Bibliografías temáticas / Colour

Literatura académica sobre el tema "Colour"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de mayo de 2024

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Artículos de revistas sobre el tema "Colour"

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Stanikūnas, Rytis, Laimonas Puišys, Aldona Radzevičienė y Henrikas Vaitkevičius. "Colour Preference for Two-Colour Combinations". Psichologija 61 (7 de julio de 2020): 8–20. http://dx.doi.org/10.15388/psichol.2020.12.

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What determines which colour combinations will be attractive to a person and which will not? Is colour attractiveness only a subjective human experience, or can we predict it based on physical colour parameters? One of the pioneers of the attraction of colour theories was Michel Eugène Chevreul (1786–1889). He distinguished two types of colour harmony – analog colour and contrast – and tried to describe what harmonics are based on physical colour parameters. This was later done by other scientists. Later, semantic evaluation of colours was introduced and factor analysis attempted to identify emotions caused by colours or combinations of colours. The aim of this research is to test whether there is a consistent pattern of judgments of colour combinations under controlled conditions and, if so, to what extent they are influenced by the objective physical characteristics of those combinations. Subjects. The study involved 40 students (20 men, 20 women). All subjects had normal colour vision and were not related to fine art. Research tools. The study used 8 colours: 4 opponent (green, red, yellow and blue) and 4 additional (orange, lettuce, blue and purple). The 28 colour combinations (made up of two different colours) were composed of those 8 colours and printed onto cardboard card where each colour had area of 80 mm x 80 mm. Questionnaire of 40 adjectives consisting of 20 pairs of antonyms were used for semantic colour assessment. Procedure. The investigation was conducted in a dark room. Initially, all 28 cards with colour combinations were placed randomly on a desk lit by a 40 cm high fluorescent lamp (4000K correlated colour temperature). The subject was asked to select one of the cards with the most preferable colour combination, to write its code on the questionnaire and to mark all the epithets in the questionnaire which suits this colour combination. The same procedure was applied to the all other cards. One experiment lasted 35–50 minutes. Results and conclusions. Independent component analysis distinguished 4 dimensions describing colours: pleasure, energy, purple color and strength. Logistic regression analysis was run on colour factor loadings to discriminate colour combinations into two groups: liked and disliked colour combinations. It shows that that colour combination could be predicted as being liked or disliked with 85% probability. Adding physical colour parameters to the regression increases prognostic probability to 92 %. Also a relationship between subjective factors and physical characteristics of colour combinations was found. Pleasure correlates with hue contrast and strength with saturation contrast. It can be argued that the reliability of colour combinations is determined by both subjective and physical factors.
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Jermyn, Jacqueline. "A Comparison of Extracted Dominant Colours of Twelve Cosmopolitan Cities". International Journal for Research in Applied Science and Engineering Technology 10, n.º 3 (31 de marzo de 2022): 1569–82. http://dx.doi.org/10.22214/ijraset.2022.40934.

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Abstract: Metropolitan cities are large multi-cultural urban areas. Their colour schemes, which contribute to their unique identities, are influenced by factors, such as when the city was established, climate, city ordinances, and cultural heritage. City colours also evolve overtime due to new construction materials, innovative building designs, and urban development. The objective of this study is to determine if there are similarities in dominant colours for twelve metropolitan cities spanning six continents. They include Cairo, Cape Town, Singapore, Tokyo, Perth, Sydney, London, Madrid, Mexico City, New York City, Buenos Aires, and Lima. The Fuzzy C-Means (FCM) colour extraction technique was used to extract five dominant colours from images of these twelve cities. The extracted dominant colours were outputted as hexadecimal codes with their corresponding names obtained from the color-name.com website. Results show that some of these cities have similar dominant colours. Two colours, cobalt blue and sonic silver, are found in 25% of the cities. Furthermore, ten colours are present in pairs of cities. Most notably, some cities share two of the five dominant colours. Mexico City and New York City both have eerie black and platinum in their colour schemes, while Singapore and Lima share Charleston Green and Gainsboro. Cape Town and Perth both have light cobalt blue and sonic silver in their colour patterns, while Madrid and Buenos Aires share khaki and shadow colours. Dominant colours identified as a result of this investigation could be used to produce colour palettes for these cities. Since colour is an important component of urban development and preservation projects, the ones that incorporate aspects of existing colours would create buildings that are harmonious with the cultural heritage as well as the overall colour scheme of this city. Keywords: Colour extraction, Fuzzy c-means (FCM), soft clustering, unsupervised learning, machine learning, cosmopolitan cities, dominant colours, city colour palettes
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Pitchford, Nicola J. y Kathy T. Mullen. "Is the Acquisition of Basic-Colour Terms in Young Children Constrained?" Perception 31, n.º 11 (noviembre de 2002): 1349–70. http://dx.doi.org/10.1068/p3405.

