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1
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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2
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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3
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.
Testo completo
4
Liu, Bo-zhi. "Understanding colour image : colour constancy." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/50155/.
Testo completoAbstract (sommario):
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.
5
Matas, J. "Colour-based object recognition." Thesis, University of Surrey, 1995. http://epubs.surrey.ac.uk/843934/.
Testo completoAbstract (sommario):
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.
6
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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7
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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9
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.
Testo completoAbstract (sommario):
<p>BACKGROUND </p><p>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.</p><p>PURPOSE </p><p>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.</p><p>METHOD </p><p>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. </p><p>RESULT </p><p>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. </p><p>CONCLUSIONS </p><p>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.</p>
10
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.
Testo completoAbstract (sommario):
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.<br>QC 20100716
11
Huxtable, M. J. "Colour, seeing, and seeing colour in medieval literature." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2175/.
Testo completoAbstract (sommario):
This thesis re-approaches medieval literature in terms of its investment in visuality in general and chromatic perception in particular. The introduction raises the philosophical problem off-colour: its status as an object for science, role in perception, and relationship to language and meaning as expressed within inter-subjective evaluation. Two modes of discourse for colour studies of medieval literature are proposed: the phenomenological (from the philosophical tradition of such as Maurice Merleau-Ponty) seeking localised networks and patterns of inter-subjective, embodied, perceptual meanings and values; and linguistic (informed by the philosophical psychology and language philosophy of Ludwig Wittgenstein), focusing on the lexicalisation of colour experience and creation of semantic distinctions corresponding with changing colour concepts, which in turn shape individual perceptions (both first-hand experience and that of reading). Part One introduces key medieval ideas and theories pertaining to visual perception in general, and chromatic perception in particular. The authority for, and influence on medieval writers of Plato's Timaeus, Aristotle's De Anima and Parva Naturalia, and relevant biblical material is considered. Subsequent chapters explore Patristic and Neo-Platonist developments in extramissive thought, locating within this tradition the roots of a synthesis of natural philosophy with Christian theology that is found in later medieval thought and its dealings with perception and colour. A key movement in the theology of light in relation to colour is connected to the wider philosophical movement from largely "extramissive" to largely "intromissive" models of perception. This shift in theory and its significance for colour perception is explained in terms of the impact of Aristotle's material colour theory as found in De anima and the De sensti et sensato section of his Parva Naturalia from the late twelfth century onwards. The part concludes with a detailed study of the nineteenth chapter of Bartholomaeus Anglicus's thirteenth-century encyclopedia, De Proprietatibus Rerum, which provides access to an important range of ideas and sources relevant for accessing the medieval mind in its intellectualized perception of colour. Lastly, such philosophical and theological sources and ideas as are found in Part One are compared with relevant examples from literary texts, ranging from the Middle English poem, The Parliament of the Three Ages, to Christine de Pisan's Le Livre de la Cite des Dames. Part Two treats colour perception in relation to a particular medieval phenomenon: the rise of medieval heraldry and the armorial function of the herald. It considers the spiritual and secular ideologies of chivalry and their relationship to armorial displays as found portrayed and construed in various genres of chivalric literature. Texts under discussion include books of chivalry and arms from the early thirteenth to fourteenth centuries, such as those principally indebted to New Testament armorial allegory and motif (from writers such as Ramon Llull to Geoffrey de Charny), to later fourteenth-century treatises employing Aristotle’s De sensu et sensato to establish a secular hierarchy of chivalric colours. The study culminates with Part Three, offering responses to and discussions of particular medieval fictions in terms of their phenomenological, linguistic and intertextual treatment of colour perception. Medieval texts addressed include, amongst others, Le Roman de la Rose by Guillaume de Lorris and Jean de Meun, and four Middle English metrical romances: Sir Gowther, Sir Amadace, Sir Launfal and Sir Gawain and the Green Knight.
12
Deshpande, Kiran. "N-colour separation methods for accurate reproduction of spot colours." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8732/.
Testo completoAbstract (sommario):
In packaging, spot colours are used to print key information like brand logos and elements for which the colour accuracy is critical. The present study investigates methods to aid the accurate reproduction of these spot colours with the n-colour printing process. Typical n-colour printing systems consist of supplementary inks in addition to the usual CMYK inks. Adding these inks to the traditional CMYK set increases the attainable colour gamut, but the added complexity creates several challenges in generating suitable colour separations for rendering colour images. In this project, the n-colour separation is achieved by the use of additional sectors for intermediate inks. Each sector contains four inks with the achromatic ink (black) common to all sectors. This allows the extension of the principles of the CMYK printing process to these additional sectors. The methods developed in this study can be generalised to any number of inks. The project explores various aspects of the n-colour printing process including the forward characterisation methods, gamut prediction of the n-colour process and the inverse characterisation to calculate the n-colour separation for target spot colours. The scope of the study covers different printing technologies including lithographic offset, flexographic, thermal sublimation and inkjet printing. A new method is proposed to characterise the printing devices. This method, the spot colour overprint (SCOP) model, was evaluated for the n-colour printing process with different printing technologies. In addition, a set of real-world spot colours were converted to n-colour separations and printed with the 7-colour printing process to evaluate against the original spot colours. The results show that the proposed methods can be effectively used to replace the spot coloured inks with the n-colour printing process. This can save significant material, time and costs in the packaging industry.
13
Ouyang, Y. "Simultaneous colour contrast and colour constancy in authentic scences." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518544.
Testo completo
14
Izadan, Hossein. "Assessment of Colour and Colour Fastness of Textile Materials." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485589.
