브랜드 개성(Brand Personality)극대화를 위한 효과적인 배색 연구 : 탄산 음료 웹사이트를 중심으로

박승아 전남대학교 대학원 2008 국내석사

‘고객의 시대’가 도래하고 제품과 서비스의 품질이 상향평준화됨에 따라 브랜드와 차별화된 서비스의 개발 없이는 기업이 더 이상 살아남을 수 없게 되었다. 강력한 브랜드를 육성하기 위한 웹사이트의 개발은 절대적으로 필요한 요건이 되었고, 이러한 웹사이트의 디자인을 기업 이념에 맞도록 일관성 있게 형성하는 ‘웹 아이덴티티’ 작업을 통해 기업은 효과적으로 ‘브랜드 아이덴티티’를 구축하고 자사의 인지도를 높일 수 있게 되었다. 본 연구는 브랜드 아이덴티티를 구성하는 요소 중 가장 핵심적인 요소인 브랜드 개성 형성에서 웹사이트가 하는 역할을 확인하고 브랜드 웹사이트의 색채 및 배색을 통해 브랜드 개성과의 상관관계를 분석한 결과를 토대로 가장 효과적인 배색 활용 방안을 제시하였다. 이를 위해 브랜드 아이덴티티와 웹사이트의 디자인 구성요소인 컬러에 대한 이론 정립을 바탕으로, 웹사이트의 색채 및 배색을 분석하였다. 전체 음료시장의 35%를 차지하는 탄산 음료 가운데 자산 가치 및 인지도가 높은 상위 3개 브랜드의 사이트를 연구 대상으로 하였다. 각 브랜드가 지향하는 전략은 웹사이트에 나타난 기치, 문구, BI, 광고 등을 통해 분석하였고, 웹사이트에 나타난 색채는 먼셀표색계의 색상환과 톤 분류법, 이미지스케일을 통해 분석 하였다. 브랜드 개성과 색채이미지는 에이커(Aaker)가 개발한 5가지 차원의 브랜드 개성 척도인 ‘성실함’, ‘흥분’, ‘능력’, ‘세련됨’, ‘강인함’의 항목을 표준으로 15개 항목을 사용하였다. 연구 대상에서 소비자가 브랜드 아이덴티티 및 브랜드 웹사이트에 개성을 느끼는 요인과 웹사이트 배색 띠를 통해 개성을 느끼는 요인이 ‘성실함’, ‘흥분’, ‘강인함’으로 동일하게 나타났다. 이 결과는 오프라인의 브랜드 아이덴티티를 웹사이트에서도 그대로 반영하고 있다는 것을 의미한다. 또한 브랜드 웹사이트에서 브랜드의 개성을 나타내는 데에 색채가 시각전달의 중요한 요소로 작용하며, 동일한 색채도 그 배색 방법에 따라 다른 느낌을 준다는 것은 배색 또한 매우 중요한 요소라는 사실을 알 수 있게 한다. 본 연구는 브랜드 아이덴티티와 브랜드 웹사이트에서 볼 수 있는 브랜드 개성과 색채의 상관관계를 분석하여, 색채 선택과 배색 방법이 브랜드의 이미지를 더욱 확고히 하고 가치를 향상시키는 데 얼마나 긍정적인 영향을 주는가를 보여주었으며, 기업이 브랜드 웹사이트 구축 시 효과적인 배색 활용에 따른 색채 계획의 전략을 세우는 근거가 될 것이다. As quality of product and service has upgraded and the 'Customer Age' has come, it has become that an enterprise can not survive without developments of brand or creative service. The development of web-site has become essential to promote strong brand, designing web site to be fit to principal of the enterprise, the 'Web Identity' work, makes for the enterprise to effectively build the 'Brand Identity' and to get popularity. The study confirms that web-site establish the brand personality which is a chief among factors building the Brand Identity, and the study suggests the most effective color scheme from a result of correlation between color scheme and brand personality. In the study therefore, the color scheme of web-site is studied through the Brand Identity and a theory of color consisting of design. The study involved sites of top 3 brand in property and popularity among carbonated beverage which hold 35% of whole beverage market, and each strategy of three brands were analyzed by slogan, BI, advertisement shown on web site. Color shown on web site was analyzed by a image scale, hue circle and tone of Munsell Color System. 15 items were used for analyzing the brand personality and color image by standard items; 'ability', 'sincerity', 'interest', 'refinement', 'activity'. The five items, Aaker made, are used in measure of brand personality. A result showed there's no difference what customers are interested in between the brand identity, brand web-site and the color scheme of web-site; 'sincerity', 'interest', activity'. This result means that the brand identity is reflected in web-site as well as off-line. And it shows that color is visually an important factor to display the brand personality on web-site. From a fact that the same color gives customers different feel by the color scheme, it showed the color scheme is also an important factor. This study showed how affirmative selecting color and the color scheme influence on establishing brand image correlation and improving brand value, through analysis of correlation between brand identity and brand's character or color shown on web-site. As a result, study will be a basis for color strategy based on effective color and application of color scheme while enterprises plan for making their brand web-site.

