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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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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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Karma, I. Gede Made. "Determination and Measurement of Color Dissimilarity." International Journal of Engineering and Emerging Technology 5, no. 1 (July 28, 2020): 67. http://dx.doi.org/10.24843/ijeet.2020.v05.i01.p13.
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There are millions of different colors that exist in this nature. There are colors that can easily be distinguished from other colors, but many are also difficult to distinguish. The ability to distinguish colors is important in the recognition of an object, especially objects in an image. Color can be represented in a three-dimensional RGB color space and each color will have an RGB value with a range of values ??from 0-255. Conceptually, colors with different RGB values ??are different colors, but the human eye may not necessarily be able to distinguish them. This study aims to determine and measure the color dissimilarity that can be distinguished by humans. With an experiment comparing a color with a color made with a variation of RGB values, this study resulted that two colors that have a Delta E (?E) value of 8 can be distinguished by the eye. This result is obtained if both colors have a value of ?R, ?G or ?B of at least 8, or a value of ?RG, ?RB or ?GB of at least 6, or a value of ?RGB of at least 5.
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Brill, M. H., G. D. Finlayson, P. M. Hubel, and W. A. Thornton. "Prime colors and color imaging." Color and Imaging Conference 6, no. 1 (January 1, 1998): 33–42. http://dx.doi.org/10.2352/cic.1998.6.1.art00008.
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Widiantoro, Danu, and Adinda Faikatul Himmah. "KAJIAN KOMPOSISI WARNA BATIK GENTONGAN MADURA STUDI KASUS BATIK PRODUKSI “ZULPAH BATIK”." AKSA: Jurnal Desain Komunikasi Visual 7, no. 2 (May 28, 2024): 64–77. https://doi.org/10.37505/aksa.v7i2.107.
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Batik Gentongan is one of the coastal batiks with diverse ornamental varieties and color compositions. Evolving through the crossing of various cultures, Madura batik has a dynamic, practical, egalitarian character, as well as a desire to be different with striking patterns and colors. The variety of colors in Batik Gentongan looks very bold, besides that the various colors are also obtained through a unique coloring process so it is very interesting to learn. This objective can be achieved by conducting a color composition study on batik produced by Zulpah Batik in Tanjungbumi. The color study was carried out with 30 pieces of batik which were grouped based on their basic colors, namely black, red, brownish red, blue, brown, and white. The colors studied will be grouped into 2 color groups, namely basic colors and decorative colors
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Hamada, Daisuke, Hiroki Yamamoto, and Jun Saiki. "Correspondence between synesthetic colors and physical colors in grapheme-color synesthesia." Proceedings of the Annual Convention of the Japanese Psychological Association 81 (September 20, 2017): 2D—035–2D—035. http://dx.doi.org/10.4992/pacjpa.81.0_2d-035.
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Hamada, Daisuke, Hiroki Yamamoto, and Jun Saiki. "Correspondence between synesthetic colors and ordinal colors in grapheme-color synesthesia." Journal of Vision 17, no. 10 (August 31, 2017): 1360. http://dx.doi.org/10.1167/17.10.1360.
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Makhov, Alexander E. "SPLIT LIGHT: COLORING OF MEDIEVAL DESCRIPTIONS OF PARADISE." Folklore: structure, typology, semiotics 5, no. 3 (2022): 152–59. http://dx.doi.org/10.28995/2658-5294-2022-5-3-152-159.
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The most important attribute of paradise in most of its medieval descriptions is light, which is usually characterized in superlatives: paradise is filled with such a bright radiance that any differentiation of colors is apparently impossible here. However, some texts suggest a certain, albeit modest, color diversity of paradise: they mention the colors of plants present in paradise, the colors of rivers flowing in it, etc. It seems to us that such a “splitting” of undifferentiated light that dominates paradise space does two functions. First, it symbolically expresses the difference in virtues in terms of their quality and meaning (medieval paradise, like the earthly world, is strictly differentiated, although not in a social but in a moral sense). Differentiation of colors from objects can be transferred to human bodies. Secondly, the coloring of paradise, albeit not rich, corresponds to the multicolor criterion characteristic of medieval artistic thinking: paradise is interpreted as a “decorated” place (in this respect it correlates with “decorated” speech in rhetorical theory), and decoration requires the presence of “colores” (As in rhetoric, embellishment is achieved by using verbal “colores”, i.e. tropes and figures).
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Stoddard, Mary Caswell, Harold N. Eyster, Benedict G. Hogan, Dylan H. Morris, Edward R. Soucy, and David W. Inouye. "Wild hummingbirds discriminate nonspectral colors." Proceedings of the National Academy of Sciences 117, no. 26 (June 15, 2020): 15112–22. http://dx.doi.org/10.1073/pnas.1919377117.
