자동차의 컬러 선호도와 소비자 구매의도 탐색을 위한 컬러커뮤니케이션에 관한 연구

배영주 한국교통대학교 2017 한국교통대학교 논문집 Vol.52 No.-

Color in products is emerging as the added value of new products than utility value. In this study, The results of this study are as follows. First, the color preference and the purchase intention of the automobile were explored. The results showed that color is an important factor in buying a car, regardless of gender, age, and occupation. And it is proved that color is a very important factor in forming a purchase attitude and attitude. In the analysis of color communication according to the vehicle type, color sensitivity is low in the light and medium size according to ages, but color sensitivity is low in the medium, large, and suv. In the sex, only the light color shows diversity in color, The color sensitivity was low. Therefore, This study intends to provide basic data for establishing an effective strategy for color communication marketing considering the physical and psychological characteristics of color in decision making of car purchase.

색면추상을 적용한 루이스 바라간과 제임스 터렐의 거대색채 분석

김선영 한국실내디자인학회 2019 한국실내디자인학회논문집 Vol.28 No.2

Currently, the field of visual arts has expanded its scope and meaning by the development of media technology. Nevertheless, form and colors are the main means to express the value system pursued by painters and architects. Among them, the overwhelming color is used as a tool to determine the nuance of the art itself or the space where the art is installed. Especially the vast color of the visual arts has a great influence on synesthesia effect. In other words, overwhelming color is a transition of sensations that loosens the space between the interior and exterior of the space - the work and the workspace. Therefore, overwhelming color can not be seen only as a result of the physical energy of light. Therefore, this study examines the works of Luis Barragán and James Turrell, who actively utilize the features of color facial abstraction and apply gigantic colors to the nuances of space. The characteristics of the used by them are as follows. First, overwhelming color does not aim at the coloring and harmony of the target color as the expression element of the artist. That is, the form is collapsed, newly completed, and has abstract properties of cancellation. Second, this do not seek formative formality by means of color. Thus, the macroscopic colors are juxtaposed or collided with each other and have a hybridization characteristic of Non-figurative. Third, this extend color to spaces outside objects. Especially, the weight of the overwhelming color has the unified characteristic of the borderless due to the mystique and awe.

色と色名のイメ一ジにみる日本人と植物との關わりに關する硏究

증전견자 ( Kinuko Masuda ),암기관 ( Yutaka Iwasaki ) 한국녹지환경디자인학회 2007 녹지환경학회지 Vol.3 No.3

This study analyzed the images of the colors and the color names derived from some plants, to understand the relationship between people and plants in the Japanese living environment. The results of surveys on images of 20 color names revealed, for example, that many subjects associated “midori” in connection with their surroundings with “natural” and “plant” but few subjects associated “midori” with “artificial”. On the other hand, some subjects did associate “green” with “artificial”. The subjects who associated “green” with “artificial” were urban rather than rural residents. The results of surveys on images of 6 colors (3 color systems) revealed that there are two patterns in the relationship images of colors and color names derived from plants. In the pattern which images of colors are connected with artificial things irrelevant to plants such as “cosmetics” and “clothes”, the color names are confused with the two similar colors. On the other hand, in the pattern which images of the two similar colors derived from plants oppose each other such as “nature-art” and “plants-plastics”, the two similar colors are distinguished by their color names. In both patterns, images of colors derived from plants are influenced by artificial things. These surveys suggest that images of colors derived from plants are influenced by artificial things, and that there are few opportunities to see colors of plants which are full of variety. These results suggest that it is necessary to recognize colors derived from plants in relation to plants, and to educate regarding the nature of plants.

