Journal articles: 'Color computer graphics'

1

Robertson, P., and J. Schonhut. "Color in Computer Graphics." IEEE Computer Graphics and Applications 19, no. 4 (July 1999): 18–19. http://dx.doi.org/10.1109/mcg.1999.773960.

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Zajec, Edward. "Computer Graphics: Color-Based Time." Leonardo 19, no. 1 (1986): 39. http://dx.doi.org/10.2307/1578300.

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MacDonald, L. W. "Using color effectively in computer graphics." IEEE Computer Graphics and Applications 19, no. 4 (1999): 20–35. http://dx.doi.org/10.1109/38.773961.

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Brewer, Cynthia A. "Interactive Color: A Guide for Color in Computer Graphics." Cartographic Perspectives, no. 12 (March 1, 1992): 7–9. http://dx.doi.org/10.14714/cp12.1029.

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MASUDA, Yutaka. "Automobil Color Design System by Computer Graphics." Journal of the Japan Society of Colour Material 69, no. 12 (1996): 801–9. http://dx.doi.org/10.4011/shikizai1937.69.801.

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Lindbloom, Bruce J. "Accurate color reproduction for computer graphics applications." ACM SIGGRAPH Computer Graphics 23, no. 3 (July 1989): 117–26. http://dx.doi.org/10.1145/74334.74345.

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Rougeron, Gilles, and Bernard Péroche. "Color Fidelity in Computer Graphics: a Survey." Computer Graphics Forum 17, no. 1 (March 1998): 3–15. http://dx.doi.org/10.1111/1467-8659.00212.

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Meyer, G. W., and D. P. Greenberg. "Color-defective vision and computer graphics displays." IEEE Computer Graphics and Applications 8, no. 5 (September 1988): 28–40. http://dx.doi.org/10.1109/38.7759.

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Satou, Yoshimasa, Hideyuki Shimada, Mitsuru Shiono, and Yoshiya Miyagaki. "Computer Graphics. Computer Graphics Representation of Deformation and Color Change in Objects during Combustion." Journal of the Institute of Image Information and Television Engineers 55, no. 7 (2001): 1026–34. http://dx.doi.org/10.3169/itej.55.1026.

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Erickson, Austin, Kangsoo Kim, Alexis Lambert, Gerd Bruder, Michael P. Browne, and Gregory F. Welch. "An Extended Analysis on the Benefits of Dark Mode User Interfaces in Optical See-Through Head-Mounted Displays." ACM Transactions on Applied Perception 18, no. 3 (July 31, 2021): 1–22. http://dx.doi.org/10.1145/3456874.

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Light-on-dark color schemes, so-called “Dark Mode,” are becoming more and more popular over a wide range of display technologies and application fields. Many people who have to look at computer screens for hours at a time, such as computer programmers and computer graphics artists, indicate a preference for switching colors on a computer screen from dark text on a light background to light text on a dark background due to perceived advantages related to visual comfort and acuity, specifically when working in low-light environments. In this article, we investigate the effects of dark mode color schemes in the field of optical see-through head-mounted displays (OST-HMDs), where the characteristic “additive” light model implies that bright graphics are visible but dark graphics are transparent . We describe two human-subject studies in which we evaluated a normal and inverted color mode in front of different physical backgrounds and different lighting conditions. Our results indicate that dark mode graphics displayed on the HoloLens have significant benefits for visual acuity and usability, while user preferences depend largely on the lighting in the physical environment. We discuss the implications of these effects on user interfaces and applications.

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Eguchi, Y. "The color correction of printer for computer graphics." IEEE Transactions on Consumer Electronics 34, no. 3 (1988): 523–29. http://dx.doi.org/10.1109/30.20149.

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Bratkova, Margarita, Solomon Boulos, and Peter Shirley. "oRGB: A Practical Opponent Color Space for Computer Graphics." IEEE Computer Graphics and Applications 29, no. 1 (January 2009): 42–55. http://dx.doi.org/10.1109/mcg.2009.13.

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Wang, Ying. "Research on the Visual Communication Design Based on Technology of Computer Graphics." Advanced Materials Research 846-847 (November 2013): 1064–67. http://dx.doi.org/10.4028/www.scientific.net/amr.846-847.1064.

