Personal color analysis kit and instructions for using the kit

Abstract

This product provides a personal color diagnostic tool set that reduces the number of steps involved in the diagnosis by using fewer diagnostic tools, and allows for easy identification of colors that harmonize with the physical characteristics of the subject. [Solution] The personal color diagnostic tool set 100 comprises a hue diagnostic tool 101 for determining the base hue of the subject's body color, and a color tone diagnostic tool 110 and a color chart for determining a color tone that harmonizes with the subject's physical characteristics according to the determined base hue. The color tone diagnostic tool 110 consists of a yellowish color tone diagnostic tool 111 that exhibits a relatively yellowish hue, a bluish color tone diagnostic tool 121 that exhibits a relatively bluish hue, and a neutral color tone diagnostic tool 131 that exhibits a color between these two hues.

Description

Technical Field

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[0001] The present invention relates to a diagnostic tool set used for personal color diagnosis for diagnosing a color that harmonizes with physical characteristics such as the color or texture of a subject's body, and a method of using the diagnostic tool set.

Background Art

[0002] Conventionally, there have been diagnostic tools for diagnosing a color (i.e., personal color) that harmonizes with physical characteristics such as body color or texture of a subject. For example, Patent Document 1 below discloses a drape set composed of a plurality of drapes for determining a hue based on body color and a plurality of drapes for determining a color system suitable for the subject according to the determined hue.

Prior Art Documents

Patent Documents

[0003]

Patent Document 1

[0004] However, in the diagnostic tool described in Patent Document 1 above, since a plurality of types of drapes composed of a plurality of sheets are applied to the subject one by one during diagnosis, there is a problem that a lot of time and labor are required for personal color diagnosis.

[0005] The present invention has been made to address the above problems, and an object thereof is to provide a personal color diagnostic tool set that can easily diagnose a color that harmonizes with the physical characteristics of a subject by suppressing the number of steps required for diagnosis with a small number of diagnostic tools.

Summary of the Invention

[0006] To achieve the above objective, the present invention features a personal color diagnostic tool set for diagnosing colors that harmonize with the physical characteristics of a subject's body, such as body color or texture, comprising: a hue diagnostic tool extending in a planar direction for determining the hue that forms the basis of the body color; and a tone diagnostic tool extending in a planar direction for determining a tone that harmonizes with the physical characteristics according to the determined hue, wherein the hue diagnostic tool is colored with at least two colors that are the same tone but different hues, and the different hues include a relatively yellowish hue and a relatively bluish hue; and the tone diagnostic tool is colored with at least three colors that are the same hue but different hues.

[0007] According to this, a personal color analysis kit includes a hue analyzer for determining the base hue of the subject's body color, and a tone analyzer for determining a tone that harmonizes with the physical characteristics based on the determined base hue. Therefore, a personal color analysis kit, using only two analyzers—a hue analyzer and a tone analyzer—can easily determine colors that harmonize with physical characteristics while reducing the number of steps required for the diagnosis.

[0008] Here, body color refers to the color of part or all of the subject's body, specifically the hue of each part of the body such as skin, eyes, lips, hair, or nails. In this case, if the subject wears makeup, hair color, nail art, or tattoos, these colors may also be included in the body color. Furthermore, the texture of the subject's body includes, for example, the glossiness, transparency, complexion, moisture level, elasticity, fineness of texture, flexibility, or condition (specifically, smooth or soft) of each part.

[0009] Furthermore, physical characteristics are the outward physical features that can be recognized when observing a subject, and include, for example, body color, texture, shape, position or size of each part, or the shape of the skeleton. In addition, colors that harmonize with physical characteristics are, so to speak, colors that suit the subject, and include, for example, colors that harmonize with body color, colors that emphasize or soften the texture or impression of physical characteristics, colors that give an appropriate contrast to physical characteristics, or colors that give an image similar to the impression of physical characteristics.

[0010] Furthermore, the dominant hue (hereinafter referred to as "dominant hue") is a hue (so-called base color) that classifies the tendency of color perceived from a particular color into three categories. These dominant hues are mainly classified into hues that are relatively yellowish among the colors that humans can perceive (hereinafter also called "yellow base"), hues that are relatively bluish (hereinafter also called "blue base"), and hues that have a color tone between these two (hereinafter also called "neutral base").

[0011] Here, the colors that humans can perceive refer to all colors that humans can perceive with their eyes, such as those represented on a color wheel, such as the Munsell color system, the Ostwald color system, or the PCCS color system. Therefore, a yellow base refers to a hue that is relatively yellowish among the multiple hues arranged on each color wheel, and a blue base refers to a hue that is relatively bluish among the multiple hues arranged on each color wheel.

[0012] For example, in the PCCS color wheel (see Figure 1), the yellow base includes hues from yellow-green (hue number 10:YG) to yellowish-green (11:yG), blue-green (15:BG) to greenish-blue (16:gB), blue-violet (20:V) to bluish-violet (21:bP), and yellowish-red (3:yR) to yellow (8:Y). The blue base includes hues from greenish-yellow (9:gY), green (12:G) to blue-green (14:BG), blue (17:B) to purplish-blue (19:pB), and purple (22:P) to red (2:R).

[0013] The neutral base includes hues ranging from yellow (8:Y) with a tint between yellow and blue bases to greenish yellow (9:gY), greenish yellow (9:gY) to yellowish green (10:YG), yellowish green (11:yG) to green (12:G), blue-green (14:BG) to blue-green (15:BG), greenish blue (16:gB) to blue (17:B), purplish blue (19:pB) to blue-violet (20:V), bluish-violet (21:bP) to violet (22:P), and red (2:R) to yellowish red (3:yR). In other words, the neutral base can be composed of hues on both sides of the color wheel where yellow base and blue base are adjacent. Note that the range of hues that span multiple hues is listed in clockwise order on the PCCS color wheel.

[0014] Furthermore, in the Munsell color circle, which consists of 40 hues arranged in a ring with 2.5 hue differences between each of the 10 main hues in the Munsell color system (red (R), orange (YR), yellow (Y), yellow-green (GY), green (G), blue-green (BG), blue (B), blue-violet (PB), violet (P), and red-violet (RP)), the yellow-based, blue-based, and neutral-based colors are as follows: Specifically, the yellow-based includes hues from red (hue number 7.5R) to yellow (2.5Y), yellow (10Y) to yellow-green (2.5GY), green (2.5G), blue-green (2.5BG), blue-green (10BG) to blue (2.5B), blue-violet (7.5PB) to blue-violet (10PB), and violet (7.5P).

[0015] Blue-based colors include hues ranging from red (2.5R), yellow (7.5Y), yellow-green (7.5GY) to yellow-green (10GY), green (7.5G) to green (10G), blue-green (7.5BG), blue (7.5B) to blue (10B), blue-violet (2.5PB), violet (2.5P), and violet (10P) to red-violet (10RP).

[0016] The neutral base includes hues that fall between the yellow base and the blue base, such as red (5R), yellow (5Y), yellow-green (5GY), green (5G), blue-green (5BG), blue (5B), blue-violet (5PB), and violet (5P). In other words, the neutral base can be composed of hues at the boundary between the yellow base and the blue base on the color wheel. Note that the range of hues that span multiple hues is listed in clockwise order on the Munsell color wheel.

[0017] Another feature of the present invention is that, in the personal color diagnostic tool set, the color diagnostic tool is composed of hues that are between the two hues that are relatively yellowish or bluish among the colors that humans can perceive.

[0018] According to this, the personal color diagnostic tool set consists of color hues that are between the two hues that are relatively yellowish or bluish among the colors that humans can perceive. Therefore, the personal color diagnostic tool set can determine a color tone that harmonizes with the subject's physical characteristics regardless of the difference in the subject's base hue, using a color diagnose tool that exhibits a neutral base. In this case, the color diagnose tool preferably consists of hues from yellowish green (11:yG) to green (12:G) or from red (2:R) to yellowish red (3:yR) on a neutral base. Furthermore, the color diagnose tool preferably consists of hues of green (12:G) or red (2:R).

[0019] Another feature of the present invention is that, in the personal color diagnostic tool set, the color diagnostic tool consists of at least two diagnostic tools, and the at least three colors assigned to each diagnostic tool are composed of hues that are relatively yellowish or relatively bluish, respectively.

[0020] According to this, the personal color diagnostic tool set consists of at least three colors assigned to each diagnostic tool, with each tool having either a relatively yellowish or relatively bluish hue. Therefore, the personal color diagnostic tool set can more accurately determine the color tones that harmonize with the physical characteristics of individuals whose base color is yellow-based or blue-based, by using a color diagnostic tool that exhibits a hue corresponding to their base color.

[0021] Another feature of the present invention is that, in the personal color diagnostic tool set, the color diagnostic tool consists of three diagnostic tools, and at least three colors assigned to each diagnostic tool consist of a relatively yellowish hue, a relatively bluish hue, and a hue with a hue in between these two hues, respectively.

[0022] According to this, the personal color diagnostic tool set consists of at least three colors assigned to each diagnostic tool, with each tool comprising a relatively yellowish hue, a relatively bluish hue, and a hue somewhere between these two hues. Therefore, the personal color diagnostic tool set can more accurately determine colors that harmonize with the physical characteristics of individuals whose base color is yellow-based, blue-based, or neutral-based, by using a color diagnostic tool that exhibits a hue corresponding to the base color.

[0023] Another feature of the present invention is that, in the personal color diagnostic tool set, the color diagnostic tool is composed of at least two colors from among pure colors, light and clear colors obtained by mixing white with pure colors, and dark and clear colors obtained by mixing black with pure colors, as well as muted colors obtained by mixing gray with pure colors.

[0024] According to this, the personal color diagnostic tool set is configured to include at least two color tones and turbidity among pure colors, bright clear colors, and dark clear colors in the color tone diagnostic tool. That is, the personal color diagnostic tool set is configured to include a plurality of color tones in which the color tone diagnostic tool has at least a relationship of similar color tones or complementary color tones. Therefore, the personal color diagnostic tool set can accurately determine the color tones that harmonize with the physical characteristics based on the relationship between the color tones according to the subject with various physical characteristics.

[0025] Here, the color tone is a composite concept of lightness and chroma, and all colors are classified based on differences in color tones such as the brightness, strength, lightness, depth, or clarity of colors. In this case, similar color tones (so-called, similar tones) are color tones that have a relationship where the difference in lightness and / or chroma between the color tones is small and the color tones are similar. Also, complementary color tones (so-called, complementary tones) refer to color tones where the difference in lightness and / or chroma between the color tones is large and the difference in the influence on the physical characteristics for each color tone when applied to the subject's body is large. Also, a pure color is the color with the highest chroma within the same hue that does not include white, black, or gray (the color tone of gray).

[0026] Another feature of the present invention is that in the personal color diagnostic tool set, the color tone diagnostic tool is arranged with at least four colors each, and the different color tones include at least four color tones among the first color tone system to which high-lightness and low-chroma colors belong, the second color tone system to which high-lightness and medium-chroma to high-chroma colors belong, the third color tone system to which medium-lightness and low-chroma to medium-chroma colors belong, the fourth color tone system to which medium-lightness and high-chroma colors belong, and the fifth color tone system to which low-lightness and low-chroma to medium-chroma colors belong.

[0027] According to this, the personal color diagnostic tool set is configured such that the color tones of the color tone diagnostic tools include at least four color tones out of the first color tone system, the second color tone system, the third color tone system, the fourth color tone system, and the fifth color tone system, which classify the colors recognizable by humans according to their respective lightness and chroma. Therefore, the personal color diagnostic tool set can accurately determine the color tones that harmonize with the physical characteristics according to the subject with various physical characteristics by using the color tone diagnostic tools with at least four color tones arranged.

[0028] Further, the present invention can be implemented not only as an invention of a personal color diagnostic tool set but also as an invention of a method of using the personal color diagnostic tool set.

