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Journal articles on the topic 'Color'
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1
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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Gibson, Edward, Richard Futrell, Julian Jara-Ettinger, Kyle Mahowald, Leon Bergen, Sivalogeswaran Ratnasingam, Mitchell Gibson, Steven T. Piantadosi, and Bevil R. Conway. "Color naming across languages reflects color use." Proceedings of the National Academy of Sciences 114, no. 40 (September 18, 2017): 10785–90. http://dx.doi.org/10.1073/pnas.1619666114.
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What determines how languages categorize colors? We analyzed results of the World Color Survey (WCS) of 110 languages to show that despite gross differences across languages, communication of chromatic chips is always better for warm colors (yellows/reds) than cool colors (blues/greens). We present an analysis of color statistics in a large databank of natural images curated by human observers for salient objects and show that objects tend to have warm rather than cool colors. These results suggest that the cross-linguistic similarity in color-naming efficiency reflects colors of universal usefulness and provide an account of a principle (color use) that governs how color categories come about. We show that potential methodological issues with the WCS do not corrupt information-theoretic analyses, by collecting original data using two extreme versions of the color-naming task, in three groups: the Tsimane', a remote Amazonian hunter-gatherer isolate; Bolivian-Spanish speakers; and English speakers. These data also enabled us to test another prediction of the color-usefulness hypothesis: that differences in color categorization between languages are caused by differences in overall usefulness of color to a culture. In support, we found that color naming among Tsimane' had relatively low communicative efficiency, and the Tsimane' were less likely to use color terms when describing familiar objects. Color-naming among Tsimane' was boosted when naming artificially colored objects compared with natural objects, suggesting that industrialization promotes color usefulness.
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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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Post, Phillip C., and Mark A. Schlautman. "Measuring Camellia Petal Color Using a Portable Color Sensor." Horticulturae 6, no. 3 (September 3, 2020): 53. http://dx.doi.org/10.3390/horticulturae6030053.
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The color of petals of flowering plants is often determined by comparing one or more of the petals to various Royal Horticultural Society (RHS) Colour Chart cards until a color match is found. However, these cards are susceptible to fading with age and can also provide inaccurate results if lighting is not optimal. The cards also rely on the human eye to determine a match, which introduces the possibility of human error. The objectives of this study were to determine camellia (Camellia japonica L.) petal color using the RHS Colour Chart, to determine camellia petal color with the NixTM Pro color sensor (Nix Sensor Ltd., Hamilton, Ontario, Canada), and to compare these measurements using different color measuring approaches. Color measurements of camellia flower petals using the NixTM Pro color sensor were compared to published CIELAB values from the Royal Horticultural Society (RHS) Colour Chart. Forty-five petal color samples were collected from fifteen different camellia shrubs. The RHS Colour Chart was used for each of the petals, and the RHS identifications were recorded. Measurements using the NixTM Pro color sensor were compared to RHS-provided CIELAB values that corresponded with the recorded identification for each petal to determine accuracy. The NixTM Pro color sensor’s measurements were also compared to a mean of the values, multiple measurements on the same petal location, and multiple measurements on different petal locations to determine precision and variation. The Nix™ Pro color sensor’s readings were precise in petal color determination and provided more nuanced differences between petals of the same plant and plants of the same variety in each of the color categories. The RHS Colour Chart provided an accurate depiction of most petals, but it was difficult to use with petals that had wide color variation over the entire petal. The Nix™ Pro color sensor’s measurements appeared to have more variation in the b* color space. However, overall, the Nix™ Pro color sensor L*, a*, and b* values were highly correlated with the provided RHS values (p < 0.01), showing that the sensor can be used as an accurate and precise substitute for the RHS Colour Chart. The Nix™ Pro color sensor can be a useful, cost-effective tool to measure the petal color of camellia and other flowering plants and rectifies many of the problems associated with the RHS Colour Chart.
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Zhehong Wang, Zhehong Wang, and Haisong Xu Haisong Xu. "Evaluation of small suprathreshold color differences under different background colors." Chinese Optics Letters 12, no. 2 (2014): 023301–23304. http://dx.doi.org/10.3788/col201412.023301.
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Sofia Shishmanova, Prof Dr, and Aneta Rinaldi. "RGB COLOR WHEEL INTENDED TO CREATE COLOR HARMONY COMPOSITIONS IN MODERN ART AND DESIGN." EPH - International Journal of Science And Engineering 4, no. 4 (December 27, 2018): 45–57. http://dx.doi.org/10.53555/eijse.v4i4.163.
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The existing RYB color wheel widely used to create harmonic color compositions is not applicable in modern digital art and design. The reason is that colors formed by light, “additive colors”, and those formed by pigments, “subtractive colors” did in fact operate by different rules, and had different primary and complementary colors. So new color wheel is proposed - “RGB color wheel” suitable .to work with colors in digital environment.
The RGB color wheel is based on the primary colors R, G, B, defined by sRGB color space, create by additive mixing 3 secondary and 6 tertiary harmonic colors with which many different types of harmonic color compositions can be realized.
An analogue RGB color wheel is proposed with pastel colors suitable for print.
New definitions for Hue, Saturation and Lightness color-making attributes are formulated which correspond to the contemporary high level of computer technologies.
There are some recommendations how the new RGB color wheel can be used with the HSB model to create attractive and pleasant images with color harmony in digital design.
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Byrne, Alex, and David R. Hilbert. "Color realism and color science." Behavioral and Brain Sciences 26, no. 1 (February 2003): 3–21. http://dx.doi.org/10.1017/s0140525x03000013.
