• 제목/요약/키워드: deep black color

검색결과 71건 처리시간 0.028초

이미지 감성분류를 위한 CNN과 K-means RGB Cluster 이-단계 학습 방안 (A Two-Stage Learning Method of CNN and K-means RGB Cluster for Sentiment Classification of Images)

  • 김정태;박은비;한기웅;이정현;이홍주
    • 지능정보연구
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    • 제27권3호
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    • pp.139-156
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    • 2021
  • 이미지 분류에서 딥러닝 모형을 사용하는 가장 큰 이유는 이미지의 전체적인 정보에서 각 지역 특징을 추출하여 서로의 관계를 고려할 수 있기 때문이다. 하지만 이미지의 지역 특징이 없는 감정 이미지 데이터는 CNN 모델이 적합하지 않을 수 있다. 이러한 감정 이미지 분류의 어려움을 해결하기 위하여 매년 많은 연구자들이 감정 이미지에 적합한 CNN기반 아키텍처를 제시하고 있다. 색깔과 사람 감정간의 관계에 대한 연구들도 수행되었으며, 색깔에 따라 다른 감정이 유도된다는 결과들이 도출되었다. 딥러닝을 활용한 연구에서도 색깔정보를 활용하여 이미지 감성분류에 적용하는 연구들이 있어왔으며, 이미지만을 가지고 분류 모형을 학습한 경우보다 이미지의 색깔 정보를 추가로 활용한 경우가 이미지 감성 분류 정확도를 더 높일 수 있었다. 본 연구는 사람이 이미지의 감정을 분류하는 기준 중 많은 부분을 차지하는 색감을 이용하여 이미지 감성 분류 정확도를 향상시키는 방안을 제안한다. 이미지의 RGB 값에 K 평균 군집화 방안을 적용하여 이미지를 대표하는 색을 추출하여, 각 감성 클래스 별 해당 색깔이 나올 확률을 가중치 식으로 변형 후 CNN 모델의 최종 Layer에 적용하는 이-단계 학습방안을 구현하였다. 이미지 데이터는 6가지 감정으로 분류되는 Emotion6와 8가지 감정으로 분류되는 Artphoto를 사용하였다. 학습에 사용한 CNN 모델은 Densenet169, Mnasnet, Resnet101, Resnet152, Vgg19를 사용하였으며, 성능 평가는 5겹 교차검증으로 CNN 모델에 이-단계 학습 방안을 적용하여 전후 성과를 비교하였다. CNN 아키텍처만을 활용한 경우보다 색 속성에서 추출한 정보를 함께 사용하였을 때 더 좋은 분류 정확도를 보였다.

한국 젊은이의 안면미 선호경향에 관한 연구 : 얼굴의 측모평가를 중심으로 (A STUDY ON THE FACIAL ESTHETIC PREFERENCES AMONG KOREAN YOUTHS: ASSESSMENT OF PROFILE PREFERENCES)

  • 송세진;최익찬
    • 대한치과교정학회지
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    • 제22권4호
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    • pp.881-920
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    • 1992
  • This study was designed to assess profile preferences among Korean youths in the year 1992. Facial esthetics was evaluated by means of silhouette profiles, eliminating the influence of a number of aspects that may affect judgment when normal lateral photographs are used. The main points of preference to be clarified here are as follows. First, on facial convexity, Second, on nasion depth, Third, on mentolabial sulcus depth, Fourth, on the position of upper and lower lips, Fifth, on facial type according to Angle's classification of malocclusion, Sixth, on Song's tangents. The 54 subjects printed in questionnaire as black and white silhouettes were selected from 300 tracings from cephalometric radiographs of people whose age ranging from 11 to 20 years. Photographs of six female subjects were retouched by computer graphic software and printed in color and black/white photographs which were used for adaptation of eyes of participants in selecting profiles in silhouette. They constitute 2 questions. The 54 subjects were grouped as 22 questions, each of them composed of 6 subjects, according to the aspects to be clarified. Twenty four questions in total were asked to assess profile preferences. For the assessment, the profile line, the facial esthetic triangle, Song's tangents, and Angle's classification of malocclusion were introduced. The profile line is composed of 11 component points which are Trichion, Glabella, Nasion, Pronasale, Subnasale, Labrale superius, Stomion, Labrale inferius, Supramentale, Pogonion, and Gnathion. The facial esthetic triangle is composed of 3 tangents: A-tangent which is the tangent of dorsum of nose, B-tangent which is the line passing through Sn and Ls, and C-tangent which is drawn on the turning point of the curve which lies between mentolabial sulcus (Sm) and pogonion (Pg). Angle's classification has 3 types of malocclusion which are Class I, Class II, and Class III. Class II malocclusion is subdivided into Division 1 and Division 2. The participants of the survey were composed of 861 college students (448 male students, 413 female students) whose majors grouped as Fine Arts. Liberal Arts, and Natural Sciences, and whose mean age 21.8 years. The statistics program SPSS/PC + of SPSS Inc. was used to analyze answers of participants. Crosstabulation, Chi-square test, and Kendall test were done. The conclusions are as follows: First, Korean youths have a tendency to prefer the slightly convex face to the flat or concave face. Second, they prefer a moderately deep nasion. Third, they prefer a moderately deep mentolabial sulcus. Fourth, they prefer the position of lips which are near to Ricketts' E-line. The position of the upper lip which is slightly posterior to E-line is preferred. The upper lip which lies too far anterior or posterior to the lower lip is not perferred. Fifth, they prefer most, according to Angle's Classification of Malocclusion, Class I facial profile which has a slight inclination to Class II division 2. The order of preference is Class I, Class II division 2, Class III, and Class II division 1. Sixth, they prefer the type 2 and 3 of Song's tangents. The facial profile within which A-and B-tangent meet is preferred. The facial profile which has Cotangent that .meets with A-tangent slightly posterior to the crossing point of A-and B-tangent or that parallels with B-tangent is preferred.

