• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.35-46
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• 2008

The purpose of this study was to closely examine the history of glasses and their cases used in the middle and late of Joseon Dynasty and identify inherent quality of our traditional glasses cases through color analyses of glasses cases' material and shape. While theoretical examination was conducted based on the literatures of glasses and their cases that firstly appeared in around Japanese Invasion (Imjin war) of Korea in 1592, practical analyses were demonstrated on photos of glasses cases used in the middle and late of Joseon Dynasty collected from both museum pieces and the internet which were grouped into wood, fabric, paper, sharkskin, hawksbill and cow's horn in accordance with their materials. 623 color samples were abstracted from collected 159 glasses cases and quantity analyses on each material were performed respectively. Abstracted representative colors based on the result of color analyses were classified into the main materials and accessories' color scheme. The result of this study are as follow: firstly, both Yellow and Yellow Red were mostly used in main materials. In Fabric case's colors were widely used in embroidery and in animal matter material cases such as sharkskin, hawksbill and cow's horn, which can be used as itself or dyed, Green Yellow shown in high frequency. Secondly, accessories were analyzed into similarity coloration with main materials. From this finding, it turns out that our traditional cases have characteristic of similarity coloration between main materials and accessories. Red Purple and Purple Blue in high frequency in accessories used as an accent color. Finally, based on the analysis of hue and tone, while the middle and low value colors shown in very high frequency, the high-chroma colors hardly shown.

• Journal of the Korean Ceramic Society
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• v.55 no.4
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• pp.368-375
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• 2018

This study deals with the color formation of ceramic pigment in the $TiO_2$-SnO-ZnO system. We designed compounds to control the color formation depending on the composition using the Design of Experiment. The color coordinate values of synthesized pigments, $L^*a^*b^*$ were measured and statistically analyzed color for changing elements depending on its composition. The relationship between the major crystalline phases and chromaticity was examined using XRD, and the oxidation states of each element were analyzed by XPS. The synthesized pigments based on the compound design exhibited various color changes ranging from yellow-orange to green-blue and brown. The statistical analysis on the spectrophotometer results shows that $a^*$ and $b^*$ values decreased with $TiO_2$ content, and increased with SnO content. Yellow-orange color was detected with the main peak of SnO, and the green-blue color developed with the main peak of $Zn_2TiO_4$. The $a^*$ and $b^*$ values increased with increased SnO peak intensity, and decreased with increased $Zn_2TiO_4$ peak intensity. The results revealed that pigment color formation was influenced by changes in the main crystalline phases and crystalline intensity. However, XPS analysis of the oxidation states of each element showed little correlation with the pigment chromaticity result.

• Proceedings of the KSRS Conference
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• 2005.10a
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• pp.108-111
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• 2005

The Communication Ocean, Meteorological Satellite (COMS) as the one of the national space program has been developed by Korea Aerospace Research Institute (KARl). The Geostationary Ocean Color Imager (GOCI) is one of the main payloads ofCOMS which will provide consistent monitoring of ocean-colour around the Korean Peninsula from geostationary platforms. The ocean color observation from geostationary platform is required to remedy the coverage constraints imposed by polar orbiting platforms. In this paper the main characteristics of GOCI are described and compared with the current ocean color sensors. The GOCI will provide the measurement data of 6 visible channels and 2 nearinfrared channels (40Onm - 900nm). The high radiometric sensitivity is essential of ocean color sensor because of the weak water leaving radiance.

• Journal of Fashion Business
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• v.12 no.4
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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.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.114-123
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• 2002

Koreans have regarded the red as a major color from old times. The red is a traditional color to have symbols of high position, national foundation and especially royalty. So, we can see the reds in the palace for kings very much.The purpose of this study is to draw out the features of color red in the Kyungbok palace. The color was analyzed by two categories-architectural buildings${\cdot}$structures and ornamental painted patterns. The major findings from this research are summarized as follows:1. Seokganju(similar to terra rossa) and toyugsaek(light seokganju) are found main colors in architectural space, while seokganju has a linear effect and toyuk has a facial effect. 2. Yugsaek(similar to light vermillion) and Jangdan(similar to orange) are found main colors in ornamental painted patterns. These colors are more vivid and brighter than those for architectural space.3. As for two-color combination, reds and blues(including greens) are found major combination both of architectural space and ornamental patterns. And reds and white are the following combination, which gives an bright image by white. 4. As for three-color combination, red-white-black combination of pediment and red-blue-white combination of openings are found very popular in architectural space, while red-blue-yellow combination is most popular in ornamental patterns.The reds are found dominant color of both architectural space and ornamental patterns in the Kyungbok palace. The color design as shown in the Kyungbok palace can be considered as the feature of traditional color design.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.343-351
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• 2009

As more and more consumers shop online, websites of fashion brands have become effective means for business activities. The Colors of web sites are the most effective visual elements for e-tailers to communicate with consumers. The purpose of this study is to compare websites created for local and global markets by men's apparel brands. The empirical study focused on differences of color application between the local and global websites. Fourteen brands were chosen for the study. The main color, sub color, and accent color were extracted according to the screen component ratios for each website. The colors were analyzed by Munsell's 10 Hues and 12 tone classifications of Practical Color Coordinate System. The Results indicated that all websites were using White as the main color. The local website used pale tones while global websites used dark tones. There was also differences in the use of sub colors and tones. Red was most used as the accent color in both local and global websites.