[0029] Specifically, the method of using the personal color diagnostic tool set is the method of using the personal color diagnostic tool set described in claim 1, including a hue selection step of comparing the physical characteristics of the subject with each hue of the hue diagnostic tool and selecting a hue that harmonizes with the physical characteristics in each hue of the hue diagnostic tool, and a color tone selection step of comparing the physical characteristics with each color tone of the color tone diagnostic tool and selecting a color tone that harmonizes with the physical characteristics in each color tone of the color tone diagnostic tool.

[0030] According to this, the method of using the personal color diagnostic tool set can be expected to have the same effects as the above-described invention of the personal color diagnostic tool set. Here, the hue that harmonizes with the physical characteristics is a hue that suits the subject. For example, it includes the base hue of the body color, the hue that allows the texture or impression of the physical characteristics to be visually recognized well, the hue that emphasizes or softens the texture or impression of the physical characteristics, the hue that gives an appropriate contrast to the physical characteristics, or the hue that gives an image similar to the impression of the physical characteristics.

Brief Description of the Drawings

[0031] [Figure 1] It is a diagram showing the hue circle of PCCS. [Figure 2]This is a tone diagram representing the hue circle for each tone in the PCCS color system, using lightness and saturation as scales. It also shows an overview of each range in the first to fifth color systems, which include each tone. [Figure 3] This is a schematic plan view showing the general external configuration of a personal color diagnostic tool set according to the first embodiment of the present invention. [Figure 4] This is a schematic plan view showing the general external configuration of a color chart according to the first embodiment of the present invention. [Figure 5] This is a distribution diagram of 25 types of colors that humans can perceive, classified based on their respective brightness and saturation. [Figure 6] Figure 5 shows a table summarizing the key hue and tone characteristics of the colors belonging to each of the 25 types. [Figure 7] This is a correspondence table showing the 25 types of personal color types to which the subject's personal color is expected to belong, based on the combination of the subject's dominant hue and harmonious color tones. [Figure 8] This is a type distribution diagram of 25 types according to the second embodiment of the present invention. [Figure 9] Figure 8 shows a table summarizing the key hue and tone characteristics of the colors belonging to each of the 25 types. [Figure 10] This is a correspondence table showing the 25 types of personal color types to which a subject's personal color is expected to belong, based on the combination of the subject's dominant hue and harmonious color tones. [Modes for carrying out the invention]

[0032] The first embodiment of the personal color diagnostic tool set according to the present invention will be described below with reference to the drawings. Figure 1 is a diagram of the PCCS color circle. Figure 2 is a tone diagram that represents the PCCS color circle for each tone using lightness and saturation as scales, and also shows an outline of each range of the first to fifth tone systems that include each tone. Furthermore, in the figures referenced in each embodiment and each modification, colors are represented in grayscale, so in reality, it is difficult to show a difference in shade between colors with a small difference in lightness, but in order to clarify the difference in colors, even colors with a small difference in lightness are schematically represented by changing the shade.

[0033] First, let me explain the method of representing colors in this specification. In this specification, colors are primarily represented using the PCCS (Japan Color Research Institute Color System). PCCS is one method of representing colors, and it is a method of systematically representing all colors (colors that humans can perceive) using three attributes (the three attributes of color) (hue, lightness, and saturation) or two attributes (hue and tone).

[0034] In this case, the hue is represented by a color wheel centered on the four psychological primary colors, as shown in Figure 1: the most reddish red (2:R), the most yellowish yellow (8:Y), the most greenish green (12:G), and the most blueish blue (18:B). Specifically, the hue is composed of 24 hues, created by adding four psychological complementary colors (14:BG, 20:V, 24:RP, and 6:yO) to the positions opposite each of the four psychological primary colors on the color wheel, so that the hues between the four psychological primary colors and their psychological complementary colors are visually equal in intervals. Here, the psychological complementary color is the color of the afterimage that appears after gazing at the four psychological primary colors.

[0035] Furthermore, lightness refers to the degree to which a color is bright. The color with the lowest lightness is black, and the color with the highest lightness is white. In this case, all colors can be classified into three categories from highest to lowest lightness: high-lightness colors, medium-lightness colors, and low-lightness colors. Furthermore, saturation refers to the degree to which a color is vivid (the intensity of its hue), and is the degree to which white, black, or gray is mixed with a pure color. In this case, chromatic colors can be classified into three categories from highest to lowest saturation: high-saturation colors, medium-saturation colors, and low-saturation colors.

[0036] Furthermore, color tone is a combined concept of lightness and saturation, and it represents all colors in 17 classifications based on differences in the tone of color, such as lightness and darkness, intensity, shade, depth, or clarity. Specifically, as shown in Figure 2, color tone consists of five types of achromatic colors and twelve types of chromatic colors.

[0037] In this case, achromatic colors consist of high-luminosity white (tone symbol: W) and light gray (ltGy), medium-luminosity medium gray (mGy, including grays with a similar luminosity to pure colors), and low-luminosity dark gray (dkGy) and black (Bk).

[0038] On the other hand, chromatic colors consist of some high-luminosity pale (p), light (lt), and bright (b) colors; some medium-luminosity light grayish (ltg), soft (sf), and bright (b) colors; some strong (s), vivid (v), grayish (g), dull (d), and deep (dp) colors; and some low-luminosity dark grayish (dkg), dark (dk), and deep (dp) colors.

[0039] In this case, chromatic colors are categorized as follows: vivid, bright, strong, and deep are highly saturated; light, soft, dull, and dark are medium saturated; and pale, light grayish, grayish, and dark grayish are low saturated. Of the four tones classified as highly saturated, bright, strong, and deep (excluding vivid) can also be classified as medium saturated because their saturation is relatively low within the high-saturation category.

[0040] Furthermore, chromatic colors can be classified into three, four, or six categories based on their degree of clarity or opacity. Specifically, chromatic colors can be divided into three categories: pure colors (v), clear colors (p, lt, b, dkg, dk, dp, s) obtained by mixing pure colors with only one of the colors, white or black, and opaque colors (ltg, sf, g, d) obtained by mixing pure colors with gray. Additionally, chromatic colors can be further divided into four categories by classifying clear colors into two: light clear colors (p, lt, b) obtained by mixing pure colors with only white, and dark clear colors (dkg, dk, dp on the lower lightness side) obtained by mixing pure colors with only black. Finally, chromatic colors can be further divided into six categories by classifying opaque colors into three: light opaque colors (ltg, sf) obtained by mixing pure colors with light gray, medium opaque colors (s) obtained by mixing pure colors with medium gray, and dark opaque colors (g, d) obtained by mixing pure colors with dark gray.

[0041] Furthermore, similar tones are those that have a similar relationship in terms of lightness and / or saturation, with only small differences between them. Specifically, similar tones are those that are directly or indirectly adjacent in the lightness direction (up and down direction in the diagram), the saturation direction (left and right direction in the diagram), or the combined direction of lightness and saturation (diagonal direction in the diagram) as shown in the tone diagram in Figure 2. For example, similar tones include bright and vivid, bright and dull, and light and strong.

[0042] Furthermore, contrasting tones (so-called contrasting tones) refer to tones that have a large difference in lightness and / or saturation between them, and when applied to a subject's body, have a large difference in the effect each tone has on the physical characteristics. Specifically, contrasting tones refer to tones that are located opposite each other in the lightness direction or saturation direction via one or more tones in the tone diagram shown in Figure 2, and specifically include dark clear and muted colors opposite to bright clear colors, bright clear and bright muted colors opposite to dark clear colors, low saturation and achromatic colors opposite to highly saturation colors (excluding pure colors), and medium saturation, low saturation and achromatic colors opposite to pure colors.

[0043] In this case, when expressing color using PCCS, it can be expressed as either "v2 (vivid 2)," which combines the tone symbol and hue number, or "2:R-4.5-9s," which connects the hue number, lightness value, and saturation value with a hyphen. However, the method of expressing color is not limited to PCCS; it can also be expressed using other color systems such as the Munsell color system, XYZ color system, L*a*b* color system, Ostwald color system, NCS (Natural Color System), or RGB color system.

[0044] For example, in the Munsell color system, a color can be represented as "8YR 7.5 / 13" by listing the hue, lightness, and chroma in that order. In this specification, colors defined in the PCCS or Munsell color system also include corresponding colors in other color systems if such corresponding colors exist.

[0045] The personal color diagnostic tool set 100 in the present invention is for observing the changing impression of physical characteristics for each color when diagnosing colors that harmonize with the physical characteristics of a subject (hereinafter referred to as "personal colors"). Here, personal colors are colors that suit the subject, and specifically include colors that harmonize with the color of the subject's body (body color), colors that emphasize or soften the texture or impression of physical characteristics, colors that give an appropriate contrast to physical characteristics, or colors that give an image similar to the impression that physical characteristics have.

[0046] Here, a color that harmonizes with body color refers to a color that has the same or similar characteristics as the body color's hue, lightness, or saturation. Specifically, this includes colors with a hue difference of 0 to 3, a lightness difference of 0 to 2.0, and a saturation difference of 0s to 3s. In this case, a color that has the same base hue as the body color and the same or similar lightness and saturation harmonizes particularly well with the subject's body color. Other colors that harmonize with body color include colors with the same or similar tone as the body color, colors that enhance the hue of the body color (so-called complementary colors), or colors with the same or similar hue as this complementary color. A color with a hue similar to this complementary color is, for example, a hue that has a hue difference of 8 to 12 from the hue to which the body color belongs on the color wheel, i.e., adjacent complementary hues or contrasting hues.

[0047] Furthermore, body color refers to the color possessed by part or all of a person's body, specifically the hue of each part of the body (specifically, skin, hair, eyes, lips, or nails). In this case, if the person wears makeup, hair color, nail art, or tattoos, these colors may also be included in body color. Physical characteristics refer to the external physical features that can be recognized when the person is seen, such as the texture, shape, position, size, body color, or skeletal shape of each part. Here, the texture of each part can include, for example, glossiness, dazzlingness, transparency, rosiness, moisture, elasticity, fineness of texture, flexibility, or the condition of each part (specifically, smooth or soft).

[0048] (Composition of the Personal Color Analysis Kit 100) The Personal Color Diagnosis Tool Set 100 (hereinafter referred to as "Diagnostic Tool Set 100") mainly consists of a hue diagnostic tool 101, a color tone diagnostic tool 110, and a color chart 140.

[0049] The hue diagnostic tool 101 is an instrument for determining the base hue that is the dominant color of the body, and is composed of a single long, strip-shaped body. In this first embodiment, the hue diagnostic tool 101 is composed of a strip of cloth material that is approximately 25 cm wide and approximately 100 cm long. As shown in Figure 3, this hue diagnostic tool 101 is mainly composed of a surface 102.

[0050] The subject's dominant color is a hue (so-called base color) that is classified into three categories based on the color tendencies perceived from the subject's body color. The subject's dominant color is mainly classified into hues that are relatively yellowish (hereinafter also called "yellow base"), hues that are relatively bluish (hereinafter also called "blue base"), and hues that are in between these two hues (specifically, reddish or greenish) (hereinafter also called "neutral base").

[0051] Surface 102 is a plane for arranging multiple colors for comparison with body color, and is composed of one of the two planes of the hue diagnostic tool 101. Multiple regions are formed on this surface 102 for arranging each of the multiple colors separately. In this first embodiment, surface 102 has five regions formed by dividing the entire plane into five equal parts in the longitudinal direction: the first hue region 103, the second hue region 104, the third hue region 105, the fourth hue region 106, and the fifth hue region 107.

[0052] The first hue region 103 is located in the center of the longitudinal direction of the surface 102 and is formed with a width approximately the same as the width of the subject's face. In this first embodiment, the first hue region 103 is formed with a width of approximately 25 cm and a length of approximately 20 cm. This first hue region 103 is filled with a single color (hereinafter referred to as "first color") that exhibits medium brightness and high saturation. In this first embodiment, the first color (103) is composed of a vivid red with a hue between red and yellowish red (PCCS: between v2 and v3 (2:R~3:yR-4.5~5.0-9s), Munsell value: 4~7R 4~6 / 13~16).