헬스케어 제품의 컬러 트렌드 분석 : 최근 4년간 iF Design Award 수상제품을 중심으로

주대원(Joo, Deh Won) 한국디자인리서치학회 2022 한국디자인리서치 Vol.7 No.1

본 연구의 목적은 iF Design Award를 수상한 최근 4년간의 헬스케어 제품을 중심으로 컬러 트렌드를 조사하여 먼셀 H V/C 분포와 색조합 유형별 특징을 파악함으로써 신제품을 디자인할 때 기초자료로 활용할 수 있도록 하는데 있다. 이를 위해 2018년부터 2021년까지 총 365제품을 일반 헬스케어 제품군과 메디컬 제품군으로 나누어 컬러 트렌드를 분석하였다. 컬러의 분석 방법은 iF Design Award 웹사이트에 있는 제품 사진을 색채관리 소프트웨어로 먼셀 H V/C를 추출하여 먼셀 챠트에 분포시키는 과정으로 진행되었다. 색상은 난색계열, 한색계열, 중성색계열로 분류하였고 명도와 채도는 각각 세 그룹으로 나누어 컬러 트렌드의 변화를 파악하였다. 색조합 유형별 분석은 15가지 유형으로 세분화하여 빈도를 추출하고 일반 헬스케어 제품군과 메디컬 제품군 간의 공통점과 차이점을 분석하였다. 최종 도출된 컬러 트렌드의 경향은 크게 세 가지로 요약된다. 첫째, 두 그룹의 헬스케어 제품은 공통적으로 하양(N9.5)과 검정(N1), PB와 B색상, YR과 R색상의 빈도가 높았으며 고명도와 중명도의 빈도가 지속적으로 강세를 유지하고 있었고, 고채도와 저채도의 비율이 높게 나타나고 있음을 확인하였다. 둘째, 일반 헬스케어 제품군의 경우 무채색(하양, 검정, 회색) 배색이 꾸준히 강세를 유지하고 있고 사용자 친화적인 난색계열의 배색이 지속되는 경향을 보였다. 셋째, 메디컬 제품군의 특징은 한색계열이 난색계열보다 10~11% 높은 빈도를 보이고 있고, 한색계열을 중심으로 중-고-저명도와 고채도 영역의 확대가 나타나는 특징이 있다. 이것은 사용자들에게 안정감과 신뢰감을 주어야 하는 메디컬 제품의 특성을 잘 반영하는 것으로 해석된다. The purpose of this study is to investigate the color trend focusing on healthcare products that have won the iF Design Award for the past 4 years, and to understand the Munsell H V/C distribution and the characteristics of each color combination type, so it is used as basic data when designing new products. To this end, we analyzed color trends by dividing a total of 365 products from 2018 to 2021 into general healthcare products and medical products. The color analysis method was carried out according to the process of extracting Munsell H V/C with color management software from product photos on the iF Design Awards website and plotting them on the Munsell chart. Colors (hue) were classified into warm colors, cold colors, and neutral colors. Then, the change in color trend was identified by dividing the value and chroma into three groups. For color combination type analysis, the frequency was extracted by subdividing into 15 types, and the similarities and differences between the general healthcare product group and the medical product group were analyzed. The final derivative of color trends can be summarized into three main categories. First, the health products of the two groups had high frequencies of white (N9.5) and black (N1), PB and B colors, and YR and R colors in common, and the frequencies of high and median values continued to be strong. Also, it was confirmed that the ratio of high chroma to low chroma was high. Second, in the case of general healthcare products, achromatic (white, black, gray) color schemes were consistently strong, and the user-friendly combination of warm colors showed a tendency to continue. Third, the characteristic of medical product group is that cold colors show 10~11% higher frequency more than warm colors. It is characterized by expanding the high-middle-low values and high-saturation areas with a focus on the cold color series. This is interpreted as reflecting the characteristics of medical products that should give users a sense of stability and trust.