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We investigated whether the learning of colour terms in childhood is constrained by a developmental order of acquisition as predicted by Berlin and Kay [1969 Basic Color Terms (Berkeley, CA: University of California Press)]. Forty-three children, aged between 2 and 5 years and grouped according to language ability, were given two tasks testing colour conceptualisation. Colour comprehension was assessed in a spoken-word-to-colour-matching task in which a target colour was presented in conjunction with two distractor colours. Colour naming was measured in an explicit naming task in which colours were presented individually for oral naming. Results showed that children's knowledge of basic-colour terms varied across tasks and language age, providing little support for a systematic developmental order. In addition, we found only limited support for an advantage for the conceptualisation of primary (red, green, blue, yellow, black, white) compared to non-primary colour terms across tasks and language age. Instead, our data suggest that children acquire reliable knowledge of nine basic colours within a 3-month period (35.6 to 39.5 months) after which there is a considerable lag of up to 9 months before accurate knowledge of the final two colours (brown and grey) is acquired. We propose that children acquire colour term knowledge in two distinct time frames that reflect the establishment of, first, the exterior (yellow, blue, black, green, white, pink, orange, red, and purple) and, second, the interior structure (brown and grey) of conceptual colour space. These results fail to provide significant support for the order predicted by Berlin and Kay, and suggest, instead, that the development of colour term knowledge is largely unconstrained.
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4

K J, Sannapapamma, Sakeena Naikwadi, Deepa Bhairappanavar, Rajesh Patil y Y. R. Aladakatti. "Effect of scouring and laundering on functional properties of natural colour cotton fabric". Environment Conservation Journal 23, n.º 1&2 (11 de febrero de 2022): 143–53. http://dx.doi.org/10.36953/ecj.021787-2120.

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Natural color cotton is eco-supportive as they possess colour naturally in varied shades viz., brown, green, cream and other tints and shades of these colours. It has unique comfort and handle property which provides soothing to the wearer. A medium brown natural colour cotton fibre was spun into 20s count yarn on open end spinning and the pure colour cotton fabric was developed on handloom and subjected to scouring. The scoured natural colour cotton fabric undergone with multiple wash cycles and assessed for mechanical, functional properties, colour fastness to sunlight and washing properties. Results revealed that, the scoured natural color cotton fabrics at washing and sunlight was found to be increase in color strength and decrease in reflectance than the pure NCC fabric. After laundering at multiple washes, the scoured natural colour cotton fabric exposed to direct sunlight, it was found that the colour strength was significantly reduced and fabric became lighter, duller and yellower. However, the scoured natural colour cotton fabric subjected to washing and shade dried exhibited significantly greater K/S, which indicates the sample became darker, brighter and greener than the sample expose to direct sunlight. The natural colour cotton fabrics has better mechanical, functional and fastness properties can be suitable for production of diversified cotton products ranging from children garments to trendy outfits. Hence, the promotion of natural colour cotton fabrics is a sustainable approach for green environment.
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5

Ivanov, Valery E. "Gemstone Colour Determination". Light & Engineering, n.º 04-2023 (agosto de 2023): 94–100. http://dx.doi.org/10.33383/2022-073.

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The article describes the most important component of gemstones: their colour. The subject of the article is determination of the colour of diamonds with the most frequently encountered yellow tones of different saturation, fancy-colour diamonds as well as emeralds, rubies, and sapphires. For non-ambiguous determination of the colour of gemstones and elimination of human factor, the comparison method known in photometry, i.e., comparison of the colour of a given diamond with the colour of a reference sample is used. The article describes methods of determination of the colour of yellow-hue diamonds when assessing them visually, using reference colours: a set of diamonds. Information on colour groups of diamonds of different cuts used in Russia and the system of Gemological Institute of America (GIA) is provided. Fancy colours of diamonds are very variable and, therefore, they have no references such as the ones for yellow-hue diamonds. For evaluation of fancy colours, the Munsell Book of Colour is used. It includes 1600 colour samples on 40 maps each having its own colour hue. The samples are arranged in rows and columns: samples of the same row have the same brightness; samples of the same column have the same saturation. As the samples for determination of fancy colours of diamonds as well as emeralds, rubies, and sapphires plastic plates of different colours are used. The colours of the examined gems are compared to them. The article describes the methods of assessment of fancy colours of diamonds adopted in Russia. Nowadays, a software colour evaluation system is proposed by GIA to be used as an alternative to colour samples. Gemewizard software proposed by Izrael may identify 31 main colour tones. It reproduces each tone in six colour hues. Each hue is divided by six brightness levels. In general, this system allows us to determine 1116 colours of gemstones. The software approach had been already proposed previously but computer screens have different colour rendering, which is still the main hindrance for determination of gem colour by means of software.
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Jonauskaite, Domicele, Lucia Camenzind, C. Alejandro Parraga, Cécile N. Diouf, Mathieu Mercapide Ducommun, Lauriane Müller, Mélanie Norberg y Christine Mohr. "Colour-emotion associations in individuals with red-green colour blindness". PeerJ 9 (7 de abril de 2021): e11180. http://dx.doi.org/10.7717/peerj.11180.

