• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.217-227
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• 2016

This study suggests story telling-based scenery color plan that uses local story resource in order to raise possibility of success in making characterized town implemented by Ulju-gun, Ulsan Metropolitan City. Characterized town making project of Eoeumhari Town is the first in Ulsan, and detailed project planning is going underway to transform it into story telling street by providing local story to the resource of Eoeumhari Town. Ulju-gun expects big help in luring tourists and activating local economy by maintaining these towns. As in this way, local marketing that uses story telling is recently being taken as a desirable way of overcoming the limit of local development, and it suggest new possibility of scenery color plan. Therefore, I attempted to extract Brand Story from story resources based on climatic color of Eoeumhari Town and apply them to the color plan in order to unique color identity with a town as a unit. It is significant to study as it suggests a direction to discover values of color which can be used for establishing local identity and activating local community breaking from current color plan by large-scale maintenance implemented by each local government.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.46-54
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• 2005

The Purpose of this research was focused on analyzing how costume was exactly researched for film in comparison with the original Renaissance costume, and how to change the degree of brightness and chroma in costume of two films, 'Shakespeare in Love' and 'Elizabeth: The Virgin Queen'. For these purpose, each costume of main seven scenes was analyzed in terms of silhouette, detail, and trimming. Color image, brightness and chroma of costume were compared with the color chip data from Samsung Design Net. As results, costume from two films had exactness in historical research. but the original costumes were modernly changed by the purpose of director. Color image of costume were used proper colors for the characteristic of the story. Costumes of heroine was numerically changed at the degree qf the brightness and chroma through story-going. By this change, director could effectively give dramatic rhythm for the story. The limitation of this research was that color analysis had been conducted on the screen, and this fact might mean the original colors of film might be different from those of screen.

• International Journal of Costume and Fashion
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• v.5 no.1
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• pp.42-58
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• 2005

This study examines the color image of the early 20th century and compares the work of designers' who represented fashion and trend at that time with cinema costume which made after 1990's. This shows the relationship and differences between the color of the past which is presented through designer's works and present which is visualized through cinema costume. The result of this study shows that the color which is reproduced through cinema costume is decided according to the story, time period, scenery space and character of the film rather than being a genuine attempt at reviving the color of the past time period. The color is exaggerated or limited to manipulate the effects of character and story creating a stronger impression to the audience.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.1-14
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• 2005

The purpose of this study is to examine the makeup color range for developing the new makeup product line of domestic cosmetic brand, and suggest the special color stories and color palettes appropriate to characteristics of brand image For this study, personal color images are analyzed and classified through the literature survey of Korean womens' skin rotor like korean PCDS and japanese PCS. Also, a total of 3879 colors were selected from the 18 cosmetic brands and were analyzed by hue/tone color system. Based on the color analysis, the color range for makeup products are determined, and the typical colors of 4 personal color images are suggested. As a results, personal color images are classified into 4 types: DEW of p, lt, b tone; FLASH of s, v tone; MIST of ltg, g, sf, d tone; TERRA of dk, dkg, dp tone. we developed the color stories through five senses and lifestyles based on the consumers' emotion, and the rotor palettes suitable to each type of personal color images are developed.

• Journal of the Korea Convergence Society
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• v.8 no.7
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• pp.315-321
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• 2017

Ice cream color is delivered brand stories to consumer through visual sense stimulation. Today's consumption patterns reflect not just five-senses(look, taste, hear, touch, smell) satisfaction but also the consumption of satisfaction through brand value. these marketing of utilized color is using in beauty design area also. therefore these a study is consisting the theoretical and empirical research, that's for implemented of storytelling the beauty design. on this base contemplation 'B' brand ice cream's color and brand story through the theoretical research, and express the derived design on nails by the empirical research. As a result, a study is implied fusion of ice cream color and nail art design, that believed to serve as a basic source of beauty design and color imagnation that reflect the color of specific brand.

