Siga este link para ver outros tipos de publicações sobre o tema: Colour.
Artigos de revistas sobre o tema "Colour"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Colour".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Stanikūnas, Rytis, Laimonas Puišys, Aldona Radzevičienė e Henrikas Vaitkevičius. "Colour Preference for Two-Colour Combinations". Psichologija 61 (7 de julho de 2020): 8–20. http://dx.doi.org/10.15388/psichol.2020.12.
Texto completo da fonteResumo:
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.
2
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 março de 2022): 1569–82. http://dx.doi.org/10.22214/ijraset.2022.40934.
Texto completo da fonteResumo:
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
3
Pitchford, Nicola J., e Kathy T. Mullen. "Is the Acquisition of Basic-Colour Terms in Young Children Constrained?" Perception 31, n.º 11 (novembro de 2002): 1349–70. http://dx.doi.org/10.1068/p3405.
Texto completo da fonteResumo:
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.
4
K J, Sannapapamma, Sakeena Naikwadi, Deepa Bhairappanavar, Rajesh Patil e 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 fevereiro de 2022): 143–53. http://dx.doi.org/10.36953/ecj.021787-2120.
Texto completo da fonteResumo:
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.
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.
Texto completo da fonteResumo:
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.
6
Jonauskaite, Domicele, Lucia Camenzind, C. Alejandro Parraga, Cécile N. Diouf, Mathieu Mercapide Ducommun, Lauriane Müller, Mélanie Norberg e 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.
Texto completo da fonteResumo:
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.
7
Nijboer, Tanja C. W., Titia Gebuis, Susan F. te Pas e 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 (janeiro de 2011): 43–47. http://dx.doi.org/10.1016/j.visres.2010.09.030.
Texto completo da fonte
8
Ou, Li-Chen, M. Ronnier Luo, Andr�e Woodcock e 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.
Texto completo da fonte
9
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 março de 2022): 57–65. http://dx.doi.org/10.18522/1995-0640-2022-1-57-65.
Texto completo da fonteResumo:
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.
10
Parikh, Kashyap. "Colour Symbolism - Emotional Values of Colour". Indian Journal of Applied Research 3, n.º 1 (1 de outubro de 2011): 65–66. http://dx.doi.org/10.15373/2249555x/jan2013/26.
Texto completo da fonte
11
Boronkay, Gábor, Dóra Hamar-Farkas, Szilvia Kisvarga, Zsuzsanna Békefi, András Neményi e László Orlóci. "Developing a Colorimetrically Balanced, Measurement-Based Petal Colour System for Cultivated Rose (Rosa L. Cultivars) and the Resulting Colour Categories". Plants 13, n.º 10 (15 de maio de 2024): 1368. http://dx.doi.org/10.3390/plants13101368.
Texto completo da fonteResumo:
There is no practical and at the same time objective colour system available for describing cultivated roses (Rosa L. cultivars). For this reason, a new colour classification system was developed which is colorimetrically balanced and appropriate for algorithmic colour identification; however, it is also suitable for field-work. The system is based on the following colorimetric criteria: (A) Each colour category is characterised by a measured petal colour in the CIE L*a*b* standard as the centroid of the category. (B) The CIEDE2000 colour differences between the adjacent centroid colours are limited (5 < ΔE00 < 7). (C) The maximal colour difference between the measured colours in a category is also limited (to 12.12 ΔE00). (D) A measured petal colour can only be classified into an existing category if the colour difference from the centroid colour of the given category is less than 5.81 ΔE00, otherwise a new category is required. (E) A category is only considered non-redundant if it has at least one measured petal colour that cannot be classified elsewhere. (F) The classification of the petal colours is based on the least colour difference from the centroid colours. As a result, 133 colour categories were required for describing all the 8139 petal colours of the rose cultivars of the Budatétény Rose Garden (Hungary). Each colour category has the following parameters: standardised colour name, the colorimetric parameters of the centroid, grouping, RHS colour chart coding, and reference cultivars, which are described in the article.
12
Davies, Will. "Colour Vision and Seeing Colours". British Journal for the Philosophy of Science 69, n.º 3 (1 de setembro de 2018): 657–90. http://dx.doi.org/10.1093/bjps/axw026.
Texto completo da fonte
13
Xiao, Kaida, M. Ronnier Luo, Changjun Li e Guowei Hong. "Colour appearance of room colours". Color Research & Application 35, n.º 4 (15 de janeiro de 2010): 284–93. http://dx.doi.org/10.1002/col.20575.
Texto completo da fonte
14
Upadhayay, Ranjana. "A COMPARATIVE STUDY OF COLOUR PREFERENCES TOWARDS CLOTHING AMONG YOUNG GIRLS AND BOYS". International Journal of Research -GRANTHAALAYAH 2, n.º 3SE (31 de dezembro de 2014): 1–5. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3532.
Texto completo da fonteResumo:
Colour, is the visual perceptual property corresponding in human beings to the names called red, green, blue, and so on and so forth. Colours are derived from the spectrum of light, interacting in the eye with the spectral sensitivities of the light receptors. Colour categories and physical specifications are related to objects or materials based on their physical properties such as light absorption, reflection, or emission.The meanings of colors vary according to cultures and environments. Each color has many aspects which may be expressed as the language of color by understanding few concepts. Colour is a form of non-verbal communication. The perception of color stems from varying spectral sensitivity of different types of cone cells in the retina to different parts of the spectrum, and thus colors may be defined and quantified by the degree to which they stimulate these cells.The science of color is called chromatics, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials, color in art, and the physics of electromagnetic radiation in the visible range (that is, what we commonly refer to as light).
15
Rouw, Romke, e Nicholas B. Root. "Distinct colours in the ‘synaesthetic colour palette’". Philosophical Transactions of the Royal Society B: Biological Sciences 374, n.º 1787 (21 de outubro de 2019): 20190028. http://dx.doi.org/10.1098/rstb.2019.0028.
