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Journal articles on the topic 'Color theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Pridmore, Ralph W. "Complementary colors theory of color vision: Physiology, color mixture, color constancy and color perception." Color Research & Application 36, no. 6 (September 29, 2011): 394–412. http://dx.doi.org/10.1002/col.20611.

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2

SAMOGOROV, Vitaly A., and Ekaterina D. KONKINA. "JOHANNES ITTEN: THE SEVEN COLOR CONTRASTS." Urban construction and architecture 11, no. 3 (December 15, 2021): 97–103. http://dx.doi.org/10.17673/vestnik.2021.03.14.

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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.

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3

Zhu, Yuan Yuan, Wen Jie Yang, Lei Li, and Xiao Kang Sun. "Presenting Color Additive Theory on Image’s Channels Dynamically." Applied Mechanics and Materials 644-650 (September 2014): 4144–47. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.4144.

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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.

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4

Sorongane, Elie W’ishe. "Quantum Color Theory." Open Journal of Applied Sciences 12, no. 04 (2022): 517–27. http://dx.doi.org/10.4236/ojapps.2022.124036.

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5

Koenderink, Jan J. "Color atlas theory." Journal of the Optical Society of America A 4, no. 7 (July 1, 1987): 1314. http://dx.doi.org/10.1364/josaa.4.001314.

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6

Hajiyev, I. A. "COLOR SCIENCE: THEORY AND PRACTICE." ASJ. 1, no. 40 (September 9, 2020): 4–7. http://dx.doi.org/10.31618/asj.2707-9864.2020.1.40.18.

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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.

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7

Lee, Jessica, Nicholas Jennings, Varun Srivastava, and Ren Ng. "Theory of Human Tetrachromatic Color Experience and Printing." ACM Transactions on Graphics 43, no. 4 (July 19, 2024): 1–15. http://dx.doi.org/10.1145/3658232.

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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.

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8

Yu, Yan, Long Wen, Shichao Song, and Qin Chen. "Transmissive/Reflective Structural Color Filters: Theory and Applications." Journal of Nanomaterials 2014 (2014): 1–17. http://dx.doi.org/10.1155/2014/212637.

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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.

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9

Dodgson, Neil A. "What is the “Opposite” of “Blue”? The Language of Color Wheels." Journal of Perceptual Imaging 2, no. 1 (January 1, 2019): 10401–1. http://dx.doi.org/10.2352/j.percept.imaging.2019.2.1.010401.

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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.

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10

Stroh, Charles. "Basic Color Theory and Color in Computers." Art Education 50, no. 4 (July 1997): 17. http://dx.doi.org/10.2307/3193649.

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11

Schrödinger, Erwin, and Qasim Zaidi. "On The Relationship of Four‐Color Theory to Three‐Color Theory." Color Research & Application 19, no. 1 (February 1994): 37–47. http://dx.doi.org/10.1111/j.1520-6378.1994.tb00059.x.

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12

Stávek, Jiří. "A New Interpretation of the Physical Color Theory Based on the Descartes´ Rotation Energy of Visible, Ultraviolet and Infrared Photons." European Journal of Applied Physics 5, no. 5 (October 18, 2023): 29–38. http://dx.doi.org/10.24018/ejphysics.2023.5.5.282.

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During the past four hundred years the Newtonian and Goethean schools collected many experimental observations on the formation of colors. The situation became more complicated after the experiments of Land who documented that the classical color theory (= colors correspond to exact wavelength of light) is valid completely in the dark surroundings only. We are at the crossroads to find the boundary between the physical properties of colors and the perception of those photons in the retina and the brain. Therefore, the more general physical color theory should interpret those color effects where the classical physical color theory fails. As a potential candidate we present the overlooked Descartes´ color theory based on the rotation energy of visible, ultraviolet, and infrared photons. The rotation energy of colors was defined as E = hν570*(λx/λ570) where index describes the wavelength of photons in nanometers. This new mathematical description of colors enables to newly interpret situations where the average rotation energy of all reflected photons determines the color impression. The colors formed behind the triangular prism could be interpreted as the lateral diffusion of the rotation energy of ultraviolet and infrared photons (= called by Old Masters as the interplay of darkness with the light) through the field of refracted visible photons and with the modification of their rotation energy. The white color can be interpreted as the constructive interference of red, green, and blue colors with the constructive angle cos (120°) = -0,5. The black color can be interpreted as the destructive interference of cyan, magenta, and yellow colors with the destructive angle cos (180°) = -1. For the case of illumination with a range of wavelengths the resulting color is determined from the average rotation energy of all reflected photons – a model for the interpretation of the color constancy.