한미 대학생의 색지각에 대한 비교연구

안옥희,박진호 한국조명전기설비학회 2003 조명·전기설비학회논문지 Vol.17 No.1

본 연구는 육안비색법으로 파악한 13개의 미국표준색을 색채색차계를 이용하여 측색하여 미국표준색에 대한 남녀대학생의 색지각 범위를 CIE색도도 위에서 파악하여 이를 한국의 결과와 비교하는데 그 목적이 있다. 남자 60명, 여자 51명 계 111명의 미국대학생을 대상으로 한 실험결과 다음과 같은 사항을 밝혔다. 1) 눈동자 색에 따른 색지각의 차이는 나타나지 않았다. 2) 미국대학생의 색지각은 크게 4가지 유형으로 구분되었다. 즉 Yellow, Green, Blue, White, Gray, Black이 속한 단순형, Yellow Red가 속한 X형, Blue Green, Purple이 속한 Y형, Yellow Red, Purple Blue가 속한 복합형이다. 3) 한미 양국인의 색지각유형을 비교한 결과, Yellow Red, Green, Blue, Purple의 경우는 지각유형이 다르다는 것을 알았다. 4) 표준색과 평균지각색을 비교한 결과, 모든 색에서 표준색과 평균 지각색 간의 차이가 크다. 그리고 한미간의 비교를 한 결과, 한국인이 미국인보다 정확하게 색을 지각하고 있음을 알았다. 5) 표준색과 1순위 지각색을 비교한 결과, 미국인은 Red, Yellow, Green은 비교적 정확하게 지각하고 있으나, Blue Green, Blue, Purple Blue, Red Purple의 색지각 정확도는 매우 낮았다. The purpose of this study was to investigate the scope of standard color perception for Americans and to compare the differences in color perception between Korean and American undergraduates. Sixty male and fifty-one female American undergraduates were selected as a random sample. Color perception was tested with the naked eyes. Minolta Chroma Meter CR 300 was used for physical measurement of the color. Based on the objective of this study and the data generated the following results were drawn: 1) We found no distinctive difference in color perception by different eye colors. 2) Color perception of American undergraduates is largely classified into four different groups: simple group includes Yellow, Green, Blue, White, Gray, and Black, X(-axis)group includes Yellow Red, Y(-axis)group includes Blue Green, Purple, complex group includes Yellow Red, Purple Blue. 3) The differences in color perception between the two undergraduate groups were found to be significant with four colors: Yellow Red, Green, Blue, and Purple. 4) There is a wide difference between the values of standard color and inn percept color. When undergraduates in both countries were compared, it turned out that Korean students were more accurate than Americans in color perception. 5) American students perceived Red, Yellow, and Green colors relatively correctly, but showed an extremely low degree of accuracy in Blue and Purple Blue color perception.

Color Codes for Visual Art Appreciation: A Memorability Study

Luis Cavazos Quero,Chung-Heon Lee,Jun-Dong Cho 한국HCI학회 2022 한국HCI학회 학술대회 Vol.2022 No.2

This work explores alternative non-visual methods to communicate color information through encoded color systems. These alternatives make color information in artworks accessible to people with visual impairments. We review the design of VIVALDI, a color code that uses musical instruments to represent different hues. It also uses different music melodies to represent the saturated and light components of the color. We also review the design of a Multi-Sensory color code that extends the VIVALDI color code by introducing color representation using scents. We evaluated the color codes" learnability and memorability by performing four color identification evaluations during 21 days. The evaluations performed with the collaboration of 17 participants revealed that both color codes are easy to learn and use. Participants identified up to 18 different colors with at least 87% accuracy just after learning the color code. The color code also showed high memorability as the participants maintained their color identification rate even 21 days after the initial training session. These results reveal the potential of the proposed color codes to make visual artwork color accessible to the visually impaired community.

Influence of nail color on color appearance for skin color

Yuki Nakajima,Shuilan He,Takayoshi Fuchida 한국색채학회 2017 AIC 2017 Jeju Vol.2017 No.10

Nail polish (a manicure) affects the color appearance and the impression of skin color. In order to clarify the effect of nail polish and light sources on the appearance of hand skin color, the image experiment and the lighting experiment were conducted in this study. In the image experiments, we evaluated the color appearance of the illustration image of a female hand added the nail polish color on its image. As a result, the subjective color appearance of the image of a female hand was changed by the nail polish color. The yellowish skin and the reddish skin were emphasized by adding any color of nail polish. In the lighting experiments, the impression of the subject"s own skin color including nail polish under various light sources was evaluated by the semantic differential method. In the case of the light source larger than Ra80, the overall impression of skin color was affected by the nail polish color. On the other hand, the light source emphasizing more reddish or more yellowish of skin color did not have the influence of the color of nail polish, and the impression was determined by the color rendering property of the skin color itself.

