Relevant bibliographies by topics / Colors

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Colors'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 April 2025

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Journal articles on the topic "Colors"

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Mao, Xinyue, Xifeng Zheng, Ruiguang Wang, Hongbin Cheng, and Yu Chen. "Variation of LED Display Color Affected by Chromaticity and Luminance of LED Display Primary Colors." Mathematical Problems in Engineering 2020 (September 27, 2020): 1–14. http://dx.doi.org/10.1155/2020/1612931.

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In recent years, the effect of LED display is increasingly important in the LED display field. Primary colors’ chromaticity and luminance of LED display as crucial elements influence the LED display color. Therefore, there is a need for color mapping algorithms that indicate the relationship between primary colors and display color’s chromaticity and luminance. In this paper, two mathematical models have been developed. One has shown the display color’s chromaticity and luminance affected by luminance of primary colors change. The other one has shown a complicated relationship that primary color is mixed by other primary colors to change chromaticity first and then the mixed primary is used as “new LED primary color.” In both mathematical models, CIE x ∗ y ∗ Y color space was used as the mutual color space; thus, there was a specific variation tendency of colors with luminance or chromaticity of primary colors change in this color space. The newly designed mathematical models can consistently guide us how to acquire the desired display color by changing luminance or chromaticity of primary colors. Therefore, it has important engineering application value.
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Chandrashekhar, Mamta. "DIFFERENT COLORS AND POLITICALIDEOLOGY." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–5. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3545.

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This research work based on the colorfulPolitics which existing in the different societies in the world. Everybody has a different thoughts and vision to see the world so there are different political ideologiesto represent a political party, either officially or unofficially. Political Parties in different countries with similar ideologies tend to use similar colours.They have long been associated with specific colors. This is largely due to the fact that politics became popular long before literacy did in the history of human being cultural development because the people couldn’t read and even images could get complicated, political signs and signs in general, have to express something with different colors.India has always been exalted and remembered fondly as the country of different symbolic colors. To an outsider, its colorful culture, streets and stories seem like a page out of an ancient folk tale but there is a unity too in diversity. Different Colours, in essence, has been a large part of the Indian consciousness. Different parties come to rule with their owndifferent ideologieswith different colors. The symbolic colors of politics, there many colors, For example- Saffron- BJP ruled Centre and states,Tri color- Congress ruled states,Red - Left parties ruled states. Another color-NCP ruled state (Jammu &Kashmir) Every color has its own significance , own ideology, own thinking process, own style of functioning and own importance in political life. They may be like different flowers of different colors, but they all make a fabulous common garland-that is INDIA.
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Swasty, Wirania, Muhizam Mustafa, and Josua Boyke William Jawak. "What Experts Say about (Un)Common Color on Food Packaging (Study Case in Banana Chips Package Design)." KnE Social Sciences 10, no. 2 (January 8, 2025): 1–8. https://doi.org/10.18502/kss.v10i2.17870.

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Food packaging design relies heavily on the strategic use of color, as it has the potential to influence consumer perception and buying behavior. An important consideration is whether incorporating uncommon colors in food packaging design is a good strategy. Several research pertaining (un)common colours in food packaging have been conducted. This paper presents the findings from expert validity following the card sorting task that has been done. This expert validation used quantitative and qualitative approaches. The experts were asked to give agreement on each item based on a 3-point scale. They were also asked to evaluate the findings critically and provide feedback. We found the experts agree on all categories, except tasty, which is neutral. This paper describes uncommon color definitions according to experts and the overall evaluation of uncommon color applied on banana chip packaging. Implementing uncommon colors in food packaging design has several benefits for the community, including helping products stand out on store shelves and convey a distinct brand personality or image. Keywords: colors, expert validity, food packaging, uncommon colors
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Akazawa, Teruaki, Yuma Kinoshita, Sayaka Shiota, and Hitoshi Kiya. "Three-Color Balancing for Color Constancy Correction." Journal of Imaging 7, no. 10 (October 6, 2021): 207. http://dx.doi.org/10.3390/jimaging7100207.

