• 패션비즈니스
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• 제13권6호
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• pp.125-136
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• 2009

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 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 also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.

• 한국정보디스플레이학회:학술대회논문집
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• 한국정보디스플레이학회 2008년도 International Meeting on Information Display
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• pp.537-539
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• 2008

WOLED devices were fabricated using two complementary color method with two emissive layers of blue and orange color respectively. WOLED's color purity was optimized as changing thickness of blue emissive DPVBi layer with most efficient red emissive layer doped with 0.2% DCJTB in $Alq_3$ and obtained better white color coordinates of (0.36, 0.33) at 9V.

• 한국정보디스플레이학회:학술대회논문집
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• 한국정보디스플레이학회 2007년도 7th International Meeting on Information Display 제7권2호
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• pp.1429-1432
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• 2007

We fabricated white organic light emitting diodes(WOLED) having two complementary and three primary colors with emission layers of DPVBi / MADN : DCM2-0.5% and DPVBi / $Alq_3$ / MADN : DCM2-1.5%, respectively. WOLED using three primary colors shows broad electroluminescence including green emission peak at 510nm while optical properties of the two complementary WOLED was higher current efficiency of 6.2 cd/A than 4.9 cd/A of three primary color WOLED. The maximum luminescence of WOLED with two complimentary color was $15200cd/m^2$ along with luminous efficiency 6.2cd/A, as achieving stable white color coordinates for both of WOLEDs at (0.33 , 0.33) almost.

• 한국실내디자인학회논문집
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• 제17권3호
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• pp.102-110
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• 2008

The purpose of this study is to find out the characteristics of color preference(interior color preference and general. color preference) and preferred color scheme of the youth and the elderly. This is to proffer basic data for the color planning of the youth and the elderly. The color preference study was carried out with 50 color chips and preferred color scheme study was carried out with 25 interior color scheme. The research was conducted with the youth 50 sample and the elderly 51 sample. The analysis used spss program. The results of this study are as follows;1) In general color perference, most of the youth preferred PB and GY, and the elderly preferred RP. According to tone, two groups preferred pale, bright and vivid tone. 2) In interior color perference, most of the youth preferred GY and Y, and the elderly preferred PB and YR. According to tone, two groups preferred pale tone. Compared with general color perference and interior color perference, the youth had the similarity in preference profile, but the elderly didn', there was the outstanding difference in the perference of B, PB, P and RP. 3) In the preference of interior scheme, two groups preferred GY-analogous harmony1, G-analogous harmony1 and RP-analogous harmony1. According to age, the youth preferred Y-analogous harmony2 and PB-analogous harmony1, and the elderly preferred YR-analogous harmony1 and RP-complementary harmony1. On the whole, two groups more preferred analogous harmony than complementary harmony, and preferred type1(tone difference is slight). But there was the significant difference in analogous harmony of cool color.

• 복식문화연구
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• 제25권4호
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• pp.509-518
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• 2017

As the international competitive landscape deepens, the need to understand foreign cultures and establish effective strategies is increasing. At the beginning of the 20th century, Cartier actively developed exotic designs to secure international competitiveness; theses designs have also been used as design prototypes for Cartier in modern times. The purpose of this study is to analyze the color characteristics and types of exotic designs in the early 20th century, which was a turning point in Cartier's design. After studying the literature, a total of 248 exotic designs were presented in Cartier catalogs. This study also selected overseas monographs from the early 20th century, and their design types were classified and color analysis was performed based on the Natural Color System(NCS). Cartier's exotic designs cover wide range of styles, such as Chinese, Japanese, Persian, Indian and Egyptian styles. Multicolor, primary colors, and contrast are all strongly expressed. 97% of designs contained multiple colors, with at least two colors and maximum of six colors. The most frequently used colors are red, green, and blue, which means that only 9% of the designs do not contain the three colors, showing a high preference for theses three colors. In addition, color combinations of red and green, red and blue, or all three colors are used to show high contrast and utilize complementary colors, or near complementary colors, for coloration. This study is meaningful in that it analyzes the color characteristics of Cartier's exotic designs and translates them into practical data for establishing the color strategies of companies in the global market.

• Journal of information and communication convergence engineering
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• 제8권1호
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• pp.51-58
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• 2010

This paper proposes an edge adaptive color interpolation for an ultra-small HD-grade complementary metal-oxide semiconductor (CMOS) video sensor in camera phones that can process 720-p/30-fps videos. Recently, proposed methods with great image quality perceptually reconstruct the green component and then estimate the red/blue component using the reconstructed green and neighbor red and blue pixels. However, these methods require the bulky memory line buffers in order to temporally store the reconstructed green components. The edge adaptive color interpolation method uses seven or nine patterns to calculate the six edge directions. At the same time, the threshold values are adaptively adjusted by the sum of the color values of the selected pixels. This method selects the suitable one among the patterns using two flowcharts proposed in this paper, and then interpolates the missing color values. For verification, we calculated the peak-signal-to-noise-ratio (PSNR) in the test images, which were processed by the proposed algorithm, and compared the calculated PSNR of the existing methods. The proposed color interpolation is also fabricated with the 0.18-${\mu}m$ CMOS flash memory process.