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Colours and emotions are associated in languages and traditions. Some of us may convey sadness by saying feeling blue or by wearing black clothes at funerals. The first example is a conceptual experience of colour and the second example is an immediate perceptual experience of colour. To investigate whether one or the other type of experience more strongly drives colour-emotion associations, we tested 64 congenitally red-green colour-blind men and 66 non-colour-blind men. All participants associated 12 colours, presented as terms or patches, with 20 emotion concepts, and rated intensities of the associated emotions. We found that colour-blind and non-colour-blind men associated similar emotions with colours, irrespective of whether colours were conveyed via terms (r = .82) or patches (r = .80). The colour-emotion associations and the emotion intensities were not modulated by participants’ severity of colour blindness. Hinting at some additional, although minor, role of actual colour perception, the consistencies in associations for colour terms and patches were higher in non-colour-blind than colour-blind men. Together, these results suggest that colour-emotion associations in adults do not require immediate perceptual colour experiences, as conceptual experiences are sufficient.
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Nijboer, Tanja C. W., Titia Gebuis, Susan F. te Pas y Maarten J. van der Smagt. "Interactions between colour and synaesthetic colour: An effect of simultaneous colour contrast on synaesthetic colours". Vision Research 51, n.º 1 (enero de 2011): 43–47. http://dx.doi.org/10.1016/j.visres.2010.09.030.

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Ou, Li-Chen, M. Ronnier Luo, Andr�e Woodcock y Angela Wright. "A study of colour emotion and colour preference. Part I: Colour emotions for single colours". Color Research & Application 29, n.º 3 (2004): 232–40. http://dx.doi.org/10.1002/col.20010.

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Nikulshina, Tatyana N. "VERBALIZATION OF “METALLIZED” COLOUR NAMES IN THE WORLDVIEW OF ENGLISH FAIRY-TALES". Proceedings of Southern Federal University. Philology 26, n.º 1 (20 de marzo de 2022): 57–65. http://dx.doi.org/10.18522/1995-0640-2022-1-57-65.

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The article singles out the semantic and linguo-cultural specificities of the use of “metallized” colour names in English fairy-tales. The nomination of the colour “metallized” continuum of the English fairy-tale discourse is carried out through the verbalization of the colour of precious metals (gold, silver), non-ferrous metals (iron) and alloys (bronze). “Metallized” colour names reveal a limited position – 12 units. Lexical units golden, silvery, bronzed are the most general designations of the metallic colours within the ancient English worldview. The color of gold – golden – dominates as hierarchically the most significant one. English fairy-tales represent a wide use of “metallized” colour names within the NATURE, HUMAN BEING and SUPERNATURAL domains. “Metallized” colour names join such thematic groups, as FAUNA, FLORA, NATURAL PHENOMENON (within the NATURE domain), APPEARANCE, ACTIVITY, ARTEFACTS (within the HUMAN BEING domain) and APPEARANCE (within the SUPERNATURAL domain). “Metallized” colour names are indirectly related to colour explication. The lexical units conveying “metallized” colour designations are characterized by part-ofspeech heterogeneity, simple / complex structure of constituents, the presence of an identifier of a qualitative feature and shading semantics, axiological marking, the unproductiveness of the formation of diminutives, the presence / absence of a non-colour component, the presence / absence of signs of radiance and shine.
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Parikh, Kashyap. "Colour Symbolism - Emotional Values of Colour". Indian Journal of Applied Research 3, n.º 1 (1 de octubre de 2011): 65–66. http://dx.doi.org/10.15373/2249555x/jan2013/26.

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Tesis sobre el tema "Colour"

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Addae-Badu, S. "Large colour differences between surface colours". Thesis, University of Bradford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373215.

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Luo, M. R. "New colour-difference formulae for surface colours". Thesis, University of Bradford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372193.

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Hung, Tin Wai Robert. "Use of colour in machine vision : colour representation, edge detection with colour, segmentation of colour space and colour constancy". Thesis, City University London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312936.

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Liu, Bo-zhi. "Understanding colour image : colour constancy". Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/50155/.