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This paper presents a three-color balance adjustment for color constancy correction. White balancing is a typical adjustment for color constancy in an image, but there are still lighting effects on colors other than white. Cheng et al. proposed multi-color balancing to improve the performance of white balancing by mapping multiple target colors into corresponding ground truth colors. However, there are still three problems that have not been discussed: choosing the number of target colors, selecting target colors, and minimizing error which causes computational complexity to increase. In this paper, we first discuss the number of target colors for multi-color balancing. From our observation, when the number of target colors is greater than or equal to three, the best performance of multi-color balancing in each number of target colors is almost the same regardless of the number of target colors, and it is superior to that of white balancing. Moreover, if the number of target colors is three, multi-color balancing can be performed without any error minimization. Accordingly, we propose three-color balancing. In addition, the combination of three target colors is discussed to achieve color constancy correction. In an experiment, the proposed method not only outperforms white balancing but also has almost the same performance as Cheng’s method with 24 target colors.
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Rodrigues, Fabiano de Abreu. "NEUROANATOMIA DAS CORES - COLOR NEUROANATOMY." BRAZILIAN JOURNAL OF DEVELOPMENT 8, no. 1 (January 1, 2022): 2936–44. http://dx.doi.org/10.34117/bjdv8n1-193.

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A incidência de luz em determinados objetos emite diferentes freqüências e tamanhos de ondas eletromagnéticas que ao serem captadas pela retina, enviam um sinal para o córtex visual que organiza a imagem e gera uma determinada coloração, sendo assim a percepção da cor é uma interação entre ondas, olhos e cérebro. O presente artigo tem como objetivo uma revisão literária sobre o processo de captação de luz até a percepção da cor no cérebro e discorrer sobre como determinadas cores podem influenciar comportamentos.
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Sofia Shishmanova, Prof Dr, and Aneta Rinaldi. "RGB COLOR WHEEL INTENDED TO CREATE COLOR HARMONY COMPOSITIONS IN MODERN ART AND DESIGN." EPH - International Journal of Science And Engineering 4, no. 4 (December 27, 2018): 45–57. http://dx.doi.org/10.53555/eijse.v4i4.163.

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The existing RYB color wheel widely used to create harmonic color compositions is not applicable in modern digital art and design. The reason is that colors formed by light, “additive colors”, and those formed by pigments, “subtractive colors” did in fact operate by different rules, and had different primary and complementary colors. So new color wheel is proposed - “RGB color wheel” suitable .to work with colors in digital environment. The RGB color wheel is based on the primary colors R, G, B, defined by sRGB color space, create by additive mixing 3 secondary and 6 tertiary harmonic colors with which many different types of harmonic color compositions can be realized. An analogue RGB color wheel is proposed with pastel colors suitable for print. New definitions for Hue, Saturation and Lightness color-making attributes are formulated which correspond to the contemporary high level of computer technologies. There are some recommendations how the new RGB color wheel can be used with the HSB model to create attractive and pleasant images with color harmony in digital design.
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Popova, Teodora Petrova, Ignat Ignatov, Alexander I. Ignatov, and Ivan Angushev. "Graphical modeling of additive color mixing. Perception of objects with different color shades for different observers." Wiadomości Lekarskie 77, no. 9 (November 3, 2024): 1818–24. http://dx.doi.org/10.36740/wlek/185414.

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AimTo research subjective perceptions in additive color mixing.Material and methodsA survey was administered to 79 individuals, who determined the colors they perceived in two photographs. Graphical modeling is applied to determine the result of color mixing.ResultsIn additive mixing of monochromatic colors, a new color is obtained. Interestingly, different individuals perceive observed images in different ways. Mix neighboring colors on the spectrum and those in different ranges. Distinction between the physical mixing of laser beams with different colors was found. The visual perception in the presence of two colors is subjective and is determined by the viewer's greater sensitivity to one of the colors. Due to additive color mixing, additional parts of objects appear golden or orange when there is a yellow color in a picture with blue tones. When the background is violet, the sensitivity of the blue cones decreases.ConclusionsIt has been confirmed that visual perception, in the presence of two colors is subjective and is determined by the viewer's greater sensitivity to one of the colors. A method is proposed that physically demonstrates the mixing of green and red colors, resulting in the colors yellow or orange.
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Irie, Kota, Masahito Takahashi, Kenji Terabayashi, Hidetoshi Ogishima, and Kazunori Umeda. "Skin Color Registration Using Recognition of Waving Hands." Journal of Robotics and Mechatronics 22, no. 3 (June 20, 2010): 262–72. http://dx.doi.org/10.20965/jrm.2010.p0262.

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This paper proposes skin color registration using the recognition of waving hands. In order to recognize hand gestures from images, skin colors are useful information. The proposed method can register skin colors simply and quickly because it uses just a few waves of the hand. The method consists of 2 steps. First, the regions of the waving hands are extracted from low-resolution images without using color information. Second, the color values of the extracted regions are classified into background colors and hand colors depending on time series of color images. The color information classified as hand colors is registered as skin colors. The proposed method is robust against lighting conditions and individual differences in skin color, because the skin color is registered as an adapted skin color in each case. Several experiments are conducted to demonstrate the effectiveness of the proposed method.
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Fadhilah, Nurul. "Penentuan Warna Dasar dan Nondasar Dalam Bahasa Madura: Suatu Kajian Etnolinguistik." Translation and Linguistics (Transling) 1, no. 1 (July 1, 2021): 8. http://dx.doi.org/10.20961/transling.v1i1.52632.