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with the rapid development of computer technology, it has become the hot research topic of the current visual communication design that the color, graphics and image information of the visual information can use computer technology to make the pertinence design creation. First of all, this paper analyzes the spatial characteristics of the computer graphics technology. On this basis, the color transformation model is analyzed which is essential in the computer graphics and visual design. In addition, this paper also makes an empirical analysis on the application and function of computer graphics technology in the visual communication design in the form of a case. Finally, it is obtained that computer image technology not only has a significant importance in the design of visual communication, to some extent, but provides a theoretical basis and technical support for the study in this field.

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Kargon, Jeremy. "The Logic of Color: Theory and Graphics in Christine Ladd-Franklin's Explanation of Color Vision." Leonardo 47, no. 2 (April 2014): 151–57. http://dx.doi.org/10.1162/leon_a_00517.

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In the years after 1870, two theories of color vision vied for primacy: the “trichromatic” theory and a four-color theory, also known as an “opponent” theory of color vision. Among scientists who participated in this debate, mathematician Christine Ladd-Franklin (1847–1930) made special use of graphics as a rhetorical template for reasoning and explanation. Her later work included figures modeled upon novel graphic representations of logical relationships to describe chemical reactions fundamental to visual processes. These and other illustrations demonstrate, in retrospect, how innovation in graphic notation can underlie shifts in the practice and perception of science.

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Zhao, Nanxuan, Quanlong Zheng, Jing Liao, Ying Cao, Hanspeter Pfister, and Rynson W. H. Lau. "Selective Region-based Photo Color Adjustment for Graphic Designs." ACM Transactions on Graphics 40, no. 2 (April 27, 2021): 1–16. http://dx.doi.org/10.1145/3447647.

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When adding a photo onto a graphic design, professional graphic designers often adjust its colors based on some target colors obtained from the brand or product to make the entire design more memorable to audiences and establish a consistent brand identity. However, adjusting the colors of a photo in the context of a graphic design is a difficult task, with two major challenges: (1) Locality: The color is often adjusted locally to preserve the semantics and atmosphere of the original image; and (2) Naturalness: The modified region needs to be carefully chosen and recolored to obtain a semantically valid and visually natural result. To address these challenges, we propose a learning-based approach to photo color adjustment for graphic designs, which maps an input photo along with the target colors to a recolored result. Our method decomposes the color adjustment process into two successive stages: modifiable region selection and target color propagation. The first stage aims to solve the core, challenging problem of which local image region(s) should be adjusted, which requires not only a common sense of colors appearing in our visual world but also understanding of subtle visual design heuristics. To this end, we capitalize on both natural photos and graphic designs to train a region selection network, which detects the most likely regions to be adjusted to the target colors. The second stage trains a recoloring network to naturally propagate the target colors in the detected regions. Through extensive experiments and a user study, we demonstrate the effectiveness of our selective region-based photo recoloring framework.

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Wells, S. C., G. J. Williamson, and S. E. Carrie. "Dithering for 12-bit true-color graphics." IEEE Computer Graphics and Applications 11, no. 5 (September 1991): 18–29. http://dx.doi.org/10.1109/38.90564.

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You, Fu Cheng, and Hao Chen Wang. "Graphics Development of Fractal Tree Based on E-Learning." Applied Mechanics and Materials 380-384 (August 2013): 2292–96. http://dx.doi.org/10.4028/www.scientific.net/amm.380-384.2292.

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In computer graphic, conventional method often uses the fixed graphics in single color to introduce the design of fractal tree graphics, which makes students feel difficult to understand. In order to solve this problem, in this paper a new environment of fractal tree graphics base on E-learning is proposed, development of which is also introduced in detail. In this learning environment, the iterated depth of fractal tree graphics, and the changing angle of branch can be increased and decreased. In increasing process, the fractal limitation or fixed point can be seen clearly. In this new learning environment, students can easily grasp the fractal graphics definition and the programming procedure of fractal graphics, and understand the generation procedure and structure of fractal tree graphics. Therefore, it can arouse the students interests and attracts their attentions in the course of learning.