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13

Wardana, Muhammad Kiki, and Mulyadi Mulyadi. "How Indonesian sees the colors: Natural semantic metalanguage theory." JOALL (Journal of Applied Linguistics and Literature) 7, no. 2 (August 10, 2022): 378–94. http://dx.doi.org/10.33369/joall.v7i2.21035.

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This research explores basic and secondary colors in Indonesia. This research attempts to explicate the meaning of colors by using the semantic theory of Natural Semantic Metalanguage Theory. This research applied qualitative method. The paradigm of qualitative research revolves around the observation from the surrounding. The data were collected from various sources such as Indonesian Dictionary, Indonesian Corpus, and the data created by the researcher as the native speaker. The researcher explicates primary or basic colors as well as the secondary. Further, these Indonesian colors were being explicated by applying the features of Natural Semantic Metalanguage (NSM). The colors in Indonesian were gathered and classified. The researcher then analyzed the colors based on the explication of NSM theory and the approach of Basic Color Term initiated by Berlin and Kay. This research discovers that the basic or primary colors in Indonesian are Black, White, Red, Yellow, Green and Blue. The application of this research is apparently vivid in the advancement of colors study in the realm of semantics. This research also exposes the difference of explication in English and Indonesian. This occurred due to the difference of the usage of semantic atom to explain the meaning of color. To explicate the color of black, Indonesian uses charcoal. Meanwhile English uses the night sky. In Indonesian, colors that come after Green and Blue according to Berlin and Kay’s color terms are Brown, Purple, Orange, Pink, and Grey are not basics but secondary colors. Meanwhile, in English the aforementioned colors are basics.

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14

Gupta, Pooja. "DIFFERENCE BETWEEN PAINTING COLOURS & TECHNICAL COLOURS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3517.

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For a minute can we imagine the world around you without colors, how boring and unexciting life would be. Colors play a very important role in our life and it has been confirmed that our actions and responses are influenced by them. Every color has a unique effect on individuals and arouses various responses. In modern time there are lots of confusions regarding colour theory or colour concepts as for a painting student colour theory is different and for computer designer a colour theory is extremely high configure. The whole concept is based on misconceptions which we face. To make it clear we need to study both concepts. So that we as an artist or student of painting knows the difference.

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15

Garaus, Marion, and Georgios Halkias. "One color fits all: product category color norms and (a)typical package colors." Review of Managerial Science 14, no. 5 (January 3, 2019): 1077–99. http://dx.doi.org/10.1007/s11846-018-0325-9.

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Abstract Despite the growing amount of research on different aspects of product package design, there is lack of empirical evidence with regard to how package color perceptions may influence consumer preferences. Based on categorization theory, the present paper explores responses to package colors that conform or do not conform to product category color norms. Results of two experiments show that atypical package colors implicate negative consequences to the brand. Findings indicate that perceived package color atypicality increases consumers’ skepticism and, contrary to expectations, decreases interest. These affective reactions negatively influence consumers’ product attitude which subsequently translates into lower purchase intention. The results provide important insights for theory and practice.

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16

Li, Xinting, Yang Li, Chao Li, Song Gao, and Wenjing Yue. "High color saturation and angle-insensitive ultrathin color filter based on effective medium theory." Chinese Optics Letters 21, no. 3 (2023): 033602. http://dx.doi.org/10.3788/col202321.033602.

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17

Jackson, Frank. "Learning from What Color Experiences Are Good For." Harvard Review of Philosophy 27 (2020): 49–58. http://dx.doi.org/10.5840/harvardreview202072529.

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Color is an incredibly controversial topic. Here is a sample of views taken seriously: colors are dispositions to look coloured; colors are physical properties of surfaces or of light; colors are properties of certain mental states, which get projected onto the surfaces of objects or onto reflected or transmitted light; colors are an illusion; colors are sui generis. One hopes to break the impasse by finding a compelling starting point—one drawing on obvious points that are common ground—which naturally evolves into the theory of color one likes. I start with remarks about the utility of having mental states with a phenomenology, remarks which are, I urge, non-controversial. I develop them into the theory of color I favor. According to it, colors are properties of objects as objective as their shapes. The final section explains how the theory handles the best argument for subjectivism about color.

