• Journal of the Institute of Electronics Engineers of Korea SP
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• v.48 no.1
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• pp.1-7
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• 2011

In this paper, we propose the digital image enhancement method including local tone reproduction and preservation of the hue. In recent studies, an integrated multi-scale retinex (IMSR) has produced great naturalness in the resulting images through enhancement of visibility in dark area in input images. However, most methods, including IMSR, work in RGB color spaces. As such, this produces hue distortion from the perspective of the human visual system, that is, hue distortion in CIELAB color space. Accordingly, this paper proposes an tone reproduction and enhancement of saturation method in a device-independent color space, CIELAB, to preserve the hue and obtain a high contrast and naturalness. First, to achieve the desired objectives, the IMSR is then applied to only the $L^*$ values in CIELAB color space, normalization, and simple mapping function, thereby preserving the balance of the color components and enhancement of visibility. Then, saturation adjustment is performed by applying the ratio of the chroma variation at the sRGB gamut boundary according to the corrected luminance. In experiments, the proposed method is shown to improve the visibility in dark shadows and bright regions in the resulting images and reduce any color distortion then preference test are performed.

• Food Quality and Culture
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• v.2 no.1
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• pp.20-26
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• 2008

Color is one of the most important attributes determining the purchase of food products by consumers. Therefore, the purpose of this study was to identify consumer color preferences for songpyun, a traditional Korean rice cake, by a consumer acceptance test and using coated Pantone color chips. Color evaluation tools for the study were developed accordingly. From the results, the songpyun sample designated as product E was given the highest color acceptability score, and was 'slightly liked' (p<0.05). The color of product E was 'very pale red-purple'. All the evaluated pink-color songpyun products were based on this red-purple hue, however, they had differences in tone. The consumer panel favored a pale tone over a bright tone. The color concept for traditional songpyun within the pink color category was identified as 'very pale red-purple', using coated Pantone color chips. This result for the conceptual color preference was consistent with that of the consumer color acceptance test. Thus, color chips could be an effective tool when applied for color standardization in traditional foods production. From the overall results, it seems consumers are perceiving color trends and are willing to adapt to such changes in food applications.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2011.05a
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• pp.79-80
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• 2011

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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• pp.193-204
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• 2002

Many fashion forecasting companies propose the fashion colors in every season. Modern fashion consumer respond to fashionable trends with utmost sensitivity. Therefore to satisfy the consumer with an trendy image, the fashion design must be found first, as image matters, followed by an analysis of each design element's effect on the total image composition. In previous studies of fashion image, has been discussed the positive correlation between fashion design elements of color, fabric, and form as the central issue. In this thesis, two of the fashion design elements, color and fabric are simultaneously considered to classify the image of fabric in fashion. For the color variables, 10 hues are selected from Munsell's system of color notation, and 12 tones from PCCS color notation., which are currently used in the domestic fashion industry. Texture variables used in this survey are classified by luster, prominence-depression of surface, thickness, and density of fabric. Graduate students from 20 to 50 years old and the specialists in fashion companies participated in the survey. The results of this survey are as follows: 1. The fashion fabric image is classified as 5 main images: 'elegant', 'comfortable', 'characteristic', 'light'and 'simple'. 2. The influence of hue, tone and texture is significant to the fashion fabric image. Following colors, yellow-red, red hues and light grayish, dark grayish tones convey the elegant image. The texture property for the elegant image is luster, thin and low density. Properties of fabric conveying the comfortable image are yellow-red and green-yellow hue, soft, light tones, matte and high density. Furthermore, hue turned out to be a insignificant variables for the unique image, whereas dark grayish, grayish tone, luster and prominent texture convey a unique image. For light image, properties of fabric are blue-green, purple hues, light, bright tones with thin, low density texture. Properties of fabric conveying the simple image are blue-green, purple-blue, green-yellow hues, and strong, vivid tones, with luster and flat texture.

• Journal of the Korean Society of Costume
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• v.55 no.3 s.93
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• pp.19-32
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• 2005

Internet shopping has transformed our daily lives as well as the pattern of consumption. In the word, the development and the growth of online shopping site have led to new pattern of consumption. This applies in particular to clothing, among the product on sale, on the internet. The purpose of this research is to analyze the characteristic of colors and images on internet fashion soho mall web site, and to provide efficient color information which is usefull in color planning and suitable for brand image on fashion web site. 147 color sample used by 40 fashion soho mall web site were collected and analyzed. The results of this study are as follows. First, dominant color on fashion web site is static color as black and it's ratio is 33$\%$. Second, G color is not used. Third, Hue and tone mainly used It tone of P color except V tone. And the color image on internet fashion soho mall web site are modern, chic, dandy, formal. Results from analyzing the fashion soho mall Web site. it is important to unity the company's image but its more important to make a color plan considering the sites feature and the customers's sensitivity.

