Academic literature on the topic 'Color theory'

Seven color contrasts are considered in the article; they were described in the book «The Elements of Colour» by Johannes Itt en. In the fi rst part the theory of color contrasts is perceived to be a specifi c phenomenon, which shows how the colors interact with each other. In the second part of article there is the analysis of the architectural elements based on the Itt en‘s theory of color contrasts. So, the interaction of color contrasts and their infl uence on building and its perception and forms are identifi ed by the color contrasts.

Utilizing visual characteristics of human eyes, color additive theory can make richer colors from red (R), green (G) and blue (B), the three primary colors. Our people live in a colorful world, and color exists everywhere. Many experiments has proved that the three colors can be mixed together to get various colors. In the paper, color additive theory on RGB is shown in a fun, novel manner by user-friendly dynamic process under Microsoft Visual C++ programming environment, whose purpose is to intuitively present the effect of different color overlapping to the viewers. Following the steps of reading image’s data, displaying the pixels, generating color bitmap and showing the dynamical movement of images in single channel, the program displays the mixing process of any two of red, green, and blue colors to get brighter colors, which are called yellow, cyan and magenta and an equal combination of the three colors can get white color.

As you know, colors play an important role and value in solving aesthetic problems in creative activity in design, in the visual arts. From this point of view, the physical properties of flowers are analyzed, as well as their psycho-emotional impact on humans. The scientific and theoretical views and experiences of various well-known experts on colors in different historical periods are considered. Summarizing the materials studied and based on personal practical experience, the author presents a classification by color.

Genetic studies indicate that more than 50% of women are genetically tetrachromatic, expressing four distinct types of color photoreceptors (cone cells) in the retina. At least one functional tetrachromat has been identified in laboratory tests. We hypothesize that there is a large latent group in the population capable of fundamentally richer color experience, but we are not yet aware of this group because of a lack of tetrachromatic colors in the visual environment. This paper develops theory and engineering practice for fabricating tetrachromatic colors and potentially identifying tetrachromatic color vision in the wild. First, we apply general d -dimensional color theory to derive and compute all the key color structures of human tetrachromacy for the first time, including its 4D space of possible object colors, 3D space of chromaticities, and yielding a predicted 2D sphere of tetrachromatic hues. We compare this predicted hue sphere to the familiar hue circle of trichromatic color, extending the theory to predict how the higher dimensional topology produces an expanded color experience for tetrachromats. Second, we derive the four reflectance functions for the ideal tetrachromatic inkset, analogous to the well-known CMY printing basis for trichromacy. Third, we develop a method for prototyping tetrachromatic printers using a library of fountain pen inks and a multi-pass inkjet printing platform. Fourth, we generalize existing color tests - sensitive hue ordering tests and rapid isochromatic plate screening tests - to higher-dimensional vision, and prototype variants of these tests for identifying and characterizing tetrachromacy in the wild.

Structural color filters, which obtain color selection by varying structures, have attracted extensive research interest in recent years due to the advantages of compactness, stability, multifunctions, and so on. In general, the mechanisms of structural colors are based on the interaction between light and structures, including light diffraction, cavity resonance, and surface plasmon resonance. This paper reviews recent progress of various structural color techniques and the integration applications of structural color filters in CMOS image sensors, solar cells, and display.

Abstract A color wheel is a tool for ordering and understanding hue. Different color wheels differ in the spacing of the colors around the wheel. The opponent-color theory, Munsell’s color system, the standard printer’s primaries, the artist’s primaries, and Newton’s rainbow all present different variations of the color wheel. I show that some of this variation is owing to imprecise use of language, based on Berlin and Kay’s theory of basic color names. I also show that the artist’s color wheel is an outlier that does not match well to the technical color wheels because its principal colors are so strongly connected to the basic color names.

This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.