[0053] The second hue region 104 is the area located adjacent to the left of the first hue region 103 in a plan view. This second hue region 104 is entirely colored with a single color (hereinafter referred to as "second color") that is of the same hue as the first color (103), is relatively slightly yellowish, and exhibits medium brightness and high saturation. In this first embodiment, the second color (104) is composed of a vivid yellowish red (PCCS: v3 (3: yR-5.0-9s), Munsell value: 6~8R 4~6 / 13~16) that belongs to the same hue as the first color (103).

[0054] Here, analogous colors refer to a group of colors that share common properties. For example, analogous colors include colors that have the same hue but differ only in lightness or saturation, colors that have the same tone and similar hues (specifically, colors with a hue difference of 0 to 3 relative to the body color, such as approximate or similar hues), colors that have the same hue but different tones, colors that share a common impression of coolness or warmth (so-called cool colors, warm colors, and neutral colors that do not evoke a sense of temperature), or colors that have the same base hue. In this first embodiment, the hue diagnostic tool 101 is composed of analogous red colors in each hue region, where the colors arranged in each hue region are the same tone and similar hues.

[0055] The third hue region 105 is located adjacent to the second hue region 104 and is formed at the left end of the hue diagnostic tool 101 in a plan view. This third hue region 105 is entirely colored with a single color (hereinafter referred to as the "third color") that is of the same hue type as the first color (103), has a relatively strong yellowish tint, and exhibits medium brightness and high saturation. In this first embodiment, the third color (105) is composed of a vivid reddish-orange belonging to the red family (PCCS: v4 (4:rO-5.5-9s), Munsell value: 9R~1YR 4~6 / 13~16).

[0056] The fourth hue region 106 is the area located adjacent to the right of the first hue region 103 in a plan view. This fourth hue region 106 is entirely colored with a single color (hereinafter referred to as the "fourth color") that is of the same hue type as the first color (103), is relatively slightly bluish, and exhibits medium brightness and high saturation. In this first embodiment, the fourth color (106) is composed of a vivid red belonging to the red family (PCCS: v2 (2: R-4.5-9s), Munsell value: 3~5R 4~6 / 13~16).

[0057] The fifth hue region 107 is located adjacent to the fourth hue region 106 and is formed at the right end of the hue diagnostic tool 101 in a plan view. This fifth hue region 107 is entirely colored with a single color (hereinafter referred to as the "fifth color") that is of the same hue type as the first color (103), has a relatively strong bluish tint, and exhibits medium brightness and high saturation. In this first embodiment, the fifth color (107) is composed of a vivid purplish red belonging to the red family (PCCS: v1 (1: pR-4.0-9s), Munsell value: 9RP~1R 4~6 / 13~16).

[0058] In other words, surface 102 is composed of five colors, each belonging to the same color family (red) but with different hues and exhibiting the same tone (medium brightness and high saturation). Furthermore, surface 102 is configured such that the yellowish tint of the hue gradually increases from the longitudinal center (first hue region 103) to the left edge (third hue region 105), and the blueish tint of the hue gradually increases from the longitudinal center to the right edge (fifth hue region 107). That is, the first hue region 103 is colored with a hue (first color (103)) that has a tint between the yellow-based and blue-based hues among the multiple hues (five hues in this first embodiment) colored on surface 102. In this case, the first hue region 103 to the fifth hue region 107 are separated by a boundary line formed at the point where each region is adjacent to another due to the difference in hue between the colors colored.

[0059] The color tone diagnostic tool 110 is a device for determining a color tone that harmonizes with the subject's physical characteristics according to the subject's basic hue (hereinafter also referred to as the "harmonious color tone"), and is mainly composed of a yellowish color tone diagnostic tool 111, a bluish color tone diagnostic tool 121, and a neutral color tone diagnostic tool 131.

[0060] The yellowish tone diagnostic tool 111 is an instrument for determining the harmonious color tone of a subject whose base hue is yellow-based, and is composed of a long, extended strip. In this first embodiment, the yellowish tone diagnostic tool 111 is composed of a strip of fabric material with a width of approximately 25 cm and a length of approximately 100 cm. This yellowish tone diagnostic tool 111 is mainly composed of a surface 112.

[0061] Surface 112 is a plane for arranging multiple colors to compare tones against physical characteristics, and is composed of one of the two planes of the color tone diagnostic tool 110. In this case, the multiple colors arranged on surface 112 are composed of the same hue (in this first embodiment, yellow (6:yO)) that is relatively yellowish to the bluish color tone diagnostic tool 121 and the neutral color tone diagnostic tool 131. Multiple regions are formed on this surface 112 for arranging each of the multiple colors separately. In this first embodiment, surface 112 is formed of five regions: the first color tone region 113, the second color tone region 114, the third color tone region 115, the fourth color tone region 116, and the fifth color tone region 117, which are formed by dividing the entire plane into five equal parts in the longitudinal direction.

[0062] The first color region 113 is located at the left end of the color diagnostic tool 110 in a planar view and is formed with a width approximately the same as the width of the subject's face. In this first embodiment, the first color region 113 is formed with a width of approximately 25 cm and a length of approximately 20 cm. This first color region 113 is entirely colored with a single color (hereinafter referred to as "the sixth color") that exhibits high brightness and low saturation. In this first embodiment, the sixth color (113) is composed of a pale yellowish orange (PCCS: p6~p6+(6:yO-8.0~9.0-2s~3s), Munsell value: 7YR~9YR 8~9 / 2~4).

[0063] The second color region 114 is the area located adjacent to the right of the first color region 113 in a planar view. This second color region 114 is entirely colored with a single color (hereinafter referred to as "the seventh color") which has slightly lower brightness and higher saturation than the sixth color (113), exhibiting high brightness and medium to high saturation. In this first embodiment, the seventh color (114) is composed of a bright yellowish orange (PCCS: between lt6 and b6 (6: yO-7.5~8.5-5s~8s), Munsell value: 7YR~9YR 7~9 / 8~12).

[0064] The third color region 115 is the area located in the center of the longitudinal direction of the surface 112. In this first embodiment, the entire surface of this third color region 115 is colored with a single color (hereinafter referred to as "the eighth color") which has slightly lower brightness and saturation than the seventh color (114), exhibiting a medium brightness and low to medium saturation. In this first embodiment, the eighth color (115) is composed of a dull yellowish orange (PCCS: between sf6 and d6 (6: yO-5.5~7.0-5s), Munsell value: 7YR~9YR 5~7 / 5~7).

[0065] The fourth color region 116 is located adjacent to the right of the third color region 115 in a planar view. This fourth color region 116 is entirely colored with a single color (hereinafter referred to as "the ninth color") that exhibits medium brightness and high saturation, with slightly lower brightness and higher saturation compared to the eighth color (115). In this first embodiment, the ninth color (116) is composed of a vivid yellowish orange (PCCS: v6 (6: yO-7.0-9s), Munsell value: 7YR~9YR 4 / 12~14).

[0066] The fifth color region 117 is located adjacent to the fourth color region 116 and is formed at the right end of the color diagnostic tool 110 in a plan view. This fifth color region 117 is entirely colored with a single color (hereinafter referred to as the "tenth color") that exhibits low brightness and low to medium saturation compared to the ninth color (116). In this first embodiment, the tenth color (117) is composed of a dark yellowish orange (PCCS: dk6 (6: yO-3.5-5s), Munsell value: 8YR 3~4 / 5~7).

[0067] In other words, surface 112 is colored with five colors that are the same hue (6:yO) but exhibit different tones, each with a relatively yellowish tint. These five colors consist of two light colors (6th color (113) and 7th color (114)), one muted color (8th color (115)), one dark color (10th color (117)), and one pure color (9th color (116)). Furthermore, surface 112 is colored such that, in a plan view, the brightness gradually decreases from the left end (1st color region 113) to the right end (5th color region 117) in the longitudinal direction. In this case, the 1st color region 113 to the 5th color region 117 are bordered by the difference in tones between the colored areas.

[0068] The bluish tone diagnostic tool 121 is an instrument for determining the harmonious color tone of a subject whose dominant hue is blue-based, and is constructed in almost the same way as the yellowish tone diagnostic tool 111, with a few exceptions. Therefore, only the parts of the bluish tone diagnostic tool 121 that differ from the yellowish tone diagnostic tool 111 will be described. This bluish tone diagnostic tool 121 is constructed with a surface 122 that corresponds to surface 112.

[0069] Surface 122 comprises the first tonal region 123, second tonal region 124, third tonal region 125, fourth tonal region 126, and fifth tonal region 127, respectively, corresponding to the first tonal region 113 to fifth tonal region 117. In this case, the five colors arranged on surface 122 are composed of the same hue (hereinafter referred to as "hue of the bluish tone diagnostic tool 121") that is relatively bluish to the yellowish tone diagnostic tool 111 and the neutral tone diagnostic tool 131. In this first embodiment, the hue of the bluish tone diagnostic tool 121 is composed of the hue of the yellowish tone diagnostic tool 111 (6:yO) and a blue (18:B) that is relatively bluish to the neutral tone diagnostic tool 131.

[0070] The first color region 123 is entirely colored with a single color exhibiting high brightness and low saturation (hereinafter referred to as the "11th color"), and in this first embodiment, it is composed of light blue (PCCS: p18~p18+(18: B-8.0-2s~3s), Munsell value: 3PB 7~9 / 2~4).

[0071] The second color region 124 is entirely colored with a single color (hereinafter referred to as "the 12th color") which has slightly lower brightness and higher saturation compared to the 11th color (123), exhibiting high brightness and medium to high saturation. In this first embodiment, the 12th color (124) is composed of a bright blue (PCCS: between lt18 and b18 (18: B-5.0~6.5-5s~8s), Munsell value: 3PB 5~7 / 7~10).

[0072] The third color region 125 is entirely colored with a single color (hereinafter referred to as "the 13th color") which has slightly lower brightness and saturation than the 12th color (124), exhibiting a medium brightness and low to medium saturation. In this first embodiment, the 13th color (125) is composed of a dull blue (PCCS: between sf18 and d18 (18: B-3.5~5.0-5s), Munsell value: 3PB 3~5 / 5~6).

[0073] The fourth color region 126 is entirely colored with a single color (hereinafter referred to as "the 14th color") which has slightly lower brightness and higher saturation than the 13th color (125), exhibiting medium brightness and high saturation. In this first embodiment, it is composed of a vivid blue (PCCS: v18 (18: B-3.5-9s), Munsell value: 3PB 3~4 / 10~12).

[0074] The fifth color region 127 is entirely colored with a single color (hereinafter referred to as "the 15th color") which has lower brightness and saturation than the 14th color (126) and exhibits low brightness and low to medium saturation. In this first embodiment, it is composed of dark blue (PCCS: dk18 (18: B-2.0-5s), Munsell value: 3PB 2~3 / 4~5).

[0075] The neutral color tone diagnostic tool 131 is an instrument for determining the harmonious color tone of a subject whose base hue is a hue that has a color tint between yellow-based and blue-based hues, and is configured almost identically to the yellow-based color tone diagnostic tool 111 and the blue-based color tone diagnostic tool 121, with a few exceptions. Therefore, only the parts of the neutral color tone diagnostic tool 131 that differ from the yellow-based color tone diagnostic tool 111 and the blue-based color tone diagnostic tool 121 will be described. The neutral color tone diagnostic tool 131 is configured to have a surface 132 that corresponds to surfaces 112 and 122.

[0076] Surface 132 comprises the first color region 133, the second color region 134, the third color region 135, the fourth color region 136, and the fifth color region 137, respectively, corresponding to the first color region 113(123) to the fifth color region 117(127). In this case, the five colors arranged on surface 132 are composed of the same hue (in this first embodiment, green (12:G)) that has a hue between the yellow-based and blue-based hues.