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18

Bernardy, Jean-Philippe, and Moulin Guilhem. "Type-theory in color." ACM SIGPLAN Notices 48, no. 9 (November 12, 2013): 61–72. http://dx.doi.org/10.1145/2544174.2500577.

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19

MacAdam, David L., and Alan E. Shapiro. "Newton's Theory of Color." Physics Today 38, no. 4 (April 1985): 11–15. http://dx.doi.org/10.1063/1.2814520.

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20

Wegman, Edward, and Yasmin Said. "Color theory and design." Wiley Interdisciplinary Reviews: Computational Statistics 3, no. 2 (February 4, 2011): 104–17. http://dx.doi.org/10.1002/wics.146.

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21

Ingamita, Yevie, Nelson Nainggolan, and Benny Pinontoan. "Region Coloring in Minahasa Regency Using Sequential Color Algorithm." d'CARTESIAN 8, no. 2 (July 25, 2019): 86. http://dx.doi.org/10.35799/dc.8.2.2019.23956.

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Graph Theory is one of the mathematical sciences whose application is very wide in human life. One of theory graph application is Map Coloring. This research discusses how to color the map of Minahasa Regency by using the minimum color that possible. The algorithm used to determine the minimum color in coloring the region of Minahasa Regency that is Sequential Color Algorithm. The Sequential Color Algorithm is an algorithm used in coloring a graph with k-color, where k is a positive integer. Based on the results of this research was found that the Sequential Color Algorithm can be used to color the map of Minahasa Regency with the minimum number of colors or chromatic number χ(G) obtained in the coloring of 25 sub-districts on the map of Minahasa Regency are 3 colors (χ(G) = 3).

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22

Purbasari, Mita, and R. A. Diah Resita I. Kuntjoro-Jakti. "Analisis Asosiasi Kultural atas Warna: Sumatera I." Humaniora 5, no. 2 (October 30, 2014): 889. http://dx.doi.org/10.21512/humaniora.v5i2.3182.

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Analysis cultural association of color is an approach to know color from cultural side. Unlike previous studies about color, which see the color from the aspect of psychology, then this color research’s aimed to provide insight local colors based on culture. Johannes Itten’s theory of color is used as the basis theory in this research. The theory will be reflected into the cultures of Indonesia, and in this research represented by Sumatera Island. The scope of cultural colors that will be examined is textile product of traditional clothes, bride, apparel and culinary, because these products are the most closely reflection of a culture in a society where the society defines the identity of its own. This research of a qualitative method covers collecting data of study literature, interviewing the color experts, historians and artists, visiting cultural centers especially that associated with textil and culinary product. The result will be formed of morphological matrix cultural over color. Matrix of analysis will be held in arquement and proposal study, where students can use, cultivate, and maximize method of color in visual communication to achieve the contrast and balance.

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23

Gierl, Heribert. "The Color of Togetherness: A Theoretical Contribution to the Research on Color Effects." Marketing ZFP 46, no. 2 (2024): 32–62. http://dx.doi.org/10.15358/0344-1369-2024-2-32.

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The purpose of this paper is twofold. The first purpose is to contribute to knowledge about the effect of color on brand attitude in a specific case of advertising: the coloration of ads that promote togetherness or avoidance of loneliness. We found that reddish coloration is associated with the feeling of togetherness when compared to blueish coloration and natural color. The second purpose is more methodological. Since Cohn’s publication, 130 years of academic research on color effects have resulted in thausands of papers. Many authors in this field regret that the assumptions of most work are based on intuition and that researchers have presented a wealth of data based on colorimetic designs but have not provided generalizable findings. This problem arises from the fact that authors do not derive hypotheses from specific color theories or general psychological theories before conducting empirical work. For the case of colors in a togetherness/loneliness situation, we show that schema-congruity/incongruity theory, the hiercharcial-network model from schema theory, and regulatory-fit theory in combination with insights about the promotion or prevention orientation of colors enable the development of hypotheses. This article therefore also contributes to research into color effects by providing a perspective on how more theory-based research can be carried out.

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24

Massof, Robert W. "Color-vision theory and linear models of color vision." Color Research & Application 10, no. 3 (1985): 133–46. http://dx.doi.org/10.1002/col.5080100302.

