Статті в журналах: "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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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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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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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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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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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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11

Hong, Da-Yeon, Min-Ju Kim, and Young-Jin So. "Hair Design with Natural Motifs Using Pantone Colors." Journal of the Korean Society of Cosmetology 27, no. 6 (December 31, 2021): 1453–60. http://dx.doi.org/10.52660/jksc.2021.27.6.1453.

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In this study, natural motifs were extracted based on the trend colors selected by Pantone in 2018-2021, and the image was shaped to produce hair design works that reflected the trend colors. In Artwork I, the ultra violet color has a wisteria motif, and the hair color is expressed using the ombré technique. Artwork II Living Coral color has a coral reef in the sea as a motif, and the hair color is expressed in a two-tone technique. Artwork III Classic blue color has a blue zebra-patterned seashell as a motif, and hair color is expressed using weaving and balayage techniques. Artwork IV Illuminating and Ultimate Gray color are inspired by autumn birch trees, and hair color is expressed using weaving and two-tone techniques. In this way, it was confirmed that creative and diverse design expressions are possible by completing trendy hairstyles with various techniques by incorporating each Pantone color into nature.

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12

Maletin, Aleksandra, Milica Jeremic-Knezevic, Daniela Djurovic-Koprivica, Tanja Veljovic, Bojana Ramic, and Bojana Milekic. "Analysis of colorimetric parameters of international commission on illumination L*a*b* system in the color of maxillary central incisors." Medical review 73, no. 9-10 (2020): 309–14. http://dx.doi.org/10.2298/mpns2010309m.

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Introduction. Tooth color can be represented in a three-dimensional color system by applying L* (lightness), a* (red-green color tone) and b* (yellow-blue color tone) coordinates. Clinically significant color difference, Delta-E, can be expressed in units that are correlated with visual perception using the International Commission on Illumination L*a*b* system. The aim of the study was spectrophotometric analysis of the natural maxillary central incisor color, and to establish any gender-related differences in lightness, red-green tone, and yellow-blue tone coordinates. Material and Methods. The study included 80 students (40 male and 40 female, with an average age of 22 years). The color of the maxillary right central incisor was determined using an intraoral spectrophotometer and VITAPAN Classical and VITA 3D-Master color shade guides. Lightness, red-green tone, and yellow-blue tone values were recorded for each result. The obtained data were processed by using ?2, Student?s t-test and Mann-Whitney test. Results. Results showed no statistically significant gender-related difference in color according to the VITApan Classical and VITA 3D-Master color key. No difference was found in the lightness of the central maxillary incisor between genders, or in terms of red-green tone (p = 0.860573). A statistically significant difference was found when observing the sex-related yellow-blue tone of the color of the central maxillary incisor. Conclusion. The analysis of colorimetric parameters of the International Commission on Illumination L*a*b* system provides useful information about the tooth color in the examined population, while potentially revealing differences in lightness, red-green tone and yellow-blue tone between genders.

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13

Wang, Hui, Tong Shu, Jingyi Chen, and Ying Guo. "Characteristics of Channel-Water in Blue-Green Beryl and Its Influence on Colour." Crystals 12, no. 3 (March 21, 2022): 435. http://dx.doi.org/10.3390/cryst12030435.

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This study reports the characteristics of water in channels of blue-green beryl and its effect on color. An industrial camera was used to measure color in the CIELAB color space. X-ray fluorescence (XRF), X-ray diffraction (XRD), infrared spectroscopy (IR), ultraviolet-visible (UV–vis) spectroscopy, and silicate rock chemical analysis method were used for analysis. The peaks at 5105 cm−1 and 5269 cm−1 were the combination tone of type II water, which were negatively correlated with b*, and positively correlated with the peak area at 3162 cm−1 (Na–H) and cell parameter a0. The peaks at 7097 cm−1 and 7142 cm−1 were related to the metal ions types in the channels. Part of the water in the channel combined with Fe3+ to form [Fe2(OH)4]2+ and cause a yellow tone, and when the yellow tone combined with the blue tone caused by Fe2+, the beryl has a blue-green colour.