Testo completoAbstract (sommario):
The main aim of this research was to investigate the possible uses of digital image scanning to assess the colour and colour fastness of textiles. This method has the potential to be a simpler alternative to camera based colour fastness assessment, for example'by the DigiEye system.. The scanning device used was an Epson Perfection 2400 Photo scanner, a mid-range quality device. The scanner was operated in· two different modes, 24 and 48 bits colour resolution and was calibrated by adjusting its setting, testing its repeatability for colour measurement and examining the spatial uniformity of response of the scanner. The results showed that the spatial uniformity of the 'scanner response was excellent for the majority of the scanning area but less uniform for the areas along its scanning borders. The repeatability of the scanner values for the colour measurement purposes was reasonable. The colour and colour fastness determination by the 24 and the 48 bits scanner modes indicated that there were no practical benefits to the use of the 48 bits. The colorimetric response of the scanner was characterised with the XYZ and the L*a*b* approaches in which the RGB responses of the scanner were transformed to the XYZ tristimulus values and to the L*a*b* values, respectively. It was shown that pre-treatment of the data by linearisation against either luminance or mean reflectance gave very good results with the XYZ approach to scanner. characterisation and that linearisation against L* gave excellent results for the L*a*b* approach to scanner characterisation. In the characterisation of the scanner two different techniques for parameter optimisation were applied, regression and iteration. The experiments show that the iteration techniques marginally improved the performance of the XYZ approach but it had no significant effect on the L*a*b* approach. The experiments conducted to find the best colour chart to use for colorimetric characterisation of the scanner showed that the TC chart which was made from an atlas of textile colour patches outperformed the CCDCchart which was made of 165 patches. of the ColorChecker DC. From the performance results of the colorimetric characterisation with different polynomials in the regression techniques it was found that using a second order polynomial to relate RGB to output colour parameters had the best generalisation and a good memorisation effect. It was concluded that for colour fastness assessment the scanner should be characterised with a regression technique fitting the coefficients of a second order polynomial us'ing the RGB to L*a*b* approach 'of colorimetric characterisation and theL* method for linearisation of the eeDe chart patches' RGB. The relative spectral power distribution (SPD) of the scanner lamp was also measured and it was concluded that part ofresidual inaccuracies of the scanner colour measurement could have arisen from the spiky shape ofthe SPD. The characterised scanner was used for instrumental colour fastness assessment of two sets of panels, one set of 60 staining and 15 colour change panels called the old set and a set of240 staining and 40 colour change panels made during the research to increase the range and uniformity ofthe colour distribution ofthe panels. An existing set of observer results were available for the old set and were obtained from 38 observers from 12 laboratories ofthe UK. The grades for the new set were obtained from 6 observers from two laboratories in the UK. The instrumental colour fastness grades of the sets were determined by the ISO, the GRS and the GRC formulae using a spectrophotometer, DigiEye system and the scanner. On the basis of the results of these devices in comparison to the average visual grading, it was c,oncluded that the ISO staining formula as well as the GRS and the GRC predict grades with smaller disagreement to the average of the visual grades than the inter observer variation. However, the ISO colour change formula determined grades with a higher level of disagreement to the average visual grade that was higher than the inter-observer variation. The scanner grading showed very good agreement to the· spectrophotometric and DigiEye grading with the ISO staining, the GRS and the GRC formulae but only moderate agreement with the ISO colour change formulae. The scanner repeatability for colour fastness assessment was determined and shown to be very good, however, as the frequency of assessment by the scanner in a research situation is not comparable to its industrial application, it was suggested to characterise the scanner once a day. The characterisation of the scanner with the research TC chart was shown to produce np significant improvement in the results that justify the difficulty of the preparation and maintemmce ofthis chart. A comparison was made between visual grades obtained from experienced and from inexperienced assessors of colour fastness. The results suggest that the grades given by the inexperienced are comparable to those assessed by the experienced assessors and the disagreements between the average grades are less than the experienced assessors inter-observer variation. However, as the experimental conditions for the set of the inexperienced assessors were the same but .were not the same for the member of the set of the experienced assessors it was suggested that further study is needed.
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Hood, S. M. "Colour perception in females heterozygous for a colour deficiency." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604207.
Testo completoAbstract (sommario):
Initial experiments examine the performance of heterozygous females on standard tests of colour vision. The results of these tests do not provide convincing evidence to support the hypothesis that carriers share in the colour deficiencies of their fathers and sons. Colour vision is thought to depend upon two subsystems that remain parallel and independent in the early stages of visual processing. I examine the relative organizing power of these two subsystems and find that carriers of a colour deficiency cannot be considered as one population. For small element separations, the relative organizing power of the L-M subsystem is reduced for deutan carries in comparison to both colour normals and protan carriers. In contrast, for large element separations, there is no difference between colour normals and carriers of any colour deficiency. Individuals with more symmetrical L: M cone ratios are often supposed to exhibit better red-green chromatic discrimination. As heterozygosity will not lead to symmetrically extreme L: M cone ratios in protan and deutan carriers, I propose that the L-M subsystem of deutan carries is less sensitive owing to the more extreme skewing of the L: M cone ratio in such carriers; the reduction in sensitivity will be most evident at high spatial frequencies. Red-green chromatic spatial Contrast Sensitivity Functions (CSF) are measured to test this hypothesis. At spatial frequencies comparable to those of the smallest element separation used in examining the relative saliency of the two subsystems of colour vision, deutan carriers have lower red-green contrast sensitivity than both protan carriers and colour normals. Further experiments were conducted on a new subject population to verify these findings. The results confirm that deutan carriers exhibit poorer red-green contrast sensitivity than colour normals and suggest that individuals with more symmetrical L: M cone ratios do exhibit better red-green contrast sensitivity.
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Khodamordi, Elham. "Modelling of colour appearance of textured colours and smartphones using CIECAM02." Thesis, Middlesex University, 2017. http://eprints.mdx.ac.uk/21823/.
Testo completoAbstract (sommario):
The international colour committee recommended a colour appearance model, CIECAM02 in 2002, to help to predict colours under various viewing conditions from a colour appearance point of view, which has the accuracy of an averaged observer. In this research, an attempt is made to extend this model to predict colours on mobile telephones, which is not covered in the model. Despite the limited size and capacity of a mobile telephone, the urge to apply it to meet quotidian needs has never been unencumbered due to its appealing appearance, versatility, and readiness, such as viewing/taking pictures and shopping online. While a smartphone can act as a mini-computer, it does not always offer the same functionality as a desktop computer. For example, the RGB values on a smartphone normally cannot be modified nor can white balance be checked. As a result, performing online shopping using a mobile telephone can be difficult, especially when buying colour sensitive items. Therefore, this research takes an initiative to investigate the variations of colours for a number of smartphones while making an effort to predict their colour appearance using CIECAM02, benefiting both telephone users and makers. This thesis studies the Apple iPhone 5, LG Nexus 4, Samsung, and Huawei models, and compares their performance with a CRT colour monitor that has been calibrated using the D65 standard, to be consistent with the normal way of viewing online colours. As expected, all the telephones tested present more colourful images than a CRT. Work was also undertaken to investigate colours with a degree of texture. It was found that, on CRT monitors, a colour with a texture appears to be darker but more colourful to a human observer. Linear modifications have been proposed and implemented to the CIECAM02 model to accommodate these textured colours.
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Slavík, Jan. "Dance of colours : basic patterns of colour symbolism in Mahāyāna Buddhism /." Göteborg : Göteborg univ, 1994. http://catalogue.bnf.fr/ark:/12148/cb37018318c.
Testo completo
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Corvette, Michelle Nicole Anderson. "Consuming colour : a critical theory of colour concerning the legality and implications of colour in public space." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18804/.