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Many animals have the potential to discriminate nonspectral colors. For humans, purple is the clearest example of a nonspectral color. It is perceived when two color cone types in the retina (blue and red) with nonadjacent spectral sensitivity curves are predominantly stimulated. Purple is considered nonspectral because no monochromatic light (such as from a rainbow) can evoke this simultaneous stimulation. Except in primates and bees, few behavioral experiments have directly examined nonspectral color discrimination, and little is known about nonspectral color perception in animals with more than three types of color photoreceptors. Birds have four color cone types (compared to three in humans) and might perceive additional nonspectral colors such as UV+red and UV+green. Can birds discriminate nonspectral colors, and are these colors behaviorally and ecologically relevant? Here, using comprehensive behavioral experiments, we show that wild hummingbirds can discriminate a variety of nonspectral colors. We also show that hummingbirds, relative to humans, likely perceive a greater proportion of natural colors as nonspectral. Our analysis of plumage and plant spectra reveals many colors that would be perceived as nonspectral by birds but not by humans: Birds’ extra cone type allows them not just to see UV light but also to discriminate additional nonspectral colors. Our results support the idea that birds can distinguish colors throughout tetrachromatic color space and indicate that nonspectral color perception is vital for signaling and foraging. Since tetrachromacy appears to have evolved early in vertebrates, this capacity for rich nonspectral color perception is likely widespread.
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Aisyah, Aisyah. "Permainan Warna Berpengaruh Terhadap Kreativitas Anak Usia Dini." Jurnal Obsesi : Jurnal Pendidikan Anak Usia Dini 1, no. 2 (December 30, 2017): 118. http://dx.doi.org/10.31004/obsesi.v1i2.23.
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The world is full of colors, and the kids love the bright colors. When pre-school age, they also like to use bright colors like red, yellow, blue, or rainbow colors (mejikuhibiniu). Though in this world there are not only these colors, but hundreds or thousands of colors. So when they use crayons that amount to 12 colors, that look only limited to existing colors. They know less or may not even know that from the 12 existing colors they can get other new colors. This study aims to prove that the color game given to Kindergarten students can improve the creativity of children in coloring the image. Early. The benefits of this research is expected to contribute in order to understand the existence of color game activities in improving the creativity of children Early Age. Data collection by check list and observation techniques, and processed in a nonstatistik way or can also be referred to as a simple statistical analysis by finding percentages. The results show that color games are significant to influencing the creativity of young children.
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Chomko, Jolanta. "Nazwy barw w opisach przyrody nieożywionej (na materiale opowiadań Aleksandra Grina)." Studia Wschodniosłowiańskie 20 (2020): 167–87. http://dx.doi.org/10.15290/sw.2020.20.12.
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The analysis of color names provides valuable information about the models of perception, association and interpretation models of the world presented in a literary work. The main porpuose of his paper is to reconstruct a fragment of the color picture of the world of the outstanding Russian writer Aleksander Grin. The subject of analysis are the names of colors used by the novel’s author to describe inanimate nature objects, which can be divided into three classes: 1) surface water, 2) surface and rocky ground, 3) air and weather phenomena. Aleksander Grin uses in his novels numerous color names to create pictures of inanimate nature, which represent four fields of chromatic colours: blue, green, red and yellow, and three fields of achromatic colors: white, black and grey. The words, referring to colours, used in the analysed works are represented by different parts of speech – not only adjectives (15 lexems), but also nouns (6), adverbs (1), verbs (2) and participles (2).
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Chen, Yuyilan, Yuqian Dai, Li Li, Chenqu Ma, and Xiaogang Liu. "A Graph-Based Representation Method for Fashion Color." Applied Sciences 12, no. 13 (July 3, 2022): 6742. http://dx.doi.org/10.3390/app12136742.
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Fashion color research takes the color information of fashion apparel as the major focus for further studies, such as style categorization or trend prediction. However, the colors in apparel are treated as isolated elements from each other, disregarding the fact that not only the attributes of each color itself but also the collocation relationship of the colors in apparel are important color factors. To provide a more comprehensive abstraction of the information from the fashion colors as well as emulating the human cognition of fashion colors, in this paper, we are the first to propose a knowledge graph-based representation method that captures not only the individual colors but also abstracts the spatial relation of all the colors that appear in a single piece of fashion apparel. This method provides the fundamental definition of the abstraction of the relation of colors, a detailed method to construct the color graph, as well as the practical matrix-based management and the visualization of the constructed graphs. The case studies for color data extraction and extended usage demonstrate the effectiveness of our method with comprehensive color data representation and effective information extraction.
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Chittka, Lars. "BEE COLOR VISION IS OPTIMAL FOR CODING FLOWER COLOR, BUT FLOWER COLORS ARE NOT OPTIMAL FOR BEING CODED—WHY?" Israel Journal of Plant Sciences 45, no. 2-3 (May 13, 1997): 115–27. http://dx.doi.org/10.1080/07929978.1997.10676678.
