• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.43-52
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• 2003

The purpose of this study was to investigate the characteristics of traditional blue color between Korean and Japanese traditional costumes. Korea and Japan as the neighboring country of geographically and historically, but showed obvious difference in traditional color. In this study we investigated the blue color characteristics that appear on Korean and Japanese traditional costumes. We researched the characteristics of blue color on color names and color tones through the old Korean and Japanese literatures, costume remains and restoration dyeing fabrics. This study researched the Chosun Period in Korea and Edo Period in Japan. The results of this study Were as following; Many differentiation colors appeared in Chosun and Edo period than former ages. These differentiation colors were made giving differences gradually in basic color, hue, value and chroma. The blue color names appeared 40 names in Chosun Period and 57 names in Edo Period. In these blue color names of Chosun and Edo Period, the common color name was not more 'indigo'. The most highly appearanced blue color hues of costume remains in Chosun and restoration dyeing fabrics in Edo Period were blue and purplish blue. The most highly appearanced blue color tones were dull and moderate. By result of preceding descriptions, the characteristics of national color were not come from difference of dye and dyeing method, could know that come from difference of society and cultural environment.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.143-153
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• 2009

The purpose of this study is to provide color information in order to planning and merchandising in china fashion through the color of Beijing opera. In objective study, we collect total 302 Beijing opera images. The collecting method of source data is to extract digital color data by color picker. We transform RGB color data to H V/C, CIE L*a*b and analyze the attributes of color and tone, three-dimensional analysis. The results of this study are as follows : 1. The color distrbution of Beijing opera is R(26.9%)>YR(18.2%)>PB(11.6%)>Y(9.6%). Traditional preference color, red is most popular color as 26.7%:, the practice of vivid tone red is numerous. 2. The tone distribution of Beijing opera costume is P(16%)>It(13.9%)>d(11%)>5(9.6%)>4kg (8.2%)>b(7.1%:). The value o# Beijing opera costume distribute medium and medium-high and the chroma of those distributes low. 3. High chroma yellow is restrictive color as the symbol of emperor in china but medium-low chroma yellow is very frequently used. 4. Blue is often used in china costume. Especially in Beijing opera costume blue is symbol of bravery, dignity, cruel character 5. White in Beijing opera costume is much used for symbol of righteous loyalist. Black is less used than white in Beijing opera costume and black is authority color for symbol of the prime minister.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.172-181
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• 2023

Dunhuang murals are one of the most outstanding achievements in the art of traditional grotto painting in China, and are known as a "Wall Museum". As a representative of the heyday of Dunhuang murals, an in-depth exploration of Dunhuang murals from the perspective of color will help researchers understand the laws and connotations of color in Dunhuang murals during the Tang Dynasty and fully grasp the art of Dunhuang murals. The color system of the traditional Chinese "Five colors" concept expresses the cultural attributes and emotions of the Chinese people and has distinctive national characteristics. This thesis provides a theoretical grasp of the traditional Chinese "Five colors" view of color system, the Dunhuang murals of the Tang Dynasty, and the color configuration of the color composition principles, and uses the modern design principles of color composition to conduct an in-depth analysis of the configuration of the Dunhuang murals' use of color. Explore the unique characteristics of Tang Dynasty Dunhuang murals, and help modern designers master richer color application techniques by learning from and studying the harmonious patterns of Dunhuang murals to provide a new path for the dissemination of excellent Chinese traditional culture.

• Journal of Conservation Science
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• v.31 no.4
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• pp.429-441
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• 2015

The purpose of this study is to analyse the properties of Seokrok and Noerok that are used for restoration of heritage and arts. Malachite is main constituent mineral for Seokrok and Celadonite is Main component of Noerok. To evaluate the physical properties of pigment, A,B-class Seokrok and heated Seokrok that are sold in market were selected. To compare this results, Noerok sold in Japan were studied. In addition, we studied the pigments of Noerok. The heat treatment had no significant effect on the physical properties, except for the color-difference. The color-difference of Seokrok is larger than that of the Noerok sold in Japan. The $a^*$ values of Seokrok specimens are horizontal distribution, so it will expand the coloring ranges. The properties that are chromaticity, specific gravity and oil-absorption of Noerok are different from Seokrok. Noerok is suggested that achromatic color because the values of $a^*$ located near zero. Specific gravity of Noerok is smaller than Seokrok, but oil-absorption is larger twice. Noerok and Amnok, although ingredients are different, it is possible to use alternative because of similar physical characteristics. The result from this study expects to be used as useful referencing data for conservation and restoration of cultural heritage and understanding phenomena of the properties.

• 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.

• Journal of Distribution Science
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• v.3 no.2
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• pp.121-142
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• 2005

We're living in a world of one global village. The globalization of business is acceleration as more companies cross national borders to find customers, materials and money. Many foreign companies and organizations are doing their business aggressively in Korea and many Korean companies and rushing into foreign market. When people communicate for business with someone from another culture, there could be difficult communication barriers to overcome resulting from differences in their values, beliefs, norms for behavior, expectations, attitudes and so on. To do successfully business, we need to understand culture background and communication style that is different from nation, race, language. Communication barriers stemming from cultural differences may vary. Largely, they can be divided into value system, non-verbal communication, and perception process. Value system can be divided into individualism versus group orientation, avoidance of uncertainty degree, power distance, and high- context culture versus low-context culture. Also non-verbal communication method and perception process may play decisive roles in communication effectiveness. Especially nonverbal communication barriers which sometimes play more important roles than the verbal parts are composed of eye contact, gesture, kinesics, proxemics, chronemics, paralanguage and language of color Cross-cultural communication affect business situation. I expect that if we understand cultural background, and then we overcome cross-cultural communication barriers. To overcome and to adapt inter-cultural business, we need to develope curriculum on the cross-cultural education which I will study in the next paper.

