Relevant bibliographies by topics / Color

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Color'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Color"

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Rodrigues, Fabiano de Abreu. "NEUROANATOMIA DAS CORES - COLOR NEUROANATOMY." BRAZILIAN JOURNAL OF DEVELOPMENT 8, no. 1 (January 1, 2022): 2936–44. http://dx.doi.org/10.34117/bjdv8n1-193.

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A incidência de luz em determinados objetos emite diferentes freqüências e tamanhos de ondas eletromagnéticas que ao serem captadas pela retina, enviam um sinal para o córtex visual que organiza a imagem e gera uma determinada coloração, sendo assim a percepção da cor é uma interação entre ondas, olhos e cérebro. O presente artigo tem como objetivo uma revisão literária sobre o processo de captação de luz até a percepção da cor no cérebro e discorrer sobre como determinadas cores podem influenciar comportamentos.
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Upadhayay, Ranjana. "A COMPARATIVE STUDY OF COLOUR PREFERENCES TOWARDS CLOTHING AMONG YOUNG GIRLS AND BOYS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–5. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3532.

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Colour, is the visual perceptual property corresponding in human beings to the names called red, green, blue, and so on and so forth. Colours are derived from the spectrum of light, interacting in the eye with the spectral sensitivities of the light receptors. Colour categories and physical specifications are related to objects or materials based on their physical properties such as light absorption, reflection, or emission.The meanings of colors vary according to cultures and environments. Each color has many aspects which may be expressed as the language of color by understanding few concepts. Colour is a form of non-verbal communication. The perception of color stems from varying spectral sensitivity of different types of cone cells in the retina to different parts of the spectrum, and thus colors may be defined and quantified by the degree to which they stimulate these cells.The science of color is called chromatics, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials, color in art, and the physics of electromagnetic radiation in the visible range (that is, what we commonly refer to as light).
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Pridmore, Ralph W. "Complementary colors theory of color vision: Physiology, color mixture, color constancy and color perception." Color Research & Application 36, no. 6 (September 29, 2011): 394–412. http://dx.doi.org/10.1002/col.20611.

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Monica, Monica, and Laura Christina Luzar. "Efek Warna dalam Dunia Desain dan Periklanan." Humaniora 2, no. 2 (October 31, 2011): 1084. http://dx.doi.org/10.21512/humaniora.v2i2.3158.

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In daily life, color gives the spontaneous effect to psychological of people who see that color. When connected to the world of design and advertising, color could become one of the main tools to communicate the message. Therefore, the colour can conduce to increase the sales value or strengthen the image of product or corporate. Color is one of the important parts which can be an attraction of a product, artwork or design. Color provides excellence in design. Each color has difference psychological effects, so that a designer can choose and accommodate the colors with the product to be advertised. Perception of color will be different between one person to the others. It is influenced by the culture of certain countries. In some regions or countries, colors have different meanings, then it becomes the order of designers to compose colors that will be used so thatappropriate to the design that will be made.
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Jahn, Thomas Michael. "Carnap und die Farben." Zeitschrift für philosophische Forschung 75, no. 2 (June 15, 2021): 202–34. http://dx.doi.org/10.3196/004433021832831594.

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In the analytical colour debate there are currently two positions facing each other: color objectivism and color subjectivism. For color objectivists, colors are purely physical properties, whereas for color subjectivists they are phenomenal properties that are ontologically dependent on subjects. Although both positions have strong arguments, a stalemate and idleness in the debate has been evident for decades that requires explanation. In this essay I will show, on the basis of some considerations of Carnap's color view, what causes the stalemate and idleness situation structurally and how it is 'solved' after Carnap.
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Akazawa, Teruaki, Yuma Kinoshita, Sayaka Shiota, and Hitoshi Kiya. "Three-Color Balancing for Color Constancy Correction." Journal of Imaging 7, no. 10 (October 6, 2021): 207. http://dx.doi.org/10.3390/jimaging7100207.

