• Archives of design research
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• v.12 no.4
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• pp.317-326
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• 1999

The Korean traditional color passed down over countless generations has surpassed both surpassed both time and space and continue today to breathe life into its people's everyday. In order to clarify the characteristics of Korean traditional color blue and red, we investigate the names of them and measured the color tones of textile remains in Chosun era. The characteristics of Korean traditional color blue and red have been surveyed by means of the examination of color names in many famous literatures in Chosun era. Korean terms for color tones were characterized by enormous variety of epithes crowned on them. The color names mentioned contain many unaccountable epithes which were characterized also deep colors and light colors were dominant in it. As a means of enhancing possibilities within limited colors, the commoners increased the names for varying tones of blue color group(32kinds) and red color group(40kinds). These "blue(indigo dyeing)' and 'red(safflower dyeing)' in Chosun era were shown very high frequency in use and the costume colors in Royal Court. With combination of these various blue and red colors they represented a thought of color based on Yinyang Theory and created a polished aesthetic taste. The color samples of textile remains in museum were measured and designated by Munsell color system and the ISCC-NBS color designation system. THe appeared rates were derived on Chosun era and features of colors using on the period were discussed. We aim to present specific recipes in indigo dyeing and safflower dyeing for using our apparel product and folk art.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.972-980
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• 2009

This study was aimed to develop ume flower image into a competitive fashion culture product image by reinterpreting the image in modern terms, manufacturing patterns and applying them to various items. In terms of method, ume flower petal was used as a motive and developed into a pattern, using Adobe Illustrator 10, a computer design program. Based on the symbolic image and realist form of ume flower, three new basic motives of new figurative image were set using form omission, simplification, overlapping, repetition and graphic elements. Each motive developed transformed patterns through the change, transformation, combination of colors. The repetitive unit of each motive set expressed geometrical patterns and combination of flower patterns using pattern repetition and $45^{\circ}$ repetition technique in combination with the check arrangement using quadrangle, and set the direction of design that would fit for each item of fashion culture products. Also, consistency and practicality were sought in the goods planning composition of each item by applying motive pattern results to the fashion culture goods, such as neckties, scarves, T-shirts that can be consumed in everyday life. It seems that more creative culture goods including ume flowers will be developed by seeing our own cultural elements as well as flower patterns like ume flower with modern trends.

• The International Journal of Costume Culture
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• v.8 no.1
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• pp.32-42
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• 2005

This paper aims to propose fashion designs based on the application of art flower technique to translucent clothing material. For study method, firstly I looked into art flower applications occurred in modern trend since 2000 as well as theoretical research on art flower and transparency expressed as artificial beauty. Second, I attempt to express transparency in a variety of unique ways by using the art flower technique in producing clothes. Third, I utilized transparent flower with translucent clothing material and tried to suggest fashion design attempting mixture of new materials. As a result, firstly transparent image and material are well fitted in with modern trend and especially it was very suitable for expressing feminine beauty. Second, transparency was the element to suggest creative formative world in fashion design in regard to flower's beauty, various shapes and colors and to provide infinite materials as design motive. Third, the combination of knit clothing and plastic art flower displayed a new form of material combination. Especially as translucent material is fitted with trend such as function, lightness and variableness in modern times of the $21^{st}$ century, it presents beautiful combination with transparent flower. Fourth, Silk flower technique is variously used in art flower techniques. Various possibility ranges are presented such as flower was recreated with artificial image by silk flower technique to be newly expressed and various materials like aesthete film can be also expressed with silk flower technique.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Journal of the Korean Society of Costume
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• v.22
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• pp.263-276
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• 1994

The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.

• Journal of Fashion Business
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• v.7 no.5
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• pp.17-31
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• 2003

$Premi\grave{e}re$ Vision is a leading textile collection held since 1973. In this study, textiles for 2004/05 F/W season in $Premi\grave{e}re$ Vision were analyzed at the various point of view, such as general trend, sub-theme, fiber content, color trend, structure, yarn trend, pattern, texture, decoration, finishing and other technical treatment, and functionality. There were three general trends; natural/ecology, geometry, and combination. Natural color and texture were widely used over the fabric exhibited, and irregularities expressed the natural trend of textiles. Geometric patterns were used for knit as well as for woven. Geometry expressed by various methods such as weaving, knitting, printing, shearing, embossing, and etc. However, geometry shown in this season was not a clear form expressed by weaving, but a blurry, irregular form expressed by various other methods such as knitting. The combination among heterogeneous fibers, yarns, colors, images, and textures was usual, however, the harmony among them was accomplished.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.804-818
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• 2005