물방울무늬 크기와 배색방법에 따른 원피스드레스 착용자의 이미지 시각

김선미 경상대학교 대학원 2008 국내박사

In this study, dot print, which can evoke symbolism and psychological responses of customers, was selected among prints. And the stimulus was made by giving changes in the size, the coloration types of dots and the background colors and its area ratio. With this stimulus as the object, I would like to examine the image dimension of people wearing dot-printed dresses, coloration of achromatic color - achromatic color (30), coloration of achromatic color -chromatic color (50), coloration of color contrast(20), coloration of brightness contrast (40), coloration of chroma contrast (40), indeed, sizes of dot prints by coloration typess and differences of image perception and area ratios depending on coloration typess and influence of clue affecting image perception. Bias sampling was used for data collecting with 1,080 college women who are in their twenties living in Gyeongnam and Gyeongbuk regions from March 6 through April 10, 2006. Finally, 1,071 copies out of the 1,080 persons' collected data were used as the analysis data except for insufficient data for the analysis. The statistical typess used for the analysis were factor analysis, analysis of variance (ANOVA), t-test, least significant difference test and multi-variate data analysis. The summary of the result in this study is as follows. First, as the result of examining the image dimension of dot-printed dresses depending on 5 coloration typess, 27 pairs of adjectives were shown as visibility, chastity, attractiveness, cuteness and feminity in the coloration of achromatic color-achromatic color and 29 pairs of adjectives were shown as visibility, attractiveness, chastity, cuteness and feminity image, which are 5 image dimensions, in the coloration of achromatic color-chromatic color. Among contrast coloration, 25 pairs of adjectives in the coloration of color contrast appeared with 5 dimensions of visibility, attractiveness, cuteness, chastity and high class image, 27 pairs of adjectives in the coloration of brightness contrast were shown with 4 dimensions of visibility, chastity?feminity, cuteness and attractiveness image and 23 pairs of adjectives in the coloration of chroma appeared in 4 dimensions of visibility, cuteness, chastity and attractiveness image. Second, in the image perception by each coloration types, it was effective to arrange colors of Gr/W, W/Bk no matter what the size of dots for feminine image and the coloration of Bk/Gr was evaluated as negative in the case of the coloration of achromatic color- achromatic color mixing with three colors of W/Bk (White/Black), Bk/Gr (Black/Gray)and Gr/W (Gray/White). In the case of achromatic color-chromatic color coloration, in other words, in the case of mixing 5 coloration such as W/R (White/Red), W/B (White/Blue), W/P (White /Purple), W/G (White /Green) and W/Br (White /Brown), 2.6 cm dots in the order of Blue > Purple > Green >Red on white background were effective for cute image and white dots on the brown background were perceived very negative no matter what the size was. In the case of contrast coloration, for visibility image, blue background/8cm yellow dots in the case of color coloration, p tone yellow background/g tone with 1.8cm blue dots and lt tone yellow background/dk tone 8cm blue dots in the brightness contrast were effective. In the case of chroma contrast, dp tone blue-green background/g tone 2.6cm red dots, g tone yellow backgroun d/dp tone 5cm blue dots and lt/Gy tone yellow background/b tone blue dots were more effective than the opposite mixture. For attractiveness image, background/1.8cm, 2.6cm and 5cm blue-green dots were more effective than blue background/yellow dots in the case of color contrast and the mixture of yellow/blue coloration in p/g tone, without relation to the size of dots, effectively acted in either side of the background in the case of brightness contrast. Third, examining influence of the clues on the image of dot-printed dresses, there were differences depending on the image dimension by 5 typess of coloration. Regarding the colorations of achromatic color - achromatic color and achromatic color - chromatic color, the color mixture affected all the five images independently and color mixture for the visibility image and the area ration between dots and background for cuteness and feminity image acted as dominant clues in both colorations and showed common responses. It is considered that such responses came from the use of achromatic colors in both coloration typess. However, in the case of contrast coloration, brightness tone for the visibility image in the case of the brightness contrast coloration and the chroma tone in the contrast coloration acted as the dominant clues. For the cuteness image, color mixture in the case of color contrast and the size of the dots, brightness tone, the tone area ration and the size of the dots in the case of the chroma contrast and the chroma tone, the color mixture and the tone area ratio in the case of the chroma contrast acted as independent clues. Therefore, there were differences in influence of the clues depending on the three properties, which are color, brightness and chroma, in the contrast coloration. Regarding the interaction of these factors used as the clues, all the 5 coloration typess affect by integration at the step of perception by interaction of the color mixture and the area ratio in the cuteness image and their influences on the images were different depending on the typess of coloration. From the above, attractiveness, feminity, cuteness and chastity including visibility are important aspects in terms of characters of the dot pattern to emphasize and express personality in the modern fashion. When trying to present image in this side, for example, W/Bk coloration with a big difference in brightness or white dots in red, blue and purple background were effective and the size of the dots were bigger, the effectiveness was higher. Therefore, it was proved that the size of dots and the coloration of dots and background color and its area ratio are clues to form images of people wearing dot-printed dresses. If how to mix coloration types and these clues is suggested, it could be used as the basic information for creating various images at the time of design planning. Therefore, if coloration types that matches well with dot size and background and the area ratio are properly selected, it is possible to create various images. Thus, the result that the morphologic approach theory viewing that information changes in its meaning depending on the relevance to other information was established.

마스킹 테이프를 이용한 색채 배색 미술수업 모형 연구

차화영 전남대학교 2023 국내석사

본 연구는 마스킹 테이프를 활용한 색채 배색 미술수업 교육안을 통해 학생들의 색채에 대한 이해도를 향상시키고 색채 배색의 중요성을 강조하기 위한 것이다. 이러한 마스킹테이프를 이용한 수업을 통해 색채 배색의 전반적인 이해와 미적 활동을 통하여 감수성을 기르고, 학생 스스로 창의적인 작품을 제작할 수 있는 능력을 향상 시키는 것을 목표로 한다. 이 연구로써 학생들이 색채 배색 미술에 대해 보다 쉽게 이해하고 작품을 제작 할 수 있도록, 수정이 쉽고 접착이 용이한 마스킹 테이프라는 재료를 이용함으로써 미술 활동 전 여러 색의 사용에 대해 두려움을 겪는 학생들의 거부감을 줄이고 보다 쉬운 색채 배합을 이루고자 한다. 실제 수업을 통해 다양한 표현 방식을 경험하도록 하여 학습자가 배색을 학습하는 것에 의의를 두고 색채와 배색의 이론을 다루는 한편, 일상생활에서의 영향 범위를 정리하였다. 또한 이 연구에서는 수업 후 연구의 대상이었던 고등학교 2학년 20명의 학생들에게 작품 평가 및 수업 만족도 설문지를 수집하였으며, 마스킹테이프를 재료로 선택한 수업지도안을 토대로 학습 방법과 유의점, 평가 기준을 제시한 뒤 수업의 결과를 토대로 분석을 실시하였다. 마스킹 테이프를 이용한 색채 배색 미술수업 모형을 개발하고 수업을 진행함으로써 다음과 같은 결론을 얻을 수 있었다. 첫째, 배색 이론을 학습하고 실습하는 것에 그치지 않고 일상에서 배색을 이용하였던 각자의 경험을 토대로 하여 학습자의 흥미를 유발하여 적극적으로 수업을 이끌어 낼 수 있었다. 둘째, 색의 조합이 가지는 의미를 생각하며 마스킹 테이프의 특성을 이해하고 자신이 표현하고자 함을 명확히 나타내어 색을 표현하는 능력을 향상 시킬 수 있었다. 셋째, 감상 및 이론 암기 위주의 미술수업으로 인한 색채 수업에 대한 갈증을 해소하고 다양한 미술적 경험 및 자신의 정서와 감정을 시각화 할 수 있게 하였다. 따라서 색채 배색 미술 수업 프로그램은 학생들이 일상에서 손쉽게 접할 수 있는 색에 대해 다시금 생각할 수 있는 기회를 제공하며, 이 수업안을 통해 학습자들의 색채 배색에 대한 이해 증진과 색채의 실제 활용에 도움이 되기를 기대한다. This study was conducted to improve the understanding of such colors and to emphasize the importance of color matching to students. Color composition art research using masking tape aims to develop sensitivity through overall understanding of color composition and aesthetic activities, and to improve students' ability to produce creative works themselves. In this study, students tried to reduce students' rejection of various colors before art activities by using a material called masking tape that is easy to modify and easy to adhere to so that students can understand and produce color matching art more easily. Through practical lessons, students have experienced various expression methods, and the theory of color and color composition is dealt with the significance of learning color composition, and the scope of influence of color composition in daily life is organized. After class, 20 students in the second year of high school were asked about their work evaluation and class satisfaction. Based on the class guidance plan, they presented learning methods, points of attention, and evaluation criteria based on the results of the class. When conducting a color composition art class model study using masking tape, the conclusion is as follows. First, not only did they study color composition theory and conduct practical training, but based on their own experience using color composition, they were able to elicit learners' interest and actively elicit them. Second, I was able to think about the meaning of color combinations, understand the characteristics of masking tape, clearly show what I want to express, and improve my ability to express colors. Third, the thirst for color classes through art classes centered on appreciation and memorization of theories is eliminated, and various artistic experiences and emotions and emotions of oneself can be visualized. Therefore, it is hoped that the color matching art class program will provide students with a chance to think about colors that they can easily access in their daily lives and develop learners' aesthetic sense of the use of color matching art education will begin.