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유색 전기석의 화학적 및 광학흡수 분광학적 연구 (Chemical and Optical Absorption Spectroscopic Study of Colored Tourmalines)

  • 김희종;김수진
    • 한국광물학회지
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    • 제6권1호
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    • pp.1-16
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    • 1993
  • 미국의 샌디에고광산에서 산출되는 분홍색이나 무색의 전기석과 산지가 알려지지 않은 브라질산의 청색 내지 녹색을 띄는 전기석 그리고 국내의 학산, 운천 광산에서 산출되는 흑갈색 전기석들의 화학적 성분과 광물 흡수 분광학적 특성을 연구하기 위하여 X선 회절기, 전자 현미 분석기, 광학적 흡수 분광분석 및 열 처리 실험 등을 이용하였다. 최소 자승법을 활용하여 단위포 크기를 구하면, 흑갈색 전기석 경우 a = 15.96-16.01 ${\AA}$, c = 7.15-7.16 ${\AA}$이며, 분홍색 전기석은 a = 15.82 - 15.87 ${\AA}, c = 7.09 - 7.10 ${\AA}$이며, 청색/녹색 전기석은 a = 15.88 - 15.94 ${\AA}$, c = 7.12 - 7.15 ${\AA}$이다. 전기석 광물들이 여러가지 다양한 색을 띄는 주요한 원인은 전이 원소들에 의한 것이다. 분홍색은 망간 3가, 청색 내지 녹색은 철 2가와 망간 2가, 청녹색은 구리 2가, 흑갈색은 철 2가, 철 2가 - 철 3가, 그리고 철 2가 - 티타늄 4가에 의해 색을 띄게 된다. 분홍색 전기석 경우, 망간 3가는 압축된 Y자리에서 O(1)H-O(3)H 축을 따라 쟌-텔러 변형으로 안정한 구조를 가지게 된다. 전기석 광물들을 고온으로 열처리하면, 일반적으로 분홍색 혹은 빨간색을 띄는 전기석들은 무색으로 변색이 되며, 청녹색은 녹청색으로 색상이 변하며, 황녹색 같은 경우는 일부 샘플들만 옅은 녹색으로 바뀌는 모습이 관찰되었다. 엘바이트-흑전기석 계에서는 철과 망간의 함량에 따라 색의 누대구조가 나타난다. 녹색 영역에서는 철의 함량이 높으며 분홍색 영역에서는 망간의 함량이 높다. 망간은 황색이나 무색 영역에서 보다 짙은 황색 영역에서 증가한다.났다.억제물질로 작용할 때 $K_i$값과 억제양상이 측정되었는데 모두 경쟁적 방해를 보였다. $K_i$값은 10mM 인산완충용액에서 측정한 것이 100 mM 인산완충용액에서 측정한 것보다 훨씬 낮아 인산기가 기질이 아니어도 효소의 부착에 큰 영향을 미치는 것을 보여주고 있다.