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25

Géracht, Maurice A. "The Allure of Color: Allison Sidder’s Color Theory #1." Interfaces 33, no. 1 (2012): 301–11. http://dx.doi.org/10.3406/inter.2012.1418.

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26

Fadhilah, Nurul, Hodairiyah Hodairiyah, and Ema Wilianti Dewi. "KLASIFIKASI WARNA DALAM BAHASA MADURA DIALEK SUMENEP: ANALISIS BERLIN DAN KAY." SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik 23, no. 1 (January 1, 2022): 32. http://dx.doi.org/10.19184/semiotika.v23i1.24294.

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The goal of this research is classifying the basic and non-basic colors of Sumenep Madurese dialect. This research is descriptive qualitative in which the data were analyzed using the universal color theory of Berlin and Kay (1969) and also an ethnolinguistic approach. As a result, the Sumenep Madurese dialect has six basic color names, namely potѐ 'white', celleng 'black', mѐra 'red', bhiru 'green', konѐng 'yellow', and cokklat 'brown', and also three color names classified in non-basic colors, namely bhiru 'biru', bungo 'purple', and bu-abu 'gray'. The color vocabularies in Sumenep Madurese dialect are in the form of lingual unit of word, such as the naming of basic colors because they are monolexemic, and lingual unit of phrase, such as derived colors from the basic or non-basic colors. The implicational hierarchy of basic colors in the Sumenep Madurese dialect is different from the implicational hierarchy of basic colors in Berlin and Kay's theory which was the result of 80 world language studies. The environment and the different habits of speech communities influence this difference. In brief, language as a cultural product affects the formation of the color lexicon.

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27

Hong, Deog Ki. "Effective Theory of Color Superconductivity." Progress of Theoretical Physics Supplement 168 (2007): 397–404. http://dx.doi.org/10.1143/ptps.168.397.

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28

Finlayson, Graham, Han Gong, and Robert B. Fisher. "Color Homography: Theory and Applications." IEEE Transactions on Pattern Analysis and Machine Intelligence 41, no. 1 (January 1, 2019): 20–33. http://dx.doi.org/10.1109/tpami.2017.2760833.

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29

Conley, Kelly. "Color Theory in Technical Communication." Channels 2, no. 1 (2017): 1–12. http://dx.doi.org/10.15385/jch.2017.2.1.1.

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30

Towne, Dudley H. "Teaching Newton’s color theory firsthand." American Journal of Physics 61, no. 2 (February 1993): 113–18. http://dx.doi.org/10.1119/1.17324.

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31

Bell, Janis C. "Zaccolini's Theory of Color Perspective." Art Bulletin 75, no. 1 (March 1993): 91. http://dx.doi.org/10.2307/3045933.

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32

Hajiyev, Imash A. "COLOR SCIENCE: THEORY AND PRACTICE." European Journal of Arts, no. 2 (2022): 46–49. http://dx.doi.org/10.29013/eja-22-2-46-49.

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33

Howard, Nancy Jo. "Contemporary Color Theory & Use." Color Research & Application 30, no. 4 (2005): 314–15. http://dx.doi.org/10.1002/col.20118.

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34

Stávek, Jiří. "ChatGPT4 on the Color Theory." European Journal of Applied Physics 5, no. 5 (October 12, 2023): 21–28. http://dx.doi.org/10.24018/ejphysics.2023.5.5.281.

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This is my first attempt to communicate with ChatGPT4 on the color theory. ChatGPT4 reacted promptly with a good overview of this very wide topic. ChatGPT4 during our half hour conversation concluded that there is still a room for the further development of the physical color theory because this research field is far from the final theory. One potential candidate for a more general physical theory can be found in the overlooked works of Old Masters working in the 17th Century.

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35

Purbasari, Mita, Laura Christina Luzar, and Yusaira Farhia. "Analisis Asosiasi Kultural atas Warna." Humaniora 5, no. 1 (April 1, 2014): 172. http://dx.doi.org/10.21512/humaniora.v5i1.3001.

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Cultural association analysis of color is an approach to know color from the side of culture. Unlike the previous color studies which see the color from the aspect of psychology, this research of color aims to provide insight based on the colors from local culture. Johannes Itten’s theory of color was used as a basis of thought in this research. The theory was reflected to Indonesian cultures, and this time, represented by Java island. Research used qualitative method by literature study, interviewing the color experts, historians and artists, visiting cultural centers. Results of the research are in the form of morphological matrix cultural over color. Matrix of analysis resulted in argument and study proposal. Students implemented the color schemes from 5 big cities in Java. They were asked to change the color composition of food and beverage packaging. Students may use, explore, and maximize the principle of color in visual communication to achieve contrast and balance.

