• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2009년도 춘계 종합학술대회 논문집
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• pp.988-992
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• 2009

색채와 조명의 결합은 영상 공간 예술효과의 가장 중요한 표현 수단으로, 색채 조명은 아름다운 느낌을 창조하여 관중들의 심리에 영향을 미치는데 사용되기에 이는 아주 강한 표현력과 감화력을 갖고 있으므로 이미 현재의 영상 장면에서 관용하는 수단으로 되었다. 공간조명 원리와 무대조명의 색채 응용원리에 대한 연구, 그리고 왕가위 감독의 영화와 Baz Luhrmann의 영화를 비교 분석을 통하여 영상 공간에서 색채 조명의 응용을 연구하고 희극, 비극적 분위기를 부각시킨다. 색채 조명을 어떻게 응용해야 영상 공간의 분위기를 부각시킬 수 있는지에 대한 원칙을 도출하는데 그 목적이 있다.

• Human Ecology Research
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• 제53권1호
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• pp.81-92
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• 2015

Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.

• Plant Resources
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• 제8권3호
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• pp.263-274
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• 2005

We have studied the effects of dampening papers (Dampened paper, Newspaper, Korean paper, Flower sheet), silica gel (30g, 60g) and temperature ($20^{\circ}C,\;25^{\circ}C$) on color changes of Erythronium japonicum. In the treatment of $20^{\circ}C$, color changes were low in treatments with silica gel rather than in a treatment of dampening papers. In particular, newspaper and Korean paper showed much less changes in colors by the combination treatments with 30g of silica gel. Likewise, in the treatment of $25^{\circ}C$, color changes were low in combination treatments with silica gel rather than in a alone treatment of dampening papers. For the combination treatment with 30g of silica gel, low color changes were shown in the divisions of newspaper and Korean paper, while for the combination treatment with 60g of silica gel, low color changes were shown in the those of Korean paper and dampened paper.

• 패션비즈니스
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• 제12권4호
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• pp.73-87
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• 2008

The main objective of this research was to investigate the characteristics of achromatic & chromatic color coordination of contemporary female fashion by reviewing 'pre-a-porter Collections' of four collections (i. e. cities) - Paris, Milan, New York, London - from the periods of 2002 S/S to 2006/7 A/W. The data was collected by reviewing 'pre-a-porter Collections' magazine and total 677 observations were made. Statistical analysis of frequency and also qualitative interpretation of achromatic & chromatic color coordination characteristics were completed. The main findings were; (1) The achromatic & chromatic color coordination was identified as one of most used color coordination in contmeporary women's fashion collections. (2) Black and white mainly used for achromatic color, and brown used the most often, then followed by blue, red, yellow, green and the others for chromatic color in achromatic & chromatic coordination of contmeporary women's fashion collections. (3) The characteristics of achromatic & chromatic color coordination of modern women's fashion collections from 2002 S/S to 2006/07 A/W showed various images according to chromatic colors and tone variation. The combination of achromaticand brown color variations produced an intelligent and sophisticated image. The soft or light chromatic color and chromatic color combination projected soft, feminine and subtle feeling, while the combination of vivid or strong chromatic color and achromatic color projected a clean and strong feeling through contrasting tones of clear and bright colors. The chromatic color of deep or dark tone and black combination demonstrated supernatural and gloomy image. (4)In all four collections, Paris showed most use of two color coordination and then followed by Milan, N.Y, and London. N.Y showed higher rate of using achromatic & chromatic color coordination, and then followed by Paris, London and Milan.

• 복식
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• 제14권
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.

• 패션비즈니스
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• 제13권6호
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• pp.125-136
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• 2009

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.