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Model calculations are used to determine an optimal color coding system for identifying flower colors, and to see whether flower colors are well suited for being encoded. It is shown that the trichromatic color vision of bees comprises UV, blue, and green receptors whose wavelength positions are optimal for identifying flower colors. But did flower colors actually drive the evolution of bee color vision? A phylogenetic analysis reveals that UV, blue, and green receptors were probably present in the ancestors of crustaceans and insects 570 million years ago, and thus predate the evolution of flower color by at least 400 million years. In what ways did flower colors adapt to insect color vision? The variability of flower color is subject to constraint. Flowers are clustered in the bee color space (probably because of biochemical constraints), and different plant families differ strongly in their variation of color (which points to phylogenetic constraint). However, flower colors occupy areas of color space that are significantly different from those occupied by common background materials, such as green foliage. Finally, models are developed to test whether the colors of flowers of sympatric and simultaneously blooming species diverge or converge to a higher degree than expected by chance. Such effects are indeed found in some habitats.
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Pohsun, Wang, and Zhou Junling. "The Color Expressions in the Traditional Costumes of Taiwanese Indigenous Peoples." South Florida Journal of Development 2, no. 5 (November 17, 2021): 7539–49. http://dx.doi.org/10.46932/sfjdv2n5-089.
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With respect to both fiber and color the clothing material of Taiwan’s indigenous people came predominantly from nature. Atayal woven materials are a distinct example of how ethnic symbolism can be expressed through the combining of color and fabric patterns in weaving and dying. In order to understand Atayal fabric color use and distribution, this research first utilizes PANTONE FASHION + HOME cotton planner to contrast fabric color, and after comparison, color specimens are input one at a time into Color Schemer Studio’s color wheel statistics system. In order to analyze Atayal fabric colors, this study particularly performs color scope analysis on sub-groups for which research specimens are relatively abundant, such as the Tayal’s Beishi group and Nanao Group; and the Sediq’s Wushe Group, Wanda Group, and Taroko Group. Beishi group fabrics use a comparatively wide range of color and a more diverse number of combinations. The main colors they use include white, red, orange, yellow, green, blue, and other colors. The colors used by the Wushe Group and Wanda Group in their fabrics include white, red, blue and others. While the number of specimens collected for this study is limited, it is possible to understand, what the color preferences of sub-tribes are through their color schemes. The most predominant color schemes involve similar colors, contrasting colors, and complimentary colors.
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Guryanova, Olga A., Artem Yu Gnibeda, and Elena V. Filimonova. "Investigation of color differences in the reproduction of memorable colors on visualization devices." Journal Of Applied Informatics 16, no. 96 (December 24, 2021): 113–30. http://dx.doi.org/10.37791/2687-0649-2021-16-6-113-130.
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This work is devoted to the study of changes in color coordinates on various visualization devices during color reproduction, in particular smartphones, as one of the most commonly used devices in the modern world, which is associated with the hardware dependence of the color reproduction system. The purpose of the work is to select visualization tools, determine their technical characteristics, determine test colors for visualization on various devices, determine the tolerances in reproduction of each color when using various viewing devices. To achieve the goal, such tasks were set as the selection of images containing memorable colors. These colors are fundamental in determining the tolerances in color reproduction, since information about them is inherent in each person on the basis of his life experience and knowledge, and a change in the reproduction of memorable colors, a violation in color rendering, is the most visually noticeable. Memorable colors are converted into samples – test objects, which are used to determine coordinates in a device-independent color space. Determination of tolerances is made when changing color reproduction through the use of selective (color) correction. When solving the problem, it was noted that there are colors in which, with small changes in color coordinates, the visual component changes to a sufficiently strong degree, while other colors, with a numerically identical change, do not visually change. For the selected colors on various visualization tools, the difference in color reproduction is calculated and the calculations of color differences for different models of viewing devices with a visual difference in perception are given.
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Ignatov, I., and T. P. Popova. "Graphical modeling of additive color mixing. Analyses of electromagnetic effects as colors of the vision analyzer." Medicni perspektivi 29, no. 2 (June 28, 2024): 11–17. http://dx.doi.org/10.26641/2307-0404.2024.2.307463.
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The human visual analyzer is a high form of evolution. Some jellyfish can distinguish light and dark objects with sensitive cells. Squids, octopuses, and nautiluses from Cephalopods family have eyes with which they can see objects. Visual information is processed in the brain. In fishes, the visual analyzer evolved. Fishes living below 100 m depth inhabit a world with blue light. The authors consider the evolution of vision in these fishes due to the lowest absorption of blue and violet colors of electromagnetic waves from the optical spectrum. Subsequently, on land, in humans vision evolved towards the green color. Green is the most prevalent color on the land. In humans, three light-sensitive cones evolved – S, M, and L. S cones are most sensitive to blue, M – to green, and L – to red color in the spectrum. Some humans retain sensitivity of S to genetic changes and disorders. Additive color mixing is a high form of color perception in humans. The additive mixing of different colors achieves a new color in the human visual analyzer. Remarkably, different individuals perceive observed images in varying manners. Mixing neighboring colors on the spectrum gives one, two, or three colors. This process is estimated using graphical modeling. The graphical modeling with two colors allows for the creation of additive colors. One, two, or three additive colors can be obtained. The production of colors results from the light sensitivity of S, M, and L cones. An analysis that physically demonstrates the mixing of green and red colors, resulting in the colors yellow or orange. When blue and red are mixed, the resulting colors are green, yellow, and orange is proposed. The additive mixing of blue and yellow gives green. The subjective nature of visual perception, influenced by the viewer’s heightened sensitivity to one of the colors, becomes evident in the presence of two colors. Notably, when the background is violet, the sensitivity of the blue cones diminishes.
