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디지털 미디어 환경에서 KS 기본색명을 통해 인지되는 초점색의 속성 연구
최원정(Choi, WonJung),최경실(Choi, GyoungSil) 한국색채학회 2021 한국색채학회 논문집 Vol.35 No.4
Due to digital transformation, accurate color communication is required even in the digital media environment. Focal colors refer to colors of focal points in color categories, representing names of color. Therefore, the focal color can be used as a reference point for color communication even in the digital media environment. In this study, targeting 60 Korean females, focal colors that fall into KS basic color names have been investigated in digital color space and properties of those focal colors have been analyzed. The findings show that focal colors have perceptually outstanding characteristics with a high degree of chroma and lightness. In addition, the focal color derived through the digital color space showed a much higher chroma characteristic than previous studies using color swatches. There was a high level of agreement among subjects regarding hue of focal colors, while demonstrating a low level of agreement regarding chroma of focal colors. Moreover, distribution patterns of each focal color with basic color names varied in accordance with the color space of Yellow-Red, Green-Yellow, Blue-Green, and Red-Blue; in other words, each color space recognized according to basic color names showed different distribution patterns.
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최정원(Choi, JungWon),박영경(Park, YungKyung),최경실(Choi, GyoungSil) 한국색채학회 2022 한국색채학회 논문집 Vol.36 No.2
Previous studies have shown that the more familiar the pictogram’s shape is, the more attractive it is. To find out whether these results can be applied to color, this study analyzed the color of pictogram’s familiarity and aesthetics. First, we conducted a pre-questionnaire to evaluate the familiarity of pictograms and to investigate the associated color. Therefore eleven pictograms with high familiarity were selected. Second, those pictograms were divided into two groups, one with six pictograms that associated with specific color, and the other with five pictograms that are not associated with specific color. In this experiment, 13 colors (R, YR, Y, GY, G, BG, B, PB, RP, PK, BK, Wh) were applied to the pictograms, and subjects were asked to select familiar color and aesthetic color separately. The study showed that there is a tendency that familiarity and aesthetics of color tend to appear similar, whether pictograms have associated color or do not have associated color. In the case of pictograms that associated with specific color, the colors can be used to make pictograms more familiar and aesthetic. On the other hand, when pictograms are not associated with specific color, there is a tendency that applying Black rather than chromatic color makes pictograms more familiar and aesthetic. According to these results, if objects of pictograms have associated color, it is recommended to use chromatic color that form association with objects. And if objects of pictograms don’t have associated color, black is recommended.
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언어 부호화를 통한 기억색의 색채 속성 연구 - 친숙한 자연물을 대상으로
최원정(Choi, WonJung),최경실(Choi, GyoungSil) 한국색채학회 2021 한국색채학회 논문집 Vol.35 No.2
Memory color is a color that is remembered in relation to a familiar object. According to previous studies, memory colors had a higher chroma and lightness than real object colors, and tended to change in the direction of the most impressive chromatic color. The purpose of this study was to investigate the colorimetric properties of the memory colors that were different from the real object color. A preliminary experiment and two main experiment were conducted with a total of 60 women in their 20s and 30s. Through a preliminary experiment, 10 natural objects representing 13 color names, including KS basic color names and sky blue, were selected. In this first experiment, the L, a, b values of the memory colors of 10 natural objects were investigated in a digital color space using a Photoshop color picker. In the second experiment, color names of 10 natural object were investigated by freely describing color names of the objects to be investigated. As a result, the lightness and chroma of the memory colors increased, and the hue tended to reinforce the chromatic color properties. The range of memory colors was reduced compared to the range of real object colors due to the influence of cognitive activity that memorizes the core color characteristics. On the other hand, memory colors of orange, earth and sky were more widely distributed than real object colors. They had a higher response rate to descriptive color names than other objects. It can be estimated whether the difference between object colors and memory colors is due to the mediator effect of focal colors. A focal color is a typical color that best represents a certain color category.