• Science of Emotion and Sensibility
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• v.13 no.3
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• pp.559-572
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• 2010

Color, an important visual cue, can cross-modally affect odor association and odor quality identification Here, this research investigates aspects of the cross-modal associations between color and fragrance in greater depth, delving into the topic of whether the degree-of-association of fragrances with hue and tone of colors varies systematically. For 33 color stimuli (10 hues, 3 tones, and 3 achromatic colors), 67 subjects judged the degree-of-association of four typical fragrance families (fresh, floral, oriental, and woody) on a 7-point scale. The statistical analysis showed that fragrance associations of the all families had characteristic distributions across ten hues of the color stimuli. The cross-modal relationship between color tone (especially, lightness attribute) and fragrance association appeared to be dimensional (e.g. a positive linear relationship between the floral family and the lightness). More specifically, as colors became warmer and brighter, the associated floral scents were stronger, while the woody scents was less associated. Brighter or more vivid cool colors were associated with stronger fresh scents. These findings confirm the systematic existence of synthetic interactions between vision and olfaction in perfumery.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.11a
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• pp.54-57
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• 2009

This study was aimed to investigate the effects of visual texture on color emotion and to establish prediction models for color emotion by both physical color properties and visual texture characteristics. A variety of fabrics were printed by digital printer according to hue and tone combinations. Subjective sensation was evaluated in terms of visual texture for fabrics printed in gray whereas color emotion for those in chromatically printed. As results, fabric clusters by visual texture showed significant differences in color emotion factors and the differences were clearer for grayish tone fabrics. Prediction models for color emotion factors by both physical color properties and visual texture clusters were proposed as for all fabrics and grayish ones, respectively.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.146-161
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• 2010

The purpose of this study was to analyze the characteristics and images of costume colors in Korean Masque Drama. For this study, 242 color samples were selected by extracting digital color data by using the Eyedropper Tool of Photoshop 7.0. The RGB color data were transformed to HV/C and the attributes of color and tone were analyzed. Color images were analyzed with the IRI color image scale. As a result, neutral, red, purple blue, and yellow were found to be the most frequently used colors in the Korean Masque costumes. In the ton analysis, white tone showed high frequency and next orders were dp, s, v, b, sf. In the hue & tone, the most frequent color was white, followed by R(v), PB(dp), R(dp), YR(s), GY(s) and mGY. Color images were focused on dynamic, gorgeous, and natural images.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.106-116
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• 2010

The purpose of this study was to investigate the image evaluation of chinese female college students according to coloration of dress shirt and necktie and necktie width. The experimental materials developed for this study were a set of stimulus and response scales. The stimuli were 12 color pictures, in which the hue(red, blue), tone(lt-shirt/dk-tie, dk-shirt/lt-tie), and necktie width(narrow, medium, width) were manipulated. The 7-point scale was used for evaluation of image. The subjects of this research were 120 chinese female college students living in Shandong, China. The investigation was carried out at April-May 2009. The data were analyzed by using SPSS program. Analysis methods were ANOVA and Duncan-test. The results of this study were as follows.; The analyses of image according to coloration of dress shirt and necktie and necktie width revealed that the concerned factors are four characteristic dimensions of ability-elegance, youth-attractiveness, appeal, and warmness. Hue showed an independent effect on ability-elegance, appeal, and warmness. Tone showed an independent effect on appeal and warmness. Necktie width showed an independent effect on appeal. In addition, interaction effects of hue and tone on ability-elegance were found. Interaction effects of hue and necktie width on appeal were found. Interaction effects of tone and necktie width on youth-attractiveness were found.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.115-128
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• 2018

Tibetans who live in the Tibetan highlands, the Roof of the World, have their own unique lifestyle wherein they conform to its long history, natural environment, and their own form of clothing culture. In their costumes, the use of colors, patterns and designs express religious meaning and represent the hopes and heart of life, which respects nature. This study aims to analyze the colors used in Tibetan costumes and examine the meaning of these colors. In addition, this study intends to understand the specificity of Tibetan culture through a consideration of the symbolism of the colors of ethnic costumes. By examining the literature and conducting case studies, colors of Tibetan costumes were analyzed through the I.R.I HUE-TONE system. We analyzed 96 photographs of the costumes photographed during the Tibet ceremony costume, photographs seen at the Qinghai Tibet Culture Museum and photographs from the Internet museum. The results revealed the following: First, the most important element of the costumes is connected to the five colors of JangOsaek, which gives meaning to each color. Red, navy blue, yellow, white and green symbolize fire, the sky, earth, clouds or snow, and grasslands, respectively. Second, Tibetan costumes are characterized by bold color contrasts such as red and green, black and white, red and yellow, and yellow and purple to achieve an intense harmony of colors. Third, these fancy costumes express the unique aesthetics of the Tibetan people. The primary colors follow general emotions, but they can also include their own emotion.