• Journal of the Korean Graphic Arts Communication Society
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• v.27 no.1
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• pp.29-47
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• 2009

Generally, if RGB image is sent to the printer when we print a digital photograph, the printer will convert RGB to CMYK by the inner built-in drive. Because the difference between color domain of RGB and CMYK will cause that change and difference. The most common way to solve the problem is to convert colors by using ICC profile at RIP software or to adapt automatic color converting from the software of the original printer. So we intended to study show which way is most efficient to the digital output and which color mode device is the best based on the printer's own drive in this paper. we tried to observe and check the extended range of color space such as AdobeRGB as well as CMYK and sRGB. Then we made sure which is the suitable color space. Besides, When we convert RGB mode into CMYK mode by utilizing RIP software and adapt the printer's ICC profile made by our selves, we evaluated the output we get and compared the result with extended RGB image. The results are as follows. In case of RGB mode, the printer requests RGB, and that makes the color space more efficient than CMYK's. Converted to CMYK by utilizing RIP software, the chroma is more linearized than the one produced with its' own driver. Compared with sRGB mode's color gamut, AdobeRGB mode's color gamut and CMYK mode's color, CMYK mode's color gamut is the smallest among 3 of them. CMYK mode's color gamut by utilizing RIP software can be changeable. that can be small and narrow or wide and broad. In other words, the volume of color gamut depends on how CMYK is linearized. The color space of sRGB is more advantageous than the one of AdobeRGB in color-reproduction printed. But in the group $-b^*$, the chroma leaves behind in terms of reproduction, In the group of $-a^*$, the chroma is excellent relatively. Visual evaluation of the image, AdobeRGB image has not many reproduction colors. Specially, according to printers' characteristics, Group B of AdobeRGB and sRGB color space is a long way behind In terms of reproduction but Group Y is excellent relatively.

• Journal of the Korean Graphic Arts Communication Society
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• v.25 no.2
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• pp.15-28
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• 2007

For the color offset printing, it starts with input of data. The past days, drum scanner or flat scanner used to input of data, but now it changes gradually into using of digital camera because digital camera become popular. The high quality digital camera saves as a data(RAW format), sRGB which have built in digital camera, or Adobe RGB format. sRGB of ICC(International Color Consortium) profile is a standard color gamut of digital camera. Distribution of color gamut in sRGB is less than Adobe RGB have a distribution in ICC profile. sRGB also can not be expressed in some specific part, because distribution of color gamut in sRGB is not able to cover all parts in ICC Profile of international standards CMYK. It is more popular to use Adobe RGB than sRGB to do high quality offset printing and software basis color setting in Europe and Japan. In spite of this data basis, there is a difficulty of doing color correction between the color proofing prints and the final prints. To see how the software color setting effects to RGB data, this thesis will use Gretag Macbeth ColorChecker 24 patch which has the most general natural color chart to compare sRGB and Adobe RGB to check the differences of color changes. It will use the several factors that came out from the process of making ICC Profile to figure out the optimum In-house profile. It also compares the differences of using matt paper and glossy paper to do best quality color proof offset printing, and how the Rendering Intent effects the proof print.

• Journal of the Korean Graphic Arts Communication Society
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• v.28 no.2
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• pp.117-128
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• 2010

Advancements in digital image have put high quality digital camera into the hands of many image professionals and consumers alike. High quality digital camera images consist originally of raw which have a set of color rendering operation applied to them to produce good images. With color rendering, the raw file was converted to Adobe RGB and sRGB color space. Also color rendering can incorporate factor such as white balance, contrast, saturation. Therefore, in this paper we conduct a study on production of optimum profile considered color rendering in digital camera. To do the experiment, the images were Digital ColorChecker SG target and ColorChecker DC target. A profiling tool was ProfileMaker 5.03. The results were analyzed by comparing in color gamut of $CIEL^*a^*b^*$ color space and calculating ${\Delta}E^*_{ab}$. Also results were analyzed in terms of different $CIEL^*a^*b^*$ color space quadrants based on lightness, chroma.

• Advanced Industrial SCIence
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• v.2 no.3
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• pp.29-36
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• 2023

The purpose of this study is to present basic data for hair color work plans that can consistently produce hair color design products for designers through analysis of gradient techniques among hair color design techniques. The research method was to select 10 photos of women that appeared in mass media from 2022 to September 15, 2023, extract color chips and RGB values using the Eyedropper Tool in Adobe Photoshop CS6, and convert the RGB values of the color chips into Munsell Conversion ( The data was converted into HV/C values of version 12.1.13a). Based on the extracted data, the gradient hair colors of female pop stars were analyzed by displaying the data on a color scale. As a result, in the I.R.I color scheme image scale, the image of female pop stars was more hard than soft. In addition, it was confirmed that the focus was on static rather than dynamic. Color matching images according to hair color were extracted with adjectives such as noble, decent, elegant, and subtle. Three hairstyles were created using this theme.