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Human visual system has a mechanism which ensures that the perceived colour of an object remains almost constant under varying illumination conditions, and this mechanism is called colour constancy. Electronic imaging systems such as digital cameras do not naturally have this ability. The color appearance of images of an object under different lighting conditions changes with the colour of the light sources and this can cause problems in many computer vision applications such as object recognition. To deal with this problem, many algorithms have been developed to estimate the input image’s illuminant, and then recover the intrinsic colour of the scene correctly. In this thesis, we focus on this topic, try to produce new colour constancy algorithms in both images and videos, to improve the performance of the state of the art. This thesis makes four technical contributions. First, we have developed a new image representation scheme suitable for developing learning based colour constancy algorithms; second, we introduce a new method that formulates the colour constancy problem as one that infers the illuminant class of the input image; third, we introduce a novel clustering classification colour constancy framework (the 4C method); and finally, we extend our method from still image into video processing, create a new framework to deal with the colour constancy problem in videos. As in many computer vision problems, one of the crucial issues is how to effectively represent the input events. Colour constancy is no exception and we need to first represent the input image. As we are only interested in the colours of the image, colour histogram is a natural choice. However, traditional colour histogram is content dependent. As our task is estimating the colours of the illuminant rather than the colours of the image, we need a representation that is relatively independent of the image content. Based on this reasoning, we introduce the novel concept of a binary colour histogram where it records if a colour has appeared in the image or not and disregards the frequency of the colours appear in the image. We will present experimental results to demonstrate that our new binary histogram representation is particularly suitable for learning based colour constancy and that it provides better performances than other traditional representation schemes. The colour of a digital image is directly affected by the colour of the illuminant. We reason if we can recognize or classify the illuminant source of the image, we can then correct the colour of the image. Based on this rationale, we formulate the colour constancy problem as an illuminant classification problem. We assume that each image has an associated class of illuminant and the task of colour constancy is that of recognizing the illuminant class of the image. To accomplish this, we make use of our newly introduced binary colour histogram representation scheme and employ a powerful machine learning method called the Random Forest to construct the illuminant recognition system. We will present experimental results to show the effectiveness of our new method. Encouraged by the success of our illuminant recognition framework, we have developed a novel clustering classification colour constancy (the 4C) framework. We reason that similar illuminants will result in similar white point colours in an image. Based on this assumption, we first use a clustering algorithm to group similar white point colours of the training samples into the same cluster. We then treat the images in the same cluster as belonging to the same illumination source and each cluster as one class of illuminants. The colour constancy problem, i.e., that of estimating the unknown illuminant of an image, becomes that of identifying which illuminant class (cluster) the image’s illuminant falling into. We again make use of our novel binary colour histogram representation and our random forest based illuminant classification methods to implement our new 4C colour constancy framework. We present experimental results on publicly available testing datasets and show that our new method is competitive to state of the art. As a practical application, we have successfully extended our novel colour constancy methods from still image into video processing. The video tonal stabilization problem is still an unsolved problem, and current algorithms are only focusing on keeping the tonal stable during video playing, not really trying to recover the incorrect illuminant. We tackle these two problems together by keeping the tonal stable and recovering the frame colour to a canonical illuminant. Our approach first divides video frames into shots containing similar illuminant characteristics. We then correct the frames in the same scene by using the Random Forest illuminant estimation framework. A smooth function is applied to prevent flick and flash from occurring at the boundary of the neighboring scenes. Experimental results show that our new methods can improve video quality effectively.
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Matas, J. "Colour-based object recognition". Thesis, University of Surrey, 1995. http://epubs.surrey.ac.uk/843934/.

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This thesis studies the use of colour information for object recognition. A new representation for objects with multiple colours - the colour adjacency graph (CAG) - is proposed. Each node of the CAG represents a single chromatic component of the image defined as a set of pixels forming a unimodal cluster in the chromatic scattergram. Edges encode information about adjacency of colour components and their reflectance ratio. The CAG is related to both the histogram and region adjacency graph representations. It is shown to be preserving and combining the best features of these two approaches while avoiding their drawbacks. The proposed approach is tested on a range of difficult object recognition and localisation problems involving complex imagery of non rigid 3D objects under varied viewing conditions with excellent results.
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Klaman, Marianne. "Adpects on colour rendering, colour prediction and colour control in printed media". Doctoral thesis, KTH, Numerical Analysis and Computer Science, NADA, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3332.

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Ou, Li-Chen. "Quantification of colour emotion and colour harmony". Thesis, University of Derby, 2004. http://hdl.handle.net/10545/251613.

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Cowan, Greig Alan. "Single-colour and single-flavour colour superconductivity". Thesis, University of Glasgow, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412941.

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Sundell, Johanna. "Colour proof quality verification". Thesis, Linköping University, Department of Science and Technology, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2358.

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BACKGROUND

When a customer delivers a colour proof to a printer, they expect the final print to look similar to that proof. Today it is impossible to control if a match between proof and print is technically possible to reach at all. This is mainly due to the fact that no information regarding the production circumstances of the proof is provided, for instance the printer does not know which proofer, RIP or ICC-profile that was used. Situations where similarity between proof and print cannot be reached and the press has to be stopped are both costly and time consuming and are therefore wished to be avoided.

PURPOSE

The purpose of this thesis was to investigate the possibility to form a method with the ability control if a proof is of such good quality that it is likely to produce a print that is similar to it.

METHOD

The basic assumption was that the quality of a proof could be decided by spectrally measuring known colour patches and compare those values to reference values representing the same patches printed at optimal press conditions. To decide which and how many patches that are required, literature and reports were studied, then a test printing and a comparison between proofing systems were performed. To be able to analyse the measurement data in an effective way a tool that analyses the difference between reference and measurement data was developed using MATLAB.

