A Digital Camouflage Generation Algorithm Using Color Similarity

Hengfu Yang,Jianping Yin 보안공학연구지원센터 2015 International Journal of Multimedia and Ubiquitous Vol.10 No.6

A novel digital camouflage generation scheme based on color quantization is proposed. First, a color similarity measurement in RGB color space is presented by exploiting the similarity of two color vectors. Then main colors in the background of the host image are extracted by combining color similarity and color quantization. Finally, the camouflage image is generated by replacing target pixels with main background colors. Simulated experiments prove that the proposed algorithm can achieve full fusion of the target and the background, and the generated camouflage image has satisfactory visual quality.

브랜드 컬러와 웹사이트 메인화면의 컬러와의 비교분석

김영석(Kim, Young Seak) 한국디자인지식학회 2015 디자인지식저널 Vol.34 No.-

오늘날 웹사이트 컬러는 브랜드 이미지는 물론 소비자 감성을 자극할 수 있는 효과적인 아이덴티티의 요소로 인정받고 있다. 이러한 환경에서 본 연구는 KMAC(한국능률협회 컨설팅)에서 선정한 ‘2015 한국에서 가장 존경받는 기업’ 21개 브랜드를 대상으로 로고타입의 컬러와 웹사이트의 컬러와의 관계에서 일관성 있는 컬러 시스템이 유지하고 있는가를 고찰하는 데 목적이 있다. 이를 위해 오프라인에서의 브랜드마크나 로고타입에서 제시되고 있는 브랜드 컬러와 웹사이트의 초기화면에서 나타난 주조색, 보조색, 강조색을 기초로 비교, 분석하였다. 웹사이트에서 홈페이지는 수시로 업데이트 되므로 웹사이트 초기화면의 캡처 기준을 2015년 3월 25일부터 4월 2일까지로 정하였다. 결과는 다음과 같다. 분석대상 21개 브랜드 중 독자적 웹사이트가 없는 1개 브랜드를 제외한 모든 브랜드에서 브랜드 컬러는 웹사이트에서 제시된 주조색, 강조색, 보조색과 관련이 있는 것으로 나타났다. 따라서 해당 브랜드들은 대부분 온라인에서 브랜드 컬러와 오프라인의 웹사이트 컬러는 일관성이 있었다. 이러한 결과는 오프라인 상에서 브랜드 컬러가 온라인상에서도 구축됨으로써 온·오프라인에서 해당 브랜드 이미지를 한결같은 모습으로 사용자에게 전달되고 있는 것으로 분석할 수 있었다. 이상의 결과를 통해 본 연구의 시사점을 제시한다면 분석대상 브랜드의 브랜드 컬러와 웹사이트 컬러가 같은 종류의 색상으로 배색됨으로써 해당 브랜드의 인지도 제고와 신뢰성 확립에 기여할 수 있음을 알 수 있다. Today, the color of the website is being recognized as an effective identity element which can stimulate the consumer emotion, not to mention brand image. In such an environment, this study is aimed at considering whether the consistent color system is maintained in the relationship between the logo-type color and the color of the website targeting the 21 brands for "The most respected corporations in Korea" selected by KMAC(Korea Management Association Consulting). For this purpose, this study did comparative analysis of the logo-type color and the color of the website on the basis of the offline brand mark, brand color suggested by logo type, and dominant color, assort color & accent color appearing on the start-up screen of the website. The homepage of the website is frequently updated, so this study set the capture standard of the start-up screen of the website from March 25, 2015 until April 2, 2015. The results are as follows: The results showed that the brand colors from all brands but 1 brand having no independent website among the 21 brands had something to do with the dominant color, accent color and assort color suggested by the website. Accordingly, the relevant brands were found to mostly have consistency between online brand color and offline website color. Such a result made it possible for this study to analyze that the relevant brand image is conveyed to users in a consistent appearance on/offline as the offline brand color is also constructed online. The implication to be suggested by this study through the results shown as above is that color arrangement of the brand color of the analysis object brand and website color in the same sort of color could contribute to awareness improvement and reliability establishment of the relevant brand.

