• 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 Fashion Business
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• v.27 no.3
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• pp.75-95
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• 2023

This study aims to investigate the color characteristics and utilization of Amekaji fashion in the domestic casual market, with a focus on menswear. A total of 1,882 color data were extracted from 11 representative brands of Amekaji. This results of the study showed that PB, Bk, YR, and Y colors were highly utilized in the overall color, and dkg, g, ltg, and p tones were highly utilized. In particular, R color was highly utilized in the point color, as it was developed into six tones, including v, with high saturation. The analysis by the brand showed that the highest number of colors were extracted from 'Kapital', which is famous for its vintage-style patchwork and dyeing, and that 'PB' and 'Bk' were heavily utilized. By the item, PB colors were mainly utilized for denim, and shirts were diversified with 9 tones. W, a neutral color, was mainly used on clothing tops such as shirts, knits, and T-shirts. This study provides valuable insights into the color sensitivity of Amekaji fashion, which can be used as a useful resource for design development and product planning in the industry. As a future study, we suggest analysis of the utilization of Amekaji colors in the Korean men's casual market along with American and Japanese brands.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.1
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• pp.113-119
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• 2023

This research analyzed the importance and influence of color expression on psychological and emotional changes of visual perception in the creation of art works. This research takes the element of the sky in the works of Vincent William Van Gogh, a Dutch post-Impressionist representative painter, as the basic research objective to prove the influence of color expression of the same thing on the inner emotional communication of the creator. After synthesizing the contents of previous research and investigation on Van Gogh, this research will summarize the works containing sky elements in Van Gogh's works according to his four creative stages, and select representative works for color analysis and comparison. In this paper, by comparing the colors of the same elements of the sky, we can find Van Gogh's guidance of psychological and emotional changes through the expression of colors in his works, which will play a certain inspiring role in the creation of painting art.

• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.49-61
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• 2007

The subject of study concerns the color characteristics of clothing/accessories from �Chosun�a nd modern Korea. It particularly focuses on the colors of the �Jeogori? traditional jacket) which represents Korean traditional clothing. Color data were collected from 353 woman�s �Jegori�s from �Chosun�a nd modern Korea and divided into the predominant colors & sub colors, and analyzed with HV/C and PCCS. According to the analysis, the representative the predominant color of 'Chosun Jeogori' for woman is YR, Y and side one is R, YR. The p, dp, sf, ltg colors are frequently found and the freshness of most of them is medium or low which shows a calm-feeling. The p, and ltg tones are often found as a the predominant color and p, dp are also often found as a the side color. In the 'Chosun Jeogori' for woman, the predominant colors and the side colors spread in a similar frequency and most of them have medium or low freshness of the color that shows a calm-feeling. The side color is one of the R colors and it shows characteristics of traditional coloring such as �Jajoo Goreum? Among the �Jeogori�f or modern women, the R, YR, Y, and B colors are often used for the single-color �Jeogori? the Y, GY, N, G colors are for the colorful �Jeogori? The P, lt, and b tons of the color are often used for a single-color �Jeogori�a nd the p, lt, and W are for the colorful �Jeogori? For the colorful �Jeogori? the side color have a high freshness which shows that a strong image was used frequently as the dp, s, dk tons of the color were often used. According to an analysis of the coloring, the predominant color and the side color of �Chosun Jeogori�a re applied to create a harmony of analogy & contrast in one aspect of Moon & Spencer�s view. It is found that the predominant color and the side color are similar or contrasting in one view of the color harmony, except that the traditional the �Jeogori�i s colored by ideological and symbolic meanings. The predominant color and the side color of modern the �Jeogori�a re complementary colors which are applied to the indistinct relationship or contrasting harmony in one aspect of Moon & Spencer�s view of the color harmony. The characteristics of the color as above show that traditional the �Jeogori�r egards the side color as both the harmony of the colors in general and also of symbolic meaning, while modern the �Jeogori�f or woman has a tendency toward a cultural transition and is mixed with new colors focusing more on its the predominant color than on the general harmony and character of ideological & traditional coloring.

• Science of Emotion and Sensibility
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• v.7 no.4
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• pp.57-65
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• 2004

In this paper, we present a hybrid approach which incorporates color, texture and shape in content-based image retrieval. Colors in each image are clustered into a small number of representative colors. The feature descriptor consists of the representative colors and their percentages in the image. A similarity measure similar to the cumulative color histogram distance measure is defined for this descriptor. The co-occurrence matrix as a statistical method is used for texture analysis. An optimal set of five statistical functions are extracted from the co-occurrence matrix of each image, in order to render the feature vector for eachimage maximally informative. The edge information captured within edge histograms is extracted after a pre-processing phase that performs color transformation, quantization, and filtering. The features where thus extracted and stored within feature vectors and were later compared with an intersection-based method. The content-based retrieval system is tested to be effective in terms of retrieval and scalability through experimental results and precision-recall analysis.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.160-170
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• 2006