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Linguistically, colors are categorized into two parts, namely basic colors and non-basic colors. Each language has a different naming form and number of base colors. This research is descriptive qualitative which aims to determine the basic and non-basic colors in the Sumenep dialect of Madura. The data in this study is the color vocabulary of the Madurese language obtained from 18 informants with the help of research instruments in the form of 139 color cards on the standard color names on the web. The data found were analyzed using Berlin and Kay's (1969) universal color theory and combined with an ethnolinguistic approach to find cultural identity through the language used. As a result, the Madurese language has 6 basic color names, namely potѐ 'white', celleng 'black', mѐra 'red', bhiru 'green', konѐng 'yellow, and coklat 'chocolate', as well as 3 color names belonging to non-basic colors. , namely bhiru 'blue', bungo 'purple', and bubu 'grey'. The implicational hierarchy of basic colors in the Madurese language is different from the implicational hierarchy of the universal basic colors of Berlin and Kay which is the result of a study of 98 world languages. This proves that every language in the world has different color boundaries and different rules for classifying basic colors
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Purbasari, Mita, and R. A. Diah Resita I. K. Jakti. "Khazana Warna Berdasarkan Hasana Alam dan Budaya Nusantara (1)." Humaniora 2, no. 1 (April 30, 2011): 722. http://dx.doi.org/10.21512/humaniora.v2i1.3089.

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Using colors for designing purpose is become an important part of designer, such as graphic designer, interior, product, least but not last for architect and artist. Like humans, color need to have a name to identify according to its character, psychology and emotional effect. This research applied the qualitative and quantitative method to give a brief description about color’s name and propose new color naming which based on character, nature, and imagery it evokes. This research will use quantitative and qualitative methods to describe the color names and color names of the new proposed based on the audience choice. Data collected will be used as a proposal of naming colors in Indonesian language that uses the unique natural and cultural riches of Indonesia itself.
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Dissertations / Theses on the topic "Colors"

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Gatzia, Dimitria Electra. "Color fictionalism: color discourse without colors /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1398609521&sid=2&Fmt=2&clientId=3739&RQT=309&VName=PQD.

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Zeileis, Achim, Kurt Hornik, and Paul Murrell. "Escaping RGBland: Selecting Colors for Statistical Graphics." Department of Statistics and Mathematics, WU Vienna University of Economics and Business, 2007. http://epub.wu.ac.at/1692/1/document.pdf.

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Statistical graphics are often augmented by the use of color coding information contained in some variable. When this involves the shading of areas (and not only points or lines) - e.g., as in bar plots, pie charts, mosaic displays or heatmaps - it is important that the colors are perceptually based and do not introduce optical illusions or systematic bias. Here, we discuss how the perceptually-based Hue-Chroma-Luminance (HCL) color space can be used for deriving suitable color palettes for coding categorical data (qualitative palettes) and numerical variables (sequential and diverging palettes).
Series: Research Report Series / Department of Statistics and Mathematics
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Приходько, К. О. "Design and colors – what is the influence of colors in design?" Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10769.

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Kwok, Pui-yan Veronica, and 郭沛殷. "Learning new color names produces lateralized categorical color perception: a training study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B49858592.

