• The Journal of the Korea Contents Association
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• v.9 no.4
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• pp.162-171
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• 2009

In directing a film, aesthetics are use for visual manifestation of narratives to audiences. Especially, colors have important roles in that process to express emotions and to convey the story. For 3D animation, they may play even more important roles due to the nature of colors being generated by computers. This paper studies the relationship between narratives and colors by analyzing how colors change by the rise and fall of tensions in narratives, and by investigating how emotional expressions are affected due to color changes.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.108-123
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• 2006

This Study is about the color images oi clothes in the early 20th century in the Eastern and Western culture and the recreation of this color images through modern costume design in film. The aim of this study is to show how early 20th century color has born reinterpreted through present film costumes and how different cultural perspectives can influence color images. For the purposes of this study, 30 pictures of clothing, representative of the early 20th century, as well as films which have been internationally recognized for their costume design and strong cultural identity('Farewell M) 'Concubine', 'Raise the Red Lantern', 'Chicago' and 'The English Patient') were chosen and analyzed. The color image of these photographs and scenes from the movies were divided by Pantone Solid Chips and categorized by color groups such as red, orange, yellow, green, blue, violet, neutral and metallic. The analysis results of the color images in the early 20th century showed that the red group was used a lot in both cultures and the orange group was more often used in the West. In regards to the yellow group, goldish yellow were commonly used in the West but pale yellow was preferred in the East. The green group more used In the West but the blue group appears more in the East. Also, there were differences in color combination, texture and technique which demonstrates different cultural color recognition and association. In the case of film color image, present color image was added to past color image. In the West, color was used as a tool for visualizing the state of characters' mind and the mood of movies' story but in the East color image was intended to make the character stand out by changing the value and chroma. By comparing the color image of clothes from the early 20th century and color image from film in the West and the East, it is possible to analyze the cultural symbolic image of color. This study is one of first trials to analyze the cultural differences in rotor images and their symbolic meaning. Thus, further studies should persue to find out the influence of culture on the rotor image in terms of specific quantity and quality.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.12
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• pp.2006-2021
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• 2010

An authentic national spirit in media (particularly films), traditional images, and color preferences is expressed through movies that are melted in local traditions. This study suggests a direction regarding the characteristics for historical costumes by examining traditional color images and cultural preference in the Chinese film (1987), a representative film that deals with Chinese history and traditions. This movie can illustrate the correlation between the temporal backgrounds and the costumes in the movie with the criteria of Eastern color systems. The results of this research are summarized as follows. First, the image of Chinese traditional colors represented in many parts of and the cultural preferences that underlies their works through the expression of traditional colors. The scenes of traditional costumes and colors express the visual embodiments of the costumes that reflect a specific status, ceremony, or ritual. Second, the traditional colors used in the movie are based on the Yin-Yang theory. Particularly, Red, Yellow, Black is mostly used for ordinary clothing. Third, there are some differences in the use of color arrangements, that change regarding the use of traditional colors according to images and situations that follow the intention of the director. Planning the color arrangements is considered an engaging connectivity between traditions and images in the movie and it is extended or reduced based on cultural preferences. Fourth, the increase and decrease of color arrangements is distinctively represented as the story of the movie proceeds.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.66-82
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• 2007

This study has analyzed the main works of Hayao Miyazaki, a great master of Japanese animation, and inquired into the internal and external feature of characters depicted in his works. The creation of animation character starts from non-being in the planning step and becomes an important medium which will contain the story and the subject of drama. Therefore it's possible to analogize what he intends to represent through the identity, role and external feature of characters appeared in Hayao Miyazaki's animation. As a result of analyzing these external features, the message pursued by Hayao Miyazaki shows diversified girl character unlike the existing one of Japanimation, the girl characters in his works are sometimes sexless, sometimes androgynous, but they take the role to show the intention of director and to settle matters through new femininity free from any frame. In addition, the story of drama and other components show that the Japanese-typed is being sublimated worldwide with fantasy world through oriental appearance of girl character and various color symbols.

• Archives of design research
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• v.14 no.2
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• pp.67-76
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• 2001

Children's Picture Book is the literature with which children face for the first time as a form of close harmony between text and picture. The picture book shows what is happening and also what may happen mn the children's surroundings and takes great Influence on their creativity, thinking ability, emotion, and Intellectual ability by delivering affluent story through the pictures. The color expressed in the children's picture book is as much important as other formative elements such as shape and texture, and the expression of color on the basis of color emotion is much more Important In that It appeals to the children's feeling. The color which is expressed through the illustration of children's picture book conveys distinctly the motion and feeling of characters who are expressed un the picture book as well as distinction of theme and background and expresses persuasively the whole process of plot and atmosphere so that it might convey various emotions such as delight, sorrow, pleasure, wonder, and fear to children. This thesis alms at analyzing various effects of color contrast, process of color, hue variation, and use of color according to the atmosphere of each cut and the process of plot by selecting the children's picture books which were published abroad and home on the basis of color concept, emotion, and image association which children feel In order to Investigate and analyze the symbolism of color and emotional effect expressed through the illustration of children's picture book, and presenting a direction of color use to produce high-level children's picture book with illustrators individuality and artistry.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.261-270
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• 2020

