Готові списки джерел за темами / Color tone

Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій

Добірка наукової літератури з теми "Color tone"

Автор: Grafiati
Опубліковано: 30 травня 2022
Оновлено: 31 травня 2022

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Статті в журналах з теми "Color tone"

1

Weinreich, Gabriel. "Directional tone color." Journal of the Acoustical Society of America 101, no. 4 (April 1997): 2338–46. http://dx.doi.org/10.1121/1.418213.

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2

Brischke, Christian, Tanja Borcharding, and Uta Mengel. "Subjective Sensation of Color Differences – Determination of Thresholds Depending on Color Tones and Resolution." Restoration of Buildings and Monuments 21, no. 1 (February 1, 2015): 21–27. http://dx.doi.org/10.1515/rbm-2015-0003.

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Abstract Colors are frequently defined by three points on the L*a*b* coordinates of the CIELAB color space, and the distance between two colors can be expressed as the total color difference ΔE. In particular with respect to reproducibility of print media color differences are an important parameter, as well as for car finishes and textile dyes. Color changes are also the result of ageing and weathering which is an issue for art objects and in the building and restoration sector. However, the subjective perceptibility of color differences depends on numerous factors and general thresholds are difficult to define. This study aimed therefore on defining tolerance levels for color changes in dependence of color tones and color tone combinations as well as their resolution. In total 30 test persons evaluated samples, which had been painted with acrylic artist colors with defined color differences (ΔE = 0–7). The test subjects realized color differences already at ΔE = 1–4 for the highest resolution. Threshold values have been identified for different tones as well as the effect of interdependencies between tones and the level of color heterogeneity between adjacent areas.
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3

Weinreich, Gabriel. "Directional tone color loudspeaker." Journal of the Acoustical Society of America 111, no. 4 (2002): 1511. http://dx.doi.org/10.1121/1.1479051.

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4

Ono, Naoki, and Kiichi Urahama. "Tone Reproduction of Photographs by Affine Color Transformation." Journal of the Institute of Industrial Applications Engineers 4, no. 4 (October 25, 2016): 172–77. http://dx.doi.org/10.12792/jiiae.4.172.

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5

Ding, Ying Kun, Yan Fang Xu, and Yu Ting Ke. "Analysis of the Color Performance of Gold and Silver Foil Paper." Applied Mechanics and Materials 469 (November 2013): 265–68. http://dx.doi.org/10.4028/www.scientific.net/amm.469.265.

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Анотація:
The study on the method of the color measurement of gold and silver foil paper is important to control color quality in the printing industry. The methods used in the experiments were to study the role of the gold tone and silver tone by studying the influence of gold tone and silver tone with different content on the chromatic value of normal color ink with different tone and different saturation. In the experiments, chromatic value of SPIN and SPEX respectively in the diffuse light conditions of color measurement could represent the chromatic value of the ink containing gold or silver ink. Then the difference of L values between SPIN and SPEX was defined as lightness difference. The ratio of the difference of saturation between SPIN and SPEX to their sum was defined as saturation ratio. Therefore, the Correlation Properties between lightness difference and saturation ratio was quantified. The result shows that with the quantity of gold and silver ink increasing, saturation ratio has linear relation with lightness difference for the same color. Similarly, with the saturation of normal ink colors increasing, saturation ratio has linear relation with lightness difference for a series of colors containing the same quantity of gold and silver ink .
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6

Muratova, Rimma T. "Analytical forms of color-signifying lexemes in the modern Bashkir language (on materials of electronic corpus of prose, folklore and publicism)." Ural-Altaic Studies 39, no. 4 (2020): 41–53. http://dx.doi.org/10.37892/2500-2902-2020-39-4-43-53.

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Анотація:
The article is devoted to the study of analytical forms of color designations in the Bashkir language and the identification of the features of their use in the literary language and folk colloquial speech. The relevance of the research is due to the need to study this group of color designations using the new achievements of linguistic science, namely, the possibility of access to a large volume of texts that contain almost all the lexical richness of the Bashkir language. Corpuses of the Bashkir language were used as such material: the corpus of prose, the corpus of folklore, the corpus of publicism, and other Internet resources. It was revealed that the analytical method in the Bashkir language forms color designations by color tone, saturation, brightness. In the analytical form, the names of color tones of the following nature are used: two spectral colors (qïδɣïlt һary ‘orange’, qïδɣïlt kүk ‘violet’), shades located between the two main spectra (jӓškelt zӓŋgӓr ‘greenish blue’, һarɣïlt jӓšel ‘yellowish green’), shades of spectral, non-spectral and achromatic colors (һarɣïlt körӓn ‘yellowish brown’, sejӓ qïδïl ‘cherry red’). A combination of two or more words also conveys such characteristics as color saturation (qujï qïδïl ‘thick red’, tonoq zӓŋgӓr ‘dull blue’), brightness of tone (aqһïl zӓŋgӓr ‘light blue’, qaraɣusqïl jӓšel ‘dark green’), piebald color (һarï ala ‘yellow piebald’).
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7