RESULT

The result was a suggestion for a colour proof quality verification method that consists two parts that are supposed to complement each other.The first one was called Colour proofing system evaluation and is supposed to evaluate entire proofing systems. It consists of a test page containing colour patches, grey balance fields, gradations and photographs. The second part is called Colour proof control and consists of a smaller set of colour patches that is supposed to be attached to each proof.

CONCLUSIONS

The method is not complete since more research regarding the difference between measurement results and visual impression is needed. To be able to obtain realistic tolerance levels for differences between measurement- and reference data, the method must be tested in every-day production. If this is done the method is thought to provide a good way of controlling the quality of colour proofs.

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Hårleman, Maud. "Daylight Influence on Colour Design : Empirical Study on Perceived Colour and Colour Experience Indoors". Doctoral thesis, KTH, Arkitektur, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4395.

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It is known that one and the same interior colouring will appear different in rooms with windows facing north or facing south, but it is not known how natural daylight from these two compass points affects perceived colour and the ways in which colour is experienced. The objective is to describe the perceived colours to be expected in rooms with sunlight and diffused light, and thus develop a tool for colour design. Two empirical investigations provide the basis for six attached papers. The model is exploratory with a qualitative character. One hundred and ninety-one studies were carried out with 79 observers in full-scale rooms, with double-glazed transparent room windows facing north or south. The NCS colour sample collection and colour terminology were used, with three yellow, red, blue and green hues in two nuances: whitish 1010 and more chromatic 1030. The walls were painted in a total of 23 selected inherent colours with each colour observed in up to 10 studies. Colour matching was achieved using a colour reference box and results were analysed with the aid of the terms inherent colour and identity colour. The colour reference box was tested in a separate study to investigate any methodological problems. Room character was described using semantic differentials, and data was processed using the SPSS statistics program. Verbal description using own words was applied in a descriptive and reflecting method to find sensory differences and precise, yet ordinary descriptions. Colour differences between rooms were assessed using verbal description of hue and nuance, and a supplementary method with specified colour samples. Emotional impressions of colour and rooms were assessed using a method describing primary emotions and the results were compared with results from another study using small colour samples. The colouring that enhanced or neutralised room light situation was compared as regards emotional impression and thereafter compared with results from another study. Daylight from the different compass points caused a clear shift in hue and nuance. The perceived colour was consistently more chromatic and more blackish than the inherent colour used. Nuance 1010 shifted more in chromaticness than nuance, while 1030 instead increased most in chromaticness. Even minor colour differences resulted in major differences in colour experience. The north-facing room in yellowish colours shifted towards reduced yellowishness in both hue and chromaticness. Indications were that north-facing rooms in reddish blue become more reddish than south-facing rooms.
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Libros sobre el tema "Colour"

1

Chadha, Radhika. Colour-colour Kamini. Chennai: Tulika Publishers, 2007.

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ill, Kuriyan Priya, ed. Colour-colour kamini. Chennai: Tulika Publishers, 2007.

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Colour. Oxford: Heinemann Library, 2008.

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Antal, Nemcsics. Colour dynamics: Environmental colour design. Editado por Nógrádi M. Budapest: Akadémiai Kiadó, 1993.

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Antal, Nemcsics. Colour dynamics: Environmental colour design. New York: Ellis Horwood, 1993.

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Gordon, Mike, 1948 March 16-, ed. Colour. Hove: Wayland, 1994.

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Rossotti, Hazel. Colour. Princeton, N.J: Princeton University Press, 1985.

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Colour. Manchester, [Eng.]: Manchester University Press, 2010.

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1955-, Batchelor David, ed. Colour. Cambridge, Mass: MIT Press, 2008.

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1955-, Batchelor David, ed. Colour. Cambridge, Mass: MIT Press, 2008.

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Capítulos de libros sobre el tema "Colour"

1

Brown, J. F. "Colour and Colour Matching". En The Printing Ink Manual, 69–108. Boston, MA: Springer US, 1988. http://dx.doi.org/10.1007/978-1-4684-6906-6_3.

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Brown, J. "Colour and Colour Matching". En The Printing Ink Manual, 69–108. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-011-7097-0_3.

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O’Donoghue, Michael. "Colour". En Gemstones, 69–107. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-1191-8_5.

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Turner, G. P. A. "Colour". En Introduction to Paint Chemistry and Principles of Paint Technology, 70–81. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-1209-0_6.

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Gooch, Jan W. "Colour". En Encyclopedic Dictionary of Polymers, 158. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_2678.

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van Bommel, Wout. "Colour". En Interior Lighting, 25–55. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17195-7_2.

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Wade, Nicholas. "Colour". En Art and Illusionists, 207–26. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-25229-2_11.

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Turner, G. P. A. "Colour". En Introduction to Paint Chemistry and Principles of Paint Technology, 70–81. Boston, MA: Springer US, 1988. http://dx.doi.org/10.1007/978-1-4899-6836-4_6.