Testo completoAbstract (sommario):
This thesis investigates the legality of colours and the implications of colours within public spaces. By legality of colours, this thesis references the quality or state of being in accordance and observance of laws that address colour. Colour is a phenomenon of visual light perception described in terms of hue, lightness, and saturation in tandem with the understanding that colour is a vibrating wavelength interpreted through the brain within a complex neurobiological construction. What are the impacts, force, and agency of colours in public spaces? How do colours re(produce) socio-cultural power relationships in neoliberal societies? How do colours contribute to fixing and replicating social, national, and economic differences? In what ways do colours either implicitly or explicitly work as mechanisms of inclusion and exclusion? It is argued that colour is a mechanism for the commodification of public spaces within neoliberal societies. By commodification, this thesis refers to the theory used to describe the process by which something that does not have an economic value is assigned a value and thus illustrating how market values can replace other social values. Colour has been controlled, manipulated, and regulated within public spaces by authoritative powers to psychologically influence human populations. Within this argument, a concern for the effects of colour in public spaces has predominately been overshadowed by a concern for capitalization. An understanding of the historical trajectory of the control of colour immersed with the perspicacity of how colour becomes a device of capitalism is essential. Case studies analysed draw attention to utilizations of colour by dominant forms of authority such as the colour elite nexus and government institutions. Colour is revealed to be a process and is therefore multitudinal and complex. The unravelling of these threads will provide a sharpened sense of colour and the implications of colour within public spaces.
19
Panorgias, Athanasios. "Peripheral human colour vision : from cone contrast to colour perception." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/peripheral-human-colour-vision-from-cone-contrast-to-colour-perception(aa92cad7-477a-40ce-b91e-df87927d0caa).html.
Testo completoAbstract (sommario):
It is well known that the colour preferences of ganglion and LGN cells do not match the four perceptually simple colours red, green blue and yellow. It is also known that although colour perception is distorted in the peripheral visual field, there are four hues that appear stable with eccentricity. These are defined as peripherally invariant hues. Both of these observations must in some way reflect the physiological substrate of neurons at different stages of the primary visual pathway. The experiments described here are aimed at understanding the link between the physiology and the perception of colour by studying the characteristics of peripheral colour visionThe following questions have been addressed; i) to what extent does colour matching rely on the retinal physiological substrate? ii) what is the reason for the discrepancy between invariant and unique green and how is cone contrast linked to this paradox? iii) how are the `special' hues (invariant and unique) related to human evolution? iv) how does peripheral colour vision vary between males and females?An asymmetric colour matching paradigm and a colour naming task have been employed. In the colour matching task, 24 chromatic axes of variable purity are used. Observers match the chromaticity of a 3 degree peripheral spot with that of a 1 degree parafoveal spot. The results are expressed in terms of hue rotation, saturation match and cone contrast. In the colour naming experiment the observers name 40 chromatic axes as either red, blue, green or yellow and colour naming functions are derived. The central maxima of these functions are defined as the unique hues. The results suggest that colour matching and cone opponency reflect the characteristics of the retinal neural network as they exhibit nasal-temporal asymmetries, similar to known physiological asymmetries. Although three of the peripherally invariant hues match the unique counterparts, invariant and unique green are markedly different for all observers. In an important control experiment unique hues are shown to be stable with eccentricity and purity. This confirms that these attributes are not confounding factors for the observed discrepancy between invariant and unique green. Unlike for the other 'special' hues the RMS cone contrast of invariant green differs markedly between parafoveal and peripheral targets. It is likely that the cone contrast remains unchanged only if the stimuli excite the same number of cones. Two invariant and two unique hues (blue and yellow) fall on the daylight locus suggesting that discrimination in these regions of the colour space is strongly influenced by terrestrial illumination. Moreover, the inter-individual variability is found to be minimised around the daylight locus showing that the blue-yellow system is more stable across colour normal populations than the red-green system. A statistically significant difference is demonstrated between the peripheral colour vision of males and females. This may be attributed to the M-cone polymorphism which in addition to X-chromosome inactivation, results in more than three cone types in the female retina.
20
Forbes, Samuel Henry. "Colour word and colour category learning in infants and toddlers." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8ec923a1-fa95-4610-8c90-594033b2e706.
Testo completoAbstract (sommario):
This thesis examines how and when infants learn colour words, and how the knowledge of colour words affects their comprehension of colour categories. Over the course of seven experimental chapters, the ability of infants and toddlers to learn colour words, use colour words to process colours, and the role that colour words play in learning to perceive colour are all assessed. Chapters 2 and 3 assess claims that colour words are learned late using parental report and eye-tracking methods, finding that colour words are learned as early as 19 months. In contrast to this, Chapter 4 demonstrates that toddlers do not learn to modify colour words as dark or light until much later. Chapter 5 demonstrates that colour words are a crucial component for processing the colours of objects, showing that infants do not look to a colour-matched object unless they comprehend the colour word. Chapters 6 and 7 employ novel paradigms to explore categorical processing of colour, finding that infants have a preference for within-category colours, but that this has no effect on their attention to dynamic coloured stimuli. In Chapter 8, a prototype for an infant colour vision test is shown, demonstrating that the second year of life is crucial for development of visual closure. The generalisability of these results to infant perception and word learning is also discussed.
21
Jakobsson, Torbjörn. "Shape from shading, colour constancy, and deutan colour vision deficiencies." Doctoral thesis, Umeå universitet, Institutionen för psykologi, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-111106.
Testo completoAbstract (sommario):
Four studies including ten experiments adresses interrelations between some major and classical issues in visual perception: 3-D perception, colour constancy, colour perception and colour vision deficiencies. The main experimental paradigm to investigate the issues is within that of simulated shape from shading. 3-D impressions are induced by projecting space-modulated illuminations onto flat surfaces (displays), varying the colours and layout of the displays and the colour and modulation of the illumination. Study I includes four experiments investigating three types of space- modulated illumination. All experiments confirmed earlier findings that chromatic colour and complex display layout with reflectance edges crossed by illumination edges enhances shape from shading. In Study II the impressions of shape from shading and real 3-D objects were compared between persons with deutan colour vision deficiencies and normals. As predicted, the deutans show fewer and less distinct 3-D impressions in situations with their specific "problem colours" red and green. They also show a generally lower tendency for 3-D impressions, interpreted as a generally weaker colour constancy. Study III presents the AMBEGUJAS phenomenon; a novel twofold ambiguous shape from shading situation, continuously alternating between two different 3-D impressions coupled with different colour attributions. One solution is of an object with two clear surface colours, the other one of an object with greyish (desaturated) colours in coloured illumination which means classical colour constancy. The phenomenon illustrates the visual processes of separating reflectance and illumination characteristics and may provide a useful experimental setting to study colour constancy. In Study IV the AMBEGUJAS phenomenon is found to be robust as to chromaticness and different luminance contrasts for both normals and deutans. However, the deutans show slower shifts between percepts and a less pronounced desaturation of colour, which indicates a weaker colour constancy. The studies add evidence to the contribution of colour to 3-D shape perception, validated in a novel way by the results on "colour-blinds". The AMBEGUJAS phenomenon provides further support that the factors affecting shape from shading and the deutans different impressions are to be understood with reference to colour constancy. The deutans different impressions compared to normals are remarkable per se, but probably with very limited implications to everyday life.<br><p>Diss. (sammanfattning) Umeå : Umeå university, 1996, härtill 4 uppsatser</p><br>digitalisering@umu
22
Won, Seahwa. "Colour information in design : understanding colour meaning in packaging design." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12472/.