남성복 컬렉션에 나타난 컬러 트렌드에 관한 연구 -2007 S/S∼2016 F/W 시즌을 중심으로-

강은미 ( Eun-mi Kang ),이신영 ( Shin-young Lee ),서추연 ( Chu-yeon Suh ) 한국의류학회 2019 한국의류학회지 Vol.43 No.5

This study examined color trends per season and differences in color utilization between seasons with a focus on hue and tone, based on men's collections. Collected colors classified as hue and tone were subject to frequency and cross analyses according to the study subject. The study results as follows. The hues most frequently used for men's wear in S/S season were red and purple. The red hue was most frequently used even in F/W season. As for tone, blackish tone was found to be prominent, irrespective of season. The cross analysis revealed a significant difference in the main colors' hue and tone utilization between S/S and F/W seasons. In addition, more diverse tones were found to be used in S/S season than F/W season. The hue and tone trends seen in main colors of men's wear in S/S season were analyzed per year, blackish tone and light grayish tone accounted for the majority among all tones. In terms of men's wear in F/W season, blackish tone was frequently used as the main tone, while other tones were found to have a low usage frequency.

오페라<카르멘> 주인공 배우의 분장색채와 관객들의 감성이미지 분석

허윤정(Yun-Jung Heo) 한국인체미용예술학회 2019 한국인체미용예술학회지 Vol.20 No.2

The objective of this study is to analyze the image of the makeup color of the main character of the opera Carmen, which was expressed based on the period background, and then to make a empirical analysis of what emotional image the audience has through the main character actress s makeup color. For this, the color analysis of 19th century paintings and opera main character actress’s color analysis of the opera Carmen was carried out through the adjective image scale from the I. R. I Color Design Institute were extracted. The main results from the analysis are as follows: First, the image of the Gypsy expressed in the 19th century portraits and the actress s makeup color of opera Carmen have not changed much according to the director, and the common characteristics of the Carmen main actress s are clear. Second, the audience s sensitivity to the main character actress’s makeup of the opera Carmen by performance was analyzed, and the emotional images of the audience s four types of makeup were found to be very different. However, it was confirmed that the audience looked almost alike regardless of gender or age. The results of this study can provide implication in the production of opera actress’s makeup color, and in further studies, the researches on how to use various colors in the opera actress’s makeup will need to be carried out.

대전시 도시환경색채 가이드라인 제작

이진숙(Lee, Jin Sook),김지혜(Kim Ji Hae),진은미(Jin, Eun Mi) 한국색채학회 2010 한국색채학회 논문집 Vol.24 No.3

본 연구는 대전시의 특성을 표출할 수 있도록, 대전시 고유의 체계적이고 일관성 있는 도시환경색채의 가이드라인을 작성하는데 목적이 있다. 연구는 크게 3단계로 진행하였으며, 각 단계별 연구진행은 다음과 같다. 1단계는 현황의 색채조사를 자연환경과 인공환경으로 분류하여 조사·분석하고, 대전시의 이미지 및 대표색 등을 설문조사를 통하여 조사·분석하였다. 2단계는 도시구조를 분석하고, 현황조사 및 설문조사를 토대로 도시환경색채에 의한 이미지형성 전략을 수립하였다. 이를 위해, 대전시 환경색채의 기본방향에 부합하는 도시 기조색과 5개 경관권역의 대표색채를 선정하였다. 3단계는 색채가이드라인을 제작하는 단계로, 가이드라인을 적용하기 위한 기본 원칙을 수립하고, 대전시의 경관에 관한 기본 경관관리구역 기준(일반관리구역, 경관중점관리구역)에 색채관리구역을 추가하여 각각의 가이드라인을 설정하였다. 가이드라인은 일반관리구역, 경관중점관리구역, 색채관리구역의 세가지 유형의 경관관리 체계에 맞추어, 건축물, 공공시설물, 옥외광고물, 도시구조물, 보행자도로에 대하여 작성하였다. The purpose of this study is to make the guidelines for the urban environmental colors which are unique, systematic and consistent, in order to express the characteristics of Daejeon Metropolitan City. The study is proceeded largely in three phases and the process for each phase is described as follows. Phase 1 was to examine and analyze the existing color surveys divided by natural environment and artificial environment. The images and symbolic color of Daejeon city were examined and analyzed by the questionnaire surveys. Phase 2 was to establish basic direction and strategy of the urban environmental color based on the status surveys and questionnaire surveys and urban analysis. Daejeon has 4 landscape zone based on basic plan for landscape in Daejeon. So, the main color of the Daejeon city was selected through the analysis of environmental color. The direction of the color plan for landscape zones of the city was prepared according to the previously prepared landscape plan. Phase 3 was the to frame the guideline of the urban environmental color, basic principle for application of color guideline was framed. And then, It was framed and consisted the color guideline respective landscape district(common landscape district, landscape district of special management, landscape district of special management for color).