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This paper presents a three-color balance adjustment for color constancy correction. White balancing is a typical adjustment for color constancy in an image, but there are still lighting effects on colors other than white. Cheng et al. proposed multi-color balancing to improve the performance of white balancing by mapping multiple target colors into corresponding ground truth colors. However, there are still three problems that have not been discussed: choosing the number of target colors, selecting target colors, and minimizing error which causes computational complexity to increase. In this paper, we first discuss the number of target colors for multi-color balancing. From our observation, when the number of target colors is greater than or equal to three, the best performance of multi-color balancing in each number of target colors is almost the same regardless of the number of target colors, and it is superior to that of white balancing. Moreover, if the number of target colors is three, multi-color balancing can be performed without any error minimization. Accordingly, we propose three-color balancing. In addition, the combination of three target colors is discussed to achieve color constancy correction. In an experiment, the proposed method not only outperforms white balancing but also has almost the same performance as Cheng’s method with 24 target colors.
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SAMOGOROV, Vitaly A., and Ekaterina D. KONKINA. "JOHANNES ITTEN: THE SEVEN COLOR CONTRASTS." Urban construction and architecture 11, no. 3 (December 15, 2021): 97–103. http://dx.doi.org/10.17673/vestnik.2021.03.14.

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Seven color contrasts are considered in the article; they were described in the book «The Elements of Colour» by Johannes Itt en. In the fi rst part the theory of color contrasts is perceived to be a specifi c phenomenon, which shows how the colors interact with each other. In the second part of article there is the analysis of the architectural elements based on the Itt en‘s theory of color contrasts. So, the interaction of color contrasts and their infl uence on building and its perception and forms are identifi ed by the color contrasts.
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FINLAYSON, GRAHAM D., and GUI YUN TIAN. "COLOR NORMALIZATION FOR COLOR OBJECT RECOGNITION." International Journal of Pattern Recognition and Artificial Intelligence 13, no. 08 (December 1999): 1271–85. http://dx.doi.org/10.1142/s0218001499000720.

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Color images depend on the color of the capture illuminant and object reflectance. As such image colors are not stable features for object recognition, however stability is necessary since perceived colors (the colors we see) are illuminant independent and do correlate with object identity. Before the colors in images can be compared, they must first be preprocessed to remove the effect of illumination. Two types of preprocessing have been proposed: first, run a color constancy algorithm or second apply an invariant normalization. In color constancy preprocessing the illuminant color is estimated and then, at a second stage, the image colors are corrected to remove color bias due to illumination. In color invariant normalization image RGBs are redescribed, in an illuminant independent way, relative to the context in which they are seen (e.g. RGBs might be divided by a local RGB average). In theory the color constancy approach is superior since it works in a scene independently: color invariant normalization can be calculated post-color constancy but the converse is not true. However, in practice color invariant normalization usually supports better indexing. In this paper we ask whether color constancy algorithms will ever deliver better indexing than color normalization. The main result of this paper is to demonstrate equivalence between color constancy and color invariant computation. The equivalence is empirically derived based on color object recognition experiments. colorful objects are imaged under several different colors of light. To remove dependency due to illumination these images are preprocessed using either a perfect color constancy algorithm or the comprehensive color image normalization. In the perfect color constancy algorithm the illuminant is measured rather than estimated. The import of this is that the perfect color constancy algorithm can determine the actual illuminant without error and so bounds the performance of all existing and future algorithms. Post-color constancy or color normalization processing, the color content is used as cue for object recognition. Counter-intuitively perfect color constancy does not support perfect recognition. In comparison the color invariant normalization does deliver near-perfect recognition. That the color constancy approach fails implies that the scene effective illuminant is different from the measured illuminant. This explanation has merit since it is well known that color constancy is more difficult in the presence of physical processes such as fluorescence and mutual illumination. Thus, in a second experiment, image colors are corrected based on a scene dependent "effective illuminant". Here, color constancy preprocessing facilitates near-perfect recognition. Of course, if the effective light is scene dependent then optimal color constancy processing is also scene dependent and so, is equally a color invariant normalization.
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Levine, Joseph. "Color and Color Experience: Colors as Ways of Appearing." dialectica 60, no. 3 (September 2006): 269–82. http://dx.doi.org/10.1111/j.1746-8361.2006.01056.x.