• Journal of the Korean Graphic Arts Communication Society
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• v.27 no.1
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• pp.1-14
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• 2009

The color reproduction of digital still camera does not, in general, match those of the final output device. Because color gamut of these devices is different, it is therefore necessary to take account of a way to match. The way uses the optimized profile to output device an image. This paper proposed a way to create the input profile of digital still camera for standardization soft proofing process. The results of proposed way showed that for input profiles equivalent, good results relatively. In this paper, an experiment was done where the illumination sources used as the standard illumination 5200K and illuminated at a $45^{\circ}$ angle in the best illumination efficiently. The white balance was in mode 'custom' : aperture F11, exposure time 1/60s, ISO50, focal length 80mm. The images were exported and saved as 16bit RGB TIFF(AdobeRGB, sRGB, ProphotoRGB) images. To do the test, the RGB values of the RGB TIFF images are processed through the ICC input profile to arrive at processed $CIEL^*a^*b^*$ values. A profiling tool such as ProfileMaker 5.0 and Monacoprofile 4.8 are used to do this. The processed $CIEL^*a^*b^*$ values are compared to the reference $CIEL^*a^*b^*$ values and these two values are used to calculate a ${\Delta}E{^*}_{ab}$.

• Journal of the Korean Graphic Arts Communication Society
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• v.26 no.2
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• pp.65-77
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• 2008

The color reproduction of digital still camera does not, in general, match those of the final prints. Because color gamut of these devices is different, it is therefore necessary to take account of a way to match. The way uses the optimized profile to print an image. This paper proposed a way to create the input profile of digital still camera for standardization printing process. The results of proposed way showed that for input profiles equivalent, good results relatively. In this paper, an experiment was done where the illumination sources used as the standard illumination 5200K and illuminated at a $45^{\circ}$ angle in the best illumination efficiently. The white balance was in mode 'custom': aperture F11, exposure time 1/60s, ISO50, focal length 80mm. The images were exported and saved as 16bit RGB tiff(AdobeRGB, sRGB, ProphotoRGB) images. To do the test, the RGB values of the RGB tiff images are processed through the ICC input profile to arrive at processed $CIEL^*a^*b^*$ values. A profiling tool such as ProfileMaker 5.0 and Monacoprofile 4.8 are used to do this. The processed CIEL*a*b* values are compared to the reference CIEL*a*b* values and these two values are used to calculate a ${\Delta}E$.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.108-125
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• 2014

The purpose of this study is to provide the basic information necessary to develop sports uniform design by comparing and analyzing the color features and images of professional football uniforms in Korea and foreign countries. The subjects of this study were limited to 5 top leagues in Europe (Premier League, Primera Liga, Bundesliga, Serie A, and Ligue 1) as well as J-League, and K-League. This study was done using the 2012/2013 season home and away uniforms for European leagues and 2013 season home and away uniforms for Korean and Japan leagues. Using the Adobe photoshop CS2 eyedropper tool, color chips and RGB values were extracted from digital images and converted into HV/C of Munsell Conversion. Finally, a total of 735 colors were used for the analysis. The color image scale by Shigenobu Kobayashi was used to position the color images. The results are as follows. First, the color analysis of professional football uniforms in leagues suggested that chromatic color (53.7%) was more prevalent than achromatic color (46.3%). The two most common colors of the ten chromatic colors were R(19.7%) and PB(18.0%), followed by Y(5.4%), RP(2.0%), G(1.9), GY(1.8%), B(1.6%), YR(1.5%), P(1.1%), and BG(0.7%). Second, for the color tone comparison and analysis of professional football uniforms in leagues, the most commonly used color tone was W(28.4%), followed by v(25.5%), Bk(16.3%), s(5.8%), dk(5.2%), b/lt(5.2%), dp(3.0%), sf(2.0%), ltGy(1.0%), p(0.5%), G/dkGy(0.4%), and ltg/mGy (0.1%). Third, for the comparison and analysis of color and color tone of professional football uniforms in leagues, W(28.4%), R(v)(17.7%), and Bk(16.3%) were commonly used. Finally, for the comparison and analysis of color images of professional football uniforms in leagues, the most commonly used color image was a casual image(31.8%), followed by modern image(26.5%), dynamic12.8%), cool casual(12.0%), gorgeous(9.3%), clear(6.6%), chic(3.5%), and elegant images. Dandy, classical, romantic and pretty images(0.4% respectively) were also used.