色紙 활용을 통한 배색능력 신장에 관한 연구

최선애 부산교육대학교 2001 국내석사

아동이 미술 활동을 하면서 느끼는 어려움들 중의 하나는 색을 선택, 결정하여 표현하는 일이다. 특히 초등학교 중학년은 색채 사용능력이 현저히 발달하는 시기이면서 저학년에서 색을 도식적으로 사용하던 단계로부터 사실적인 색채를 선호하는 고학년의 단계로 발전하게 되는 과도기적 시기로 자칫하면 개념적이고 모방적인 색의 사용에서 벗어나기 어렵다. 이에 연구자는 아동들이 시각적인 자료를 통한 배색 분석이나 직접적인 색 체험을 통한 다수의 배색 경험이 이러한 문제를 극복하는 하나의 방법이 될 수 있다고 생각하여 준비가 손쉽고 배색의 결과를 즉시 볼 수 있는 색지를 활용하여 개성적이며 창의적인 배색 능력을 향상시켜 나갈 수 있도록 하였다. 이와 같은 목적에 따라 학습 내용을 다음과 같이 구성하였다. 첫째, 아동들이 주변에서 친근하게 사용하는 상품들 중 포장디자인에 사용한 배색을 분석해 보도록 하였으며 둘째, 작품 감상을 통해 개성적이고 창의적인 색채 사용에 대해 경험하도록 하였고 셋째, 직접적인 색 체험활동으로 색지를 활용해 색상대비, 명도대비, 채도대비, 한난대비, 보색대비에 의한 배색학습을 할 수 있도록 프로그램을 구안하고 적용하였다. 프로그램 적용 시 사용한 색지는 색상, 명도, 채도의 변화가 다양하게 나타나는 색을 띤 모든 종이로 화보나 신문간지, 잡지, 포장지 등을 활용할 수 있도록 하였다. 그 결과 아동들은 전반적으로 색채 사용 능력이 향상되었는데 특히 주제와 관련된 색채의 사용, 다양성, 관찰력, 독창성, 융통성 면에서 향상된 결과를 얻을 수 있었다. 이는 아동이 색지를 활용함으로써 색채에 대한 인식 능력을 향상시킬 수 있고 그 결과 개성 있고 창의적인 배색능력이 신장되었다는 것을 시사하고 있다. 이 연구를 통하여 얻을 수 있는 결과는 다음과 같이 요약할 수 있다. 첫째, 배색 지도를 의도적으로 하되 이론과 지식을 통한 방법을 지양 하고 아동이 직접 체험할 수 있는 경험을 제공함으로써 배색 능력을 신장시켰다. 둘째, 아동의 발달단계에 적합한 학습 내용과 방법에 의한 색채 대비 이론학습을 통하여 아동들이 폭넓고 개성 있는 색채를 표현하였다. 셋째, 색종이뿐만 아니라 잡지나 화보, 신문간지, 포장지 등의 풍부하고 변화가 다양한 색지를 활용함으로써 색채에 대한 다양성, 독창성, 융통성, 관찰력 등을 신장시켰다. 넷째, 실생활과 관련된 자료나 감상작품의 제시로 아동이 생활주변의 배색에 대한 관심을 갖게 하였다. It is one of the hardest problems for children in art class how they use the colors which they have chosen. Especially, they show great improvement in choosing and mixing colors during their middle years in elementary school. However, they have much trouble in using and choosing colors because it is a time of transition when they usually take a leap from the stereotyped colorselection to the realistic colorselection. Therefore, I would like to suggest the alternative that would offer diverse experiences in colorselection that will include color analysis through visual resources and direct color experience; use the color papers. In this way, the class preparations come easy and the students can see the results of color combination right away that will lead to creative and unique colorselection step by step. Here are the class procedures designed to meet the suggested purpose. First, let the students analyze the colors used in the package designs of the goods in everyday life. Second, lead them to experience the actual creative color use by showing them a variety of artworks. Third, provide them with direct color combination activities using color papers where they can learn hue contrast, lightness contrast, chromatic contrast, additive complementary colors contrast, and cool and warm colors contrast. All color papers adapted in the class procedure could be anything randomly and extensively chosen from magazines, packing materials or newspapers. As a result, the students reported a remarkable improvement in colorselection especially in terms of color combination in accordance with the context. They showed much more diverse, observational, creative and flexible selections. This result definitely reflects their perception over colors were upgraded from all aspects through color paper activities. Here are the summary of the results that was derived from this study. First, a colorscheme was to be taught intentionally to improve their colorscheme ability not through theory and knowledge but through their practices and direct experiences. Second, students expressed the wide and personal color through study of a color contrast theory by contents and method that fit for their developmental stages. Third, we improved their variety of color, originality, flexibility, and observation using diverse color papers such as magazines, gift-wraps and newspapers as well as color papers. Fourth, the students has concerned about a colorscheme in their life through the real artworks they can see on a daily basis.