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AbstractThe target article is an attempt to make some progress on the problem of color realism. Are objects colored? And what is the nature of the color properties? We defend the view that physical objects (for instance, tomatoes, radishes, and rubies) are colored, and that colors are physical properties, specifically, types of reflectance. This is probably a minority opinion, at least among color scientists. Textbooks frequently claim that physical objects are not colored, and that the colors are “subjective” or “in the mind.” The article has two other purposes: First, to introduce an interdisciplinary audience to some distinctively philosophical tools that are useful in tackling the problem of color realism and, second, to clarify the various positions and central arguments in the debate.The first part explains the problem of color realism and makes some useful distinctions. These distinctions are then used to expose various confusions that often prevent people from seeing that the issues are genuine and difficult, and that the problem of color realism ought to be of interest to anyone working in the field of color science. The second part explains the various leading answers to the problem of color realism, and (briefly) argues that all views other than our own have serious difficulties or are unmotivated. The third part explains and motivates our own view, that colors are types of reflectances and defends it against objections made in the recent literature that are often taken as fatal.
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Jenny, Bernhard, and Nathaniel Vaughn Kelso. "Color Design for the Color Vision Impaired." Cartographic Perspectives, no. 58 (September 1, 2007): 61–67. http://dx.doi.org/10.14714/cp58.270.
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Eight percent of men are affected by color vision impairment – they have difficulties distinguishing between colors and thus confuse certain colors that the majority of people see readily. Designers of maps and information graphics cannot disregard the needs of this relatively large group of media consumers. This article discusses the most common forms of color vision impairment, and introduces Color Oracle, a new software tool that assists the designer in verifying color schemes. Color Oracle filters maps and graphics in real-time and efficiently integrates with existing digital workflows. The paper also discusses color combinations and alternative visual variables for map symbology that those with color vision impairments can distinguish unambiguously. The presented techniques help the cartographer produce maps that are easy to read for those with color vision impairments and can still look good for those with normal color vision.
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Naovaprateep, Niti, Chawan Koopipat, and Pichayada Katemake. "Color Tolerance of Identity Color of Chulalongkorn University on General Print." Advanced Materials Research 93-94 (January 2010): 651–54. http://dx.doi.org/10.4028/www.scientific.net/amr.93-94.651.
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Chulalongkorn University has a long historical background. Pink color is known as the identity color. To be more specific on which pink colors of general prints are acceptable for the identity color of Chulalongkorn University, printed samples with the identity color were collected and measured to find the differences among the printed colors. Then the Natural Color System (NCS) colors were determined corresponding to the printed samples. The obtained NCS colors were used as samples in the experiment. A standard color was obtained from the color of pink cushion placed under Prakeaw, an emblem of Chulalongkorn University. Measurements were taken at the same specific light source as in printed samples. Comparison was then made to determine the color tolerance. A method of pass/fail tolerance was adopted to evaluate the optimum color difference between the identity color and the color of general prints by comparing the results of color measuring device against that of visual assessment. A group of 101 observers were involved to find their perception acceptability of printed pink samples against identity color or standard pink color. The color different equations, E94 and CIEE2000 were employed.
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Brill, M. H., G. D. Finlayson, P. M. Hubel, and W. A. Thornton. "Prime colors and color imaging." Color and Imaging Conference 6, no. 1 (January 1, 1998): 33–42. http://dx.doi.org/10.2352/cic.1998.6.1.art00008.
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Todorovic, Dejan. "Color realism and color illusions." Behavioral and Brain Sciences 26, no. 1 (February 2003): 49–50. http://dx.doi.org/10.1017/s0140525x03510019.
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AbstractAs demonstrated by several example displays, color illusions challenge color realism, because they involve a one-to-many reflectance-to-color mapping. Solving this problem by differentiating between veridical and illusory colors corresponding to the same reflectance is hampered because of the lack of an appropriate criterion. However, the difference between veridical and illusory color perception can still be maintained.
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Chetverikov, Andrey, Gianluca Campana, and Árni Kristjánsson. "Representing Color Ensembles." Psychological Science 28, no. 10 (September 2017): 1510–17. http://dx.doi.org/10.1177/0956797617713787.
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Colors are rarely uniform, yet little is known about how people represent color distributions. We introduce a new method for studying color ensembles based on intertrial learning in visual search. Participants looked for an oddly colored diamond among diamonds with colors taken from either uniform or Gaussian color distributions. On test trials, the targets had various distances in feature space from the mean of the preceding distractor color distribution. Targets on test trials therefore served as probes into probabilistic representations of distractor colors. Test-trial response times revealed a striking similarity between the physical distribution of colors and their internal representations. The results demonstrate that the visual system represents color ensembles in a more detailed way than previously thought, coding not only mean and variance but, most surprisingly, the actual shape (uniform or Gaussian) of the distribution of colors in the environment.
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Widera, Barbara. "Colors Inspired by Nature Analyzed in Two Residential Buildings Designed by Victor Horta." Arts 10, no. 3 (August 31, 2021): 60. http://dx.doi.org/10.3390/arts10030060.
