군용 위장크림의 카무플라주(Camouflage) 효과 상승을 위한 색채 보완

최민령 한국미용학회 2018 한국미용학회지 Vol.24 No.6

The purpose of this study is to find basic data for development of the most effective military camouflage cream color in the South Korean nature environment. Thus, we analysed the colors of the images of mountains in northern, central and southern regions collected by season - spring, summer, autumn - and classified them into the color shades of khaki, brown, black - common colors in military camouflage creams of 7 brands now in market. And chromaticity adjustment was carried out through the comparison of the camouflage effect of each color by brand, to find the colors best suited to natural images. The findings of the color analysis of military camouflage creams shows that khakis are all dark except for one product, redness was lacking in greenness except for the two products, and yellowness was also high for the three products, requiring color adjustment. Browns are very bright or dark because of deep differences in brightness by product, all products are significantly lacking in redness, and yellowness was significantly higher in all products, standing in need of the overall color adjustment. Blacks are also dark except for one product, which are deeply different in brightness by product. Redness was high except for three products, while all products are lacking in yellowness. And the overall color adjustment is also required. In conclusion, the colors best suitable to the camouflage in the South Korea natural environment are as follows: khaki L*=37.6, a*=-11, b*=18.6, R=82, G=93, B=60 and 4.91GY3.65/3.23 on Munsell color system; brown L*=30.6, a*=6.6, b*=13.4, R=89, G=69, B=54 and 7.44YR2.98/2.45 on Munsell color system; and black L*=18.6, a*=0.48, b*=5.3, R=52, G=48, B=42 and 3.21Y1.8/0.87 on Munsell color system.

데이터에 대한 소유권 논의

최민령 한국통신학회 2023 정보와 통신 Vol.40 No.3

데이터가 이제 경제활동의 중요한 생산요소가 되었으나 아직 생성 데이터가 누구에게 귀속하는지, 어느 정도로 인정할 것인지 등이 불명확한 상태이다. 데이터 소유권에 대한 논의는 곧 데이터에 대한 배타적 지배권에 대한 논의로 귀결된다. 최근에는 데이터 소유권의 인정여부에 대한 논쟁이 신중론으로 이어지고 있다. 유럽연합을 중심으로 데이터 소유권에 대한 논의도 오히려 데이터거래를 위축시킬 수 있으므로 데이터에 배타적인 권리를 부여하는 것이 적절하지 않는 것으로 정리되는 상황이다. 데이터 소유권을 인정하더라도 데이터에 관여하는 다양한 이해관계자의 기여도를 적정하게 반영하고 데이터 소유권 인정 여부에 대한 부정론이나 신중론의 지적을 해소하면서 데이터 거래 생태계에 선순환을 가져오는 내용의 데이터 소유권 입법이 필요하다. 여기에 ALI-ELI 데이터 원칙(특히 제18원칙 및 제19원칙)은 충분히 고려할 만하다.

데리다의 해체주의를 적용한 바디페인팅의 시도

최민령,김희정,임소정,은광희,이언화,김기영 한국미용학회 2008 한국미용학회 추계학술발표회 Vol.2008 No.1

젠스타일 속의 에스닉 토탈 이미지 분석 - 일본ㆍ중국ㆍ인도풍의 에스닉을 중심으로 -

최민령 코리아뷰티디자인학회 2006 코리아뷰티디자인학회지 Vol.2 No.1

바디페인팅의 藝術的 價値에 대한 認識 提高를 위한 小考 : 바디페인팅의 예술적 가치에 대한 인식 제고를 위한 소고

최민령 코리아뷰티디자인학회 2008 코리아뷰티디자인학회지 Vol.4 No.1

국외 패션쇼의 메이크업 및 패션색채와 국내 메이크업 브랜드간 색채 연관성 분석 - 최근 5년간 경향 분석에 따른 2007, 2008년도 개발 가능 색채 모색 -

최민령 한국색채디자인학회 2006 한국색채디자인학 연구 Vol.2 No.4

Recent five years have witnessed the growing preference for the make-up with the emphasis on its color as the vehicle of varied individuality. And the years 2007 and 2008 to come may see a broad spectrum of blue color, with yellow and green in various tone - from soft to dark one - also in vogue. In addition, red in varied tone ranging from vivid to dark grayish one would attract public attention. This paper brings into focus the associations and differences between the color trend in fashion and in the make-up of the fashion show and the color trend in the local make-up brand, especially in the Hera and the Laneige of AMOREPACIFIC. The results of the study find that in the recent five years the dominant tone of color in local cosmetic brand was lacking in wide variety, with red, orange, purple, purple-blue, and yellow almost in light tone. The varied color, without a variety of its tone, could give such an impression of the monotony that it is not enough to display varied individuality. Therefore, of the 12 tones of the color, the development of the grayish, soft grayish and light grayish ones which are the favorite use of the fashion but which are yet to use in the local make-up brand may be recommendable for the sake of variety.