Characterization and colorization of microarc-oxidized layers of binary titanium alloys

Hwang, Moon-Jin,Choi, Hae-Rim,Song, Ho-Jun,Park, Yeong-Joon ELSEVIER SCIENCE 2018 JOURNAL OF ALLOYS AND COMPOUNDS Vol.732 No.-

<P><B>Abstract</B></P> <P>This study aimed to confer esthetic appearance on ash gray-colored titanium-based implant materials. Binary Ti alloys were prepared by arc-melting of titanium and one of the transition metals (Au, Cr, Cu, Mn, Mo, Nb, V, and Zr). Ti alloys containing 1, 2.5, 5 and 10 wt% alloying elements were microarc-oxidized in an electrolyte containing Ca and P ions under a constant current using a DC power supply. During the microarc oxidation (MAO) treatment, the potential <I>vs</I>. time curves were strongly affected by the alloying element type and content. The pore size, thickness, and crystallinity of the oxide layer increased as the final potential was increased. Colored oxide layers were obtained for the Ti alloys containing 3<I>d</I> (Cr, Cu, Mn, and V) and 5<I>d</I> (Au) transition metals. Their colors were dependent on the alloying metal type and content. In the L*a*b coordinate for color measurement adopted by the Commission Internationale d’Eclairage (CIE), the oxide layer of Ti-5Cr/MAO exhibited the highest average b* value of 19.81 (p < 0.05). The oxide layer of Ti-2.5Cu/MAO showed the next highest average b* value of 16.73. The oxidation state of 3<I>d</I> transition metals contributed to colorization of the microarc-oxidized Ti alloys. The characteristic colors of MAO-treated Ti alloys were rendered by the chemical binding state of alloying elements: yellow color for Cr<SUP>3+</SUP>, red color for Cu<SUP>+</SUP>, yellow color for Mn<SUP>4+</SUP> and yellow color for V<SUP>5+</SUP>. The purple color of the MAO-treated Ti-Au alloy surface originated from Au nanoparticles. The 4<I>d</I> transition metals (Zr, Nb, and Mo) did not affect color revelation of the MAO-treated Ti alloys.</P> <P><B>Highlights</B></P> <P> <UL> <LI> Colored Ti alloys were prepared using MAO process in electrolyte with Ca and P ions. </LI> <LI> Color of the alloys varied depending upon the alloying element type and content. </LI> <LI> MAO-treated Ti-5Cr and Ti-2.5Cu exhibited a more yellowish color. </LI> <LI> MAO-treated Ti alloys with 3<I>d</I> metals could be used as esthetic implant materials. </LI> </UL> </P>