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The aim of the article is to present the results of research on colors carried out in two residential buildings in Brussels, designed by Victor Horta: The Tassel House (1893–1894) and The Horta House (1898–1901), representing the Art Nouveau style for which the main source of inspiration was nature. The purpose of the research was to check whether the selection of colors in the buildings was also inspired by nature. The investigation applied methods of archive studies, literature review, field survey and comparative analysis of 251 color samples taken in the interiors and façades of the two houses, compared to the 307 color samples collected in the natural environment within the radius of 700 m from the two locations. The samples were described using the Natural Colour System® chart. The research results revealed that the value of the color-matching indicator for the comparison of the color samples collected in the two examined buildings and the samples of predominant colors observed in the natural environment was determined at the average level of 92.5%. The conclusions from the study confirmed the significance of drawing inspiration from nature in the field of colors selection in the two analyzed buildings designed by Victor Horta.
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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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Kumar Gupta, Ajay. "PSYCHOLOGICAL EFFECTS OF COLOR AND COLOR THERAPY." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3650.
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Many opinions about colors are popular, but most of the artists nowadays follow the opinion of Aust Wald, according to their opinion, the main colors are yellow, red, blue and green, these are four and the ideal color is eight. The first four colors are called primordial (vatpahdans) colors and the second four i.e. purple, sky, orange and dhani are called second colors (Aambavadakantal). Apart from this, there are three colors and black, white, khaki (oval), these are called neutral colors (chamanjatans), they are mostly used to decrease and increase the color of other colors. The psychological impact of these colors has on human life, which has been considered the origin of colors on this Vasundhara since the birth of creation. Since ancient times, there have been different beliefs in terms of colors, such as red color - passion and revolution, black color - inauspicious, negative, green color - optimism brings happiness, blue color - peace, white color - purity brings reconciliation etc. Through colors on the canvas of paintings, the artist, in his silent language, shapes happiness, pain, agony with his imaginations and transmits his feelings to another. These pictures have many colors, we just have to understand them. There are many colors in nature which awaken the feeling of happiness in our mind and provide new energy. In today's time, imagining a world without colors for a moment is not only difficult. While colors have a special place in life, in the world, whatever we see with our eyes, the effect of color is first visible because many colors are present in the world.
रंगों के विषय में अनेक मत प्रचलित है पर आजकल के अधिकांश कलाकार आस्ट वाल्ड के मत को ही मानते है इनके मतानुसार मुख्य रंग पीला, लाल, नीला और हरा ये चार होते है और आदर्श रंग आठ होते है। प्रथम चार रंगों को मौलिक (व्तपहदंस) रंग कहते है और दूसरे चार अर्थात बैगनी, आसमानी, नारंगी और धानी को द्वितीय रंग (ैमबवदकंतल) कहते है। इनके अतिरिक्त तीन रंग और है काला, सफेद, खाकी (ळतंल) इनको तटस्थ रंग (छमनजतंस) कहते है इनका प्रयोग अधिकतर अन्य रंगों की सुषमा (ज्वदम) को घटाने और बढ़ाने में किया जाता है। इन्ही रंगों का मनौवैज्ञानिक प्रभाव मानव जीवन पर पड़ता है जो सृष्टि के जन्म से ही इस वसुन्धरा पर रंगो की उत्पत्ति का प्रार्दुभाव माना गया है। प्राचीनकाल से ही रंगो के संदर्भ में अलग-अलग मान्यतायें रही है जैसे लाल रंग - जोश एवं क्रांति, काला रंग - अशुभ, अनिष्ट, हरा रंग- आशावादिता खुशहाली, नीला रंग - शान्त, सफेद रंग - पवित्रता सुलह आदि का परिचय देता है। रंगो के माध्यम से चित्रों के कैनवास पर कलाकार अपनी मौन भाषा में खुशी, पीड़ा, व्यथा को अपनी कल्पना शक्ति से आकार प्रदान कर अपनी भावनाओं को दूसरे तक पहुंचाता है। इन चित्रों के अनेक रंग रूप होते है, हमें सिर्फ उन्हें समझना पड़ता है। प्रकृति में बहुत से रंग है जो हमारे मन में खुशी की भावना जागृत कर नई उर्जा प्रदान करते है। आज के समय में क्षण भर के लिए बिना रंगों के संसार की कल्पना कठिन ही नही असम्भव है। जहां रंगों का जीवन में विशिष्ट स्थान है वहीं संसार में हम अपनी आंखों से जो कुछ भी देखते है उनमें सबसे पहले रंग का प्रभाव दृष्टिगोचर होता है क्यांेकि सृष्टि में अनेकों रंग विधमान है।
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Xu, Dongsheng, Shi Bao, Go Tanaka, Chuanying Yang, and Fengyun Zuo. "A Color Calibration Method Based on Color Component Projection for Suppression of False Color Caused by Iterative Distribution Transfer." Journal of Advanced Computational Intelligence and Intelligent Informatics 26, no. 1 (January 20, 2022): 88–96. http://dx.doi.org/10.20965/jaciii.2022.p0088.
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Different imaging conditions often result in different color reproductions. Hence, color reproductions must be calibrated when images are captured under different imaging conditions. Herein, a new color calibration method based on iterative distributed transfer (IDT) is proposed. IDT is used to preliminarily calibrate color reproductions, and the results are known as preliminary results. Because IDT may result in unnatural colors, namely false colors, the projected color components of the input image are used to suppress the false colors, and the results are the final results. To obtain the final results, a series of projection coefficients must be calculated. By minimizing the objective function, in which the preliminary results are used as the target for the final results, the projection coefficients are calculated. Simultaneously, the weight associated with the false color is incorporated into the objective function such that the final results do not depend significantly on the preliminary results when the IDT yields false colors. Meanwhile, to quantitatively evaluate the false color, a false color index is proposed herein. The proposed method can suppress false colors and offers high color-adjustment capabilities. The effectiveness of the method is verified based on evaluation indexes and the observation of experimental results.