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Buchanan, Laura E., Megan E. Schwamb, Wesley C. Fraser, Michele T. Bannister, Michaël Marsset, Rosemary E. Pike, David Nesvorný, et al. "Col-OSSOS: Probing Ice Line/Color Transitions within the Kuiper Belt’s Progenitor Populations." Planetary Science Journal 3, no. 1 (January 1, 2022): 9. http://dx.doi.org/10.3847/psj/ac42c9.
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Abstract Dynamically excited objects within the Kuiper Belt show a bimodal distribution in their surface colors, and these differing surface colors may be a tracer of where these objects formed. In this work, we explore radial color distributions in the primordial planetesimal disk and implications for the positions of ice line/color transitions within the Kuiper Belt’s progenitor populations. We combine a full dynamical model of the Kuiper Belt’s evolution due to Neptune’s migration with precise surface colors measured by the Colours of the Outer Solar System Origins Survey in order to examine the true color ratios within the Kuiper Belt and the ice lines within the primordial disk. We investigate the position of a dominant, surface color–changing ice line, with two possible surface color layouts within the initial disk: (1) inner neutral surfaces and outer red and (2) inner red surfaces and outer neutral. We performed simulations with a primordial disk that truncates at 30 au. By radially stepping the color transition out through 0.5 au intervals, we show that both disk configurations are consistent with the observed color fraction. For an inner neutral, outer red primordial disk, we find that the color transition can be at 28 − 3 + 2 au at a 95% confidence level. For an inner red, outer neutral primordial disk, the color transition can be at 27 − 3 + 3 au at a 95% confidence level.
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Zhehong Wang, Zhehong Wang, and Haisong Xu Haisong Xu. "Evaluation of small suprathreshold color differences under different background colors." Chinese Optics Letters 12, no. 2 (2014): 023301–23304. http://dx.doi.org/10.3788/col201412.023301.
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Twomey, Colin R., Gareth Roberts, David H. Brainard, and Joshua B. Plotkin. "What we talk about when we talk about colors." Proceedings of the National Academy of Sciences 118, no. 39 (September 23, 2021): e2109237118. http://dx.doi.org/10.1073/pnas.2109237118.
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Names for colors vary widely across languages, but color categories are remarkably consistent. Shared mechanisms of color perception help explain consistent partitions of visible light into discrete color vocabularies. But the mappings from colors to words are not identical across languages, which may reflect communicative needs—how often speakers must refer to objects of different color. Here we quantify the communicative needs of colors in 130 different languages by developing an inference algorithm for this problem. We find that communicative needs are not uniform: Some regions of color space exhibit 30-fold greater demand for communication than other regions. The regions of greatest demand correlate with the colors of salient objects, including ripe fruits in primate diets. Our analysis also reveals a hidden diversity in the communicative needs of colors across different languages, which is partly explained by differences in geographic location and the local biogeography of linguistic communities. Accounting for language-specific, nonuniform communicative needs improves predictions for how a language maps colors to words, and how these mappings vary across languages. Our account closes an important gap in the compression theory of color naming, while opening directions to study cross-cultural variation in the need to communicate different colors and its impact on the cultural evolution of color categories.
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Shirashige, Yu, Hideaki Orii, Hideaki Kawano, Hiroshi Maeda, and Norikazu Ikoma. "Chromatic Vision Support System with Color Conversion Constraints." Journal of Advanced Computational Intelligence and Intelligent Informatics 17, no. 2 (March 20, 2013): 176–84. http://dx.doi.org/10.20965/jaciii.2013.p0176.
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The symptoms of “color blindness” are due to an innate lack or deficit of “cone cells” that recognize colors. People with color blindness have difficulty discriminating combinations of specific colors. In this study, we developed a system to support color blindness. In this system, the brightness of colors is modified using a projector-camera system. Images that contain combinations of specific colors are difficult to discriminate using a camera, so this task is performed by a projector. We conducted experiments, to validate our proposed system using various color combinations.
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Chae, Youngjoo. "The color appearance shifts of woven fabrics induced by the optical blending of colored yarns." Textile Research Journal 90, no. 3-4 (August 13, 2019): 395–409. http://dx.doi.org/10.1177/0040517519869388.
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This study investigated the effect of individual yarn colors and their blending on the color appearance of woven fabrics by comparing them with solid colors. Woven fabrics often obtain their colors through blends of different colored yarns. When the blends are seen from far enough away, the individual yarn colors are optically mixed in our eyes and perceived as a new solid color that is not actually present. To examine this optical color mixing effect, red, yellow, green, and blue yarns were woven together to produce 36 fabrics in a wide range of colors, the values of which were measured spectrophotometrically. The spectrophotometric values were generated as solid color images on a calibrated cathode ray tube (CRT) monitor. Then the fabrics were scanned and the scanned images were displayed beside their corresponding solid color images on the CRT monitor to assess their differences in lightness, colorfulness, and hue. The results showed that, although the fabrics and their corresponding solid colors had identical CIELAB color values, they appeared significantly different in terms of all lightness, colorfulness, and hue. It was found that the lightness differences of fabrics from solid colors vary with the overall L*, C*, and h° of the fabrics, the colorfulness differences vary with the L*, C*, and h°, and the number of yarn colors in the fabrics and the hue differences vary with the h°. Based on these effects, color appearance models to predict the perceived lightness, colorfulness, and hue of woven fabrics were developed.