Texto completo da fonteResumo:
In grapheme-colour synaesthesia, particular linguistic elements evoke particular colour sensations. Interestingly, when asked, non-synaesthetes can also associate colours to letters, and previous studies show that specific letter-to-colour associations have similar biases to those of synaesthetes. However, it is an open question whether the colours reported by synaesthetes and non-synaesthetes differ overall : is there a ‘synaesthetic colour palette’? In this study, we visualize the overall distribution in colour space of colour concurrents in grapheme-colour synaesthetes, and colour associations in non-synaesthetic controls. We confirm the existence of a synaesthetic colour palette: colour concurrents in synaesthetes are different from colour associations in non-synaesthetes. We quantify three factors that distinguish the colour palette of synaesthetes and non-synaesthetes: synaesthetes have an increased over-representation of ‘pure’ (unmixed) hues, an increased presence of ‘warm’ (yellow, orange, brown) colours, and an increased presence of achromatic (grey, white, black) colours. Furthermore, we demonstrate that differences in the synaesthetic colour palette can be used to train a machine learning algorithm to reliably classify single subjects as synaesthetes versus non-synaesthetes without using test–retest consistency data. As far as we know, this is the first time an individual could be ‘diagnosed’ as a synaesthete, based only on his or her colours evoked by letters. This article is part of a discussion meeting issue ‘Bridging senses: novel insights from synaesthesia’.
16
Gedvila, Andrius, e Jonas Sidaravičius. "INVESTIGATION INTO THE ACCURACY OF COLOURS REPRODUCED BY THE RICOH PRINTER / SPAUSDINTUVO „RICOH“ SPALVŲ REPRODUKAVIMO TIKSLUMO TYRIMAS". Mokslas - Lietuvos ateitis 6, n.º 4 (4 de fevereiro de 2013): 583–87. http://dx.doi.org/10.3846/mla.2012.97.
Texto completo da fonteResumo:
The paper investigates the reproduction accuracy of Ricoh Aficio colour 3006 printer. The study has been conducted analyzing four-color (CMYK) gradation curves – the compliance of zonal absorbance with standard references and printing stability of gradation scales. The obtained colours have been measured spectrophotometrically determining the coordinates of colours CIE L*a*b* and differences in colours ΔE. Eight printing regimes and their settings have been examined. It has been found that the printer Ricoh has inaccurately colour grading. However, the quality of colour reproduction is sufficient for printing data not requiring high accuracy of colour reproduction. Colour grading significantly differs from the theoretical approaches, though some regimes (Gamma, Brightness, CMYK simulation) allows achieving theoretical values. Despite the high inaccuracy of gradation, differences in colour are not high enough due to corrections made by software. Santrauka Darbe tirtas spalvinio spausdintuvo ,,Ricoh Aficio 3006“ spalvų atgaminimo tikslumas. Tyrimas atliktas analizuojant keturių spalvų (CMYK) gradacines kreives – zoninių optinių tankių atitiktį etalonui ir gradacinių skalių spausdinimo stabilumą pagal zoninių optinių tankių verčių sklaidą. Spalvų iškraipymas tirtas spektrofotometriniu metodu nustatant spalvų CIE L*a*b* koordinates ir spalvų skirtumus ΔE lyginant su etalonu. Tyrimai atlikti esant 8 spausdinimo režimams ir keičiant tų režimų nustatymus. Nustatyta, kad spausdintuvas „Ricoh“ spalvas atkuria netiksliai, tačiau spalvų atgaminimo kokybė patenkinama, esant spalvų reprodukavimo aukštos kokybės nereikalaujantiems darbams. Spalvų gradacijos gerokai skiriasi nuo teorinių, bet kai kurie režimai („Gamma“, „Brightness“, „CMYK Simulation“) leidžia atspaudų gradacijas priartinti prie teorinių. Nepaisant didelių gradacinių skirtumų visų spalvų skirtumas lyginant su teoriniu nėra didelis galimai dėl spausdintuvo programinio spalvų koregavimo.
17
Yeghiazaryan, Armenuhi A., Vahagn S. Muradyan e Arsen T. Grigoryan. "ASSESSMENT AND MAPPING OF THE DIVERSITY OF COLOR SHADES OF LANDSCAPES IN SUMMER SEASON USING SATELLITE IMAGES". Proceedings of the YSU C: Geological and Geographical Sciences 56, n.º 2 (258) (25 de outubro de 2022): 93–101. http://dx.doi.org/10.46991/pysu:c/2022.56.2.093.
Texto completo da fonteResumo:
The landscape, bearing certain pressure from the society, simultaneously has an aesthetic potential and actively affects the emotional and psychological comfort of a person. Among the many factors affecting the aesthetic qualities of the landscape (relief, vegetation, water, etc.), colour is also separated. The color diversity of the landscapes is impossible to appreciate with only using eyes. The article presents a unique methodology for separating colour shades, which are one of the important aesthetic factors of the landscape. For the first time, an attempt was made to distinguish the color tones that have a great influence on the aesthetic qualities of landscapes and to group them by analyzing the spectral curves of satellite images․ In contrast to the traditional field method, satellite images allow us to assess color tones over a short period of time and over a large area. Red, green and blue are considered the main physiological colours, and almost all true colours can be obtained by the combination of these three radiations. An attempt was made to separate the colors in the landscapes by analyzing spectral curves in green (543–578 nm), red (650–680 nm), blue (458–523 nm) spectral ranges of the Sentinel-2A, Sentinel 2B TCI (true color image) space images taken in the summer with a resolution of 10 m. In a professional software environment, 50 classes were obtained using "unsupervised" classification method, and for each class, the curves with the average values of spectral reflection of three visible colour ranges were obtained. By grouping the classes, a map of five colour groups (blue-green, green, red, gray and yellow, white) of the landscapes of Syunik Region was created for the summer season. Since the most important factor of colour harmony is the balance of colour shades, an attempt was made to determine the colour diversity of landscapes. Based on the obtained colour groups, in the summer season the colour diversity of the landscapes of Syunik Region was asssessed and mapped using Shannon's coefficient of heterogeneity. As a result, it was found that 52% of the landscapes of Syunik Region have green colouring in summer. The latter is considered a positive feature of the aesthetic appeal of landscapes and has a calming effect on a person. White colour has the smallest percentage share. 36% of the territory of the region has a high and very high diversity indicator, and 17.6% has a very low degree of diversity. In summer, the North-Eastern part of the region, the areas adjacent to the lower and middle streams of the Vorotan River, the Voghji and Meghri River basins are distinguished by colour diversity. However, from the point of view of aesthetic perception, the average degree of diversity is highly assessed, which is 27.2% in Syunik Region. The Southern part of Syunik has an average degree of diversity, especially the valley areas of the Araks River, the area of the Spandaryan reservoir.