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Irie, Kota, Masahito Takahashi, Kenji Terabayashi, Hidetoshi Ogishima, and Kazunori Umeda. "Skin Color Registration Using Recognition of Waving Hands." Journal of Robotics and Mechatronics 22, no. 3 (June 20, 2010): 262–72. http://dx.doi.org/10.20965/jrm.2010.p0262.
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This paper proposes skin color registration using the recognition of waving hands. In order to recognize hand gestures from images, skin colors are useful information. The proposed method can register skin colors simply and quickly because it uses just a few waves of the hand. The method consists of 2 steps. First, the regions of the waving hands are extracted from low-resolution images without using color information. Second, the color values of the extracted regions are classified into background colors and hand colors depending on time series of color images. The color information classified as hand colors is registered as skin colors. The proposed method is robust against lighting conditions and individual differences in skin color, because the skin color is registered as an adapted skin color in each case. Several experiments are conducted to demonstrate the effectiveness of the proposed method.
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Kompalli, Prasanna Lakshmi, Archana Kalidindi, Janakidevi Chilukala, Kumudini Nerella, Wajahath Shaik, and Divija Cherukuri. "A Color Guide for Color Blind People Using Image Processing and OpenCV." International Journal of Online and Biomedical Engineering (iJOE) 19, no. 09 (July 7, 2023): 30–46. http://dx.doi.org/10.3991/ijoe.v19i09.39177.
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Colors are the smiles of nature. Digital image processing has widely employed the use of the function the color due to its effectiveness as a tool in classifying and identifying objects, which can be distinguished based on various relevant shades of color. This work aims to create a software tool that assists color-blind individuals in identifying the colors and edges in an image that may appear similar to them. If you are not suffering from a color vision deficiency it is very hard to imagine how it looks like to be color blind. Individuals with color blindness are limited and sometimes even disqualified from specific professions due to their inability to differentiate between colors. The objective of this research is to create a technique or approach for accurately identifying different shades of colors and predicting their names specifically for individuals with color blindness. This project utilizes image processing techniques to create a system that can recognize and distinguish colors in an image. The algorithm used for color detection in this project recognizes pixels in an image that correspond to a defined color or color range and provides the name of the color along with its corresponding B, G and R values. This work will be very helpful for people who suffer from color blindness especially when they want to know the color of the things.
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Sugiyama, Asahi, and Michael Cohen. "Animated Color Cube." SHS Web of Conferences 102 (2021): 04018. http://dx.doi.org/10.1051/shsconf/202110204018.
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The RGB color model is framed by black, white, three additive primary colors, and three subtractive secondary colors, but there are many hues between them. We used a color cube for representing dimensional bases and intermediate hues and animated it to visualize color interpolation processes.
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Fechan, Andriy, Yuriy Khoverko, Vladyslav Dalyavskii, and Taras Dyhdalovych. "Visualization of color label sensors in microelectromechanical systems." Computational Problems of Electrical Engineering 13, no. 2 (December 15, 2023): 9–14. http://dx.doi.org/10.23939/jcpee2023.02.009.
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The article presents the design and technological features of creating color labels-sensors of microelectromechanical systems intended for monitoring physicochemical parameters under the conditions of high- level electromagnetic interference. The software module of the hardware and software complex for the visualization of spectral intensity by converting it into an RGB colour model has been created. The algorithm for carrying out the procedure for calculating the color rendering index is shown and the main parameters of temperature colors in a wide range of visible radiation waves are determined
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Pohsun, Wang, and Zhou Junling. "The Color Expressions in the Traditional Costumes of Taiwanese Indigenous Peoples." South Florida Journal of Development 2, no. 5 (November 17, 2021): 7539–49. http://dx.doi.org/10.46932/sfjdv2n5-089.
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With respect to both fiber and color the clothing material of Taiwan’s indigenous people came predominantly from nature. Atayal woven materials are a distinct example of how ethnic symbolism can be expressed through the combining of color and fabric patterns in weaving and dying. In order to understand Atayal fabric color use and distribution, this research first utilizes PANTONE FASHION + HOME cotton planner to contrast fabric color, and after comparison, color specimens are input one at a time into Color Schemer Studio’s color wheel statistics system. In order to analyze Atayal fabric colors, this study particularly performs color scope analysis on sub-groups for which research specimens are relatively abundant, such as the Tayal’s Beishi group and Nanao Group; and the Sediq’s Wushe Group, Wanda Group, and Taroko Group. Beishi group fabrics use a comparatively wide range of color and a more diverse number of combinations. The main colors they use include white, red, orange, yellow, green, blue, and other colors. The colors used by the Wushe Group and Wanda Group in their fabrics include white, red, blue and others. While the number of specimens collected for this study is limited, it is possible to understand, what the color preferences of sub-tribes are through their color schemes. The most predominant color schemes involve similar colors, contrasting colors, and complimentary colors.
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Sirisathitkul, Y., S. Auwatanamongkol, and B. Uyyanonvara. "Color image quantization using distances between adjacent colors along the color axis with highest color variance." Pattern Recognition Letters 25, no. 9 (July 2004): 1025–43. http://dx.doi.org/10.1016/j.patrec.2004.02.012.
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Elrefaei, Lamiaa A. "Smartphone Based Image Color Correction for Color Blindness." International Journal of Interactive Mobile Technologies (iJIM) 12, no. 3 (July 20, 2018): 104. http://dx.doi.org/10.3991/ijim.v12i3.8160.