일산신도시와 동탄신도시 상업지역 가로의 경관색채 비교 분석

김동찬,이가영 한국인간·식물·환경학회 2012 인간식물환경학회지 Vol.15 No.3

현재 도시의 외관을 표현하는 경관색채에 관련된 세부적인 가이드라인이 없다. 본 연구는 색채의 조사 분석단계에서 객관적이고 정량적인 방법을 통해 1990년대에 조성된 1기 신도시인 일산신도시와 2000년대에 조성된 2기 신도시인 동탄신도시를 선정하여 상업지역 가로의 건축물과 옥외광고물을 대상으로 색채현황을 조사, 분석하였다. 일산신도시와 동탄신도시의 가로경관색채를 분석한 결과, 첫째, 일산신도시가 동탄신도시 보다 무채색의 비율이 5배정도 높게 나타나 정적이고 딱딱한 이미지를 나타냈다. 둘째, 두 지역 모두 B계열을 포함한 한색 계열에서 가장 높은 유채색의 비율을 나타냈는데 이는 건물 외관의 짙은 유리창 면적이 넓게 차지하고 있기 때문이었다. 그러나 유리창 면적을 제외한 건축외벽의 색에서 무채색이 많이 분포한 일산신도시와 달리 동탄신도시는 난색 계열인 YR계열의 비율이 높게 나타났다. 셋째, 두 지역 모두 계열별 색상 분포 그래프의 모양은 비슷하게 나타났지만 동탄신도시가 각 계열 안에서좀 더 다양한 색상이 쓰였다. 이와 같이 1990년대와 2000년대에 조성된 두 도시의 색채 경관색채 분석에 사용된 본 연구의 방법은 향후 다양한 지역의 조사에도 응용할 수 있을 것으로 사료된다. Currently, the city that represents the views of the exterior color is not related to the detailed guidelines. This study examined the color of the objective and quantitative methods in the analysis phase through the Dongtan New Town was selected as Ilsan. Dongtan New Town Ilsan and color analysis of the streetscape, First, the Dongtan New Town Ilsan five times higher than the proportion of colorless appears the image was static and rigid. Second, the B series in the series, including the cool color showed the highest percentage of chromatic colors. The facade of the dark because the windows are occupied wide area. However, construction of exterior walls, excluding windows, colors, colorless area distributed Ilsan, unlike a lot of Dongtan New Town YR order the disapproval ratio was higher in the series. Third, by major color distribution in both regions showed a graph similar to the shape of the Dongtan New Town, but within each series, I felt a little more colorful. Thus in the 1990s and 2000s raised the colors of the two cities colorful landscape of the study methods used in the analysis of various regions in the future could be used in research is considered.Key words: Business area, New town, The image of street, Urban street main color