Testo completoAbstract (sommario):
Colour is a powerful visual cue that affects consumer brand choice. Although there is an obvious and recognised value in the use of colour information in design, the literature demonstrates that colour information is an underexplored area that has not yet been addressed in detail by design research either practically or theoretically. Moreover, colour crosses various disciplines; due to its multi-disciplinary nature, it is not clear whether colour information is being effectively utilised in design. The aim of this study was to identify which types of colour information are useful in packaging, and to suggest a prototype tool (at concept level) to deliver this useful colour information to design professionals. An analysis of the relevant literature revealed 13 types of colour information which were then selected as basis for the study. Subsequently, the research design consisted of two phases. The first phase was exploratory in order to gain rich insight into the characteristics of useful colour information through interviews, an online survey, a colour meaning experiment, a colour meaning framework, and a colour meaning case study. The second phase was practice-based. Based on the informed exploration from the early studies, a web-based colour tool prototype, referred to as the CMCW (colour-meaning-centred website), was created, refined, and tested. The primary contribution of this study stems from an understanding of colour information to support design professionals; the identification of the five types (harmony, perception, meaning, psychology and printing) and the characteristics of useful colour information; and the formation of a colour-meaning framework and colour-meaning web tool. The secondary contribution of this study is the methodological approach undertaken that was used to understand the relationship between colour meaning and context by conducting a design-focused colour experiment. Research evidence highlights the importance and value of colour meaning information in design. The insight from this work will help researchers, design professionals, and colour-tool developers to make informed decisions on what they should focus on, how they should do so, and why. This will facilitate better provisions and uptake of useful colour information for design professionals in the design process and strategy fields. The framework also could support understanding of colour design practice in an analytic way, and be employed as a research tool in various design- or marketing-related research to investigate and analyse colour.
23
Barnard, Kobus. "Practical colour constancy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0025/NQ51839.pdf.
Testo completo
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Macuda, Todd J. "Equine colour vision." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ58148.pdf.
Testo completo
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Hubel, Paul Matthew. "Colour reflection holography." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.257949.
Testo completo
26
Pritchard, Deborah. "Colour and composition." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650289.
Testo completoAbstract (sommario):
This dissertation examines not only how sound-colour manifests itself within the author's musical language, but also questions whether practise at such a synesthetic method has generated greater dexterity in its execution. Drawing on research from the philosophy of art and taking a personal approach, three areas of investigation are taken 1) a critical analysis of Oliver Messiaen's Couleurs de la cite celeste, where he claims that the piece evolves in the manner of colours; 2) an exploration into the author's own compositional process through an analytical study of Seven Miniatures After Chagal/; and 3) discussion regarding to what extent this period of research has affected the development of the author's musical language and presentation of the author's own theory on sound-colour. Conclusions are drawn on how the author has successfully refined her synesthetic approach to music through a process of exploration, exposure and practise, and that there are some universal truths regarding colour and composition that cannot be ignored.
27
Pilling, Michael. "On colour categorisation." Thesis, University of Surrey, 2001. http://epubs.surrey.ac.uk/2106/.
Testo completo
28
Walcott, P. A. "Colour object search." Thesis, City University London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264759.
Testo completo
29
Skelton, Alice Elizabeth. "Infant colour perception." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/77041/.
Testo completo
30
Nordqvist, Amanda. "Colour and light." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10378.
Testo completoAbstract (sommario):
This work explores how colour and light can be used as the prime design materials. They are investigated in unison in relation to spatiality. Colour is a way for us to understand and identify what we see, it is primary for how we interpret our surroundings. The aim is to explore colour, light and reflections, by the means of printing and dyeing of translucent materials, as an attempt to challenge the visual perception of the spectator and the experience of how spatiality is perceived. The project investigates how the boundaries of a textile can be questioned, for example where does a pattern begin and end? Does it only belong to the textile or can it transcend to it’s surroundings? The investigational process is experimental and explores combinations of colour and light in translucent materials, coloured through the techniques of heat transfer printing and dyeing. Swatches made are analysed in relation to each other and to light, with a focus on their visual performance. The final design examples discusses the idea of how textile, light and colour can be used to create, define and illuminate spatiality.
31
Basson, Rozanne. "Canvas : colour production hub." Diss., Pretoria :[s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-11212007-205438.
Testo completo
32
Akbay, Saadet. "Multi-attitudinal Approaches Of Colour Perception: Construing Eleven Basic Colours By Repertory Grid Technique." Phd thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615567/index.pdf.
Testo completoAbstract (sommario):
Colour is a basic aspect of perception and the perception of colour varies from individual to individual. This indicates that the perception of colours mean different semantics in various contexts to different individuals. Therefore, these differences in perception forms to behave in different attitudes towards colours among individuals and it is likely to achieve different attitudinal responses to colours from individuals. Relying on the effects of colours on individuals, the initial interest of this thesis is to explore the attitudinal approaches of individuals to colours.
This thesis is first and foremost exploratory in nature. This thesis intended as a first step towards exploring the ways in which the individuals think of, construe and give meaning to colours in their own words. The subjective approach proposed in terms of this thesis is based on the underlying philosophy behind Personal Construct Theory (PCT). In order to elicit the individuals&rsquo<br>ways of construing and giving meaning to colours in their own words, an experiment was conducted with the utilisation of the Repertory Grid Technique (RGT). Sixty undergraduate students of Middle East Technical University (METU) Faculty of Architecture were voluntarily participated in the experiment. As a stimuli, eleven basic colours which were black, grey, white, yellow, orange, red, pink, purple, brown, blue and green were utilised. For the second step, this thesis intended investigating the structure and interrelations between the elicited attitudes of individuals and eleven basic colours.
