본 연구의 목적은 직장인의 의복과 메이크업 컬러 선택 동기가 외모 만족도와 자아존중감에 미치는 영향을 알아보기 위한 것이다. 본 연구의 조사대상자는 충청도 지역 소재지에 근무하는 직장여성 을 대상으로 하여 2023년 7월 15부터 2023년 7월 29일까지 2주간 이루어졌으며, 표집 된 696부를 최 종 분석에 사용하였다. 분석방법은 SPSS 26.0 프로그램을 이용하여 빈도분석, 요인분석, 신뢰도분석, (one-way)ANOVA, 사후검증(Scheffe’s)을 처리하였으며, 직장인의 의복과 메이크업컬러 선택 동기의 상 관성을 알아 보기위해 상관관계분석 및 단순회귀분석(simple regression), 다중회귀분석(multiple regression)을 실시하였으며, 통계적 유의수준은 p<.05로 설정하였다. 이와 같은 연구 절차를 거처 다음 과 같은 결론을 도출하였다. 첫째, 직장인의 의복 컬러 선택 동기가 외모 만족도에 정적(+) 영향을 미치 는 것으로 나타났다. 둘째, 직장인의 메이크업 컬러 선택 동기가 외모만족에는 정적(+) 영향을 미치는 것으로 나타났고, 신체매력은 상황요인에서 정적(+) 영향을 미치는 것으로 나타났다. 셋째, 직장인의 의복 컬러 선택 동가가 자아존중감에 정적(+) 영향을 미치는 것으로 나타났다. 넷째, 직장인의 메이크업 컬러 선택 동기가 자아존중감에 정적(+) 영향을 미치는 것으로 나타났다.

This study aimed to investigate the changes in bioactive compounds across the ripening stages of three pepper cultivars, each characterized by unique skin colors. The samples used in this study consisted of three pepper cultivars distinguished by their skin colors as green, purple, and yellow green at breaker ripening stage. Samples were harvested at each of the four ripening stages, including premature, breaker, turning, and mature, and subjected to analysis for various bioactive compounds, including capsaicin, ascorbic acid, kaempferol, quercetin, and sugars. In all cultivars with varying skin colors, the capsaicin content within green pepper fruits consistently increased as the ripening stages advanced. Ascorbic acid was most abundant during the premature stage of development in purple and green cultivars, subsequently declining as maturation progressed. In the case of the purple cultivar, kaempferol content decreased by approximately 30% at the mature stage, while the green cultivar exhibited a gradual increase in kaempferol content with maturation. Conversely, the kaempferol content of the yellow green cultivar rapidly declined as maturation progressed. Regarding quercetin content, the purple and green cultivars tended to decrease with maturity, while the yellow green cultivar displayed an increasing trend. Furthermore, the accumulation patterns of glucose, fructose, and sucrose, the predominant free sugars in green pepper fruit, demonstrated an inclination to increase as the maturation stage advanced in both purple and green cultivars. In contrast, the yellow green cultivar initially showed an elevation in free sugar content during the immature stage, followed by a minor reduction during maturation and a subsequent rise during the mature stage. Each pepper cultivar, distinguished by its unique skin color, exhibits varying levels of bioactive substances at different ripening stages. Therefore, optimal harvesting and utilization should align with periods when the desired substance content is at its peak.

Recently 3d printer industry has two demands. first is color 3d printing. second is mass production using 3d printer that has large bed. According to previous studies, 3D printed objects have different weights depending on filament colors. 3D printed tensile specimens with filaments of various colors were checked to see they had the same weight. If so, we wanted to see it was statistically significant. As a result, we found that the weight of 3D printed objects was statistically significantly different depending on the filament color. The average weight of 3d printed objects is: Black(8.63g), Blue(8.58g), Yellow(8.53g), White(8.48g), Natural(8.46g), Green (8.45g), Red(8.42g).