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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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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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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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Mo, Haifang, Bugao Xu, Wenbin Ouyang, and Jiangqing Wang. "Color segmentation of multi-colored fabrics using self-organizing-map based clustering algorithm." Textile Research Journal 87, no. 3 (July 20, 2016): 369–80. http://dx.doi.org/10.1177/0040517516631307.
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Fabric prints may contain intricate and nesting color patterns. To evaluate colors on such a fabric, regions of different colors must be measured individually. Therefore, precise separation of colored patterns is paramount in analyzing fabric colors for digital printing, and in assessing the colorfastness of a printed fabric after a laundering or abrasion process. This paper presents a self-organizing-map (SOM) based clustering algorithm used to automatically classify colors on printed fabrics and to accurately partition the regions of different colors for color measurement. The main color categories of an image are firstly identified and flagged using the SOM’s density map and U-matrix. Then, the region of each color category is located by divining the U-matrix map with an adaptive threshold, which is determined by recursively decreasing it from a high threshold until all the flagged neurons are assigned to different regions in the divided map. Finally, the regions with high color similarity are merged to avoid possible over-segmentation. Unlike many other clustering algorithms, this algorithm does not need to pre-define the number of clusters (e.g. main colors) and can automatically select a distance threshold to partition the U-matrix map. The experimental results show that the intricate color patterns can be precisely separated into individual regions representing different colors.
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Febiola, Natasya Anggia, and Yuliarma Yuliarma. "A Study on the Colors of Traditional Blongket Weaving Fabric at Griya Kain Tuan Kentang, Palembang City." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 26, no. 2 (December 23, 2024): 320. https://doi.org/10.26887/ekspresi.v26i2.4853.
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Each woven product from various regions has its own uniqueness, because it comes from a different source of ideas. One example is Blongket weaving, which has unique characteristics. The most prominent feature in this study is the type of color and color combination in the Blongket woven fabric which is processed with a limar technique that makes a variety of colors. Until now, the uniqueness of the type of color and the combination of colors with the process of being smeared has not been widely known by the public in general. This study aims to study the types of colors and color combinations in Blongket weaving in Griya Kain Tuan Kentang. This research method uses a qualitative research method that requires informants, with data collection techniques namely interviews, observations, and documentation. The results of this study found 1) The types of colors in model 1 fabric were found in 5 colors including purple, white, green, gold, and brown. On the model 2 fabric, 5 colors were found including blue, pink, yellow, dark blue, and green. On the model 3 fabric, 6 colors were found including green, brown, dark blue, blue, purple, and white. 2) Color combinations in this study found tetrad color combinations
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Allen, Charles K. "Encoding of Colors in Short-Term Memory." Perceptual and Motor Skills 71, no. 1 (August 1990): 211–15. http://dx.doi.org/10.2466/pms.1990.71.1.211.
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A theory is proposed to explain results from prior experiments on release from proactive inhibition and the recall of colors or color names in short-term memory. It is assumed that colors are encoded in two ways, verbally and perceptually, while color names are encoded only verbally. Assuming that the release occurs when a new and different encoding is performed on changed material, it follows that release from proactive inhibition should occur with shifts from color names to colors but not with shifts in the opposite direction. These results were obtained in prior experiments. In the present experiment ambiguous colors were used to minimize the verbal encoding. As predicted, release from proactive inhibition was found with shifts from ambiguous colors to names as well as with shifts from names to the ambiguous colors.
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Madaras, Tomáš, Alfréd Onderko, and Thomas Schweser. "Edge homogeneous colorings." Opuscula Mathematica 42, no. 1 (2022): 65–73. http://dx.doi.org/10.7494/opmath.2022.42.1.65.
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We explore four kinds of edge colorings defined by the requirement of equal number of colors appearing, in particular ways, around each vertex or each edge. We obtain the characterization of graphs colorable in such a way that the ends of each edge see (not regarding the edge color itself) \(q\) colors (resp. one end sees \(q\) colors and the color sets for both ends are the same), and a sufficient condition for 2-coloring a graph in a way that the ends of each edge see (with the omission of that edge color) altogether \(q\) colors. The relations of these colorings to \(M_q\)-colorings and role colorings are also discussed; we prove an interpolation theorem for the numbers of colors in edge coloring where all edges around each vertex have \(q\) colors.
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Joo, Deh Won. "Analysis of Pantone Uncoated Color Guide for Korean Traditional Standard Colors of National Museum of Modern and Contemporary Art (MMCA)." Korea Institute of Design Research Society 10, no. 1 (March 31, 2025): 156–67. https://doi.org/10.46248/kidrs.2025.1.156.
