• Journal of Fashion Business
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• v.9 no.1
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• pp.21-33
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• 2005

The main objective of this research was to understand the characteristics of identical color coordination through the analysis of modern female fashion color coordination as they appear in the 'Collections'. Data collection of 2026 was done through review of '$pr\hat{e}t-\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Lastly, statistical analysis of frequency and $X^2$-test and also qualitative interpretation of identical color coordination characteristics were completed. The main findings were; The color coordination of modern women's fashion produces a unified theme, or monochromatic harmony, through the use and coordination of identical colors. The clear contrast of tones portrays a strong image especially in achromatic color coordination, and through the use of texture variation, monochromatic color coordination becomes even more compelling. The tone variation, observed most often in monochromatic color coordination was the black and white contrast, which enhances the simplicity and clarity. Within chromatic color combinations, tone on tone color coordination was achieved by varying brightness. Furthermore, the observation of Faux Camaeu indicates that the coordination of different textures is used often in identical color coordination. While achromatic colors can lead to a hard and rough feeling, it also is compensated through the use of varying textures. In addition, adding variety of textures can add subtle interests to the simplicity of white. Lastly, in all four collections, the chromatic identical color coordination was found more frequently than the achromatic. In Paris, N.Y. & London, the chromatic identical coordination was used more often than chromatic. Milan showed most use of achromatic coordination. The use of the tones showed similar trends in all four collections, with contrasting tone being used most often, followed by similar and identical tones.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.139-152
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• 2004

The main objective of this research is to investigate the color coordination types and their characteristics 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 2000 S/S to 2002/3 A/W. Through the review of various books and articles written on the subject, the color coordination types and their characteristics were categorized and defined. The data was collected by reviewing 'pre-a-porter Collections' magazine and total 4,269 observations were made. These in turn were categorized into eight color coordination and three color tone categories through the content analysis. Frequency analysis was used to analyse the data. The findings are as follows; First of all, there were 8 observable color coordination categories in contemporary women's fashion. The most used color coordination was chromatic & achromatic color coordination. It was followed by chromatic identical, and then by achromatic identical color coordination. These three color coordinations were the majority, comprizing 73.4％ of the total. The rest were in the order of complementary, gradation, similarity, accent. And the most used tone type was contrasting tone and followed by similar and identical. Next, the analysis of each coordination categories shows that; The chromatic identical coordination focused on presenting its own unity or break it using the contrasting color tone. Meanwhile, the achromatic identical coordination project a clean and strong feeling through black and white combination or a subtle feeling through the different material combination. The chromatic & achromatic coordination showed strong colors and contrasting tones of clear and bright colors. Meanwhile, the characteristics of complementary coordinations are that these coordinations seem to free the colors and show the subtle changes in tones very clearly. The gradation coordination was used to create a cool and lively feeling. Next, the similarity coordination seems to create feminine and warm feeling by taking advantage of similar color feelings, often through the use of warm to warm, cool to cool color matching. Lastly, the accent coordination, through the use of contrasting tones emphasizes the differences in colors, while separation coordination mostly uses black and white on various color coordinations.

• Korean Institute of Interior Design Journal
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• no.7
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• pp.31-37
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• 1996

The purpose of this study is to grasp the characteristics by image type in interior color. This experiment is carried out by the evaluation method of color simulation with the color image processor. And the result of this experimental evaluation is analyzed quantitatively by HAYASI 1 Program. The results of this analysis are as follows : 1) In casual and clear images, the most main colors are GY, PB, Y , and N, Casual image has high chroma and the most arrangement of colors is hue-contrast or contrast -harmony with white. Also the main colors of clear image are in identical or similar harmony with the hues of floor. 2) In romantic, elegant, pretty, and gorgeous images, the most main colors are GY, RP, R , YR and Y and the most arrangement of colors is identical or similar harmony. The romantic image of pastel tone is wholly lighter than the pretty image of bright tone. And elegant image is lower in chroma than romantic images, so generally dark. Also gorgeous image is the vivid tone with high chroma. 3) In chic and modern images, the main colors are the hues of B, PB, high value and low chroma with bright tone. Also, the main colors are in identical or similar harmony with the hues of floor : BG , B, PB and P. 4) In natural and semiclassic images, the main color is the warm color of Y, YR and the most arrangement of colors is identical or similar harmony. Also Semiclassic images is the dull tone with middle value and middle chroma and darker tone than natural image. 5) In dynamic image, the main color is the hue of N, Y, PB and GY and most of color is high chroma. And the most arrangement of colors is value-contrast.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.32-45
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• 2007