영상의 내러티브 표현을 위한 감성색채 연구

송화선 한국일러스아트학회 2012 조형미디어학 Vol.15 No.4

Colors that are expressed in high definition media, e.g. HDTV, Digital Cinema, etc., are being emphasized as a factor which help strengthen narrative strategies, advance the messages, and increases visual aesthetic. Colors create an environment that make stories more affective. In Hollywood classics, color films using the Technicolor process was an important way of reproducing realism. However, as the digital imaging technology improved, color is used as implications, symbols, and formations of dramatic atmosphere through the narrative spread out. This paper is studied in order to establish related emotional colors with narrative expressions, and also to suggest a quantitative color guideline for emotional color applications in visual contents production through characteristic research on emotion and color features. For this matter, the framework of six emotional adjective groups relaxation, distress, pleasure, displeasure, excitement, sleepy is defined and the relating emotional colors were identified on a Valence-Arousal paradigm basis which was suggested in the previous studies about affects. The identification of emotional colors is based on emotional adjective research. Moreover, to procure representativeness and reliability of emotional color, the color database used in this study is based on colors distinguished by IRI color research institute, South Korea (chromatic 110 colors, achromatic 10 colors); NCD color research institute, Japan (chromatic 120 colors , achromatic 10 colors); PANTONE color research institute, USA (chromatic 45 colors, achromatic 3 colors). As a result, 214 chromatic colors and 11 achromatic colors are established as primary emotional colors. These colors are schematized in hue spectra of each emotion. And also all the colors have been positioned along three axes : warm-cool, soft-hard, clear-grayish in order to make clear the images of each color, and to enable assessment and comparison of color. Moreover, through a correlation analysis between emotions and three attributes of color(hue, saturation, brightness), a valuable result regarding emotional color characteristics are concluded. In this study, universal emotional color, representing six emotional adjective groups, was established based on the primarily identified emotional colors, whereas this study enabled to form a quantitative guideline for emotional color application. 디지털 문화 시대에 HDTV, 디지털시네마 등 고화질 미디어에서 표현되는 색채는 내러티브 전략을 강화시키고 메시지 향상과 미학적 가치를 증대시키기 위한 중요한 요소로 부각되고 있다. 색채는 영상의 극적 스토리에 풍부한 감정을 만드는 요소이다. 고전적 헐리우드 시기에 테크니컬러로 표현된 색채는 내러티브의 틀 내에서 리얼리즘 재현을 위한 중요한 수단이었지만 디지털 영상기술 기술의 발전으로 색채는 내러티브 전개에 따른 극적 분위기 연출, 암시나 상징의 의미로 사용된다. 본 논문은 영상의 내러티브 표현과 연관된 감성색채를 정립하고 감성과 색채 속성간의 특성연구를 통해 감성색채 활용을 위한 정량적 가이드라인을 제시하기 위한 목적으로 연구되었다. 이를 위해 감성에 관한 선행 연구에서 제안한 Valence-Arousal 패러다임에 근거하여 편안한, 불안한, 즐거운, 불쾌한, 흥분된, 무기력한의 6개 감정 그룹의 프레임워크를 정의하고 이와 연관된 감성색채를 도출했다. 감성색채 도출은 감성형용사연구를 기반으로 했다. 또한 감성색채의 대표성과 신뢰성을 확보하기 위해 연구에 활용된 색채 데이터베이스는 한국 IRI 색채 연구소(유채색 110, 무채책 10), 일본 NCD 색채 연구소(유채색 120, 무채색 10), 미국 PANTONE 색채연구소(유채색 45, 무채색 3)에서 정립한 색채 데이터를 기초로 구성했다. 연구결과 유채색 214개, 무채색 11개의 1차 감성 색채를 정립하고 각 감성별 색상 스펙트럼을 도식화했으며 이들 색채를 컬러이미지스케일(warm-cool, soft-hard, clear-grayish)에 포지셔닝하고 특성을 비교 평가했다. 그리고 감정과 색채 속성(색상, 명도, 채도)간의 상관관계 분석을 통해 감성색채 특성에 대한 유의미한 결과를 얻었다. 또한 본 연구에서는 1차 도출된 감정 색채를 토대로 6개 감성형용사 그룹을 대표하는 유니버셜 감성 색채를 정립하고 감성색채의 활용을 위한 정량적 가이드라인도 마련할 수 있었다.

국내 패션의류업계의 활용 색채전달도구 개발을 위한 색채연구

김영인(Young In Kim),조민정(Min Jung Cho) 한국복식학회 2000 服飾 Vol.50 No.4

The purpose of this study is to classify the characteristics of color communication tools and the color range applied in the Korean fashion industry. To collect the color sample and related references, a questionnaire was distributed during the time period, December, 1995 to June, 1996. From the responses, 2641 color samples used by 109 domestic brands, from 1993 spring/summer to 1996 spring/summer, were collected and analyzed. The data was measured by L^*a^*b^*, and the H V/C formula found in the Munsell notation was used to calculate the data. To classify the color range served for the fashion industry, the distribution of colors are analyzed by difference of season and fabric. The results of this study are as follows : 1. Dominant colors in the Korean fashion industry are Red, Yellow-red, Yellow, Purple-blue and low chromatic range colors. 2. While high value colors, such as pale, light greyish, light, and vivid tone colors, are dominant in the spring/summer season, low value colors, such as greyish, dark greyish, dull, dark and deep tone colors and warm colors such as Red, Yellow-red, are prevalent in the fall/winter season. 3. The number of colors commonly used for color planning is less than 20 colors, and both hue and tone are considered important when making color selections. 4. All brands take consumers` color preferences into consideration for color planning, and most of them also take color trends into account. 5. Hue and tone color characteristics analyzed by types of fabrics show more seasonal influence than the fabric itself.