The purpose of this study is to investigate the effect of tone-on-tone coloration on the visual images of traditional Korean dress. The materials in the experiment developed for this study were made up of various stimuli and the response scales for each stimulus. The stimuli were 48 color pictures with various combination of colors, in which the tones of jackets and skirts were manipulated by computer drawing. 24 bi-polar adjectives, each of which was graded into seven in its degree, were used to evaluate each image. The subjects were 576 female students in Jinju City. This experiment was based on the $3{\times}4{\times}4$ factorial designs: color (red, yellow and green), jacket tone (vivid, light, dull and dark) and skirt tone (vivid, light, dull and dark). The results of the study can be summarized as follows; Impression factor of the stimuli consisted of the 5 different dimensions - youthfullness and activity, attractiveness, gracefullness, visibility, and tenderness. The colors and the tone of jackets and skirts used in this experiment influenced 5 impression dimension by interaction of two valuables or working independently. Yellow and green with vivid or light tone had an effect on the formation of youth and activity image, and dark-light combination had an effect on the formation of attractiveness image. In case of green color, light tone of a jacket and vivid or dull tone of a skirt affected gracefulness, while yellow has no impact on visibility image regardless of skirt tone. Red and yellow with vivid or light tone were a factor to decide tenderness.

• Korean Institute of Interior Design Journal
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• v.20 no.1
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• pp.208-219
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• 2011

This study is intended to formulate the issues through the status analysis and image evaluation for each street on the basis of colors for the outdoor advertisements for part of street side in the oldest downtown for its construction year. Analysing the business type of the street side, it displays the identity of the fashion business area and the color status shown on the outdoor advertisement did not consider the harmony on the other business type and building improvements that it displays chaotic street views in overall. Status of color for the outdoor advertisement compared and analyzed for each street-side to be analyzed with high color contrast with the building structure and outdoor advertisements than the Street B side where there are many businesses of fashion sundries and fashion clothes to form more complicated street scenery visually for the Street A side. The color combination principle of building structure and outdoor advertisement was shown to be the factor for the contrasting unity and diversity. In order not to stimulate this visual confusion, the colors of outdoor advertisement has to be applied on the basis of the color guideline based on the color combination principle of outdoor advertisement and building structure to have the aesthetic harmony overall. As a result of analysis using the KJ method, the present image of the old downtown area was shown with the adjective vocabularies of "complicated", "out-dated", "chaotic", "disorganized", "dirty", "suffocating", and "unilateral", and its image to strive for would be in a total of 6 adjective vocabularies of "well-arranged", "young", "dynamic", "sophisticated", "personable" and "neat", and it has presented the basic foundation of color guideline of outdoor advertisement fit for its image.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.9-15
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• 2002

Compared with synthetic dyes, natural dyes have inferior colorfastness as a result of the exposure of the material to any environment that may be encountered during the processing, testing, storage, display or use of the dyed materials. Especially, colors on fabrics fade excessively after washing. Therefore, it is problem to infer the historic textiles with natural-dyed fabrics. The object of this study is to analyse the factors affected to colorfastness and color change during washing. In experimental, fifteen natural dyes were dyed by the Korean traditional dyeing methods onto natural fiber fabrics: cotton, silk, ramie, and flex. Total 49 dyed fabrics in combination with dyes and fibers were used for the specimen. The Launder-Ometer was used for evaluating the effects of exposure to repetitive washing from 1 to 20 washing cycles (KS K 0430). Color difference(ΔE) in the CIEL＊A＊B＊ color-order system were determined by spectrophotometer at 100 bserver. Washing caused significant changes in the color of natural-dyed fabrics. The degree and nature of color changes on the fabrics were dependent on the combination of fiber and the dye type used. The groups of violet(Lithospermum erythrorhizon Sieb.et Zucc) and black color(Ailanthus altissima Swingle, Phus trichocarpa Miq) yielded excellent colorfastness to repetitive washing. The group of indigo blue color(Polygonum tinctorium Lour.) was also very resistant to color change in washing except silk. Whereas the dye groups of Red, Yellow, Orange, Brown colors indicated greatest changes in color, particularly Carthamus tinctorius L.

• (The)Study of the Eastern Classic
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• no.32
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• pp.51-69
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• 2008

Lu Xun was closely bounded with art since he was young, and he had a thorough knowledge of art. This treatise discerned how Lu Xun substituted and expressed his emotion through his work of art, and what was characteristic of his selection and combination of colors. Truly, color is related to statement of human mind. Lu Xun expressed certain color either consciously or unconsciously when he created human figure. The group of black in human figure in his art is representative example of it. Lu Xun always used heavy and dark color to emphasize human figure so that people can assume their lives and character. This artistic mentality or, great choice of art, relates to Lu Xun's individual life and state of mind. However, Lu Xun did not always choose dark color. Sometimes he looked squarely at darkness and tried to pursue bright color presupposing 'hope' at the same time.