이글은 황해도굿에 등장하는 무복과 무구인 오방신장기의 연 원과 향방을 살핀 글이다. 황해도굿 뿐만 아니라 한국의 무속 에서는 오방색은 감각적 측면의 표현보다는 주술적, 종교적 의 미로 오방색을 받아들이고 활용하여 왔다는 것을 파악하였다. 특히 적색은 복을 기원하는 가장 기본적인 색으로 다양하게 활 용되고 있음을 알 수 있으며, 남색 역시 벽사의 힘을 가졌다 믿는 장군·신장의 무복에서 많이 나타났다는 것을 알 수 있었 다. 무속에 나타나는 오방색은 중국의 경극에서도 나타나는데, 무복과 경극의 의상을 비교분석하였다. 무복과 오방신장기에서 나타난 오방색은 <오제설>에서 비롯된 것이며 오방신장기는 방위의 의미와 함께 신장이라는 신령과 결합하여 다양하게 활 용되고 있음을 살폈다. 마지막으로 오방색의 사상적 배경을 밝 혔으며, 오방색으로 구성된 무복이 가지는 미의식을 색채관으 로 서술하였다.

Modern Hanbok tends to use new colors based on traditional colors and their symbolic meanings. In addition to the traditional colors, various expressions have been increased, it is necessary to consider the color and color trend used in modern clothing. This study focused on the period 2011–2020 and analyzed the main color and coloring method of top and skirt by year with 450 data from a total of 81 wedding magazines. The results of examining the characteristics of traditional colors during the target period are as follows. First, the main color of the Jeogori showed a distribution of various colors in the first half, but the main color of the skirt concentrated on black, white and light pink in the second half. Second, while the use of blue and green systems decreased, Dang-ui color changed to warm yellow, green, and red systems. The Baeja used plain dark white in the first half; however in the latter half, they changed to white or accented colors. The one-piece used various colors in the first half, but only black and white appeared in the second half. Third, in the upper and lower colors of Hanbok, the blue-red color, the traditional contrast color of the first half, decreased significantly in the second half. The appearance rate of proximity for the complementary color harmony of white-red color and the adjacent color harmony of white-blue increased.

The color image of the brand comes first and is an important visual element that leads consumers to the consumption of the product. To express more effectively what the brand wants to convey through design, the printing market is striving to print accurate colors that match the intention. In ‘offset printing’ mainly used in printing, colors are often printed in CMYK (Cyan, Magenta, Yellow, Key) colors. However, it is possible to print more accurate colors by making ink of the desired color instead of dotting CMYK colors. The resulting ink is called ‘spot color’ ink. Spot color ink is manufactured by repeating the process of mixing the existing inks. In this repetition of trial and error, the manufacturing cost of ink increases, resulting in economic loss, and environmental pollution is caused by wasted inks. In this study, a deep learning algorithm to predict printed spot colors was designed to solve this problem. The algorithm uses a single DNN (Deep Neural Network) model to predict printed spot colors based on the information of the paper and the proportions of inks to mix. More than 8,000 spot color ink data were used for learning, and all color was quantified by dividing the visible light wavelength range into 31 sections and the reflectance for each section. The proposed algorithm predicted more than 80% of spot color inks as very similar colors. The average value of the calculated difference between the actual color and the predicted color through ‘Delta E’ provided by CIE is 5.29. It is known that when Delta E is less than 10, it is difficult to distinguish the difference in printed color with the naked eye. The algorithm of this study has a more accurate prediction ability than previous studies, and it can be added flexibly even when new inks are added. This can be usefully used in real industrial sites, and it will reduce the attempts of the operator by checking the color of ink in a virtual environment. This will reduce the manufacturing cost of spot color inks and lead to improved working conditions for workers. In addition, it is expected to contribute to solving the environmental pollution problem by reducing unnecessarily wasted ink.

