• 폴리머
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• 제31권5호
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• pp.442-446
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• 2007

알칼리 가용성, 광경화형 폴리에스터를 합성하기 위해 플루오렌형 에폭시 아크릴레이트에 다양한 산 2 무 수물을 반응시켰다. LCD (liquid crystal display) 컬러 필터용 블랙매트릭스를 제조하기 위해서 합성된 폴리에스터와 카본블랙 등을 혼합하여 포토레지스트 용액을 조제한 후 리소그래피 공정을 통해 유리 기판 위에 블랙매트릭스패턴을 형성하였다. 합성된 다양한 폴리에스터의 특성과 리소그래피 패턴을 비교 조사하였다.

• Journal of Biosystems Engineering
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• 제33권2호
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• pp.130-135
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• 2008

The purpose of this study was to develop a preprocessor for real-time portable quality evaluation system of milk. The preprocessor consisted of two flow pump to supply milk sample and reaction reagent at given volume, a fan to mix milk with reaction reagent, a thermoelectric device to maintain sample temperatures of $40^{\circ}C$, and I/O interface to control signals. The tests conducted with different level of flow rate of pump, fan speed, ambient temperature, and intial temperature of mixtures. To evaluate performance of the preprocessor, the supplied volumes, color changes, and temperatures were measured and analyzed. The results showed that the preprocessor could control supplying volumes, mixing, temperatures of samples automatically. The preprocessor showed good performance to be used for portable quality evaluation system of milk.

• 한국식품조리과학회지
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• 제22권1호
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• pp.45-55
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• 2006

The purpose of this study was to determine the optimal mixing conditions of three different amounts of spinach powder, butter and egg for the preparation of spinach muffins. The mixing condition for spinach muffins was optimized by response surface methodology. Egg was the most influential on height. The maximum point was achieved with 30.08 g of spinach powder, 247.69 g of butter and 184.97 g of egg. The optimum mixing rates of spinach power, butter and egg were 29.51 g, 252.24 g and 192.33 g for color, 32.43 g, 249.87 g and 180.90 g for overall quality and $28\sim34\;g,\;250\sim260\;g\;and\;175\sim210\;g$ for maximum score of overall organoleptic quality, respectively.

• 한국식품영양과학회지
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• 제27권6호
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• pp.1132-1136
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• 1998

The optimum mixing conditions of kochujang(persimmon kochujang) added persimmon puree was optimized by four dimensional response surface methodology. The organoleptic color of persimmon kochujang showed the maximum score in 86.74g red pepper powder, 133.51g persimmon puree and 26.31g salt. The organoleptic aroma persimmon kochujang showed the maximum score in 83.48g red pepper powder, 135.38g persimmon puree and 24.50g salt. The organoleptic taste of persimmon ko chujang showed the maximum score in 85.09g red pepper powder, 133.61g persimmon puree and 25.57g salt. The overall palatability of persimmon kochujang showed the maximum score in 82.99g red pepper powder, 133.10g persimmon puree and 25.47g salt. The optimum mixing conditions for overall orga noleptic properties of persimmon kochujang were 83.00g red pepper powder, 133.00g persimmon puree and 25.00g salt.

• 한국식품조리과학회지
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• 제15권3호
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• pp.216-223
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• 1999

The purpose of this study is to find out the optimal mixing ratios of three different amounts of green tea powder, sugar and water for preparation of Sulgiduk through Response Surface Methodology based on the color, sensory, and texture test. The green tea powder levels were included 0.5∼1.0%, water levels were included 15∼25% and sugar levels were included 5∼15% per weight of rice powder. The optimal mixing ratios of a green tea powder, sugar and water for manufacturing the best quality of Sulgiduk were 1.0%, 12% and 22%, respectively.

• 문화기술의 융합
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• 제8권6호
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• pp.801-806
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• 2022

현대에서 디지털 시대에서의 색채 능력의 필요성은 시대의 요구로 기존 실습에 없는 세분화된 디지털 4영역에 관한 색채 실습 개선의 연구가 필요한 것이다. 기존 물감 색채 실습에서 해결되기 어려운 디지털 전공자들에게 더 특화된 4분야 영역별 디지털 색채 실습의 수업이 필요하며, 디지털화된 채색 및 색채 감각의 수업을 위해 효율적 인공지능의 활용을 연구하였다. 본 논문에서는 기존 색채 배색과 조색이 CMYK분야만 할수 있는 실습이었던 것을 포토샵 인공지능 쎈쎄이(Adobe Sensei)의 인공지능과 빅데이터 기술을 기반으로 디지털 색채 배색 실습과 조색의 방식을 제안하여, 색채 실습 영역 확대를 보여주고자 하였다. 아울러 최신의 어도비 쎈세이 프로그램 인공지능이 제공하는 개별 사용자들의 색채 정량화한 데이터를 토대로 필터 효과를 활용한 디지털 색에서의 실질적인 색 조합과 렌덤색채에 대한 학습자 예측을 향상 시키는 실습에 목적을 두었다. 결론적으로, 기존의 물감 실습의 혼색 과정의 모호성을 제거하고, 디지털 채색의 디테일을 보안한 프로그램 활용의 연구이며, 학습자의 수준과 숙련도가 낮아도 인공지능의 지원을 통한 학습능력의 향상으로 감각을 키워나가기 좋은 초급자와 중급자의 효과적 학습 방법을 제공할 수 있는 실습방식을 제안하고자 했다. 이론 고찰을 통한 배색과 주색에 필요한 어도비 프로그램 실습 방식과 기존 물감 실습보다 학습능력에 좋은 교습 향상에 대해 제시하였다.