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Tashima, Hideki. "A Color Reproduction Method in Monochromatic Lighting for Computer Graphics." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 80, no. 8 (1996): 516–26. http://dx.doi.org/10.2150/jieij1980.80.8_516.

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Zajec, Edward. "Orphics: Computer Graphics and the Shaping of Time with Color." Leonardo. Supplemental Issue 1 (1988): 111. http://dx.doi.org/10.2307/1557920.

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SAITO, Kaoru, and Yoichi KUMAGAI. "Development of color computer graphics system for visual simulation technic." Journal of the Japanese Institute of Landscape Architects 51, no. 5 (1987): 257–62. http://dx.doi.org/10.5632/jila1934.51.5_257.

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Arden, Geoffrey, Kemal G�nd�z, and Scott Perry. "Color vision testing with a computer graphics system: Preliminary results." Documenta Ophthalmologica 69, no. 2 (June 1988): 167–74. http://dx.doi.org/10.1007/bf00153698.

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Thomson, Ellen Mazur. "Nineteenth Century Color Printing for Visual Instruction." Design Issues 38, no. 2 (2022): 64–79. http://dx.doi.org/10.1162/desi_a_00682.

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Abstract Books with color illustrations were once rare and costly, but during the nineteenth century advances in color printing technology allowed publishers to include color more frequently. At the same time teachers and government officials attempted to employ graphic displays to facilitate understanding of often abstract or invisible concepts or to show data in a form that could more easily be grasped and retained. The use of color enhanced these endeavors. Dating from 1847 to 1876, the four books discussed here were selected because their authors deliberately chose to replace the written word with color graphics to provide instruction in the sciences and social sciences.

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Kotani, Kazunori. "Fundamentals and Application of Color Image Processing Technology; (9) Color Reproduction in Computer Graphics." Journal of the Institute of Television Engineers of Japan 47, no. 9 (1993): 1216–24. http://dx.doi.org/10.3169/itej1978.47.1216.

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Osadcha, Kateryna, and Victoriia Baluta. "The influence of modern trends in digital art on the content of training in computer graphics and digital design." Ukrainian Journal of Educational Studies and Information Technology 9, no. 1 (March 31, 2021): 1–12. http://dx.doi.org/10.32919/uesit.2021.01.01.

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The development of digital technologies leads to a variety of pictorial arts. With the advent of computer technology and communication technologies, areas such as computer graphics, computer and digital design, and phenomena such as digital art have emerged. The article analyzes these concepts, which provided an opportunity for further study. Based on the analysis of Internet resources on digital art, the following main trends are identified: virtual art, 3D printing, open source software, art of artificial intelligence, a combination of 2D animation and modern technologies, 3D painting, UX / UI design, game design, concept art and character design. Examples of reflection these tendencies in modern art are given. Given the selected trends, it is shown how they affect the content of training in computer graphics and digital design for students of the educational program "Digital Design" (list of compulsory and optional educational components, the content of educational practice). It is noted that to successfully work with computer graphics, students need to master traditional knowledge of pictorial arts (the concept of composition, color, perspective, proportions, shadows) and the ability to use them to create digital products using computer programs (2D graphic editors and 3D graphics) and digital technology (graphics tablet, personal and personal computer, projection equipment, camera, devices for VR and AR reality, scanner and printer, including 3D scanner and 3D printer).

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Chen, Sun. "Water Pollution Simulation over a River Basin Using a Computer Graphic Model." Water Science and Technology 24, no. 6 (September 1, 1991): 101–8. http://dx.doi.org/10.2166/wst.1991.0145.

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A Computer Graphic Model (CGM) was realized on a personal computer for the purpose of river water pollution simulation and planning. With the aid of common software AutoCAD, a color map of a complex river system was established and a suite of graphic symbol blocks such as pollution source, water intake, wastewater treatment plant etc. was designed to fit the needs of basin pollution management and planning. A person can insert, move/remove or modify these symbol blocks in the CGM of the river basin freely. While a new idea is confirmed, a simulation program POLSIM (written with AutoLISP) can be started which redraws the river with different width and color by the mean flow quantity and water quality. The result of a case study and a group of photographs is presented. The methodology of CGM makes the planning process of basin water pollution control easier, visual and interactive. CGM is a friendly tool to link the decision maker, planner and system analyst with active graphics.

