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Journal articles on the topic 'Colour science'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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1

Luo, Ming Ronnier. "Applying colour science in colour design." Optics & Laser Technology 38, no. 4-6 (June 2006): 392–98. http://dx.doi.org/10.1016/j.optlastec.2005.06.025.

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2

MERTENS, JOOST. "CHARLES BOURGEOIS (1759-1832), HIS ANTINEWTONIAN COLOUR THEORY AND THE RECONCILEMENT OF ART AND SCIENCE." Nuncius 22, no. 1 (2007): 15–48. http://dx.doi.org/10.1163/182539107x00022.

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Abstracttitle ABSTRACT /title Between 1810 and 1825, Charles Bourgeois (1759-1832), miniaturist, pigment manufacturer and physicist, developed a colour optics that defied both the Newtonian view of the composite nature of white light and the widely accepted strict separation between science and the arts. In this paper four themes are discussed: the general rules of colour mixing and the resulting three-dimensional colour space CEI (Couleur, Excdent, Intensit); Bourgeois' theory of light as a vehicle for non-luminous colours; His attempt at disproving Newton's central principle of the unequal refrangibility of different colours; and his relation, or rather non-relation, with the Royal Academy of Sciences which considered Bourgeois' theory of light a piece of nonsense.
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3

Burggraaff, Olivier, Sanjana Panchagnula, and Frans Snik. "Citizen science with colour blindness: A case study on the Forel-Ule scale." PLOS ONE 16, no. 4 (April 19, 2021): e0249755. http://dx.doi.org/10.1371/journal.pone.0249755.

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Many citizen science projects depend on colour vision. Examples include classification of soil or water types and biological monitoring. However, up to 1 in 11 participants are colour blind. We simulate the impact of various forms of colour blindness on measurements with the Forel-Ule scale, which is used to measure water colour by eye with a 21-colour scale. Colour blindness decreases the median discriminability between Forel-Ule colours by up to 33% and makes several colour pairs essentially indistinguishable. This reduces the precision and accuracy of citizen science data and the motivation of participants. These issues can be addressed by including uncertainty estimates in data entry forms and discussing colour blindness in training materials. These conclusions and recommendations apply to colour-based citizen science in general, including other classification and monitoring activities. Being inclusive of the colour blind increases both the social and scientific impact of citizen science.
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4

Costall, Alan. "“Colour science” and the autonomy of colour." Behavioral and Brain Sciences 20, no. 2 (June 1997): 185. http://dx.doi.org/10.1017/s0140525x97281422.

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At the close of their searching critique, Saunders & van Brakel raise, but do not address, the question: “Whither colour research?” There are two distinct traditions of colour research, one based on disembodied coloured lights and another on surface colour. The coherence and integrity of both these traditions are challenged by the nonautonomy of colour.
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5

Upadhayay, Ranjana. "A COMPARATIVE STUDY OF COLOUR PREFERENCES TOWARDS CLOTHING AMONG YOUNG GIRLS AND BOYS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–5. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3532.

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Colour, is the visual perceptual property corresponding in human beings to the names called red, green, blue, and so on and so forth. Colours are derived from the spectrum of light, interacting in the eye with the spectral sensitivities of the light receptors. Colour categories and physical specifications are related to objects or materials based on their physical properties such as light absorption, reflection, or emission.The meanings of colors vary according to cultures and environments. Each color has many aspects which may be expressed as the language of color by understanding few concepts. Colour is a form of non-verbal communication. The perception of color stems from varying spectral sensitivity of different types of cone cells in the retina to different parts of the spectrum, and thus colors may be defined and quantified by the degree to which they stimulate these cells.The science of color is called chromatics, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials, color in art, and the physics of electromagnetic radiation in the visible range (that is, what we commonly refer to as light).
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6

Ackroyd, Wm. "THE SCIENCE OF COLOUR." Journal of the Society of Dyers and Colourists 11, no. 10 (October 22, 2008): 166–74. http://dx.doi.org/10.1111/j.1478-4408.1895.tb00073.x.

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7

Carter, Ellen C. "Colour art & science." Color Research & Application 22, no. 1 (February 1997): 65. http://dx.doi.org/10.1002/(sici)1520-6378(199702)22:1<65::aid-col10>3.0.co;2-7.

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8

Westland, Stephen. "Colour science in dentistry." British Dental Journal 196, no. 1 (January 2004): 29. http://dx.doi.org/10.1038/sj.bdj.4810878.

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9

Attridge, G. G. "Colour Science in Photography." Journal of Photographic Science 42, no. 3 (May 1994): 86. http://dx.doi.org/10.1080/00223638.1994.11738576.

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10

Attridge, G. G., and M. R. Pointer. "Colour Science in Photography." Journal of Photographic Science 42, no. 6 (November 1994): 197–209. http://dx.doi.org/10.1080/00223638.1994.11738601.

