Visual Color Difference between Colored-Yarn Mixed Woven Fabrics and Their Instrumentally Measured Colors: the Effects of Individual Yarn Colors and Texture

Youngjoo Chae,Jisoo Hwang 한국섬유공학회 2020 Fibers and polymers Vol.21 No.4

The study investigated the differences between perceived and instrumentally measured colors of woven fabrics inwhich different colored yarns are woven together such that they are perceived as solid colors. Cyan, magenta, and yellowyarns were woven together to produce 63 fabrics in a wide range of colors, the values of which were measuredspectrophotometrically. The measured colors were generated as solid color images on a calibrated cathode ray tube (CRT)monitor. Then the fabrics were scanned and their scanned images were displayed beside their corresponding solid colorimages on the CRT monitor to evaluate the visual color difference between them. The results showed that the individual yarncolors and their interlacement on the fabric surface influenced the overall color appearance. Although the woven and solidcolors in each pair had identical CIELAB color values, the perceived color difference was as large as 5.68 ΔE*ab,10 onaverage. Fabrics composed of various colors of yarn were found to have larger visual color differences from their measuredcolors than those composed of single colors of yarn. The visual color difference varied according to texture, but texturestrength, which has been widely reported as a strong parametric factor in visual color difference evaluation, was not shown tohave had a consistent effect. This study also examined how the overall color attributes, including the lightness, chroma, andhue, of fabrics affected the visual color difference and developed a predictive model of those effects.

직물을 구성하는 실의 시각적 혼색 효과

채영주 ( Youngjoo Chae ) 한국의류학회 2019 한국의류학회지 Vol.43 No.3

This research investigated the effect of individual yarn colors on the perception of overall colors of yarn-dyed woven fabrics. The way the colors of yarn-dyed woven fabrics are perceived is known as visual color mixing: when the different colored yarns juxtaposed on the fabric surface are observed from some distance away, they are visually mixed in our eyes and perceived as a solid color. However, we can still see individual yarn colors that make the fabrics look obviously different from actual solid colors. To quantify this visual color mixing effect, twenty-one sateen fabrics were produced in a wide range of colors using cyan, magenta, and yellow yarns, and the colors were measured instrumentally. The obtained colorimetric values were converted into solid color images on a CRT monitor. Then, the physical fabrics were scanned, and the scanned images were displayed on the monitor with solid color images in pairs for visual color difference evaluation. The woven and solid colors in each pair were of physically identical color; however, the visual color difference was as large as 4.81 ΔE^*_ab on average. A visual color difference model was proposed by considering this parametric effect of individual yarn colors.

Analysis of Color Difference Perception between Color Reproduction Media in Online and Offline Fashion Commerce Environment

( Sungwoo Moon ),( Youngjoo Chae ) 한국감성과학회 2023 한국감성과학회 국제학술대회(ICES) Vol.2023 No.-

In this research, we quantitatively analyzed people's perception of color differences in the fashion commerce environment between online and offline spaces. Additionally, we analyzed the color factors that influence people's subjective perception of these color differences. For this purpose, display samples and fabric samples representing online and offline environments were produced, and visual color assessment was conducted along with physical color measurement. As a result, we observed a large discrepancy between the actual physical color difference and the people's subjective color difference perception. This was found to be influenced by color factors such as the composition ratio of magenta(M) and black(K) among the CMYK primary colors used in the production of the two types of samples and the Lightness(L*₁₀) and Chroma(C*_ab,10) of the display sample. This study proposes a color control method in an online environment that allows consumers to perceive color differences that occur between online and offline environments at a level similar to the actual difference, which increases consumers' positive color satisfaction with fashion e-commerce.