[ES] La visión artificial es uno de los campos en mayor crecimiento en la actualidad que, junto con otras tecnologías como la Biometría o el Big Data, se ha convertido en el foco de interés de numerosas investigaciones y es considerada como una de las tecnologías del futuro. Este amplio campo abarca diversos métodos entre los que se encuentra el procesamiento y análisis de imágenes digitales. El éxito del análisis de imágenes y otras tareas de procesamiento de alto nivel, como pueden ser el reconocimiento de patrones o la visión 3D, dependerá en gran medida de la buena calidad de las imágenes de partida. Hoy en día existen multitud de factores que dañan las imágenes dificultando la obtención de imágenes de calidad óptima, esto ha convertido el (pre-) procesamiento digital de imágenes en un paso fundamental previo a la aplicación de cualquier otra tarea de procesado. Los factores más comunes son el ruido y las malas condiciones de adquisición: los artefactos provocados por el ruido dificultan la interpretación adecuada de la imagen y la adquisición en condiciones de iluminación o exposición deficientes, como escenas dinámicas, causan pérdida de información de la imagen que puede ser clave para ciertas tareas de procesamiento. Los pasos de (pre-)procesamiento de imágenes conocidos como suavizado y realce se aplican comúnmente para solventar estos problemas: El suavizado tiene por objeto reducir el ruido mientras que el realce se centra en mejorar o recuperar la información imprecisa o dañada. Con estos métodos conseguimos reparar información de los detalles y bordes de la imagen con una nitidez insuficiente o un contenido borroso que impide el (post-)procesamiento óptimo de la imagen. Existen numerosos métodos que suavizan el ruido de una imagen, sin embargo, en muchos casos el proceso de filtrado provoca emborronamiento en los bordes y detalles de la imagen. De igual manera podemos encontrar una enorme cantidad de técnicas de realce que intentan combatir las pérdidas de información, sin embargo, estas técnicas no contemplan la existencia de ruido en la imagen que procesan: ante una imagen ruidosa, cualquier técnica de realce provocará también un aumento del ruido. Aunque la idea intuitiva para solucionar este último caso será el previo filtrado y posterior realce, este enfoque ha demostrado no ser óptimo: el filtrado podrá eliminar información que, a su vez, podría no ser recuperable en el siguiente paso de realce. En la presente tesis doctoral se propone un modelo basado en teoría de grafos para el procesamiento de imágenes en color. En este modelo, se construye un grafo para cada píxel de tal manera que sus propiedades permiten caracterizar y clasificar dicho pixel. Como veremos, el modelo propuesto es robusto y capaz de adaptarse a una gran variedad de aplicaciones. En particular, aplicamos el modelo para crear nuevas soluciones a los dos problemas fundamentales del procesamiento de imágenes: suavizado y realce. Se ha estudiado el modelo en profundidad en función del umbral, parámetro clave que asegura la correcta clasificación de los píxeles de la imagen. Además, también se han estudiado las posibles características y posibilidades del modelo que nos han permitido sacarle el máximo partido en cada una de las posibles aplicaciones. Basado en este modelo se ha diseñado un filtro adaptativo capaz de eliminar ruido gaussiano de una imagen sin difuminar los bordes ni perder información de los detalles. Además, también ha permitido desarrollar un método capaz de realzar los bordes y detalles de una imagen al mismo tiempo que se suaviza el ruido presente en la misma. Esta aplicación simultánea consigue combinar dos operaciones opuestas por definición y superar así los inconvenientes presentados por el enfoque en dos etapas.
[CAT] La visió artificial és un dels camps en major creixement en l'actualitat que, junt amb altres tecnlogies com la Biometria o el Big Data, s'ha convertit en el focus d'interés de nombroses investigacions i és considerada com una de les tecnologies del futur. Aquest ampli camp comprén diversos m`etodes entre els quals es troba el processament digital d'imatges i anàlisis d'imatges digitals. L'èxit de l'anàlisis d'imatges i altres tasques de processament d'alt nivell, com poden ser el reconeixement de patrons o la visió 3D, dependrà en gran manera de la bona qualitat de les imatges de partida. Avui dia existeixen multitud de factors que danyen les imatges dificultant l'obtenció d'imatges de qualitat òptima, açò ha convertit el (pre-) processament digital d'imatges en un pas fonamental previa la l'aplicació de qualsevol altra tasca de processament. Els factors més comuns són el soroll i les males condicions d'adquisició: els artefactes provocats pel soroll dificulten la inter- pretació adequada de la imatge i l'adquisició en condicions d'il·luminació o exposició deficients, com a escenes dinàmiques, causen pèrdua d'informació de la imatge que pot ser clau per a certes tasques de processament. Els passos de (pre-) processament d'imatges coneguts com suavitzat i realç s'apliquen comunament per a resoldre aquests problemes: El suavitzat té com a objecte reduir el soroll mentres que el real se centra a millorar o recuperar la informació imprecisa o danyada. Amb aquests mètodes aconseguim reparar informació dels detalls i bords de la imatge amb una nitidesa insuficient o un contingut borrós que impedeix el (post-)processament òptim de la imatge. Existeixen nombrosos mètodes que suavitzen el soroll d'una imatge, no obstant això, en molts casos el procés de filtrat