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Farulli, Luca. "Colour". En Lecture Notes in Morphogenesis, 85–88. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51324-5_16.

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Thedvall, Renita. "Colour". En Fast Childcare in Public Preschools, 64–82. Abingdon, Oxon : New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351012836-4.

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Actas de conferencias sobre el tema "Colour"

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John, Sneha Anna. "Approach to Retrieve Content-based Image from a Clustered Database Based on a Dominant Colour". En 2nd International Conference on Modern Trends in Engineering Technology and Management. AIJR Publisher, 2023. http://dx.doi.org/10.21467/proceedings.160.22.

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Over the past few years, there has been a significant increase in both the availability and significance of image retrieval systems. One of the most important aspects of the photographs during the search process is their colour. Since there are many widely used techniques for color-based comparison and retrieval. In this research, we present a Dominant Colour extraction scheme that allows us to extract the image's colour features. We utilise quantization to represent the extracted prominent colours within a bound after extracting the dominant colours. We cluster the database and index the images based on quantized value. When an image which is set as question is sent as input into the system, it will only identify cluster in the image and search the image rather than the entire database utilised similarity metric in.
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Mak, Ming Yuan, Yun Bei Choo, Xin Jie Wong, Yee Yong Loo y Khai Yin Lim. "Auto-Assigned Colours on Facebook: Does Facebook Text Delight Colours Reflect the User’s Emotions Correctly?" En International Conference on Digital Transformation and Applications (ICDXA 2020). Tunku Abdul Rahman University College, 2020. http://dx.doi.org/10.56453/icdxa.2020.1026.

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Facebook Text Delight is a feature whereby certain keywords will have different colours auto-assigned to it, heightening user expressions. However, these colours are auto-assigned and only restricted to certain words or phrases. Therefore, in this paper, we analyze the accuracy of the colour assigned and the percival of users towards the colours. We collected our data from different socio-demographic Facebook users. A survey was carried out alongside a series of posts with similar content but different colours on Facebook. Our results show that Facebook Text Delight may not reflect user’s emotions accurately. Keywords: Facebook Text Delight, Colour Psychology, Colour Words, Colour Emotions, Text Animations
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Lobo, Carla, Puja Kumar y Luisa Barreto. "Defining the Complex Emotional Experiences of Depression through Visual Language – Colour as Expressive Tool". En 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001408.

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According to survey reports by World Health Organization, depression was ranked as the third leading cause of the global burden of disease in 2004, moving into the first place by 2030. Considering this scenario, a research project has been conducted focusing on the potential of graphic design in health care as an opportunity to communicate complex emotional experiences of depression. Using colour as a design strategy, conceptualizes a methodological approach that can be adopted to develop colour palettes in graphic design by considering the focal parameters relevant to the specific project, in this case, connect the emotional dimension of colour experience with depression to visualise the illness in a new light.All works of graphic design establishes a visual communication with its audiences by connecting directly or indirectly on an emotional level, establishing a visual communication with their audiences, connecting directly or indirectly on an emotional level. This paper proposes a methodological approach that can be adopted to derive the appropriate colour for any design, based on the message it is intended to communicate.The development of the tool is based on the importance of the relationship between the relative degree of each emotion and the specific cultural symbolism for the derivation of colours, aiming to capture an individual's emotional attention and produce flawless results in the final design work.The work is based on a transversal approach, correlating different graphic design strategies, including colour and its symbolism, in this case with reference to Indian culture, with the aim of identifying and subsequently portraying the different types of depression, motivating depressed people to express themselves, and the population in general to change their perception about the disease, promoting greater sensitivity and sympathy towards the subject. The proposed colour tool ambitions to create a solution for the inability of people to put together words for their emotional experiences/ feelings when they are going through depression. The colours chosen by them would give a clearer understanding of the emotions/ feelings they might be going through and would play an indicative role to determine the type of depression.Hence, the project is an effort to channel appropriate color as a design tool to talk about depression, spread information and ultimately enrich humane diagnoses and treatment when it comes to fight depression.The development of this interactive visual medium to express complex emotion is fulfilled by incorporating colour variations as a paramount feature in the design strategy. To effectively portray depression as a serious illness using the expressive potential of colour to convey right emotions when used aptly, a colour code was designed, considering the variations in colour dimensions (saturation and light scales) as ways of expressing the degree of severity of the disease.The colour palette was achieved by theoretical research of colour concepts crossed with analytical study of survey results, which allowed the most significant associations between colours and emotions to be identified, and from these to build a functional colour code, providing a visual expressive tool to those going through depression.
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Shi, Keyu, Changjun Li, Cheng Gao y Luo Ming Ronnier. "TESTING THE PERFORMANCE FOR UNRELATED COLOUR APPEARANCE MODELS". En CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.op44.

