements color are becoming the basis too basic culture. And Arche-pattern, which is a characteristic commonly found in the Korean traditional society, was shown as a characteristic of color. The colors of the costumes in Korean basic culture are uniquely adopted by the Korean civilians according to their religious and philosophical living standard. This study is meaningful in seeking a root for the formation of their unique color culture.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.62-70
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• 2007

The purpose of this study was to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking Five-elements color found in Korean civilian's costume culture. The scope of Korean basic culture was 32 items specified as an import intangible cultural asset in the side of religion and art for the majority of the Korean people. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. The result of this investigation was that Red was yellowish red and high chromatic and deep tone within 4area. Blue was purplish blue and high chromatic and deep tone within 4area, similarly Red. Yellow was pure yellow and high chromatic and bright tone within 3area. Red and Blue in Korean basic culture were more primary color and more high brightness than Korean traditional colors. Religion and art fer Korean civilian revealing the Korean basic culture reflected impending real-life of Korean civilian who intend to overcome their desperate reality at using Five-elements color in their costume.

• Proceedings of the KSR Conference
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• 2007.11a
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• pp.1827-1834
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• 2007

The purpose of research will establish the foundation to enhance the skills of Railway Color Design in the future by accurately analysing the Railway Color characteristics. The emotion and demnds of times influences trend of Railway Color Design, the contents of this research also reflects trend in society and culture. The research contains the history of Railway Design and advance research of Railway Color trend especially influenced by society and culture in the from the 1960's to the year 2005. The study is based on the concept of Railway Color Design. it analyzed the related current of society, culture and Railway Color. Collected Railway Color samples(Railway 46 images) were studied by using visual sensation. The Munsell Color System was used as references. This research analyzed railway introduced as railway models by top 4 nation (United Kingdom, Germany, France, Japan) and Korea in the past years(1960-2005) for their Railway Color Design trend by Munsell Color System. Although the Railway industry has rapidly risen according to life style in society and culture, there has been a lack of organized data for Railway Color Planing. this research on the basis will offer the significant information for Railway Color Design.

• Korean Institute of Interior Design Journal
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• no.5
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• pp.53-58
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• 1995

The purpose of this study is to explore how people's evaluation and preference on color palettes differ based on their cultural background. This study used the same color palettes developed by Youngsoon Park and Denise Guerin(1992). Fourteen representative adjectives are used to analyze the meaning evaluation and preference on the six color palletes. 425 undergraduate students are se-lected from Korea, Japan, U.S. and England and ques-tionnaire was used as survey instrument. The results show that there are significant differences among the four countries in the meaning evaluation and preferences on the color palettes and the characteristics of color palettes influence the differences among the countries. The differences among the countries decrease in case of color palettes composed of warm color with low or medium value difference and chroma difference, while the differences increase in case of color palette characterized by strong color contrast with high or medi-um value difference and chroma difference. The result of color meaning evaluation can be catego-rized into Western and Eastern culture. Korea and U.S., and Japan and U.S. showed significant differences in the most words and Korea and Japan showed similarities in the most words. Therefore it can be concluded that cul-tural backgrounds related to race, region and history in-fluence the color meaning evaluation and preference. Fur-ther study should explore the relationship between color and culture using more various color instruments such as color palettes in order to categorize the various aspects of culture.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.172-181
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• 2023

Dunhuang murals are one of the most outstanding achievements in the art of traditional grotto painting in China, and are known as a "Wall Museum". As a representative of the heyday of Dunhuang murals, an in-depth exploration of Dunhuang murals from the perspective of color will help researchers understand the laws and connotations of color in Dunhuang murals during the Tang Dynasty and fully grasp the art of Dunhuang murals. The color system of the traditional Chinese "Five colors" concept expresses the cultural attributes and emotions of the Chinese people and has distinctive national characteristics. This thesis provides a theoretical grasp of the traditional Chinese "Five colors" view of color system, the Dunhuang murals of the Tang Dynasty, and the color configuration of the color composition principles, and uses the modern design principles of color composition to conduct an in-depth analysis of the configuration of the Dunhuang murals' use of color. Explore the unique characteristics of Tang Dynasty Dunhuang murals, and help modern designers master richer color application techniques by learning from and studying the harmonious patterns of Dunhuang murals to provide a new path for the dissemination of excellent Chinese traditional culture.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.87-93
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• 1999