복장은 한 사람의 성격을 반영하고 개인의 심미적 수준 및 내재적 수양을 직관적으로 체현한다. 한 민족에게 이는 민족의 문화와 풍속 더 나아가 한 민족의 사상과 심미를 체현한다. 이는 일종 특수한 언어이고 매 역사 시기의 경제적 발전, 생활 환경, 종교적 신앙을 체현하기도 한다. 우리나라의 각 민족의 복장 특징에는 각 민족의 문화 형태가 들어있다. 중국 복장은 5,000년의 발전 역사를 지니고 있고 그 중 만족 복장 중의 치파오는 중국 복장 발전 역사 중 독특한 매력을 지니고 있을 뿐더러 그 속에 숨겨진 의미도 있다. 치파오의 정신에는 민족의 지혜가 숨겨져 있다. 민족의 신앙은 치파오가 수수께끼가 가득한 매력을 지니게 하였다. 어떠한 사회 혹은 민족이든 시시각각 변화하고 있는데 이는 문화 자체 혹은 기타 문화와 서로 접촉하여 생긴 문화적 융합과 변화이다. 치파오는 샤먼 복장 문화의 영향을 받아 한족 문화를 경험하고 또 치파오의 시대까지 오게 되었다. 복장 제도의 제한이든 민족 문화의 영향이든 치파오의 색채와 도안은 사람들이 아름다운 생활 형태에 대한 동경을 표현하였다. 치파오는 중국 전통적인 복장 문화의 중요한 조성 부분으로서 치파오 중의 요소는 역사적 문명을 계승하였을 뿐만 아니라 자신의 민족 특색 또한 보류하였고 참고, 전통, 재창조를 통하여 더욱 잘 융합시켰다. 치파오의 발전과 변화는 민족 복장 사이의 상호 반응에 유력한 작용을 하였다. 치파오의 요소는 이미 세계 복장 문화 속에서 풍부한 시대와 문화적 특징을 체현하였고 현대 복장 디자이너들에게 수많은 영감과 창작 원천을 제공하였다. 이후 치파오는 중국에서만 입는 것이 아니라 세계 적으로도 사랑을 받게 되었으며 현대에 수많은 예복의 양식 또 한 중국 치파오의 스타일 및 꽃무늬 도안을 참고한 것이다. 이러한 전통적인 복장은 현대 디자이너의 눈에는 기타 용도가 있을 것이고 그들의 창작 중 전통적인 ‘중국식 요소’는 새로운 빛을 발하게 될 것이다 — 이는 중국 전통적인 민족 복장이 세상에 가져다 준 서프라이즈와 마찬가지이다.

본 연구는 동양전통의 오방색을 실내 건축에 적용하기 위한 것으로 가족 구성원별 특징에 따라 바람직한 색채 구성 디자인을 제안하는데 있다. 이를 위해 먼저 동양의 전통 술수학인 사주와 풍수의 오방색의 개념과 본질을 규명하였다. 그리고 실제 사례를 통해 실내 색채 디자인을 구성하고자 하였으며 특히 전통적인 오방색 및 오정색에 대한 분석을 하였다. 나아가 상생 오간색 및 상극 오간색으로 색채를 구체화하여 현대적 적용방안까지 고려하였다. 현대적 적용 방법으로 첫째, 24방위도를 24색상환으로 만들어 색상과 방위를 동시에 판단 할 수 있도록 하였다. 둘째, 24방위 색상환을 평면도에 접목하여 비보색상을 적용할 정확한 위치를 판단하였다. 셋째, 판단한 위치와 색상을 실내재료 마감재 선택 및 소품 적용시 활용할 수 있게 하였다. 연구결과 향후 실내 색채구성에 있어 동양의 전통색의 적용이 가능하였고, 이를 응용한 현대적 색채 구성도 가능한 것으로 나타났다.

Because some coat colors other than white and yellowish-brown are not accepted by the Jindo dog Standard, this study was conducted investigate population size for pertaining to the coat color of Jindo dogs except white and yellow-brown, the natural monument of korea during 2018. It was investigated, there were 130 black Jindo (four-eyed) dogs, 32 tiger-striped Jindo dogs, 24 black Jindo (all black) dogs , 19 grey (pepper-and-salt) Jindo dogs and 1 spotted Jindo dog in Jindo area. The coat colors Jindo dogs should not be limited to yellow and white in the breed standard, and Jindo dogs should be judged not by their coat color but by their noble characteristics. Such analyses of population size of coat colors Jindo dogs could be applied as important fundamental data for conservation and management of endangered coat colors in Jindo dogs.

Due to the development of plastic materials, injection molding products are limitlessly used. The colours of the plastic material also, have been developed to meet the needs of customers. The purpose of the present study is to verify the shrinkage of the injection-molded PC and PBT specimens in different colours. In this study, red, white, black and transparent colours were selected for PC resin. Also blue, red and black colours were selected for PBT resin. 50 specimens were produced per each colour, and measured after cooling-off. The P-value, the test statistic of the measurements in every direction of PC and PBT specimens were below 0.05 except the PBT specimen’s thickness. The rate of shrinkage for the length and thickness of PC specimens were 0.48% and 3.9% that obtained 4.4 times as big as the gap those between those two rates. The shrinkage in PBT were about 1.45% for the length and 5.08% for the thickness which had 3.6 times as big as the gap. This experimental results obtained that the colour of the resin (PC and PBT) effects its shrinkage. Consequently, the colour of the resin must be concerned in the event of injection-molding.