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This study aims to analyze the Pantone uncoated color guide by examining the minimum color difference based on the Munsell notation(H V/C) of Korean traditional standard colors of National Museum of Modern and Contemporary Art (MMCA). This research follows a previous study that analyzed the Pantone coated color guide. The matte Pantone color guide is widely used across various design fields, including graphics, products, fashion, automobiles, architecture, interior, and environmental design. The research methods include literature review, color management software conversion, and website analysis. As a result, we calculated the L*a*b* values under the D50 standard illuminant for the matte Pantone candidate color numbers, proposing 89 matte Pantone colors with the minimum color difference (dE*ab). The findings of this research are as follows: 1. Among the matte Pantone color guide, 82 colors (92.13%) achieved a tolerance rating higher than B-grade. 2. The 82 colors above the B-grade tolerance identified in this study match the number of colors found in a preliminary study on Pantone coated color guide. Additionally. 3. The four colors that received a C-grade tolerance can serve as a reference for a similar color chart in design fields related to traditional culture.
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Adjah, John, Stephen Bekoe, Agnes Decardi-Nelson, Lucy Afeafa Ry-Kottoh, and Joshua Kalognia. "Color preferences among selected adults in Ghana." Journal of Graphic Engineering and Design 15, no. 1 (March 2024): 15–22. http://dx.doi.org/10.24867/jged-2024-1-015.
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This paper presents a study on color preferences among a sample of Ghanaian adults. Two surveys were conducted, with a total of 143 participants (50 in Survey 1, and 93 in Survey 2). The participants completed both printed and digital questionnaires to gather data on their color preferences. The results showed that blue was the most preferred color by both males and females in general, but not for specific items. In survey 2, a chi-square test on categorical variables revealed a significant relationship between gender and preference for light, dark, or bright colors (p=0.025), as well as gender and number of preferred colors per personal item (p=0.02). However, no significant relationships were found between gender and change of colors from childhood (p=0.73), gender and number of preferred colors (p=0.204), gender and most preferred colors (p=0.216), age, and the number of preferred colors (p=0.19). Interestingly, 66.3% of the participants in Survey 2 indicated that their preferred colors were based on innate attraction, regardless of whether their color preferences had changed or remained the same since childhood. Overall, blue and red were the most preferred colors, with a score of 34.4%. These findings provide valuable insights for design practitioners and communicators and offer a basis for future research on color preferences among Ghanaians.
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Qi, Yan, Xue Rong Fan, Rong Rong Cui, and Qiang Wang. "Analysis of Color Symbology Focused on Folk Costume Colors in Northern and Southern Regions of China during Republic Period." Advanced Materials Research 331 (September 2011): 156–59. http://dx.doi.org/10.4028/www.scientific.net/amr.331.156.
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Costume Color Samples from the Rural Areas in Northern and Southern Regions of China during the Republic Period Were Collected, Measured with a Spectrophotometer, and the Symbolization of Colors as Cultural Codes Were Analyzed by the Q-model. the Results Show that Red,Blue and Black which Are Included in the Traditional Five Colors System Are More Frequently-used Colors in the Northern Region, and Dark Grayish Blue and Black Are More Significant Colors of High Frequency in the Southern Region. these Colors All Acted as Cultural Codes with Cultural Significance. this Paper Furthers Understanding of Color Symbology from Perspective of Cultural Semiotics Focused on Folk Costume Colors.
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Chetverikov, Andrey, Gianluca Campana, and Árni Kristjánsson. "Representing Color Ensembles." Psychological Science 28, no. 10 (September 2017): 1510–17. http://dx.doi.org/10.1177/0956797617713787.
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Colors are rarely uniform, yet little is known about how people represent color distributions. We introduce a new method for studying color ensembles based on intertrial learning in visual search. Participants looked for an oddly colored diamond among diamonds with colors taken from either uniform or Gaussian color distributions. On test trials, the targets had various distances in feature space from the mean of the preceding distractor color distribution. Targets on test trials therefore served as probes into probabilistic representations of distractor colors. Test-trial response times revealed a striking similarity between the physical distribution of colors and their internal representations. The results demonstrate that the visual system represents color ensembles in a more detailed way than previously thought, coding not only mean and variance but, most surprisingly, the actual shape (uniform or Gaussian) of the distribution of colors in the environment.
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Li, Chun Ling, and Chang Hou Lu. "Influence of Nanosecond Laser Processing Parameters on the Titanium Alloy Surfaces Colorization." Key Engineering Materials 744 (July 2017): 223–27. http://dx.doi.org/10.4028/www.scientific.net/kem.744.223.
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Laser color marking experiments on titanium alloy substrates were carried out to investigate the impact of selected laser processing parameters on the resulting colors. The CIE L*a*b* color space was used to quantify these colors. The surface roughness of the marked color areas was measured by using a TR200 hand-held surface roughness instrument. The relationships between laser parameters and CIE L*a*b* values and surface roughness of the colors were obtained. Results clearly showed that different colors ranging from blue and gray to yellow were produced. Some colors can be obtained by different sets of parameters, while some colors can only be produced by a specific combination of process parameters due to the existence of different forms of heat input and thermal process. The b* value increased to the maximum which represented yellow then decreased. The surface roughness of color areas decreased with the increase of focal plane offset, scanning velocity, or hatch space.