• 한국실내디자인학회논문집
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• 제15권1호
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• pp.147-157
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• 2006

The purpose of this study is to fond out the characteristics of color perception and preferred color scheme of the aged who becomes color weak due to yellowed eye sight. For this, this study was composed of two steps. First, an experimental simulation on aged vision using Spectrophotometer(CM-2600d, Minolta) attached Y-2 filter as a quasi lenses of the aged eye. The color data of 120 color chips of the aged vision was measured and analyzed to grasp the characteristics of color perception of the age. Then, a questionnaire survey was carried out with color chips and 8 interior color schemes. They participated in a questionnaire survey of the level of identification among the color chips of 11 tones of R, G, PB, as well as a survey of the preference color schemes. The result of this study are as follow; 1) The range of color perception on hue narrowed into YR, Y, GY, G. Especially, the aged have failed perception of B${\cdot}$PB${\cdot}$P${\cdot}$RP(short wave length of light) by yellowed eye sight. 2) The level of identification among the color chips of 11 tones of R,G,PB are different by each color. But Very Pale, Pale, Strong, Vivid are fractionated similarly in almost color. 3) In the preference of interior color scheme of the aged, preference color harmony scheme Is the complementary color scheme that is easy for identification, rather than analogous color scheme. The preferred dominant color is warm color rather than cool color.

• 패션비즈니스
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• 제15권5호
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• pp.144-160
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• 2011

This study investigated the colors of the costumes and backgrounds of characters in the films "Thirst" and "Mother" from an integrated perspective. As a study method, ten scenes per film, which contained the characters and backgrounds from the start to the end of the DVDs of "Thirst" and "Mother" were examined. For integrated color analysis of the costumes and backgrounds, the colors of the captured scenes were simplified to extract representative colors, and then color palettes were presented according to the ratio of area. The colors of costumes were analyzed by recognition through the eyes based on the I.R.I. Hue and Tone 120. Furthermore, the color images of the two films were analyzed using the I.R.I. adjective image scales and the I.R.I. color image scales. The colors of the film "Thirst" were generally low in brightness and high in chroma. They are characterized by dark, gloomy toned-down background in the first half, highly chromatic vivid background in the second half, and the contrast of purple blue colors and red colors. The colors of the film "Mother" are characterized by complementary colors between background and costume colors, and various tones of blue and green colors. From the aspect of color tones, they were relatively high in brightness compared to the film "Thirst" but low in chroma. On the I.R.I. adjective image scale, contrasting adjectives were extracted simultaneously from the film "Thirst" as the adjectives were evenly distributed at hard, dynamic and static, whereas the adjectives extracted from the film "Mother" were distributed at hard and statistic. On the I.R.I. color image scale, both films were located at hard, but the film "Thirst" was located at dynamic whereas the film "Mother" was located at static.

• 한국HCI학회논문지
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• 제2권1호
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• pp.49-56
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• 2007

최근 보색 패턴(complementary pattern)을 이용한 비간섭 프로젝션 기반 증강현실 기술이 제안되었으며, 가상 스튜디오에 활용하는 방안이 모색되고 있다. 그러나, 관련 기술은 삽입된 보색 패턴의 비가시성이 보정 성능과 상충된다는 문제를 안고 있다. 본 논문에서는 이러한 보색 패턴의 비가시성과 보정 성능 사이의 상충관계를 완화하기 위해 컨텐츠 적응형 패턴 은닉 기술을 제안한다. 증강현실 영상의 색감 및 텍스처의 복잡도에 따라 지역적으로 (locally) 다른 채널 및 세기로 보색 패턴을 삽입한다. 우선, YIQ 컬러 공간에서 표현된 증강현실 영상을 균일한 크기의 영역으로 나눈 다음, 각 영역에 대해 I 성분이 지배적이면 Q 채널에 패턴을 삽입하고 Q 성분이 지배적이면 I 채널에 패턴을 삽입한다. 또한, 각 영역에 대해 미분 필터를 이용하여 텍스처의 복잡도를 계산한 후, 텍스처의 복잡도가 크다면 강한 패턴을, 복잡도가 작으면 약한 패턴을 삽입한다. 다양한 실험 및 사용자 평가를 통해, 제안된 방법은 기존 방법에 비해 크게 두 가지 상반되는 장점을 가짐을 확인하였다. 스크린의 기하 및 컬러 정보를 획득하는 성능 면에서 제안된 방법이 기존의 방법과 유사하도록 채널 및 패턴의 세기를 결정한다면, 기존의 방법에 비해 패턴의 비가시성이 크게 개선된다. 반대로, 제안된 방법의 패턴의 비가시성이 기존의 방법과 유사하도록 채널 및 패턴의 세기를 결정한다면, 기존의 방법에 비해 스크린의 기하 및 컬러 정보를 획득하는 성능이 크게 개선된다.

• 대한전자공학회논문지SP
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• 제40권1호
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• pp.96-102
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• 2003

비디오 복사 방지(video copy detection)는 기존의 워터마킹 방법과 반대의 개념으로, 비디오 스트림에 독특한 패턴을 첨가하는 워터마킹에 비해, 비디오 복사 방지 기법은 비디오의 복사판을 검출하기 위해 패턴을 첨가하지 않고 비디오의 내용 기반 특징(content-based signature)을 비교한다. 기존의 일반적인 내용 기반 복사 방지방법은 이미지 정합을 사용하였으나, 본 논문은 비디오 복사방지를 위해 가능한 두 가지의 새로운 순서정합(sequence matching) 알고리즘을 제안하고, 기존의 방법 중 칼라 정합 방법과 성능을 비교 분석하였다. 모션, 명암도와 칼라 기반 특징을 복사 방지 관점에서 비교하고, 영화클립에 대해 실험한 결과를 제시한다.