provoca emborronamiento en els bords i detalls de la imatge. De la mateixa manera podem trobar una enorme quantitat de tècniques de realç que intenten combatre les pèrdues d'informació, no obstant això, aquestes tècniques no contemplen l'existència de soroll en la imatge que processen: davant d'una image sorollosa, qualsevol tècnica de realç provocarà també un augment del soroll. Encara que la idea intuïtiva per a solucionar aquest últim cas seria el previ filtrat i posterior realç, aquest enfocament ha demostrat no ser òptim: el filtrat podria eliminar informació que, al seu torn, podria no ser recuperable en el seguënt pas de realç. En la present Tesi doctoral es proposa un model basat en teoria de grafs per al processament d'imatges en color. En aquest model, es construïx un graf per a cada píxel de tal manera que les seues propietats permeten caracteritzar i classificar el píxel en quëstió. Com veurem, el model proposat és robust i capaç d'adaptar-se a una gran varietat d'aplicacions. En particular, apliquem el model per a crear noves solucions als dos problemes fonamentals del processament d'imatges: suavitzat i realç. S'ha estudiat el model en profunditat en funció del llindar, paràmetre clau que assegura la correcta classificació dels píxels de la imatge. A més, també s'han estudiat les possibles característiques i possibilitats del model que ens han permés traure-li el màxim partit en cadascuna de les possibles aplicacions. Basat en aquest model s'ha dissenyat un filtre adaptatiu capaç d'eliminar soroll gaussià d'una imatge sense difuminar els bords ni perdre informació dels detalls. A més, també ha permés desenvolupar un mètode capaç de realçar els bords i detalls d'una imatge al mateix temps que se suavitza el soroll present en la mateixa. Aquesta aplicació simultània aconseguix combinar dues operacions oposades per definició i superar així els inconvenients presentats per l'enfocament en dues etapes.
[EN] Computer vision is one of the fastest growing fields at present which, along with other technologies such as Biometrics or Big Data, has become the focus of interest of many research projects and it is considered one of the technologies of the future. This broad field includes a plethora of digital image processing and analysis tasks. To guarantee the success of image analysis and other high-level processing tasks as 3D imaging or pattern recognition, it is critical to improve the quality of the raw images acquired. Nowadays all images are affected by different factors that hinder the achievement of optimal image quality, making digital image processing a fundamental step prior to the application of any other practical application. The most common of these factors are noise and poor acquisition conditions: noise artefacts hamper proper image interpretation of the image; and acquisition in poor lighting or exposure conditions, such as dynamic scenes, causes loss of image information that can be key for certain processing tasks. Image (pre-) processing steps known as smoothing and sharpening are commonly applied to overcome these inconveniences: Smoothing is aimed at reducing noise and sharpening at improving or recovering imprecise or damaged information of image details and edges with insufficient sharpness or blurred content that prevents optimal image (post-)processing. There are many methods for smoothing the noise in an image, however in many cases the filtering process causes blurring at the edges and details of the image. Besides, there are also many sharpening techniques, which try to combat the loss of information due to blurring of image texture and need to contemplate the existence of noise in the image they process. When dealing with a noisy image, any sharpening technique may amplify the noise. Although the intuitive idea to solve this last case would be the previous filtering and later sharpening, this approach has proved not to be optimal: the filtering could remove information that, in turn, may not be recoverable in the later sharpening step. In the present PhD dissertation we propose a model based on graph theory for color image processing from a vector approach. In this model, a graph is built for each pixel in such a way that its features allow to characterize and classify the pixel. As we will show, the model we proposed is robust and versatile: potentially able to adapt to a variety of applications. In particular, we apply the model to create new solutions for the two fundamentals problems in image processing: smoothing and sharpening. To approach high performance image smoothing we use the proposed model to determine if a pixel belongs to a at region or not, taking into account the need to achieve a high-precision classification even in the presence of noise. Thus, we build an adaptive soft-switching filter by employing the pixel classification to combine the outputs from a filter with high smoothing capability and a softer one to smooth edge/detail regions. Further, another application of our model allows to use pixels characterization to successfully perform a simultaneous smoothing and sharpening of color images. In this way, we address one of the classical challenges within the image processing field. We compare all the image processing techniques proposed with other state-of-the-art methods to show that they are competitive both from an objective (numerical) and visual evaluation point of view.
Pérez Benito, C. (2019). Color Image Processing based on Graph Theory [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/123955
TESIS