In the millenium, which will be characterized by its global culture, a strong sense of identity of one's culture is needed to nature one's culture in a way that more people can participate in creating, enjoying and consuming it. In order to respond to both globalization and localization, natural and cultural backgrounds of such should be considered in the conversation of nature, so that the optical and color environment can have local identity while undergoing sustainable development. Therefore, the objective of this research is to enhance the image of a city, which is endowed with beautiful scenery and unique culture, but has lost its identity since industrialization An through a scientific and systematic color planning The Research was conducted as follows. First, color environment which doesn't reflect local characteristics due to modernism which emphasizes on uniformity was examined. Second, standard and analysis of environment color planning were examined. Natural color specimen was use to make a palette of nature colors, from which colors for architecture were extracted to come up with color combination types. Without traditional architecture philosophy, materials and colors, which were once in harmony with the environment, it is impossible to clean up the environment all together. However by using colors to control new city plans, urban redevelpment, construction and renovation gradually, that process can be effective and less costly.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.32-32
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• 2003

This research has for its object to look carefully into the peculiarity of the color of the costume in the Korean culture by revealing the characteristic and the idea of the color being discovered in the Korean basic culture, which has the majority of the Korean people. The scope of the basic culture was divided into folk belief, folk game and folk play. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. For the analysis of hue and tone the secondary dimensional analysis using NCS color system and the three-dimensional analysis using the software, COLOR 3D Version 2.0, were done.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.184-191
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• 2022

Unity Painting is a concept that the researcher put forward to locate his own creative style in his creation. Unity Painting, with a clue of reflecting the characteristics of contemporary oriental visual culture, combines the contemporary painting features of a variety of western painting languages. It aims to link the painting system formed in the context of oriental culture with the world's contemporary art and try to present a new contemporary painting with oriental genes. According to the Chinese literature, the researcher sorted out the five main colors (五正色), ten colors for Heavenly Stems (十天干色彩), five intermediate colors (五间色), and five colors as the expression of the Chi of Thriving and Fading and the Chi of Birth and Death, and deduced the summary and stipulation of the color of yin-yang and five elements under the concept of Unity Painting. Based on this, the researcher drew the color-phase and its variation stipulation diagram of ten colors for Heavenly Stems, the orientation of Heavenly Stems (天干方位), color-phase variation diagram (色相变化图), as well as the stipulation system diagram of the five elements (五行), Heavenly Stems and Earthly Branches (干支), energy, time and colors. Through the research and collation of the literature, the researcher took the stipulated five elements color (五行色彩) as the basis of the color concept of creation to complete the work. This paper discusses how to find the starting point of contemporary art creation in the context of traditional oriental culture, sorts out the practical creation logic, and provides ideas for subsequent researchers, with a view to better establishing the identity of the creator and providing research significance and value in the context of the study of oriental art.

• Current Optics and Photonics
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• v.2 no.1
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• pp.101-106
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• 2018

Color-normal observers (CNOs) and color-deficient observers (CDOs) have different preferences and emotions for color images. A color-image quality-enhancement algorithm for a CDO is developed to easily adjust images according to each observer's preference or image quality factors. The color-perception differences between CDO and CNO are analyzed and modeled in terms of the YCbCr chroma ratio and hue difference; then the color-shift method is designed to control the degree of color difference.

• The Research Journal of the Costume Culture
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• v.9 no.2
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• pp.308-318
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• 2001

The purpose of this study is to investigate the clothing interest, the preference for clothing color, in men of their 20s and 30's. The data were obtained from questionnaires completed by 546 men in their 20's and 30s. The SPSS package was used for data analysis which includs factor analysis, t-test, x²-test, Scheffe test, and Cronbach's α to measure the reliability. This study shows the following results. 1. The interest for clothing color was related to individual factors. (age, marriage status, personality). 2. men in their 20's and 30's preferred neutral color, blue, yellow. 3. Men in their 20s and 30s liked monochromatic match in clothing color. 4. The preference for clothing color were appeared to be influenced by the age, personality, skin color.