The purpose of this study is to analyze the image of color combination in fashion design. For this study 14,121 color samples were collected from 116 fashion brands selected by the market segmentation based on the results of the previous studies. The brands have high market share and brand recognition in each segmental market. The color samples were measured by spectrophotometer and analyzed by the Munsell's H V/C and CIE $L^*a^*b^*$ value. The representative colors of each market were selected concerning the tensity in CIE $L^*a^*b^*$ color space and the distance between the color samples. h4 a result, 2,213 representative colors were chosen. These color samples composed top and bottom color combination samples by the program 'Item Comparator' that calculated the color differences$({\Delta}E^*)$. Top includes the items such as blouse, shirt, and coats, bottom includes the items such as skirt and pants. The color combination samples were divided into two groups. In one group ${\Delta}E^*$ was less than 30, and In the other group ${\Delta}E^*$ was 30 or more. For investigating the image of color combination, 480 rotor combination samples were classified. The image adjectives for the survey from preceding studies and brand dictionaries were 'classic', 'modern', 'feminine', 'casual', and 'romantic', which have highly preferred in women's wear brands. The result of the study is as follows; For 'classic' 'image, YR, and greyish tone were generally preferred. In the color combination of 'casual' image, the samples with PB color and greyish tone were preferred. For 'feminine' image, RP was preferred as a top color, R, RP, P were preferred as a bottom color. For 'casual' image, PB was preferred as a top color, PB, B were preferred as a bottom color. For 'romantic' image, RP was preferred as a top color, R, P were preferred as a bottom color. The bigger the color differences between the color combination samples were, the more remarkable the image of color combination samples was.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Journal of Fashion Business
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• v.14 no.1
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• pp.86-105
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• 2010

Vintage fashion is a lot influenced by colors because an emotion is transmitted via images of "old feeling", "worn-out feeling" and "faded feeling" etc. Colors are visual sensation occurring at a time when lights stimulate an eye, which is a representative factor which humans first perceive when they touch objects. And colors in clothing function as a critical element which indicates an individual's impression and character as well as aesthetic sensation. In this study, I examined on the theoretical consideration and aesthetic characteristics via the previous literature on vintage fashion and colors. As an empirical study, I investigated on the colors of vintage fashion appearing in Pr$\hat{e}$t-$\grave{a}$-porter Collections, Paris from Spring/Summer, 2003 to Fall/Winter 2008. As a way for study, I investigated into the total 197 vintage fashion photos and calculated their RGB values by using photoshop. And I converted the values of the colors extracted into H V/C values by using Munsell Conversion Version 9.0.6 and analyzed on Munsell System of 10 Color Notation and the PCCS colors, classifying a color scheme by visual sensation measurement. The result of analyzing on the concept of vintage fashion and its color characteristics is as follows; Vintage fashion made an appearance the most in 2003 and 2004 and its colors appeared a lot in Y, YR, R and PB lines. Color tone concentrated on black and white, achromatic color and low chroma colors in a grayish line, chromatic color. Thus, the study found that colors suitable for a "worn-out", "faded" and "old" image are properly reflected in vintage fashion rather than a clear and bright background. In a color scheme, I found contrast color and same color appearing a lot, which gave an unharmonious feeling and a smack of the country. The study reveals that the color characteristic of vintage fashion is relatively diverse and complex in color, color tone or shade and color scheme, which shows a color trend which reflects a non-constructive and complex coordination characteristic instead of a standardized simple and clear image.

• The KIPS Transactions:PartB
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• v.11B no.1
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• pp.21-26
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• 2004

Color image quantization is a process of selecting a set of colors to display an image with some representative colors without noticeable perceived difference. It is very important in many applications to display a true color image in a low cost color monitor or printer. The basic problem is how to display 256 colors or less colors, called color palette, In this paper, we propose improved binary tree vector quantization based on spatial sensitivity which is one of the human visual properties. We combine the weights based on the responsibility of human visual system according to changes of three Primary colors in blocks of images with the process of splitting nodes using eigenvector in binary tree vector quantization. The test results show that the proposed method generates the quantized images with fine color and performs better than the conventional method in terms of clustering the similar regions. Also the proposed method can get the better result in subjective quality test and WSNR.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.58-67
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• 2013

The methods used in this study included investigation of media facades used for landmarks in downtown areas in previous studies, visits to these areas, and recording of media facades. The changes in the colors or the size of buildings were analyzed among the recorded cases and 12 of these cases were selected for further study. The sensibility preference of the media facades was evaluated by sorting the 12 kinds of media facades, and providing them as materials to a group of 60 participants (40 undergraduate and 20 graduate students majoring in architecture and design) consisting of an equal proportion of males and females. This study addressed the following four_stage questions: 1) Five questions of recognition evaluation about media facades and the cognitive evaluation items of emotional vocabulary and color preference in each research case; 2) sensibility preference items regarding the media facade color design; and 3) design evaluation items of the media facades; 4) Video clips and still images were recorded from a middle distance at 7p.m to 11p.m. in central New York, Singapore, Seoul, and Beijing. The participants looked at the changes in colors through the video clips in each case and evaluated their preferences through 23 pairs of emotional vocabulary items using system dynamics. Construction of an emotional vocabulary followed, based on previous studies about media facades and color design. To evaluate the sensibility preference and the perceived representative colors of the media facade, this study suggests new emotional responses that depended on the color emotional vocabulary of light in the LED lighting technical evaluation methodology. A media facade with a moving change of colors, unlike a fixed landscape color design, suggests a new communication method based on architectural factors. New architectural color coordination can be presented for urban landscapes at night. Designs that factor in the pedestrians' emotional vocabulary or preference should take precedence over the use of high luminance and various colors.