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Most colour appearance models (CAMs) have been developed to predict the colour appearance only for related colours in different viewing conditions. More recently, CAMs to predict for unrelated colours have been proposed due to the availability of the experimental data. This paper investigates the performance of the three promising colour appearance models for unrelated colours, i.e. CAM15u, CAMFu and CAM20u using an experimental dataset carefully accumulated by Fu et al. in term of CV values. The results showed that the latest CAM20u outperformed the other models. CAMFu, as the oldest model, whose performance was much worse than other two models in predicting brightness and colourfulness, and performed well in predicting hue composition, while CAM15u gave a moderate performance in predicting brightness and colourfulness, but performed slightest worse than the others for hue composition.
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Barradas, Vera, Ana Loures, Luis Loures, José Silveira Dias y Victoria Carrillo Durán. "Colour as a Distinctive Element of the Territories". En 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001381.

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This paper is part of research under development, which aims to define a set of criteria and/or parameters in the fields of design and communication, to enhance the sustainability of Low-Density Territories, through the recognition of their identity and their distinctive signs.Thus, this article aims to know if the colour is constituted as a distinctive sign and contributes to the identity of the territory.According to studies developed by several authors over the past few years, the distinctive signs, whether tangible or intangible, are identifying and differentiating elements that ensure ethical and fair competition, which encourages sustainability. They can contribute decisively to the construction of a region's iconography, the reaffirmation of its territorial imprint and are a stimulus to territorial development. In the context of signs and place identity comes the concept of genius loci, or spirit of place, created by Norberg-Schulz, which refers to the distinctiveness that characterises each place.As long as there is light, colour is in every landscape we see. Whether they are, or not, worked, by Man, each landscape holds a palette that is composed of the colours that compose it: sky, vegetation, soil, rocks, buildings, signs, among others.For Simon Bell (1993), despite the chromatic variability that landscapes present, they are associated to a limited scale of colours, a fact that facilitates the definition of a local identity.Talking about local identity, as far as colour is concerned, leads to the concept of Colore Loci, which derives from the previously mentioned Genius Loci, created by Raimondo, to demonstrate the unique characteristics of a given place.In order to achieve the established objective, three types of landscape were identified: Natural Landscape, characterized by being able to have, or not, human intervention, but where the action of nature prevails and where the presence of construction is very reduced or even null; Landscape built by Man using local natural resources, refers, for example, to urban agglomerations where local materials are used to build, i.e. where local stone is used for the design of streets and pavements, for the cladding of buildings, or for the construction of exposed stone walls; and Painted Landscape, which is one that, regardless of whether or not it uses materials from the region, stands out for its deliberate use of artificial colours, which make these landscapes unmistakable.Through the analysis carried out it was possible to conclude that colour is even a distinctive sign of the territory, since each place has different types of heritage, natural and built, and these give the landscape distinctive shades, through permanent and non-permanent colours. However, and turning the focus to the valuation and attractiveness of the territories, which is the central theme of the doctoral research, it can be stated that the colour, and its use, can also create the identity of a place, and thus enhance it and make it attractive, since according to the analysis carried out, the spaces created by colour (the painted landscapes) are the most visited.
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Postma, Peter y Bob Chorley. "Colour Grading with Colour Management". En SMPTE Australia Conference. IEEE, 2015. http://dx.doi.org/10.5594/m001610.

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HAWKEY, DAVID J. C. "THE INTERRELATED EVOLUTIONS OF COLOUR VISION, COLOUR AND COLOUR TERMS". En Proceedings of the 6th International Conference (EVOLANG6). WORLD SCIENTIFIC, 2006. http://dx.doi.org/10.1142/9789812774262_0063.

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Restrepo, Alfredo. "Colour modification and colour combination in double-cone colour space". En IS&T/SPIE Electronic Imaging, editado por Karen O. Egiazarian, Sos S. Agaian y Atanas P. Gotchev. SPIE, 2013. http://dx.doi.org/10.1117/12.2003211.

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Duffy, N. y G. Lacey. "Colour Profiling Using Multiple Colour Spaces". En British Machine Vision Conference 1998. British Machine Vision Association, 1998. http://dx.doi.org/10.5244/c.12.25.

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Chen, S., Y. Lin, B. Zhang, X. Zeng, J. Liu y Q. Yao. "EVALUATION THE COLOUR HARMONY OF ARTIFICIAL LIGHT AT NIGHT IN URBAN COMMERCIAL DISTRICT UTILIZING HYPERSPECTRAL IMAGING". En CIE 2023 Conference. International Commission on Illumination, CIE, 2023. http://dx.doi.org/10.25039/x50.2023.pp023.