18
Siuda-Krzywicka, Katarzyna, Christoph Witzel, Myriam Taga, Marine Delanoe, Laurent Cohen e Paolo Bartolomeo. "When colours split from objects: The disconnection of colour perception from colour language and colour knowledge". Cognitive Neuropsychology 37, n.º 5-6 (3 de setembro de 2019): 325–39. http://dx.doi.org/10.1080/02643294.2019.1642861.
Texto completo da fonte
19
Liu, Yuyi, Chuanyin Liu, Qi Wang, Wei Zhou e Xinru Zhao. "Research on Tang-Style Garden Color Characteristics and Application Strategy". Communications in Humanities Research 26, n.º 1 (3 de janeiro de 2024): 186–90. http://dx.doi.org/10.54254/2753-7064/26/20232052.
Texto completo da fonteResumo:
Garden colour plays an important role in creating spatial atmosphere, mood and regional landscape characteristics. At present, there are more studies on the colours of the existing Jiangnan gardens, while there are fewer studies on the colours of the Tang-style gardens built since modern times. In order to further explore the colour characteristics of Tang-style gardens, based on the natural colour system, the garden colours are divided into dynamic colours and static colours, and the colour characteristics of Tang-style gardens are initially explored, so as to further excavate the colour culture of Tang-style gardens, and to promote the protection of the colour culture of Tang-style gardens, in order to protect the traditional colours of the mood of the theme and the translations, and to inherit and promote the traditional use of colours in China.
20
Gong, Han, Luwen Yu e Stephen Westland. "Simple Primary Colour Editing for Consumer Product Images". Color and Imaging Conference 2020, n.º 28 (4 de novembro de 2020): 270–76. http://dx.doi.org/10.2352/issn.2169-2629.2020.28.43.
Texto completo da fonteResumo:
We present a simple primary colour editing method for consumer product images. We show that by using colour correction and colour blending, we can automate the pain-staking colour editing task and save time for consumer colour preference researchers. To improve the colour harmony between the primary colour and its complementary colours, our algorithm also tunes the other colours in the image. A preliminary experiment has shown some promising results compared with a state-of-the-art method and human editing.
21
Stjepić, Marta, e Sabina Bračko. "Colour Memory Analysis for Selected Associative Colours". TEKSTILEC 64, n.º 3 (26 de outubro de 2021): 260–71. http://dx.doi.org/10.14502/tekstilec2021.64.260-271.
Texto completo da fonteResumo:
Colours are one of the most important factors in everyday life. The exact number of existing colours is not yet fully known. Nevertheless, people are known for having poor colour memory. The ability to remember colours depends both on the characteristics of an individual and the situation in which the colour needs to be recalled. The field of colour memory (perception and memory of unusual colours) has been very poorly researched. The aim of this study was to analyse long-term colour memory for selected associative colours, comparing it with short-term colour memory. The research approach was based on observation, with observers observing for a period of time a particular colour, image, or a descriptively given reference colour. Colour was treated sepa¬rately from associations in the first part, and related to associations in the second and third parts. The first part contained all the reference colours shown independently of associations, the second part contained grayscale images of brands, and the third part comprised descriptively given colours. The result analysis showed that people remember colours very poorly. Observers generally performed better in testing short-term memory. Moreover, the way the template was presented had a noticeable effect on the long-term colour memory. When the image was given in grey, the results were better. The descriptive rendering of reference colours shown did not contribute to better results. The gender of observers did not significantly affect the results.
22
Gaikwad, Asha. "COLOUR SPECTRUM". International Journal of Research -GRANTHAALAYAH 7, n.º 11 (30 de novembro de 2019): 80–82. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3704.
Texto completo da fonteResumo:
Colour is one of the most important elements in our life. Colour can attract our attention and change our mood. When white light dispersed by prism or a diffraction grating the colours are produce. There is a continuous change in wavelength from red to violet. Seven colours are usually distinguished – Violet, Indigo, Blue, Green Yellow, Orange and Red. It is called spectrum. A rainbow shows the colours of the spectrum. It is a range of Light waves or radio waves within particular frequencies.
23
Sakata, K. "Elementary Colour Perception in Hue Judgment". Perception 26, n.º 1_suppl (agosto de 1997): 341. http://dx.doi.org/10.1068/v970324.
Texto completo da fonteResumo:
The ratios of psychological elementary colours perceived in chromatic colour papers with a variety of hues were measured by a paired comparison method. Stimulus sets were composed of two colour papers with hues between two of four elementary colours, but on either side of one elementary colour. Five students observed stimulus sets comprising two colour papers under approximately 1000 lux D65 illumination, and they chose the one which caused the stronger elementary colour percept. The results showed that the sum of the ratios of two elementary colours in a colour whose hue is located between them was less than 100%. This result was the same for every hue condition. This shows that observers underestimated psychological elementary colours, consistent with previous studies (Sakata, 1996 Perception25 Supplement, 100) which showed that the sum of black and white was less than 100% in the perception of greys. If elementary colours are processed simultaneously from the whole colour percept, their sum would be 100%. The result of these experiments strongly shows that psychological elementary colours are processed independently from the inputs of the three cone systems and the rod system, and they are integrated to form the whole colour percept after each process.
24
Ryndina, Iuliia. "Color terms as a way to categorize artistic reality (based on the novel by Lion Feuchtwanger «The ugly duchess»)". Филология: научные исследования, n.º 5 (maio de 2022): 44–52. http://dx.doi.org/10.7256/2454-0749.2022.5.38038.
Texto completo da fonteResumo:
Colour terms are a significant group of lexical units of any language. The article is devoted to the identification and the description of lexical units that explicitly express colour or include implicitly transmitted semes of colour in the novel by the German writer L. Feuchtwanger «The ugly duchess». The author believes that colour terms, accumulating national-cultural stereotypes and ideological meanings of the linguistic community, reproduce fragments of reality and the artistic concept of the world in the text. Using various connotations of colour meanings, L. Feuchtwanger solves two tasks in the novel: colour-description creates a unique poetics of the work, and color-characteristic reveals its main idea. The linguistic representation of colour terms in this novel allows us to understand the writer's idiostyle and the cultural meanings of his work, the peculiarities of the colour perception in the German linguoculture. Since the colour-description in the analyzed novel has not been researched yet, this determines the novelty of this work. The results of the research allow us to assert that the dominant coloratives that define the writer’s idiostyle are shades of blue, gray, white, black, red and brown, i.e. the basic palette of colours. It is worth noting that there are relative more lexemes in the novel that express colour explicitly. The significance of this research is determined by the fact that it contributes to further development of stylistics, linguoculturology and intercultural communication, and can be used in teaching German in higher educational institutions.
