• Proceeding of Spring/Autumn Annual Conference of KHA
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• 2008.11a
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• pp.403-406
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• 2008

Living in the present, specially in this multi-cultural society, we have to look back our tradition in many aspects. And we try to find out our own identity. Color is very important element to decide what is traditional or not. And it‘s a prominent factor for design subject visually. With the color from traditional residence, we will figure out traditional color and it‘s combination which the people prefer today, so we can applicate and develop it in the present design. Using color palette which has extracted from traditional building and space, a survey has done of university students for finding out which they think of traditional color. The result showed that Y-R type and Y-R type in color palette was the most traditional things by the students. This study is meaningful in the way of clarifying that university students think what is the traditional color and color palette.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.631-655
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• 2022

Modern Hanbok tends to use new colors based on traditional colors and their symbolic meanings. In addition to the traditional colors, various expressions have been increased, it is necessary to consider the color and color trend used in modern clothing. This study focused on the period 2011 - 2020 and analyzed the main color and coloring method of top and skirt by year with 450 data from a total of 81 wedding magazines. The results of examining the characteristics of traditional colors during the target period are as follows. First, the main color of the Jeogori showed a distribution of various colors in the first half, but the main color of the skirt concentrated on black, white and light pink in the second half. Second, while the use of blue and green systems decreased, Dang-ui color changed to warm yellow, green, and red systems. The Baeja used plain dark white in the first half; however in the latter half, they changed to white or accented colors. The one-piece used various colors in the first half, but only black and white appeared in the second half. Third, in the upper and lower colors of Hanbok, the blue-red color, the traditional contrast color of the first half, decreased significantly in the second half. The appearance rate of proximity for the complementary color harmony of white-red color and the adjacent color harmony of white-blue increased.

• Journal of the Korean housing association
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• v.19 no.6
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• pp.157-166
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• 2008

Until 1960, the major housing type of rural area in Korea was traditional wooden frame building, which was made of natural materials. In the course of modernization and New Village Movement, most of traditional houses have been renovated focusing on changing roof material of rice straw into slate, keeping existing main wooden structure. And then from around 1980, by economical development the new houses have been constructed. On these three phases of traditional type, remodeling type and new construction type, the natural materials of housing facade as wood, soil, stone and plant changed into artificial materials as cement, chemical material and paint. At the same time the exterior color of housing also have been changed and varied. The purpose of this thesis is to find out the changing aspect of exterior color by comparing remodeled and new constructed housing with of traditional housing. The exterior color of one hundred and fifty seven houses were surveyed and the three color attributes of each part of facade, as roof, wall and window, were analyzed and compared. In case of traditional houses, 98.3% of color are concentrated on the warm color of Y and YR on HUE scale, and 88% of their color are low Chroma. And Value of their color has been varied and spreaded from low to high Value scale. From traditional types to remodeled and new constructed houses, the concentration ratio of warm color on Hue scale reduced from 98.3% to 68.7% and ratio of low Chroma was also changed from 88% to 73.2% and the ratio of low Value color reduced from 51.9% to 29.7%. The exterior color of houses in rural area varied on Hue, and the more saturated colors were used and they became brighter compared with color of traditional houses. It is expected that the results of this study can be used for basic data of exterior color planning and improvement into harmonized color with natural environment.

• 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 Fashion Business
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• v.20 no.1
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• pp.98-114
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• 2016

This research study was performed to compare between Korean traditional color and digital transfer textile printing. This would help to find the new direction to apply Korean traditional colors to modern textile industry. The objective of this study is to digitalize Korean traditional colors to be applied to modern textiles, based on research studies by previous researchers, on the actualization of Korean traditional colors for textiles. The study focused on 21 red colors among others. Digital color palette of graphic program was printed on 6 different polyester textiles by using digital transfer textile printing. Different things to be supplemented were found by comparing the results with the colors of Korean traditional standard color names. After measuring the colors, Munsell color system and CIE $L^*a^*b^*$ value were measured then comparative study was performed on the measured values using 3D graphs. Measured colors of Munsell varied by color but in overall, chroma became low while brightness became high. Color characteristic of warm colors got weakened by turning into cold colors as brightness got high but yellow and red got low due to the characteristics of CIE $L^*a^*b^*$ value. This study has limitations with color analysis of digital transfer textile printing due to standardization of textiles and standardization of traditional colors however it can support to actualize the colors for the design using traditional color names by visualizing the color change of digital transfer textile printing in the future.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.88-96
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• 2007