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36

Ma, T., W. M. Johnston, and A. Koran. "The Color Accuracy of the Kubelka-Munk Theory for Various Colorants in Maxillofacial Prosthetic Material." Journal of Dental Research 66, no. 9 (September 1987): 1438–44. http://dx.doi.org/10.1177/00220345870660090601.

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The reflectance model developed by Kubelka and Munk was evaluated for agreement in color prediction of thick pigmented samples and for linearity of optical absorption and scattering coefficients with concentration of colorant in maxillofacial elastomer. The colorants tested were generic opacifiers, dry mineral earth pigments, and fibrous colorants. Significant linear relationships were commonly found between the optical coefficients and the concentration of the colorants. These relationships indicated occasional optical interaction between the colorants and the elastomer. Color differences between theoretical and observed colors of the thick samples averaged 2.96, 3.47, and 1.60 for the opacifiers, mineral earth pigments, and fibrous colorants, respectively, when measured using the CIELAB uniform-color space. The agreement between theoretical and observed colors was significantly closer for the fibrous colorants than for the dry mineral earth pigments of the same labeled color.

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37

Nicolás-Sáenz, Laura, Agapito Ledezma, Javier Pascau, and Arrate Muñoz-Barrutia. "ABANICCO: A New Color Space for Multi-Label Pixel Classification and Color Analysis." Sensors 23, no. 6 (March 22, 2023): 3338. http://dx.doi.org/10.3390/s23063338.

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Classifying pixels according to color, and segmenting the respective areas, are necessary steps in any computer vision task that involves color images. The gap between human color perception, linguistic color terminology, and digital representation are the main challenges for developing methods that properly classify pixels based on color. To address these challenges, we propose a novel method combining geometric analysis, color theory, fuzzy color theory, and multi-label systems for the automatic classification of pixels into 12 conventional color categories, and the subsequent accurate description of each of the detected colors. This method presents a robust, unsupervised, and unbiased strategy for color naming, based on statistics and color theory. The proposed model, “ABANICCO” (AB ANgular Illustrative Classification of COlor), was evaluated through different experiments: its color detection, classification, and naming performance were assessed against the standardized ISCC–NBS color system; its usefulness for image segmentation was tested against state-of-the-art methods. This empirical evaluation provided evidence of ABANICCO’s accuracy in color analysis, showing how our proposed model offers a standardized, reliable, and understandable alternative for color naming that is recognizable by both humans and machines. Hence, ABANICCO can serve as a foundation for successfully addressing a myriad of challenges in various areas of computer vision, such as region characterization, histopathology analysis, fire detection, product quality prediction, object description, and hyperspectral imaging.

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38

Li, Enze. "Research on Visual Expression of Color Collocation in Art Education Based on Art Psychology." International Journal of Education and Humanities 3, no. 3 (July 26, 2022): 27–31. http://dx.doi.org/10.54097/ijeh.v3i3.1005.

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Art education is an indispensable part of today's education, and art psychology of colour collocation is an integral part of art education, the color is more integrated into People's Daily life and culture dissemination, applying colour collocation in art education, through the analysis of the basic theory of colour collocation, the colour collocation, the significance of art psychology as well as the visual expression of color collocation in various art education, a more detailed understanding of the importance of color collocation for art education.

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39

Wang, Jing, Lidong Wang, Xiaodong Liu, Yan Ren, and Ye Yuan. "Color-Based Image Retrieval Using Proximity Space Theory." Algorithms 11, no. 8 (July 28, 2018): 115. http://dx.doi.org/10.3390/a11080115.

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The goal of object retrieval is to rank a set of images by their similarity compared with a query image. Nowadays, content-based image retrieval is a hot research topic, and color features play an important role in this procedure. However, it is important to establish a measure of image similarity in advance. The innovation point of this paper lies in the following. Firstly, the idea of the proximity space theory is utilized to retrieve the relevant images between the query image and images of database, and we use the color histogram of an image to obtain the Top-ranked colors, which can be regard as the object set. Secondly, the similarity is calculated based on an improved dominance granule structure similarity method. Thus, we propose a color-based image retrieval method by using proximity space theory. To detect the feasibility of this method, we conducted an experiment on COIL-20 image database and Corel-1000 database. Experimental results demonstrate the effectiveness of the proposed framework and its applications.