Mantiuk, R., R. Mantiuk, A. Tomaszewska, and W. Heidrich. "Color correction for tone mapping." Computer Graphics Forum 28, no. 2 (April 2009): 193–202. http://dx.doi.org/10.1111/j.1467-8659.2009.01358.x.

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8

Yu, Ling. "Study on Urban Environment Color Design." Applied Mechanics and Materials 340 (July 2013): 833–36. http://dx.doi.org/10.4028/www.scientific.net/amm.340.833.

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Анотація:
According to the concept of computer aided design system and color matching colors based on color solid theory, color coordination guide designers great tools its realization process, and give users more than free choice. This article through the emotional color that quantitative puts forward nine tones the concept of the emotional tone. Finally, this paper summarizes the Buddha tonal coordination than process, design optimization method in a certain extent color according to the comparison of the new and old model of configuration. This method should be widely used in new cases of urban planning management, the color. Thanks to the building should be improved and color should adapt to test the feasibility of in a different environment, improve computer aided design and color of the update other areas, color design.
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9

Stiegemann, Ursula, Henning Scheich, Birgit Gaschler-Markefski, Gregor Szycik, Hinderk Meiners Emrich, Christopher Sinke, Markus Zedler, et al. "Anomalous Auditory Cortex Activations in Colored Hearing Synaesthetes: An fMRI-Study." Seeing and Perceiving 24, no. 4 (2011): 391–405. http://dx.doi.org/10.1163/187847511x588061.

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Анотація:
AbstractColor percept induction in synaesthetes by hearing words was previously shown to involve activation of visual and specifically color processing cortex areas. While this provides a rationale for the origin of the anomalous color percept the question of mechanism of this crossmodal activation remains unclear. We pursued this question with fMRI in color hearing synaesthetes by exposing subjects to words and tones. Brain activations in word condition accompanied by highly reliable color percepts were compared with activations in tone condition with only occasional color percepts and both contrasted to activations in normal subjects under the same stimulus conditions. This revealed that already the tone condition similar to the word condition caused abnormally high activations in various cortical areas even though synaesthetic percepts were more rare. Such tone activations were significantly larger than in normal subjects in visual areas of the right occipital lobe, the fusiform gyrus, and the left middle temporal gyrus and in auditory areas of the left superior temporal gyrus. These auditory areas showed strong word and tone activation alike and not the typically lower tone than word activation in normal subjects. Taken together these results are interpreted in favour of the disinhibited feedback hypothesis as the neurophysiological basis of genuine synaesthesia.
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10

Kuzmin, Vladimir. "Bi-level perception and color modes. Contrast ratio and complementarity of colors." Философская мысль, no. 10 (October 2021): 11–21. http://dx.doi.org/10.25136/2409-8728.2021.10.36358.

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Анотація:
For the “Self”, color is a color text, a structure consisting of two elements: internal context (content: tone, saturation, brightness) and external context (conditions under which color actualizes in a situation: lightness, proximity, etc.). Perception of the color is when the content overlays the conditions. The modes of color are revealed depending on the ratio of indicated contexts. There are three color modes: visible, invisible, and colorless. The goal of this article is to describe the color modes, and their correlation with contrast and complementarity of colors, what entails bi-level perception of color. The article employs situational and phenomenological approaches. Visible color for the “Self” occurs when the internal context completely overlays the external context. Invisible color occurs in the presence of internal context and absence of one or more external factors: no tone, no contrast with background, etc. “Colorless” mode occurs when the internal context is not fully set in the situation of presence of the external context: no tone, saturation, or brightness. Color in the “colorless” mode is achromatic. The compatibility of separate colors within the color text leads to the phenomena of complementarity and contrast ratio, which are interrelated with the color modes. There are two levels of color perception: 1) fundamental, i.e. is the perception of achromatic color with gradations from sharply white to pure black; gray color with varying degrees of brightness is present in chromatic colors (as the “base”); 2) perception of the chromatic colors, founded on the colorless “base”. Such bi-level perception of color is substantiated by the fact that the consciousness seeks harmony and balance, i.e. minimization of perception of the visual.
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Дисертації з теми "Color tone"

1

Brent, William. "Physical and perceptual aspects of percussive timbre." Diss., [La Jolla, Calif.] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/fullcit?p3407993.