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14

Maekawa, Mitsuyoshi, Shinya Hashizume, Yasunori Touma, Yukiko Imai, Hiroaki Seki, and Yoshikatsu Hifumi. "Development of Portable Color Discrimination for the Visually Impaired and Color Blindness." Journal of Robotics and Mechatronics 16, no. 5 (October 20, 2004): 535–44. http://dx.doi.org/10.20965/jrm.2004.p0535.

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The inability to discriminate color is an ongoing problem for the visually impaired and those with color blindness. We propose a portable color discrimination unit that communicates color information to users in verbal messages and sound. The unit states what color the target is and, by scanning its surface, transmits a continuous musical tone corresponding to color variations in the scanned area. The targetive is to make color patterns and the target layout recognizable, requiring 1) colorimetric stability, 2) translation of colorimetric information into an appropriate color name, and 3) setting of a relationship between color and sound. We propose using automated calibration and developed a colorimetric unit with high environmental robustness. Colorimetric data consists of RGB data, which does not lend itself readily to color discrimination, so we developed a way to convert RGB data to 220 color names. To develop easy-to-remember color-sound correspondence, we propose using the Shepard Tone Method, in which Shepard tones are mapped onto color hues. These are combined so users scan a target and hear a continuous sound and, if necessary, a color name, to recognize the target’s overall color pattern, somewhat akin to how a visually impaired person recognizes a sculpture by touching its surface.

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15

Yanmei Li, Yunbo Rao, Leiting Chen, and Jun Zhou. "Color Image Enhancement Using Tone Mapping." International Journal of Digital Content Technology and its Applications 6, no. 22 (December 31, 2012): 631–39. http://dx.doi.org/10.4156/jdcta.vol6.issue22.72.

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16

Yan, Yuchun, and Hyeon-Jeong Suk. "Skin Color Perception in Portrait Image and AR-based Humanoid Emoji." Color and Imaging Conference 2020, no. 28 (November 4, 2020): 114–18. http://dx.doi.org/10.2352/issn.2169-2629.2020.28.17.

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Animated emoji in augmented reality (AR) enables users to create a humanoid version of themselves that mimics their facial expressions dynamically. In this study, we aim to explore how people perceive facial skin color in digital portrait in comparison with humanoid emoji in AR. We tried to identify the skin color representative regions and to estimate the color difference between the two contexts. We conducted a user study comprised of three tasks with 20 graduate students majoring in design and employed 24 portrait images in four skin tone categories. Through the user study, we first figured out that forehead and cheek regions, and particularly the linking band between eye and lip, were often considered as the representative region of facial skin color. Second, we observed skin colors become lighter in general, except dark tone. Furthermore, concerning the vidvidness, all four skin tone types became paler in humanoid emoji. Diverse ethnicities and contexts are expected in the future to provide a more robust and reliable analysis of the perception of skin color.

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17

Suh, Seo-Young, and Mi-Sook Lee. "Emotional Images of Knitwear According to the Color Combinations of Tone on Tone and Tone in Tone." Journal of Korean Traditional Costume 18, no. 3 (September 30, 2015): 17. http://dx.doi.org/10.16885/jktc.2015.09.18.3.17.

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18

Mária Holcvart, Sándor Elek, and Katalin Hódi. "Organoleptical and instrumental examination of broilers’ valuable meat-parts." Acta Agraria Debreceniensis, no. 48 (July 31, 2012): 37–41. http://dx.doi.org/10.34101/actaagrar/48/2450.

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The aim of our study was to compare some meat quality parameters (color,- evenness of colour- and tone of meat) of Ross 308, Cobb 500 and Ross parents hibrids. These qualities are of preliminary importance for consumers and are related to several evaluating features influencing the preparation. The colour of the breast and thigh muscles was measured by Minolta CR-300 type colour measuring equipment. The evenness of color- and tone of the breast and thigh muscles were measured in the laboratory of Campden BRI Magyarország Nonprofit Kft.We found that in the females the color of Ross 308 pullets’ breast meat was significantly darker. In the males the darkest breast meat was detectable in the case of the Ross parents hybrids. In neither sexes wast found significant difference – in all but one – in quality parameters of thigh meat.