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<p class="0abstract">Color blind is a type of Color Vision Deficiency, which is the inability that a person could not realize the differences between some colors. There are three types of color blindness: Monochromacy, Dichromacy, and Anomalous Trichromacy. Color blind cannot be cured. Today, technology gets up with solutions to help people with color blindness to see the image and distinguish between the different colors using some algorithms. This paper presents a smartphone based experimental comparison of color correction algorithms for Dichromacy color-blind viewers. This comparison includes LMS Daltonization algorithm, Color-blind Filter Service (CBFS) algorithm, LAB color corrector algorithm, and the shifting color algorithm. The description of the smartphone based implementation details and parameters settings of these algorithms is presented. An application interface is implemented to enable the user to choose the algorithm that gives the most appropriate results. The results of these algorithms are compared to see their strength and weakness.</p>
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Choi, Hee Jin, and Dai Ill Kang. "A Study on the Retouching Materials for Oil Paintings - Using Restoration Colors and Acrylic Gouache -." Journal of Conservation Science 37, no. 5 (October 31, 2021): 426–39. http://dx.doi.org/10.12654/jcs.2021.37.5.02.
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In this study, we compare the properties and estimate the durability of five oil colors that are the most popularly used colors in the conservation of oil paintings. A set of these colors was obtained form four manufacturers each, and their properties were analyzed by conducting deterioration experiments. Subsequently, we observed the colors and performed X-ray fluorescence analysis. As a result of colour observation and XRF analysis, it was confirmed that there are the differences according to the pigment types, mixing rations and the manufacturers even for colors having the same product name. The deterioration test indicated differences in the appearance of the colors ; for instance, the color difference was above 12.0 in most of the samples, including restoration color and acrylic gouache. In the case of Lemon Yellow a lot of discoloration and cracking occurred, and difference in gloss was ob served in Viridian of manufacturer C. Most cracks were ob served in the restoration color obtained from manufacturer B and were assumed to be because of the resin used by the manufacturer. Nevertheless, additional research will have to be conducted by controlling variables in order to find out the cause. Through this study, we demonstrated that retouching materials for conservation of oil painting differed in their physical properties according to the color and manufacturer. Therefore a conservator should be mindful during the selection and use of materials for retouching oil paintings.
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Karaimer, Hakki Can, and Rang Nguyen. "A Correspondence-Free Color Chart Design for Color Calibration." London Imaging Meeting 2020, no. 1 (September 29, 2020): 100–104. http://dx.doi.org/10.2352/issn.2694-118x.2020.lim-01.
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Colorimetric calibration computes the necessary color space transformation to map a camera's device-specific color space to a device-independent perceptual color space. Color calibration is most commonly performed by imaging a color rendition chart with a fixed number of color patches with known colorimetric values (e. g., CIE XYZ values). The color space transformation is estimated based on the correspondences between the camera's image and the chart's colors. We present a new approach to colorimetric calibration that does not require explicit color correspondences. Our approach computes a color space transformation by aligning the color distributions of the captured image to the known distribution of a calibration chart containing thousands of colors. We show that a histogram-based colorimetric calibration approach provides results that are onpar with the traditional patch-based method without the need to establish correspondences.
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Wiese, Maria, Yan Hui, Dennis S. Nielsen, Andrew R. Williams, Julie C. Lynegaard, Nicolai R. Weber, and Charlotte Amdi. "Color of Colon Content of Normal and Intrauterine Growth-Restricted Weaned Piglets Is Associated with Specific Microbial Taxa and Physiological Parameters." Animals 10, no. 6 (June 22, 2020): 1073. http://dx.doi.org/10.3390/ani10061073.
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A well-balanced gut microbiome is associated with improved health outcomes, but to date, the GM of IUGR piglets have only been sparsely investigated. Here, we investigated GM composition, color of colon content, and blood parameters of 20 IUGR and 20 normal 24-day-old piglets. No significant differences were detected in colon microbiota composition between IUGR and the normal piglets with respect to alpha and beta diversity measures. The colon content of these piglets displayed three colors: brown, black, and yellow. Interestingly, the color of the colon content varied with microbial community composition, with significant differences in the relative abundance of taxa belonging to Fusobacteria and Treponema. Fusobacteria were most abundant in yellow fecal samples, with a mean relative abundance around 5.6%, whereas this was 0.51% within brown and 0.02% for the black fecal samples. Fusobacteria positively correlated with total blood protein, albumin, and triglycerides. Contrarily, Treponema was at 0.9% the most abundant in black fecal samples, while present at 0.1% of relative abundance in brown fecal samples and 0.01% in yellow samples, correlating positively with blood iron content. This study indicates that colon/fecal content color can be used as indicator for specific GM and metabolite signatures.
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Li, Yuan, Huan Yin, Chen Xin Hui, Yu Zhao, and Hao Quan Zhu. "The Application of Color Symbol to Product Design." Applied Mechanics and Materials 319 (May 2013): 278–81. http://dx.doi.org/10.4028/www.scientific.net/amm.319.278.
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This paper analyzes the connotation of symbol and its extension meaning, and it emphatically elaborates the basic concept of color symbol, the emotion that colors deliver to people, and people’s identity of colors. Through analyzing color symbol and combining with the understanding of the general procedure of product color design, it proposes to make use of color symbol editing, decoding, and color quantitative inductive analysis to guide the idea of color design of products. In particular, it expounds that reasonably sorting out the color system of relevant products can be used for color design of subsequent products, so as to perfectly combine color application with product design, to make colors give strong life and power to products.