배색스키마를 이용한 배색코드의 감성에 관한 연구

김준지 연세대학교 대학원 2008 국내석사

본 연구는 환경색채를 대상으로 색과 색의 관계성에 따른 배색의 유형화와 감성분석을 통해 실제 환경색채 계획 시 배색의 활용도를 높이는 것을 목적으로 한다. 이러한 연구 목적을 위해 배색스키마 개발 프로세스를 제안하고, 그에 따라 실제 환경색채 이미지 사례인 한국의 전통 건축 디지털 이미지에 대해 컬러 신택스 프로그램으로 주조색을 파악, 주조색의 조합에 따른 2배색코드에 대해 배색스키마를 개발하였다. 배색스키마는 크게 색의 3속성인 색상, 명도, 채도를 유형화하는 것으로 그 중 색상의 관계는 색상각도(hue-angle)로 명도와 채도의 관계는 톤(tone)으로 각각 분석, 이를 조합하여 총 12개의 배색스키마 유형을 제안하였다. 배색스키마는 배색코드를 생성하기 위한 틀이 되며 이에 생성되는 배색코드는 구체적 배색 이미지 사례가 된다. 한편 배색코드들은 각 배색스키마 유형별 가장 빈도수가 높은 배색코드에 한하여 색상이조에 따른 자동배색을 하였다. 자동배색 결과 유사한 배색 관계 특성을 지니며 다양한 색상의 배색코드가 추출되어 이들을 고바야시 이미지스케일의 감성 3축(W-C, S-H, K-G)을 기준으로 감성을 분석, 감성어휘별 분류하여 이를 환경색채 계획인 국제2학사의 기숙사에 대해 적용하였다. 연구 결과를 요약하면 다음과 같다.첫째, 배색 스키마 개발 프로세스를 제안하였다. 배색 스키마 개발프로세스는 크게 5단계로 디지털이미지 분석, 주조색에 대한 2배색코드의 조화도 평가, 색상 유형화, 톤 유형화, 색상과 톤 유형의 조합에 따른 배색스키마 개발단계로 나눠진다. 색상과 톤 유형을 조합한 결과 유사색상 조화, 중간색상 조화 그리고 대비색상 조화와 보색색상 조화에 대한 각각 3개의 톤 유형(동일, 유사, 대비)이 조합되어 총 12개 유형의 배색 스키마가 도출 되었다.둘째, 실제 환경색채 이미지 사례로 선행연구인 안지형(2003)의 연구결과인 한국의 전통 건축물에 대한 디지털 이미지 컬러 신택스 분석 결과를 토대로 디지털 이미지에 대한 배색 스키마를 도출하였다. 배색 스키마는 색상각도 면에서는 고른 분포를 보여 큰 특징이 없는 반면 톤에서는 ‘차분한(subdued)'의 톤이 주로 나타나 이는 125개 주조색 분석결과인 중명도 중채도의 비중이 높은 결과와 일치하면서 한국 전통 건축물의 환경색채 이미지가 화려함보다는 수수하면서 자연스러운 이미지가 주를 이루고 있었다.셋째, 배색스키마 유형별 각각의 범위에 포함되는 대표 배색코드를 하나씩 추출, 배색 스키마 유형별 감성 어휘를 추출하였다. 한편 고정된 배색 스키마에 대해 보다 선택의 다양성을 제공하기 위해 자동배색 방법을 이용, 각각 추출된 대표 2배색코드에 한해 색상환 회전으로 배색 관계는 유지한 채 다양한 색상의 배색코드를 생성하였다. 이에 생성된 배색코드에 대해 감성을 분석한 결과, 「자연스러운」, 「점잖은」, 「우아한」, 「세련된」, 「맑은」, 「사랑스러운」,「고전적인」, 「화려한」의 스타일이 추출되었으며 이들은 다시 거꾸로 이미지스케일의 감성 3축(W-C, S-H, K-G)에 따라 한·난감, 경·연감, 화려함과 수수함으로 분류될 수 있다.마지막으로 환경색채계획을 위해 생성된 배색코드에 대한 감성 어휘별 분류 후 이를 연세대학교 국제2학사의 개인공간에 대해 적용하였다. 배색코드 감성 어휘 분류는 앞서 감성 3축에 따라 「한난감에 따른 배색코드」, 「경연감에 따른 배색코드」, 「화려함과 수수함에 따른 배색코드」, 「스타일에 따른 배색코드」로 제안된다.환경색채에 있어 배색을 유형화하고 이를 배색스키마로 규정지은 것은 인간의 눈에 보이는 색과 색의 관계성을 어떤 규칙으로 묶어내기 위함이다. 여기서 배색스키마란 배색코드를 생성하기 위한 틀과 같은 존재로 잘 만들어진 틀의 경우, 결과물인 배색코드 또한 잘 만들어 질 수 있다. 그만큼 배색 스키마의 개발 과정이 중요하다. 본 논문에서는 보다 정량적이며 체계적인 배색 스키마를 개발하기 위해 컬러 신택스(color syntax)라는 프로그램을 이용하였으며 이는 환경색채이미지의 전체적인 색채 관계성은 물론 구체적 배색 특성을 보여줄 것이며 이는 나아가 그 지역에 있어 통일감 있는 색채계획은 물론 그 지역의 아이덴티티 또한 형성 또한 가능할 것으로 기대된다. The main objective of the study is to increase the efficiency of use the color combination through color combination schema and human’s sensitivity on environment color planning. For the objective, the development process of the color combination schema is proposed. Then by combining the dominant colors of Korean traditional architecture images acquired by using Color Syntax program. Color combination schema which was made by 2 combination code using dominant color is developed. The color combination schema deals with materializing color, value and chroma. Relation with hue was analyzed by hue-angle. Relation value and chroma was analyzed by tone. And then combinations hue-angle and tone made 12 types of color combination schema. The color combination schema played a role as a framework to produce the color combination codes which was a detailed sample of color combination images. Produced the color combination codes by categorization of the color combination schema is applied method of hue transposition which is a kind of the systematic color scheme. As a result of the systematic color scheme, the color combination codes that had a various hue and similar character of color combination relation were extracted. The extracted color combination codes were analyzed on the basis of sensitivity three-axis of “Kobayashi” image scale , and then color combination palette by sensitivity words is proposed. Finally, color combination palette is adapted on International 2nd Dormitory project as environment color planning. The results of the research is as follow.Firstly, the color combination schema was proposed. Development process of the color combination schema has five steps. First step is analysis of digital image. Second step is harmony evaluation of two color combination codes about dominant colors. Third and fourth step is categorization of hue and tone. Fifth step is development color combination schema in combination with hue and tone. As a result of process, a total of 12 categorizations of the color combination schema were created by combining with each three tone’s categorization about similar hue-harmony, mid hue-harmony, contrast hue-harmony and complementary hue-harmony.Secondly, in order to apply the process of the color combination schema, the result of An, Ji-hyung's study which was color syntax analysis about Korean traditional architecture image was used. And the color combination schema about digital image is created by using the previous result. The color combination schema didn’t have distinct feature in hue-angle, but in tones ‘subdued’ was mainly discovered. It accords with the result of 125 dominant color analysis that middle value and chroma has a high proportion. Therefore, environment color image in Korean traditional architecture are more plain and natural than splendorous.Thirdly, representative color combination codes included in each range by categorization of the color combination schema were extracted one by one, and then sensitivity words were extracted. In order to provide various choices in fixed color combination schema; various color combination codes are created by using method of the systematic color scheme with conserving the combination relation by rotating color circle. Method of the systematic color scheme is limited in representative two color combination codes. As a result of sensitivity analysis about created color combination codes, ‘natural’, ‘dandy’, ‘elegance’, ‘chic’, ‘clear’, ‘romantic’, ‘classic’, ‘gorgeous’ style was extracted. And that were classified in warm-cool, clear-grayish based on sensitivity three-axis (W-C, S-H, K-G) of image scale.Finally, in order to apply color combination codes on environment color planning, color combination palette is proposed by classifying sensitivity words. Color combination palette makes designer choose color efficiently when planning environment color. In this study, 4 color combination palettes are proposed and applied to private room in International 2nd Dormitory atYonsei University.Categorizing color combination and prescribing it as color combination schema are to regulate the relation between color and sight color through human eye. The color combination schema is framework to form the color combination codes, in case of well-made framework, color combination codes and palettes are also well made. That is why the development process of color combination schema is very important. In this study, the color analysis program called Color Syntax is used to develop quantitative and scientific color combination schema. It will be possible to show the overall relation of colors and characteristic of color combination in the concrete. Furthermore, It will be possible to design the unified color planning and to form the identity for the region.