The purpose of this study is to present examples for modern application with traditional color on ceremonial costume of Korean folk belief which is regarded as representative research material standing for Korean cultural archetype. The arrangements of color on the ceremonial costume of Korean folk belief were selected from 11 items specified as an import intangible cultural asset. These color arrangements were composed of fundamental colors from the viewpoint of modern color sensation, but had a excellent harmony in Hue. Therefore, not shifting Hue of color arrangement on ceremonial costume, traditional color arrangement was apply to contemporary it by shifting tone. Brilliant and deep chromatic tone that belong to 3, 4 area was converted into toned light grey, light clear, dark deep, toned dark grey, and greyish chromatic tone that belong to 1, 2 area or 5, 6, 0 area or 2, 7, 9 area. The plan that applies arrangement color with brightness contrast of traditional fundamental colors on a modern color harmony was presented from that. Like this, we can combine traditional color into modern color sensation, stylize and apply it on a production of character, logogram design, fashion design for characters in animation or game. From this, we'll be able to be close to the color arrangement sensation including our racial emotion in the everyday life.

• 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 the Korea Society of Computer and Information
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• v.15 no.1
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• pp.103-109
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• 2010

As color was used for formative language since a human activity was beginning, all the symptoms in the world that the human eye can see is present. In this paper, we identify Korea traditional color harmony for extracted key frames from scene change detection. Traditional color is classified as 5-Jung-color and 5-Kan-color, and determine whether to harmony. Red, blue, yellow, black, and white, called 5-Jung-color and pink, blue, purple, sulfur, and green, called the 5-Kan-color was identified. First, we extract edge using Canny algorithm. And, we are labeling and clustering colors around the edge. Finally, we identify the traditional color using identification method of traditional color harmony. The proposed study in this paper has been proven through experiments.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.397-407
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• 2008

Recently, influence of color has been expanded in various fields including design field. Among human five senses, visual sense is best for information capturing, and 80% of information judgment by visual sense is from color. Color is emotion and image. Hanbok is marked by its beautiful color combinations. The guiding principle of such color chords was Obangsaek, or the traditional Korean five base colors. The method of this study is to consider concepts of Obangsaek derived from the principles of yin-yang and the five elements and is to investigate application of Obangsaek. And the purpose of this study is to understand traditional colors and is to provide judgment criteria on various color combinations based on Korean aesthetic sense for development of textile design. The degree of nation culture depends on the level of research, analysis and application on traditional colors. Obangsaek, Korean traditional color is splendid and primary color. Also, Obangsaek has symbolic and lucky meanings. These colors are still the primary source of coloring. Obangsaek has been reinterpreted by application on textile design, some into base colors and others into diverse shades. So this study will help in the aspect of development on Korean style design.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.95-112
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• 2006

This study examines the Korean traditional and characteristic coloring through the color of Korean traditional embroidery. This research gives the chance to establish the cultural identity of Korea and presents the aesthetic standard of color images. Also, practical use of Korean traditional colors through this study provide opportunities which develope cultural merchandise in the world. were chosen as the references to analyzed the Korean traditional colors through gungsu: court embroidery, buddhist embroidery, everyday embroidery and clothing embroidery. Because this book published in commemoration of '20th General Conference and 21th General Assembly of ICOM' in 2004, which presented excellence of Asian culture. The color of these works were divided by 'Pantone Solid Color Chips' which organized by CMYK color system and categorized by Obangsaek. 'Gungsu' had vivid and splendid color sense which used strong and bright colors and 'buddhist embroidery' had mild and mysterious feelings which used low saturation.'Everyday embroidery' used the red color group frequently and 'clothing embroidery' had brighter colors comparing to other embroidery groups. The 'Chung(blue)' group had diverse color tone rather than one-tone color. This means that Koreans prefer the 'Chung' and used it regularly, also this color symbolized the racial characteristics. Even though 'Whang(yellow)' was prohibited because the color for emperor, in the case of embroidery, there were a variety of yellow colors from 'gold' to pale yellow and grayish yellow. The arrangement of colors in 'gungsu', tone on tone, complementary and bicolore coloring was used mostly which presented a strong and elegant color sense. On the other side, 'buddhist embroidery' used tonal coloring which gave gentle and noble feeling. 'Everyday embroidery' presented separation and accented coloring which was the example of common people's humor and originality. In the case of 'clothing embroidery', there was dominant lightness, separation, tone on tone and camaieu coloring which added gorgeousness in Korean traditional clothing.