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Guryanova, Olga A., Artem Yu Gnibeda, and Elena V. Filimonova. "Investigation of color differences in the reproduction of memorable colors on visualization devices." Journal Of Applied Informatics 16, no. 96 (December 24, 2021): 113–30. http://dx.doi.org/10.37791/2687-0649-2021-16-6-113-130.
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This work is devoted to the study of changes in color coordinates on various visualization devices during color reproduction, in particular smartphones, as one of the most commonly used devices in the modern world, which is associated with the hardware dependence of the color reproduction system. The purpose of the work is to select visualization tools, determine their technical characteristics, determine test colors for visualization on various devices, determine the tolerances in reproduction of each color when using various viewing devices. To achieve the goal, such tasks were set as the selection of images containing memorable colors. These colors are fundamental in determining the tolerances in color reproduction, since information about them is inherent in each person on the basis of his life experience and knowledge, and a change in the reproduction of memorable colors, a violation in color rendering, is the most visually noticeable. Memorable colors are converted into samples – test objects, which are used to determine coordinates in a device-independent color space. Determination of tolerances is made when changing color reproduction through the use of selective (color) correction. When solving the problem, it was noted that there are colors in which, with small changes in color coordinates, the visual component changes to a sufficiently strong degree, while other colors, with a numerically identical change, do not visually change. For the selected colors on various visualization tools, the difference in color reproduction is calculated and the calculations of color differences for different models of viewing devices with a visual difference in perception are given.
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Fatima, Nasra, Sada Barath Reddy, Kura Swapna Rani, Shanya Psalms, Padmam Nithin, Saikrishnai Kudakala, Pisipaty Vaishnavi, Ganapathi Raju NV, and Ginni Nijhawan. "Primary Colour Detection in An Image." MATEC Web of Conferences 392 (2024): 01099. http://dx.doi.org/10.1051/matecconf/202439201099.
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Primary Colour Detection in an Image, Traditional methods of color cast detection do not discriminate between images with true cast and those with dominant colors. This may result in an inaccuracy of the color cast measurement. In order to overcome the limitation of traditional methods, an approach based on image semantic is present. It can improve the accuracy and reliability of the detecting results by the means of recognizing and removing the dominant color objects · and analyzing the color distribution of the whole image. Class specific color detection is already implemented in some systems, but image classification usually relies on global image features only. The method of recognizing the dominant color objects is based on block-features and region-features by using K-Means Clustering in this project. It shows a significant improvement over previously achieved classification for a variety of critical image classes. The comparison of the results of the approach proposed to that of people shows that it is reliable and effective. This project proposes the use of Machine Learning Techniques and Deep Learning Algorithms.
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Melgosa, Manuel. "Some recent advances in color science." Journal of Physics: Conference Series 2407, no. 1 (December 1, 2022): 012030. http://dx.doi.org/10.1088/1742-6596/2407/1/012030.
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Abstract We will discuss some of main topics in two recent publications on color from the International Commission on Illumination (CIE): CIE 015:2018 and CIE 248:2022. Regarding CIE 015:2018, it is the 4th edition of the most important CIE general publication on colorimetry, generally known as ‘CIE publication 15’. Among main novelties in CIE 015:2018 with respect to its previous 2004 edition, we can mention the introduction of the next four topics: 1) Cone-fundamental-based colorimetric observers; 2) New CIE illuminants (indoor daylight illuminants, smoothed daylight illuminants, illuminant E, and white LED illuminants); 3) The CIE colour appearance model CIECAM02; 4) The CIE 2017 color fidelity index. As a consequence of the active research on color appearance during the past few years, CIE 248:2022 proposed the CIECAM16 color appearance model for related colors and CIE 1931 standard colorimetric observer. In general, color appearance models provide a viewing-condition-specific method for the transformation of the tristimulus values X, Y, Z, to or from perceptual attribute correlates. CIECAM16 replaces CIECAM02 and may be useful for color management systems and image industries. CIECAM16 is simpler and maintains the predictions of experimental visual data made by CIECAM02. Finally, we will discuss advances in two issues related to color included in the current CIE Research Strategy: 1) A roadmap toward a new CIE colorimetry based on cone fundamentals, currently studied by CIE Technical Committee 1-98; 2) Color differences in tri-dimensional object colors and spatio-chromatic complexity, currently studied by CIE Technical Committees 8-17 and 8-14, respectively. In overall, we can conclude that color science is an active inter- and multi-disciplinary research field where optics continues playing a key role.
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Mao, Xinyue, Xifeng Zheng, Ruiguang Wang, Hongbin Cheng, and Yu Chen. "Variation of LED Display Color Affected by Chromaticity and Luminance of LED Display Primary Colors." Mathematical Problems in Engineering 2020 (September 27, 2020): 1–14. http://dx.doi.org/10.1155/2020/1612931.
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In recent years, the effect of LED display is increasingly important in the LED display field. Primary colors’ chromaticity and luminance of LED display as crucial elements influence the LED display color. Therefore, there is a need for color mapping algorithms that indicate the relationship between primary colors and display color’s chromaticity and luminance. In this paper, two mathematical models have been developed. One has shown the display color’s chromaticity and luminance affected by luminance of primary colors change. The other one has shown a complicated relationship that primary color is mixed by other primary colors to change chromaticity first and then the mixed primary is used as “new LED primary color.” In both mathematical models, CIE x ∗ y ∗ Y color space was used as the mutual color space; thus, there was a specific variation tendency of colors with luminance or chromaticity of primary colors change in this color space. The newly designed mathematical models can consistently guide us how to acquire the desired display color by changing luminance or chromaticity of primary colors. Therefore, it has important engineering application value.