朝鮮時代 異色配色 赤古里의 形態 變化에 관한 硏究 : 出土服飾을 中心으로

이상은 明知大學校 大學院 1997 국내석사

This study investigates the shape changes of different color, Gil(길) arranged Joˇgori in more than one part on Kit(깃), Sup(섶), Moo(무), KKeut-Dong(끝동), based on the exhumed Joˇgori among excavated costumes which were found on the process of removing the dead person's body from one place to another. The range of this study is from Chun-Ju Lee garment for the dead which were exhumed in Kwangju county to An Dong Kim garment for the dead which were found in Ban Wol, and it examined 99 Joˇgori out of 211 which were exhumed between 1450 and 1930. Different color arranged Joˇgori which were examined in this study seemed to be exhumed only in Seoul, Kyungi Province, Choong-Chung Province, whereas excavated costumes were exhumed all over the country including Seoul, Kyungi Province, Choong Chung Province, Cholla Province, Kyung-Sang Province, etc. Taking this into account, these areas were considered to be taken considerably splendid shape of dress and ornaments, compared with other areas. Going through Japanese invasion of Korea(1592~1598), a big change appeared in the costumes of Chosun dynasty and it was the length shortening phenomenon of different color arranged Joˇgori. This study devides exhumed different color arranged Joˇgori into three period respectively, before and after the period which were found big differences in Joˇgori length and examined the changes of the shapes and arranged colors in excavated different color arranged Joˇgori at each period. First period was from 1450 to the first of 14th century. The second period was from the middle of 17th century to the first of 18th century, and the last third period was from the middle of 18th century to around 1930. In the first period, the lengths of different color arranged Joˇgori were diverse from 41cm to 83cm and after the Japanese invasion of Korea in 1592 , the lengths of Joˇgori in different color arranged Joˇgori were a little bit shortened by 40-50cm. The length of Joˇgori was extremely shortened in the third period and one of exhumed Joˇgori found in Ban Wol was 17.3cm. The length of Joˇgori was lengthened again 36cm or so aroud 1930. The Kit(깃) shape of different color arranged Joˇgori had changed from Mokpan Kit to Dangko Kit in the first period and it was continued even after the second period. Dongrae Kit which is the same as the that of these days were found in the end of third period, around 1920-1930. It is quite strange that different color arrangements were not shown in Kal Kit(칼깃) Joˇgori at all. When it comes to the form of Moo(무), a ladder Moo and triangle Moo co-existed before the Japanese invasion of Korea in 1592 and those kinds of Moo were changed into the form of Gyut Moo(무) after the that war. Vertically lined Joˇgori in its sides without Moo and the length shortening phenomenon of Joˇgori appeared in that period. In the first period, the sleeves of Joˇgori were straight lined ones, in which the width of Gin Dong(진동) was the same as that of Soo Gu But after the Japanese invasion of Korea in 1592 the sleeves of Joˇgori were changed into the slanting ones which became narrower and narrower toward Su GU(수구) and the lines of Bae Rae(배래) became curves in the third period. The width of Kkeut Dong(끝동) was 15cm or so in 15th century and it became narrowed in the third period. Arranging different colors fashion in Joˇgori was changed before and after the Japanese invasion of Korea in 1592. Before the war, Joˇgori which were arranged different colors in many parts such as Kit(깃), Sup(섶), Moo(무), Kkeut Dong(끝동), Go Reum(고름)were found a lot, but different color arranged parts were lessoned after the war. In the first period, a ladder and triangle Moo Joˇgori with Mokpan Kit seemed to arrange different colors in more diverse parts than curved Moo Joˇgori. The second period, after the Japanese invasion of Korea in 1592, different color arranged parts were reduced, compared with the first period. Strange thing is the different color arrangement in Sup(섶), it was common in the first period, disappeared in that period. In the third period, Gyut Moo(-VT)and Go Reum (~-~t3 )were became bigger than before, embossing its ornamental aspects . Kumsundan Joˇgoris(금선단 저고리) which were found a lot before the Japanese invasion of Korea in 1592 were not exhumed any more except only one Keumgik(금직) Joˇgori after the war. This also seemed to be affected by social factor, after-effect of the war.