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Previous behavioral and neuroimaging findings (Drivonikou, et al., 2007; Gilbert, et al., 2006; Tan, et al., 2008; Siok, et al., 2009) indicate that reaction times to targets in visual search are faster in the right than the left visual field when the target and distractor colors straddle a category boundary. This phenomenon is known as the lateralized categorical color perception, which supports the weaker form of Whorf’s hypothesis that linguistic information shapes color perception. Yet, these studies did not demonstrate a definite cause and effect relation between language and perception. The observed lateralized category effect of color perception may either rely on the individual’s innate color categories or his linguistic experience. In the present study, we used an intensive training method to study categorical perception (CP) of color. We aimed to show a definite causal relation between language and perception. In Experiment 1, 37 native Mandarin speakers were tested with a color discrimination task. We taught 20 participants four new linguistic items for the four stimulus colors which were initially from the same lexical category (two blues and two greens) whilst other participants did not learn any new color names. Performances between the two groups were compared before and after training. Experiment 2 was based on Zhou et al.’s (2010) behavioral study, in which we used the same training procedure and measured and contrasted 19 participants’ brain structure before and after training. In experiment 1, participants exhibited lateralized Whorf effect when performing the visual search task at the pre-training phase. After training, the experimental group successfully acquired the new color names, reflected by overall shorter reaction time and higher task accuracy, while the control group did not show significant difference in the performance across two phases. The improved performance of experimental group implicated that the newly learned categories altered participants’ color perception pattern. However, we failed to show lateralized Whorf effect at the post-training phase due to several experimental flaws. In Experiment 2, gray matter density is found to increase in color region of the left visual cortex after a short-term training (less than two hours). The data provided strong structural evidence for newly-learned categorical color perception and also suggested structural plasticity of the human brain. The results from this study indicate that language experience shapes perception, both functionally and structurally, after a period of learning that is much shorter than previously established (Draganski, 2004; Carreiras, et al., 2009; Trachtenberg, 2002).
published_or_final_version
Linguistics
Master
Master of Philosophy
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Fang, Meng-Tieh Saint-Saëns Camille Saint-Saëns Camille Saint-Saëns Camille. "Colors of the music /." Online version of thesis, 2009. http://hdl.handle.net/1850/10840.

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LaFleur, Brandon Kyle. "Musical Colors| On Establishing a Methodology for Color Applications in Musical Analysis." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271870.

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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.

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Crockett, Chelsi, and Susan Waters. "Scroll In Color: Examining How Colors in Instagram Pictures Illicit Emotions in Users." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/438.

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This study aims to understand if colors in Instagram pictures causes emotions in users. The methods involved in this study included a survey where respondents were presented with questions asking them how certain colors made them feel and users were also presented with pictures with varying color undertones and asked which picture made them feel a specific emotion. This study may provide indications for further research and advertising and public relations techniques using social media, specifically Instagram and utilizing colors within Instagram pictures.
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Siegrist, Andrew. "All The Colors Of Rain." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2190.

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Karpets, V. "Influence of colors on people." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40615.

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Marketing and advertising employs the knowledge and practice of color psychology in its work to drive results. The main purpose of an ad is to motivate the viewer to take a course of action designed by the advertiser. Color is applied to the shape of a logo to represent an emotion, objective, a meaning, as well as to increase brand recognition. Disagreements in the perception of colors depends on origin, age, gender, and even state of health. Vivid and bright colors are popular amongst the youth, while older people feel more comfortable when surrounded by subdued shades.
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Zeileis, Achim, and Kurt Hornik. "Choosing Color Palettes for Statistical Graphics." Department of Statistics and Mathematics, WU Vienna University of Economics and Business, 2006. http://epub.wu.ac.at/1404/1/document.pdf.

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Statistical graphics are often augmented by the use of color coding information contained in some variable. When this involves the shading of areas (and not only points or lines) - e.g., as in bar plots, pie charts, mosaic displays or heatmaps - it is important that the colors are perceptually based and do not introduce optical illusions or systematic bias. Here, we discuss how the perceptually-based Hue-Chroma-Luminance (HCL) color space can be used for deriving suitable color palettes for coding categorical data (qualitative palettes) and numerical variables (sequential and diverging palettes).
Series: Research Report Series / Department of Statistics and Mathematics
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Books on the topic "Colors"

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Canetti, Yanitzia. Colores sobre colores =: Colors on colors. Lawrence, MA: Cambridge Brickhouse, 2010.

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Books, Priddy, ed. Colors =: Colores. New York: Priddy Books, 2008.

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Priddy, Roger. Colores =: Colors. New York, NY: Priddy Books, 2001.

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Kenkyūjo, Nihon Karā Dezain, ed. Book of colors: Matching colors, combining colors, color designing, color decorating. Tokyo: Kodansha International, 1987.

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Greenaway, Frank. Colors =: Los colores. New York: DK Publishing, Inc., 2004.

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Aryai, Sia. Colors. Los Angeles: Lowell House Juvenile, 1993.

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Preis, Donna, and George Siede. Colors. Lincolnwood, Ill: Publications International, 1994.

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Milburn, Constance. Colors. New York: Bookwright Press, 1988.

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Gardener, Louise. Colors. Kettering, UK: Book Studio, 2007.

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Barnes-Murphy, Rowan. Colors. Nashville, Tenn: Ideals Children's Books, 1992.

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Book chapters on the topic "Colors"

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Fortner, Brand, and Theodore E. Meyer. "Defining Colors—Color Models." In Number by Colors, 119–46. New York, NY: Springer New York, 1997. http://dx.doi.org/10.1007/978-1-4612-1892-0_6.