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19

Ross, Sharon. "Notable Trade Book Lesson Plan The Colors of Us Written by Karen Katz and Illustrated by Henry Holt." Social Studies Research and Practice 5, no. 2 (July 1, 2010): 109–14. http://dx.doi.org/10.1108/ssrp-02-2010-b0011.

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This lesson should be used with students in grades pre-K-2 as they develop an understanding of cultural diversity. This lesson involves students making comparisons between their skin tones and comparisons of skin tones to those of different foods found in their everyday environment. The book is a starting point for these comparisons as it displays bright images through an artist’s perspective. The book includes fictional characters from several nations that have different colors of skin as Lena and her mother notice on their walk around the neighborhood. Students also will make comparisons between their skin color and the skin color of the characters from the book. The lesson further includes students identifying their own skin tone through the mixing of paints and digital photo use.

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20

Hwang, Soo-Min. "Hairstyling According to Tone-on-Tone and Tone-in-Tone Color Combinations: Focusing on O.M.C HAIR WORLD events." Korean Society of Beauty and Art 22, no. 4 (December 20, 2021): 171–88. http://dx.doi.org/10.18693/jksba.2021.22.4.171.

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21

Toshifumi, Kunimoto. "Apparatus for generating a musical tone signal with tone color variations independent of tone pitch." Journal of the Acoustical Society of America 85, no. 5 (May 1989): 2248. http://dx.doi.org/10.1121/1.397814.

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22

Sugano, Naotoshi. "Fuzzy Set Theoretical Approach to the Tone Triangle System." International Journal of Software Science and Computational Intelligence 5, no. 3 (July 2013): 33–54. http://dx.doi.org/10.4018/ijssci.2013070103.

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The present study considers a fuzzy color system in which three fuzzy sets are constructed on the tone triangle. This system processes a fuzzy input and outputs a color on the color triangle system. Two fuzzy sets (not black and white) are applied to the tone triangle relationship. By evaluating the attributes of chromaticness, whiteness, and blackness on the tone triangle, a target color can be easily obtained as the center of gravity of the resulting fuzzy set. The output of the system is a tone triangle, which includes a compound vector with three weights (scalars) in color space. The differences between a fuzzy input and the resulting inference output is shown by the input-output characteristic (linear shape and right triangle shape) between the chromaticness, the whiteness, and the blackness of the input and the chromaticness of the output.

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23

Higashi, Iwao. "Musical tone waveform signal forming apparatus with pitch and tone color modulation." Journal of the Acoustical Society of America 94, no. 6 (December 1993): 3540. http://dx.doi.org/10.1121/1.407117.

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24

Coren, Stanley. "Eye Color and Pure-Tone Hearing Thresholds." Perceptual and Motor Skills 79, no. 3 (December 1994): 1373–74. http://dx.doi.org/10.2466/pms.1994.79.3.1373.

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Pure-tone hearing thresholds at test frequencies, 250, 500, 1000, 2000, 4000, and 8000 Hz, were compared for 149 unambiguously blue- vs 172 brown-eyed individuals. Blue-eyed subjects ages 17 to 30 years ( M = 20.3) had a significantly elevated mean hearing threshold at the highest frequency tested.

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25

Jewanski, Jörg. "What is the Color of the Tone?" Leonardo 32, no. 3 (June 1999): 227–28. http://dx.doi.org/10.1162/002409499553154.

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26

Shimakura, Hitomi, and Katsuaki Sakata. "Color criteria of facial skin tone judgment." Vision Research 193 (April 2022): 108011. http://dx.doi.org/10.1016/j.visres.2022.108011.

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27

Javed, Maleeha, Hassan Dawood, Muhammad Murtaza Khan, Ameen Banjar, Riad Alharbey, and Hussain Dawood. "Personal Communication Technologies for Smart Spaces Density-Based Clustering for Content and Color Adaptive Tone Mapping." Mobile Information Systems 2020 (August 17, 2020): 1–10. http://dx.doi.org/10.1155/2020/8846033.