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Verma, Rashmi. "SOCIAL SIGNIFICANCE OF COLOR." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3685.
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India has always been exalted and remembered fondly as country of symbolic colors. To an outsider, its colorful culture, streets, and stories seem like a page out of an ancient folk tale. But color, in essence, has been a large part of the Indian consciousness. From the deep orange marigold flowers that bejewel almost every celebration to the deep hues of red that deck up the bride on her most important day, colour of India has, over time, become synonymous with religion- an expression of faith and beliefs. In a country where a deep understanding of prevalent diversity is perhaps the only common thread that ties its people together, India is a magical experience that ought not to be missed.in a country as diverse and culturally vibrant as India, it is perhaps the common, lifestyles, and tradition. The symbolism of color stand out and control every aspects of life in India , be it religion, politics, festivals, or celebration .in India, be it north , south, west, or east, color and culture go hand in hand . Just like many other culture across the world, there are some typical classification of color to be found in India.
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Granville, Walter C. "The Color Harmony Manual, a Color Atlas Based on the Ostwald Color System." Color Research & Application 19, no. 2 (April 1994): 77–98. http://dx.doi.org/10.1111/j.1520-6378.1994.tb00068.x.
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The Color Harmony Manual is a color atlas based on the Ostwald color system and widely used for color selection and specification for several decades beginning in 1942. It has been out of print since 1972; however, many libraries have a copy of the third or fourth edition. This is a report on the history, the colorimetric basis and specification, and the use of the several editions of the Manual. Included are representative colorimetric datafor the third edition. The Ostwald hue triangles and a color solid made with them portray and help explain the sensory world of color. Important sequences, the clears, lie on the outside surface of the solid. Color scales of equal blackness and whiteness are defined. Comparisons are made with the designs of the color charts in other atlases. An appendix concerning the third edition discusses a Descriptive Color Names Dictionary, availability of matching paints, a set of artists' colors, and production details of the colors.
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Ridley, Dennis R. "A Neo-Whorfian Revisitation of Color Memory." Perceptual and Motor Skills 64, no. 1 (February 1987): 103–16. http://dx.doi.org/10.2466/pms.1987.64.1.103.
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A neo-Whorfian viewpoint on the effects of color names on color memory was tested in two studies with 140 undergraduate subjects. The controlling conception was that stimulus shapes of objects which have characteristic colors (e.g., tomato—red) can function like labels when viewing conditions are difficult. Hypothesized effects were that recognition or reproduction of the colors of such shapes would tend toward the best typical choices for the primary color term linguistically associated with the object. Exps. 1 and 2 pitted the major hypothesis against a prediction derived from Bruner's perceptual theory that familiar shapes would induce reproduction of a color toward the average object color. Two colors, actual average object colors, and best typical instances of associated color terms were made the overlapping segments of a variable color mixer on which color matches were made. Target stimuli from the middle ranges of the overlapping color-wheel segments were tachistoscopically presented either as familiar “red” or “green” objects or as plain circular stimuli. Reproductions consistently averaged toward best instances of primary color terms “red” or “green” rather than toward average object colors. Alternative interpretations of the data are discussed.
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Chittka, Lars. "BEE COLOR VISION IS OPTIMAL FOR CODING FLOWER COLOR, BUT FLOWER COLORS ARE NOT OPTIMAL FOR BEING CODED—WHY?" Israel Journal of Plant Sciences 45, no. 2-3 (May 13, 1997): 115–27. http://dx.doi.org/10.1080/07929978.1997.10676678.
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Model calculations are used to determine an optimal color coding system for identifying flower colors, and to see whether flower colors are well suited for being encoded. It is shown that the trichromatic color vision of bees comprises UV, blue, and green receptors whose wavelength positions are optimal for identifying flower colors. But did flower colors actually drive the evolution of bee color vision? A phylogenetic analysis reveals that UV, blue, and green receptors were probably present in the ancestors of crustaceans and insects 570 million years ago, and thus predate the evolution of flower color by at least 400 million years. In what ways did flower colors adapt to insect color vision? The variability of flower color is subject to constraint. Flowers are clustered in the bee color space (probably because of biochemical constraints), and different plant families differ strongly in their variation of color (which points to phylogenetic constraint). However, flower colors occupy areas of color space that are significantly different from those occupied by common background materials, such as green foliage. Finally, models are developed to test whether the colors of flowers of sympatric and simultaneously blooming species diverge or converge to a higher degree than expected by chance. Such effects are indeed found in some habitats.
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Hartanto, Adi, and Nur Ismawati. "Pembuatan Aplikasi Buta warna untuk penderita buta warna." Jurnal Ilmiah FIFO 10, no. 2 (March 1, 2019): 42. http://dx.doi.org/10.22441/fifo.2018.v10i2.005.
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Color blindness is the reason a person is unable to distinguish certain colors. Color blindness is experienced by someone from birth because of lack or absence of pigment in the retinal cone cells of the eye. So that someone will be difficult to distinguish and identify colors. The purpose of making this color-blind application is to help people with color blindness and know the color by making color transfusion and color correction to display names, RGB and HSV values of a color. This Color Blind application is an Android OS application that will be embedded in a smartphone that can be easily used by people with color blindness
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Яремчук, О. М., and А. В. Кулік. "ГЕНЕЗИС ТА ОСОБЛИВОСТІ ФОРМУВАННЯ БАЗОВИХ МОДЕЛЕЙ ІДЕНТИФІКАЦІЇ КОЛЬОРУ." Art and Design, no. 3 (December 5, 2019): 113–24. http://dx.doi.org/10.30857/2617-0272.2019.3.12.