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Koo, Bonseok, and Youngshin Kwak. "Color appearance and color connotation models for unrelated colors." Color Research & Application 40, no. 1 (November 15, 2013): 40–49. http://dx.doi.org/10.1002/col.21857.

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Dissertations / Theses on the topic "Color"

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Gatzia, Dimitria Electra. "Color fictionalism: color discourse without colors /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1398609521&sid=2&Fmt=2&clientId=3739&RQT=309&VName=PQD.

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Kwok, Pui-yan Veronica, and 郭沛殷. "Learning new color names produces lateralized categorical color perception: a training study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B49858592.

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Previous behavioral and neuroimaging findings (Drivonikou, et al., 2007; Gilbert, et al., 2006; Tan, et al., 2008; Siok, et al., 2009) indicate that reaction times to targets in visual search are faster in the right than the left visual field when the target and distractor colors straddle a category boundary. This phenomenon is known as the lateralized categorical color perception, which supports the weaker form of Whorf’s hypothesis that linguistic information shapes color perception. Yet, these studies did not demonstrate a definite cause and effect relation between language and perception. The observed lateralized category effect of color perception may either rely on the individual’s innate color categories or his linguistic experience. In the present study, we used an intensive training method to study categorical perception (CP) of color. We aimed to show a definite causal relation between language and perception. In Experiment 1, 37 native Mandarin speakers were tested with a color discrimination task. We taught 20 participants four new linguistic items for the four stimulus colors which were initially from the same lexical category (two blues and two greens) whilst other participants did not learn any new color names. Performances between the two groups were compared before and after training. Experiment 2 was based on Zhou et al.’s (2010) behavioral study, in which we used the same training procedure and measured and contrasted 19 participants’ brain structure before and after training. In experiment 1, participants exhibited lateralized Whorf effect when performing the visual search task at the pre-training phase. After training, the experimental group successfully acquired the new color names, reflected by overall shorter reaction time and higher task accuracy, while the control group did not show significant difference in the performance across two phases. The improved performance of experimental group implicated that the newly learned categories altered participants’ color perception pattern. However, we failed to show lateralized Whorf effect at the post-training phase due to several experimental flaws. In Experiment 2, gray matter density is found to increase in color region of the left visual cortex after a short-term training (less than two hours). The data provided strong structural evidence for newly-learned categorical color perception and also suggested structural plasticity of the human brain. The results from this study indicate that language experience shapes perception, both functionally and structurally, after a period of learning that is much shorter than previously established (Draganski, 2004; Carreiras, et al., 2009; Trachtenberg, 2002).
published_or_final_version
Linguistics
Master
Master of Philosophy
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Wransky, Michael E. "True Color Measurements Using Color Calibration Techniques." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1438966992.

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Gadia, D. "Color in context and spatial color computation." Doctoral thesis, Università degli Studi di Milano, 2007. http://hdl.handle.net/2434/26272.

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The purpose of this dissertation is to contribute in the field of spatial color computation models.We begin introducing an overview about different approaches in the definitionof computational models of color in digital imaging. In particular, we present a recent accurate mathematical definition of the Retinex algorithm, that lead to the definition of a new computational model called Random Spray Retinex (RSR). We then introduce the tone mapping problem, discussing the need for color computation in the implementation of a perceptual correct computational model. At this aim we will present the HDR Retinex algorithm, that addresses tone mappingand color constancy at the same time. In the end, we present some experiments analyzing the influence of HDR Retinex spatial color computation on tristimulus colors obtained using different Color Matching Functions (CMFs) on spectral luminance distribution generated by a photometric raytracer.
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Yuk, Ka Man. "Color demosaicking for the Bayer color filter array /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?ECED%202007%20YUK.

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FREDRIKSSON, TOMAS, and SARA STRÖM. "Color Sorting Robot : Sorting algorithm by color identification." Thesis, KTH, Maskinkonstruktion (Inst.), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-191217.