[0077] The first color region 133 is entirely colored with a single color exhibiting high brightness and low saturation (hereinafter referred to as the "16th color"), and in this first embodiment, it is composed of light green (PCCS: p12~p12+(12:G-8.5-2s~3s), Munsell value: 3G 7~9 / 1~4).

[0078] The second color region 134 is entirely colored with a single color (hereinafter referred to as "the 17th color") which has slightly lower brightness and higher saturation compared to the 16th color (133), exhibiting high brightness and medium to high saturation. In this first embodiment, the 17th color (134) is composed of a bright green (PCCS: between lt12 and b12 (12: G-6.5~8.0-5s~8s), Munsell value: 3G 6~8 / 6~10).

[0079] The third color region 135 is entirely colored with a single color (hereinafter referred to as "the 18th color") which has slightly lower brightness and saturation than the 17th color (134), exhibiting a medium brightness and low to medium saturation. In this first embodiment, the 18th color (135) is composed of a dull green (PCCS: between sf12 and d12 (12: G-5.0~6.5-5s), Munsell value: 3G 5~7 / 4~6).

[0080] The fourth color region 136 is entirely colored with a single color (hereinafter referred to as "the 19th color") which has slightly lower brightness and higher saturation than the 18th color (135), exhibiting medium brightness and high saturation. In this first embodiment, it is composed of a vivid green (PCCS: v12 (12: G-5.5-9s), Munsell value: 3G 5~6 / 10~11).

[0081] The fifth color region 137 is entirely colored with a single color (hereinafter referred to as "the 20th color") which has lower brightness and saturation than the 19th color (136) and exhibits low brightness and low to medium saturation. In this first embodiment, it is composed of dark green (PCCS: dk12 (12: G-3.0-5s), Munsell value: 3G 2~4 / 3~5).

[0082] In other words, the yellowish tone diagnostic tool 111, the bluish tone diagnostic tool 121, and the neutral tone diagnostic tool 131 that make up the color tone diagnostic tool 110 are composed of one color each from the following color systems: the first color system to which high-brightness and low-saturation colors belong, the second color system to which high-brightness and medium-saturation to high-saturation colors belong, the third color system to which medium-brightness and low-saturation to medium-saturation colors belong, the fourth color system to which medium-brightness and high-saturation colors belong, and the fifth color system to which low-brightness and low-saturation to medium-saturation colors belong.

[0083] In this case, the first color system includes pale (p) and light grayish (ltg) tones, the second color system includes light (lt) and bright (b) tones, and the third color system includes soft (sf), grayish (g), and dull (d) tones. Furthermore, the fourth color system includes vivid (v) and strong (s) tones, and the fifth color system includes deep (dp), dark (dk), and dark grayish (dkg) tones.

[0084] As shown in Figure 4, the color chart 140 is a color sample used to show the specific shades of the personal color determined for a subject, and is formed as a rectangular sheet in plan view. In this first embodiment, the color chart 140 is made of A4 size paper. This color chart 140 is mainly composed of a surface 142.

[0085] Surface 142 is a plane for coloring the subject's personal colors and is composed of one of the two sides of the color chart 140. This surface 142 is colored by classifying multiple colors that harmonize with the subject's physical characteristics into 25 groups (hereinafter referred to as "25 types") based on their respective base hues and harmonized tones. In this case, surface 142 has multiple areas formed for arranging the 25 types according to their respective attributes. In this first embodiment, surface 142 mainly has three areas formed: a yellow-based area 141, a blue-based area 146, and a neutral-based area 150.

[0086] Here, the 25 types will be explained using Figure 5. These 25 types are a classification method that systematizes colors by classifying the hues that humans can perceive into five categories and the tones to which those recognizable colors belong into five categories, combining the five classifications of base hues and the five classifications of tones. In Figure 5, types with a weak degree of yellow or blue in the base hue or types with a neutral base hue are shown in thin lines, types with a strong degree of yellow or blue are shown in double lines, and types with an intermediate degree of yellow or blue are shown in thick lines.

[0087] In this first embodiment, the five classifications of base hues consist of five hues: a relatively strong yellowish hue, a relatively slightly yellowish hue, a hue with a hue between yellowish and bluish, a relatively slightly bluish hue, and a relatively strong bluish hue. Furthermore, the five classifications of tones consist of five tones belonging to a first tonal system to which high-brightness and low-saturation colors belong, a second tonal system to which high-brightness and medium- to high-saturation colors belong, a third tonal system to which medium-brightness and low- to medium-saturation colors belong, a fourth tonal system to which medium-brightness and high-saturation colors belong, and a fifth tonal system to which low-brightness and low- to medium-saturation colors belong.

[0088] In other words, the five classifications of base hues in the 25 types correspond to the hues of the first color (103) to the fifth color (107) of the hue diagnostic tool 101. Furthermore, the five classifications of tones in the 25 types correspond to the tones of the sixth color (113) to the tenth color (117), the eleventh color (123) to the sixteenth color (133), and the fifteenth color (127) to the twentieth color (137) of the tones diagnostic tool 110. Therefore, the user can identify the type to which the subject's personal color belongs from among the 25 types based on the base hue determined using the hue diagnostic tool 101 and the harmonic tones determined using the tones diagnostic tool 110.

[0089] Specifically, the 25 types consist of 10 types with a yellow base as the dominant hue, 10 types with a blue base as the dominant hue, and 5 types with a neutral base as the dominant hue. Specifically, as shown in Figure 6, types 1 to 10 have a yellow base as the dominant hue. Type 1 (Light Spring) has a dominant hue that is relatively slightly yellowish (hereinafter referred to as "mildly moderate yellow base") and includes bright and clear or light and muted colors with high brightness and low saturation. Type 2 (Bright Spring) has a dominant hue that is relatively strongly yellowish (hereinafter referred to as "medium-intensity yellow base") and includes bright and clear colors with medium to high brightness and medium to high saturation.

[0090] Type 3 (Warm Spring) has a base hue that is more yellowish than Type 2, with a medium intensity yellow base (hereinafter referred to as "stronger-to-medium intensity yellow base"), and includes light and muted or light and clear colors with medium to high brightness and medium to high saturation. Type 4 (Vivid Spring) has a base hue that is weak to medium, and includes pure colors with medium brightness and high saturation. Type 5 (Warm Summer) has a base hue that is yellow (weak to strong), and includes light and muted colors with medium to high brightness and low to medium saturation. Type 6 (Warm Winter) has a base hue that is yellow (weak to strong), and includes pure or dark and clear colors with low to medium brightness and low or high saturation.

[0091] Type 7 (Warm Autumn) is a yellow-based color with a strong to medium intensity base, consisting of dark, muted or dark, clear colors with low to medium brightness and medium to high saturation. Type 8 (Soft Autumn) is a yellow-based color with a weak to medium intensity base, consisting of dark, muted colors with medium brightness and low to medium saturation. Type 9 (Strong Autumn) is a yellow-based color with a medium intensity base, consisting of dark, muted or dark, clear colors with low to medium brightness and medium to high saturation. Type 10 (Deep Autumn) is a yellow-based color with a weak to medium intensity base, consisting of dark, muted or dark, clear colors with low brightness and low to medium saturation.

[0092] Furthermore, types 11 through 20 have a blue base as their dominant hue. Type 11 (Light Summer) has a dominant hue that is relatively slightly bluish (hereinafter referred to as "mildly moderate blue base"), and its lightness, saturation, and clarity are the same as Type 1. Type 12 (Bright Summer) has a dominant hue that is relatively strongly bluish (hereinafter referred to as "medium-intensity blue base"), and its lightness, saturation, and clarity are the same as Type 2. Type 13 (Soft Summer) has a dominant hue that is mildly moderate blue, and its lightness, saturation, and clarity are the same as Type 5.

[0093] Type 14 (Cool Summer) is a medium-intensity blue-based color with a stronger blue undertone than Type 12 (hereinafter referred to as "stronger-to-medium intensity blue-based"), and includes muted or bright clear colors with medium brightness and low to high saturation. Type 15 (Cool Spring) is a blue-based color (weak to strong) with a medium to high brightness and includes pure or bright clear colors with medium to high saturation. Type 16 (Cool Autumn) is a blue-based color (weak to strong) with a dark muted or dark clear color with low to medium brightness and low to medium saturation. Type 17 (Vivid Winter) is a weak to medium blue-based color with the same brightness, saturation, and clarity as Type 4.

[0094] Type 18 (Cool Winter) consists of pure or dark clear colors with a strong to medium intensity blue base hue, ranging from low to medium brightness and low to high saturation. Type 19 (Deep Winter) consists of dark clear colors with a weak to medium intensity blue base hue, similar in brightness and saturation to Type 10. Type 20 (Clear Winter) consists of pure or bright clear colors with a medium intensity blue base hue, ranging from medium to high brightness and low to high saturation.

[0095] Furthermore, types 21 through 25 use a neutral base as their primary hue. Type 21 (Light Neutral) has the same lightness, saturation, and clarity as Type 1. Type 22 (Bright Neutral) has the same lightness, saturation, and clarity as Type 2. Type 23 (Vivid Neutral) has the same lightness, saturation, and clarity as Type 4. Type 24 (Soft Neutral) is a muted color with the same lightness and saturation as Type 8. Type 25 (Deep Neutral) has the same lightness, saturation, and clarity as Type 10.

[0096] Furthermore, as shown in Figures 6 and 7, the correspondence between the subject's dominant hue and harmonized color combination and the 25 types is as follows: If the subject's dominant hue is relatively slightly yellowish (hereinafter referred to as "weak yellow") and the harmonized color is from the first color system, it falls under Type 1, Type 5, or Type 21. Also, if the subject's dominant hue is weak yellow and the harmonized color is from the second color system, it falls under Type 2, Type 5, or Type 22.

[0097] Furthermore, if the subject's dominant hue is a weak yellow and their harmonious color is from the third color system, they fall under Type 8, Type 5, or Type 24. Also, if the subject's dominant hue is a weak yellow and their harmonious color is from the fourth color system, they fall under Type 4, Type 6, Type 9, or Type 23. Furthermore, if the subject's dominant hue is a weak yellow and their harmonious color is from the fifth color system, they fall under Type 10, Type 6, or Type 25.

[0098] Furthermore, if the subject's dominant hue is a relatively strong yellowish hue (hereinafter referred to as "strong yellow") and the harmonious color is from the first color system, it falls under Type 5, Type 1, or Type 2. Furthermore, if the subject's dominant hue is a strong yellow and the harmonious color is from the second color system, it falls under Type 3, Type 2, or Type 4. Furthermore, if the subject's dominant hue is a strong yellow and the harmonious color is from the third color system, it falls under Type 7, Type 8, or Type 5. Furthermore, if the subject's dominant hue is a strong yellow and the harmonious color is from the fourth color system, it falls under Type 9, Type 3, or Type 6. Furthermore, if the subject's dominant hue is a strong yellow and the harmonious color is from the fifth color system, it falls under Type 6, Type 10, or Type 9.

[0099] Furthermore, if the subject's dominant hue is weakly bluish and the harmonic color is from the first color system, the user falls under Type 11, Type 13, or Type 21. Furthermore, if the subject's dominant hue is weakly bluish and the harmonic color is from the second color system, the user falls under Type 12, Type 15, Type 13, or Type 22. Furthermore, if the subject's dominant hue is weakly bluish and the harmonic color is from the third color system, the user falls under Type 13, Type 16, or Type 24. Furthermore, if the subject's dominant hue is weakly bluish and the harmonic color is from the fourth color system, the user falls under Type 17, Type 20, or Type 23. Furthermore, if the subject's dominant hue is weakly bluish and the harmonic color is from the fifth color system, the user falls under Type 19, Type 16, or Type 25.