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Purpose. The determination of the formation features of basic models of color and identification of color in the initial stages (the 18th – 19th centuries) of scientific research of the problem. Methodology of the research is based on historical and cultural method. The source base is the artistic, scientific and technical literature of the studied period and also artefacts. Results. This publication reveals a generalized approach to theoretical developments on color perception and identification, and covers the initial period of color research and the formation of basic models of color (the 18th – 19th centuries). So in the middle of the 17th century I. Newton founded a seven-color ordering model, placing them to a closed color circle. At about the same time, other attempts at color systemization were proposed, such as color identification in the form of tables of existing paints, the work of I. Brennen and R. Waller. Subsequently, Jacob Christoph Le Blon concluded that in order to get results, you could use only three colors, namely red, yellow and blue. Based on this work, M. Harris presented his color circle, J. Lambert – a triangular color pyramid, and Ph.Runge built a color sphere using the principle of the globe. Goethe, contrary to Newton's physical doctrine of colors, conceived another system, it was based on the phenomenological perception of color. According to Goethe and his followers, the colors come from the struggle of "light" and "darkness". A. Schopenhauer took the step that J. Goethe lacked in his thinking: A. Schopenhauer formed a doctrine of color in terms of psychology, noting the enormous role that our brain plays in color perception, and proposing his model of identification by the principle of intensity / extensiveness/quality. for the formal description of the tri-color system of color, forming a mathe-confirmation of T. Young's theory and came to the conclusion that for the comparison of all shades, three light sources were needed and sufficient: in the red, green and blue parts of the spectrum. The perception of other colors is conditioned by the interaction of these constituents. In his work, J. Maxwell proved that all colors come from a mixture of three spectral colors: red, green, and blue. Based on his research, he introduced the first two-dimensional color spectrum visualization system. H. Grassmann's merit is the mathematical representation of the three spectral colors. E. Hering's theory highlights the psychological aspects of color vision: warm sensations occur for white, yellow, and red colors, while cold sensations occur for black, dark blue, and light blue. G. Peano introduced the concept of "color space" as a system of vector space equations.
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Ji, Zhe, Wei-Hsin Huang, and Mengyi Lin. "Design Mode Innovation of Local Color Cultures: A Case Study of the Traditional Female Costume of Yi Nationality." Designs 4, no. 4 (December 17, 2020): 56. http://dx.doi.org/10.3390/designs4040056.
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Color is a concrete expression of combining local features and traditional culture. The purpose of this study is to provide a new design method and intends, by taking the traditional costume of the Yi women in Liangshan, China, as an example, to establish a systematic color scheme which can be used as a reference for the establishment of relevant color records for other cultural groups. First of all, through literature review, this study provides the definition of the traditional costume of the Yi women in Liangshan, color and culture and color images and clarifies the characteristics of research samples. Secondly, experts are invited to find out and record the color values of different colors on Yi women’s costume, and a software is resorted to in order to calculate the area ration of each color and analyze the color distribution principles of sample costume. Moreover, this study discusses the color images of Yi women’s costume, sorts out its unique color characteristics and establishes and verifies samples of color scheme through focus group interviews in order to analyze regional cultural colors. Finally, this study proposes a systematic approach for regional cultural color analysis, namely, understanding color characteristics, analyzing color images, establishing a color scheme and demonstrating color scheme principles. Through a systematic approach, these cultural colors are analyzed and organized to establish a regional cultural color scheme, which can not only retain the characteristics of the traditional cultural colors of Chinese ethnic groups’ costume but also serve as a reference for designers to develop regional cultural products.
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Griber, Yulia A. "The “Geometry” of Matyushin’s Color Triads: Mapping Color Combinations from the Reference Book of Color in CIELAB." Arts 11, no. 6 (December 12, 2022): 125. http://dx.doi.org/10.3390/arts11060125.
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This study analyzes the color combinations composed by the Russian avant-garde artist Mikhail Matyushin and his disciples for the Reference Book of Color (1932), summarizing their experimental research on the psychophysiology of color perception. Having extracted 90 colors from the 34 hand-painted charts of the book’s first edition, we mapped these colors into CIELAB and CIELCh color space to identify their chromatic characteristics (hue, lightness, and chroma) and their combination criteria. We demonstrate graphically that each of Matyushin’s color triads has a similar “geometry” in CIELAB color space and on the color circle, with the “intermediary” color much closer to the environment background color than to the main color. We conclude that the revealed patterns of these relationships are identical in all four sections of the Reference Book and reflect underlying principles of Mathyshin’s theory of color as well as fundamental aspects of human perception. The analysis presented in this paper will facilitate opportunities for artists, architects, designers, and other color professionals to use Matyushin’s original color charts and incorporate Matyushin’s style in creating their own triads.
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Fukuda, Kazuho, Keiji Uchikawa, and Donald I. A. Macleod. "Influence of Surrounding Colors in the Illuminant-Color Mode on Color Constancy." i-Perception 2, no. 4 (May 2011): 375. http://dx.doi.org/10.1068/ic375.
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Inoue, Kohei, Kenji Hara, and Kiichi Urahama. "Contrast Enhancement of Color Images with Boundary Colors in RGB Color Space." Journal of The Institute of Image Information and Television Engineers 66, no. 7 (2012): J227—J229. http://dx.doi.org/10.3169/itej.66.j227.
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