Hue & Tone 130색의 색차 적정성 - 일본컬러디자인연구소의 시스템을 중심으로

주대원 한국색채학회 2018 한국색채학회 논문집 Vol.32 No.2

The system of NCD Hue & Tone 130 colors is one of the most popular color development methods used by designers. Ensuring the appropriateness of color difference in the use of color may increase the level of trust in the color system. However, until recently, there has been no study on whether the RGB data of the NCD system are have a color difference from sRGB for the Munsell notation standard. Therefore, this study aims to analyze whether the RGB data of NCD Hue & Tone 130 colors have some color difference with sRGB of Munsell notation standard and the color tolerance between them is appropriate. For the reliable color analysis, we used a website with excellent conversion to Yxy data of the Munsell color system and a color conversion system of BabelColor CT&A. The sRGB and L1*a1*b1* data were calculated on the basis of the Munsell notation of NCD Hue & Tone 130 colors. Then, the NCD RGB data were compared with the data converted to L2*a2*b2* and the color difference. At the same time, we analyzed whether each color difference of tones corresponds to the color tolerance range of CIELAB color system. The color distribution in L*a*b* color space was analyzed for visual color difference analysis of L1*a1*b1* and L2*a2*b2* data. The results of the study are as follows. First, to enhance digital utilization of the monitors based on the NCD Hue & Tone 130 colors, color management is required so that the RGB data does not to exceed C grade (dE * ab : 6.5∼13). If the RGB data are reset by referring to the sRGB according to the tone-specific Munsell notation, this problem can be solved to a certain degree. Second, since users may be limited to applying exact colors only with Munsell notation and RGB data, NCD could be more useful if it provides L*a*b in the relevant literature. Third, NCD Hue & Tone 130 colors should be optimized by modifying the variation of L*a*b values as a whole and finding a higher value in the direction of +a* color space.

가로변 건축물 외관색채가 가로경관의 이미지 형성에 미치는 영향에 관한 연구 - 광주광역시 금남로의 사례 연구 -

박성진,이청웅,유창균 대한건축학회 2005 대한건축학회논문집 Vol.21 No.4

This study is based on the investigations of structures in Gum-nam road located in Gwangju. We looked around the way their colors organize and the present condition, and quantitative analyzed the image and preference of them by psychological experiment which enabled us understand their mutual relation. The objective of this study is to empirically examine quantified basic data that can induce colors from the view of stable harmony and unity with surroundings when color-planning of structures' external wall on street from now on. The result indicated that there were three sections which showed color difference below 20 in the street of laboratory work object and that 3 other sections which exceeded 20 of color difference among those that have high preference average showed low preference. The other two sections made a color difference by 25, which is more than 20, but it could be accepted as a range of validity color difference to some degree, considering its high preference rate.This study is about specific street, so it is necessary to color induction to structures in order to make desirable streetscape. For this, it is also necessary to study color-planning method of street that can control color difference within a regular range by adjusting chroma and value although the color is a bit crossed at certain point. With this study, we can consider the relation between colors and surroundings deciding to choose the color of the structure.

국립현대미술관 한국전통표준색에 대한 유광 팬톤 호환색표 분석

주대원(Joo Deh-Won) 한국디자인리서치학회 2021 한국디자인리서치 Vol.6 No.1

The purpose of this study is to analyze Pantone coated color guide with a minimum color difference, focusing on 90 Korean traditional standard colors of National Museum of Modern and Contemporary Art (MMCA). The reason for the analysis using Pantone coated color guide is that it has the largest number of color samples among international standard color books and commercially available color guides. In addition, the Pantone color guide is widely used in various fields such as graphics, products, fashion, architecture, environment, interior, automobile design, etc., so it has excellent versatility. This study proposed Pantone coated color guide and color values with a minimum range of color differences after calculating the appropriate sRGB and L*a*b* values of 90 color traditional Korean standard colors designed/created based on Munsell notation. First, the color names and Munsell notation (H V/C) data of Korean traditional standard colors were collected through a literature research, and then converted into sRGB values and L*a*b* values using color management software. And the sRGB value and L*a*b* value were entered into the website for analysis, and the Pantone candidate colors with the minimum color difference (dE*ab) were selected and listed within 10 colors. Based on this, the standard L*a*b* values of the Pantone candidate color numbers were extracted, and 89 colors of the Pantone compatible color guides with the minimum color difference were proposed. The results of the study are as follows. First, when responding to Pantone coated color guides compatible colors for traditional standard colors, the color numbers and alphabetical symbols must be accurately indicated. This improves the accuracy and convenience of use of color information. Second, among the Pantone coated color guides, there are 82 colors with a grade B tolerance or higher, and the grade B tolerance color difference average and the A grade tolerance standard deviation are analyzed at a good level. Third, there are 7 colors of Pantone compatible color guides that show C-class tolerance, and purple(No. 61) can be seen as a good level of compatible color equivalent to B-class tolerance.

목표색상 재현을 위한 페인트 안료 배합비율의 예측

황규석,박창원 한국응용과학기술학회 2008 한국응용과학기술학회지 Vol.25 No.4

For recipe prediction of colorant proportion showing nonlinear behavior, we modeled the effects of colorant proportion of basic colors on the target colors and predicted colorant proportion necessary for making target colors. First, colorant proportion of basic colors and color information indicated by the instrument was applied by a linear model and a multi-layer perceptrons model with back-propagation learning method. However, satisfactory results were not obtained because of nonlinear property of colors. Thus, in this study the neuro-fuzzy model with merit of artificial neural networks and fuzzy systems was presented. The proposed model was trained with test data and colorant proportion was predicted. The effectiveness of the proposed model was verified by evaluation of color difference(ΔE).