[0100] Furthermore, if the subject's dominant hue is strongly blue and the harmonious color is from the first color system, the user falls under type 20, type 11, or type 12. Furthermore, if the subject's dominant hue is strongly blue and the harmonious color is from the second color system, the user falls under type 15, type 12, or type 14. Furthermore, if the subject's dominant hue is strongly blue and the harmonious color is from the third color system, the user falls under type 14, type 16, or type 13. Furthermore, if the subject's dominant hue is strongly blue and the harmonious color is from the fourth color system, the user falls under type 18, type 20, or type 17. Furthermore, if the subject's dominant hue is strongly blue and the harmonious color is from the fifth color system, the user falls under type 16, type 19, or type 18.

[0101] Furthermore, if the subject's dominant hue is neutral-based and the harmonious hue is from the first color system, it falls under type 21, type 1, or type 11. Furthermore, if the subject's dominant hue is neutral-based and the harmonious hue is from the second color system, it falls under type 22, type 2, or type 12. Furthermore, if the subject's dominant hue is neutral-based and the harmonious hue is from the third color system, it falls under type 24, type 8, type 13, type 5, or type 16. Furthermore, if the subject's dominant hue is neutral-based and the harmonious hue is from the fourth color system, it falls under type 23, type 4, or type 17. Furthermore, if the subject's dominant hue is neutral-based and the harmonious hue is from the fifth color system, it falls under type 25, type 10, or type 19. In the above description, the types are listed in order of the likelihood that the subject's personal color belongs to them.

[0102] The yellow-based region 141 is a region for arranging types in the 25 types whose base hue belongs to the yellow base (hues that are relatively slightly yellowish and hues that are relatively strongly yellowish). In this first embodiment, it is formed on the left half of the surface 142 in a plan view. In this case, types whose base hue belongs to the relatively slightly yellowish hue are arranged on the left-right central side of the surface 142, and types whose base hue belongs to the relatively strongly yellowish hue are arranged on the left edge side of the surface 142. Furthermore, the yellow-based region 141 is represented by arranging multiple colors for each type, and in this first embodiment, 20 color samples for each type are represented by arranging them in a 4x5 grid. This yellow-based region 141 mainly consists of the spring color region 143, the autumn color region 144, and the yellow-special color region 145.

[0103] The spring color region 143 is a region for arranging colors that are mainly clear colors with a lightness ranging from medium to high and a saturation ranging from medium to high, and is formed in the upper half of the yellowish-based region 141 in a plan view. In this first embodiment, the spring color region 143 is arranged in four types: first type, second type, third type, and fourth type. In this case, the first and fourth types are arranged on the left-right central side of the surface 142, and the second and third types are arranged on the left edge side of the surface 142.

[0104] The autumn color region 144 is a region for arranging colors that are mainly muted tones with low to medium brightness and low to medium saturation, and is formed in the lower half of the yellowish-based region 141 in a plan view. In this first embodiment, the autumn color region 144 has four types: type 7, type 8, type 9, and type 10. In this case, types 8 and 10 are arranged on the left-right central side of the surface 142, and types 7 and 9 are arranged on the left edge side of the surface 142.

[0105] The yellowish special tone region 145 is a region for arranging types that have a tone similar to that of a blue-based base color among multiple types whose base color is yellow-based. This yellowish special tone region 145 is formed in the upper and lower center of the yellowish base color region 141 in a plan view between the spring tone region 143 and the autumn tone region 144. In this first embodiment, the yellowish special tone region 145 is arranged with two types: the fifth type and the sixth type.

[0106] The blue-based region 146 is a region for arranging types in the 25 types whose base hue belongs to the blue base (hues that are relatively slightly blue and hues that are relatively strongly blue). In this first embodiment, it is formed on the right half of the surface 142 in a plan view. In this case, types whose base hue belongs to the relatively slightly blue hue are arranged on the left-right center side of the surface 142, and types whose base hue belongs to the relatively strongly blue hue are arranged on the right edge side of the surface 142. Furthermore, the blue-based region 146 is represented by arranging multiple colors for each type, and in this first embodiment, 20 color samples for each type are arranged in a 4x5 grid. This blue-based region 146 mainly forms the summer color region 147, the winter color region 148, and the special blue color region 149, respectively.

[0107] The summer color region 147 is a region for arranging colors that are mainly muted tones ranging from medium to high brightness and low to medium saturation, and is formed in the upper half of the blue-based region 146 in a plan view. In this first embodiment, the summer color region 147 is composed of four types: the 11th type, the 12th type, the 13th type, and the 14th type. In this case, the 11th and 13th types are located on the left-right central side of the surface 142, while the 12th and 14th types are located on the right edge side of the surface 142.

[0108] The winter color region 148 is a region for arranging colors that are mainly clear colors with low to medium brightness and low or high saturation, and is formed in the lower half of the blue-based region 141 in a plan view. In this first embodiment, the winter color region 148 has four types: type 17, type 18, type 19, and type 20. In this case, types 17 and 19 are arranged on the left-right central side of the surface 142, and types 18 and 20 are arranged on the right edge side of the surface 142.

[0109] The bluish special color region 149 is a region for arranging types that have a similar color tone to the type with a yellow base hue, among multiple types whose base hue is blue-based. This bluish special color region 149 is formed in the upper and lower center of the bluish base region 146 in a plan view between the summer color region 147 and the winter color region 148. In this first embodiment, the bluish special color region 149 is arranged with two types: type 15 and type 16.

[0110] The neutral base area 150 is an area for arranging types whose base hue belongs to the neutral base in the 25 types, and in this first embodiment, it is formed in the center of the surface 142 in the left-right direction in a plan view between the yellowish base area 141 and the bluish base area 146. In this case, the types are arranged in the neutral base area 150 in order of decreasing brightness from the top. In this first embodiment, the neutral base area 150 has four types arranged in the order of the 21st type, the 22nd type, the 23rd type, the 24th type, and the 25th type. Furthermore, the neutral base area 150 represents multiple colors arranged for each type, and in this first embodiment, 20 color samples are arranged in a 4x5 grid for each type.

[0111] (Activation of Personal Color Analysis Kit 100) Next, the operation of the diagnostic tool set 100 configured in this way will be explained. First, the user prepares to diagnose the subject's personal color. Specifically, the user prepares the hue diagnostic tool 101, the yellowish tone diagnostic tool 111, the bluish tone diagnostic tool 121, the neutral tone diagnostic tool 131, and the color chart 140, which make up the diagnostic tool set 100. The user also prepares a mirror and positions it so that the subject's upper body is reflected in it. At this time, the subject may be sitting in a chair or standing.

[0112] Next, the user applies the color diagnostic tool 101 to the subject to determine the dominant hue that will be the base of the body color. Specifically, the user applies the color diagnostic tool 101, which is spread out to the left and right of the subject, to the subject's chest with the surface 102 facing in a mirror. Then, the user moves the color diagnostic tool 101 from left to right, comparing the subject's physical characteristics with the first color (103) to the fifth color (107) assigned to the color diagnostic tool 101, and selects a hue that harmonizes with the physical characteristics.

[0113] In this first embodiment, the user first compares a neutral-based first color (103) with the subject's physical characteristics (specifically, the color and texture of their face and hair). In this case, the user moves the color analyzer 101 so that the first color (103) is positioned directly below the subject's face to compare the subject's physical characteristics with the first color (103). Next, the user moves the color analyzer 101 to the left and right to compare the subject's physical characteristics with the second color (104) and the fourth color (106), respectively.

[0114] In this case, the user observes the subject's physical characteristics while holding the color diagnostic tool 101 against the subject, and compares the impression received from those physical characteristics using the second color (104) and the fourth color (106). The user then selects one of the colors (second color (104) or fourth color (106)) that gives a favorable impression from the subject's physical characteristics. Examples of colors that give a favorable impression include colors belonging to the base hue of the body color, colors that make the texture of the physical characteristics clearly visible, colors that emphasize or soften the texture or impression of the physical characteristics, colors that give an appropriate contrast to the physical characteristics, or colors that give an image similar to the impression of the physical characteristics.

[0115] In this case, users can compare the impression they receive from the subject's physical characteristics using indicators such as the following: Specifically, the indicators include the degree of harmony of each color with the body color, the luster of the face and hair, the clarity of the face, the rosy complexion of the face, the prominence of skin imperfections such as uneven skin tone, blemishes, wrinkles, freckles, dark circles, nasolabial folds, or scars, the clarity of the contours of the face as a whole or of each part, and the contrast of each part of the face or the unity between the impression of the face and the image of each color.

[0116] As a result, if the hue of the first color (103) is in harmony with the physical characteristics, the user will determine that the neutral base hue of the first color (103) is the subject's dominant color.

[0117] Furthermore, if the hue of the second color (104) is in harmony with the physical characteristics, the user will determine which of the two yellowish hues, the second color (104) and the third color (105), is in better harmony with the physical characteristics. In this case, the user will move the color diagnostic tool 101 so that the second color (104) and the third color (105) are positioned directly below the subject's face, and compare the physical characteristics with the second color (104) and the third color (105), respectively. If, as a result of the comparison, the hue of the second color (104) is in better harmony with the physical characteristics, the user will determine that the relatively slightly yellowish hue (yellow base) of the second color (104) is the subject's dominant hue. On the other hand, if the third color (105) is a hue that harmonizes with the physical characteristics, the user will determine that the third color (105), a relatively strong yellowish hue (yellow base), is the subject's dominant hue.

[0118] Furthermore, if the hue of the fourth color (106) is in harmony with the physical characteristics, the user will determine which of the two bluish hues, the fourth color (106) and the fifth color (107), is in better harmony with the physical characteristics. In this case, the user will move the color diagnostic tool 101 so that the fourth color (106) and the fifth color (107) are positioned directly below the subject's face, and compare the physical characteristics with the fourth color (106) and the fifth color (107), respectively. If, as a result of the comparison, the hue of the fourth color (106) is in better harmony with the physical characteristics, the user will determine that the relatively slightly bluish hue (blue base) of the fourth color (106) is the subject's dominant color. On the other hand, if the fifth hue (107) is a hue that harmonizes with the person's physical characteristics, the user will determine that the fifth hue (107), a relatively strong bluish hue (blue base), is the person's dominant hue.

[0119] In these comparison tasks, the impression received from the subject's physical characteristics may be nearly the same or similar to each of the colors assigned to the color diagnostic tool 101, or it may be distinctly different. Therefore, the user can select multiple colors (hues) that are judged to have nearly the same or similar impressions as the base color.

[0120] In this first embodiment, the user selects a third color (105) as a hue that harmonizes with the subject's physical characteristics and determines that the relatively strong yellowish hue of the third color (105) is the subject's dominant hue. Through these steps, the user can determine the dominant hue that forms the basis of the subject's body color. Thus, the process of selecting a color with a hue that harmonizes with physical characteristics from among the multiple colors arranged in the hue diagnostic tool 101 corresponds to the hue selection step according to the present invention.

[0121] Next, the user determines the subject's harmonious color tone using a color diagnostic tool 110 that corresponds to the subject's dominant hue. Specifically, the user selects a diagnostic tool from among the color diagnostic tools 110 (yellowish color diagnostic tool 111, bluish color diagnostic tool 121, and neutral color diagnostic tool 131) that exhibits a hue similar to the subject's dominant hue determined above. Then, the user places the selected diagnostic tool on the subject's chest and selects the harmonious color tone by comparing the subject's physical characteristics with each color displayed on the diagnostic tool.

[0122] In this first embodiment, the user selects a yellow-based color diagnostic tool 111 from the color diagnostic tool 110 that exhibits a yellow base similar to the subject's basic hue. Next, the user places the yellow-based color diagnostic tool 111, which is spread out to the left and right of the subject, against the subject's chest with its surface 112 facing in a mirror. Subsequently, the user moves the yellow-based color diagnostic tool 111 from left to right, comparing the subject's physical characteristics with the sixth color (113) to the tenth color (117) on the yellow-based color diagnostic tool 111 to select a harmonious color tone.