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40

FINLAYSON, GRAHAM D., and GUI YUN TIAN. "COLOR NORMALIZATION FOR COLOR OBJECT RECOGNITION." International Journal of Pattern Recognition and Artificial Intelligence 13, no. 08 (December 1999): 1271–85. http://dx.doi.org/10.1142/s0218001499000720.

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Color images depend on the color of the capture illuminant and object reflectance. As such image colors are not stable features for object recognition, however stability is necessary since perceived colors (the colors we see) are illuminant independent and do correlate with object identity. Before the colors in images can be compared, they must first be preprocessed to remove the effect of illumination. Two types of preprocessing have been proposed: first, run a color constancy algorithm or second apply an invariant normalization. In color constancy preprocessing the illuminant color is estimated and then, at a second stage, the image colors are corrected to remove color bias due to illumination. In color invariant normalization image RGBs are redescribed, in an illuminant independent way, relative to the context in which they are seen (e.g. RGBs might be divided by a local RGB average). In theory the color constancy approach is superior since it works in a scene independently: color invariant normalization can be calculated post-color constancy but the converse is not true. However, in practice color invariant normalization usually supports better indexing. In this paper we ask whether color constancy algorithms will ever deliver better indexing than color normalization. The main result of this paper is to demonstrate equivalence between color constancy and color invariant computation. The equivalence is empirically derived based on color object recognition experiments. colorful objects are imaged under several different colors of light. To remove dependency due to illumination these images are preprocessed using either a perfect color constancy algorithm or the comprehensive color image normalization. In the perfect color constancy algorithm the illuminant is measured rather than estimated. The import of this is that the perfect color constancy algorithm can determine the actual illuminant without error and so bounds the performance of all existing and future algorithms. Post-color constancy or color normalization processing, the color content is used as cue for object recognition. Counter-intuitively perfect color constancy does not support perfect recognition. In comparison the color invariant normalization does deliver near-perfect recognition. That the color constancy approach fails implies that the scene effective illuminant is different from the measured illuminant. This explanation has merit since it is well known that color constancy is more difficult in the presence of physical processes such as fluorescence and mutual illumination. Thus, in a second experiment, image colors are corrected based on a scene dependent "effective illuminant". Here, color constancy preprocessing facilitates near-perfect recognition. Of course, if the effective light is scene dependent then optimal color constancy processing is also scene dependent and so, is equally a color invariant normalization.

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Griber, Yulia A. "The “Geometry” of Matyushin’s Color Triads: Mapping Color Combinations from the Reference Book of Color in CIELAB." Arts 11, no. 6 (December 12, 2022): 125. http://dx.doi.org/10.3390/arts11060125.

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This study analyzes the color combinations composed by the Russian avant-garde artist Mikhail Matyushin and his disciples for the Reference Book of Color (1932), summarizing their experimental research on the psychophysiology of color perception. Having extracted 90 colors from the 34 hand-painted charts of the book’s first edition, we mapped these colors into CIELAB and CIELCh color space to identify their chromatic characteristics (hue, lightness, and chroma) and their combination criteria. We demonstrate graphically that each of Matyushin’s color triads has a similar “geometry” in CIELAB color space and on the color circle, with the “intermediary” color much closer to the environment background color than to the main color. We conclude that the revealed patterns of these relationships are identical in all four sections of the Reference Book and reflect underlying principles of Mathyshin’s theory of color as well as fundamental aspects of human perception. The analysis presented in this paper will facilitate opportunities for artists, architects, designers, and other color professionals to use Matyushin’s original color charts and incorporate Matyushin’s style in creating their own triads.

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DZHUNUSHALIEV, VLADIMIR, DOUGLAS SINGLETON, and DANNY DHOKARH. "Effective Abelian-Higgs Theory from SU(2) gauge field theory." International Journal of Modern Physics A 20, no. 15 (June 20, 2005): 3481–87. http://dx.doi.org/10.1142/s0217751x05026807.