In film, color is a tool for storytelling and a metaphor for a story's theme. This study constructs efficient and objective data by analyzing color images of movies delivered to the audience. This Research the visual perception process of color in films and studies the processes accepted by the audience. Through this research process, we examine the emotional response caused by the visual stimulus of film color and quantify the visual factor through color in the film as a factor that effectively induces the emotional response of viewers who watch the movie. This study analyzes the mise-en-scene of Wes Anderson's film, Royal Tenenbaum, and studies the role of communication in cinematic colors. Quantitative analysis of color distribution data is performed using computer color analysis program on the colors displayed through 10 chapters of mise en scene. Through color analysis, it was analyzed that Anderson composed the movie scenes in red and yellow red (YR) with low saturation and medium brightness. Through this analysis, we study how color is used throughout the film and how the quantitative form of its use is to be used as the psychological factor controlling audience's emotion.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.446-460
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• 2007

This study shows that digital technology is adapted practical method in fashion design process and virtual simulation and cyber fashion gallery based on virtual reality are researched. This study is proposed the 3D fashion design simulation in the virtual space used on 3D studio max, poser, photoshop program according to fashion design process. The main design concept is "temporary bridge" from rainbow. This study is supposed six fashion design in accordance with three sub-theme under main concept by changing color and texture used on 3D simulation. The results of this study are as follows: 1. This study produced Cyber Fashion Gallery in virtual space to the form of CD Rom title and web title by Macromedia Director 8.5, Macromedia Flash, Sound Forge. And it is enlarged the field of expression in aspect of Fashion Exhibition, beyond restriction of time and space. 2. Clothes modelling tools is able to easily adapt to various textiles and patterns in 3D dynamic virtual mannequin before making clothes. Digital technology is able to express image changed color and texture, especially new material, multi-finishing material and brilliant material and so on. So this study is able to develop tools for study of fashion coordination. 3. Cyber Fashion Gallery consists of gallery, story, painting, symbolism, example, image, quit. This study is enlarged the range of clothing expression by digital technology and open to possibility customized-manufacture.

• Journal of Fashion Business
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• v.20 no.2
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• pp.78-96
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• 2016

This study investigated the colors of the costumes and backgrounds of characters in the fantasy film, Alice in Wonderland(2010) by Tim Burton. The methods used were literature studies including related books, articles and internet materials, and positive research with DVD color analysis. Twenty-one scenes were selected by the researcher. Five scenes were selected from novel and film components representing, exposition, complication, crisis, climax, and denouement. After controlled pixel by photoshop program and the represented colors, hues and tones were analyzed. The results were as follows; First, in four characters, Alice's dress colors changed depend on the situation and the passage offered from blue to red, metal light, and blue green. The Mad Hatter's colors were orange with green which signified madness and passion. The Red Queen's red dress and blue make up represented countrified and evil. The White Queen's all white dress and hair, black eyes and vivid red meant purity and nobility. Similar characters' colors were limited. Second, the background colors, especially tones were an important component of the fantasy image. These were different for each type of scene in the film such as exposition, complication, crisis, climax, and denouement.

• Cartoon and Animation Studies
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• s.11
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• pp.137-151
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• 2007

This study is based on Tim burton's 'The nightmare before christmas' and analyzation was made to see how he used lights and to understand his unique color visual story telling style. The analyzation revealed that Tim burton used second class hollywood movies of $1930{\sim}60's$ and classical lighting style. He used this lighting style in 'The nightmare before christmas' as a really strong visual structure which substantially attributed to maintains it's fantastic mood consistently.

• Journal of architectural history
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• v.14 no.1 s.41
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• pp.21-39
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• 2005

This study is to examine the Severe-Ornament (Vyuha :Sanskrit) of wooden pagodas in Shilla period in order to assume a detailed shape of wooden pagodas called the palace style, the multi-story style, the towered namsion style, that were built at the temples in Gyeongju during Shilla period. The Severe-Ornament had been used traditionally by installing a Buddhist image, Guardians, Sarira and by printing a color. The other hand, The roof tiles and tiles were annexed to the Severe-Ornament so as to enhance the value of the wooden pagodas. The Vyuha had been used not only to install a highly valued Buddhist image in the wooden pagodas but also to represent an important part of ritual art of Silla period. Therefore, it was possible to find out a variety of details of the wooden pagodas in Shilla period.