25
Kartashkova, Faina I., e Liubov E. Belyaeva. "Colour Meaning in English Literary Pieces". RUDN Journal of Language Studies, Semiotics and Semantics 13, n.º 1 (31 de março de 2022): 201–12. http://dx.doi.org/10.22363/2313-2299-2022-13-1-201-212.
Texto completo da fonteResumo:
The article deals with the colour maening and colour symbolics of a literary piece. Analysis of colour world in English fiction is aimed at determining the linguistic means of representing the individual writers idea of colour via the system of colour values. Along with it, analysis of the expression of colour sensations and their influence both on characters and on the plot development was carried out. It was shown that colour vocabulary is represented by words in their direct and figurative meanings. It was proved that language units may be represented in the form of a complex individual-authorial interpretation. Adjectives which convey or specify various colours and their shades make the main group of colour vocabulary discussed in the article. The same function may be performed by attributive phrases the semantic centre of which form names of animate/inanimate nature. Frequency of adjectives denoting colour was stated. Of special importance is the way colour names carry a special psychoemotional load. On the basis of analysis of literary pieces, it is shown that together with other psychological details colour meaning and colour symbolism perform esthetic function. Colour value can enhance a positive or negative assesment of the work of art described in a literary piece. The article presents classification of colour names based on different types of meaning: direct, metaphoric and symbolic. An attempt (based on an analysis of the color names) was made to determine the authors idea of further development of the plot. Study of the role of light in works of art verbalised in fiction proved that light and transparent colour scheme render high spirits of the characters of literary pieces and evokes the recipients positive emotions.
26
Kartashkova, Faina I., e Liubov E. Belyaeva. "Colour Meaning in English Literary Pieces". RUDN Journal of Language Studies, Semiotics and Semantics 13, n.º 1 (31 de março de 2022): 201–12. http://dx.doi.org/10.22363/2313-2299-2022-13-1-201-212.
Texto completo da fonteResumo:
The article deals with the colour maening and colour symbolics of a literary piece. Analysis of colour world in English fiction is aimed at determining the linguistic means of representing the individual writers idea of colour via the system of colour values. Along with it, analysis of the expression of colour sensations and their influence both on characters and on the plot development was carried out. It was shown that colour vocabulary is represented by words in their direct and figurative meanings. It was proved that language units may be represented in the form of a complex individual-authorial interpretation. Adjectives which convey or specify various colours and their shades make the main group of colour vocabulary discussed in the article. The same function may be performed by attributive phrases the semantic centre of which form names of animate/inanimate nature. Frequency of adjectives denoting colour was stated. Of special importance is the way colour names carry a special psychoemotional load. On the basis of analysis of literary pieces, it is shown that together with other psychological details colour meaning and colour symbolism perform esthetic function. Colour value can enhance a positive or negative assesment of the work of art described in a literary piece. The article presents classification of colour names based on different types of meaning: direct, metaphoric and symbolic. An attempt (based on an analysis of the color names) was made to determine the authors idea of further development of the plot. Study of the role of light in works of art verbalised in fiction proved that light and transparent colour scheme render high spirits of the characters of literary pieces and evokes the recipients positive emotions.
27
Jeong, EunYoung, e In-Ho Jeong. "Individual Differences in Colour Perception: The Role of Low-Saturated and Complementary Colours in Ambiguous Images". i-Perception 12, n.º 6 (novembro de 2021): 204166952110557. http://dx.doi.org/10.1177/20416695211055767.
Texto completo da fonteResumo:
Individual differences in colour perception, as evidenced by the popular debate of “The Dress” picture, have garnered additional interest with the popularisation of additional, similar photographs. We investigated which colorimetric characteristics were responsible for individual differences in colour perception. All objects of the controversial photographs are composed of two representative colours, which are low in saturation and are either complementary to each other or reminiscent of complementary colours. Due to these colorimetric characteristics, we suggest that one of the two complementary pixel clusters should be estimated as the illuminant hue depending on assumed brightness. Thus, people perceive the object's colours as being biased toward complementarily different colour directions and perceive different pixel clusters as chromatic and achromatic. Even though the distance between colours that people perceive differently is small in colour space, people perceive the object's colour as differently categorized colours in these ambiguous photographs, thereby causing debate. We suggest that people perceive the object's colours using different “modes of colour appearance” between surface-colour and self-luminous modes.
28
Arbab, Shabnam, Jonathan A. Brindle, Barbara S. Matusiak e Christian A. Klöckner. "Categorisation of Colour Terms Using New Validation Tools: A Case Study and Implications". i-Perception 9, n.º 2 (março de 2018): 204166951876004. http://dx.doi.org/10.1177/2041669518760043.
Texto completo da fonteResumo:
This article elaborates on the results of a field experiment conducted among speakers of the Chakali language, spoken in northern Ghana. In the original study, the Color-aid Corporation Chart was used to perform the focal task in which consultants were asked to point at a single colour tile on the chart. However, data from the focal task could not be analysed since the Color-aid tiles had not yet been converted into numerical values set forth by the Commission internationale de l’éclairage (CIE). In this study, the full set of 314 Color-aid tiles were measured for chromaticity and converted into the CIE values at the Daylight Laboratory of the Norwegian University of Science and Technology. This article presents the conversion methodology and makes the results of the measurements, which are available in the Online Appendix. We argue that some visual-perception terms cannot be reliably ascribed to colour categories established by the Color-aid Corporation. This suggests that the ideophonic expressions in the dataset do not denote ‘colours’, as categorised in the Color-aid system, as it was impossible to average the consultants’ data into a CIE chromaticity diagram, illustrate the phenomena on the Natural Colour System (NCS) Circle and Triangle diagrams, and conduct a statistical analysis. One of the implications of this study is that a line between a visual-perception term and a colour term could be systematically established using a method with predefined categorical thresholds.