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Анотація:
Thesis (Ph. D.)--University of California, San Diego, 2010.
Title from 1st page of PDF file (viewed July 8, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: Leaves 147-154.
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2

Larke, Kevin. "Real time vibraphone pitch and timbre classification /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1459923.

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Анотація:
Thesis (M.A.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Jan. 12, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 42-44.
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3

Waechter, Frederick K. "A mathematical analysis of an electronic dot generating scanner for dot resolution and tone reproduction /." Online version of thesis, 1987. http://hdl.handle.net/1850/10436.

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4

Johnston, Dennis A. (Dennis Alan). "Trained Musical Performers' and Musically Untrained College Students' Ability to Discriminate Music Instrument Timbre as a Function of Duration." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935621/.

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Анотація:
The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.
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5

Anderson, Diarra D. "Color and Type Effects on Tone, Likelihood of Purchase & Attraction." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/482.

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This study examined the effect of colors and typography on attraction towards a product, tones evoked by the product, and likelihood that a participant would buy a product. Prior research has addressed how color and type influence visual design and those who come in contact with it in a multifaceted way. To measure this, participants on Amazon Mechanical Turk were asked to take part in an online survey on Surveymonkey.com. Assigned to one of four conditions of color and font combinations, Black or Purple paired with Modern or Script, participants answered questions about a sample product, a soda can. The study examined the combined and individual effects of the colors Black and Purple and the font types Modern and Script on the participants’ likelihood to purchase the product, their attraction toward it, and the perceived tone the product gives off. A 2x2 ANOVA was run to measure likelihood of purchase and attraction and a Pearson’s Chi-Squared test was used to measure both tonal questions. It was found that attraction to product was 1.19 times more likely with the product displaying Script font regardless of color and likelihood of purchase was 1.15 times higher with Script font regardless of color. Purple and Modern were most highly associated with the tonal word “Modern” for tonal question number one and for Black, the overall largest tonal association term was “Traditional,” for tonal question number. The finding for the color Purple approached significance and the other two of these findings were consistent with the hypothesis.
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6

Quist, Amanda. "Choral resonance re-examining concepts of tone and unification /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9049.

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Анотація:
Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Apr. 22, 2007, Nov. 11, 2007, and Apr. 6, 2008. Includes bibliographical references (p. 48-50).
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7

Stroeher, Michael. "An Investigation of the Verbal Description of Trombone Tone Quality With Respect to Selected Attributes of Sound." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332737/.

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The purpose of this study was to determine the physical elements which experienced trombonists associate with selected descriptors in characterizing the tone quality of that instrument. Stimuli sampled from live trombone tones and synthesized into musical phrases represented 17 variations in (1) presence/absence of attack transient, (2) rise time, (3) duration, (4) number of harmonics, (5) upper limit of harmonicity (6) spectral envelope shape, and (7) frequency.
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8

Fung, Dic-lun Gordon, and 馮迪倫. "Timbre as a structural device in compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/200301.

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9

Benson, Thomas A. "An evaluation of the relationship between optimum tone reproduction and reproduction size /." Online version of thesis, 1989. http://hdl.handle.net/1850/11550.

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Quist, Amanda Renee. "Choral Resonance: Re-Examining Concepts of Tone and Unification." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9049/.