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Chaparro, Alex, and Maria Chaparro. "Applications of Color in Design for Color-Deficient Users." Ergonomics in Design: The Quarterly of Human Factors Applications 25, no. 1 (November 15, 2016): 23–30. http://dx.doi.org/10.1177/1064804616635382.

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Color vision deficiency is common, affecting one in every 12 men. Despite its prevalence, displays are seldom designed to accommodate color-vision-deficient (CVD) users, who confront daily challenges interpreting color in a broad range of applications, whether weather displays, informational graphics, road signs, or computer interfaces. In this article we discuss the prevalence of color deficiency, its effects, and the availability of tools that enable design teams to evaluate candidate solutions that meet the needs of CVD users, thereby ensuring universal accessibility.

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Xia, Menghan, Wenbo Hu, Tien-Tsin Wong, and Jue Wang. "Disentangled Image Colorization via Global Anchors." ACM Transactions on Graphics 41, no. 6 (November 30, 2022): 1–13. http://dx.doi.org/10.1145/3550454.3555432.

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Colorization is multimodal by nature and challenges existing frameworks to achieve colorful and structurally consistent results. Even the sophisticated autoregressive model struggles to maintain long-distance color consistency due to the fragility of sequential dependence. To overcome this challenge, we propose a novel colorization framework that disentangles color multimodality and structure consistency through global color anchors, so that both aspects could be learned effectively. Our key insight is that several carefully located anchors could approximately represent the color distribution of an image, and conditioned on the anchor colors, we can predict the image color in a deterministic manner by utilizing internal correlation. To this end, we construct a colorization model with dual branches, where the color modeler predicts the color distribution for anchor color representation, and the color generator predicts the pixel colors by referring the sampled anchor colors. Importantly, the anchors are located under two principles: color independence and global coverage, which is realized with clustering analysis on the deep color features. To simplify the computation, we creatively adopt soft superpixel segmentation to reduce the image primitives, which still nicely reserves the reversibility to pixel-wise representation. Extensive experiments show that our method achieves notable superiority over various mainstream frameworks in perceptual quality. Thanks to anchor-based color representation, our model has the flexibility to support diverse and controllable colorization as well.

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Dryden, Kelly A. "A Computer Graphic Method to Enhance the Display and Interpretation of Three-Dimensional Data." Proceedings, annual meeting, Electron Microscopy Society of America 48, no. 1 (August 12, 1990): 540–41. http://dx.doi.org/10.1017/s0424820100181452.

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Three-dimensional density information derived from electron micrographs may reveal complex structural features which are difficult to interpret from one or more two-dimensional views. Displaying a series of static views on a graphics device in quick succession provides an effective means to examine the structure dynamically and in a way which enhances the depth perception.Digital images derived from three-dimensional models are transfered to the memory of a 1280x1024 resolution (8-bit pixel) color raster graphics device (Lexidata 3400, Adage Inc., Billerica, MA) and displayed on a 19 in. color monitor at a 25-30 Hz interlaced refresh rate. Individual pixels are displayed as one of 256 different colors or grey levels from a palette of up to 224—1 combinations. An entire series of images is loaded into the graphics memory in a sequential order, usually in rows. The displayed series is zoomed up to focus on a single frame and separate frames are displayed in appropriate sequence by panning to different regions of the graphics memory. The frequency at which each frame can be displayed is adjustable and only limited by the refresh rate of the monitor. Such dynamic image sequences can be photographed with a standard video camera and replayed on a television monitor with a video cassette recorder. The programs for displaying image data are written in FORTRAN and have been implemented on a VAX/VMS 8550 minicomputer (Digital Equipment Corp., Maynard, MA).

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YANG, RUIGANG, MARC POLLEFEYS, HUA YANG, and GREG WELCH. "A UNIFIED APPROACH TO REAL-TIME, MULTI-RESOLUTION, MULTI-BASELINE 2D VIEW SYNTHESIS AND 3D DEPTH ESTIMATION USING COMMODITY GRAPHICS HARDWARE." International Journal of Image and Graphics 04, no. 04 (October 2004): 627–51. http://dx.doi.org/10.1142/s0219467804001579.