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Tone mapping operators are designed to display high dynamic range (HDR) images on low dynamic range devices. Clustering-based content and color adaptive tone mapping algorithm aims to maintain the color information and local texture. However, fine details can still be lost in low dynamic range images. This paper presents an effective way of clustering-based content and color adaptive tone mapping algorithm by using fast search and find of density peak clustering. The suggested clustering method reduces the loss of local structure and allows better adaption of color in images. The experiments are carried out to evaluate the effectiveness and performance of proposed technique with state-of-the-art clustering techniques. The objective and subjective evaluation results reveal that fast search and find of density peak preserves more textural information. Therefore, it is most suitable to be used for clustering-based content and color adaptive tone mapping algorithm.

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28

Yu, Zihan, Kohei Inoue, and Kiichi Urahama. "Evaluation of Color Tone of Images by Degree of Mesopic Color." Journal of The Institute of Image Information and Television Engineers 67, no. 10 (2013): J376—J378. http://dx.doi.org/10.3169/itej.67.j376.

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29

Jing, Liang. "Design and Realization of Animation Composition and Tone Space Conversion Algorithm." Complexity 2021 (April 22, 2021): 1–11. http://dx.doi.org/10.1155/2021/5579547.

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In recent years, with the development of society and the rapid development of the animation industry, people are paying more and more attention to and requirements for animation production. As an indispensable part of animation production, picture composition plays a major role in animation production. It can give full play to the application of color matching and light and shadow design and enhance the depth and space of the animation screen. Tone space conversion refers to the conversion or representation of color data in one color space into corresponding data in another color space. Its purpose is to distinguish and process color components such as hue and saturation in an image. This article first introduces the domestic and foreign research status of digital image preprocessing and analyzes the basic principles of several color space conversions in detail. Then, several color space conversion algorithms are studied, and the performance of the algorithms is compared and analyzed. The paper focuses on the hardware implementation and optimization of the algorithm for converting RGB color space into HSI color space to meet the real-time requirements. This article focuses on the mutual conversion between the RGB tone space and the HSI tone space and describes in detail how each color component in the HSI tone space is converted from the three RGB color components from a geometric perspective, and then the conversion is derived, and several general conversion methods of RGB to HSI tone space are introduced; two conversion methods of geometric derivation method and standard modulus algorithm are implemented in the software, and the comparison verification is carried out, and the comparison is made from the perspective of hardware implementation. The pros and cons of the two methods are discussed. Finally, the paper summarizes the shortcomings in the design and proposes further research directions in the future.

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30

Louie, Patricia. "Revisiting the Cost of Skin Color: Discrimination, Mastery, and Mental Health among Black Adolescents." Society and Mental Health 10, no. 1 (January 18, 2019): 1–19. http://dx.doi.org/10.1177/2156869318820092.

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This article investigates the association between skin tone and mental health in a nationally representative sample of black adolescents. The mediating influences of discrimination and mastery in the skin tone–mental health relationship also are considered. Findings indicate that black adolescents with the darkest skin tone have higher levels of depressive symptoms than their lighter skin tone peers. This is not the case for mental disorder. For disorder, a skin tone difference appeared only between black adolescents with very dark skin tone and black adolescents with medium brown skin tone. Discrimination partially mediates the association between skin tone and depression, while mastery fully mediates this association, indicating that the impact of skin tone on depression operates primarily through lower mastery. Similar patterns were observed for disorder. By extending the discussion of skin tone and health to black adolescents and treating skin tone as a set of categories rather than a linear gradient, I provide new insights into the patterning of skin tone and depression/disorder.

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31

Choudhury, Anustup, and Scott Daly. "Comparing common still image quality metrics in recent High Dynamic Range (HDR) and Wide Color Gamut (WCG) representations." Electronic Imaging 2020, no. 9 (January 26, 2020): 214–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.9.iqsp-214.