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Resonant singing creates possibilities with dynamic shading, subtlety of phrasing, and rich vibrant tone that astonishes listeners. Choral singing that employs resonance as a fundamental ensemble virtue yields impressive results that lend themselves well to the varying demands of any choral score. Fortunately, choruses of every level can benefit from an increased understanding of the basic principles of resonance in the singing voice. Research on issues of upper partial energy and the presence of the singer's formant in a choral ensemble has been limited in approach. Many published studies regarding upper partial energy in the choral ensemble are based on what the ensemble is already doing, which is linked to the teaching of that specific director and that specific choir. Research must include a wider range of aesthetic choices with regard to choral unification. Through examining spectrograms that represent the sound of some of the most renowned choirs, it is possible to see that many of these ensembles are producing tone that contains a high level of upper formant energy. Interviews with established conductors reveal approaches and teaching methodologies that reinforce this type of singing. It is possible to teach the individuals in a choir to increase the level of resonance in their voices, creating a collective sound containing a vibrancy that is easier to tune and unify. This paper explores resonance in choral singing by first explaining the basic principles of sound production, then defining a resonant tone as one containing the strong presence in the upper partials generally associated with classically trained singers, and finally discussing how this type of resonance is developed in choirs.
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Книги з теми "Color tone"

1

Tone and color correction. Pittsburgh, Pa., U.S.A: Graphic Arts Technical Foundation, 1991.

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2

Dissonanz und Klangfarbe: Instrumentationsgeschichtliche und experimentelle Untersuchungen. Bonn: Verlag für Systematische Musikwissenschaft, 1985.

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3

Eckhardt, Knut. Das Verhältnis von Klangfarbe und Form bei Egon Wellesz: Eine Studie am Beispiel seiner Fünften Symphonie. Göttingen: Edition Re, 1994.

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4

Dobretzberger, Fritz. Farb-Musik: Leitfaden für eine kombinierte Farben- und Musiklehre. Berlin: Simon + Leutner, 1993.

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5

Guitar tone: Pursuing the ultimate guitar sound. Boston, MA: Course Technology, 2012.

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6

Convegno, europeo sull'educazione musicale (31st 2000 Gorizia Italy). Il timbro, questo sconosciuto!: La dimensione timbrica del suono e del linguaggio musicale nei suoi aspetti scientifici, musicologici, pedagogici, psicologici e didattici, con particolare riferimento all'educazione musicale di base : atti del XXXI Convegno europeo sull'educazione musicale : Gorizia, Auditorium di via Roma, 7-8-9 luglio 2000. [Gorizia]: Associazione corale goriziana "C.A. Seghizzi,", 2001.

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7

Italo, Montiglio, and Corale goriziana "C.A. Seghizzi.", eds. Il timbro, questo sconosciuto!: La dimensione timbrica del suono e del linguaggio musicale nei suoi aspetti scientifici, musicologici, pedagogici, psicologici e didattici, con particolare riferimento all'educazione musicale di base : atti del XXXI Convegno europeo sull'educazione musicale : Gorizia, Auditorium di via Roma, 7-8-9 luglio 2000. Gorizia]: Associazione corale goriziana "C.A. Seghizzi,", 2001.

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8

Seitenunterschiede bei der Identifikation einfacher Tonkonturen: Hinweise auf differentiell lateralisierte cerebrale Verarbeitung in Abhängigkeit von Sprachähnlichkeit des Reizmaterials, individueller Vorerfahrung und Verarbeitungsstrategie. Frankfurt am Main: P. Lang, 1995.

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9

Das musikalische Material und seine Behandlung im Frühwerk von Krzysztof Penderecki: Eine Studie zum Cluster und zur Klangfarbe. Frankfurt am Main: P. Lang, 2007.

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10

Loisy, Jane. Le timbre instrumental dans le traitement de l'information musicale. Issy-les-Moulineaux, France: Editions EAP, 1990.

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Частини книг з теми "Color tone"

1

Kostelanetz, Richard, and Steve Silverstein. "Tone Color (1939)." In Aaron Copland, 15–25. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003061724-4.

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Herring, Cedric, and Anthony Hynes. "Race, Skin Tone, and Wealth Inequality in America." In Color Struck, 1–17. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6351-110-0_1.

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Rowe, Nicholas. "Themes, Color, Tone, and Aesthetics." In Academic & Scientific Poster Presentation, 99–105. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61280-5_9.

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Reece, Robert L., and Aisha A. Upton. "How Skin Tone Shapes Civic Engagement among Black Americans." In Color Struck, 157–77. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6351-110-0_8.

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Chen, Kuen-Meau, Ying-Sin Lin, and Hsueh-Cheng Chou. "Color Imagery of Skin Tone and Eyeglass Frames." In HCI International 2014 - Posters’ Extended Abstracts, 112–17. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07857-1_20.

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Kemelmacher-Shlizerman, Ira, Ronen Basri, and Boaz Nadler. "3D Face Reconstruction from Single Two-Tone and Color Images." In Shape Perception in Human and Computer Vision, 275–84. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-5195-1_19.