• 복식
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• 제56권1호
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• 한국안광학회지
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• 제14권3호
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• pp.1-5
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• 2009

목적: 2008년 국내에 출시된 안경 신상품에 대한 브랜드, 종류, 재료, 색상 그리고 디자인 등을 조사, 분석하여 국내 안경시장의 트렌드를 파악하고자 한다. 방법: 국내에서 발간되는 안경관련 잡지인 '안경계', 'Eye 11', 'AXIS' 등 3종의 2008년도 발간분에 수록된 신상품을 전부 조사, 분석하였다. 결과: 2008년 3종의 잡지에 수록된 신상품은 총103개 업체, 182개 브랜드이며, 국내 브랜드가 77개, 수입 브랜드 105개였다. 종류별로는 도수테가 522개, 선글라스가 126개, 기타 스포츠글라스, 클립안경 등이 39개였다. 도수테의 재질은 콤비테가 37.93%, 메탈테가 33.14%, 플라스틱테가 28.93%였으며, 선글라스의 경우는 플라스틱테가 50.79%, 콤비테가 30.95%, 메탈테는 18.25%였다. 스타일측면에서는 복고풍 스타일을 유지하면서 개성을 표출할 수 있는 캐쥬얼 스타일이 많이 눈에 띄며, 보수적인 스타일을 유지하면서 간결하고 절제된 형태의 모던하고 미니멀한 스타일도 많이 나타났다. 컬러 측면에서는 검정, 회색 등의 기본적인 색상이 주류를 이루었으며, 파스텔톤의 색상과 원색 계열도 강조색으로 많이 사용되었다. 결론: 2008년 신상품 안경의 트렌드를 분석하면 국산 제품의 경우 얇은 판테와 가벼운 TR 안경테 그리고 이들을 조합한 콤비테 등 가볍고 착용감이 좋은 제품들이 많이 출시되었다. 수입 제품의 경우 메탈테는 티탄 위주의 심플한 안경테가 많았으며, 플라스틱테는 아세테이트를 위주로 한 다양한 패턴과 색상의 제품이 주류를 이루었다.

• 패션비즈니스
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• 제25권4호
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• pp.14-35
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• 2021

This study compares and analyzes the designs of Burberry creative directors, Christopher Bailey and Riccardo Tisci. For this purpose, 322 photographs (176 Christopher Bailey and 146 Riccardo Tisci) were collected and the data analysis criteria were classified into color, shape, material, decoration, item, and fashion style. With respect to the data analysis method, statistical analysis and content analysis were combined. First, the design characteristics of Christopher Bailey top and bottom combined bright tone, tone-in-tone color scheme, H-line, heterogeneous material combination, and smart casual appeared very frequently. Second, the design characteristics of Riccardo Tisci top and bottom combined were monotone, tone-on-tone color scheme, H-line, heterogeneous material combinations, and street culture. Third, the design differences between creative directors were significantly different in color, tone, color arrangement, pattern, material type, material combination, detail, top and bottom items, and fashion style. Burberry men's wear maintains Burberry's traditional design identity with achromatic colors, beige-based colors, and beige checks. Christopher Bailey's design direction is characterized by modernity in a casual mood that emphasizes practicality. The design direction of Riccardo Tisci is characterized by a wide gap between images in a semi-formal style that emphasizes Burberry's tradition and a free-spirited casual style.

• 한국의류학회지
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• 제38권2호
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• pp.201-215
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• 2014

This study explores the kinds and types of dyes used in the Joseon Dynasty. Some literature including "Sanga Yorok", "Gyuhap Chongseo", "Imwon Gyeonjeji" were reviewed for this purpose. The findings are as follows. The colors obtained from the dyes were divided into seven color series, such as red, yellow and orange, green, blue, purple, brown, gray and black. These are practical color categories differed from abstract five cardinal colors [五方色]. The diachronic dyes used during the Joseon Dynasty were safflower and Japanese alder bark for red, indigo leaves for blue, gromwell for purple, chestnut tree bark for brown. The representative dyes used in the late Joseon Dynasty were safflower and sappan wood for red, wild pear tree bark and Pentapetes phoenicea for yellow and orange, indigo leaves for blue, sappan wood and gromwell for purple, mulberry tree for brown, and Chinese ink for gray. Common dyes used both in Joseon and China were safflower and sappan wood for red, pagoda tree blossom for yellow, a combination of pagoda tree blossom (or Amur cork tree) and indigo leaves (or sediment) for green, indigo leavers or sediment for blue, sappan wood and hollyhock for purple, and a combination of indigo leaves and Galla Rhois for gray and black.