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In the present work we show that it is possible to arrive at a Ginzburg-Landau (GL) like equation from pure SU (2) gauge theory. This has a connection to the dual superconducting model for color confinement where color flux tubes permanently bind quarks into color neutral states. The GL Lagrangian with a spontaneous symmetry breaking potential, has such (Nielsen-Olesen) flux tube solutions. The spontaneous symmetry breaking requires a tachyonic mass for the effective scalar field. Such a tachyonic mass term is obtained from the condensation of ghost fields.

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Яремчук, О. М., and А. В. Кулік. "ГЕНЕЗИС ТА ОСОБЛИВОСТІ ФОРМУВАННЯ БАЗОВИХ МОДЕЛЕЙ ІДЕНТИФІКАЦІЇ КОЛЬОРУ." Art and Design, no. 3 (December 5, 2019): 113–24. http://dx.doi.org/10.30857/2617-0272.2019.3.12.

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Purpose. The determination of the formation features of basic models of color and identification of color in the initial stages (the 18th – 19th centuries) of scientific research of the problem. Methodology of the research is based on historical and cultural method. The source base is the artistic, scientific and technical literature of the studied period and also artefacts. Results. This publication reveals a generalized approach to theoretical developments on color perception and identification, and covers the initial period of color research and the formation of basic models of color (the 18th – 19th centuries). So in the middle of the 17th century I. Newton founded a seven-color ordering model, placing them to a closed color circle. At about the same time, other attempts at color systemization were proposed, such as color identification in the form of tables of existing paints, the work of I. Brennen and R. Waller. Subsequently, Jacob Christoph Le Blon concluded that in order to get results, you could use only three colors, namely red, yellow and blue. Based on this work, M. Harris presented his color circle, J. Lambert – a triangular color pyramid, and Ph.Runge built a color sphere using the principle of the globe. Goethe, contrary to Newton's physical doctrine of colors, conceived another system, it was based on the phenomenological perception of color. According to Goethe and his followers, the colors come from the struggle of "light" and "darkness". A. Schopenhauer took the step that J. Goethe lacked in his thinking: A. Schopenhauer formed a doctrine of color in terms of psychology, noting the enormous role that our brain plays in color perception, and proposing his model of identification by the principle of intensity / extensiveness/quality. for the formal description of the tri-color system of color, forming a mathe-confirmation of T. Young's theory and came to the conclusion that for the comparison of all shades, three light sources were needed and sufficient: in the red, green and blue parts of the spectrum. The perception of other colors is conditioned by the interaction of these constituents. In his work, J. Maxwell proved that all colors come from a mixture of three spectral colors: red, green, and blue. Based on his research, he introduced the first two-dimensional color spectrum visualization system. H. Grassmann's merit is the mathematical representation of the three spectral colors. E. Hering's theory highlights the psychological aspects of color vision: warm sensations occur for white, yellow, and red colors, while cold sensations occur for black, dark blue, and light blue. G. Peano introduced the concept of "color space" as a system of vector space equations.

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Ridley, Dennis R. "A Neo-Whorfian Revisitation of Color Memory." Perceptual and Motor Skills 64, no. 1 (February 1987): 103–16. http://dx.doi.org/10.2466/pms.1987.64.1.103.

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A neo-Whorfian viewpoint on the effects of color names on color memory was tested in two studies with 140 undergraduate subjects. The controlling conception was that stimulus shapes of objects which have characteristic colors (e.g., tomato—red) can function like labels when viewing conditions are difficult. Hypothesized effects were that recognition or reproduction of the colors of such shapes would tend toward the best typical choices for the primary color term linguistically associated with the object. Exps. 1 and 2 pitted the major hypothesis against a prediction derived from Bruner's perceptual theory that familiar shapes would induce reproduction of a color toward the average object color. Two colors, actual average object colors, and best typical instances of associated color terms were made the overlapping segments of a variable color mixer on which color matches were made. Target stimuli from the middle ranges of the overlapping color-wheel segments were tachistoscopically presented either as familiar “red” or “green” objects or as plain circular stimuli. Reproductions consistently averaged toward best instances of primary color terms “red” or “green” rather than toward average object colors. Alternative interpretations of the data are discussed.

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Kirchner, Eric. "Color theory and color order in medieval Islam: A review." Color Research & Application 40, no. 1 (December 3, 2013): 5–16. http://dx.doi.org/10.1002/col.21861.

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McCann, John J. "Color Theory and Color Imaging Systems: Past, Present and Future." Journal of Imaging Science and Technology 42, no. 1 (January 1, 1998): 70–78. http://dx.doi.org/10.2352/j.imagingsci.technol.1998.42.1.art00009.