미술관 전시를 통한 바디 페인팅의 재조명

최민령(Choi, MinLyoung) 한국색채학회 2008 한국색채학회 논문집 Vol.22 No.2

자끄 데리다의 해체주의 개념을 이용한 바디페인팅 작품 표현연구

최민령(Min-Lyoung Choi),김유미(Yoo-Mi Kim),김희정(Hee-Jung Kim),임소정(So-Jung Lim),김기영(Ki-Young Kim) 한국색채학회 2009 한국색채학회 논문집 Vol.23 No.4

퍼스널컬러 유형 진단 알고리즘 생성을 위한 얼굴색도 분포에 관한 연구 -Z세대를 중심으로-

최민령 ( Min-lyoung Choi ) 한국미용학회 2021 한국미용학회지 Vol.27 No.1

Brand-new AI-mounted beauty devices are correspondingly launched, with the Z generation in preference for online information and untact communication emerging as the mainstay of consumption. The growing personalized beauty industry has seen personal color extensively utilized in creating a variety of contents representing everyone’s own unique beauty. In determining the personal color type, sensory evaluation is generally carried out with the tool in which changes in face color and ensuing changes in facial features are observed through visual means. This evaluation, used with a specific tool, is not easily available to consumers. And it may produce different results by an evaluator’s subjective judgement and its surrounding circumstances. Thus, there is a need for cutting-edge devices to conveniently provide a correct diagnostic service. Therefore, with the tool assuring an accurate measurement in optimal circumstances, we measured the face colors of the 496 women in their 20s, determining their personal color types to provide basic data for creating the face color algorithms to determine the personal color types. The face color measurement by personal color type showed that based on the average value, the spring type was calculated at L*=63.72, a*=12.42, b*=14.79, the summer type, L*=61.94, a*=13.02, b*=15.24, the autumn type, L*=62.59, a*=12.56, b*=16.01, and the winter type, L*=62.03, a*=12.77, b*=15.94. A look at the measurement by face part and the contribution by face part revealed that the lightness, the redness and the yellowness of left cheek and forehead except the redness of right cheek made significant difference among themselves. The lightness of all face parts in the spring type of personal color was the highest, their yellowness was lower than those in the autumn type and the winter type. The redness of glabella in the spring type was lower than that in the summer type. In the summer type, the lightness of all face parts was lower than that in the spring type, and the redness of left cheek and glabella was lower than that in the autumn type, while their yellowness was lower than those in the autumn type and the winter type. In the autumn type, the lightness of right cheek was lower than that in the spring type, and the redness of left cheek and glabella was lower than that in the summer type, while the yellowness of all face parts was higher than those in the spring type and the summer type. In the winter type, the lightness of all face parts was lower than that in the spring type and the yellowness of right cheek was higher than that in the spring type, while the yellowness of left cheek and glabella was higher than those in the spring type and the summer type. In conclusion, of all face parts it was the left cheek that proved decisive in determining personal color types, with the yellowness turning out to be an important variable in the face color measurement - a requirement for follow-up research into it.

바디 페인팅의 독립 장르 제기를 위한 연구

최민령 ( Min Lyoung Choi ) 한국미용학회 2008 한국미용학회지 Vol.14 No.2

This study aims to bring into question the awareness on the ``body painting`` in the existing literature that it has only to be put to use secondary and auxiliary to the othter field of art without finding its place as an independent genre of art. The existing approaches to the body painting has been dominated by the angles focused on the ``performance`` and the ``body art``. The performance-focused approach, in which body painting serves simply as a make-up for the performer, one of the elements of performance to help it communicate effectively its meaning and come to perfection, might be in itself lacking in the attention to the placement of the body painting as a new genre of art. In the body art-focused approach, the body art, although closely similar to the body painting in employing the human body as the vehicle of expression, is quite different from the body painting in that a body-artist ``acts`` by his/her own body while a body-painter ``expresses`` himself/herself by other`s body i.e. a model`` body, and in that it, coupled with the technology, even transforms the human body into the cyborg; it thus appears that the body art is not to provide the arguments for the placement of the body painting as a new genre of art.