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Efficiency and automatization can be improved in several ways. The focus in this report has been working with color identification and creating a smart robot. A simple robotic arm is used to apply the color sorting to a physical system. This model evaluates how well a robotic arm can sort different objects using a predefined color identification algorithm. A demonstrator was built to perform tests for sorting speed and color identification. The robotic arm can sort a predefined shaped and sized object in 15,36 seconds. The color identification is sensitive to external factors and does not necessarily return the right RGB-value depending on lightning and brightness. The R-value often has the largest error. To further improve the color sorting robot, another color identification method could be tested, other motor types should be incorporated and a more precise sensor should be implemented.
Förbättringar inom effektivisering och automatisering kan göras på många olika sätt, och i den här rapporten har en metod med färgidentifiering arbetats fram för att skapa en smart robot. En enkel robotarm används för att applicera den fysiska tillämpningen av systemet samtidigt som själva färgsorteringen utgörs av en minidator. Denna modell utvärderar hur en robotarm med hjälp av en färgidentifieringsalgoritm kan sortera olika objekt. Resultatet visar att robotarmen kan sortera det bestämda objektet på 15,36 sekunder. Färgidentifieringen är dock känslig mot externa faktorer, såsom ljus och exempelvis blanka ytor. Programmet ger nödvändigtvis inte ’rätt’ RGB-värde, beroende på dessa externa faktorer. Det är ofta R-värdet som ger det största felet. För att förbättra färgsorteringsroboten, skulle en annan färgsortertingsmetod kunna testas, motortypen kan bytas ut, samt en mer precis sensor skulle kunna implementeras.
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Wang, Bin. "Augmenting Communication through Color: Color and Healthy Dining." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1588762911366207.

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Lim, Michael Gerald Go. "A study on understanding the use of process color-based color communication systems to print synthetic colors accurately and consistently /." Online version of thesis, 1994. http://hdl.handle.net/1850/11884.

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Wang, Sifan. "Urban color." Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-254651.

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Clifford, Ross William. "Lonely Color." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2370.

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This collection is representative of the studies I have completed during my time in the MFA program. Poetry workshops and seminars on prosody, translation, fragmentation, and constraint-based writing have contributed to the creation of this project. Thematically, my work is largely concerned with identity, the relationship between the external world and internal experiences, and perception. It attempts to capture something of the epiphanic, those rare moments when the ordinary becomes ineffable.
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Books on the topic "Color"

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Ruth, Heller. Color color color color. New York: Grosset & Dunlap, 1995.

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Ruth, Heller. Color, color, color, color. New York: Puffin Books, 1999.

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Ruth, Heller. Color, color, color, color. New York: Putnam & Grosset, 1995.

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Kenkyūjo, Nihon Karā Dezain, ed. Book of colors: Matching colors, combining colors, color designing, color decorating. Tokyo: Kodansha International, 1987.

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Niz, Ellen Sturm. Color. Mankato, Minn: Capstone Press, 2006.

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Lamouline, Roger. Voir, nommer et figurer les couleurs: Du cercle de Newton aux pixels tricolores. Méolans-Revel: Atelier Perrousseaux, 2006.

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Burner, Alan McManus. Color choreography: Foundational studies, investigations, and discourse in color theory. 4th ed. Mason, OH, USA: Cengage Learning, 2008.

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Yates, Irene. All about color. New York: Benchmark Books, 1998.

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Rodríguez, Eulalio Ferrer. Los lenguajes del color. México: Instituto Nacional de Bellas Artes, 1999.

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Agnello, Marialaura. Semiotica dei colori. Roma: Carocci, 2013.

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Book chapters on the topic "Color"

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Fortner, Brand, and Theodore E. Meyer. "Defining Colors—Color Models." In Number by Colors, 119–46. New York, NY: Springer New York, 1997. http://dx.doi.org/10.1007/978-1-4612-1892-0_6.

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Diebold, Michael, Steven De Backer, Philipp M. Niedenzu, Brett R. Hester, and Frank A. C. Vanhecke. "Color 1—Seeing Color." In Pigments, Extenders, and Particles in Surface Coatings and Plastics, 159–93. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99083-1_5.

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Diebold, Michael, Steven De Backer, Philipp M. Niedenzu, Brett R. Hester, and Frank A. C. Vanhecke. "Color 2—Measuring Color." In Pigments, Extenders, and Particles in Surface Coatings and Plastics, 195–237. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99083-1_6.