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Adibifar, Karam. "Race, Color, and the Application of Pool Theory." International Journal of Social Science Studies 11, no. 4 (June 20, 2023): 21. http://dx.doi.org/10.11114/ijsss.v11i4.6109.

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In today’s complex society, we encounter various societal issues. However, race as an attribute and as a major social form tremendously affects many aspects of individuals’ lives, as well as society as a whole. It continues to shape social, political, and economic hierarchies. Many sociological theories that have focused on race and racism, but few have focused on an in-depth understanding of subtle racism and its socio-historical constructs. The purpose of this paper is to discuss and explore race, color, and racism, particularly the subjective form of racism, utilizing the Pool Theory.Pool theory, based on acquired idea from the billiard game, asserts that racism is formed through people’s implicit attitudes, feelings, and behaviors. It emphasizes that race, like many other social concepts, is socially and culturally created by the dominant groups for labeling others to suit their own imagination and goals. Based on generalizations, the theory accentuates that race is subjective and implicit, and that skin color is highly valued in society. According to this theory, those who possess favorite colors are more likely to be seen as superior, influential, valued, and successful in constructing concepts that becomes social reality. The choice of colors and the position of the billiard balls could be the consequence of implicit feelings and biased beliefs about others. Power differentiation, disparity, and colorism are evident in this game. Pool theory refutes color blindness, which is the belief that racism is no longer an issue in American society. The main objective of this study is to encourage future research in theory building, emphasizing the implicit aspects of racism. Additionally, this study can serve as an avenue for literature review, particularly in relation to race and racism.

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Ni, Chen, and Li Wang. "Application of Ergonomics Theory Based on Color Perception Theory in Business Design." E3S Web of Conferences 179 (2020): 02053. http://dx.doi.org/10.1051/e3sconf/202017902053.

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There is an obvious difference between the real world and the world we perceive, and we are constantly updating the definition of color. Color, like point, line, and plane, is the basic unit of our visual information. However, compared with other visual elements, our research on color has obvious shortcomings. We can solve many specific problems in our design practice through new analysis methods.

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Liu, Haozhou, Wenwen Zhang, and Weiji He. "Low-light image enhancement based on Retinex theory for beam-splitting prism system." Journal of Physics: Conference Series 2478, no. 6 (June 1, 2023): 062021. http://dx.doi.org/10.1088/1742-6596/2478/6/062021.

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Abstract The existing color image enhancement methods are utilized for the most part to directly improve the color image that is obtained through the use of a Bayer array camera, whereas the color image that is obtained through the use of a prism camera is the result of the fusion of three primary color images that have been collected independently. As a result, a method for enhancing color photographs based on three images of primary colors that have a low level of light has been proposed. In this paper, we first transfer RGB to HSV space for image enhancement. In the V channel, we use guided filtering combined with improved SSR method to better preserve edge information. Then the S channel is adjusted adaptively to make the image look more natural. Finally, the image is transferred from HSV space back to RGB space. Compared with other traditional methods, our method achieves better results in PSNR, SSIM and NIQE, and has less computational complexity.

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Afidah, Ari, Mia Fitria Agustina, and Ririn Kurnia Trisnawati. "Colorful God and Goddess as the representation of modern Greek mythology in Lore Olympus." Diksi 30, no. 2 (September 30, 2022): 160–69. http://dx.doi.org/10.21831/diksi.v30i2.49223.

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Lore Olympus is a webtoon that uses color as a sign for each of its characters. In interpreting symbols, this study applies Peirce’s semiotic theory related to representamen or signs, objects, and interpretants. This study aims to describe the meaning of colors in the six characters of gods and goddesses in Lore Olympus. This research used qualitative methods. It was found that the colors in the six characters of gods and goddesses had a general and specific meaning that were used to convey their personalities. The blue color symbolizes Hades’s cold personality, the pink color represents Persephone’s kindness, the green color represents Demeter’s overprotective personality, the purple color represents Zeus as the king of the gods, the yellow color symbolizes Hera’s cheerful and jealousy, and lastly, the red color symbolizes Hermes’s extroverted and passionate personality. Finally, it is hoped that this study can create more insight into color as an aspect that can affect personality.Keywords: colors, Lore Olympus, semiotic, symbol

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