강원도농업기술원에서는 2003년 무름병에 비교적 강하고 화색과 화형이 우수하고 장미 분홍색을 가진 Zantedeschia rehmanni × hybrid ‘Super Gem’과 연한 노랑색 품종 Z. × hybrid ‘Black Magic’을 각각 모본과 부본으로 하여 인공 교배 하였다. 2006년에 개화특성을 검정하여 화색과 화형이 좋은 ‘GZ0616’를 선발하였으며, 2007년에 포장 재배하여 자구 증식률, 초장과 초세 등 1차 특성검정 후 2차 선발하였다. 2013부터 2015년까지 특성검정과 재배시험을 통하여 균일성과 안정성이 인정되어 ‘강교C4-6호’로 최종 선발되었으며, 2017년 2월에 ‘립스마일(Lip Smile)’로 품종등록 되었다. 화포 외부의 주 색은 연노랑바탕 적자색(Y2C+RP79C)이며, 화포 높이는 8.5cm, 폭은 6.2cm로 대형화이다. 개화소요일수는 64.3일, 초장은 66.0cm, 괴경은 80.0g이다. 기호도 평가에서도 ‘Captain Rosette’와 유사하였으며, 절화용으로 이용 가능하다.

Introduction Can the background colors of products on an online shopping site affect consumers’ haptic perceptions and evaluations? When shopping online, consumers cannot obtain a product’s haptic information by touching it directly and usually rely on visual information such as the product’s image and description. Nevertheless, consumers sometimes use haptic information to judge whether to purchase a product and marketers aim to engage consumers’ haptic preferences. Currently, researchers in the field of sensory-marketing research are interested in the interaction of multiple senses. Although previous research has demonstrated the interaction between visuals and haptic perception (e.g. Xu & Labroo, 2014), there is still considerable opportunity for further research on consumers’ haptic perception of products they cannot touch directly, such as through online shopping. In this study, we focus on how the background colors of product images affect consumer’s haptic perceptions and evaluations of the products. Theoretical Background Krishna & Morrin (2008) indicate that the interaction among plural senses is caused by perceptual transfer. When an individual perceives a sense, it is associated with previous experiences with other senses, which may cause perceptual transfer (Piqueras-Fiszman & Spence, 2015). For instance, Harrar, Piqueras-Fiszman, & Spence (2011) found that the color of the bowl affected consumers’ perceptions of taste when eating popcorn. In this study, when consumers ate popcorn in a red bowl, they associated the color with mature fruit and evaluated the popcorn as sweeter. Consumers who ate popcorn from a blue bowl evaluated the popcorn saltier because they associated the color with the sea. Based on these results, we predict that the background colors of products will affect consumers’ haptic perceptions and product preferences. Babin, Hardesty, & Suter (2013) show that red and orange induce the perception of warmth. Thus, an orange background color causes consumers to perceive products as warmer. Zwebner, Lee, & Goldenberg (2014) demonstrate the influence of physical warmth on consumers’ behavior and they focus on the anthropomorphic characteristics of products. They mention that consumers tend to perceive inanimate products as anthropomorphized so when they percept warmth to products, they feel emotional warmth and it induces their intention to purchase them. From their findings, we predict that the effect of warm background colors is restricted to anthropomorphized products. Additionally, warmth is strongly associated with softness (Tai, Zheng, & Narayanan, 2011). Hence, we also predict that warm background color might affect consumers’ perception of softness of the products. H1: The color orange is perceived as warmer than white (control). H2a:When the background color is orange (vs. white), anthropomorphized products are evaluated with more familiarity. H2b: When the background color is orange (vs. white), anthropomorphized products are evaluated more favorably. H2c: When the background color is orange (vs. white), there is greater intention to purchase anthropomorphized products. H3a:When the background color is orange (vs. white), anthropomorphized products are perceived as warmer. H3b: When the background color is orange (vs. white), anthropomorphized products are perceived as softer. H4: The perception of the warmth of products affects the perception of softness of products. H5: The influence of “H2a” mediates the perception of warmth of products. Methods We conducted two studies to research the hypotheses above. Warm