Among 96 color combination stimuli, male students evaluated 47 set as harmonized, but female students evaluated 32 set, so proved that male's range of harmony more extensive than that of female. Specially red shirt and yellow red necktie in all tone was evaluated as harmonized coloration by both male and female students. Female evaluated as the best harmonious coloration that red shirt-yellow necktie in dark, blue shirt-yellow necktie in dark, purple shirt-red necktie in light, green shirt-blue necktie in dull, and male evaluated red shirt-yellow red necktie in light, blue shirt-yellow necktie in light, purple shirt-red necktie in light, green shirt-yellow necktie in dark. It is significant difference between female and male on red-green in vivid, and blue-purple in vivid, blue-blue in dull, blue-yellow in dark, and purple-purple in dull. And shirt color and necktie color, necktie color and tone, tone and perceiver' gender influenced on the harmony evaluation by interaction.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.1-16
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• 2006

The purpose of this study was to find out the various impressions that tone-on-tone coloration of shirts and ties gives. This experiment was based on the $2{\times}4{\times}4{\times}2$ factorial design: colors(red and blue), shirt tones(vivid, light, dull, and dark); tie tones(vivid, light, dull, and dark) and perceivers' gender(male and female). The materials in the experiment developed for this study were composed of 32 upper body photographs which were color printed and 27 bi-polar adjectives, each of which was graded into seven in its degree, were used to evaluate the impression. We unified those colors of shirts and neckties, and then made shirt and necktie tone different. The subjects of this research were 192 male and 192 female college students in Gyeongnam province including Jinju City The data was analyzed by using SPSS program. Analyzing methods were one-way ANOVA and LSD test. The items of the adjectives were classified into 5 impression dimensions - potency, activity, attractiveness, visibility and tenderness. All the image by the match of shirt and tie could be possible to make various images by the color, the shirt tone and the tie tone. Blue was given more effective potent image, vivid or light tone shirt in blue was the active image. As shirt and tie had different tone, regarded as the attractive image. Vivid tone tie was evaluated the visible image, light tone shirt is the tend image.

• The Journal of the Acoustical Society of Korea
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• v.31 no.5
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• pp.298-308
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• 2012

This study was designed to examine the phoneme recognition errors of hearing-impaired (HI) listeners on a consonant-by-consonant basis, to show (1) how each HI ear perceives individual consonants differently and (2) how standard clinical measurements (i.e., using a tone and word) fail to predict these differences. Sixteen English consonant-vowel (CV) syllables of six signal-to-noise ratios in speech-weighted noise were presented at the most comfortable level for ears with mild-to-moderate sensorineural hearing loss. The findings were as follows: (1) individual HI listeners with a symmetrical pure-tone threshold showed different consonant-loss profiles (CLPs) (i.e., over a set of the 16 English consonants, the likelihood of misperceiving each consonant) in right and left ears. (2) A similar result was found across subjects. Paired ears of different HI individuals with identical pure-tone threshold presented different CLPs in one ear to the other. (3) Paired HI ears having the same averaged consonant score demonstrated completely different CLPs. We conclude that the standard clinical measurements are limited in their ability to predict the extent to which speech perception is degraded in HI ears, and thus they are a necessary, but not a sufficient measurement for HI speech perception. This suggests that the CV measurement would be a useful clinical tool.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.709-725
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• 2021