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최원정(WonJung Choi),유연숙(YeonSook Yoo),최경실(GyougnSil Choi) 한국색채학회 2014 한국색채학회 논문집 Vol.28 No.1
영화는 ‘제7의 종합예술’로 공간적, 시간적 예술 요소를 동시에 구현하는 영상매체이다. 에이젠슈테인에 따르면 장면과 장면의 관계된 색채 차이에 따라 다양한 의미 발생이 가능하다. 따라서 영화 관객들은 단순한 이미지나 스토리 이외에 미장센의 색채 표현에 따라 차별화된 영화 이미지와 발생된 의미를 파악할 수 있다. 이에 본 연구는 관객의 능동적인 참여와 개입을 요구하는 포스트모더니즘 영화의 색채 특성에 대해 규명하기 위한 목적으로 수행되었다. 포스트모더니즘 영화 특성이 상당 부분 재현된 장-피에르 주네 감독의 주요 영화 장면들을 대상으로 포스트모더니즘 영화의 양식적 특성과 색채 특성을 분석하였으며, 연구 결과는 다음과 같다. 첫째, 주네 영화의 주요 장면들에서 현실의 지시성 부정, 내러티브의 중심성 부정, 장르의 획일화 부정, 시공간의 연속성 부정이라는 포스트모더니즘 영화의 양식적 특성이 나타났다. 둘째, 주네 영화의 주요 장면들에서 포스트모더니즘 영화 색채의 탈정형성과 장르 간, 시대사조 간, 매체 간 혼용성 그리고 특수 컬러필터에 의해 재구성된 색채 특성이 나타났다. 셋째, 주네 영화에서 전반적으로 사용된 색상은 R, Y, G계열이었으며, 초반 작품에 비해 후반 작품에서 사용된 색조 특성이 더 다양한 것으로 분석되었다. 넷째, 주네의 영화마다 Red와 Green의 보색대비 조화가 공통적으로 적용되어 일상적이지 않은 포스트모더니즘 영화의 비현실적 색채 특성을 표현하였다. The movie is the image media realizing the spatial, time art factor at the same time as ‘the seventh synthetic art. According to Eisenstein, the occurrence of various meaning is possible according to the scene and the related color change of scene. Accordingly, cinema audiences can grasp the differentiated image and the occurred meaning according to the color expression of Mise-en-Scene besides the simple image or the story. Hence, this study has been carried out for the purpose of examining the color characteristic of postmodernism movie demanding the active participation and intervention of audiences. The stylistic characteristic of postmodernism movie and the color characteristic have been analyzed targeting the major movie scene directed by Jean-Pierre Jeunet where the considerable part of characteristic of postmodernism movie is reappeared; the study result is as follows; First, the stylistic characteristic of postmodernism movie called the denial of real referentiality, the denial of centrality of narrative, the denial of uniformity of genre and the denial of time and spatial continuity appeared in major scenes of Jeunet movies. Second, the de-stereotype nature, the mixed use nature among genres, trends of times and media of postmodernism movie color and the recomposed color characteristic by the special color filter appeared in major scenes of Jeunet movies. Third, the color circle used in the movie of Jeunet generally was the line of R, Y, G, and the color characteristic used in the latter half of work has been analyzed to be more various compared with the earlier part of work. Fourth, the uncommon color characteristic of postmodernism movie has appeared as the harmony of complimentary contrast of Red and Green is applied in every movie of Jeunet commonly.
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최원정(Wonjung Choi),최경실(Gyoungsil Choi) 한국색채학회 2011 한국색채학회 학술대회 Vol.2011 No.5
색채감성은 글로벌 시대의 마케팅 차별화 전략의 일환으로써 제품의 성패를 좌우하기도 한다. 현지 소비자들의 색채 선호 경향에 대한 이해를 바탕으로 적용되는 컬러마케팅의 활용분야는 패션, 제품뿐 아니라 영상분야까지 확대될 수 있다. 개인이나 집단별 색채감성의 차이는 지역, 민족, 연령, 성별, 소득, 교양수준등에 기인하는데, 본 연구에서는 자연 환경적 요인이 색채선호를 유발한다는 ‘색채기호의 지역설’에 근거해 지역별 기후환경과 방송영상색채의 상관관계에 대해 살펴보고자 한다. 연구를 통해 얻어진 지역별 영상색채 경향은 방송, 영화 및 영상 관련 업계의 해외 영상콘텐츠 제작시 응용될 수 있을 것으로 기대된다.
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