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전통화조화의 사실적(寫實的) 표현과 시정적(詩情的) 색채표현 (A Study on Lyricism Expression of Color & Realistic Expression reflected in Oriental Painting of flower & birds)

  • 하연수
    • 조형예술학연구
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    • 제10권
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    • pp.183-218
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    • 2006
  • Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

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THE INFRARED MEDIUM-DEEP SURVEY. V. A NEW SELECTION STRATEGY FOR QUASARS AT z > 5 BASED ON MEDIUM-BAND OBSERVATIONS WITH SQUEAN

  • JEON, YISEUL;IM, MYUNGSHIN;PAK, SOOJONG;HYUN, MINHEE;KIM, SANGHYUK;KIM, YONGJUNG;LEE, HYE-IN;PARK, WOOJIN
    • 천문학회지
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    • 제49권1호
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    • pp.25-35
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    • 2016
  • Multiple color selection techniques are successful in identifying quasars from wide-field broadband imaging survey data. Among the quasars that have been discovered so far, however, there is a redshift gap at 5 ≲ z ≲ 5.7 due to the limitations of filter sets in previous studies. In this work, we present a new selection technique of high redshift quasars using a sequence of medium-band filters: nine filters with central wavelengths from 625 to 1025 nm and bandwidths of 50 nm. Photometry with these medium-bands traces the spectral energy distribution (SED) of a source, similar to spectroscopy with resolution R ~ 15. By conducting medium-band observations of high redshift quasars at 4.7 ≤ z ≤ 6.0 and brown dwarfs (the main contaminants in high redshift quasar selection) using the SED camera for QUasars in EArly uNiverse (SQUEAN) on the 2.1-m telescope at the McDonald Observatory, we show that these medium-band filters are superior to multi-color broad-band color section in separating high redshift quasars from brown dwarfs. In addition, we show that redshifts of high redshift quasars can be determined to an accuracy of Δz/(1 + z) = 0.002 - 0.026. The selection technique can be extended to z ~ 7, suggesting that the medium-band observation can be powerful in identifying quasars even at the re-ionization epoch.

동관왕묘의 어제(御製) 현판(懸板)의 유형과 내용 분석 (An Analysis on Types and Contents of Hanging Boards Inscribed with King's Writings in Donggwanwangmyo[East Shrine of King Guan Yu])

  • 장경희
    • 헤리티지:역사와 과학
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    • 제49권3호
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    • pp.52-77
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    • 2016
  • 관우를 모신 동관왕묘에는 51점의 현판이 소장되어 있다. 이것들은 조선의 국왕이나 명 청대 사신 및 장군들이 쓴 것이다. 그동안 현판에 대한 연구는 궁궐에 소장된 것들이 주로 연구되었고, 동관왕묘의 것은 거의 이뤄지지 않았다. 이에 본고에서는 조선후기 국왕의 글씨로 만든 현판을 연구대상으로 삼아, 그 내용과 형식을 분석하였다. 내용상으로는 현판의 제작자와 제작시기 및 제작배경을, 형식상으로는 현판의 유형과 재료 및 시기별 양식 변천을 밝혀 보았다. 이를 통해 알게 된 사실은 다음과 같다. 우선, 동관왕묘에 국왕 글씨로 만든 현판은 총 7점이 현존하고 있다. 숙종이 쓴 1점, 영조가 쓴 4점, 고종이 쓴 2점이 그것이다. 이것들은 건물의 이름을 쓴 편액(扁額)과 동관왕묘에 방문한 느낌을 시로 쓴 시액(詩額)으로 나뉘었다. 특히 후자는 국왕이 봄과 가을에 능행(陵幸)하면서 동관왕묘에 들렀을 때 썼으며, 관우의 의리와 충성을 통해 왕실의 안녕을 도모하고자 의도한 내용이 포함되어 있다. 다음, 국왕의 현판은 명 청대 사신이나 장군의 것들과 비교할 때 재료나 형식면에서 차별화되었다. 바탕은 청색[회회청(回回靑) ]이나 주색[주칠(朱漆)] 및 옻색[흑칠(黑漆)]으로서, 먹색[묵(墨)]이나 흰색[분질(粉質)]으로 된 현판보다 고급 재료로 칠하였다. 글씨는 양각으로 새긴 위에 금(金)으로 칠하였다. 현판의 형식은 4면이 모판처럼 $45^{\circ}$로 비스듬하며 단청기법으로 꽃문양이나 칠보문양을 그렸고, 그 좌우와 아래로 길게 빼 당초문양을 장식하였다. 이것은 '사변형(斜邊形)'이라고 부르는 형식이며, 나머지 3종류의 형식보다 품격이 높아 최고 수준의 것이었다. 이처럼 국왕의 글씨를 새긴 현판의 존재를 통해 조선후기에 동관왕묘는 국왕들이 관심을 가지고 있었고, 군인들의 충성심을 강조한 정치적 공간으로서의 위상도 확인할 수 있었다. 이밖에 명대 사신이나 청대 장군의 글씨로 제작된 현판과 형식 비교나 시기별 양식적 변천은 다음 기회로 미루고자 한다.