• 디자인학연구
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• 제15권1호
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• pp.49-58
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• 2002

컴퓨터 기술의 발달함에 따라 일선 교사들로 하여금 애니메이션과 같을 다양한 시각도구를 이용하여 멀티미디어 교육자료를 고안, 개발하는 것이 가능하게 되었다. 화려한 3D 애니메이션 기법을 도입한 게임, 또는 영화의 특수효과들과는 달리 멀티미디어를 이용한 교육자료들의 경우 정지된 영상이나 2D 애니메이션을 이용한 것들이 대부분이다. 컴퓨터 애니메이션이 학습효과에 도움을 준다는 것은 누추나 인식하고 있는 사실이지만 3D 애니떼이션을 이용한 멀티미디어 교육이 얼마나 학생들에게 효과 있는지에 대한 연구는 미흡한 실정이다. 본 논문에서는 1차 색상을 혼합하여 2차 색상을 얻는 기본적인 색채이론 과정을 3D 컴퓨터 애니메이션으로 표현하는 방법을 기술하고 본 시청각 교육자료를 통하여 이루어진 색채교육의 결과가 기존의 방법들을 보완하면서도 어린이들로 하여금 색채이론의 이해도를 제고하는데 미치는 효과를 알아보았다.

• Restorative Dentistry and Endodontics
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• 제22권2호
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• pp.622-636
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• 1997

Glass ionomer cements, which had been developed in 1972, were widely used as an agent for cementation, base, pit and fissure sealant, and esthetic filling material with the advantages of excellent biocompatibility, anti-cariogenic fluoride release. Specimens were made to evaluate the color change of Glass ionomer cement with a newly developed improved Fuji II Le. Specimens for color change study with cement thickness of 1, 2, 3mm were made and those for the study of color shift pattern were made with the assumption that new mid-shade can be made by mixing of equal amount of both shades in 2mm thickness. After 24 hours in a $37^{\circ}C$ incubator, CIELAB color spaces were evaluated with a spectrophotometer. The results were as follows ; 1. All specimens discolored to dark and blue with an increased thickness in all shades (p<0.05). 2. There were significant $a^*$ space (red-green direction) changes in every A, B, C, D shade series except the relationship between 1mm and 2mm thickness groups in B shade series. But the changes were irregular, i.e., each shade series has its own pattern. 3. Each shade series showed its own specific color shift pattern in all $L^*$, $a^*$, $b^*$ spaces. 4. B shade series showed less amont of changes in ${\Delta}{\pm}E$ than those of A and C shade series (p<0.05), but there was no significant difference in ${\Delta}E$ within each shade series.

• 조명전기설비학회논문지
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• 제29권11호
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• pp.6-17
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• 2015

In this paper, colors of broadcast lightings composed of Red, Green, and Blue LED(Light Emitted Diode) can be linearly and quantitatively controlled in low illuminance. Because LED cannot emit uniform illuminance in low illuminance, the colors of RGB LED are unmixable. Furthermore, the illuminances are nonlinear with the dimming values of the RGB LED due to the nonlinearity of the output illuminance with the current through the LED. This nonlinearity generated errors of the target colors and illuminances. The proposed algorithm set up the target colors, which is expressed by the color coordinates in CIE 1931 color space, and the target illuminances. Then the illuminances of RGB LED were calculated using color mixing theory. The calculated illuminances determined the dimming values of the RGB LED for transmission via DMX512 communication. After the broadcasting lighting received the dimming values of the RGB LED via DMX512 communication,.RGB LED can emit target color and illuminance, and be controlled by calculating the PWM(Pulse Width Modulation) duty ratio of the hybrid LED driver which be considered the nonlinearity for the illuminances of the LED. As a result, the proposed algorithm can linearly and quantitatively control the colors and illuminances in full range of illuminance. Then we verify experimentally that the errors of the emitted color coordination x, y and illuminance are 2.27%, 3.6% and 1.5%, respectively.

• Journal of Information Technology Applications and Management
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• 제28권6호
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• pp.69-85
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• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.