일제시대 官展의 식민주의 연구

문정희(Moon Junghee) 한국미술연구소 2003 美術史論壇 Vol.- No.16·17

After Japan occupied Taiwan (1895), it annexed Korea (1910) and really came to build colonies. It put up 'assimilation' policy for the civilizing of the East Asia aimed at the rule of colonies on the surface. However. in reality. it is understood by everybody that rbe above policy was me one aimed at discriminating colonial region as inferior people. And since here lies intentional 'making self internal (domination)', or 'making internal stranger (discrimination)' consciousness together I think it played a great role for highlighting me form of a colony. The local color or the color of a native town came to stress ihe thematic factor through the request of Japanese judging committee members, the request of Japanese judging committee members as joseon An Exhibition began to be held. This request as Joseon Art Exhibition began to be held. This request came to be futther consolidated by the hold.ing of Taiwan Art Exhibitions We cannot doubt that me above is a pan 0 me policy of the colonization of the culture by Japanese government And it reveals Japanese colonialism by means of me govemment-sponsored art exhibition and shows that it discriminates the interior land from the exterior land nakedly. We can see that by merely looking at the works of the painters of the corresponding colonies which displayed tbe consciousness of native land by using female as a theme me orientalism getting out of political thing and stressing non-civilization was applied as it is. Consequently the consciousness of a native land which appeared to the painters of Taiwan An Exhibition grew up in the local color that is a product of Japanese colonialism. And this consciousness entered another way seeking me clisposition of nationalism brings about the making of main land (in case of Taiwan) and the color of a native land (in case of Korea). The common trait which appeared to the an community of Taiwan and Korea is the faa mat the Japanese influence aiticizing tbe westem modernization and aying out for returning to oriental spirit came to be further stressed through local color. This makes a dual stranger what is non-western and pie-modem aspect so mat Taiwan color or joseon color showed orienta] image as non-western and pre-modem view. In particular this oriental nature shows its characteristic as primitive theme which accepted tbe fauvism of the westem modernism. The local color in government-sponsored art exhibition also makes the interpretation of the conflicting position diverging into the colonialism of dom.ination logic and me natialism of the dominated. And I think that ule deep-seated interpretation of the problem will be accompanied. depending how the local color demanded from Ule colonial ruler is accepted and developed. Consequently through this study I compared the local color made by the sponsors of colonialism with the paintings shown at taizhand and at sonjeon, and examined the position of accepting them. However, as the method of the study has a limit in which all-out and multilateral groping, I am going to wait for more advanced study.

일산신도시와 동탄신도시 상업지역 가로의 경관색채 비교 분석

김동찬,이가영 인간식물환경학회 2012 인간식물환경학회지 Vol.15 No.3

현재 도시의 외관을 표현하는 경관색채에 관련된 세부적인 가이드라인이 없다. 본 연구는 색채의 조사 분석단계에서 객관적이고 정량적인 방법을 통해 1990년대에 조성된 1기 신도시인 일산신도시와 2000년대에 조성된 2기 신도시인 동탄신도시를 선정하여 상업지역 가로의 건축물과 옥외광고물을 대상으로 색채현황을 조사, 분석하였다. 일산신도시와 동탄신도시의 가로경관색채를 분석한 결과, 첫째, 일산신도시가 동탄신도시 보다 무채색의 비율이 5배정도 높게 나타나 정적이고 딱딱한 이미지를 나타냈다. 둘째, 두 지역 모두 B계열을 포함한 한색 계열에서 가장 높은 유채색의 비율을 나타냈는데 이는 건물 외관의 짙은 유리창 면적이 넓게 차지하고 있기 때문이었다. 그러나 유리창 면적을 제외한 건축외벽의 색에서 무채색이 많이 분포한 일산신도시와 달리 동탄신도시는 난색 계열인 YR계열의 비율이 높게 나타났다. 셋째, 두 지역 모두 계열별 색상 분포 그래프의 모양은 비슷하게 나타났지만 동탄신도시가 각 계열 안에서좀 더 다양한 색상이 쓰였다. 이와 같이 1990년대와 2000년대에 조성된 두 도시의 색채 경관색채 분석에 사용된 본 연구의 방법은 향후 다양한 지역의 조사에도 응용할 수 있을 것으로 사료된다. Currently, the city that represents the views of the exterior color is not related to the detailed guidelines. This study examined the color of the objective and quantitative methods in the analysis phase through the Dongtan New Town was selected as Ilsan. Dongtan New Town Ilsan and color analysis of the streetscape, First, the Dongtan New Town Ilsan five times higher than the proportion of colorless appears the image was static and rigid. Second, the B series in the series, including the cool color showed the highest percentage of chromatic colors. The facade of the dark because the windows are occupied wide area. However, construction of exterior walls, excluding windows, colors, colorless area distributed Ilsan, unlike a lot of Dongtan New Town YR order the disapproval ratio was higher in the series. Third, by major color distribution in both regions showed a graph similar to the shape of the Dongtan New Town, but within each series, I felt a little more colorful. Thus in the 1990s and 2000s raised the colors of the two cities colorful landscape of the study methods used in the analysis of various regions in the future could be used in research is considered.