The study focused on the design features of Chanel and Fendi, directed by Carl Lagerfeld, creative director of Chanel and Fendi until his recent death. The range of the study was from the 2017 S/S Collection to the 2019 F/W Collection, which collected a total of 767 fashion photographs, including 483 Chanel, 284 Fendi, with tops, bottoms and dresses at VOGUE (https://www.vogue.com). According to the data analysis criteria organized based on prior research and related literature, it was classified in the order of form, color, material, pattern, decoration, fashion image, item and coordination, and content analysis was conducted based on statistical analysis. Overall, the design characteristics of the Chanel collection, directed by Karl Lagerfeld, were rectangle form, tone in tone coloring, combination of identical materials, geometric patterns, and classical images as the main design characteristics of the Chanel collection. The design characteristics shown in the Fendi collection directed by Karl Lagerfeld were rectangle form, tone in tone coloration, hard material combination, abstract pattern, and total coordination. Comparing the design features of Chanel and Fendi, directed by Karl Lagerfeld, is as follows. Chanel and Fendi's designs show a lot of rectangle form, tone-in-tone colors, hard-materials and combination of the same material.

• Phonetics and Speech Sciences
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• v.14 no.4
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• pp.1-10
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• 2022

The Korean polysemic ending '-(eu)lgeol' can has two different meanings, 'guess' and 'regret'. These are expressed by different boundary-tone types: a rising tone for guess, a falling one for regret. Therefore the sentence-final boundary-tone type is the most salient prosodic feature. However, besides tone type, the pitch difference between the final and penultimate syllables of '-(eu)lgeol' can also affect semantic discrimination. To investigate this aspect, we conducted a perception test using two sentences that were morphologically and syntactically identical. These two sentences were spoken using different boundary-tone types by a Korean native speaker. From these two sentences, the experimental stimuli were generated by artificially raising or lowering the pitch of the boundary syllable by 1Qt while fixing the pitch of the penultimate syllable and boundary-tone type. Thirty Korean native speakers participated in three levels of perceptual test, in which they were asked to mark whether the experimental sentences they listened to were perceived as guess or regret. The results revealed that regardless of boundary-tone types, the larger the pitch difference between the final and penultimate syllable in the positive direction, the more likely it is perceived as guess, and the smaller the pitch difference in the negative direction, the more likely it is perceived as regret.

• Proceedings of the Korean Institute of Intelligent Systems Conference
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• 1998.10a
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• pp.560-567
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• 1998

This paper concerned about a imputed color printed material image in camera to decrease noise and distortion by processing median filtering with input image to identical condition. Also this paper proposed the way of compares a normal printed material with an abnormal printed material color tone with trained a learning of the error back-propagation to block classification by extracting five place from identical block(3${\times}$3) of color printed material R, G, B value. As a representative algorithm of multi-layer perceptron the error Back-propagation technique used to solve complex problems. However, the Error Back-propagation is algorithm which basically used a gradient descent method which can be converged to local minimum and the Back Propagation train include problems, and that may converge in a local minimum rather than get a global minimum. The network structure appropriate for a given problem. In this paper, a good result is obtained by improve initial condition and adjust th number of hidden layer to solve the problem of real time process, learning and train.

• Journal of the Institute of Electronics Engineers of Korea TC
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• v.46 no.8
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• pp.10-15
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• 2009

In this paper, we propose a frequency-domain tone interference cancellation algorithm for direct-sequence spread spectrum systems. In the previously proposed frequency-domain interference cancellation algorithms, the interference signal is estimated and compensated in the frequency-domain and then, with IFFT (inverse Fourier transform), the compensated frequency-domain signal is transformed to the time domain signal for the remaining receiver operations. Unlike the previous works, the proposed algorithm does not requires IFFT and thus, the proposed algorithm not only shows the virtually identical performance but also requires lower hardware complexity compared to the previous works.