[0123] In this case, the user observes the impression of the subject's physical characteristics, which changes with each color, and selects the color that gives a favorable impression of the physical characteristics from among the five colors arranged on the yellowish tone diagnostic tool 111. Specifically, the user compares the impression of the physical characteristics for each color using indicators such as the degree of harmony of each color with the body color, the luster of the face and hair, the transparency of the face, the complexion of the face, the prominence of skin imperfections such as uneven skin tone, blemishes, wrinkles, freckles, dark circles, nasolabial folds, or scars, the clarity of the contours of the entire face or individual parts, the contrast of each part of the face, or the unity between the impression of the face and the image of each color.

[0124] In this first embodiment, the user selects the sixth color (113) and the seventh color (114) as colors that harmonize with the subject's physical characteristics, and determines that the first color system, which is high in brightness and low in saturation, and the second color system, which is high in brightness and medium to high in saturation, are colors that harmonize with the subject's physical characteristics. Through these steps, the user can determine the subject's harmonious color tone. The process of selecting a color (color tone) that has a harmonious color tone from among the multiple colors (color tones) arranged in the color tone diagnostic tool 110 in this manner corresponds to the color tone selection step according to the present invention.

[0125] Next, the user diagnoses the personal color that harmonizes with the subject's physical characteristics, based on the subject's dominant hue and harmonious tone determined in the hue selection step and the tone selection step. Specifically, the user identifies the type to which the subject's personal color belongs from among 25 types, based on the subject's dominant hue and harmonious tone determined above.

[0126] In this first embodiment, the user determines that the subject's personal color belongs to type 5, type 3, type 2, type 1, or type 4 based on a relatively strong yellowish hue (the subject's dominant hue) and the first and second color systems (harmonious tones). This allows the user to identify the type to which the colors that harmonize with the subject's physical characteristics belong.

[0127] The user then presents the diagnostic results to the subject. Specifically, the user presents the subject with the fact that the dominant hue is yellow-based and that the color tones that harmonize with the physical characteristics are the first color system of high brightness and low saturation, and the second color system of high brightness and medium to high saturation.

[0128] Furthermore, the user informs the subject that their personal color type is either Type 5, Type 3, Type 2, Type 1, or Type 4, with a particular high probability of being Type 5 or Type 3. Specifically, the user uses Color Chart 140 to show the subject the specific shades of the type to which their personal color belongs, and then provides advice or answers questions about the subject's personal color or type. In this case, the user may, in response to the subject's questions, suggest one or more specific colors from the type identified as belonging to the subject's personal color that would suit them best. The user then concludes the personal color analysis.

[0129] Through these activities, participants will be shown a color chart of 140 and given an explanation about their personal color, allowing them to form a concrete image of the colors associated with their personal color.

[0130] Subsequently, participants can select their personal colors by referring to the 140-color chart when choosing colors for clothing, accessories, makeup, nail polish, hair color, tattoos, or interior design. In this case, participants may also extract and use the color chart 140 that corresponds to their personal color type when making color selections.

[0131] (Second Embodiment) Next, the personal color diagnostic tool set according to the second embodiment will be described using Figures 8 to 10. The personal color diagnostic tool set according to this second embodiment is configured in the same way as the personal color diagnostic tool set 100 according to the first embodiment, but the method of use is slightly different. Therefore, in this description of the second embodiment, the description of the configuration will be omitted, and the differences in operation from that of the first embodiment will be mainly described. In the description of the second embodiment, the same reference numerals as in the first embodiment will be used to describe the personal color diagnostic tool set. Also, in Figure 8, among the 25 types, types with a weak degree of yellow or blue in the base hue or types with a neutral base hue are shown with a thin line frame, types with a strong degree of yellow or blue are shown with a double frame, and types with an intermediate degree of yellow or blue are shown with a thick line frame.

[0132] Before describing the operation of the second embodiment, we will explain the classification method of the 25 types used in this second embodiment. The 25 types in this second embodiment are composed of 25 types that combine five key hues and five tones, similar to the first embodiment, and the classification system is the same as in the first embodiment. However, the range of colors included in each type (i.e., the characteristics of the colors belonging to each type) differs in some types from the 25 types defined in the first embodiment.

[0133] In the following descriptions of each type, the strength of the base hue is categorized into three levels: weak, medium, and strong; the brightness is categorized into three levels: low brightness, medium brightness, and high brightness; and the saturation is categorized into three levels: low saturation, medium saturation, and high saturation. In particular, for brightness and saturation, each of the three levels is further subdivided into two categories: a higher degree and a lower degree, resulting in a total of six levels. For example, brightness is expressed as the lowest brightness (hereinafter referred to as "low brightness (low)"), low brightness closer to medium brightness (low brightness (high)), medium brightness closer to low brightness (medium brightness (low)), medium brightness closer to high brightness (medium brightness (high)), and the highest brightness (high brightness (high)). The same applies to saturation.

[0134] Specifically, as shown in Figures 8 and 9, Types 1 through 10 have a yellow base as their dominant hue. Type 1 (Light Spring) has a relatively weak yellowish hue (weak yellow base) as its dominant hue, and includes bright and clear or bright and muted colors that fall within the range of high lightness (high) and low saturation (i.e., from low saturation (low) to low saturation (high)). In this case, Type 1 tends to contain a relatively large number of low-saturation (low) colors. Type 2 (Bright Spring) has a relatively moderate yellowish hue (medium yellow base) as its dominant hue, and includes bright and clear colors that fall within the range of high lightness (low) and medium-saturation (high) to high-saturation (low) colors. In this case, Type 2 tends to contain a relatively large number of medium-saturation (high) colors.

[0135] Type 3 (Warm Spring) is based on a relatively strong yellowish hue (strong yellow base), and includes bright and muted or bright and clear colors with medium brightness (high) and saturation ranging from medium saturation (high) to high saturation (low). In this case, Type 3 tends to include a relatively large number of high-saturation (low) colors. Type 4 (Vivid Spring) is based on a relatively weak yellowish hue (weak yellow base), and includes pure colors with medium brightness (high) and saturation ranging from high saturation (high). In this case, Type 4 tends to include a relatively large number of high-saturation (high) colors.

[0136] Type 5 (Warm Summer) is based on hues that are relatively moderate to strongly yellow (medium to strong yellow base), and includes light and muted colors that fall within the range of medium (high) to high (low) lightness and low (low) saturation (low) to medium (low) saturation (i.e., low saturation overall and medium (low) saturation). Type 6 (Warm Winter) is based on hues that are relatively moderate to strongly yellow (medium to strong yellow base), and includes pure or dark clear colors that fall within the range of low (low) to medium (low) lightness (i.e., low (low) lightness overall and medium (low) saturation (low) or high saturation (high).

[0137] Type 7 (Warm Autumn) is based on a strong yellow base hue, with medium brightness (low) and saturation ranging from low to medium. This type tends to include a relatively large number of medium-saturation (high) colors. Type 8 (Soft Autumn) is based on a weak yellow base hue, with medium brightness (low) and saturation ranging from low to medium. This type tends to include a relatively large number of low-saturation (high) colors.

[0138] Type 9 (Strong Autumn) is based on a medium yellow base hue and includes muted or dark clear colors with low lightness (high) and saturation ranging from medium (high) to high (high) (i.e., medium (high) and high saturation as a whole). In this case, Type 9 tends to contain a relatively large number of high (low) saturation colors. Type 10 (Deep Autumn) is based on a weak yellow base hue and includes muted or dark clear colors with low lightness as a whole and saturation ranging from low (low) to medium (low) saturation. In this case, Type 10 tends to contain a relatively large number of low (low) saturation colors.

[0139] Furthermore, types 11 through 20 have a blue base as their dominant hue. Type 11 (Light Summer) has a relatively weak blue (slightly blue) hue as its dominant hue, and its lightness, saturation, and clarity / muddiness are the same as Type 1. Type 12 (Bright Summer) has a relatively moderate blue (medium blue) hue as its dominant hue, and its lightness, saturation, and clarity / muddiness are the same as Type 2. Type 13 (Soft Summer) has a weak blue base as its dominant hue, and includes light and muted colors that fall within the range of medium lightness (high) and low saturation (low) to medium saturation (low). In this case, Type 13 tends to include a relatively large number of low-saturation (high) colors.

[0140] Type 14 (Cool Summer) is based on a strong blue base hue, with medium-high brightness and muted colors that fall within the overall medium-saturation range. In this case, Type 14 tends to include a relatively large number of medium-high saturation colors. Type 15 (Cool Spring) is based on a medium to strong blue base hue, with pure or bright clear colors that fall within the overall high-saturation range and with medium-high to high brightness and with high saturation. Type 16 (Cool Autumn) is based on a medium to strong blue base hue, with dark muted or dark clear colors that fall within the overall low-saturation range and with low brightness and with low brightness and with medium brightness and with low saturation.

[0141] Type 17 (Vivid Winter) is based on a weak blue base hue and includes pure colors that fall within the range of low (high) to medium (low) lightness and high (high) saturation. In this case, Type 17 tends to include a relatively large number of medium (low) lightness colors. Type 18 (Cool Winter) is based on a strong blue base hue and includes pure or dark clear colors that fall within the range of low (high) to medium (low) lightness and high (high) saturation. In this case, Type 18 tends to include a relatively large number of low (high) and high (low) saturation colors.

[0142] Type 19 (Deep Winter) is characterized by a weak blue base hue, low brightness, and dark, clear colors ranging from low to medium saturation. In this case, Type 19 tends to include a relatively large number of low-saturation colors. Type 20 (Clear Winter) is characterized by a medium blue base hue, and pure or bright, clear colors ranging from medium-high or high brightness, and low to high saturation. In this case, Type 20 tends to include a relatively large number of low-saturation colors.

[0143] Furthermore, types 21 through 25 use a neutral base as their dominant hue. Type 21 (Light Neutral) includes light and clear or light and muted colors that fall within the range of high lightness and low saturation. In this case, type 21 tends to contain a relatively large number of colors with high lightness and low saturation. Type 22 (Bright Neutral) includes light and clear colors that fall within the range of medium lightness (high) to high lightness (low) and saturation (medium saturation (high) to high saturation (low). In this case, type 22 tends to contain a relatively large number of colors with high lightness (low) and medium saturation (high).

[0144] Type 23 (Vivid Neutral) includes pure colors that fall within the range of medium brightness and high saturation. In this case, Type 23 tends to contain a relatively large number of highly saturated colors. Type 24 (Soft Neutral) includes muted colors that fall within the range of medium brightness and low to medium saturation. In this case, Type 24 tends to contain a relatively large number of highly saturated colors. Type 25 (Deep Neutral) includes dark, clear or dark, muted colors that fall within the range of low brightness and low to medium saturation. In this case, Type 25 tends to contain a relatively large number of low brightness and low saturation colors.

[0145] Next, the correspondence between these 25 types and the subject's dominant hue and harmonized hue will be explained using Figure 10. Specifically, if the subject's dominant hue is a relatively weak yellowish hue, and the harmonized hue is from the first, third, or fourth color system, the corresponding types are the same as in the first embodiment. On the other hand, if the harmonized hue is from the second color system, then the second, fourth, or 22nd type will correspond. Furthermore, if the harmonized hue is from the fifth color system, then the tenth, eighth, sixth, or 25th type will correspond.

[0146] Furthermore, if the subject's dominant hue is a relatively strong yellowish hue, and the harmonious color scheme is from the first, second, third, or fifth color scheme, the corresponding types are the same as in the first embodiment. On the other hand, if the harmonious color scheme is from the fourth color scheme, then the ninth, third, sixth, or seventh type corresponds to this case.

[0147] Furthermore, if the subject's dominant hue is a relatively weak bluish hue, and the harmonious color scheme is from the third and fifth color schemes, the corresponding types are the same as in the first embodiment. On the other hand, if the harmonious color scheme is from the first color scheme, then types 11, 13, 21, or 20 are corresponding. Also, if the harmonious color scheme is from the second color scheme, then types 12, 15, 22, or 13 are corresponding. Also, if the harmonious color scheme is from the fourth color scheme, then types 17, 20, 15, or 23 are corresponding.

