• Journal of the Ergonomics Society of Korea
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• v.26 no.4
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• pp.143-146
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• 2007

Due to the expansion of cities and the increasing number of large-scale and complex public spaces, there is an increase in public signage. Moreover, the information described on these signs tends to be diverse and complicated. Complex signs that contain multiple destinations or other information must be considered to determine not only the proper size, color, etc. but also the most effective arrangement of design elements. In the previous research, the cognitive utility of complex public signs was estimated using computer simulation software. In the current research, we focused on the objective estimation of the effectiveness of the results obtained in the previous research utilizing an eye mark recording system. Two cognitive engineering experiments clarified five points for improvement in the usability of complex signs, as follows: 1) Parallel construction of characters and pictograms is more efficient. 2) Grouping elements result in rapid recognition of information chunks. 3) Visual characters and pictograms are effective, along with proper density of information. 4) Specific arrangement of sign arrows is effective. 5) Figures on signs influence the sequence of information searches.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.34-47
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• 2008

Recently, as popular interest in costumes in Korean films and TV dramas has increased, traditional dress in works has re-evaluated with modern perspective of the Western color system. The results of this study can be summarized as follows. First, the traditional dress for women appeared in works after the 2000s has shown features similar in the use of red has appeared high. The high frequency of brown and pink, orange and purple used main colors in Western works. Also, what is the most prominent is the high frequency of use of achromatic colors. Second, the color harmonies of the East and the West have been done through color arrangement. The structure with more than 2-colors has been gradually changing into single or 2-colors, which give simple images to people. Third, in order to portray characters' diverse and psychological situations, Korean works have expressed the symbolisms of colors from the Western perspective. Though red symbolizes theory of Yin-Yang and Five-Elements, passion and authority since 2000 have used red to make main images. Also, pink is used as softness and pure images. Though works before the 2000s showed low frequency of the brown. The achromatic color that it has been applied to various parts. Recently black has been developing into a color symbolizing themes. Given the results from this study, it could be expected in future that the categories of color domains will be gradually extended as it is a trend for the traditional dress to escape from primary colors. On the other hand, achromatic colors that minimal and modern sensibility as well as basic color in fashion, especially the black, will increasingly extend ranges of utility or show a tendency of resolute changes.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.6 no.8
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• pp.491-498
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• 2016

This paper proposes a visualization method that expresses users' MBTI personality types based on the categorization method called 'Big Five Personality Traits' and their representative celebrities' facial images. This system has significance for visualizing traits from texts to images effectively. The entire system is composed of making backgrounds to represent traits of each MBTI category using 'Big Five Personality Traits' and showing facial images of celebrities with corresponding MBTI personality types. First, 'Big Five Personality Traits' classifies 16 MBTI types into four categories and each of category traits lays the foundation to make background using visual elements such as colors and lines. Second, celebrities' facial images are substituted for the corresponding literal explanation of each MBTI type. By adjusting the color saturation, users can distinguish relationship between the types intuitively. As a result, this system enables users to take information for their own / opposite / similar MBTI types simultaneously.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.26 no.5
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• pp.181-187
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• 2016

In this study, new composition of orange color pigment was developed by replacing formerly used lead and chromium with environment-friendly elements. $TiO_2-SnO-ZnO$ composite was synthesized using the solid state reaction under the reducing atmosphere with the LPG and air mixture gas. The synthesized pigments were characterized by spectrophotometer, X-ray Diffraction (XRD), Scanning Electron Microscopy (SEM) and X-ray Photoelectron Spectroscopy (XPS). The colorimetric analysis of pigments exhibited color values ranging from yellow to orange-red. Five different crystalline phases were formed after the heat treatment for 4 and 6 hours. The color of pigments was strongly influenced by the crystalline structure of $SnO_2$, having either cubic or tetragonal structure. The oxidation state study of elements revealed that the color of pigment is getting close to rYR with the increase of $Sn^{4+}$ ratio.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.53-59
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• 2010