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We present a new method for using commodity graphics hardware to achieve real-time, on-line, 2D view synthesis or 3D depth estimation from two or more calibrated cameras. Our method combines a 3D plane-sweeping approach with 2D multi-resolution color consistency tests. We project camera imagery onto each plane, compute measures of color consistency throughout the plane at multiple resolutions, and then choose the color or depth (corresponding plane) that is most consistent. The key to achieving real-time performance is our use of the advanced features included with recent commodity computer graphics hardware to implement the computations simultaneously (in parallel) across all reference image pixels on a plane. Our method is relatively simple to implement, and flexible in term of the number and placement of cameras. With two cameras and an NVIDIA GeForce4 graphics card we can achieve 50–70 M disparity evaluations per second, including image download and read-back overhead. This performance matches the fastest available commercial software-only implementation of correlation-based stereo algorithms, while freeing up the CPU for other uses.

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Wu, Jialu, Jie Yang, Minchen Wei, Kaida Xiao, and Stephen Westland. "Characterization of Color Differences for Color Palettes." Color and Imaging Conference 2020, no. 28 (November 4, 2020): 232–36. http://dx.doi.org/10.2352/issn.2169-2629.2020.28.37.

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Various color difference metrics were developed for characterizing the perceived color difference between individual color patches. Color difference between palettes containing multiple color patches, however, is critically important in product design and computer graphics. This study aimed to investigate how the perceived color difference between a pair of color palettes containing more than a single color patch is affected by the order and number of color patches in the palette. Two reference color sets were generated and each set had four color palettes containing 1, 4, 9, and 16 color patches that were arranged as 1 × 1, 2 × 2, 3 × 3, and 4 × 4 patterns. Human observers scaled the color differences between a color palette of the reference set and a color palette that had revised colors, or revised orders, or a combination of revised colors and orders compared to the reference palette. The calculated color differences between the two palettes were derived using the Minimum Color Difference Model (MICDM) algorithm proposed in a recent work with different color difference metrics, including CIELAB, CMC, CIE94, and DE2000. It was found that the perceived color differences of pairs of individual color patches were significantly larger than those containing multiple patches, when the calculated color differences were the same. The color differences metrics, except for CIE94, had similar performance when characterizing perceived color differences between color palettes.

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SAITO, Kaoru, and Takesi SAKAI. "Utilization of Color Computer Graphics aided Visual Simulation and Evaluation System." Journal of the Japanese Institute of Landscape Architects 53, no. 5 (1989): 227–32. http://dx.doi.org/10.5632/jila1934.53.5_227.

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Zajec, Edward. "Orphics: Computer Graphics and the Feasibility of a Preferred Color Order." Color Research & Application 19, no. 3 (June 1994): 222–27. http://dx.doi.org/10.1002/col.5080190310.

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Cao, Min. "Optimization of Plane Image Color Enhancement Based on Computer Vision." Wireless Communications and Mobile Computing 2022 (August 8, 2022): 1–8. http://dx.doi.org/10.1155/2022/3463222.

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In order to enhance the color effect of plane image, this paper presents a method of optimization of color enhancement processing of plane image based on computer vision technology. This method combines Retinex algorithm with adaptive two-dimensional empirical decomposition and decomposes the image to achieve the effect of image color enhancement. The experimental results show that the average value of the image processed by this method is increased by about 0.3. The variance increased by about 0.13. Information entropy increased by about 0.3. The definition is improved by about 0.02. Conclusion. The optimization method of color enhancement processing of plane graphics based on computer vision technology can effectively improve the color of plane images, which is of great significance for image processing.

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Ivanova, M. D., M. S. Myroshnychenko, G. I. Khara, O. V. Arseniev, V. O. Olkhovsky, E. K. Grygorian, Yu Ya Fedulenkova, and S. V. Kozlov. "Analysis of color properties of raster images of histological microspecimens: own research experience." Medicni perspektivi 27, no. 1 (March 30, 2022): 9–15. http://dx.doi.org/10.26641/2307-0404.2022.1.254314.