Color Evolution in Single Crystal Colored Cubic Zirconias With Annealing Atmosphere and Temperature

Song, Jeongho,Noh, Yunyoung,Song, Ohsung The Korean Ceramic Society 2016 한국세라믹학회지 Vol.53 No.4

Color change in single-crystal, yellow, red, purple, and colorless cubic zirconias (CZs) was investigated as a function of annealing in vacuum and air atmosphere at $800-1400^{\circ}C$ for 30 min, for development of a damascene process of plugging a precious metal paste at the elevated temperature. Coloring-element contents of the CZs were evaluated using WD-XRF, and the color change determined visually by naked eye, and using a digital camera and UV-Vis-NIR color analyzer. WD-XRF showed that all of the CZs had cubic-phase stabilizer elements and coloring elements. All CZs that underwent vacuum annealing exhibited a slight color change at $<900^{\circ}C$, while their colors began to change to black at $1100^{\circ}C$, and became opaque black at $1400^{\circ}C$. After air annealing, there was almost no color change up to $1400^{\circ}C$. Since red and purple CZs showed greater color difference (CD) values than the others, the degree of CD is likely to depend on the original color of the CZ due to the different stabilities of their coloring elements during annealing. Based on our results, it is suggested that annealing in air at $<900^{\circ}C$ is advantageous, and assorted colored CZs can be used for precious metal damascene.

대응점 및 히스토그램을 이용한 영상 간의 컬러 차이 측정 기법

황영배(Youngbae Hwang),김제우(Je Woo Kim),최병호(Byeong Ho Choi) 한국방송·미디어공학회 2012 방송공학회논문지 Vol.17 No.2

Color correction between two or multiple images is very crucial for the development of subsequent algorithms and stereoscopic 3D camera system. Even though various color correction methods are proposed recently, there are few methods for measuring the performance of these methods. In addition, when two images have view variation by camera positions, previous methods for the performance measurement may not be appropriate. In this paper, we propose a method of measuring color difference between corresponding images for color correction. This method finds matching points that have the same colors between two scenes to consider the view variation by correspondence searches. Then, we calculate statistics from neighbor regions of these matching points to measure color difference. From this approach, we can consider misalignment of corresponding points contrary to conventional geometric transformation by a single homography. To handle the case that matching points cannot cover the whole regions, we calculate statistics of color difference from the whole image regions. Finally, the color difference is computed by the weighted summation between correspondence based and the whole region based approaches. This weight is determined by calculating the ratio of occupying regions by correspondence based color comparison.

Color Characteristics of Naturally Dyed Silk fabrics According to Pantone Color Matching System

An Rye Lee,Badmaanyambuu Sarmandakh,Eunjou Yi 대한인간공학회 2014 대한인간공학회 학술대회논문집 Vol.2014 No.5

This study was attempted in order to match color of silk fabrics dyed with natural dyes with color in Pantone System and to analyze color of the fabrics according to Pantone System for the application of naturally dyed textiles to the practical color system. A silk fabric was dyed with a variety of natural dyed to express 205 different colors and the color variables such as CIE LABCh were obtained. Each of the colored fabric was matched to more than a Pantone color in Pantone® Fashion Home + Interior with less than 3.0 of CIE color difference, ΔE. Matched colors of naturally dyed fabrics were characterized in terms of color variables including hue, lightness, and saturation and color names in Pantone. Finally unmatched colors of naturally dyed fabrics with Pantone were figured out in CIE for the purpose of their future modification. As results, 55 different naturally dyed silk fabrics were found out to have more than one Pantone color showing less than 3.0 of ΔE, which is said that they may be depicted as 109 different Pantone color names. In terms of Pantone system, many of matched naturally dyed colors could be said to have both lower lightness and lower saturation. Among natural dyes, raw indigo, charcoal, and pomegranate were shown to have colors to match more Pantone colors by being dyed on silk while Gardenia Yellow, Betel Net, Lac, and Anato were revealed to have fewer matched Pantone colors. Most of unmatched naturally dyed colors were thought to show higher saturation and medium lightness in CIE with which colors are likely not to be found frequently in Pantone® Fashion Home + Interior. These results could be useful to develop more naturally dyed fabrics to meet Pantone colors for contemporary fashion industries.