This paper mainly focuses on the Korean Folk Village and Beijing Si-He-Yuan, according to the color theory of hue, value and chroma of Munsell color system to demonstrates the similarities and differences of the traditional upper-class housing between South Korea and China. As the neighboring countries sharing very similar culture and philosophy which owe to the continual communications between China and Korea in the history. The Obangsaek which is derived from the thought of five-elements profoundly and deeply impact on the color selection of traditional housing in both countries. According to the quantitative analysis of photographs, it was found that: 1. The commonly used colors in Korea are Y, YR and neutral color, but in China, people usually used R and GY, especially the high chroma red in Beijing Si-He-Yuan was used as a symbolic color. 2. The chroma preference of traditional housing reveals that people in China used to apply the polychrome and various brightness, on the contrary, the color of low chroma and high lightness were used to be applied in Korea which can give the sense of simplicity and tranquility. 3. Red, one of the Obangsaek affects the color characteristic of Beijing Si-He-Yuan critically but scarcely impact on the color characteristic of Korean Folk Village.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Cartoon and Animation Studies
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• s.40
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• pp.477-496
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• 2015

Emotional awareness is the image of a person is represented by different tendencies. Currently, the emotion computing to objectively evaluate the emotion recognition research is being actively studied. However, existing emotional computing research has many problems to run. First, the non-objective in emotion recognition if it is inaccurate. Second, the correlation between the emotion recognition is unclear points. So to test the regularity of image sensitivity to the need of the present study is to control emotions in the computing system. In addition, the screen number of the emotion recognized for the purpose of this study, applying the method of objective image emotional computing system and compared with a similar degree of emotion of the person. The key features of the image emotional computing system calculates the emotion recognized as numbered digital form. And to study the background of emotion computing is a key advantage of the effect of the James A. Russell for digitization of emotion (Core Affect). Pleasure emotions about the core axis (X axis) of pleasure and displeasure, tension (Y-axis) axis of tension and relaxation of emotion, emotion is applied to the computing research. Emotional axis with associated representative sensibility very happy, excited, elated, happy, contentment, calm, relaxing, quiet, tired, helpless, depressed, sad, angry, stress, anxiety, pieces 16 of tense emotional separated by a sensibility ComputingIt applies. Course of the present study is to use the color of the color key elements of the image computing formula sensitivity, brightness, and saturation applied to the sensitivity property elements. Property and calculating the rate sensitivity factors are applied to the importance weight, measured by free-level sensitivity score (X-axis) and the tension (Y-axis). Emotion won again expanded on the basis of emotion crossed point, and included a representative selection in Sensibility size of the top five ranking representative of the main emotion. In addition, measuring the emotional image of a person with 16 representative emotional score, and separated by a representative of the top five senses. Compare the main representative of the main representatives of Emotion and Sensibility people aware of the sensitivity of the results to verify the similarity degree computing emotion emotional emotions depending on the number of representative matches. The emotional similarity computing results represent the average concordance rate of major sensitivity was 51%, representing 2.5 sensibilities were consistent with the person's emotion recognition. Similar measures were the degree of emotion computing calculation and emotion recognition in this study who were given the objective criteria of the sensitivity calculation. Future research will need to be maintained weight room and the study of the emotional equation of a higher concordance rate improved.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.111-124
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• 2015

This study inferred the symbolism of shaman's costume in China from shamanism and types of shaman's costume in Naje, Deokgang-hyun, Guiju-seong, China through field survey. Shamanism in China has complicated aspects due to negotiations with other culture for a long time while maintaining its own consistency based on ethnicity. Symbolism of shaman's costume in Naje, Guiju-seong, China is observed as follows. First, the shaman's costume in China appears differently from every Jangcha in relation to the position of god appearing in Jangcha when Tolosa takes the position of god as a symbol of sex and god. In Naje of China, the most important shaman's costume indicating the position of god has a unique mask for every deity. It communicates that Tolosa wearing a costume appropriate for the god of wine shall become the god in that Jangcha. Second, the shaman's costume in China has something to do with Yin-Yang and the five elements theory of Taoism as a symbol of shamanism visio of the universe and system of reason. Most of Tolosas hosting Naje are men but dress up as women by wearing Nagun looking like a skirt. Nagun is usually red, the color of Yang, which symbolizes that by wearing such costume that takes color of Yang, Tolosa expels an ominous thing by balancing yin and yang and taking god's strong power. Third, Tolosa takes an eight-breadth Nagun, as a symbol of people. An eight-breadth worn by Tolosa in Naje strengthens the spirit of union and fight of the Tujia nationality who live in Deokgang-hyun, Guiju-seong through folk legends. In this course, a symbolic meaning of the national spirit has been provided on an eight-breadth Nagun, a shaman's costume.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.14-23
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• 2014

The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).