Context Colors are an important aspect of video games, they have a key roll when designing everything from characters to world objects. Therefore designers and developers need to know what colors that are preferred over others. Objectives This paper tries to determine which color setting that is the most preferred on a game avatar. Methods To do this an experiment conducted with 15 participants. They conducted a two alternative forced choice test (2AFC) with 236 pairs of pictures. All of the 236 pairs were based on color harmonies and displayed on an avatar and a cube. The different color harmonies that were used sprung from the three primary colors of the RGB-color wheel that worked as a base in this experiment. The results that were collected went through a Chi-square test. Result Some interesting results were generated from the experiment. For instance, the most preferred color harmony for the avatar was the split complementary with the base in the primary color red. Second to that was the color harmony triad, built on the three primary colors red, green and blue. The color harmonies that had their base in the color green were with zero percent the least preferred of all harmonies. On the other hand the color harmonies that had their base in the color blue were generally the most preferred among all of the harmonies. Conclusion The main conclusion that was made and that could answer the research question was that the most preferred color harmony for the avatar was split complementary red. There were also some conclusions made that could help to create a more general preference for all kind of avatars, if this experiment would be remade on a larger scale.

A graph is (t+1)-critical if it is not t-colorable, but every proper subgraph is. In this thesis, we study the structure of critical graphs on higher surfaces. One major result in this area is Carsten Thomassen's proof that there are finitely many 6-critical graphs on a fixed surface. This proof involves a structural theorem about a precolored cycle C of length q. In general terms, he proves that a coloring, c, of C, can be extended inside the cycle, or there exists a subgraph H with at most a number of vertices exponential in q such that c can not be extended to a 5-coloring of H. In Chapter 2, we proved an alternative proof that reduces the number of vertices in H to be cubic in q. In Chapter 3, we find the nine 6-critical graphs among all graphs embeddable on the Klein bottle. In Chapter 4, we prove a result concerning critical graphs related to an analogue of Steinberg's conjecture for higher surfaces. We show that if G is a 4-critical graph embedded on surface S, with Euler genus g and has no cycles of length four through ten, then G has at most 2442g + 37 vertices.

Digital cameras use a single image sensor array with a color filter array (CFA) to measure a color image. Instead of measuring a red, green, and blue value at every pixel, these cameras have a filter built onto each pixel so that only one portion of the visible spectrum is measured. To generate a full-color image, the camera must estimate the missing two values at every pixel. This process is known as color filter array interpolation. The Bayer CFA pattern samples the green image on half of the pixels of the imaging sensor on a quincunx grid. The other half of the pixels measure the red and blue images equally on interleaved rectangular sampling grids. This thesis analyzes this problem with sampling theory. The red and blue images are sampled at half the rate of the green image and therefore have a higher probability of aliasing in the output image. This is apparent when simple interpolation algorithms like bilinear interpolation are used for CFA interpolation. Two reference algorithms, a projections onto convex sets (POCS) algorithm and an edge-directed algorithm by Adams and Hamilton (AH), are studied. Both algorithms address aliasing in the green image. Because of the high correlation among the red, green, and blue images, information from the red and blue images can be used to better interpolate the green image. The reference algorithms are studied to learn how this information is used. This leads to two new interpolation algorithms for the green image. The red and blue interpolation algorithm of AH is also studied to determine how the inter-image correlation is used when interpolating these images. This study shows that because the green image is sampled at a higher rate, it retains much of the high-frequency information in the original image. This information is used to estimate aliasing in the red and blue images. We present a general algorithm based on the AH algorithm to interpolate the red and blue images. This algorithm is able to provide results that are on average, better than both reference algorithms, POCS and AH.