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There are an increasing number of databases describing subjective quality responses for HDR (high dynamic range) imagery with various distortions. The dominant distortions across the databases are those that arise from video compression, which are primarily perceived as achromatic, but there are some chromatic distortions due to 422 and other chromatic sub-sampling. Tone mapping from the source HDR levels to various levels of reduced capability SDR (standard dynamic range) are also included in these databases. While most of these distortions are achromatic, tone-mapping can cause changes in saturation and hue angle when saturated colors are in the upper hull of the of the color space. In addition, there is one database that specifically looked at color distortions in an HDR-WCG (wide color gamut) space. From these databases we can test the improvements to well-known quality metrics if they are applied in the newly developed color perceptual spaces (i.e., representations) specifically designed for HDR and WCG. We present results from testing these subjective quality databases to computed quality using the new color spaces of Jzazbz and ICTCP, as well as the commonly used SDR color space of CIELAB.

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32

He, Ruili, Kaida Xiao, Michael Pointer, and Stephen Westland. "Assessing skin tone heterogeneity under various light sources." London Imaging Meeting 2020, no. 1 (September 29, 2020): 5–9. http://dx.doi.org/10.2352/issn.2694-118x.2020.lim-15.

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In this paper, skin tone heterogeneity in five facial areas (forehead, right cheekbone, left cheekbone, nose tip and chin) was investigated under six light sources with correlated color temperature (CCT) of 2850 K, 3500 K, 5000 K, 5500 K, 6500 K and 9000 K. Firstly, a facial image capturing protocol was developed and applied to five female participants, and their facial skin tone was analyzed based on the captured images. Through color characterization of the camera, XYZ values in each facial area were converted by a matrix from the extracted RGB data and then transformed to CAM02-UCS color space. MCDM with CAM02-UCS color difference was used to quantify skin tone heterogeneity in each facial area. The results under different light sources indicated that larger heterogeneity exists under the light source with lower CCT, and when the CCT of the light source ranges from 5000 K to 9000 K, there was smaller skin tone heterogeneity in each facial area.

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33

Hirose, Ikumi, Kazuki Nagasawa, Norimichi Tsumura, and Shoji Yamamoto. "Texture Management for Glossy Objects Using Tone Mapping." Journal of Imaging 8, no. 2 (January 30, 2022): 34. http://dx.doi.org/10.3390/jimaging8020034.

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In this paper, we proposed a method for matching the color and glossiness of an object between different displays by using tone mapping. Since displays have their own characteristics, such as maximum luminance and gamma characteristics, the color and glossiness of an object when displayed differs from one display to another. The color can be corrected by conventional color matching methods, but the glossiness, which greatly changes the impression of an object, needs to be corrected. Our practical challenge was to use tone mapping to correct the high-luminance part, also referred to as the glossy part, which cannot be fully corrected by color matching. Therefore, we performed color matching and tone mapping using high dynamic range images, which can record a wider range of luminance information as input. In addition, we varied the parameters of the tone-mapping function and the threshold at which the function was applied to study the effect on the object’s appearance. We conducted a subjective evaluation experiment using the series category method on glossy-corrected images generated by applying various functions to each display. As a result, we found that the differences in glossiness between displays could be corrected by selecting the optimal function for each display.

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34

문완묵 and Yon-Sun Park. "Personal Color Analysis through Relation between Timber, Skin Tone and Iris Color." Journal of Korea Society of Color Studies 28, no. 2 (May 2014): 15–25. http://dx.doi.org/10.17289/jkscs.28.2.201405.15.

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35

Cuddy, Lola L. "The Color of Melody." Music Perception 2, no. 3 (1985): 345–60. http://dx.doi.org/10.2307/40285303.

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The vocabulary of color perception often enters the description of music and musical experience. However, analysis of the color—note or colorkey associations often reported for "synesthetic" musicians is problematic: color and music associations do not appear to preserve the organizational principles contained within the separate modalities. This study, influenced by recent work on parallel principles for color and speech/timbre perception, proposed that the operation of color principles in melody occurs not at the level of single-tone recognition but at a higher level of auditory organization. This level may be represented by the relationship among key or tonal centers projected on the cycle of fifths. Experimental work tested the prediction that perceived structure of various sequential mixtures of tonal centers would follow the general principles of color mixture. The prediction was supported by the data from fifteen musical listeners; it did fail, however, with a small group of selfreportedly "tone-deaf" listeners. Implications of the color metaphor for the study of tonality are discussed.