• 보존과학연구
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• s.20
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• pp.139-154
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• 1999

We tested to obtain the excellent Epoxy resins on the property of matter. Existing Epoxy resins is tested to regulate the viscosity, color and hardening time etc. Benzen-ring structure of Bisphenol A type (AY 103) is replaced by Hydrogenated B.P.A type. And hardener is replaced by Polyoxyalkylene Amine. So we are developed into the two resins(L-30, L-40).To know if this Epoxy resins was fitted to repairing and restoration of stone cultural properties. Three kinds of Epoxy resins (AY 103, L-30, L-40) are tested on the artificial weathering test, freezing-melting test, exposure test etc. As a result of test, L-30 is less the discoloration than that of other Epoxy resins and was superior to the excellent property of matter.

• Journal of Conservation Science
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• v.29 no.3
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• pp.197-207
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• 2013

The gas acceleration test was conducted to identify the deterioration of Korean traditional textiles caused by $NO_2$. Total 20 specimens were prepared using 4 different materials (silk, cotton, ramie, hemp) after dyeing with 5 colors (undyed, red, yellow, blue, black). The specimens were exposed to 0.01, 0.1, 1, 10, 100, and 1000 ppm $NO_2$ gas in the test chamber at $20^{\circ}C$, 50% RH for 1 day. Optical, chemical, and physical evaluation was carried out after the exposure. In the case of Korean traditional textile, color difference increased at 1 ppm/day, $NO_3{^-}$ concentration, carbonyl and C-$NO_2$ functional group increased while pH decreased at 10 ppm/day and tensile strength weakened at 100 ppm/day. when it comes to undyed textile, alteration of color difference on silk and hemp cloth, $NO_3{^-}$ concentration and tensile strength on hemp cloth was remarkable. In addition, color difference on blue and yellow textile, $NO_3{^-}$ concentration increase of yellow textile and tensile strength decrease of hemp cloth & ramie cloth were significant. The results suggest that critical $NO_2$ concentration of optical, chemical, and physical damage on Korean traditional textiles are 1ppm/day, 10 ppm/day, 100 ppm/day respectively.

• Journal of Conservation Science
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• v.37 no.2
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• pp.77-89
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• 2021

In this study, materials and color formation techniques were assessed for black potteries excavated from the Janghyeon-dong, Jungsan-dong and Gyodong-ri sites during the Proto-Three Kingdoms period in Ulsan, Korea. Although the black potteries were black superficially, the inner cores were either black or reddish yellow. Microscopy analysis identified that body clay was used for reddish iron oxide rich soils with quartz, alkali feldspar and mica, along with grains of myrmechite texture. Additionally, as marginal differences exist in the contents of SiO₂, Fe₂O₃ and CaO, the composition of the host rock and clay distributed around the sites was affected. Thus, we can deduce that pottery was made by soiling at a short distance. Raman spectroscopy results revealed that the black layer of the black pottery was used as amorphous combustion carbon. In addition, as a transparent layer of brown lacquer was observed on the substrate that was in contact with the surface layer, the black layer of the pottery induced black color development by a combination of combustion carbon and lacquer. Based on the mineral composition and microtexture of the body clay, the firing temperature of the potteries seemed to range from 750 to 850℃, whereas the lacquer layer was pyrolyzed at 468℃ by thermal analysis. Therefore, a combined layer of combustion carbon and lacquer, which formed the black color, was painted after the body clay was fired.

• Journal of Conservation Science
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• v.37 no.2
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• pp.101-119
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• 2021

Korea's National Treasure No. 229, the Jagyeongnu (clepsydra) of Changgyeonggung Palace, is a scientific and cultural property representing the pinnacle of science and technology in the Joseon Dynasty. Currently, only the large, mid-sie, and small Pasuhos (bronze jars) remain. During a nearly two-year conservation project by the Cultural Heritage Conservation Science Center (CHCSC) that began in 2018, conservators identified the contaminants on the surface of the water clock's components. It turned out that the contaminants had been caused by the exposure of squalane and silicone oil, used in an earlier preservation treatment, to the elements. The CHCSC conducted experiments to determine the most effective method to remove the contaminants. First, the conservators tried using an organic solvent, a poultice, and the application of toluene and bentonite, which yielded excellent reactivity and significant color difference changes (𝚫E). However, the reactivity was insufficiently effective to warrant the health hazards to the conservators and the environment (toluene is toxic). Although organic solvents required considerably more effort, time, and human resources, the conservators confirmed that their use achieved a true color difference variation (𝚫E) that was within the same range as the toxic hydrocarbon. Thus, they confirmed that using an organic surfactant was the best method for removing the contaminants.