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ALAN (artificial light at night) has changed the spectral composition of the night sky, disrupting the rhythms of natural ecosystems. In particular, the multicolour and high brightness of the nightscapes make the urban night present a chaotic and colourful scene. We therefore introduce the colour harmony theory for evaluating multiccolour lighting scenes. In this study, we collected hyperspectral data from 50 lighting scenarios in seven commercial districts in Shanghai. Utilizing the acquired hyperspectral data, we analyzed the luminance, chromaticity distribution, and colour harmony values of these districts. It was observed that modern architectural commercial districts (such as Lujiazui) exhibited a greater variety of colours compared to historical architectural districts (such as the Bund International Architecture Exhibition). This disparity can be attributed to the utilization of self-illuminating lighting methods in modern architecture, allowing for a broader range of colours, higher luminance levels, and increased colour harmony values. In contrast, historical buildings typically rely on floodlights for illumination, resulting in fewer colour options, lower luminance levels, and diminished colour harmony values.
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Informes sobre el tema "Colour"

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Fang, W., N. Seddigh y B. Nandy. A Time Sliding Window Three Colour Marker (TSWTCM). RFC Editor, junio de 2000. http://dx.doi.org/10.17487/rfc2859.

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International Commssion on Illumination, CIE. CIE TN 013:2022 Terms related to Planckian radiation temperature for light sources. International Commssion on Illumination, febrero de 2022. http://dx.doi.org/10.25039/tn.013.2022.

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There are several terms which describe the Planckian radiation temperature for light sources, including radiance temperature, colour temperature, correlated colour temperature, distribution temperature and ratio temperature. This document provides descriptions of these terms, information on their applicability, and highlights relationships between them so that they may be consistently applied in all applications. Definitions and additional explanatory information for each term are given in this document. Obviously, the greater the difference between the radiation considered and a Planckian radiator, the more tenuous the interpretation of the temperature attribution. Guidelines as to agreed reasonable limits of applicability, if any, are therefore also given, together with information on the calculation of the associated measurement uncertainties where relevant. Keywords: Planckian radiation, Planckian radiatior, Thermodynamic temperature, Planckian radiator temperature, Blackbody temperature, Radiance temperature, Colour temperature, Correlated colour temperature, CCT, Distribution temperature, Ratio temperature
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3

Beauchemin, M. y K. B. Fung. Intensity-Hue-Saturation Colour Display Transform for Hyperspectral Data. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1999. http://dx.doi.org/10.4095/219516.

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McNeil, D. H., D. R. Issler y L. R. Snowdon. Colour alteration, thermal maturity, and burial diagenesis in fossil foraminifers. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1996. http://dx.doi.org/10.4095/208174.

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Perkins, C. RTP Payload Format for Uncompressed Video: Additional Colour Sampling Modes. RFC Editor, febrero de 2006. http://dx.doi.org/10.17487/rfc4421.

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Hung, P., M. Ayama, D. Bonci, H. Chen, L. Fernandes, A. Kvitle, N. Milić et al. CIE 240:2020 Enhancement of Images for Colour-Deficient Observers. International Commission on Illumination (CIE), junio de 2020. http://dx.doi.org/10.25039/tr.240.2020.

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Linehan, Margaret y Corina Sheerin. The Black Ceiling: Employment Experiences of Women of Colour in Southwest Ireland. Munster Technological University, octubre de 2023. http://dx.doi.org/10.34719/vuzy6228.

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This report presents valuable insights of the lived experiences of women of colour in the labour market in southwest Ireland. Their voices articulate a perceived double challenge of being both female and persons of colour, challenges not shared by male persons of colour or generally by white persons in organizations. Some of these challenges arise from misunderstandings, unwarranted preconceptions, conscious and unconscious biases, but sometimes from an insensitive blending of racist and misogynist attitudes. The importance of educating the wider labour market, and society in general, to the sensitivities of these employees is apparent from this report. Proactive implementation of positive organizational policies was also espoused by the interviewed employers. These employers recounted how they make extra efforts to make their workplaces more inviting for these employees. As well as reaching out with extra supports to genuinely support the wellbeing of these employees, the employers acknowledge that a better and happier work environment contributes to improved work outcomes, including greater staff retention. This report provides a positive contribution to stakeholders in the overall labour market by highlighting first-hand perspectives of women of colour in employment contexts. As well as contributing to the literature and providing practice-led policy recommendations, this report can usefully be shared by talent management staff and human resource managers during induction training and as a contribution to continual personal development.
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Richter, K., G. Cui, S. Bračko, M. R. Luo, M. Melgosa y T. Seim. CIE 230:2019 Validity of Formulae for Predicting Small Colour Differences. International Commission on Illumination (CIE), enero de 2019. http://dx.doi.org/10.25039/tr.230.2019.

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Hetu, R. Airborne gamma ray spectrometric colour maps for Sudbury and District, northern Ontario, 1989. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1989. http://dx.doi.org/10.4095/130801.

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Morris, R., D. M. Jobin, M. D. Thomas, N. Rogers y S R McCutcheon. New gravity data for the Bathurst Mining Camp, northeastern New Brunswick: a colour-shaded Bouguer gravity anomaly map (linear colour contour interval) with gravity station locations and posted Bouguer anomaly values. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2007. http://dx.doi.org/10.4095/223792.

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