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Koenderink, Jan, Andrea van Doorn, and Karl Gegenfurtner. "Colors and Things." i-Perception 11, no. 6 (November 2020): 204166952095843. http://dx.doi.org/10.1177/2041669520958431.
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How many colors are there? Quoted numbers range from ten million to a dozen. Are colors object properties? Opinions range all the way from of course they are to no, colors are just mental paint. These questions are ill-posed. We submit that the way to tackle such questions is to adopt a biological approach, based on the evolutionary past of hominins. Hunter-gatherers in tundra or savannah environments have various, mutually distinct uses for color. Color differences aid in segmenting the visual field, whereas color qualia aid in recognizing objects. Classical psychophysics targets the former, but mostly ignores the latter, whereas experimental phenomenology, for instance in color naming, is relevant for recognition. Ecological factors, not anatomical/physiological ones, limit the validity of qualia as distinguishing signs. Spectral databases for varieties of daylight and object reflectance factors allow one to model this. The two questions are really one. A valid question that may replace both is how many distinguishing signs does color vision offer in the hominin Umwelt? The answer turns out to be about a thousand. The reason is that colors are formally not object properties but pragmatically are useful distinguishing signs.
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Izmailov, Ch A., and E. N. Sokolov. "A Semantic Space of Color Names." Psychological Science 3, no. 2 (March 1992): 105–10. http://dx.doi.org/10.1111/j.1467-9280.1992.tb00007.x.
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Three Russian subjects learned arbitrary pairings between 20 colors and 20 three-letter artificial color names. After different amounts of this training, the subjects rated the difference between the colors associated with every pair of artificial names when these names were presented without the colors. Multidimensional scaling of the ratings after a small amount of training revealed a grouping of the words into four semantic clusters corresponding to the following groups of related colors: the violets, the blues, the greens, and the yellows-through-reds. After more extensive training, multidimensional scaling yielded the full color circle of hues. Further analysis of the data indicated that a spherical model previously proposed by the authors for sensory color space has advantages, also, for the semantic color space obtained when only the names of colors are presented. The results are interpreted in terms of a two-stage process of neuronal analysis of visual inputs in which the activity of four color-opponent channels is followed by differential activation of cells tuned to specific colors.
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Zhang, Jianxin, Junkai Wu, Xudong Hu, and Xinen Zhang. "Multi-color measurement of printed fabric using the hyperspectral imaging system." Textile Research Journal 90, no. 9-10 (November 4, 2019): 1024–37. http://dx.doi.org/10.1177/0040517519883953.
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Printed fabrics usually have multiple colors and intricate patterns, which make it difficult to directly measure the colors of the printed fabrics with a traditional spectrophotometer. However, a hyperspectral imaging system (HIS) can measure multiple colors since it acquires the spectral reflectance of a continuous band at every point of the fabric. For multiple-color printed fabrics, color segmentation is also very important. In this paper, color measurement of printed fabrics using the HIS was implemented; an algorithm which combines the self-organizing map (SOM) algorithm and the density peaks clustering (DPC) algorithm was then proposed to automatically determine the number of colors on the printed fabric and accurately segment the color regions for measurement. Firstly, the SOM algorithm was used to identify the main clusters, the DPC algorithm with Silhouette Index was then used to identify the optimal number of colors and merge the clusters. Experimental results show that this algorithm not only automatically determines the optimal number of colors for printed fabric and achieves accurate color segmentation, but requires less time for execution.
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Liou, Jeih-Jang. "A Novel Color Recognition Model for Improvement on Color Differences in Products via Grey Relational Grade." Axioms 10, no. 4 (October 20, 2021): 266. http://dx.doi.org/10.3390/axioms10040266.
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ED light, a green energy-saving light source, can cause color cast. For this reason, LED light is seldom favored by designers. The purpose of the paper is to provide shoppers who are observing product colors in an LED-lighted setting with an innovative color identification model. Based on designers’ product color comparison, the paper employs high-reliability mechanic visual perception in combination with grey relational grade. Grey relational grade is applied to eliminate electrical fault pertaining to mechanic visual perception, whereby appropriate LED parameters and color cast inclination can be obtained. The paper first mimics retail store display windows. The color temperature and illuminance of LED light sources are adjustable. Two degrees of illuminance, including high illuminance (1500 lux) and low illuminance (500 lux), and two light source color temperatures, including yellow light (2700 K) and white light (4000 K), were assigned for study. Four colors, including red, yellow, blue and green of the natural color system, were selected as product colors. The mechanic visual perception sensor was used to identify the object (product) color, which is then converted into an RGB color model to serve as research data of color cast measurement, and the grey relational grade was applied to obtain the most appropriate LED light parameters and the color cast of the four colors. The data analysis reveals that green shows the least color cast when it is lighted by a yellow LED light source with low illuminance, yellow and blue have the least color cast when it is lighted by a white LED light source with high illuminance and red displays the least color cast when it is lighted by a white LED light source with low-illuminance. The analysis also indicates each color’s cast inclination in blackness, chromaticness and hue. As a result, LED light that is more acceptable to designers is suggested for display windows, thus reducing problems with product color cast.