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Watkiss, Stewart. "Colors." In Beginning Game Programming with Pygame Zero, 131–43. Berkeley, CA: Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-5650-3_6.

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Olsson, Mikael. "Colors." In CSS Quick Syntax Reference Guide, 35–37. Berkeley, CA: Apress, 2014. http://dx.doi.org/10.1007/978-1-4302-6491-0_8.

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Minnaert, Marcel. "Colors." In Light and Color in the Outdoors, 131–35. New York, NY: Springer New York, 1993. http://dx.doi.org/10.1007/978-1-4612-2722-9_7.

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Friedland, Gerald. "Colors." In Beginning Programming Using Retro Computing, 19–23. Berkeley, CA: Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-4146-2_5.

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Olsson, Mikael. "Colors." In CSS3 Quick Syntax Reference, 43–46. Berkeley, CA: Apress, 2019. http://dx.doi.org/10.1007/978-1-4842-4903-1_8.

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Poórová, Zuzana, and Zuzana Vranayová. "Colors." In Green Roofs and Water Retention in Košice, Slovakia, 69–80. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24039-4_4.

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Fortner, Brand, and Theodore E. Meyer. "Defining Colors—The CIE Color Diagram." In Number by Colors, 87–117. New York, NY: Springer New York, 1997. http://dx.doi.org/10.1007/978-1-4612-1892-0_5.

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Bianco, Simone. "Color Constancy Using Single Colors." In Computer Vision – ECCV 2012. Workshops and Demonstrations, 390–400. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33868-7_39.

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ten Have, Henk. "3. The Power of Color." In Color, Healthcare and Bioethics, 47–78. Cambridge, UK: Open Book Publishers, 2025. https://doi.org/10.11647/obp.0443.03.

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The idea that colors have a particular power is elaborated in this chapter. The effects of color are particularly expressed by artists. Color is regarded as a language without words and it can directly address our emotions and feelings. Green, for instance, has a retiring and relaxing effect, and gives the impression of refreshment, naturalness, and quietness but it is also associated with tiredness and guilt. If colors are connected with meanings and emotions, this may have implications for psychological well-being and functioning. The effects of color on human behaviour and performance are therefore extensively studied. In contexts in which an achievement is expected, perception of red impairs performance, particularly when cognitive analysis, mental manipulations and flexible processes are required. On the other hand, blue enhances performance of a creative task. That the context is important for the effects of colors is shown in studies about contests. In a competitive context the color red influences the outcome of a contest. Also in relational contexts, red seems to be a positive color, for example enhancing the attractiveness of women. Studies of the effect of colors usually have practical implications. The assumed effects of colors on human emotions and behaviors is especially examined in the marketing industry as well as in relation to food. Since the studies of Goethe in the Romantic era the affective power of colors has attracted growing attention. Colors are characterized as active (plus) or passive (minus), warm or cold. They evoke a range of particular feelings between excitement and energy on the one hand, and relaxation on the other. Goethe relates the power of colors to the associations they generate; they are connected to positive and negative meanings. For this reason, it is difficult to determine whether the effect of colors are produced by the colors themselves, the meanings associated with them, or both. The difficulty is that many studies are not rigorous and controlled for various factors. First, colors have the dimensions of hue, saturation and lightness which are often not distinguished. Second, it is clear that light has an influence on the human organism but frequently no distinction is or can be made between hue and light. Third, many studies are performed in experimental, laboratory conditions in which the context of color vision is disregarded and only the effects of colors are tested. For these reasons, it is often not clear that the experimental findings can be applied in everyday real situations. That does not imply that colors have no effect at all.
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Conference papers on the topic "Colors"

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Szymanska-Stulka, Katarzyna. "IGNACY ZALEWSKI�S DIE SPINNERIN AS A CATEGORY OF �COLORFUL MINDEDNESS� IN MUSIC." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024, 97–104. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/vs08.20.