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Etzrodt, Günter. "Color and Color Measurement." In Industrial Coloration of Plastics, 5–12. München: Carl Hanser Verlag GmbH & Co. KG, 2022. http://dx.doi.org/10.3139/9781569908532.002.

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Ravitz, Jeff, and James L. Moody. "Color and Color Temperature." In Lighting for Televised Live Events, 33–46. First edition. | New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429288982-7.

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Etzrodt, Günter. "Color and Color Measurement." In Industrial Coloration of Plastics, 5–12. München, Germany: Carl Hanser Verlag GmbH & Co. KG, 2022. http://dx.doi.org/10.1007/978-1-56990-853-2_2.

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Devonis, David C. "Color and Skin Color." In Exploring Cross-Cultural Psychology, 65–68. 2nd ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003300380-27.

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Salomon (emeritus), David. "Color." In Texts in Computer Science, 975–1003. London: Springer London, 2011. http://dx.doi.org/10.1007/978-0-85729-886-7_21.

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Blankenbach, Karlheinz. "Color." In Handbook of Visual Display Technology, 3111–34. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-14346-0_144.

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Beyerer, Jürgen, Fernando Puente León, and Christian Frese. "Color." In Machine Vision, 163–202. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-47794-6_5.

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Conference papers on the topic "Color"

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Boynton, Robert M. "Color naming and large color differences." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1988. http://dx.doi.org/10.1364/oam.1988.mh2.

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Color perception is categorical. Although many words for describing colors have been invented and used, there are only eleven basic color terms that are unambiguously employed to describe more than a million discriminably different colors. The 424 samples of the OSA Uniform Color Scales set are intended to sample 3-D subjective color space uniformly. A given distance in this space is, therefore, intended to represent the same number of discriminable steps of color difference, whatever the starting point or direction of measurement. Each basic color term describes a region of subjective color space, with variable exactness rather than a point. Using systematic monolexemic color naming of the OSA samples, we have confirmed the special status of the basic colors and have determined the locations of their centroids and the extents of overlapping regions in standard conditions. The method, which has the dual advantages of requiring no training of subjects or use of comparison stimuli, has been used successfully to examine color constancy, color rendering, color blindness, cultural differences, and color perception in very young children.
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Zhai, Nan, Xiaojun Liu *, and Miaomiao Zhou. "Color Laws and User Preferences in Product Color Design." In Human Systems Engineering and Design (IHSED 2021) Future Trends and Applications. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe1001161.

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Morandi colors are popular in architecture, home furnishing, clothing, and other applications. The laws of Morandi colors will be summarized in this paper, at the same time, its color matching is applied to the design of products to explore the factors affecting user preferences. Morandi colors of different hues have medium and low saturation and lightness. Also, the color matching is harmonious, which can bring people comfortable and pleasant visual feelings. Furthermore, Morandi colors on products of modern, elegant, and exquisite visual characteristics are the factors of user preferences, and the color matching can satisfy the basic requirements of function, interaction, and safety. The results can provide guidance for the application of Morandi colors in product design.
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Chan, Eric, Shen-ge Wang, and Nicholas George. "Color fidelity in digital printout." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1990. http://dx.doi.org/10.1364/oam.1990.thdd2.

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Using halftone techniques and additive color mixture notions, we have implemented different ways to obtain colors matching CIE specifications from hard-copy color printing devices. We also report on our similar studies for matching colors to the Optical Society of America uniform color scales. The range of color reproduction is obtained by determining the tristimulus values of the color primaries. As long as the given color is within this color reproduction range, it can be reproduced by selecting the proper color primaries and the required amount of each primary. For colors outside the color reproduction range, we compare different ways to make the closest match. We performed experiments in which we used a thermal-wax-print color image printer that was calibrated by a precision spectrophotometer. We describe the error in matching colors quantitatively in units of "just-noticeable differences."
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Uchikawa, Keiji. "Categorical Characteristics of Color Discrimination in Memory." In Advances in Color Vision. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/acv.1992.sac1.