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11

Carter, Ellen C. "Fifth Colour Imaging Conference: Color science, systems, and applications." Color Research & Application 23, no. 5 (October 1998): 349–51. http://dx.doi.org/10.1002/(sici)1520-6378(199810)23:5<349::aid-col22>3.0.co;2-3.

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12

von Campenhausen, Christoph, and Jürgen Schramme. "100 Years of Benham's Top in Colour Science." Perception 24, no. 6 (June 1995): 695–717. http://dx.doi.org/10.1068/p240695.

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For 100 years Benham's top has been a popular device demonstrating pattern-induced flicker colours (PIFCs). Results of early and recent investigations on PIFCs are reported and show that the phenomenon originates in phase-sensitive lateral interactions of modulated neural activity in the retina followed by additional spatial interactions in the visual cortex behind the locus of binocular fusion. Colour matches with normal colour stimuli indicate that S/(M + L) opponent neurons are involved. Dichromats do not find matching stimuli for all PIFCs. PIFCs may become useful in medical diagnosis. The phenomenon is interpreted as a side effect of a neural mechanism providing colour constancy under normal stimulus conditions.
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13

Burkinshaw, S. M. "Colour in relation to dentistry. Fundamentals of colour science." British Dental Journal 196, no. 1 (January 2004): 33–41. http://dx.doi.org/10.1038/sj.bdj.4810880.

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14

Sharpe, Lindsay T. "A landslide for colour science?" Color Research & Application 12, no. 2 (April 1987): 81–84. http://dx.doi.org/10.1002/col.5080120206.

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15

PATTERSON, DAVID. "The Development of Colour Science." Review of Progress in Coloration and Related Topics 7, no. 1 (October 23, 2008): 46–54. http://dx.doi.org/10.1111/j.1478-4408.1976.tb00233.x.

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16

McLaren, Keith. "Industrial applications of colour science." Physics in Technology 19, no. 2 (March 1988): 51–66. http://dx.doi.org/10.1088/0305-4624/19/2/302.

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17

Ramanath, Rajeev. "Computational Colour Science Using MATLAB." Color Research & Application 30, no. 2 (2005): 155–56. http://dx.doi.org/10.1002/col.20098.

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18

Piskunov, Y. "Practical aspects of colour science in the educational process. Using a limited palette." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 188–92. http://dx.doi.org/10.33838/naoma.27.2018.188-192.

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The paper presents the practical aspects of colour science in the context of the interaction of colours and obtaining certain shades. As a practical teaching methodology, the use of a limited palette of three primary colours in several modifications has been offered. The given individual author's observations and conclusions formed in the process of teaching painting in the higher art school. The paper presents some of the author's observations and conclusions emerged in the process of teaching painting in a higher art school. A practical problem is the shallow knowledge of the physical features of colour, the standardization of the educational palette, the absence of an individual artist's palette. To avoid those problems, the students were asked to use a limited palette instead of the standard one. It is based on three primary colours in different versions. For each task, two options of a basic paints set were offered with the condition that other ready-mixed paints would not be used. The painting task prompted the creation of a wide scale of cold and warm colour tones. Relying on the colour theory, the students had to create their own palette of complementary colours (purple, orange, green), as well as their shades. In the course of work, it turned out that the very fact of the finished palette absence was the most difficult for the students. The first attempts to mix the main colours took a lot of time, but at this stage they began to be more attentive to the properties of paints, to notice the difference in shades, to vary the saturation of colour. Almost all the students have achieved the effect of a wide range of ochre and brown colours and have created a fairly wide palette. The resulting colours have turned out to be easy to reproduce and convenient to use. The results of the work prove that practical tasks with a limited palette use are informative and useful in teaching painting. An empirical research of the interaction of pigments will help students to learn and successfully embody their own painting intentions.
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19

Davies, Will. "Colour Vision and Seeing Colours." British Journal for the Philosophy of Science 69, no. 3 (September 1, 2018): 657–90. http://dx.doi.org/10.1093/bjps/axw026.

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20

Olsson, Peter, Robin D. Johnsson, James J. Foster, John D. Kirwan, Olle Lind, and Almut Kelber. "Chicken colour discrimination depends on background colour." Journal of Experimental Biology 223, no. 24 (October 23, 2020): jeb209429. http://dx.doi.org/10.1242/jeb.209429.