Experiment of HDR10 Down/Up-sampling through MATLAB Implementation

Daejun Park,Jechang Jeong 대한전자공학회 2017 대한전자공학회 학술대회 Vol.2017 No.1

As the video industry supports UHD resolution, the discussion of the HDR/WCG technology for realvideo are underway. Many techniques for light intensity and color gamut discussed by experts offer viewers an experience of realness. To encode HDR sequences, HEVC Main10 profile is used after HDR-to- SDR format conversion (i.e. HDR10 process). Through HDR10 process, the conversion from a half float 4:4:4 RGB linear-light format with high bit to 4:2:0 10bits Y’CbCr is obtained. HDR output sequence can be obtained by performing a reverse process, HEVC decoding and SDR-to-HDR format conversion. The loss of image information occurs in the above procedure, especially in Y’CbCr down/up-sampling procedure. In this work, we experimented with different filters to optimize HDR10 down/up-sampling process. We implemented the core techniques of HDR10 in Matlab programming in order to utilize the existing filters. In this paper, the necessity of the filter selection algorithm in down-conversion process is proposed. By presenting the difference between the CIE1931 x’y’ gamut of several filters, we show a variety of problems that can occur in the HDR video compression.

손의 형태학적 정보와 윤곽선 추적 기법을 이용한 손금 추출 및 분석

김광백,Kim, Kwang-Baek 한국전자통신학회 2011 한국전자통신학회 논문지 Vol.6 No.2

본 논문에서는 확장되어가는 여가 시간에 간단한 사진 한장만으로 보다 쉽고 편한 손금을 분석하기 위한 손금 추출 방법을 제안한다. 제안된 방법은 손의 형태학적 정보와 8 방향 윤곽선 추적 알고리즘을 적용한다. 영상으로부터 손금을 추출하기 위해서 색상 분포 영상을 Red, Green, Blue에 해당되는 RGB 값을 밝기에 큰 영향을 받지 않는 YCbCr 컬러 모델로 변환한다. YCbCr 컬러 모델에서 Y:65~255, Cb:25~255, Cr:130~255에 해당되는 피부색 임계치를 이용하여 손 영역을 추출한다. 추출된 손 영역에서 내부 픽셀의 3:1 이상, 전체 영상의 2:1이상인 손의 형태학적 정보와 8 방향 윤곽선 추적 기법을 이용하여 잡음을 제거한다. 잡음이 제거된 손 영상에서 스트레칭 기법과 소벨 마스크를 이용하여 에지를 추출한다. 추출된 에지 영상에서 블록 이진화 기법을 이용하여 이진화한 후에 가로와 세로가 각각 10픽셀 이상이고 20픽셀 이하인 손금의 형태학적 정보를 이용하여 잡음 및 손의 윤곽선을 제외한 손금을 추출한다. 추출된 손금에서 Labeling 기법을 이용하여 개별 손금의 중요선을 추출한다. 핸드폰 카메라에서 획득한 손바닥 영상을 대상으로 실험한 결과, 제안된 방법이 손금 추출에 효율적인 것을 확인할 수 있었다. In this paper, we propose a new method to extract palm lines and read it with simple techniques from one photo. We use morphological information and 8-directional contour tracking algorithm. From the digitalized image, we transform original RGB information to YCbCr color model which is less sensitive to the brightness information. The palm region is extracted by simple threshold as Y:65~255, Cb:25~255, Cr:130~255 of skin color. Noise removal process is then followed with morphological information of the palm such that the palm area has more than quarter of the pixels and the rate of width vs height is more than 2:1 and 8-directional contour tracking algorithm. Then, the stretching algorithm and Sobel mask are applied to extract edges. Another morphological information that the meaningful edges(palm lines) have between 10 and 20 pixels is used to exclude noise edges and boundary lines of the hand from block binarized image. Main palm lines are extracted then by labeling method. This algorithm is quite effective even reading the palm from a photographed by a mobile phone, which suggests that this method could be used in various applications.