29
Nieves, Juan Luis, Juan Ojeda, Luis Gómez-Robledo e Javier Romero. "Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings". Journal of Imaging 7, n.º 4 (14 de abril de 2021): 72. http://dx.doi.org/10.3390/jimaging7040072.
Texto completo da fonteResumo:
In an early study, the so-called “relevant colour” in a painting was heuristically introduced as a term to describe the number of colours that would stand out for an observer when just glancing at a painting. The purpose of this study is to analyse how observers determine the relevant colours by describing observers’ subjective impressions of the most representative colours in paintings and to provide a psychophysical backing for a related computational model we proposed in a previous work. This subjective impression is elicited by an efficient and optimal processing of the most representative colour instances in painting images. Our results suggest an average number of 21 subjective colours. This number is in close agreement with the computational number of relevant colours previously obtained and allows a reliable segmentation of colour images using a small number of colours without introducing any colour categorization. In addition, our results are in good agreement with the directions of colour preferences derived from an independent component analysis. We show that independent component analysis of the painting images yields directions of colour preference aligned with the relevant colours of these images. Following on from this analysis, the results suggest that hue colour components are efficiently distributed throughout a discrete number of directions and could be relevant instances to a priori describe the most representative colours that make up the colour palette of paintings.
30
Sanad, Reham. "A Study of the Factors Affecting Colour Meaning and Emotional Response". New Trends and Issues Proceedings on Humanities and Social Sciences 4, n.º 11 (27 de dezembro de 2017): 11–22. http://dx.doi.org/10.18844/prosoc.v4i11.2844.
Texto completo da fonteResumo:
Colour design research studies are concerned with identifying colour preferences and emotion elicited by colours, and a deep understanding of the aspects shaping these emotions will lead to better exploitation of colour design. This study highlights the aspects that contribute to human emotional response to colour. Hue, brightness and chroma are colour attributes used in different colour model identifying colours. Brightness and chroma in most studies affect the hue on colour emotion association. Colour context, texture and size are also discussed in terms of contribution to colour motion response. Other factors such as time span and culture impact the colour emotion link and aspects related to humans including personality, age, gender and preference to colour and/or emotion are discussed. The findings of this research will benefit marketers and designers to understand the effective usage of colour in design making in its aesthetical and functional aspects. Keywords: Colour attributes, age, sex, preference, culture, context, education, religion, personality, colour context.
31
Seubert, C. M., M. E. Nichols e K. Ellwood. "A statistical method for the relative comparison of automotive paint colours using digital imaging analysis". Proceedings of the Institution of Mechanical Engineers, Part B: Journal of Engineering Manufacture 225, n.º 11 (12 de setembro de 2011): 2088–95. http://dx.doi.org/10.1177/2041297510393780.
Texto completo da fonteResumo:
Relative colour comparisons were performed using digital imaging techniques and analysis. A statistical method was used to quantify how well a test colour matched a colour standard. Colour histogram comparisons were performed by incorporating a combination of control limits (based on prediction intervals) and threshold limits that were calculated for each curve set. Test colours were imaged and compared to colour standards by calculating the per cent match for each of the RGB curves. Colours that did not show a per cent match of 60 per cent or greater in all three colour curves were considered failures. Some colour families, e.g. reds, required larger control limits to account for colour variability.
32
Peng, Rui, Ming Ronnier Luo, Mingkai Cao, Yuechen Zhu, Xiaoxuan Liu e Guoxiang Liu. "Preferred skin reproduction centres for different skin groups". Color and Imaging Conference 2020, n.º 28 (4 de novembro de 2020): 109–13. http://dx.doi.org/10.2352/issn.2169-2629.2020.28.16.
Texto completo da fonteResumo:
Producing preferred skin colours is vital for the digital images on mobile phone manufacturers. Previous studies investigated the skin colours only in chromatic plane excluding lightness. A psychophysical experiment was conducted to determine preferred skin colour centres for different skin colour types on mobile displays in a darkened room. Ten facial images were selected for the experiment to cover different skin colour types (Caucasian, Oriental, South Asian and African). A set of 49 predetermined colour centres uniformly sampled within the skin colour ellipsoid in CIELAB colour space was used to morph skin colours of test images. Thirty observers from each of the 3 ethnic groups (Caucasian, Oriental and South Asian) participated in the experiment. The preferred skin colour centre and region in the form of ellipsoid for each skin group were reported. It was found that the preferred colour centres from different skin colour types were very similar except their lightness as expected, and were also quite similar between the observers from different ethnic groups.
33
Golka, Maria H. "La catégorisation linguistique des couleurs: niveaux d'élémentarité des noms de couleurs français". Cognitive Studies | Études cognitives, n.º 14 (4 de setembro de 2014): 131–47. http://dx.doi.org/10.11649/cs.2014.012.
Texto completo da fonteResumo:
Linguistic categorisation of colours: relative basicness of French colour termsCategorisation is one of the basic cognitive processes. Because of the continuous character of the colour spectrum, colour terms constitute an interesting material to study linguistic categorisation. The first part of this article offers a review of research on the linguistic categorisation of colours, especially on basic colour terms and prototypes. In the second part, the results of an empirical study on the basicness of French colour terms will be presented. The results suggest that colour terms are categorised as prototypically structured concepts, which supports the hypothesis of the relative basicness of colour terms.
34
Zhbanova, Vera L. "Evaluation And Selection Of Colour Spaces For Digital Systems". Volume 28, Number 6, 2020, n.º 03-2020 (dezembro de 2020): 86–94. http://dx.doi.org/10.33383/2020-024.
Texto completo da fonteResumo:
The research examined the changing of colour difference by the control colours depending on the choice of colour space when working with matrix photo detector. The spectral characteristics of photo detectors from different manufacturers noticeably differ from each other and from the addition the difference in colour quality between different digital devices. A software method for studying the colour rendition of the image obtained by digital devices based on the selection of an individual colour space for each matrix photo detector is proposed. To analyze and evaluate the capabilities of the spectral characteristics of matrix photo detectors, the control colour method based on the Mansell Atlas was used. The analysis of the obtained parameters of 14 colours was carried out according to various criteria for seven colour spaces: sRGB, AdobeRGB, DCI-P3 RGB, M1N1P1, PAL / SECAM, Wide Gamut RGB, ProPhoto RGB. Also studied the influence of the choice of colour space on the change in the coordinates of the source 6,500 K. Based on the colour differences of the control colours, it is possible to choose the optimal colour space for working with a specific matrix photo detector. The latter will reduce colour distortion at the initial stage of image registration. The ways for improving the colorimetric method of control colours are proposed as applied to digital devices at the software level.