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36

Zhang, Aidan, and Jiu Zhou. "Color rendering in single-layer jacquard fabrics using sateen shaded weave databases based on three transition directions." Textile Research Journal 88, no. 11 (March 20, 2017): 1290–98. http://dx.doi.org/10.1177/0040517517698989.

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Shaded weaves are used in digital jacquard fabrics for expressing rich colors, especially in the design of figured jacquard fabrics. The original image process and shaded weave database ( SWD) process are two independent design processes for the production of figured jacquard fabrics. SWD processes are relatively fixed, but original images vary frequently, and color value inconsistencies between the original image and its jacquard fabric are often neglected by researchers. This paper presents the design principles of a SWD based on a sateen basic weave and analyzes the color rendering of seven groups of fabric specimens produced using SWD processes with three transition directions and different step numbers. The color rendering characteristics of the SWD process were mainly determined by the transition direction of the interlacing points, but were also slightly affected by the weave’s step number when horizontal transitions were used. Three photographic images with different tones were selected to design three groups of single-layer figured jacquard fabrics. The results proved that the tone of a woven fabric is determined by the SWD process used, not the original image. A method was proposed to predict the final tone of a woven fabric by adjusting the lightness value of the original image according to the values of the fabric specimens of the SWD process that are used. This study outlines how the digital processing of a figured jacquard fabric design may be achieved using a SWD process based on one of the three design directions.

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37

Michals, Adam, Jiayin Liu, Altyngul Jumabayeva, Zhi Li, and Jan P. Allebach. "3D Tone-Dependent Fast Error Diffusion." Electronic Imaging 2019, no. 14 (January 13, 2019): 101–1. http://dx.doi.org/10.2352/issn.2470-1173.2019.14.color-101.

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38

Tamura, Tohru. "Color Reproduction of Liquid Crystal Displays-Tone Characteristics." Journal of the Institute of Image Information and Television Engineers 52, no. 10 (1998): 1527–29. http://dx.doi.org/10.3169/itej.52.1527.

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39

Yokoyama, Masayuki. "Practical techniques for color-tone control in photography." Drug Delivery System 34, no. 5 (November 25, 2019): 395–97. http://dx.doi.org/10.2745/dds.34.395.

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40

Restrepo-Martínez, Alejandro, and Román Castañeda. "Color Image Compression in Gray-Tone Synthetic Holograms." Journal of Holography and Speckle 4, no. 1 (June 1, 2007): 36–45. http://dx.doi.org/10.1166/jhs.2007.006.

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41

Deutsch, Ralph. "Tone color changes in an electronic musical instrument." Journal of the Acoustical Society of America 79, no. 4 (April 1986): 1200. http://dx.doi.org/10.1121/1.393329.

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42

Wang, Baoyuan, Yizhou Yu, and Ying-Qing Xu. "Example-based image color and tone style enhancement." ACM Transactions on Graphics 30, no. 4 (July 2011): 1–12. http://dx.doi.org/10.1145/2010324.1964959.

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43

Papachristou, Evi, William J. Strong, and Bruce L. Brown. "Tone color and spectral spaces for steady sounds." Journal of the Acoustical Society of America 80, S1 (December 1986): S92—S93. http://dx.doi.org/10.1121/1.2024047.

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44

Sid-Ahmed, M. A. "Selective color tone adjustment for advanced television systems." IEEE Transactions on Consumer Electronics 40, no. 4 (1994): 938–43. http://dx.doi.org/10.1109/30.338343.

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45

Solov'ev, V. A., and V. F. Belenitskii. "Analytic method of determining color tone and purity." Measurement Techniques 31, no. 5 (May 1988): 447–49. http://dx.doi.org/10.1007/bf00864469.