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This study is aimed to develop a computer program to analyze the color properties of raster images of histological microspecimens used in pathological anatomy and forensic medicine. When developing a computer program, we used the system for building client applications – Windows Presentation Foundation (WPF). The system allows you to create applications with visually attractive user interaction capabilities. The programming language is C#, as well as basic graphics capabilities of the .NET Framework system are used. To speed up the display we applied double buffering. In the course of the research, the authors developed a modern computer program «Analysis of color properties of raster images». This program allows you to analyze the color of each individual pixel of a photograph in RGB and Lab color models, comparing the colors and brightness of individual pixels, selecting groups of points and determining statistical characteristics of them. Characteristic points are well distinguishable in the photographs, studied with the program «Analysis of color properties of raster images». This makes it possible to select and automate these properties, using computer recognition algorithms, completely removing human factor’s influence on the analysis results. The computer program «Analysis of color properties of raster images» is of significant scientific and practical interest for specialists both in the field of morphology (pathologists, forensic experts, etc.), and in the field of other biomedical disciplines.

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Cavazos Quero, Luis, Chung-Heon Lee, and Jun-Dong Cho. "Multi-Sensory Color Code Based on Sound and Scent for Visual Art Appreciation." Electronics 10, no. 14 (July 15, 2021): 1696. http://dx.doi.org/10.3390/electronics10141696.

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The development of assistive technologies is improving the independent access of blind and visually impaired people to visual artworks through non-visual channels. Current single modality tactile and auditory approaches to communicate color contents must compromise between conveying a broad color palette, ease of learning, and suffer from limited expressiveness. In this work, we propose a multi-sensory color code system that uses sound and scent to represent colors. Melodies express each color’s hue and scents the saturated, light, and dark color dimensions for each hue. In collaboration with eighteen participants, we evaluated the color identification rate achieved when using the multi-sensory approach. Seven (39%) of the participants improved their identification rate, five (28%) remained the same, and six (33%) performed worse when compared to an audio-only color code alternative. The participants then evaluated and compared a color content exploration prototype that uses the proposed color code with a tactile graphic equivalent using the System Usability Scale. For a visual artwork color exploration task, the multi-sensory color code integrated prototype received a score of 78.61, while the tactile graphics equivalent received 61.53. User feedback indicates that the multi-sensory color code system improved the convenience and confidence of the participants.

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Matsuyama, Sawa, Yuko Oguchi, Yoshifuru Saito, and Toshiyasu L. Kunii. "Handling Technique of the Dynamic Color Computer Graphics by the Wavelets Transform." Journal of the Visualization Society of Japan 19, Supplement1 (1999): 83–86. http://dx.doi.org/10.3154/jvs.19.supplement1_83.

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Harter, W. G. "A new twist to optical polarization theory: Color U(2) computer graphics." Optics News 15, no. 12 (December 1, 1989): 53. http://dx.doi.org/10.1364/on.15.12.000053.

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Tymochko, Oleksandr, Volodymyr Larin, Maksym Kolmykov, Oleksander Timochko, and Vladislava Pavlenko. "RESEARCH OF IMAGES FILTRATION METHODS IN COMPUTER SYSTEMS." Advanced Information Systems 5, no. 1 (June 22, 2021): 93–99. http://dx.doi.org/10.20998/2522-9052.2021.1.13.

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It is known that human eyes are less sensitive to color, than to their brightness. In the RGB color space, all three components are considered equally important, and they are usually stored with the same resolution. However, you can display a color image more efficiently, separating the brightness from color information and presenting it with a higher resolution than color. RGB space is well suited for computer graphics, because it uses these three components for color formation. However, RGB space is not very effective when it comes to real images. The fact is that to save the color of an image, you need to know and store all three components of the RGB, and if one of them is missing, it will greatly distort the visual image representation. Also, when processing images in RGB space, it is not always convenient to perform any pixel conversion, because, in this case, it will be necessary to list all three values of the RGB component and write back. This greatly reduces the performance of various image processing algorithms. For these and other reasons, many video standards use brightness and two signals that carry information about the red and blue components of the signal, as a color model other than RGB. The most famous among such spaces is YCbCr.