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Color is not only a matter of visual arts but also of music. It can influence how we feel, how we perceive the world, and even tell a lot about one�s personal artistic style based on their favorite colors choices. Color is also a powerful means of communication. It can signify action, influence mood, and even physiological reactions. Colors can stimulate creativeness and affect productivity. Some experts tells about the powerful red, restful green, emotional yellow, playful orange or intellectual blue. Colors appear in art as a kind of mix, which is why we can describe art as colourful. Colorful in this context means full of color and therefore rich in various shades, nuances, relationships, contrasts or harmonies. In music, some compositions seem particularly colorful. This means not only a wealth of nuances, but also a special kind of texture, as if saturated with colors, hues, and shades of sounds. This reference to colors in music may be indicated in the phenomenon which I term colorful composing. To analyse this case I present the musical composition Die Spinnerin for flute and marimba form 2010 by Ignacy Zalewski � Polish composer born in 1990. I discuss the components of colorful composing in which I select the three leaders: colorful articulation, nuanced microdynamics and shades of instruments� sounds. I expand my reflection on the piece of Nathan Daughtrey for flute and marimba titled An Extraordinary Correspondence and on contemporary composers� statements who saw colors in music in some way like Olivier Messaien who said that he saw musical colors intellectually and Toshio Hosokawa�s subtle inspiration of nature, and Polish contemporary composers Witold Lutoslawski, Marcin Blazewicz, Grazyna Pstrokonska-Nawratil. My research is based on the selected reflections about the philosophy of colours e.g. by Alex Byrne and David Hilbert describing the problem of how our perspective is influenced by colours and how colors stimulate the mind.
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Gardner, Gary W. "Color and Its Effects on Coating Performance: the Value of Clear Coats." In Paint and Coatings Expo (PACE) 2008, 1–16. SSPC, 2008. https://doi.org/10.5006/s2008-00025.

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Abstract To determine how colors change during weathering, ten non-leaded polyurethane colors were exposed to QUV accelerated weathering, Chicago outdoor exposure and Florida outdoor exposure. Color change, percent gloss retention and Aesthetic Ratings were made every 1000 hours in QUV up to 8000 hours, yearly in Chicago exposure for four years and yearly in Florida exposure for three years. Dramatic changes in Aesthetic Ratings revealed that some colors maintain aesthetics much longer than other colors. The same ten colors were also exposed with a clear coat topcoat. Using a clear coat improved aesthetic performance significantly and greatly reduced the differences in Aesthetic Ratings between the various colors.
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Goodwin, Ian. "Are You Restricted by Your Total Solar Reflectance Performance?" In SSPC 2013 Greencoat, 1–8. SSPC, 2013. https://doi.org/10.5006/s2013-00023.

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Abstract Cool coatings can play an important role in reducing global energy consumption and increasing interior comfort. They do this by minimizing solar absorption on a surface whilst maximizing thermal emission. Used in this way, a cool coating is able to reduce the flow of heat from the exterior coated surface into the building, resulting in lower internal temperatures. The reduction in the internal temperature can reduce the need for electricity used to power air conditioning units used for cooling. The benefits for buildings have been quantified in studies produced by Lawrence Berkeley National. Traditionally, white coatings have been used to raise solar reflectance in an exterior coating however, there is a growing need for good solar reflection in bright, vibrant and dark colors. A new pigment is introduced that enables formulators to increase solar reflection in a broad range of colours, especially deep, dark colours1. This new innovation enables solar reflective properties to be created from a single additive. Color can then be created with the use of a wide variety of conventional pigments with guidance on color formulation generated from a proprietary software program. In developing the technology, titanium dioxide crystals have been engineered to optimise the ratio of near infrared reflectance to visible reflectance and encapsulated them in dense silica coating for durability. Finally the product has been treated to give outstanding dispersibility. The presentation will review the potential benefits of cool coatings and how this new solar reflective pigment can improve total solar reflectance when combined with colored pigments in a range of colored coating systems.
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Pourmand, M., and Pankaj K. Choudhury. "Designing Reconfigurable Metamaterials Toward Structural Color Generation." In JSAP-Optica Joint Symposia, 16p_B4_5. Washington, D.C.: Optica Publishing Group, 2024. https://doi.org/10.1364/jsapo.2024.16p_b4_5.

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Dynamic color-generation structures provide higher resolution and scalability compared to the traditional pigmentation-based displays [1]. The main roadblock to the wide adoption of structural colors is the fixed optical response after the realization process. To address this issue, several kinds of tunability mechanisms have been introduced including the implementation of plasmonic nano-antennas enabled by liquid crystals [2] and plasmonic resonators exploiting stretchable materials [3]. The chalcogenide phase-change mediums- (PCMs) based plasmonic structures [7]. Herein, we propose an optimized PCM-integrated structure to generate a wide spectrum of colors.
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Okajima, Katsunori, Masanori Takase, and Sumio Takahashi. "Perception of translucent colors with binocular parallax." In Advances in Color Vision. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/acv.1992.sab7.

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There are some kinds of color appearance mode: luminous color mode, surface color mode and so on. Translucent color mode is also a kind of them. For example, when we look a colored object or a colored light through a frosted glass, we perceive a translucent color. In this mode, it is different from other modes that a plural color perception is caused by visual system. Therefore it is suggested that translucent perception relates to functions of higher level in color vision. The purpose of this work is to analyze the mechanism of translucent perception by simulating translucent colors with binocular parallax.
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Teixeira, Ana, Sonia Brito-costa, and Anabela Gomes. "Colors in Mind: A Comprehensive Study on the Neurological Impact of Saturation." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005074.