[0148] Furthermore, if the subject's dominant hue is a relatively strong bluish hue, and the harmonious color scheme is from the first, second, third, or fifth color scheme, the corresponding types are the same as in the first embodiment. On the other hand, if the harmonious color scheme is from the fourth color scheme, then the 18th, 20th, 17th, or 15th types are the corresponding types.

[0149] Furthermore, if the subject's base hue is neutral and the harmonious color is from the third color system, the corresponding types are the same as in the first embodiment. On the other hand, if the harmonious color is from the first color system, then types 21, 1, 11, or 5 are corresponding. If the harmonious color is from the second color system, then types 22, 2, 12, or 15 are corresponding. If the harmonious color is from the fourth color system, then types 23, 4, 17, 6, or 15 are corresponding. If the harmonious color is from the fifth color system, then types 25, 10, 19, 6, or 16 are corresponding.

[0150] The candidate types listed as corresponding to the combination of the dominant hue and the harmonious tone are listed in order of the likelihood that the subject's personal color belongs to each type. In Figure 10, underlined types are most likely to contain the subject's personal color compared to the other candidates, while types enclosed in parentheses are less likely to contain the subject's personal color compared to the other candidates.

[0151] (Operation of the personal color diagnostic tool set 100 according to the second embodiment) Next, the operation of the personal color diagnostic tool set 100 according to this second embodiment will be described. Specifically, the user of the personal color diagnostic tool set 100 first performs a hue selection step in which they select a color that has a hue that harmonizes with their physical characteristics from among the multiple colors arranged on the hue diagnostic tool 101.

[0152] In this case, the user observes the subject's physical characteristics while holding the color diagnostic tool 101 against the subject, and compares the impression received from those physical characteristics for each color assigned to the color diagnostic tool 101. The user then selects a color from the compared colors that gives a favorable impression based on the subject's physical characteristics. Examples of colors that give a favorable impression include colors belonging to the base hue of the body color, colors that make the texture of the physical characteristics clearly visible, colors that emphasize or soften the texture or impression of the physical characteristics, colors that give an appropriate contrast to the physical characteristics, or colors that give an image similar to the impression of the physical characteristics.

[0153] In this case, the user can compare the impression received from the subject's physical characteristics for each color assigned to the color diagnostic tool 101, using items such as the following as indicators. Specifically, the indicators include the degree of harmony of each color with the body color, the luster of the face and hair, the transparency of the face, the complexion of the face, the prominence of skin imperfections such as uneven skin tone, blemishes, wrinkles, freckles, dark circles, nasolabial folds, or scars, the clarity of the contours of the entire face or individual parts, the contrast of each part of the face, or the unity between the impression of the face and the image of each color.

[0154] The results of this comparison show that the impression received from a subject's physical characteristics may be nearly the same or similar for each color assigned to the color palette 101, or it may be distinctly different. Therefore, the user can select multiple colors (hues) that are judged to have nearly the same or similar impressions as their base color.

[0155] Next, the user performs a color selection step in which they select a color (tone) that has a harmonious tone for the subject from among the multiple colors (tones) arranged on the color diagnostic tool 110. Then, based on the subject's dominant hue and harmonious tone determined in the hue selection step and the color selection step, the user identifies the type to which the subject's personal color belongs.

[0156] In cases where the subject's dominant hue and / or harmonized color tones span multiple categories, making it difficult to identify a specific type, or where the subject's personal color belongs to multiple types, the user can select and present a type that best suits the subject from several candidate types corresponding to the subject's dominant hue and harmonized color combination (see Figure 10).

[0157] Specifically, the user can identify the type that best suits the subject by comparing the physical characteristics of the subject with the colors of the diagnostic tools (hereinafter also referred to as "bundled drapes"), which are bundles of multiple fabric materials, each containing one of several colors selected from each candidate type. In this case, the user can also use multiple of the aforementioned type-specific diagnostic tools for each type.

[0158] As can be understood from the above description of operation, according to each of the above embodiments, the diagnostic tool set 100 can easily diagnose colors that are in harmony with physical characteristics by reducing the number of steps required for diagnosis, using two diagnostic tools: a hue diagnostic tool 101 for determining the basic hue of the subject's body color, and a color tone diagnostic tool 110 for determining the harmonious color tone according to the determined basic hue.

[0159] Furthermore, the present invention is not limited to the embodiments described above, and various modifications are possible as long as they do not depart from the purpose of the present invention. In the description of each modified example, the same reference numerals are used for parts that are the same as those in the embodiments described above, and redundant explanations are omitted.

[0160] For example, in each of the above embodiments, the diagnostic tool set 100 consists of a hue diagnostic tool 101 and a color tone diagnostic tool 110 made of strip-shaped fabric. However, the materials of the hue diagnostic tool 101 and the color tone diagnostic tool 110 are not limited to the above embodiments, and can be made from materials other than fabric, such as paper, wood, or resin, formed into sheets or plates. Furthermore, the size and shape of the hue diagnostic tool 101 and the color tone diagnostic tool 110 are not limited to the above embodiments, and can be appropriately set according to ease of handling by the user, the area or location of physical characteristics, etc.

[0161] Furthermore, in each of the above embodiments, the diagnostic tool set 100 was formed so that each area of ​​the hue diagnostic tool 101 and the color tone diagnostic tool 110 was approximately the same width as the width of the subject's face. This allows the diagnostic tool set 100 to evenly reflect the influence of the color of each diagnostic tool across the entire face of the subject. However, each area of ​​the hue diagnostic tool 101 and the color tone diagnostic tool 110 should be large enough so that the color assigned to each area can influence the physical characteristics, depending on the area or location of those physical characteristics.

[0162] Furthermore, in each of the above embodiments, the first color system included pale and light grayish tones, the second color system included light and bright tones, the third color system included soft, grayish, and dull tones, the fourth color system included vivid and strong tones, and the fifth color system included deep, dark, and dark grayish tones. However, the first color system may further include light, white, and light gray tones, the second color system may further include vivid and soft tones, the third color system may further include medium gray tones, the fourth color system may further include deep and dull tones, and the fifth color system may further include black and dark gray tones.

[0163] Furthermore, in each of the above embodiments, the hue diagnostic tool 101 is configured such that the yellowness of the hue gradually increases from the first hue region 103 to the third hue region 105, and the blueness of the hue gradually increases from the first hue region 103 to the fifth hue region 107. With this configuration, the diagnostic tool set 100 can easily determine whether the subject's dominant hue is relatively yellowish or bluish, using the neutral base placed in the center of the longitudinal direction as a reference. However, the hue diagnostic tool 101 only needs to have at least a yellow base and a blue base, and the positions of the colors can be set appropriately considering the user's convenience.

[0164] Furthermore, in each of the above embodiments, the hue diagnostic tool 101 is configured by sequentially arranging the colors belonging to the first, second, third, fourth, and fifth color systems in the first color region 113, 123, 133 to the fifth color region 117, 127, 137. With this configuration, the diagnostic tool set 100 can easily determine the harmonious color tone of the subject based on the third color system, which exhibits medium brightness and low to medium saturation and is arranged in the center of the longitudinal direction. However, the color arrangement position of the hue diagnostic tool 101 can be appropriately set considering the ease of use for the user.

[0165] Furthermore, in each of the above embodiments, the hue diagnostic tool 101 and the color tone diagnostic tool 110 were constructed by arranging multiple colors on the surfaces 102, 112, 122, and 132. However, the hue diagnostic tool 101 and the color tone diagnostic tool 110 can be constructed by arranging colors on both sides of the fabric material. In this case, the diagnostic tool set 100 may consist of the hue diagnostic tool 101 on one side of the fabric material and the yellowish color tone diagnostic tool 111, the bluish color tone diagnostic tool 121, or the neutral color tone diagnostic tool 131 on the other side. Alternatively, the diagnostic tool set 100 may consist of two of the yellowish color tone diagnostic tool 111, the bluish color tone diagnostic tool 121, and the neutral color tone diagnostic tool 131, each on the front and back surfaces of the fabric material.

[0166] Furthermore, in each of the above embodiments, the color diagnostic tool 110 is configured to include a yellowish color diagnostic tool 111, a bluish color diagnostic tool 121, and a neutral color diagnostic tool 131, respectively. With this configuration, the diagnostic tool set 100 can more accurately determine the color tone that harmonizes with the physical characteristics of a subject whose base color is yellow-based, blue-based, or neutral-based, by using a color diagnostic tool corresponding to the base color.

[0167] However, the color tone diagnostic tool 110 can be composed of a yellowish color tone diagnostic tool 111 and a bluish color tone diagnostic tool 121, omitting the neutral color tone diagnostic tool 131. According to this, the diagnostic tool set 100 can accurately determine the color tone that harmonizes with the physical characteristics of a subject whose base hue is yellow-based or blue-based, using a color tone diagnostic tool corresponding to the base hue.

[0168] Furthermore, the color tone diagnostic tool 110 can be composed solely of the neutral color tone diagnostic tool 131, omitting the yellowish color tone diagnostic tool 111 and the bluish color tone diagnostic tool 121. This allows the diagnostic tool set 100 to appropriately determine the color tone that harmonizes with the physical characteristics using the same color tone diagnostic tool (neutral color tone diagnostic tool 131), regardless of differences in the subject's underlying hue.

[0169] Furthermore, in each of the above embodiments, the neutral color diagnostic tool 131 was constructed by arranging five colors representing the hue of green (12:G) on the surface 132. However, the multiple colors arranged on the neutral color diagnostic tool 131 only need to be the same hue with a color tone between yellow and blue. Therefore, the multiple colors arranged on the neutral color diagnostic tool 131 can be composed of hues such as red (2:R), purple (22:P), or yellowish green (11:yG), which belong to the neutral base in the color wheel.

[0170] Furthermore, in each of the above embodiments, the diagnostic tool set 100 is configured such that the hue diagnostic tool 101 is colored with five colors that exhibit the same hue but different hues, and the tone diagnostic tool 110 is colored with five colors that exhibit the same hue but different hues. With this configuration, the diagnostic tool set 100 can perform a detailed diagnosis using 25 types of colors that harmonize with physical characteristics, classified into base hue and harmonizing tone, while reducing the number of steps required for diagnosis using just two diagnostic tools.

[0171] However, the diagnostic tool set 100 can be configured to include a hue diagnostic tool 101 with at least two colors that have the same hue but different hues, and a color tone diagnostic tool 110 with at least three colors that have the same hue but different hues. Specifically, the diagnostic tool set 100 can be configured to include a hue diagnostic tool 101 with two colors that have the same hue but are relatively slightly yellowish and relatively slightly bluish, and a color tone diagnostic tool 110 with three colors that have the same hue but are a pure color, a clear color and a muted color. With this configuration, the diagnostic tool set 100 can diagnose physical characteristics in six types, classified into base hues and harmonious hues, while keeping the number of steps required for diagnosis low by using just two diagnostic tools.

[0172] Furthermore, the hue diagnostic tool 101 may be composed of two colors that are of the same tone but exhibit a relatively strong yellowish hue and a relatively strong bluish hue. Alternatively, the hue diagnostic tool 101 may be composed of three colors that are of the same tone but exhibit a relatively slightly yellowish hue, a relatively slightly bluish hue, and a hue with a hue between yellow and blue. Alternatively, the hue diagnostic tool 101 may be composed of three colors that are of the same tone but exhibit a relatively strong yellowish hue, a relatively strong bluish hue, and a hue with a hue between yellow and blue. Furthermore, the hue diagnostic tool 101 may be composed of four colors that are of the same hue but exhibit a relatively strong yellowish hue, a relatively slightly yellowish hue, a relatively slightly bluish hue, and a relatively strong bluish hue.