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Kaufman, Arie. "Computer artist's color naming system." Visual Computer 2, no. 4 (August 1986): 255–60. http://dx.doi.org/10.1007/bf01900349.

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Qiao, Haiming, and Yanshun Feng. "Machine Learning-Based Intelligent Image Color Processing for Color Teaching Analysis of Chinese Painting." Mobile Information Systems 2022 (September 15, 2022): 1–15. http://dx.doi.org/10.1155/2022/5335990.

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Color itself is a beautiful and wonderful existence. Chinese traditional colors contain Chinese aesthetic taste and ancient cultural precipitation. It is said that color is a way to understand the world, while traditional Chinese color is integrated into life and caring for the soul [15]. With the continuous development of science and technology, computers are widely used in various fields, and intelligent image color processing technology is an independent theoretical and technical field, but it is also an extremely important technical support for machine perspective graphics processing. In this paper, combined with intelligent image color processing technology, the color teaching of Chinese painting is studied, and based on the wavelet variant, the best blur system parameters are used to obtain high-quality images using BFPSO, PSO, and BFO learning mechanisms to form suitable coding. Through the experiment, the color of Chinese painting is tested and verified by intelligent image color processing technology, and through the experimental results, it can be seen that the accuracy rate and recall rate after intelligent image processing technology are close to 1, indicating that, after optimizing with BFPSO algorithm, the optimal solution is given priority to a certain extent. Therefore, the use of intelligent image color processing technology has further improved the color teaching of Chinese painting.

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Markushevich, M. V. "Elements of the methodology of teaching the theme "Raster computer graphics" with the help of the GIMP free graphic editor at the level of basic general education." Informatics in school, no. 6 (December 17, 2022): 12–29. http://dx.doi.org/10.32517/2221-1993-2022-21-6-12-29.

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The article describes the framework of the methodology for teaching basic school students the technology of both processing digital photography and creating raster graphic images from scratch. As a software tool, it is proposed to use the free GIMP raster editor. Raster computer graphics is more complex in relation to vector graphics, since a large number of tools are used in raster graphics, and brush graphic tools (Brush, Pencil, Airbrush) are also actively used, the effective use of which requires user of basic artistic skills. The choice of the free graphic editor GIMP is due to a number of significant advantages of this software tool over analogues. These include the GNU GPL license for its use, cross-platform, relatively low system requirements, functionality close to professional raster editors, as well as a significant stack of educational and methodological literature on the technology of using GIMP in the educational process, that is generally not typical for free software. The complex user interface of the GIMP editor is due to the large number of tools and the full functionality of this software and can be mastered by basic school students, provided that an effective methodology for teaching raster graphics is used in the educational process. When creating a framework for teaching schoolchildren about raster graphics, the technology for using all groups of GIMP editor tools is demonstrated in the process of conducting practical work aimed at creating various raster graphics, the complexity of which gradually increases in proportion to the number of tools mastered by students. Also, the proposed teaching methodology takes into account all the main structural elements of professional raster graphics, namely: the technology for the effective use of the group of operations for selecting image fragments, the technology for the effective use of the group for the transformation operation, the technology for the effective use of the group of drawing tools, image layers, color channels, contours, built-in filters, creation of text elements, creation of GIF-animation.

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Laakom, Firas, Nikolaos Passalis, Jenni Raitoharju, Jarno Nikkanen, Anastasios Tefas, Alexandros Iosifidis, and Moncef Gabbouj. "Bag of Color Features for Color Constancy." IEEE Transactions on Image Processing 29 (2020): 7722–34. http://dx.doi.org/10.1109/tip.2020.3004921.

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Chung, K. H., and Y. H. Chan. "Color Demosaicing Using Variance of Color Differences." IEEE Transactions on Image Processing 15, no. 10 (October 2006): 2944–55. http://dx.doi.org/10.1109/tip.2006.877521.

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Zhang, Shao Jie. "The Use of Computer Image Processing Technology in the Area of Graphic Design." Applied Mechanics and Materials 687-691 (November 2014): 3551–54. http://dx.doi.org/10.4028/www.scientific.net/amm.687-691.3551.