The color constancy problem is one of calculating reflectance values for surfaces under differing illuminants. Retinex theory (e.g., Land, 1986) states that relative receptor responses are used to recover surface reflectance after they have been normalized with respect to the responses of neighboring receptor responses. Specifically, a number of paths to the pixel in question are randomly chosen and the logarithm of the ratio of the pixel receptor's response to the geometric mean of the receptor responses over a large number of paths is used as the lightness value for the pixel in question. Symbolically (1) where r(x,k) is the response of receptor x (to pixel x) of class k (where k is either the short wavelength, medium wavelength, or long wavelength cone), G(p,k) is the geometric mean of all of the receptor responses of class k covered by the random paths p, and l(x,k) is the resulting lightness value for receptor x (to pixel x) of class k. By normalizing the lightness value to the geometric mean of the neighboring receptor responses the change of the lightness value in response to overall spectral changes in illumination is minimized.

Central mechanisms of color are defined to be the central neural processes that are equated in asymmetric color matching. For normal trichromats, asymmetric color matches are nonsingular: given any match, all sufficiently small perturbations of one of the matched colors can be matched by perturbations of the other. This fact, together with the other laws of color matching, yields a rigorous representation of normal color percepts as a 3-D manifold, and also allows the deduction that all effects of adaptation and contrast can be understood as effects on exactly three independent central mechanisms. Thus, for normal color vision, the 3-D bottleneck imposed at the receptor level by cone pigments is matched to a 3-D bottleneck at the level of central mechanisms. An experiment that I conducted with M. Alpern and D. Kirk suggests that nonsingularity holds also for the asymmetric matches of protanopes and deuteranopes. If so, the 2-D receptor space of these color defectives is accompanied by restriction to two central dimensions. This is consistent with theories in which dichromacy involves loss of an opponent mechanism but conflicts with various findings suggesting that dichromats have at least three independent central color mechanisms.

A commonplace of optics history is that Newton’s (and Descartes’) geometrical optics dominated 18th-century rainbow theory. Similarly, George Airy’s 1838 interference/diffraction theory built on Thomas Young’s work and held sway for several decades in the 19th century, although not without early detractors. The ascendance of these theories clearly depended on their ability to explain naked-eye features of the natural rainbow (i.e., bows seen in rain, clouds, or spray). However, Airy theory was soon held to a different standard: predicting the angular positions of intensity maxima and minima for spheres and cylinders illuminated by nearly monochromatic light (Boyer 1987, pp. 304-310). Despite early success with such predictions, Airy theory was found wanting by 1888, when one experimenter said that his measurements showed it to be “but a first approximation” (Boyer 1987, p. 313).

The so-called diffraction corona is a series of alternating pink and pale green rings that is occasionally seen around the sun or moon when observed through a thin layer of altocumulus or cirrocumulus clouds.1 In the standard explanation of this phenomenon, incident light waves are diffracted by the cloud water droplets and the different wavelengths of visible light possess strong diffraction maxima at different scattering angles.2 As a result, the diameter of the cloud droplets producing the corona may be estimated from the angular diameters of the corona rings. In addition, the diffraction theory of the corona predicts that the saturation of the colors of the rings produced by monodisperse water droplets is independent of the droplet size.

On April 12, 2023, photos of a newly restored French villa in Hanoi with a budget of 14 billion VND were published. Discussions were rigorous with the participation of the public and architects about the seemingly new and strange color of the villa. Many references to the original colors have been provided. The case seems to end on April 14, 2023, when the People's Committee of Hoan Kiem District claimed that the current colors are just studies, not official color of the work. This article does not specifically discuss this case. The writer wants to take this opportunity to provide some background theories in architectural conservation - restoration, which has not been discussed much with the public in Vietnam. The writer admits that the approach is somewhat biased towards Preservation than Restoration, partly due to past training and work experience. TLDR: Preservation - Restoration are two opposing approaches with their own advantages and disadvantages. Most of the world heritage interventions are a combination of these two. Above all, this confrontation is still an open discussion, and is still evolving.

"Fancy Lollipop" is a vibrant and energetic artwork featuring a blend of bold and bright colors. The color palette, which includes shades of blue, pink, and black, creates a sense of drama and theatricality in the piece. The colors are strategically placed in the composition to emphasize key elements of the image, such as the main character, Fancy Lollipop. Speaking of the main character, Fancy Lollipop is depicted as an extravagant and self-assured individual. Their presence in the artwork is unmistakable, and their confident and assured stance reflects their bold and attention-grabbing personality. The use of quick, expressive brushstrokes in their figure creates a sense of movement and energy, further enhancing the feeling of spectacle and showmanship in the piece. Overall, "Fancy Lollipop" is an impressive example of contemporary art that draws on real-life characters encountered by the artist during their stay in Miami. The artwork offers an immersive visual experience that captures the viewer`s attention with its colorful and energetic composition, and is sure to leave a lasting impression on those who encounter it.