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Colors can be systematically represented, based on their appearance, in a three-dimensional color space. They change continuously in any direction in the color apace so that we could discriminate a million of colors when two color are simultaneously compared in juxtaposed fields. It is unlikely, however, that we can utilize so many colors in our everyday situations where some color memory seems to be necessarily involved.1-5 Color appearance may not be precisely retained in memory, and colors may be categorically organized in memory.6,7,8 In the present paper, I will focus on color discrimination or identification tasks using memory. Some of our recent studies, which indicate categorical influences on color discrimination in memory, are described here.
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Wu, Duan, Peng Gao, and Ying Zhang. "Optimization of the Emergency Evacuation Sign's Color Cognition for Users with Color Vision Deficiency." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001607.

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Color has the characteristics of fast reading and fast recognition, with this reason, information in environments needs color to help fast communication, especially in the situation of emergency evacuation. The colour and graphic symbols on emergency evacuation signs(EES) help direct people to safety and provide emergency information quickly.(Barry Gray. 2012)But according to statistics, about 8% of the world population are suffered by color vision deficiency（CVD）. While they are not resolved all colors, just easy to confuse some color. Today, different countries or organizations have different standard for EES, and many research shows, the color recognition of EES still has the phenomenon of uneven benefits of different groups of people, which means there are significant differences in the color recognition efficiency of EES between CVD and normal vision groups, especially deuteranomalous vision group (G, Landini, G. Perryer.2009).While the appropriate color selection can substantially improve CVD groups’ color recognition and at the same time not affecting the normal users’ color recognition rate. Therefore, to explore appropriate EES color design optimization for the CVD population has the social and scientific significance.With this background, this research intends to study the EES color recognition of CVD people and try to build optimize EES color model for this group of users. The research start with different selections of EES color standard among countries and organizations. Through the comparison of these standard colors, some color samples are sorted out with the help of the recognition models of CVD people. Then totally 57 CVD people participated the research as experimental volunteers to test the recognition of selected samples. The final ranking of samples were influenced by both the color hue and also the color lightness contrast between EES background and the icon or text. The objective of the research is to build a more inclusive practical color model for improving EES and other safety sign design. The result of this research could assist color design optimization and help the EES design to select appropriate color, without affecting the recognition rate of normal color vision people, while greatly improving the recognition of CVD group. The research conforms to the design thinking of universal design, inclusive design and human-centred design. The results could be used to optimize or review EES and other signage color design, could also apply to other visual information communication field.
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Post, David L., and Christopher S. Calhoun. "Color-Name Boundaries for Color Coding." In Applied Vision. Washington, D.C.: Optica Publishing Group, 1989. http://dx.doi.org/10.1364/av.1989.pd1.

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One of the main problems that arises when designing color codes for electronic visual displays involves color selection. The colors must be distinctive and immediately recognizable as corresponding with the color names they represent. Otherwise, their meanings may be ambiguous, thereby defeating the code's purpose. We are approaching this problem by mapping the relationship between location on the CIE 1976 uniform chromaticity-scale (UCS) diagram and population stereotypes for color naming. This information should simplify the color selection process by helping the designer avoid, for example, specifying a "red" that actually appears orange. Thus, our project can be characterized as an attempt to improve on the Kelly (1943) color boundaries and is similar with an earlier effort by Haeusing (1976). It is also related to Boynton and Olson's (1987) work on focal colors. This paper describes our method, provides an overview of six experiments we have performed, and shows some representative results.
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Nemcsios, Antal. "Color Space of Coloroid Color System." In Color Appearance. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/ca.1987.ma7.

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The Coloroid colour space has been developed relying on results of harmony threshold tests on over 70 thousand subjects. Comparison of the Coloroid colour atlas representing its colour space, and of the colour sortiment of the Munsell colour atlas points out theoretically describable differences between both colour spaces.
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Shevell, Steven K. "Color Appearance: The Roles of Chromatic Adaptation and Contrast." In Color Appearance. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/ca.1987.mb1.