[0173] On the other hand, the color diagnostic tool 110 may be composed of three colors that exhibit the same hue, consisting of two colors from among pure colors, light clear colors, light muted colors, and medium muted colors, and one dark clear color or dark muted color. Alternatively, the color diagnostic tool 110 may be composed of three colors that exhibit the same hue, consisting of two colors from among pure colors, light clear colors, and light muted colors, and one color from among medium muted colors, dark clear colors, and dark muted colors. Alternatively, the color diagnostic tool 110 may be composed of four colors that exhibit the same hue, consisting of two colors from among pure colors, light clear colors, light muted colors, and medium muted colors, and one dark clear color or dark muted color.

[0174] Furthermore, the color diagnostic tool 110 may be composed of four colors that exhibit the same hue, consisting of two colors from among pure colors, light clear colors, and light muted colors, and two colors from among medium muted colors, dark clear colors, and dark muted colors. Alternatively, the color diagnostic tool 110 may be composed of four colors that exhibit the same hue, consisting of three colors from among pure colors, light clear colors, light muted colors, and medium muted colors, and one dark clear color or dark muted color. Alternatively, the color diagnostic tool 110 may be composed of four colors that exhibit the same hue, consisting of pure colors, light clear colors, and light muted colors, and one color from among medium muted colors, dark clear colors, and dark muted colors. Furthermore, the color diagnostic tool 110 may be configured by arranging four colors that belong to the 1.5th color system (a color system to which high-saturation and low-saturation to medium-saturation colors belong), the 3rd color system, the 4th color system, and the 5th color system, respectively, and exhibit the same hue to each other.

[0175] Furthermore, the color diagnostic tool 110 may be composed of five colors that exhibit the same hue, consisting of a pure color, a light clear color, a light muted color, a medium muted color, and a dark clear color or a dark muted color. Alternatively, the color diagnostic tool 110 may be composed of five colors that exhibit the same hue, consisting of three colors from the pure color, light clear color, light muted color, and medium muted color, and a dark clear color and a dark muted color.

[0176] Furthermore, the color diagnostic tool 110 may be composed of six colors that exhibit the same hue: pure colors, light clear colors, dark clear colors, light muted colors, medium muted colors, and dark muted colors. Alternatively, the color diagnostic tool 110 may be composed of six colors that belong to the first color system, the second color system, the third-first color system, the third-second color system, the fourth color system, and the fifth color system, respectively, and that exhibit the same hue. In this case, the third-first color system is a color system to which colors with higher lightness belong in the third color system, and corresponds to soft (sf). Also, the third-second color system is a color system to which colors with lower lightness belong in the third color system, and corresponds to grayish (g) and dull (d).

[0177] By combining the hue diagnostic tool 101 and the tone diagnostic tool 110, each with multiple colors arranged in this manner, the diagnostic tool set 100 can classify and diagnose colors that harmonize with physical characteristics into 6 to 30 types while reducing the number of steps required for diagnosis using just two diagnostic tools.

[0178] Furthermore, in each of the above embodiments, the hue diagnostic tool 101 and the tone diagnostic tool 110 are configured such that a boundary line is formed between adjacent colors based on the difference in hue or tone between adjacent colors. This allows the diagnostic tool set 100 to separate adjacent colors while maintaining a relationship in terms of hue, thereby minimizing the influence of the boundary line on the user's judgment. In addition, because adjacent colors are separated, the types of colors assigned to the hue diagnostic tool 101 and the tone diagnostic tool 110 can be clearly recognized, making it easier for the user to perform a diagnosis and enabling a personal color diagnosis that is easy for the subject to understand.

[0179] However, the hue diagnostic tool 101 and the color tone diagnostic tool 110 only need to be configured to recognize the boundaries between adjacent colors. Therefore, the hue diagnostic tool 101 and the color tone diagnostic tool 110 may be configured, for example, to separate adjacent colors with a highly visible color (such as white or black) for each of the colors in the color scheme.

[0180] Furthermore, in each of the above embodiments, the hue diagnostic tool 101 and the color tone diagnostic tool 110 were constructed by continuously forming five regions along the longitudinal direction of each diagnostic tool. However, the hue diagnostic tool 101 and the color tone diagnostic tool 110 can be constructed by continuously forming multiple regions along the width direction and the longitudinal direction of each diagnostic tool. That is, the hue diagnostic tool 101 and the color tone diagnostic tool 110 can be constructed by forming multiple regions in a grid pattern.

[0181] Furthermore, in each of the above embodiments, the user determined the base hue and harmonic tone to which the subject's personal color belongs in the personal color diagnosis, and identified and diagnosed multiple types to which the subject's personal color belongs. However, the user does not necessarily need to identify multiple types of personal color in the personal color diagnosis, and may identify only one type to which the subject's personal color belongs. Also, the user does not necessarily need to identify a personal color type in the personal color diagnosis, and may determine only the base hue and harmonic tone to which the subject's personal color belongs.

[0182] Furthermore, in the second embodiment described above, the type-specific diagnostic tool was composed of bundled drapes, each made by bundling multiple pieces of fabric, each colored with one of several colors selected from each type. However, the type-specific diagnostic tool only needs to be composed of one or more colors that symbolize each type or possess the characteristics of each type, so that it can be compared with the physical characteristics of the subject for each type. Therefore, the type-specific diagnostic tool may, for example, be composed of 25 pieces of fabric, each made by arranging one of 25 colors that belong to each of the 25 types and exhibit the same hue (for example, red), and forming them in a rectangular shape in a plan view. Alternatively, the type-specific diagnostic tool may be composed of 25 pieces of fabric, each made by arranging multiple colors belonging to each of the 25 types in a grid pattern for each type and forming them in a rectangular shape in a plan view. Diagnosis using these type-specific diagnostic tools can also be performed in the first embodiment described above.

[0183] Furthermore, in each of the above embodiments, the color chart 140 was constructed by arranging 20 colors for each type in a 4x5 grid. However, the color chart 140 only needs to present at least one color for each type, and is not limited to the above embodiments. Also, the colors to be presented can be selected as appropriate.

[0184] Furthermore, in each of the above embodiments, the diagnostic tool set 100 is configured to include a color chart 140 in addition to the hue diagnostic tool 101 and the color tone diagnostic tool 110. With this configuration, the user of the diagnostic tool set 100 can explain personal colors to the subject by showing them the color chart 140, thereby giving the subject a concrete image of the color of their personal color. However, the diagnostic tool set 100 can be configured with only the hue diagnostic tool 101 and the color tone diagnostic tool 110, omitting the color chart 140.

[0185] Furthermore, in each of the above embodiments, the hue selection step was performed by comparing the subject's physical characteristics with a neutral-based first color (103), and then comparing the subject's physical characteristics with the second color (104) and the fourth color (106), respectively. This allows for efficient determination of the subject's dominant hue. However, the hue selection step is not limited to this.

[0186] For example, the hue selection step can begin by comparing any color assigned to the hue diagnostic tool 101 with the subject's physical characteristics. In this case, if the user can predict the subject's dominant hue from their physical characteristics before starting the diagnosis, they can also begin the diagnosis using the colors (1st to 5th colors) of the hue diagnostic tool 101 that correspond to the predicted dominant hue. The same applies to the tone selection step. Alternatively, the hue selection step can also diagnose the subject's dominant hue by comparing all the colors assigned to the hue diagnostic tool 101 with the subject's physical characteristics.

[0187] Furthermore, in each of the above embodiments, the personal color diagnosis was performed on the subject by the user using the diagnostic tool set 100 (hue diagnostic tool 101, color tone diagnostic tool 110, and color chart 140). However, the personal color diagnosis may also be performed on oneself using the diagnostic tool set 100 by the subject who wants to know their own personal color. Alternatively, the personal color diagnosis may be performed without directly meeting the subject by the user using photographs, videos, or real-time images of at least the subject's face or part of their body. In this case, the user can determine colors that harmonize with the physical characteristics by applying the hue diagnostic tool 101 and color tone diagnostic tool 110 (for example, 5 cm wide x 20 cm long) to these photographs, videos, or real-time images, respectively, in the same manner as in each of the above embodiments. [Explanation of symbols]

[0188] 100... Personal color analysis kit, 101...Hue diagnostic tool, 102...Surface, 103...First hue area (first color), 104...Second hue area (second color), 105...Third hue area (third color), 106...Fourth hue area (fourth color), 107...Fifth hue area (fifth color), 110...Color tone diagnostic tool, 111...Yellowish tone diagnostic tool, 112, 122, 132...Surface, 113...1st tone area (6th color), 114...2nd tone area (7th color), 115...Third tone area (8th color), 116...4th tone area (9th color), 117...5th tone area (10th color), 121...Blue tone diagnostic tool, 123...First color domain (11th color), 124...Second tone area (12th color), 125...Third tone area (13th color), 126...Fourth tone area (14th color), 127...Fifth tone area (15th color), 131...Neutral color diagnostic tool, 133...First color domain (16th color), 134...Second tone area (17th color), 135...Third tone area (18th color), 136...4th tone area (19th color), 137...5th tone area (20th color), 140...Color chart, 141...Yellowish tone area, 142...Surface, 143...Spring color range, 144...Autumn color range, 145...Yellowish special color range, 146...Blue-based color range, 147...Summer color range, 148...Winter color range, 149...Blue-toned special color range, 150...Neutral-based color range.

Claims

1. A personal color diagnostic tool set for diagnosing colors that harmonize with the physical characteristics of a subject's body, such as skin color or texture, A hue diagnostic tool extending in a planar shape for determining the hue that forms the basis of the body color, The device comprises a color tone diagnostic tool that extends in a planar direction for determining a color tone that harmonizes with the physical characteristics according to the determined hue, The aforementioned color diagnosing tool is At least two colors that are the same hue but different in color are arranged together. The aforementioned distinct hues include a relatively yellowish hue and a relatively bluish hue. The aforementioned color tone diagnostic tool is A personal color analysis tool set characterized by having at least three colors that are of the same hue but different in tone.

2. In the personal color diagnostic tool set described in claim 1, The aforementioned color tone diagnostic tool is A personal color analysis tool set characterized by being composed of hues that are relatively between yellowish and bluish within the range of colors that humans can perceive.

3. In the personal color diagnostic tool set described in claim 1, The aforementioned color tone diagnostic tool is It consists of at least two diagnostic tools, A personal color diagnostic tool set characterized in that at least three colors assigned to each diagnostic tool are composed of either relatively yellowish hues or relatively bluish hues, respectively.

4. In the personal color diagnostic tool set described in claim 1, The aforementioned color tone diagnostic tool is It consists of three diagnostic tools. A personal color diagnostic tool set characterized in that at least three colors assigned to each diagnostic tool consist of a relatively yellowish hue, a relatively bluish hue, and a hue with a color somewhere between these two hues, respectively.

5. In the personal color diagnostic tool set described in claim 1, claim 3, or claim 4, The aforementioned color tone diagnostic tool is A personal color diagnostic tool set characterized in that the aforementioned different color tones consist of at least two tones from among pure colors, light and clear colors obtained by mixing white with pure colors, and dark and clear colors obtained by mixing black with pure colors, and muted colors obtained by mixing gray with pure colors.

6. In the personal color diagnostic tool set described in claim 1, The aforementioned color tone diagnostic tool is Each of the four colors is assigned to it. A personal color diagnostic tool set characterized in that the aforementioned distinct color tones are composed of at least four color tones from among a first color system to which high-brightness and low-saturation colors belong, a second color system to which high-brightness and medium-saturation to high-saturation colors belong, a third color system to which medium-brightness and low-saturation to medium-saturation colors belong, a fourth color system to which medium-brightness and high-saturation colors belong, and a fifth color system to which low-brightness and low-saturation to medium-saturation colors belong.

7. A method for using the personal color diagnostic tool set described in claim 1, A hue selection step involves comparing the physical characteristics of the subject with each hue of the hue diagnostic tool and selecting a hue that harmonizes with the physical characteristics among the hues of the hue diagnostic tool. A method for using a personal color diagnostic tool set, characterized by including a color selection step of comparing the aforementioned physical characteristics with each color tone of the color diagnostic tool and selecting a color tone that harmonizes with the aforementioned physical characteristics among the various color tones of the color diagnostic tool.

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