배색 기법에 따른 감성효과 분석 : 거실 공간의 배색을 대상으로

강선아 연세대학교 대학원 2000 국내석사

본 연구의 목적은 (1) 인테리어에 대한 감성어휘모형을 도출하고, (2) 거실 인테리어의 배색기법을 추출한 후, (3) 인테리어 배색의 감성모형을 도출하여, (4) 연구결과를 토대로 거실 인테리어 디자인을 위한 배색기법을 제시하는 데에 있다. 인테리어에 대한 감성어휘척도를 개발하기 위하여 인테리어 기술어휘를 수집하였고, 이들로부터 대표감성어휘를 체계적으로 추출하였으며 배색자극물을 개발 하였다. 2차에 걸친 감성조사를 실시한 후, 그 자료를 중다차원분석함으로써, 제 1차원 '따뜻하다-차갑다', 제 2차원 '고급스럽다-소박하다', 제 3차원 '현대적이다-고전적이다'의 세 차원축이 도출되었고, 이 세 차원으로 인테리어에 대한 감성이 충분히 설명될 수 있는 것으로 나타났다. 이렇게 도출된 감성공간 상에 감성어휘를 대응시켜 감성어휘모형을 구성하였다. 이 모형을 9개의 감성 범주(정적인, 유니크한, 캐쥬얼한, 드라마틱한, 모던한, 로맨틱한, 오리엔탈의, 내츄럴한, 클래식한)로 구분한 다음, 이를 토대로 감성어휘척도를 개발하였다. 거실 인테리어용으로 사용되는 대표적인 배색을 수집한 후 관련된 이론 및 전문가 자문을 거쳐 타당도와 신뢰도를 보강하고 배색 자극물로 제작하였다. 이 배색 자극물과 감상어휘척도를 사용하여, 거실배색에 대한 감성을 측정하였으며, 그 결과를 토대로 하여 거실 배색에 대한 감성모형을 개발하였다. 본 연구의 배색 감성모형에서 도출된 아홉 개의 감성범주와 그에 대응하는 배색을 기반으로 하여 거실용 인테리어의 핵심이미지에 따른 배색지침을 제시하였다. The objectives of this study were (1) to develop an emotivity(i.e.: emotion and sensibility) model for interior color planning, (2) to extract color combinations for living room, (3) to develop an emotivity model for interior-color combinations and (4) to present interior-color combination techniques for color planning of living room. A large number of descriptors were collected and condensed into 25 descriptors to develop an emotivity model. Based on the 25 representative descriptors, a set of scale to measure consumer's emotivity toward interior-color combination was developed. On the other hand, 42 representative color-combinations for living room design were extracted, based on which a set of stimuli was developed. Using the stimuli and the measurement scale, two surveys were performed. The data were analyzed by frequency test, multidimensional scale method and cluster analysis. From the result of the analysis, a three-dimensional emotivity model was obtained, which composed of 'warm-cool'(1^(st) dimension), 'luxurious-somber'(2^(nd) dimension) and 'modern-classic'(3^(rd) dimension). According to the result, 110 descriptors were positioned on this emotivity model, mapped with several typical color combinations for each, and then sectioned into 9 emotivity-groups. In conclusion of this study, nine guidelines for color planning of living room for each of emotivity-groups were presented.

셔츠와 넥타이의 배색방법에 따른 조화감 연구

임지영 慶尙大學校 2006 국내박사

The purpose of the study was to investigate the harmony range and the disharmony range by evaluating the degrees of harmony in terms of types of coloration in men's shirts and neckties. In addition, the study aimed to examine perceptional differences between male and female towards degrees of harmony affected by types of coloration. The types of coloration and its effects on the harmony perception were also studied. To do this, the saturation of color was controled, and the brightness and tone of color were changed to make vivid, light, dull and dark tones of color. Then, tone on tone coloration (64), tone in tone coloration (96), contrast coloration (128), achromatic- chromatic coloration (96), and achromatic-achromatic coloration (16) were compared. The 4,032 male and 4,032 female college students, who were living in Jinju, were participated in this study. The data were collected for five months from May to September in 2004. The results are as follows. First, for five types of coloration, the harmony range and disharmony range were identified. The range of coloration that made harmony was different based on types of coloration. That is, tone on tone and achromatic-chromatic coloration had a more wide range than tone in tone and contrast coloration from both male and female students. Second, in the harmony perception, the range of coloration was different between male and female students. The male students perceived 190 as harmonized and female students perceived 152 as harmonized from 400 coloration. The male students had a more wide range of harmony on all coloration. Third, there was coloration that the male and female students had a same response on the harmony perception based on type of coloration. Both male and female students perceived light-vivid, light-dull, dull-dark, dark-dull as harmonized in shirts and neckties when it was tone on tone coloration. Especially, the combination of dull-dark tone was perceived as harmonized regardless of area. However, there was coloration that was affected by area: when a shirt was light and a necktie was vivid, it was perceived as harmonized but when a shirt was vivid and a necktie was light, it was perceived as disharmonized. In vivid, light, and dull tone of tone in tone coloration, a red shirt and orange necktie were perceived as harmonized. A dark gray shirt was not perceived as harmonized except with a dark red or orange necktie. In achromatic-achromatic coloration, a white shirt was perceived as harmonized with a bright gray, dark gray, and black necktie but was not perceived as harmonized with a white necktie. Fourth, there were shirt-necktie coloration that perceived differently based on types of coloration between male and female: 1) tone-on-tone coloration red shirt in dull tone-necktie in vivid tone blue shirt in dull tone-necktie in dull tone 2) tone-in-tone coloration red shirt in vivid tone-green necktie, blue shirt-violet necktie, blue shirt in dull tone-blue necktie, violet shirt-violet necktie, blue shirt in dark tone-yellow necktie. 4) contrast coloration vivid red shirt-vivid green necktie, shirt in dull tone-dark blue necktie, light shirt-dull blue necktie, dark shirt-light blue necktie, light green shirt-vivid violet necktie, light red necktie-dull red necktie. 5) achromatic-chromatic coloration white shirt-dull orange necktie, bright gray shirt-violet necktie in dark tone, dark gray shirt-light orange necktie or vivid yellow necktie, dark gray shirt-vivid violet necktie, dark gray shirt-vivid violet necktie, black shirt-yellow necktie in dull tone 6) achromatic-achromatic coloration light gray shirt-dark gray necktie, dark gray shirt-white necktie, dark gray shirt-black necktie, black shirt-black necktie Fifth, the colors of shirts, colors of neckties, tone and perceiver gender independently influenced on the harmony perception in four types of coloration except achromatic-achromatic coloration. Further, they interacted each other and influenced on the harmony perception regardless of types of coloration. The tone of shirt was important in tone on tone coloration, and the color was more important than tone in tone in tone coloration. In contrast coloration, the tone of necktie was important. And, the color of shirt was important in achromatic-chromatic and achromatic-achromatic coloration. That is, the harmony perception was influenced by the types of coloration. Therefore, the degrees of harmony cannot be explained by the color of shirt, color of necktie, and tone of color alone. In short, the classification of coloration, which is the perception toward harmony and disharmony, was influenced by types of coloration. The degree of harmony was influenced by the combination of color and tone of shirt with color and tone of necktie. This supports the configurative approach theory(Gestalt Theory), which the color and tone is not fixed but change with the relationship each other. The findings from the study will be used in establishing the coloration harmony theory and a basis in planning clothes. With suggestions of popular colors every season, it is expected to be a useful resource for color planning in the field of men's clothes where high quality, personality, diversification are pursued. In addition, it will increase customers' satisfaction through his or her own presentation based on fashion images and help companies to develop fashion designs that appeal to the customers.