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The disquisition introduces the conception, features, elements and classification about the Visual Communication Design and analyses the key elements: words, graphics, color and space. And the disquisition describes the computer image processing theory of Visual Communication Design and analyses the four factors, three processes in visual computer image processing from the view point of computer image processing and Visual Communication Design's traits.

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Kuehni, R. G. "Computer graphics and colorimetry, color systems, postscript, device-independent CIE colors (Computergrafik und Farbmetrik), by Klaus Richter." Color Research & Application 23, no. 2 (April 1998): 120–21. http://dx.doi.org/10.1002/(sici)1520-6378(199804)23:2<120::aid-col12>3.0.co;2-j.

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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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TANAKA, Go, Noriaki SUETAKE, and Eiji UCHINO. "Color Removal Considering Differences of Colors and Achromatic Color Preservation." IEICE Transactions on Fundamentals of Electronics, Communications and Computer Sciences E96.A, no. 11 (2013): 2315–17. http://dx.doi.org/10.1587/transfun.e96.a.2315.

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Tashima, Hideki. "A Study on Color Appearance reproduced by Computer Graphics Method in Linghting Design." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 78, Appendix (1994): 276. http://dx.doi.org/10.2150/jieij1980.78.appendix_276.

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Ye, Fan. "Application of Photoshop Graphics and Image Processing in the Field of Animation." Journal of Sensors 2021 (October 18, 2021): 1–18. http://dx.doi.org/10.1155/2021/8677479.

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With the rapid development of digital art and machine science and technology, the production form of modern animation tends to be diversified, and with the important role of animation color in the animation film foil and rendering, more and more attention was paid by the animation design industry. Computer graphic technology is a new type of artistic creation method, and its birth and development are closely related to computer technology. The purpose of this paper is to make some analysis and induction from the perspective of science and technology and culture and to explore the application of Photoshop graphics and image processing technology in the field of animation. First, the definition of “animation” and the extension of the animation category are introduced. Then, the main functions of Photoshop image processing technology are described in detail. According to the research content, this paper designs a self-made experimental short film “future city.” After the simulation of experimental animation film and the setting and positioning of the experimental scene, Photoshop software was used to show the animation scene. The experimental results show that the color changes in the short film “future city.” After the saturation of sunny scenery is reduced by 3 points and the brightness is reduced by 20 points and the filter, mode change, and color adjustment are carried out, a complete rainy scenery can be obtained. The self-made experimental short film has guiding significance for the creation and practice.

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Naik Dharavath, Haji. "Statistical evaluation of a Color Managed Digital Printing Workflow (CMDPW) consistency [4th C of CMW]." Journal of graphic engineering and design 12, no. 4 (December 2021): 17–31. http://dx.doi.org/10.24867/jged-2021-4-017.

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The purpose of this applied research was to determine the Color Managed Digital Printing Workflow (CMDPW) consistency (4th C of the color management) over a period of time [100 days, (N = 100)]. The quality of digital color printing is determined by these influential factors: screening method applied, type of printing process, calibration method, device profile, ink (dry-toner or liquid-toner), printer resolution and the substrate (paper). For this research, only the color printing attributes such as the overall average color deviation [ACD, ΔE (2000)] and the solid ink density (SID) were analyzed to examine the CMDPW process consistency in a day-to- day digital printing operation. These are the color attributes which are monitored and managed for quality accuracy during the printing. Printed colors of the random sample size (n = 80) were measured against the GRACoL2013 standards to derive the colorimetric/densitometric values. Reference colorimetric values used in the analysis were the threshold deviations (acceptable color deviations) as outlined in the ISO12647-7 standards (GRACoL2013). A control charts analysis was applied for further determining the process (CMDPW) SID and ACD variation. The data collected were run through multiple software applications (MS-Excel/SPSS/Minitab) to apply various statistical methods. Analyzed data from the experiment revealed that the printed colorimetric values were in match (aligned) with the GRACoL 2013 (reference/target). Since the SID values of CMYK colors were in control throughout the process, this enabled the CMDPW to produce consistent acceptable color deviation (Average Printed ΔE (2000) = 2.978; SD = 0.437; Acceptable Threshold color deviation is ΔE (2000) ≤ 3.00).

Journal articles on the topic 'Color computer graphics'

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