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The color appearance of a particular light is very difficult to specify. The perceptual attributes of color vision — hue, saturation and brightness — are determined by both the light itself and the characteristics of other lights nearby. This has been known for nearly 150 years (Chevreul, 1839) but remains a fundamental problem in color vision. A related observation is that lights perceived as distinctly different colors when viewed in isolation can appear the same color when presented in a complex stimulus field. Thus by varying adaptation and contrast, (1) a single light can appear many different colors and (2) a single color percept can be achieved with various lights that appear different from each other when seen alone.
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Xiaoxiong, Wang, Wu Jinchun, and Wang Haiyan. "The influence of color on web page complexity and color recommendation." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001721.

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The complexity of a web page has a great influence on the user's understanding and comprehension. There are many factors that can affect page complexity, such as color, block number, number of texts, etc. Color is not only a factor that affects complexity, but also a factor that attracts the user's attention most on the page. Previous studies on color mainly focused on the basic attributes, such as hue, purity and brightness. However, there were few studies that utilized quantitative calculation methods to evaluate color complexity and webpage color matching calculation. Thus, the present study is set out to explore the impact of colors on page complexity, considering three main factors: the number of colors, color area and color ranges. In order to determine the upper limit of the number of colors for page complexity, a polit study was carried out using webpages as an example, then experiment was conducted within this number of colors to explore the most comfortable color area and color distance matching. The result revealed that: If the number of color is less than six, it will not feel very complicated. The average color area value of the entire web page should vary between 200-1100 pixels (assuming the area of each pixel is 1), the recommended color range is between 0.5-1. Finally, we proposed a page complexity calculation formula including the above three elements which are used as independent variables to calculate the page complexity value. Color matching of webpage can be recommended within this range. The complexity of the matching page obtained in this way is relatively moderate, and it looks comfortable and concise for users. The formula of this article can evaluate the complexity of existing pages, certainly it can also be utilized to develop a set of color complexity calculation model.
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Vasiljević-Tomić, Dragana. "Color value: Multidiscipline." In Ekološko inženjerstvo - mesto i uloga, stanje i budući razvoj (16). Union of Engineers of Belgrade, 2024. http://dx.doi.org/10.5937/eko-eng24019v.

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The value that color possesses operates in three distinct but overlapping categories of human activity: aesthetic, economic, and social. The value related to the visual quality of color - its hues and tones - is evoked in aesthetic and historical art discourse. Colors have developed several vocabularies that describe the visual impact of color. This type of value finds expression in definitions such as "the lightness or darkness of a color - giving hues and shades relative to black and white." Another type of value attributed to color is economic value: the labor, capital, and expertise invested in the production, circulation, and application of pigments and dyes in the production of colored objects that are consumed as commodities within historically specific systems of economic exchange and distribution. The ultimate value of color, however, is given by multiple and sometimes conflicting social, religious and cultural codes, which determine the value of color as an aesthetic property and as a desirable commodity. Also, the social and cultural meanings related to the range of colors, which are reflected in different cultures and historical periods, define the values and functions of colors within the framework of semiotic codes that are a response to the needs of the specific times and places in which they were created.
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Reports on the topic "Color"

1

Perschau, Stephen. Color Facsimile. Fort Belvoir, VA: Defense Technical Information Center, January 1996. http://dx.doi.org/10.21236/ada324893.

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Clifford, Ross. Lonely Color. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2367.

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Chen, Tie Q., Yi L. Murphey, Robert Karlsen, and Grant Gerhart. Color Image Segmentation in the Color and Spatial Domains. Fort Belvoir, VA: Defense Technical Information Center, January 2002. http://dx.doi.org/10.21236/ada458211.

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Cho, Sunhyung. Depth of Color. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-254.

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Fryer, Roland, Glenn Loury, and Tolga Yuret. Color-Blind Affirmative Action. Cambridge, MA: National Bureau of Economic Research, November 2003. http://dx.doi.org/10.3386/w10103.

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Ridgway, Jessica L. Color Hearing: Bridal Chorus. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-241.

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Chan, Jocelyn, and Dong-Eung Kim. A Pull of Color. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-686.

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Stevens, Daniel. Color in salt glaze. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.561.

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Fox, Brian E. Full color laser television. Office of Scientific and Technical Information (OSTI), January 2000. http://dx.doi.org/10.2172/761030.

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Klimley, S. The color of geologic data: using color computer images to display data. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/193910.

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