As a result of the experiment, 60 repertory grids were elicited and were analysed by using the qualitative and quantitative applications of content analysis. The resulted data afterwards were analysed by using multivariate statistical analysis methods. The overall results of this research can support certain information for further scientific investigations on colour perception and colour psychology. Additionally, the results of this research can help and guide designers to attain objective understandings about the individuals&rsquo<br>attitudes to colours. This can contribute to designers as a practical worthwhile during colour design and colour planning in their products and services.
33
Fridell, Anter Karin. "What colour is the red house? : perceived colour of painted facades /." Doctoral thesis, Stockholm : Tekniska högsk, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3040.
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Klarén, Ulf, Harald Arnkil, and Anter Karin Fridell. "Colour and Light in Design : - Levels of experiencing colour and light." Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3957.
Testo completoAbstract (sommario):
: In our designed culture, every environment, object and picture is analyzed from the viewpoint of colour and light. Colour and light play an important role in social life and culture. This paper springs from an epistemological project about concept formation in the field of colour and light. Based on own observations and scientific and scholarly references it presents a graphic model describing possible constituent relations between colour and light experiences. Design is the art of using knowledge – implicit or explicit – about how humans perceive, experience, and relate to the world around. In design all senses are involved, but when dealing with colour and light we can confine ourselves to vision; designers must understand the conditions of visual perception. Human experience of colour and light has many sources; the given cultural context (conventional meanings of colour and light), the direct experience of the world around (colour and light expressions) and the basic perceptual functions (formal aspects of colour and light). There is need for distinct concepts and concise approaches to understand coherence of aesthetic and functional expressions. Design education calls for coherent and well defined structures that can be used to describe connections and distinctions between experiences of different kinds.<br>Human Colour and Light Synthesis.Towards a coherent field of knowledge
35
Cheung, Eric Sau Hoi. "Colour quantisation and compression of images for limited colour display devices." Thesis, Imperial College London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416090.
Testo completo
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Crichton, Stuart Owen John. "Investigations into colour constancy by bridging human and computer colour vision." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2722.
Testo completoAbstract (sommario):
The mechanism of colour constancy within the human visual system has long been of great interest to researchers within the psychophysical and image processing communities. With the maturation of colour imaging techniques for both scientific and artistic applications the importance of colour capture accuracy has consistently increased. Colour offers a great deal more information for the viewer than grayscale imagery, ranging from object detection to food ripeness and health estimation amongst many others. However these tasks rely upon the colour constancy process in order to discount scene illumination to allow these tasks to be carried out. Psychophysical studies have attempted to uncover the inner workings of this mechanism, which would allow it to be reproduced algorithmically. This would allow the development of devices which can eventually capture and perceive colour in the same manner as a human viewer. These two communities have approached this challenge from opposite ends, and as such very different and largely unconnected approaches. This thesis investigates the development of studies and algorithms which bridge the two communities. Utilising findings from psychophysical studies as inspiration to firstly improve an existing image enhancement algorithm. Results are then compared to state of the art methods. Then, using further knowledge, and inspiration, of the human visual system to develop a novel colour constancy approach. This approach attempts to mimic and replicate the mechanism of colour constancy by investigating the use of a physiological colour space and specific scene contents to estimate illumination. Performance of the colour constancy mechanism within the visual system is then also investigated. The performance of the mechanism across different scenes and commonly and uncommonly encountered illuminations is tested. The importance of being able to bridge these two communities, with a successful colour constancy method, is then further illustrated with a case study investigating the human visual perception of the agricultural produce of tomatoes.
37
Feng, Gaoyang. "Colour information in natural scenes : frequency of metamerism and colour gamut." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/colour-information-in-natural-scenesfrequency-of-metamerism-and-colour-gamut(0987f4cf-b0e3-49f9-b6c0-cc79a0b8d1a5).html.
Testo completoAbstract (sommario):
Colour is an important source of information in the natural world. It can be used for distinguishing and identifying surfaces and objects and separating one region from another. For instance, flowers and grasses in a garden can be distinguished by their colours despite a change in illuminant. Intuitively, the identifiability of surfaces in a scene can be described by their volumes of colour gamuts. But is this approximation of the identifiability accurate? On the other hand, the existence of metamerism in natural scenes shows that colour is sometimes unreliable for surfaces identification. Estimating frequency of metamerism normally requires many comparisons between surface colours to determine their distinguishability under different illuminants. Is there a simpler approach to predict the frequency of metamerism in natural scenes? The aim of this thesis was to address these two questions about the identifiability of surfaces in natural scenes. To answer the first question, the volumes of colour gamuts were estimated over 50 natural scenes under different illuminants. The logarithm of the gamut volume was regressed on the differential entropy of colours. It was found that gamut volume can be an accurate approximation, given a colour difference threshold representing the visual distinguishability within an approximately perceptually uniform colour space. To answer the second question, the frequency of metamerism was estimated over 50 natural scenes with changes in illuminant; and predictive models were constructed based on different combinations of Shannon differential entropies of colours. There was strong dependence of the frequency of metamerism on the combination of the differential entropy and the conditional differential entropy of colours. It means that the frequency of metamerism can be predicted by the informational quantities of the colours in a scene.
38
Schmeisser, Michael. "Colour dynamics in Leucadendron." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5314.
Testo completoAbstract (sommario):
Thesis (PhD(Agric)--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: The bright colouration of involucral leaves in Leucadendron is unfortunately transient in nature. Undesirable colour changes render this cut flower unmarketable, resulting in a considerable loss of profit. A deeper understanding of the mechanism leading to colour change is needed to form the framework on which future manipulation strategies can be built.
Yellow Leucadendron possess the ability to degreen and regreen naturally, a phenomenon linked to the controlled degradation of chlorophyll and the lesser degradation of carotenoids, which then impart the yellow colour. This colour change is directly linked to the development of the inflorescence. Involucral leaves degreen towards anthesis and are entirely yellow at full bloom. They begin to regreen again when the last florets on the cone have wilted. Deconing before flowering completely inhibits the colour change. Deconing at full bloom, results in leaves regreening sooner. Therefore the inflorescence appears to be the origin of the cue for colour change. Any factor that expedites the death of the florets, results in sooner regreening of involucral leaves. Ultra-structurally, the degreening and regreening resulted from a transdifferentiation of mature chloroplasts to gerontoplast-like plastids, which upon regreening completely redifferentiated into fully functional chloroplasts.