대한민국역사박물관에 소장된 베트남전 귀국상자의 보존처리 (Conservation of Vietnam war Homecoming box in National museum of Korean contemporary history)

  • 김수철;장은정;안주영
    • 보존과학연구
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    • 통권35호
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    • pp.121-127
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    • 2014
  • 대한민국역사박물관에서 소장하고 있는 베트남전 귀국상자는 전체적으로 열화가 진행되어 색이 바래고 이물질 고착, 균열, 부후 등 손상이 심하였다. 특히 하단부는 충해로 인한 손상이 심한 상태이며 일부 남아있는 받침목은 열화와 갈라짐이 심하여 불안정한 상태이다. 금속 띠를 둘렀던 흔적이 바닥과 측면 중앙 모서리에 있으며 부착되어 있는 금속 띠와 상자 내부에 보관되어 있던 탈락된 금속 띠 모두 부식이 심하다. 또한 상자를 덮고 있는 뚜껑의 우측 하단부에는 검은 색의 이물질이 고착되어 있다. 보존처리는 처리 전 조사를 마친 후 클리닝, 균열 메움, 바닥 보강, 금속띠 부착 등의 과정으로 진행하였다.

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고라니 혈절과 혈림프절에 관한 형태학적 연구 (Morphological studies on hemal nodes and hemolymph nodes in the water deer(Hydropotes inermis))

  • 윤여성;이준섭
    • 대한수의학회지
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    • 제37권3호
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    • pp.463-469
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    • 1997
  • This study was performed to investigate the gross anatomical features and microscopical structures of the hemal nodes and the hemolymph nodes in the water deer (Hydropotes inermis) found in Kangwon-do, Korea. The hemal nodes and hemolymph nodes were observed mainly in the periphery of the thoracic and abdominal aortae of the animals. The size of hemal nodes was generally smaller than that of the hemolymph nodes, and the shape of the both organs was spherical or ovoid. The color of the hemal nodes was red or black while that of the hemolymph nodes was gray with red bands. The hemal nodes were surrounded by a thin connective tissue capsule and there were extensive subcapsular and deep sinuses distended by a great number of erythrocytes. Although a few number of lymphatic nodules and small areas of diffuse lymphatic tissues were observed in the parenchyma, no typical cortex and medulla were defined in the hemal node. Small numbers of blood vessels were found at the connective tissue capsule but lymph vessel was not observed microscopically in this organ. The hemolymph nodes were covered by a relatively thick connective tissue capsule and there was a hilus in each node. The parenchyma was divided into cortex and medulla. The cortex was composed of a few numbers of lymphatic nodules and some diffuse lymphatic tissues. The medulla comprised medullary sinus and cords. Afferent and efferent lymph vessels were observed at the periphery of the capsule and the hilus, respectively. The subcapsular and medullary sinuses were not extensive but filled with small numbers of erythrocytes. The stroma of hemal node and hemolymph node was composed of reticular cells and fibers, and the capsule and trabecula consisted of collagenous fibers with smooth muscle fibers.

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GAN을 이용한 흑백영상과 위성 SAR 영상간의 모의 및 컬러화 (Simulation and Colorization between Gray-scale Images and Satellite SAR Images Using GAN)

  • 조수민;허준혁;어양담
    • 대한토목학회논문집
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    • 제44권1호
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    • pp.125-132
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    • 2024
  • 광학 위성영상은 국가 보안 및 정보 획득을 목적으로 사용되며 그 활용성은 증가하고 있다. 그러나, 기상 조건 및 시간의 제약으로 사용자의 요구에 적합하지 않은 저품질의 영상을 획득하게 된다. 본 논문에서는 광학 위성영상의 구름 폐색영역을 모의하기 위하여 고해상도 SAR 영상을 참조한 딥러닝 기반의 영상변환 및 컬러화 모델을 생성하였다. 해당 모델은 적용 알고리즘 및 입력 데이터 형태에 따라 실험하였으며 생성된 모의영상을 비교 분석하였다. 특히 입력하는 흑백영상과 SAR 영상간의 화소값 정보량이 유사하도록 하여 상대적으로 색상정보량 부족에서 오는 문제점을 개선하였다. 실험 결과, Gray-scale 영상과 고해상도 SAR 영상으로 학습한 모의영상의 히스토그램 분포가 비교적 원 영상과 유사하였고, 정량적인 분석을 위하여 산정한 RMSE 값은 약 6.9827, PSNR 값은 약 31.3960으로 나타났다.

영화 '시카고'의 의상(衣裳)에 나타난 팜므 파탈 이미지 연구(硏究) (Study on Image of Femme Fatale represented on Costumes in the Movie 'Chicago')

  • 김지영;간호섭
    • 패션비즈니스
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    • 제8권1호
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    • pp.16-33
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    • 2004
  • Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.