잡지광고 색채배색에 대한 연구 : 80년대 광고수상작 중심으로

정성미 淑明女子大學校 1992 국내석사

잡지광고 디자인에 있어서 색채는 시각전달의 중요한 요소로서 작용한다. 소비자의 기억속에 가장 강하게 인지되는 색채는 판매자의 제품설득으로 소비자의 상품구입의도를 높이거나 변화시키고 상품선택으로 연결시키는 작용을 한다. 본 논문에서는 기업PR과 상품판매 촉진을 위한 잡지광고의 기능과 디자인적 측면에서의 색채를 파악하여 Corporate Color에 의한 색채사용과 색채배색에 대한 색채계획이 이루어지고 있는가 분석하고 방향을 살펴보는데 연구의 목적이 있다. 분석대상은 1986년에서 1989년까지의 중앙광고대상, 한국광고대상에서 수상한 잡지광고의 대상, 금상, 은상, 동상을 선정하였으며 분석방법은 먼셀체계의 10개 주요색상환과 N.C.D에 의한 톤분류에 의거하였다. 각 광고마다 Main Color, Sub Color, Accent Color로 분류하여 색상과 색조의 배색관계를 살펴봄으로써 잡지광고 디자인의 색채흐름을 파악하였다. 본 연구의 결과를 요약하면 다음과 같다. ○ 색채분석결과 Main Color는 무채색 N, Red색상의 난색계열과 Very Pale톤, Dark Grayish톤을 많이 사용하고 있으며 Sub Color는 Yellow Red, Red색상과 Pale톤, Dark Grayish톤을 주로 사용하여 강렬한 색상과 매우 밝거나 어두운 색조로 강한 인상을 지어 광고의 주목률을 높이려 하고 있다. 또한, Accent Color는 주색상이 난색계열인 Red색상이고 색조는 Vivid톤이 주류를 이루고 있으나 색채 선정이 대체로 한정되어 있어 단조로운 느낌이다. 색상배색과 색조배색의 관계를 살펴보면 Main Color와 Sub Color는 동일색상배색, 반대색조배색, 유사색조배색순으로 조화를 이루고 있고, Main Color와 Accent Color에서는 반대색상배색, 반대색조배색을 나타내고 있어 강한 대비를 보이고 있다. Sub Color와 Accent Color의 배색관계는 반대색상, 유사색조, 반대색조 배색으로 색상의 대비를 통하여 광고의 효과를 높이고 있다. 그러나, 전반적으로 다양한 색채선택이 이루어지지 않아 타사광고와의 식별이 용이 하지 않고 배색에 있어서도 배경색과 강조색이 반대색상, 반대색조 배색이 주류를 이루고 있어 광고자체가 단조롭고 딱딱하여 경직되어 보인다. 위의 분석결과는 색채계획(기업이미지 측정, 색채이미지 측정, 유행이미지 측정, 색채기호 측정, 상품이미지 측정, 전시이미지 측정, 광고이미지 측정)이 미흡하여 무분별한 색채선정으로 인하여 광고마다 유사한 색채들로 혼돈되어 있어 광고의 차별화가 이루어지지 않고 있다. 그러므로 잡지광고디자인의 색채선정에 있어 소비자의 색채취향을 파악하고 기업이미지 제고에 기여할 수 있는 색채로 선별하여 사용해야 한다. 광고의 홍수속에서 자사의 제품이 광고를 통해 선택되기 위해서는 논리적인 디자인정책과 함께 색채계획이 수반되어야 할 것이다. In designing magazine advertisement, color works as an essefntial element to communicate visual message. Color, which usually gives a strong impression to consumers, can address the products to either elevate or change the intention to purchase, consequently can make a consumer to make his choice. The objective of this is to analyze the roll of magazine advertisement to promote a corporate and its product, and color in designer' s point of view. And to study whether color is planned for color usage and color scheme using corporate color. Magazine advertisements: Grand, Golden, Silver and Bronze Awards in Chung-Ang Advertising Grand Prix and Han-Kook Advertising Grand Prix from 1986 through 1989, were selected as basis of this study. The 10 color ring of Munsell color system and tonality branch based on N.C.D. were used as the method. To analyze the flow of color, each advertisement was divided as main color to study the scheme relationship between color and tonality. Following is the result of the report. ⊙ Color Analysis Acromatic color, redish warm color, very pale tone, dark grayishtone were used as main color the most. Yellow red, red, pale tone and dark grayish were used as sub color. It was shown that the purpose was to maximized the visibility by using very strong, and bright or dark color. Warm red was used for accent color mainly, and color tonality was based on vivid tone. Overall the color selection was well limited which resulted in monotonic impression. The relationship between the color scheme and tonality scheme was composed in the order of same color scheme, opposite color scheme and then similar color scheme, which is compared to the relationship between main color and accent color of which shows opposite color scheme and opposite tonality scheme. The color scheme relationship between sub color and accent color was composed of opposite color, similar tonality and opposite tonality scheme in an effort to advertise effectively. Overall, however, an advertisement was not easily distinguished from another because of limited selection of color. Also in arrangement, most advertisements were congealed and monotonous because of opposite color scheme and opposite tonality between its sub color and accent color. The report shows lackness of color plan (Corporate Image Survey, Color Image Survey, Fashion Image Survey, Color linking Image survey, Product Image Survey, Exhibition Image Survey, Advertisement Image Survey, Advertisement Image Survey) and unwise color selection result ed in similarity between advertisement so that the one can not be differentiated from one another. Therefore it is important to analyze the color taste of consumer, and select color to enhance the image of a corporate when selecting a color for magazine advertisement design. In overflow of advertisement, one is required to possess a logical design scheme and careful color plan to successfully promote a corporate' s products.