and soft inanimate products are anthropomorphized (Horowits & Bekoff, 2007), and we researched this hypothesis by comparing warm and soft products with cold and hard products in study1. For the purpose of identifying warm and soft products (anthropomorphized products) as well as cold and hard products (non-anthropomorphized products), we conducted a pretest. For the study1 pretest, we chose a teddy bear, futon, and scarf as anthropomorphized products and a garbage can, ice pop, and glass as non-anthropomorphized products. In study2, we used hand watches, which are considered cold and hard. However, a watch indicating 10:10 is recognized as a smiling human (Labroo, Dhar, & Schwarz, 2008). Hence, we compared watches set to 10:10 and 12:00. For study1 and study2, we conduct a 2 (orange vs. white) × 2 (anthropomorphized products vs. non-anthropomorphized products) between-subject test on the participants. Participants answered a questionnaire on a website. They evaluated the color and products on a 7-point Likert scale. For both study1 and study2, we recruited participants via the Internet. They received a point worth 3 JPY (approximately 0.03 USD) for participating in the study. Results Study1 We used a t-test to compare the averages of warmth to the background colors. It showed a significant difference between Group orange and white (t=32.329, df=916.938, p< .001). For H2a to H3b, we conducted the two-way ANOVA of 2 (background color: orange, white)×2(anthropomorphic characteristics of products: anthropomorphized, non-anthropomorphized). The results showed no interactions. Hence, we used t-tests (See Table1). The results supported H2a to H3b. In addition, we conducted a path analysis on the influence of the perception of products’ warmth toward the perception of products’ softness. The influence was significantly positive (β=0.776, p<.001). In comparison, the path from the background colors to the perception of products’ softness was not significant (p= .142). Hence, H4 was supported. Study2 We used a t-test to compare the averages of warmth to the background colors. It showed a significantly positive difference between Groups orange and white (t=22.206, df=323.539, p< .001). Therefore, H1 was supported again. Aside from the above analysis, the results supported H2a to H3b (See Table2). Furthermore, to test H4, we conducted a path analysis on the influence of the perception of products’ warmth towards the perception of products’ softness. Results showed that the influence was significantly different (β=0.823, p<.001). In comparison, the path from the background colors to the perception of products’ softness was not significant (p= .142). Thus, H4 was supported again. Moreover, to test H5, we ran the mediation model by using the PROCESS macro (Model 4, Hayes, 2013). For anthropomorphized products, bootstrapping tests with 2,000 bootstrapped samples revealed that the effect of background colors on familiarity was mediated by the perception of the warmth of the products(a×b=0.09, 95%CI=0.058 to 0.478 excluded 0). The direct effect c’ (0.15) is significant (p= .045), although c (0.06) is not significant (p= .385). On the other hand, for non-anthropomorphized products, the regression analysis revealed that the direct effect c’ (-0.03) is not significant (p=0.711). Hence, H5 was supported. Discussion and Conclusion We demonstrated that warm background colors affect the perception of products’ warmth and softness and increase consumers’ intention to purchase products. We also found that the effect of warm background colors is restricted to anthropomorphized products. This research showed that the effect of warm background colors on the familiarity of anthropomorphized products was mediated by the perception of the products’ warmth. Based on these results, we also demonstrated that the perception of products’ warmth influenced the perception of their softness. Our findings might help to apply Zwebner et al. (2014)’s findings regarding online shopping sites where consumers cannot touch products directly and marketers cannot control consumers’ room temperature.