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The perception of color is a crucial cognitive aspect that profoundly impacts cognition, emotions, and behaviour. Cool colors evoke comfort and relaxation, while warm colors stimulate and energize. This study explores how color saturation impacts brainwave patterns, using EEG signals and the MUSE BCI. Twenty-five participants, including 5 colorblind individuals, aged 18-60, viewed 10 colors on a computer screen at varying saturations. Analysis reveals distinct color effects on attention and diverse responses. Notably, saturated blue captures attention, while yellow and violet elicit a less pronounced response. Energy frequency band analysis shows varied stimulation levels across brain waves. The ERD/ERS complex indicates positive aspects, suggesting desynchronization during color observation and heightened neuronal excitement. The study underscores color's substantial role, offering insights into psychology. Frontal EEG measurements elucidate the influence of color saturation on physiological and perceptual responses.
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Lee, Raymond L. "Rethinking the Rainbow’s Colors." In Light and Color in the Open Air. Washington, D.C.: Optica Publishing Group, 1990. http://dx.doi.org/10.1364/lcoa.1990.wb6.

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For most of us, the phrase "all the colors of the rainbow" conjures an image of the natural rainbow1 as a paragon of color variety and vividness. Indeed, both our language and art often invoke the rainbow as a color palette without peer.2 Yet as a color standard, the rainbow has an oddly contentious history. For example, arguments about the number of rainbow colors date to antiquity, with observers as keen as Aristotle3 (who favored three colors) and Seneca the Younger4 (who favored an indefinite number) among the disputants. That this disagreement still persisted in Georgian England2 (and indeed to the present) hints that the rainbow poses special perceptual problems.
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Serra, Juan, Jorge Llopis, Ana Torres, and Manuel Giménez. "Criterios de combinación de colores para la arquitectura en Salubra I: estudio de tonos." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.570.

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Resumen: Realizamos un nuevo estudio de las combinaciones de colores seleccionados por Le Corbusier en los ‘claviers’ para la empresa de papeles pintados Salubra en 1931, mediante su análisis en el espacio de color Natural Color System NCS, que permite comprender las variables perceptivas de los colores (tono, negrura y cromaticidad) y sus criterios de armonía. En este artículo discutimos las gamas tonales seleccionadas y aquellas que están ausentes., e intentamos desentrañar el orden subyacente en las combinaciones de colores mediante el estudio de las similitudes y contrastes de sus tonalidades en NCS. De manera gráfica, se demuestran algunos principios de armonía como el recurso habitual de contrastar tonos fríos con cálidos, algo que difiere ligeramente del tradicional contraste de complementariedad. El trabajo completo ha sido publicado en Color Research and Application © Wiley Periodicals. Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931. DOI: 10.1002/col.21940. Abstract: We have carried out a new study of the color combinations selected by Le Corbusier in the ‘claviers’ for the Salubra wallpaper company in 1931, by analyzing them in the Natural Color System NCS, which allows us to understand the perceptive variables of colors (hue, blackness and chromaticness) as well as their combination criteria. In this paper, the selected hue ranges are discussed, and those absent ones. We aim to find out the underlying order in the color combinations by studying the similarities and contrasts of their hues in NCS. We demonstrate graphically some principles in Le Corbusier’s color preferences, such as the usual resource of contrasting cool with warm colors, something slightly different to the traditional contrast of complementary colors. The complete work has been published in Color Research and Application © Wiley Periodicals. Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931. DOI: 10.1002/col.21940. Palabras clave: color, armonía; Le Corbusier; Salubra; arquitectura; Natural Color System. Keywords: color; harmony; Le Corbusier; Salubra; architecture; Natural Color System. DOI: http://dx.doi.org/10.4995/LC2015.2015.570
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Chae, Youngjoo, and Sungwoo Moon. "Lightness and Hue Dependencies of Color Difference Thresholds in Textiles under High-Illuminance Conditions." In 22th AUTEX World Textile Conference. Switzerland: Trans Tech Publications Ltd, 2024. http://dx.doi.org/10.4028/p-v2ywtq.