복식에 나타난 색동배색 분석 및 패턴 활용

조윤정 경성대학교 대학원 2003 국내석사

본 연구는 국제화 시대에 대응하여 한국적 디자인의 필요성이 중요시되면서 우리의 전통적인 아름다움이 반영된 디자인 개발이 요구됨에 따라 우리민족 고유의 색채조화를 잘 나타내주며 또한 우리의 정서를 잘 반영한 색동을 고찰하여 미적인 특징과 미의식을 규명하고 분석하여 이를 토대로 현대복식의 패턴에 활용 하고자 하였다. 본 연구의 결과는 다음과 같다. 첫째, 색동은 한국적인 색채조화를 보여주는 패턴으로 우리민족의 독특한 미의식의 한 부분을 잘 드러내어 주며, 한국적인 심성이 잘 표현된 것으로 우리나라의 자연주의 사상이 반영되어 삼국시대부터 현재에 이르기까지 우리 생활 속에서 전수되고 있다. 둘째, 색동의 유래는 삼국시대에는 색동이 치마의 형태로 나타났으나 조선시대로 오면서 저고리나 원삼, 활옷 등의 상의 소매에 나타나는 변화를 보였다. 개화기를 거쳐오면서 색동은 의복의 한 부분에만 사용되는 것이 아니라 장식문양의 모티브나 생활용품에까지 확대 응용되고 있다. 셋째, 색동은 우리민족 정서를 반영하는 전통색채를 음양오행사상에 근거하여 조형적으로 배치함으로 미적인 관점과 음양오행의 사상적인 의미를 동시에 내포하고 있다. 조선시대이후로 넘어오면서 실용적, 감각적인 측면의 의미가 가해지면서 변화되었음을 알 수 있다. 넷째, 복식에 나타난 색동배색 분석에서 전통복식에 나타난 색동을 살펴보면 삼국시대 색동은 오방색 중 주로 적색과 황색을 사용하였으며 그 폭은 균등하고 넓게 나타났다. 조선시대 복식에서도 오방색의 사용이 가장 많았으며 적색과 청색의 사용빈도가 높은 것으로 나타났다. 현대복식으로 넘어오면서 색동은 오방색이나 오간색보다는 그 외 혼합색을 사용하여 부드러운 색동의 느낌을 표현하고 있으며 실용적, 감각적 측면에서의 색채관념이 점차 많이 차지함을 알 수 있다. 색동의 형태에 있어서도 자연스러운 면분활을 통하여 리듬감을 보여주는 가운데 사선이나 비대칭 라인을 사용해 색동의 리듬감을 잘 나타내었다. 다섯째, 색동을 이용한 다양한 패턴 제시를 통한 결과는 다음과 같다. ① 색동의 형태 변화에 따른 색동 배색의 다양한 느낌을 통해 현대복식에 전통성을 살린 적합한 색동 패턴을 제시할 수 있었다. ② 색동배색의 수직형태에 제시한 패턴 활용Ⅰ에서는 톤 변화에 따른 색상 변화를 주었더니 화려하면서도 안정된 느낌의 색동 배색으로 표현되었고, 따뜻한 난색계열의 유사배색으로 표현되었다. 패턴활용Ⅱ와Ⅲ에서는 색상변화에 따른 유사배색으로 표현하였는데 표현된 색상에 명도와 채도의 변화를 주었더니 기존 배색에서 느껴지는 이미지에서 더 현대적이고 자연스러운 배색으로 표현되었다. ② 색동배색의 수평형태에 제시한 패턴활용Ⅰ에서는 엑센트 효과에 따른 유사배색으로 표현하여 유사한 색상들 사이에서 느껴지는 단조로움을 강한 엑센트 색상을 사용하여 강조의 효과로 나타내었다. 패턴활용Ⅱ에서는 톤 변화에 따른 대비배색을 통해 화려하면서도 밝은 이미지의 색동패턴으로 표현되었고, 패턴활용Ⅲ에서는 유사배색을 통해 따뜻하면서도 귀여운 느낌의 색상배색으로 표현되었다. ③ 색동패턴의 사선활용에 제시한 패턴활용Ⅰ,Ⅱ에서는 톤 변화를 통한 색상의 느낌을 제시해 보았는데 패턴활용Ⅰ에서는 대비배색을 통해 강렬하고 화려한 배색의 색동패턴을 나타내었고, 패턴활용Ⅱ에서는 유사배색을 통해 안정되고 자연스러운 느낌의 배색유형을 표현하였다. 이상의 결과로 색동배색을 이용한 패턴활용을 통해 현대복 디자인에 활용 가능성을 보여주리라 생각된다. 이런 색동을 현대복식에 잘 활용하기 위해서 디자인과 소재에 있어서도 색동을 잘 표현할 수 있는 실용성과 미적 특성을 충족하는 디자인이 연구 개발되어 색동의 색채효과를 통해 세계 속의 한국의 이미지로서의 자리 매김 할 수 있도록 나아가야 할 것이다. While necessity of Korean design is embossed, coping to international age and development of design that traditional beauty is reflected is required, the researcher tried to analyze aesthetic character and sense of dress and use it as pattern of modern dress through considering multicolored stripes appearing coloration of unique Korean people and reflecting Korean spirit The result of this paper is like follow First, multicolored stripes is the pattern showing coloration of Korean people well, showing one part of unique Korean people's aesthetic sense and having been inherited from the period of Three States to today while reflecting naturalism. Second, although multicolored stripes was appeared as skirt in the period of Three States, it changed while appearing in sleeve of shirt like Korean jacket, wonsam and archery uniform and it was enlarged into motive of ornamental shape and daily necessaries as well as dress over the flowering time. Third, it includes aesthetic view and thinking meaning of the cosmic dual forces and the five elements through formatively arranging tradition color reflecting Korean people's spirit on the basis of the cosmic dual forces and the five elements. It could be known that it was changed while the meaning of practical and sensual aspect was added to it after Lee Dynasty. Fourth, when considering multicolored stripes appeared in traditional dress in the analysis on coloration of multicolored stripes, among colors meaning five directions, red and yellow colors were usually used in dress of the period of Three States and its width was even and wide. Use of colors meaning five directions was usual and use of red and blue colors were usual in dress of Lee Dyanty. In modern dress, it can be known that multicolored stripes expresses its soft feeling through mixing other mixed color rather than colors meaning five directions or secondary colors meaning five directions and the concept of color from the practical and sensual aspect shared much part. In the form of multicolored stripes, it expressed rhythm of color with oblique line or unsymmetrical line while showing rhythm through natural division of side Fifth, the result from suggestions of various patterns with multicolored stripes is like follow ① It was possible to use as proper multicolored stripes pattern applying traditionality to modern dress through various feelings of coloration of multicolored stripes according to the change of multicolored stripes form. ② It was possible to suggest pattern of soft and natural image and new coloration through escaping from the concept of multicolored stripes, strong color combination of primary color, and applying similar coloration by change of tone to pattern. ③ It was possible to express senses of rhythm and uniformity through use of black or dark colors that is not previously as accent color, coloration of complementary color, repetitive effect of color. From the above result, it is expected that it is possible to apply multicolored stripes to modern dress through use of its pattern It is necessary to proceed for korean image to be positioned as one in the world with coloration of multicolored stripes through studying and developing its design meeting practical and aesthetic characters that can express multicolored stripes in design and material too.