Consumer interest in eco-friendly fashion products has been consistent. While most relevant research emphasizes individual morals and environmental concern as the most crucial determinants to eco-friendly consumption behavior, more recent studies point out that in so doing there has been somewhat a neglectance on the importance of fundamental marketing strategies. More specifically, the crucial role of interior colors in fashion retail stores has been managerially considered something certain yet no empirical results have been found to support such a strong managerial assumption. For instance, colors such as green, blue, and brown are believed to represent natural images and are more appropriate to the eco-friendly marketing and the relevant research has been lacking. Therefore, this study attempts to explore the effect of in-store interior design colors (green versus non-green) on consumer perception of green store images. A total of 382 respondents were gathered for an online survey using differing store images as the stimulus and used for testing hypotheses. In the results, respondents exposed to store images using green interior colors reported a higher evaluation of green store image of the store. The effect is found to be significantly moderated by respondent’s environmental concern: to explain, respondents of high environmental concern are less influenced by green color interiors when they evaluate the brand’s eco-friendly image. In sum, the positive influence of green interior colors on green store image is found statistically significant, with its stronger effect for consumers of low concern. Managerial and academic discussions are provided.

문학과 미술의 관계는 극히 상보적이며, 자연의 이미지와 인간의 심상을 드러내고자하는 우리 인간에게 있어 정신활동의 상상력(Imagination)을 극 대화시켜주는 가장 아름다운 예술세계이다. 문학은 언어적 영역이며, 미술 은 형상적 영역이지만 문학과 미술 사이에는 공통적으로 ‘미(美)’를 추구하는 동질성을 지니고 있다. 일반적으로 문학은 언어예술이라는 특징을 가지며 언 어는 우리의 사상을 논술적으로 표현하는 가장 대표적인 기초체계를 이루므 로 문학은 언어의 논술적 상징을 가지고 예술적 표현을 도모한다. 거기에 반 해 미술은 인간 세계에 존재하는 표상(表象, Representation)의 이미지를 시각적으로 표현하는 예술장르로서 여러 가지 미술적 기법(선, 색채, 면)에 의해 조화롭게 구성된 공간을 제시하여 우리에게 자연 또는 인간 심성의 일 상적인 모습과 깊은 내면의 현실을 드러낸다. 즉 문학은 일차적인 지각에 기 초해 감각적인 것과의 접촉이 가장 적은 예술이고, 미술은 감각적인 것과 접 촉이 가장 많은 예술이라는 차이점도 있지만 둘과의 관계는 미의 추구라는 공통점을 지니고 있다. 그리고 그것이 지니고 있는 상징성이나 의미는 상 당히 주관적으로 해석되어지는데, 이것은 각 나라나 민족, 지역이나 문화, 그리고 역사적 배경에 따라 그 상징성은 약간씩 다르게 나타난다. 본고에서는 그런 문학과 미술적인 상보적인 관계에 입각해 우리나라 의 고전시가 중 고려속요 <만전춘별사(滿殿春別詞)>에서 나타나는 우리 민족의 전통색인 오방색을 찾아 드러내 보임으로서 그동안의 문학적 측 면에만 치중되어온 우리나라의 고전시가에 대한 기존의 연구 틀에서 벗 어나, 만전춘별사에서 나타나는 다양한 감각적 이미지에서 나오는 우리 민족의 오방색(五方色)을 연구하고자 한다. 더불어 이 연구의 결과가 고 전시를 교육하는 ‘평생교육의 장(場)’에서 오방색을 활용하여 미술을 통 한 ‘시각적 문학 교육’의 효과적인 접근까지도 꾀할 수 있도록 고전시가 의 미학적 접근을 시도하고자 한다.

The purpose of this study is to classify fashion lifestyle types for color planning and to propose color planning of spring & summer by fashion lifestyle by analyzing preferred colors by fashion lifestyle type. The survey was conducted on women between the ages of 30 and 59 using a separately prepared questionnaire and color sample table and also through one-on-one interviews. The results of this study are as follows. First, the participants’ fashion lifestyles were divided into three categories: information individuality type, display type, and practicality type. Second, regarding basic colors: the basic color consistently used for a long time, it was found that there were significant differences in preferred hue and tone according to the types of fashion lifestyles. Specifically, the most preferred hue of all the fashion lifestyle types was achromatic color N and the most preferred tone was V. Third, regarding color trends: the trendy color occupying a market transiently, there were significant differences in preferred hue and preferred tone according to the types of fashion lifestyle. The most preferred hue of all the fashion lifestyle types was B. The most preferred tone of the information individuality type and the display type was V, and that of the practicality type was B. The study found that, in color planning, fashion lifestyles can function as an effective tool to subdivide consumers. Based on the empirical results of this study, I propose that color planning should be based on the type of fashion lifestyle.