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In this study, the color difference thresholds of the human eye for textiles in a wide range of colors under high-illuminance conditions were examined. As the high-illuminance conditions, 2856 K-2000 lux and 6504 K-2000 lux, which are in the range of illumination conditions used in spaces that highlight products such as show windows, were used. It was observed that people cannot generally perceive color differences in textiles smaller than 4.29 ΔE*ab. Also, the color difference threshold varied depending on the color center and lightness of the textiles observed. Color differences in red and blue colored textiles were easier to be perceived than other colored textiles, while those in yellow colored textiles were the hardest to be perceived. It was also found that people are generally better able to discriminate colors between dark textiles than between light textiles. Meanwhile, the correlated color temperature of the illuminant, that is, whether it was a warm-white (2856 K) illuminant or a cool-white (6504 K) illuminant, did not significantly affect people’s perception of color differences in textiles under high illuminance conditions.
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Barbazi, Neda, and Cecilia Xi Wang. "Perceiving Through Colors: Visual Supports for Children with Autism." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003667.

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Visual supports are a communication tool for children with autism spectrum disorder (ASD) to expand their interaction with their surroundings. Interventions to assist children with autism include visual resources as cognitive methods to help them understand concepts, communicate needs, and better navigate their world. One of the key elements in effective visual interaction with an essential effect on autistic children’s behavior is color. Prior studies demonstrated that various colors have different impacts on children with autism. Responses to color are both physiological and psychological. Children with ASD may show unusual sensory processing and perception, as observed by anecdotal evidence from persons with autism and their parents, caregivers, and teachers, suggesting that autistic children may perceive colors differently compared to neurotypical children. Colors’ effect on ASD children may extend well beyond what we imagine. We should not neglect the importance of the particular color effect to avoid sensory overload and attain an optimal setting for children with ASD. Our research tries to further investigate and highlight the relationship between autism and colors by decoding the need of autistic children as follows: (i) whether the color perception is atypical in these children, (ii) highlighting autism-friendly colors, (iii) underlining what colors can improve ASD children’s interaction skills and attention span in different settings. This need-finding study extracted from the existing research and the feedback of users and clinical professionals to identify categories of needs and in-depth observations to understand those categories. Based on our literature review, anecdotal, and observational methods, the results emphasize the need for (i) an in-depth investigation of the physiological and psychological color’s effect; (ii) efficient and reliable tracking methods for unbiased, passive data collection considering challenges associated with the extensive and often unknown interaction characteristics of each autism spectrum; (iii) thorough data analysis and hidden pattern discovery of the collected high-dimensional data; and (iv) adaptive and customizable technology-based guidelines for parents, caregivers, teachers of autistic children, and persons with autism themselves.
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Reports on the topic "Colors"

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Martindale, Addie K. Unicorn Colors. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8465.

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Tran, Tan Phuc. Preservation/Restoration 101 - Some Theoretical Perspectives. Mytho International and Philosophical Review, April 2023. http://dx.doi.org/10.56624/mtu0001.

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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.
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Rolling, Virginia. Optimal Distinctiveness Applied to Trending Smartphone Case Colors. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1820.

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Howett, Gerald L. Linear opponent-colors model optimized for brightness prediction. Gaithersburg, MD: National Bureau of Standards, 1986. http://dx.doi.org/10.6028/nbs.ir.85-3202.

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Poloboc, Alina. Fancy Lollipop. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2997.

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"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.
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Collins, Belinda L. Evaluation of colors for use on traffic control devices. Gaithersburg, MD: National Bureau of Standards, 1988. http://dx.doi.org/10.6028/nist.ir.88-3894.

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Baader, Franz, and Alexander Okhotin. Solving Language Equations and Disequations Using Looping Tree Automata with Colors. Technische Universität Dresden, 2012. http://dx.doi.org/10.25368/2022.185.

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We extend previous results on the complexity of solving language equations with one-sided concatenation and all Boolean operations to the case where also disequations (i.e., negated equations) may occur. To show that solvability of systems of equations and disequations is still in ExpTime, we introduce a new type of automata working on infinite trees, which we call looping automata with colors. As applications of these results, we show new complexity results for disunification in the description logic FL₀ and for monadic set constraints with negation. We believe that looping automata with colors may also turn out to be useful in other applications.
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Fairchild, M. D. A model of incomplete chromatic adaptation for calculating corresponding colors. Office of Scientific and Technical Information (OSTI), January 1990. http://dx.doi.org/10.2172/5004900.

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Herrera, Linda. The Colors of Change: Participation in School Upgrading in Egypt [Arabic]. Population Council, 2003. http://dx.doi.org/10.31899/pgy2003.1000.

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Schwartz, Randy K. Combining Strands of Many Colors: Episodes from Medieval Islam for the Mathematics Classroom. Washington, DC: The MAA Mathematical Sciences Digital Library, August 2010. http://dx.doi.org/10.4169/loci003546.

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