35
Johnson, Addie, Marieke Jepma e Ritske De Jong. "Colours Sometimes Count: Awareness and Bidirectionality in Grapheme–Colour Synaesthesia". Quarterly Journal of Experimental Psychology 60, n.º 10 (outubro de 2007): 1406–22. http://dx.doi.org/10.1080/17470210601063597.
Texto completo da fonteResumo:
Three experiments were conducted with 10 grapheme–colour synaesthetes and 10 matched controls to investigate (a) whether awareness of the inducer grapheme is necessary for synaesthetic colour induction and (b) whether grapheme–colour synaesthesia may be bidirectional in the sense that not only do graphemes induce colours, but that colours influence the processing of graphemes. Using attentional blink and Stroop paradigms with digit targets, we found that some synaesthetes did report “seeing” synaesthetic colours even when they were not able to report the inducing digit. Moreover, congruency effects (effects of matching the colour of digit presentation with the synaesthetic colour associated with that digit) suggested that grapheme–colour synaesthesia can be bidirectional, at least for some synaesthetes.
36
Olsson, Peter, Robin D. Johnsson, James J. Foster, John D. Kirwan, Olle Lind e Almut Kelber. "Chicken colour discrimination depends on background colour". Journal of Experimental Biology 223, n.º 24 (23 de outubro de 2020): jeb209429. http://dx.doi.org/10.1242/jeb.209429.
Texto completo da fonteResumo:
ABSTRACTHow well can a bird discriminate between two red berries on a green background? The absolute threshold of colour discrimination is set by photoreceptor noise, but animals do not perform at this threshold; their performance can depend on additional factors. In humans and zebra finches, discrimination thresholds for colour stimuli depend on background colour, and thus the adaptive state of the visual system. We have tested how well chickens can discriminate shades of orange or green presented on orange or green backgrounds. Chickens discriminated slightly smaller colour differences between two stimuli presented on a similarly coloured background, compared with a background of very different colour. The slope of the psychometric function was steeper when stimulus and background colours were similar but shallower when they differed markedly, indicating that background colour affects the certainty with which the animals discriminate the colours. The effect we find for chickens is smaller than that shown for zebra finches. We modelled the response to stimuli using Bayesian and maximum likelihood estimation and implemented the psychometric function to estimate the effect size. We found that the result is independent of the psychophysical method used to evaluate the effect of experimental conditions on choice performance.
37
Reveles Jensen, Kristian H., Sofie Trolle Pedersen, Mette Vinther Hansen e Martin Balslev Jørgensen. "Shocking colours - ECT temporarily improves colour perception in a colour-blind patient". Brain Stimulation 13, n.º 4 (julho de 2020): 957–58. http://dx.doi.org/10.1016/j.brs.2020.04.018.
Texto completo da fonte
38
Mausfeld, Rainer, e Reinhard Niederée. "An Inquiry into Relational Concepts of Colour, Based on Incremental Principles of Colour Coding for Minimal Relational Stimuli". Perception 22, n.º 4 (abril de 1993): 427–62. http://dx.doi.org/10.1068/p220427.
Texto completo da fonteResumo:
Centre – surround stimuli evoke colour appearances (resembling surface colours) which cannot be produced by a single homogeneous spot of light alone (eg brown or grey). Although this seems of great impact to a general theory of colour (including ‘colour constancy’), the psychophysics of these ‘minimal relational stimuli’ is still less well understood than often assumed. On the basis of empirical as well as theoretical observations concerning centre– surround-type stimuli we introduce a relational model of colour coding. At the core of this model is the concept of a three-dimensional linear incremental colour code which behaves differently for increments and decrements. This model takes into account results on ‘discounting the background’ mechanisms and it is closely related to ratio-based relational concepts and to certain opponent-colour theories. In addition, it provides an analogue to the classical distinction between light and object colours, and covers colour appearances related to object colours as well. Within the conceptual framework offered, problems of complex colour perception (eg ‘colour constancy’) and judgmental modes are discussed. Conclusions regarding general limitations of three-dimensional modelling in colour perception are derived and corresponding refinements of the relational perspective are briefly outlined.
39
Guðmundsdóttir Beck, Þórhalla, e Matthew James Whelpton. "Samspil máls og merkingar. Um litaheiti í íslensku táknmáli". Orð og tunga 21 (15 de agosto de 2019): 75–100. http://dx.doi.org/10.33112/ordogtunga.21.5.
Texto completo da fonteResumo:
Brent Berlin and Paul Kay brought a sea change in semantic studies of colour terms when they published their book Basic Color Terms in 1969. Up to that point the dominant view was that each language represented a unique conceptual organisation of the world, a view supported by the fact that the colour spectrum is a continuum which provides not obvious breaks for the purposes of naming. Despite the many criticisms of their work which have followed, their methodology has proven extremely influential and been widely adopted. The project Evolution of Semantic Systems, 2011–2012, adopted their methodology for a study of colour terms in the Indo-European languages and the Colours in Context project applied the same methods to a study of Icelandic Sign Language. Signed languages diff er in many ways from spoken languages but the results of this study suggest the broad organisation of the colour space is the same in Icelandic Sign Language, Icelandic and British English. The colour space is organised by a few dominant terms, largely the same as Berlin and Kay ́s original basic colour terms. Yet within that broad pattern is considerable microvariation, especially in the spaces between the dominant terms. There the characteristic patt erns of word formation in the language have a clear influence in colour naming strategies.
40
Garunova, Saida Magomedkhanovna, Robert Chenciner e Magomedhan M. Magomedhanov. "COLOUR AND SYMBOLISM IN DAGHESTAN FOLKLORE LITERATURE AND CARPETS - A FRESH LOOK". History, Archeology and Ethnography of the Caucasus 14, n.º 3 (15 de dezembro de 2018): 109–26. http://dx.doi.org/10.32653/ch143109-126.