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46

Li, Hui, Xixi Jia, and Lei Zhang. "Clustering based content and color adaptive tone mapping." Computer Vision and Image Understanding 168 (March 2018): 37–49. http://dx.doi.org/10.1016/j.cviu.2017.11.001.

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47

strmic-pawl, hephzibah v., Vanessa Gonlin, and Steve Garner. "Color in Context: Three Angles on Contemporary Colorism." Sociology of Race and Ethnicity 7, no. 3 (July 2021): 289–303. http://dx.doi.org/10.1177/23326492211012532.

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Colorism is a form of discrimination based on skin tone wherein people with light(er) complexions are advantaged over those with dark(er) ones. In this review, we define key terms, explore colorism as an individual and structural phenomenon, and identify some predominant themes in the existing scholarship on colorism. We review three case studies of contemporary uses and ramifications of colorism in order to encourage scholars to engage with this important field. These case studies are skin tone’s impact on U.S. politics, “transraciality,” the appropriation of skin tone, and finally, the global skin lightening industry. While the first two are mostly focused on the United States, the third enables an appreciation of the global dynamics of colorism, and links back to the national and regional contextual politics of skin tone.

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48

Kaykov, Michael. "Scriabin’s Synesthesia, Demystified." ICONI, no. 3 (2021): 22–28. http://dx.doi.org/10.33779/2658-4824.2021.3.022-028.

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This article examines the latest materials related to Scriabin’s synesthesia, that is, his associations between sounds (tonal areas) and colors. This is often referred to as color-hearing, sound-color and tone-color associations in the literature. Scriabin’s biographer Leonid Sabaneyev was the first to discuss the matter, in his publication “O zvuko-tsvetovom sootvetstvii” [On sound-color correlation] (1911, Moscow). Since then, other more reliable sources have emerged, including Scriabin’s own color indications penned directly on the score of his Prometheus Op. 60, housed in the Bibliothèque Nationale in Paris and not widely-accessible. This article also attempts to debunk some of the myths related to Scriabin’s sound-color associations and presents the emerging scholarly perspective on the subject.

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49

Yang, Jian Hua. "Two-Tone Colored Petri Net and its Application in PLC." Applied Mechanics and Materials 404 (September 2013): 618–23. http://dx.doi.org/10.4028/www.scientific.net/amm.404.618.

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2-tone colored Petri net, where one color of tokens stands for logical value true and the other color of tokens for logical value false, is proposed to solve problem of inconsistency between programmable logic control. Symmetry 2-tone colored Petri net is also developed to keep the dynamic behavior in accordance with that of the original Petri net so that invariant method can be employed to analyze properties of nets. Some theorems are given to judge circular control based on reachable tree and T-invariants, and the algorithm for obtaining all minimal T-invariants of symmetry 2-tone colored Petri net is given. Finally, detecting possible dead-loop in symmetry 2-tone colored Petri net is also discussed.

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50

Lee, Sang Hwa, and Jung-Yoon Kim. "Classification of the Era Emotion Reflected on the Image Using Characteristics of Color and Color-Based Classification Method." International Journal of Software Engineering and Knowledge Engineering 29, no. 08 (August 2019): 1103–23. http://dx.doi.org/10.1142/s0218194019400114.

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Paintings convey the composition and characteristics of artists; therefore, it is possible to feel the intended style of painting and emotion of each artist through their paintings. In general, basic elements that constitute traditional paintings are color, texture, and composition (formative elements constituting the paintings are color and shape); however, color is the most crucial element expressing the emotion of a painting. In particular, traditional colors manifest the color containing historicity of the era, so the color shown in painting images is considered a representative color of the culture to which the painting belongs. This study constructed a color emotional system by analyzing colors and rearranged color emotion adjectives based on color combination techniques and clustering algorithm proposed by Kobayashi as well as I.R.I HUE & TONE 120 System. Based on the embodied color emotion system, this study confirmed classified emotions of images by extracting and classifying emotions from traditional Korean painted images, focusing on traditional painted images of the late Joseon Dynasty. Moreover, it was possible to verify the cultural traits of the era through the classified emotion images.

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