The purpose of the study is the program implementation of the basic algorithms of the website design adaptation for people with color perception. This article examines the implementation of the following algorithms: the conversion algorithm from the rgb color model to the lms model (there is a special algorithm precisely in the color model lms for modeling various types of color perception violations), simulation of different color blindness types in the lms-model (this is the transformation of normal values in the color model lms to values with different types of color perception violations), convert data from lms color model to rgb model, conversion from color rgb to hsl model, color filtering in hsl-model and conversion from hsl model to rgb color model.

The recent technological advancements have greatly improved the quality and resolution of displays. Yet, issues like full-color gamut representation and the long-lasting durability of the color emitters require further progression. Colloidal quantum dots manifest an inherent narrow spectral emission with optical stability, combined with various chemical processability options which will allow for their integration in display applications. Apart from their numerous advantages, they also present unique opportunities for the next technological leaps in the field.

For the past three years, Digital Promise has embarked on an expansive and human-centered endeavor to empower school districts to cultivate context-relevant solutions to the teacher of color workforce disparities. Through Digital Promise’s Inclusive Innovation approach, teachers of color from various school districts were engaged to develop and implement meaningful solutions to address training, recruiting, and/or retaining teachers of color. This report explores how these co-constructed solutions were implemented, their impact, and the potential to scale these efforts to create sustainable change for teachers of color in the present and future.

The painting is a fascinating work that captures the essence of extravagance and vibrant lifestyle of Miami through its main character, a confident and fun-loving woman. The artist has depicted a stylish and elegant figure walking through the city streets with a posture that reflects her confidence and determination. The choice of blue as the main color throughout the painting is a bold and impactful decision. Blue is typically associated with tranquility and calmness, but the artist has used it to create an atmosphere full of energy and vitality. Additionally, there are eye-catching details in red colors, such as the painted lips, the crown on the head of the figure, as well as the shoes and bag, which give the painting a touch of glamour and sophistication. The use of color and details is a fundamental part of the artwork, helping to convey the personality and style of Fancy Fifi. The figure stands out against a neutral background, emphasizing her presence and making her even more striking. The composition of the painting is very well executed, conveying a sense of movement and dynamism. Overall, the painting "Fancy Fifi" is a work full of style and personality, capturing the essence of Miami and the extravagance of its main character. The artist has created a striking and attention-grabbing painting that is sure to captivate all viewers.

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

Pepper exhibits large natural variation in chlorophyll content in the immature fruit. To dissect the genetic and molecular basis of this variation, we conducted QTL mapping for chlorophyll content in a cross between light and dark green-fruited parents, PI 152225 and 1154. Two major QTLs, pc1 and pc10, that control chlorophyll content by modulation of chloroplast compartment size in a fruit-specific manner were detected in chromosomes 1 and 10, respectively. The pepper homolog of GOLDEN2- LIKE transcription factor (CaGLK2) was found as underlying pc10, similar to its effect on tomato fruit chloroplast development. A candidate gene for pc1was found as controlling chlorophyll content in pepper by the modulation of chloroplast size and number. Fine mapping of pc1 aided by bulked DNA and RNA-seq analyses enabled the identification of a zinc finger transcription factor LOL1 (LSD-One-Like 1) as a candidate gene underlying pc1. LOL1 is a positive regulator of oxidative stress- induced cell death in Arabidopsis. However, over expression of the rice ortholog resulted in an increase of chlorophyll content. Interestingly, CaAPRR2 that is linked to the QTL and was found to affect immature pepper fruit color in a previous study, did not have a significant effect on chlorophyll content in the present study. Verification of the candidate's function was done by generating CRISPR/Cas9 knockout mutants of the orthologues tomato gene, while its knockout experiment in pepper by genome editing is under progress. Phenotypic similarity as a consequence of disrupting the transcription factor in both pepper and tomato indicated its functional conservation in controlling chlorophyll content in the Solanaceae. A limited sequence diversity study indicated that null mutations in CaLOL1 and its putative interactorCaMIP1 are present in C. chinensebut not in C. annuum. Combinations of mutations in CaLOL1, CaMIP1, CaGLK2 and CaAPRR2 are required for the creation of the extreme variation in chlorophyll content in Capsicum.