In the red Leucadendron cultivar Safari Sunset, the photosynthetic pigment degradation pattern is identical to that of yellow cultivars. However, colour expression is complexed by the presence of anthocyanins. Anthocyanin concentration was shown to be directly related to the opening of the flower head rather than to the phenological development of the inflorescence. With opening, the previously shaded inner involucral leaf surfaces are exposed to higher levels of irradiance and respond by turning red, presumably for photoprotection. Similar to yellow cultivars, any factor leading to the death of the florets before flowering, not only prevents the degreening of involucral leaves, but also prevents the opening of the flower head and therefore the associated change in anthocyanin levels. The ecological significance of regreening was also investigated. What does a female Leucadendron plant stand to gain by regreening rather than discarding the involucral leaves? Regreened involucral leaves were shown not to play a significant role in providing photosynthates for the developing cone. Although the presence of regreened involucral leaves were shown to provide protection against high irradiance and radiant heating of the cone, they were not essential to ensure survival of the cone. The small floral bracts were shown to be very capable of adaptation. The most plausible reason for regreening is therefore assumed to be based on a cost-benefit relationship. As most Leucadendron are adapted to grow on very nutrient poor soils, the question should maybe be rephrased. Why waste valuable resources? Sclerophyllous leaves, like the involucral leaves, are costly to make and therefore reusing, rather than discarding them does seem a sensible strategy for survival.<br>AFRIKAANSE OPSOMMING: Leucadendron snyblomme word gekenmerk deur die helder kleure van hul omwindselblare. Die helder kleure is egter slegs vir 'n kort periode aanwesig waarna die snyblomme onbemarkbaar word, met aansienlike verlies aan potensiele inkomste. Die ontwikkeling van manipulasies ten einde die bemarkbare periode van Leucadendron te verleng, berus op die verkryging van 'n dieper insig in die meganisme van kleurverandering.
Die kleurveranderinge van geel Leucadendron omwindselblare is te wyte aan 'n unieke vermoë tot die gereguleerde degradasie en heropbou van chlorofiele en karotenoiede onder direkte beheer van die ontwikkelende bloeiwyse. Met die aanvang van blom, lei groter proporsionele degradasie van chlorofiele tot geleidelike vergeling van omwindselblare. Die hele blomhofie verkry uiteindelik met volblom 'n helder geel kleur. Sodra die laaste blommetjies doodgaan, neem chlorofiel- en karotenoiedsintese weer in aanvang en binnekort is die omwindselblare weer net so groen soos voor die aanvang van blom. Die geel verkleuring kan verhoed word deur die keël voor blom uit te breek. Enige faktor wat die dood van die blommetjies versnel, asook die uitbreek van keël tydens volblom, lei tot die vroeëre aanvang van vergroening. Die degradasie van plastiedpigmente hang nou saam met die differensiasie van volwasse chloroplaste tot gerontoplast-agtige plastiede wat op hul beurt weer tydens vergroening tot volkome funksionele chloroplaste herdifferensieer.
Soortgelyk aan geel Leucadendron kultivars, vind die veranderinge in plastiedpigmente ook plaas tydens blom van die rooi kultivar, Safari Sunset. Kleurveranderinge in 'Safari Sunset' is egter meer ingewikkeld vanweë die aanwesigheid van variërende konsentrasies antosianiene. Antosianienkonsentrasies en rooi kleur neem toe tydens blom vanwee die blootstelling van die beskutte adaksiale binnekante van omwindselblare aan hoe irradiasie met die oopvou van die blomhofie. Die akkumulasie van antosianiene het moontlik 'n fotobeskermende funksie. Kleurveranderinge in 'Safari Sunset' kan, soos in geel kultivars, voorkom word deur blom te verhoed. Antosianiensintese word voorkom deurdat die blomhofie geslote bly en is nie direk gekoppel aan blom soos wat met plastiedpigmente die geval is nie.
Die belang van vergroening is ondersoek na aanleiding van die vraag oor wat dit 'n vroulike Leucadendron baat om omwindselblare te behou na die afloop van blom? Die bydrae van foto-assimilasie deur omwindselblare tot die ontwikkeling van keels is beperk. Alhoewel omwindselblare wel keels teen hoe irradiasie en stralingsverhitting beskerm, is die blomskutblare in staat om aan te pas by hierdie kondisies. Die mees waarskynlike verklaring vir die behoud van die omwindselblare na blom berus moontlik op 'n koste-voordele verwantskap. Alhoewel nie essensieel nie, is die beperkte bydrae van die omwindselblare na die afloop van blom tot die oorlewing en welstand van die keel waarskynlik genoegsaam om hul behoud te regverdig. Verskeie Leucadendron spesies groei in gronde wat baie arm is aan nutriente. Sklerefiele blare, soos die van Leucadendron, is verder duur om te vervaardig. Dit maak dus sin om hulle vir meer as een funksie te herontplooi eerder as om hulpbronne te belê in meer gespesialiseerde en minder durende blombykomstighede. Dus dui die behoud van omwindselblare dalk op 'n strategie wat gemik is op die behoud en besparing van beperkte hulpbronne.
39
Al, Ghazali Nabiel. "An evaluation of some problems related to colour match, colour data and colour-measuring devices in aesthetic restorative dentistry." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548772.
Testo completo
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Vurro, Milena. "The role of chromatic texture and 3D shape in colour discrimination, memory colour, and colour constancy of natural objects." Thesis, University of Newcastle upon Tyne, 2011. http://hdl.handle.net/10443/1251.
Testo completoAbstract (sommario):
The primary goal of this work was to investigate colour perception in a natural environment and to contribute to the understanding of how cues to familiar object identity influence colour appearance. A large number of studies on colour appearance employ 2D uniformly coloured patches, discarding perceptual cues such as binocular disparity, 3D luminance shading, mutual reflection, and glossy highlights are integral part of a natural scene. Moreover, natural objects possess specific cues that help our recognition (shape, surface texture or colour distribution). The aim of the first main experiment presented in this thesis was to understand the effect of shape on (1) memory colour under constant and varying illumination and on (2) colour constancy for uniformly coloured stimuli. The results demonstrated the existence of a range of memory colours associated with a familiar object, the size of which was strongly object-shape-dependent. For all objects, memory retrieval was significantly faster for object-diagnostic shape relative to generic shapes. Based on two successive controls, the author suggests that shape cues to the object identity affect the range of memory colour proportionally to the original object chromatic distribution. The second experiment examined the subject’s accuracy and precision in adjusting a stimulus colour to its typical appearance. Independently on the illuminant, results showed that memory colour accuracy and precision were enhanced by the presence of chromatic textures, diagnostic shapes, or 3D configurations with a strong interaction between diagnosticity and dimensionality of the shape. Hence, more cues to the object identity and more natural stimuli facilitate the observers in accessing their colour information from memory. A direct relationship was demonstrated between chromatic surface representation, object’s physical properties, and identificability and dimensionality of shape on memory colour accuracy, suggesting high-level mechanisms. Chromatic textures facilitated colour constancy. The third and fourth experiments tested the subject’s ability to discriminate between two chromatic stimuli in a simultaneous and successive 2AFC task, respectively. Simultaneous discrimination threshold performances for polychromatic surfaces were only due to low-level mechanism of the stimulus, whereas in the successive discrimination, i.e. when memory is involved, high-level mechanisms were established. The effect of shape was strongly task- dependent and was modulate by the object memory colour. These findings together with the strong interaction between chromatic cues and shape cues to the object identity lead to the conclusion that high level mechanisms linked to object recognition facilitated both tasks. Hence, the current thesis presents new findings on memory colour and colour constancy presented in a natural context and demonstrates the effect of high-level mechanisms in chromatic discrimination as a function of cues to the object identity such as shape and texture. This work contributes to a deeper understanding of colour perception and object recognition in the natural world.