Texto completo da fonteResumo:
In the present article, we study more issues of color semantics and symbols. Our research is based on the analysis of mainly Daghestani folklore and ethnographic materials and colour characteristics of traditional textiles, including carpets. We examined two methods of gathering evidence about associations of colours in the minds of people. The first is to use some kind of psychological tests. The second is to use ideas incorporated in folklore and folk litera- ture, as handed down through generations of narrators and listeners. During this process, successive narrators have unconsciously filtered the material to ensure its relevance to their audience. This is clearly an indirect meth- od: nobody actually answers the questions from today’s experimenter, so any colour associations must be inferred from the context. Colours in oral tradition were considered, not in isolation, but rather in contrasting pairs or in sequences. It was found that a specific colour could have different associations in different conditions, and that generally the associations were more abstract than concrete. In surviving woolen rugs and felts and silk embroideries, colours appear to be linked with availability of dyes or decorative preferences rather than symbolism.
41
Shrivastva, Kumkum, e Abhilasha Jaiswal. "USAGE (IMPORTANCE) OF COLOUR IN GRAPHIC DESIGN". International Journal of Research -GRANTHAALAYAH 2, n.º 3SE (31 de dezembro de 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3528.
Texto completo da fonteResumo:
Colour is a perception of light by human brain. In simple words when a ray of light strikes an object, the object absorbs a colour and reflects remaining colours. Human brain identifies the missing colour and perceives the colour of the object as that of the missing colour. This phenomenon is widely known as perception of colour."Colour is life, for a world without colour seems dead. As a flame produces light, light produces colour. As intonation lends colour to the spoken word, colour lends spiritually realized sound to form." - Johannes Itten.1
42
Liang, J., M. Georgoula, N. Zou, G. Cui e M. Ronnier Luo. "Colour difference evaluation using display colours". Lighting Research & Technology 50, n.º 8 (24 de novembro de 2017): 1257–69. http://dx.doi.org/10.1177/1477153517739054.
Texto completo da fonteResumo:
Two separate but similar experiments were carried out at Leeds University (UK) and Zhejiang University (China), respectively. Both experiments were conducted to assess colour differences using Eizo displays using the ratio method. Eleven of the MacAdam centres within the colour gamut of the display were studied. Each centre included 21 samples assessed against a grey and a black background. The reason for using these different backgrounds was to simulate viewing a surface colour (surface mode) and a light source in the dark (illuminant mode), respectively. The results revealed that there were parametric effects for different backgrounds and luminances. The data were better fitted by CIELAB and CIELUV for the illuminant mode while CAM02-UCS performed best for the surface mode. The patterns of the ellipses between the data collected in these experiments and the original MacAdam data, show systematic discrepancies.
43
Derefeldt, Gunilla, Carl-Eric Hedin e Christer Sahlin. "NCS colour space for VDU colours". Displays 11, n.º 1 (janeiro de 1990): 8–29. http://dx.doi.org/10.1016/0141-9382(90)90040-z.
Texto completo da fonte
44
Mally, Edda. "Colour Planning in Town, a non profit colour project". South Florida Journal of Development 2, n.º 4 (14 de agosto de 2021): 4957–62. http://dx.doi.org/10.46932/sfjdv2n4-002.
Texto completo da fonteResumo:
Colour is much more than decoration. This medium definitely influences human beings –consciously and unconsciously.
The IACC Chapter Europe, was invited in 2017 to create a new colour pallet for a City in Sothern Italy, maintaining the character and identity of the town.
Eleven buildings of the centre were selected to be worked on. The collected 53 old colour samples were the base for the very careful analysis and the strong reduction to 21 nuances of the new pallet.
Finally various colour collages were produced to show the community and the public of the city the change of impression - using just colour.
Colour is definitely an absolute necessity for a balanced environment, indoors as well as outdoors.
A medical statement says that more than 75% of all illnesses derive from stress: In this connection the stress diminishing property of colour is THE MOST EFFECTIVE one to take care of.
El color es mucho más que decoración. Este medio influye definitivamente en los seres humanos -consciente e inconscientemente.
El capítulo europeo de la IACC, fue invitado en 2017 a crear una nueva paleta de colores para una ciudad del sur de Italia, manteniendo el carácter y la identidad de la ciudad.
Se seleccionaron once edificios del centro para trabajar en ellos. Las 53 muestras de color antiguas recogidas fueron la base para el análisis muy cuidadoso y la fuerte reducción a 21 matices de la nueva paleta.
Por último, se elaboraron varios collages de colores para mostrar a la comunidad y al público de la ciudad el cambio de impresión, utilizando sólo el color.
El color es definitivamente una necesidad absoluta para un entorno equilibrado, tanto en el interior como en el exterior.
Una declaración médica dice que más del 75% de las enfermedades se derivan del estrés: En este sentido, la propiedad del color de reducir el estrés es la más eficaz.
45
Hernández, Alejandra Díaz, Ana María Martín Casado, Miguel Gómez-Polo, Alicia Celemín Viñuela e Cristina Gómez-Polo. "Degree of Standardisation in Ceramic Gingival Systems". Materials 16, n.º 20 (16 de outubro de 2023): 6710. http://dx.doi.org/10.3390/ma16206710.
Texto completo da fonteResumo:
No gingival shade guide exists that can be used as a ‘gold standard’ in gingival shade selection. This research, therefore, aimed to determine whether comparable results in subjective gingival shade selection can be achieved using basic gingival colours produced by distinct manufacturers. It also aimed to explore how coverage of the colour space is affected by mixing these basic colours to create additional shades. To achieve these objectives, the basic gingival colours of three ceramic systems (Heraceram, Kulzer, Madrid, Spain; Vita VM9, Vita Zahnfabrik, Bad Säckingen, Germany; IPS Style, Ivoclar, Schaan, Liechtenstein) were analysed. The colour systems were expanded by creating porcelain gingival samples, whose colours were obtained by mixing the basic colours, altering each mixture by increments of 10%, and respecting the numerical order used by manufacturers to identify the colours. The colour coordinates of the basic and additional colours were recorded using spectrophotometry, and the intra- and inter-system colour differences were calculated using the Euclidean (ΔEab) and CIEDE2000 (ΔE00) formulae. None of the basic colours in the three systems, despite their similar nomenclature, were found to be interchangeable (the colour differences exceeded the gingival acceptability threshold: ΔE00 2.9 units). The expanded gingival colour systems, with mixtures altered by 10% increments, notably increased the gingival colour space covered by the original systems. The authors concluded that there are clear differences between the basic gingival colours produced by distinct manufacturers using the same nomenclature. Ceramic samples produced by mixing basic gingival colours are a resource with the potential to improve subjective gingival shade matching.