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Banić, Nikola, and Sven Lončarić. "Color Badger: A Novel Retinex-Based Local Tone Mapping Operator." In Lecture Notes in Computer Science, 400–408. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07998-1_46.

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Song, Hao, Gangyi Jiang, Hua Shao, and Mei Yu. "New Tone-Mapped Image Quality Assessment Method Based on Color Space." In Communications in Computer and Information Science, 365–76. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3966-9_42.

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Khan, Muhammad Usman, Muhammad Safdar, Muhammad Farhan Mughal, and Ming Ronnier Luo. "Performance Comparison of Uniform Color Spaces by Integrating into a Tone Mapping Operator." In Lecture Notes in Electrical Engineering, 39–45. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7629-9_5.

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Hori, Maiya, Hideyuki Takahashi, Masayuki Kanbara, and Naokazu Yokoya. "Removal of Moving Objects and Inconsistencies in Color Tone for an Omnidirectional Image Database." In Computer Vision – ACCV 2010 Workshops, 62–71. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22819-3_7.

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Тези доповідей конференцій з теми "Color tone"

1

Anis, Haron, Chee Onn Wong, and Soon Hin Hew. "Algorithmic Identification of Tone Color." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483661.

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Fisch, Richard S. "Grey Component Replacement Research, Modelling Tone And Color Reproduction." In Neugebauer Memorial Seminar on Color Reproduction, edited by Kazuo Sayanagi. SPIE, 1990. http://dx.doi.org/10.1117/12.963899.

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3

Kikuchi, Hisakazu, S. Kataoka, S. Muramatsu, and Heikki Huttunen. "Color-tone similarity of digital images." In 2013 20th IEEE International Conference on Image Processing (ICIP). IEEE, 2013. http://dx.doi.org/10.1109/icip.2013.6738081.

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Butterfield, Paul M. "User-oriented approach to control of tone reproduction for electronic reprographic systems." In Color Hard Copy and Graphic Arts. SPIE, 1992. http://dx.doi.org/10.1117/12.2322265.

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Бирюков, Елисей, Elisey Birukov, Михаил Копылов, Mikhail Kopylov, Анастасия Хлюпина, and Anastasiya Khlupina. "Correction of Color Saturation for Tone Mapping Operator." In 29th International Conference on Computer Graphics, Image Processing and Computer Vision, Visualization Systems and the Virtual Environment GraphiCon'2019. Bryansk State Technical University, 2019. http://dx.doi.org/10.30987/graphicon-2019-2-58-61.

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Анотація:
This article reviews the problems of color saturation correction during dynamic range compression of images. Special attention is drawn to emulation of human vision and photo cameras effects during processing of the images which have very bright areas (with brightness more than an order of magnitude greater than average brightness of the rest of the image). A method of desaturation of the brightest parts of images is suggested. This method provides lowering of the color saturation of each pixel depending on the pixel brightness. The improved method lowers saturation only of the brightest parts of an image. The size of the desaturated part of the image should not exceed 25% of the size of an entire image.
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Lee, Joon-Young, Kalyan Sunkavalli, Zhe Lin, Xiaohui Shen, and In So Kweon. "Automatic Content-Aware Color and Tone Stylization." In 2016 IEEE Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2016. http://dx.doi.org/10.1109/cvpr.2016.271.

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Chen, Tieling, and Jun Ma. "Tone correction through a spherical color model." In Eighth International Conference on Digital Image Processing (ICDIP 2016), edited by Charles M. Falco and Xudong Jiang. SPIE, 2016. http://dx.doi.org/10.1117/12.2244681.

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Wang, Baoyuan, Yizhou Yu, and Ying-Qing Xu. "Example-based image color and tone style enhancement." In ACM SIGGRAPH 2011 papers. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1964921.1964959.

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Zhang, Ning, Chao Wang, Yang Zhao, and Ronggang Wang. "Deep tone mapping network in HSV color space." In 2019 IEEE Visual Communications and Image Processing (VCIP). IEEE, 2019. http://dx.doi.org/10.1109/vcip47243.2019.8965992.

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Yang, Ya'nan, Xiaofan Wang, Feng Liu, and Zongliang Gan. "Enhancement of color image based on tone-preserving." In 2016 8th International Conference on Wireless Communications & Signal Processing (WCSP). IEEE, 2016. http://dx.doi.org/10.1109/wcsp.2016.7752461.

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