41
Frisk, Mattias. "En Studie i Rött : Hur beskrivs, uppfattas och kopplas färg samman med innehåll i Mark Rothkos abstrakta målningar?" Thesis, Linköping University, Department of Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-16609.
Testo completoAbstract (sommario):
<p>Undersökning av färgen i förhållande till innehåll i Mark Rothkos abstrakta verk. Studien innefattar en undersökning i hur man skriver om färg i anslutning till Rothkos abstrakta målningars innehåll och huruvida färg kan avgöra betydelser.</p><br><p>A study about color in relationship to content in Mark Rothko’s abstract paintings. It includes a research in how people write about color when discussing Mark Rothko´s paintings and how that is related to content. It also looks at color in relationship to meaning.</p>
42
O'Connor, Moira. "Architects' attitudes to British Building Colour Standards and colour-use in general." Thesis, Teesside University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253749.
Testo completo
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Thornton, A. L. "Colour object recognition using a complex colour representation and the frequency domain." Thesis, University of Reading, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301911.
Testo completo
44
Nacher-Garcia, C. "An evaluation of advanced digital colour technology for colour matching maxillofacial prosthetics." Thesis, University of Surrey, 2016. http://epubs.surrey.ac.uk/812771/.
Testo completoAbstract (sommario):
Aim: To evaluate the reliability and reproducibility of the Spectromatch-Pro digital colour system (Spectromatch Ltd. UK) in the reproduction of simulated skin-silicone colour samples; and to determine threshold Delta E (∆E) (CIE L*a*b*) of perceptible and acceptable colour differences for maxillofacial prosthetics. Method: A two phase quantitative research design. Phase 1: tested; (i) the reproducibility of the spectrophotometer for eight subjects (n=48) scans; from four ethnic groups White, Chinese, Asian and Black. (ii) minimum silicone-skin sample thickness for colour scanning; and (iii) reproducibility of simulated silicone-skin samples formulae recipe. Phase 2: Determine the perceptible and acceptable colour match difference between colour silicone-skin samples and human skin for 8 subjects'; from baseline colour scan, an in-built colour L*a*b* gradient scales 0-8 at 0.5 ∆E increments were formulated. Silicones samples (n=776) were processed; perceptible and acceptable colour difference (∆E) assessed by (n=12) colour assessors. Results: The spectrophotometer skin colour scans for White, Chinese Indian and Black ethnic groups demonstrated positive correlation (r=0.99). Scanner reproducibility for the eight subjects, Mean ± SD, ∆E maximum (1.43 ± 0.63), to minimum (0.47 ± 0.21); colour formulae silicone sample achieved an acceptable colour match of 0.43 ∆E to 1.36 ∆E. The minimum silicone sample thickness (mm); for light to dark skin tones was 8 mm (White 6 mm; Black 8 mm). Pigment formula-sample reproducibility (Mean ∆E and SD) maximum (1.36 ± 0.29), minimum (0.43 ± 0.16). The acceptable colour difference threshold for skin simulated medical elastomers for four ethnic groups 1.54 ∆E, White 1.61 ∆E; Chinese 1.87 ∆E; Indian was not detectable; and Black 2.33 ∆E. Perceptible and acceptable colour difference (L*a*b*) CIE for L* (Light/dark) for all subjects 1.68 to 3.18 ∆E; for a* (red/green), the scores were below 2 cut off point (not acceptable); and for b* (blue/yellow) 1.58 to 0.51 ∆E. Conclusion: This study has established the reproducibility of the Spectromatch digital colour system; and objectively defined the perceptible and acceptable (∆E) thresholds (1) for facial prosthetics (Mean ∆E 1.54), (2) the relationship to human eye sensitivity and the perceptibility / acceptability for silicone-skin colour match for maxillofacial prosthetics.
45
Smith, Geraldine. "Colour My World: The Effect of Colour and Context on Brand Personality." Thesis, The University of Sydney Business School, Discipline of Marketing, 2023. https://hdl.handle.net/2123/29943.
Testo completoAbstract (sommario):
Colour has inherent meaning that evokes strong associations and is used by brand managers
to capture the consumers attention and convey the brand's personality. Despite the
importance of colour as a communication cue for brand identity, empirical studies of colour
are still needed to consider how the meaning of colour changes in the context of specific
product categories. An experiment was conducted with 1078 participants to test the effect
on both brand logo colour and product category context on brand personality perceptions,
as well as attitude towards the brand and purchase intention. The results of this study
indicate that the effect of brand logo colour on brand personality judgments, attitude
towards a brand and purchase intension is dependent upon product category context. For
example, while fashion brand may be viewed as dynamic when adopting a green logo, the
use of green logo in the context of technology was found to reduce perceptions that the
brand was dynamic. This research contributes to marketing literature through providing
initial evidence of context effects. Further, it provides marketing managers with insight into
the role of brand colour, within specific industry context.
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Larsen, Morten. "When Colour Narrates: Colour as a Narrative Tool in Audio-visual Storytelling." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371144.
Testo completoAbstract (sommario):
This thesis explores the use of colour as a narrative tool within the realm of cinema. Even though colours have taken up a considerable role in the history of film, colour theory and colour aesthetic have not received reasonable attention in film studies compared to other fields. The thesis reflects upon why this might be the case based on the hypothesis by David Bachelor that a history long “chromophobia” has existed in the arts in the Western world. The paper then seeks to give an overview of relevant theory of colour that tries to shed light on the multiplex nature of colour itself, and in continuation to that, its ability to convey meaning within audio-visual story-telling. Finally, this paper shall investigate the selected works by three directors - Eric Rohmer, Rainer Werner Fassbinder and Alfred Hitchcock - that utilize colour narratively within their work but in various ways. It is the aim of this thesis that the analysis supported by theory shall prove the quality and unique property of colour in audio-visual storytelling.