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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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Zhang, Yangyang, Pohsun Wang, Wei Wei, and Zhen Wang. "How to Construct an Urban Color System? Taking the Historic Center of Macau as an Example." Buildings 14, no. 9 (September 11, 2024): 2874. http://dx.doi.org/10.3390/buildings14092874.
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This study focuses on the environmental colors of the Historic Center of Macau, seeking pathways to develop an urban color system to construct a high-quality urban aesthetic environment and enhance the overall visual image of the city. Based on Lenclos’s color geography and Shingo Yoshida’s environmental color planning method, this study conducted on-site color measurement, extraction, photographic documentation, numerical analysis, and color cataloging of the architecture, plazas, landscapes, and primary public facilities in Macau’s historical district. Through comprehensive environmental color investigation and analyses, the study aimed to construct a color system for Macau’s historical district, finally identifying 60 characteristic colors emblematic of the area. This study also uncovered issues, such as the lack of a unified management mechanism for environmental colors, insufficient coherence and correlation among regional colors, or the scarcity of striking colors. Ultimately, the proposed systematic approach to urban color can offer effective concepts for planning, design, and management, facilitating the creation of color expressions that align with Macau’s unique characteristics and thereby elevating the city’s overall visual image.
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Jain, Sandhya. "LANGUAGE OF COLORS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3665.
Full textAbstract:
Colors have their own language. Color is our life. These colors spread their color in different walks of life. Food, food, living, worship, religious activities are all associated with different colors. Every person in this theater of the world is painted in some or the other color. The feeling of colors comes from seeing and touching. Our life without colors is the same as that of a body without life. In nature beauty, where these colors apply four moons, while human life also makes it succulent, pleasant and colorful. Aabal recognizes objects with old colors. The hue of rainbow colors made of seven colors attracts our mind a lot. Whether it is the redness of the sun, the blue of the space, the black color of the clouds or the series of mountains covered with snowy white sheets - the amazing beauty of all fascinates us.
रंगों की अपनी भाषा है। रंग ही हमारा जीवन हैं। जीवन के विविध क्षेत्रों में ये रंग अपनी छटा बिखेरते हैं। खान-पान, रहन-सहन, पूजा-पाठ, धर्म-कर्म सभी तो विविध रंगों से जुडे हुए हैं।दुनिया के इस रंगमंच पर हर इंसान किसी-न-किसी रंग में रंगा हुआ है। रंगों की अनुभूति देखने व स्पर्ष करने से होती है।रंगों के बिना हमारा जीवन ठीक वैसा ही है, जैसे प्राण बिना शरीर । प्रकृति सौंदर्य में जहाँ ये रंग चार चाँद लगाते हैं वहीं मानव जीवन को भी सरस, सुखद व रंगीन बना देते हैं ।आबाल वृद्ध रंगों से वस्तुओं को पहचान लेता है। सात रंगों से निर्मित इन्द्रधनुष के रंगों की छटा हमारे मन को बहुत आकर्षित करती है। सूर्य की लालिमा हो, अंतरिक्ष की नीलाभा हो, मेघों का श्याम रंग हो या पर्वतों की श्रृंखला बर्फीली सफेद चादर ओढ़े हुए हो - सभी का अद्भुत सौंदर्य हमें मोहित कर लेता है।
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Choi, Young-Mee, and Seunghee Bae. "A Study on Foundation Color Classification with the Application of Personal Colors." Asian Journal of Beauty and Cosmetology 22, no. 2 (June 30, 2024): 323–34. http://dx.doi.org/10.20402/ajbc.2024.0021.
Full textAbstract:
Purpose: The purpose of this study was to classify foundation colors by applying personal colors and then was to figure out the consistency in base and brightness between the personal color system (PCS) foundation colors with the face and skin color measurement and the self-diagnosis foundation colors.Methods: The research subjects included 40 women aged 20–50 years who lived in capital area. The data were analyzed with frequency and percentage analysis, χ<sup>2</sup>-test, and one-way ANOVA, <i>t</i>-test using SPSS WIN 27.0.Results: The foundation colors were inspected according to a personal color type. Consequently, the foundation colors appeared to be the Warm (Yellow) base as a type of spring and autumn of being sorted into Warm tone type, the Cool (Pink) base color as a type of summer and winter of being categorized into Cool tone, No. 21 brightness as a type of spring and summer, and No. 23 brightness as a type of autumn and winter.Conclusion: The results of this study can be considered to be what the PCS foundation color classification is available through the personal color application and to be what the outcome on women’s self-diagnosis foundation color measurement increases the availability of PCS foundation color classification. These findings arranged a theoretical ground on the skin color expression suiting themselves and on color matching through applying personal colors when women select foundation colors and are expected to be likely used as basic data in beauty field.