• Journal of Fashion Business
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• v.23 no.4
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• pp.53-67
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• 2019

This study investigated the effects of costume styling, color and texture on character expression in the movies "All About My Wife" and "Marriage Blue". As a study method, the main scenes were captured from the DVD image and the costumes of the main characters were analyzed to examine how the costumes express the personality change according to the story development of the characters. The characters in "All About My Wife" and "Marriage Blue" were studied to see how their personality changes as the story develops and how the costume supports the personality change of those characters. It was checked that costume contributes to effectively deliver the emotion of the characters to audience. In the movies, costume plays an important role in completing the character, and styling, color, and texture of the costume are one of the important means of expression. In a movie, costumes, styling, color, and texture contribute towards development of each character's character. And these elements act synergistically by acting simultaneously rather than independently, thus defining the image of the costume and playing a role in building characters. Movie directors persuade the audience by expressing their intentions in various ways. Among them, movie costume is one of the most effective expression tools. The styling, color, and texture of the clothes are practical and effective methodology that will create a character, so I hope that the field of film art will be researched extensively in the future.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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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.

• Cartoon and Animation Studies
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• s.47
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• pp.381-412
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• 2017

Character conveys rich storytelling and various design elements. Domestic characters are changing and developing in various forms through SNS and offline sources, which are being developed in the aspect of contents industry. The purpose of this study is to find out and discuss the factors that character users are using Korean characters as storytelling and color factor. In terms of storytelling, they prefer adventure, fantasy, absurd and humorous stories. In terms of color, it seems that they prefer a character with simple and simple color/ warm color and warm / cute color composition. On the other hand, characters with a simple story, which is the main subject of early childhood education, fashion, or toys in the aspect of storytelling, are not preferred. In terms of color, it was shown that 4 or more colors were combined without a main color. These main colorless characters gave complex feelings that are not preferred. In terms of storytelling, it is necessary to develop and develop the contents of OSMU(One-source Multi use) through story development with adventure and fantasy structure. In terms of color, it is necessary to configure the user with a simple and simple color which is preferred by the users. Also, the assembly robot toy character needs to increase the satisfaction of the character through simple color composition. As a result of this study, the factors that satisfy the users in terms of storytelling and color are derived. These results will contribute to the development of theoretical aspects, storytelling aspects, and character design industry aspects. Despite the significance of the above paper, it was inevitable to limit the research on the analysis of the storytelling of specific characters, the research through the color analysis framework, the accurate data analysis on the color analysis, and the simple comparative analysis of one.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.325-326
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• 2014

With a history of over 100 years, animation is an art of film and television, and a diversified special form of art as well. Animation scene design is not just about scenic painting but also a time-space formative art that serves for film and television animation, presents story plots, unveils dramatic conflicts and depicts character personalities. Scene design requires both high creativity and artistry. Scene design shall cover the living places, social environment, natural environment and historical environment where the characters live. The use of color is an important part in animation creation. In terms of scene design, it plays a significant role in building up the scene atmosphere, promote the plot and enriching screen contents. Focused on Uproar in Heaven-a classic Chinese animation, this paper analyzes the traditional characteristics of Chinese animation scene color and discusses the application and development of color.

• The Research Journal of the Costume Culture
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• v.22 no.1
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• pp.167-182
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• 2014

This study researched the symbolic meaning of the costume colors in the independent film . The purpose of the study is to shed light on the relation between a film and the clothing color by exploring the symbolic meaning of costume colors as based on place images and as reflected in characters' internal psychological states and situations. The conclusions of this study are as follows. First, the colors primarily presented were neutral shades of black and white or dark, almost-black tones, representing the negative narrative structure and depicting the image of a human being. Second, a series of bright blue shades were presented to reflect the positive narrative structure of a human being returning successfully to reality. Third, the application of color, involving both the psychological aspect as well as the symbolism of color, was effectively delivered to the audience. Fourth, the emphasis on color in the smallest details of costumes was analyzed, and it was found that symbolic color effectively communicated the whole image of transformation as the story progressed, clearly delivered delicate emotional messages, and contained symbolism relating to particular places and situations.