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Fogelström, Elise. "Investigation of Shapes and Colours as Elements of Character Design." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-208203.
Testo completoAbstract (sommario):
Character design is applied widely both in the game and movie industry. For character designers, it is essential to design intuitively and to avoid repeated and unfulfilling designs. To understand certain methodologies used in design, this degree project investigates if there are further limitations or considerations that need more attention when designing purposeful characters. To get an overview if culture, age and gender affect the choice of shapes and colour schemes of characters, as a method, the online survey was used providing results based on answers from 72 participants.
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Starrett, Malin John. "Checking the facts in science : the experience of experimenting." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365940.
Testo completo
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Gohar, Kadar Navit. "Diagnostic colours of emotions." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2298.
Testo completoAbstract (sommario):
This thesis investigates the role of colour in the cognitive processesing of emotional information. The research is guided by the effect of colour diagnosticity which has been shown previously to influence recognition performance of several types of objects as well as natural scenes. The research presented in Experiment 1 examined whether colour information is considered a diagnostic perceptual feature of seven emotional categories: happiness, sadness, anger, fear, disgust, surprise and neutral. Participants (N = 119), who were naïve to the specific purpose and expectations of the experiment, chose colour more than any other perceptual quality (e.g. shape and tactile information) as a feature that describes the seven emotional categories. The specific colour features given for the six basic emotions were consistently different from those given to the non-emotional neutral category. While emotional categories were often described by chromatic colour features (e.g. red, blue, orange) the neutral category was often ascribed achromatic colour features (e.g. white, grey, transparent) as the most symptomatic perceptual qualities for its description. The emotion 'anger' was unique in being the only emotion showing an agreement higher that 50% of the total given colour features for one particular colour - red. Confirming that colour is a diagnostic feature of emotions led to the examination of the effect of diagnostic colours of emotion on recognition memory for emotional words and faces: the effect, if any, of appropriate and inappropriate colours (matched with emotion) on the strength of memory for later recognition of faces and words (Experiments 2 & 3). The two experiments used retention intervals of 15 minutes and one week respectively and the colour-emotion associations were determined for each individual participant. Results showed that regardless of the subject’s consistency level in associating colours with emotions, and compared with the individual inappropriate or random colours, individual appropriate colours of emotions significantly enhance recognition memory for six basic emotional faces and words. This difference between the individual inappropriate colours or random colours and the individual appropriate colours of emotions was not found to be significant for non-emotional neutral stimuli. Post hoc findings from both experiments further show that appropriate colours of emotion are associated more consistently than inappropriate colours of emotions. This suggests that appropriate colour-emotion associations are unique both in their strength of association and in the form of their representation. Experiment 4 therefore aimed to investigate whether appropriate colour-emotion associations also trigger an implicit automatic cognitive system that allows faster naming times for appropriate versus inappropriate colours of emotional word carriers. Results from the combined Emotional-Semantic Stroop task confirm the above hypothesis and therefore imply that colour plays a substantial role not only in our conceptual representations of objects but also in our conceptual representations of basic emotions. The resemblance of the present findings collectively to those found previously for objects and natural scenes suggests a common cognitive mechanism for the processing of emotional diagnostic colours and the processing of diagnostic colours of objects or natural scenes. Overall, this thesis provides the foundation for many future directions of research in the area of colour and emotion as well as a few possible immediate practical implications.
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Reining, Stefan. "Apriority and Colour Inclusion." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/246105.
Testo completoAbstract (sommario):
My central aim in this dissertation is to propose a new version of local scepticism regarding the a priori, namely, a version of scepticism regarding the apriority of (knowledge of) truths about certain relations between colours. The kind of relation in question is, for instance, expressed by sentences like ‘All ultramarine things are blue’ and ‘Nothing is both red all over and green all over’ – sentences that have, among defenders of the a priori, commonly been regarded as expressing paradigm examples of a priori truths.
In the course of my argumentation for this kind of local scepticism regarding the a priori, I employ a relatively permissive notion of linguistic understanding (inspired by Timothy Williamson’s recent work on the a priori), according to which it is possible to obtain the relevant kind of understanding of colour terms in a certain non-standard way. The relatively permissive notion of linguistic understanding in question is, in turn, based on considerations in favour of a relatively coarse-grained conception of the primary objects of truth. Furthermore, my argumentation for the kind of local scepticism in question is based on considerations in favour of a certain conception of evidentiality, according to which a single experience-token can play both an enabling and an evidential role in the same instance of knowledge, and according to which some of the experience involved in alleged instances of a priori knowledge of the relations among colours in question plays this kind of double-role. Finally, I consider certain empirical phenomena apparently threatening the possibility of coming to understand colour terms in the non-standard way in question, and I argue that the threat posed by these phenomena is more widespread than hitherto acknowledged, and that all available ways of accommodating these phenomena are compatible with my local scepticism regarding the a priori.<br>Mi objetivo central en esta tesis es proponer una nueva versión de escepticismo local con respecto al a priori, es decir, una versión de escepticismo con respecto a la aprioridad (del conocimiento de) las verdades sobre ciertas relaciones entre colores. El tipo de relación en cuestión queda, por ejemplo, expresado en oraciones como 'Todas las cosas ultramarinas son azules' y 'Nada es verde y rojo en todas partes' – oraciones que, entre los defensores del a priori, han sido consideradas comúnmente como ejemplos paradigmáticos de verdades a priori.
En el curso de mi argumentación, utilizo una noción relativamente permisiva de comprensión lingüística (inspirado en el trabajo reciente de Timothy Williamson sobre el a priori), según la cual es posible obtener comprensión lingüística de términos de color de una cierta manera no estándar. La noción de comprensión lingüística en juego está, a su vez, basada en consideraciones a favor de una concepción de grano relativamente grueso acerca de los objetos primarios de la verdad. Además, mi argumentación se basa en consideraciones a favor de una cierta concepción de evidencialidad, según la cual una experiencia puede jugar tanto un papel comprensión-produciendo como un papel probatorio en la misma instancia de conocimiento y según la cual algunas de las experiencias involucradas en presuntos casos de conocimiento a priori de las relaciones entre colores en juego tienen este tipo de doble función. Finalmente, examino ciertos fenómenos empíricos que al parecer amenazan la posibilidad de llegar a entender a los términos de color en el modo no estándar propuesto, y sostengo que la amenaza planteada por estos fenómenos está más extendida que lo que ha sido reconocido hasta ahora, y que todas las formas disponibles de acomodar estos fenómenos son compatibles con mi escepticismo local con respecto al a priori.