46
Boubnova, Marina V. "COMPLEMENTARY AND RELATED COLOUR COMBINATIONS AS THE BASIS OF COLOUR HARMONY". Arts education and science 1, n.º 38 (2024): 39–49. http://dx.doi.org/10.36871/hon.202401039.
Texto completo da fonteResumo:
The article presents the results of an experiment, the purpose of which was to find an answer to the question, which colour consonances are preferred more often: those composed of complementary colours or those based on related contrast. The research was conducted among first-year students of the Faculty of Fine Arts and Folk Crafts at the Federal State University of Education. The paper describes the algorithm for conducting the experiment by means of the author’s methodology and presents the results of analysing the obtained data using the chi-square criterion. It is revealed that some colour combinations based on the contrast of complementary colours are significantly preferable to combinations of related colours, and vice versa: some combinations based on the contrast of related colours are significantly preferable to complementary harmonies. Certain areas of the colour wheel have equal preference for both complementary and related combinations. The findings of the study contribute to the scientific block of theoretical knowledge about colour and aid the awareness of various issues in art and art education. The materials can be used in educational practice.
47
Shepherd, AJ. "Colour Vision in Migraine: Selective Deficits for S-Cone Discriminations". Cephalalgia 25, n.º 6 (junho de 2005): 412–23. http://dx.doi.org/10.1111/j.1468-2982.2004.00831.x.
Texto completo da fonteResumo:
Three studies are reported that explore colour perception in migraine. In each, sensitivity for colours detected selectively by the S-cones and the L- and M-cones was assessed separately. The first study assessed the discrimination of small colour differences using the Farnsworth-Munsell 100-hue test. The second assessed threshold detection for purple, yellow, red and green targets on five equiluminant background colours. The third examined supra-threshold colour scaling using two colour series, purple-yellow and red-green. Each study indicated that differences in colour perception between migraine and control groups were restricted to colours detected by the S-cones, there were no differences in performance for colours detected by the L- and M-cones. The results are discussed in terms of possible pathologies in the early visual pathways.
48
Wan Ahmad, Wan Yunus, M. A. Mohd Nor, N. Saim, M. I. Ab Kadir e M. R. Ahmad. "Nano Natural Dyes from Melastoma Malabathricum L." Advanced Materials Research 545 (julho de 2012): 59–63. http://dx.doi.org/10.4028/www.scientific.net/amr.545.59.
Texto completo da fonteResumo:
In this study, natural colours were produced from Melastoma Malabathricum L.’s (Senduduk) plant. The dyes were extracted from the petal part of the plant using solvent extraction method of acidified methanol and methanol. The natural colours were then converted into powder form of nano size scale using a ball mill grinder. Silk fabrics were used as the substrate and dyed using several natural and synthetic mordant. The use of different solvents for extraction and mordant for dyeing resulted in different colour shades on the silk fabrics. The color fastness to washing tests revealed colour fastness to washing ranging from 3 – 4/5 and the change in color ranging from 3/4 – 4/5. The findings will benefit and promote the dyeing and printing industry such as batik manufacturers and local fashion industry in using natural dyes. On the other hand, dyes from plants can also be used as an alternative to synthetic dyes for dyeing natural silk fibers.
49
Kumar, J. Suresh. "The Psychology of Colour Influences Consumers’ Buying Behaviour – A Diagnostic Study". Ushus - Journal of Business Management 16, n.º 4 (1 de outubro de 2017): 1–13. http://dx.doi.org/10.12725/ujbm.41.1.
Texto completo da fonteResumo:
Colour plays an important role in marketing products. It is a powerful marketing tool that influences consumer purchases in many aspects. Marketers must explore the harmony of colours for successful marketing of products. Nearly all products sold today have colourful facades. Selecting the right colours to use has an enormous impact on product sales. While no single set of rules governs colour choices, research has established general guidelines based on the principle of associative learning, the relationship between colour and emotion. The researcher made a diagnostic study on the psychology of colour influences consumers buying behaviour. Secondary data has been extensively used in this research. Colour properties like hue, saturation and value, were discussed. Usage of colours in the packing of products, how colours earn brand image to a product, how colours help marketers to communicate the brand to customers and how to match colours with customer’s personality are extensively discussed. Conclusions were drawn based on this diagnostic study.
50
Ziółkowski, Maciej, Agnieszka Redlarska, Katarzyna Adamus-Fiszer e Joanna Kania-Gierdziewicz. "Inheritance of different coat colours in Newfoundland dogs in Poland". Roczniki Naukowe Polskiego Towarzystwa Zootechnicznego 15, n.º 1 (31 de março de 2019): 17–28. http://dx.doi.org/10.5604/01.3001.0013.4539.
Texto completo da fonteResumo:
The aim of the study was to present the manner in which coat colour genes are inherited in the Newfoundland dog breed and to estimate the number of dogs with various coat colours in the Polish Newfoundland dog population in 2017. This population numbered 656 dogs, including 248 males and 408 females. The estimated number of dogs of this breed also included all registered puppies, broken down by gender and coat colour. The genes determining coat colour are described, including more precisely the genes responsible for the coat colour of the Newfoundland breed. According to FCI regulations, the coat colours for Newfoundland dogs are black, brown and black-and-white. Other colours, such as brown-and-white or blue, are not recognized for breeding purposes in Europe. The study found that the dominant black coat was predominant in the Polish Newfoundland dog population in 2017. These dogs could be heterozygous at some other loci and have undesirable alleles. The second most common coat colour was chocolate, while the fewest dogs had spotted coats. The group with spotted coats contained more males than females, in contrast to the other two colour variants. There were also individuals with the blue coat colour, which is not accepted for breeding, as the result of mating of parents with proper coat colours. An understanding of how dog coat colours are inherited and the need for tests to determine coat colour genotypes would make it possible to foresee the occurrence of incorrect colours in subsequent generations, which is crucial for Newfoundland dog breeders, whose goal is to obtain dogs whose coat colour is in line with the FCI standard.