• Science of Emotion and Sensibility
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• v.10 no.1
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• pp.37-47
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• 2007

Color planning system can be treated as a decision support system which includes both the recommendation of main color and harmonious colors. In this paper, we propose techniques that are useful to enhance the harmonious color recommendation with the main color selected by user. In order to reflect the knowledge about suggestion of harmonious colors, we use Ostwald color harmony theory, that is very systematical and easy to implement. Actually, Ostwald color space is similar to HMMD color model in MPEG-7. Due to the similarity between two color spaces, Ostwald color space can be represented as a virtual HMMD color space. Accordingly, we propose a technique to align the HMMD color space with Ostwald color space, thereby it is capable of enhancing a performance to search the harmonious colors according to Ostwald harmony theory. For recommendation of delicate and more exquisite harmonious colors in equal hue plane, we made the virtual color space continuous. The system can recommend various harmonious colors according to Ostwald color harmony. He(she) can select harmonious colors among the suggestions from the system.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.51-58
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• 1991

This study was conducted to investigate the dietary and nutritional status supplied by group feeding for blue color and white color in Seoul and Kyunggi area. The results are summarized as follows : 1. Blue color and white color of the average food supply per person per day was 1370.0g. Blue color of the total fool supply was consisted of 35.1% grain, 44.1% vegetables. White color of the total fool supply was consisted of 31.8% grain, 44.0% vegetable. The amount of milk product, fruit and fat supply were very small. 2. Blue color and white color of the ratio of main dish and side dish supplied was 69 : 31, 60.0 : 39.7. 3. Main dish all is rice. Side dish ard kinds of soupes and Jigeai Johngol in the two groups. In the kind of side dish white color much more than blue color. Dessert are scarcely supplied in the two groups. 4. The mean daily supplies of energy and 9 nutrients were above the level of the R.D.A. Blue color and white color of the mean daily amount of energy supply was 2653.0㎉ 3022.6㎉. Blue color and white color of the ratio of carbohydrate, protein, and fat supplied was 68.4%, 18.6%, 13.1%, and 62.1%, 20.9%, 17.0%. 5. Blue color and white color of the average feeding cost amounts to 460won, 812won per meal. 6. Blue color; There were high correlations in supply amoung energy, protein, fat. Carbohydrate, calcium, iron, riboflavin, niacin. White color; There were high correlation in supply amoung energy, protein, carbohydrate, calcium, iron, thiamin, riboflavin, niacin, vit-C.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.25-40
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• 2004

The rainbow has been considered as a perfect representative of color harmony in nature. In this study rainbow's colors include seven spectral colors and changeable colors according to observational angle. This study performed a bibliographical inquiry into rainbow colors and the survey research for classification of rainbow color images in fashion design. First, a bibliographical inquiry includes the definition of rainbow colors, physical formation principles of the rainbow, and its aesthetical attributes and symbolism. Second, this survey classifies rainbow color images in fashion design. The results of this study are as follows: 1. The rainbow was the religious and symbolic object before 17th century, and after that period, the rainbow became an aesthetical object. The main symbolic meanings are similar in eastern and western culture: temporary bridge between two world, divine nature, hope/beauty/richness, war/ death/flood/drought. 2. This survey shows that 6 main factors of rainbow color images in fashion design are 'vigorous', 'colorful'. 'fairy', 'fresh', 'mysterious', 'brilliant'. Rainbow color image in fashion design shows past and futuristic image at the same time. The purpose of this study is to systematized the images theoretical bases which are applied to color expression and of rainbow colors and to find out the development about rainbow theme by designers.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.117-130
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• 2010

The main objective of this research was to understand the characteristics of contrast color coordination through the analysis of modern woman fashion color coordination as they appear in the 'Collections' from '04 SS to '09/'10 AW. Data collection of 122 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 qualitative interpretation of contrast color coordination characteristics were completed. The main findings were as follows; (1) The combined color type of 'red+blue' and 'yellow+blue' were the most frequently appeared in the same ratio, and followed by 'green+violet', 'red+yellow', 'green+orange', and 'orange+violet'. The contrast tone showed the most, and followed by the similarity and identity, and the type of tone harmony used differently according to the type of contrasting color combination. (2) The general characteristics of contrasting color harmony were as follows,; Some contrasting colors looked harmonious when used light colors and the contrast between light and dull colors which made the hues even more harmonious. Also combinations of dull colors which work well with other dull colors or vivid colors. Light & vivid color or light & dark color, however, often showed too much contrast and using two contrasting vivid colors presented awkward and restless look. When used one vivid color and one dark color, a little easier to looked at, but still not particularly elegance or effectively harmonious. (3) The types of contrasting color harmony showed some differences between seasons. Contrasting color harmony showed more frequently in the S/S collections than in A/W collections.