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ABSTRACTHow well can a bird discriminate between two red berries on a green background? The absolute threshold of colour discrimination is set by photoreceptor noise, but animals do not perform at this threshold; their performance can depend on additional factors. In humans and zebra finches, discrimination thresholds for colour stimuli depend on background colour, and thus the adaptive state of the visual system. We have tested how well chickens can discriminate shades of orange or green presented on orange or green backgrounds. Chickens discriminated slightly smaller colour differences between two stimuli presented on a similarly coloured background, compared with a background of very different colour. The slope of the psychometric function was steeper when stimulus and background colours were similar but shallower when they differed markedly, indicating that background colour affects the certainty with which the animals discriminate the colours. The effect we find for chickens is smaller than that shown for zebra finches. We modelled the response to stimuli using Bayesian and maximum likelihood estimation and implemented the psychometric function to estimate the effect size. We found that the result is independent of the psychophysical method used to evaluate the effect of experimental conditions on choice performance.
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21

Arbab, Shabnam, Jonathan A. Brindle, Barbara S. Matusiak, and Christian A. Klöckner. "Categorisation of Colour Terms Using New Validation Tools: A Case Study and Implications." i-Perception 9, no. 2 (March 2018): 204166951876004. http://dx.doi.org/10.1177/2041669518760043.

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This article elaborates on the results of a field experiment conducted among speakers of the Chakali language, spoken in northern Ghana. In the original study, the Color-aid Corporation Chart was used to perform the focal task in which consultants were asked to point at a single colour tile on the chart. However, data from the focal task could not be analysed since the Color-aid tiles had not yet been converted into numerical values set forth by the Commission internationale de l’éclairage (CIE). In this study, the full set of 314 Color-aid tiles were measured for chromaticity and converted into the CIE values at the Daylight Laboratory of the Norwegian University of Science and Technology. This article presents the conversion methodology and makes the results of the measurements, which are available in the Online Appendix. We argue that some visual-perception terms cannot be reliably ascribed to colour categories established by the Color-aid Corporation. This suggests that the ideophonic expressions in the dataset do not denote ‘colours’, as categorised in the Color-aid system, as it was impossible to average the consultants’ data into a CIE chromaticity diagram, illustrate the phenomena on the Natural Colour System (NCS) Circle and Triangle diagrams, and conduct a statistical analysis. One of the implications of this study is that a line between a visual-perception term and a colour term could be systematically established using a method with predefined categorical thresholds.
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22

Vyas, Bhawna. "THE EVER-CONTEMPORARY CHARACTER OF COLOURS AND INTERIOR DECORATION." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (February 25, 2021): 1–10. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3557.

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Colours are, perhaps, as old as the universe is; might be older than that. But, for sure, colours are older than arts and are related to every aspect of human life. A colour gets its identity from the rays it generates. In other words, colours are composed of radiations. Thus, when it is about colours, it is more about science than it is about arts. And science cannot be regional or time-bound; it is always universally and timelessly applicable. This character of colours inspired me to write ‘The Ever-Contemporary Character of Colours and Interior Decoration’ and helped me in taking examples from different periods of history, thus making the research paper interesting.In interior decoration, undoubtedly, line and proportion are the most important elements but it falls to the lot of few to be able to dictate what they desire in these spheres. Most of the people are content to limit their interior decoration activities to colour only, as this can be cheaply applied to the walls and choice of small accessories etc. Moreover, changing the colour also changes the look and ambience of an interior instantly and intensely. It also helps in expressing one’s personality in their interior and these can be easily done with colour. Colour, therefore, plays the major part in decorative schemes.
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23

Longair, Malcolm S. "Maxwell and the science of colour." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 366, no. 1871 (January 25, 2008): 1685–96. http://dx.doi.org/10.1098/rsta.2007.2178.

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This non-technical review of Maxwell's contributions to the quantitative theory of colour was presented at a symposium in Aberdeen to celebrate the 150th anniversary of his appointment as professor of natural philosophy at Marischal College. Maxwell maintained his interest in the science of light and colour from his childhood to the last decade of his life. He lavished the same care and imagination on these studies as he did on his epochal contributions to electromagnetism and statistical physics.
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24

Kiser, Barbara. "Science of colour: Hue and eye." Nature 511, no. 7507 (July 2014): 29–30. http://dx.doi.org/10.1038/511029a.

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25

Viscarra Rossel, R. A., B. Minasny, P. Roudier, and A. B. McBratney. "Colour space models for soil science." Geoderma 133, no. 3-4 (August 2006): 320–37. http://dx.doi.org/10.1016/j.geoderma.2005.07.017.

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26

Ladson, Jack A. "Colour image science—Exploiting digital media." Color Research & Application 28, no. 3 (June 2003): 233–34. http://dx.doi.org/10.1002/col.10153.

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27

Gentallan, Renerio P., Nestor C. Altoveros, Teresita H. Borromeo, Leah E. Endonela, Fiona R. Hay, Antonio G. Lalusin, Consorcia E. Reaño, and Yosuke Yoshioka. "Systematic establishment of colour descriptor states through image-based phenotyping." Plant Genetic Resources: Characterization and Utilization 17, no. 1 (October 16, 2018): 91–94. http://dx.doi.org/10.1017/s1479262118000291.

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AbstractA systematic method for determining colour descriptor states using image analysis is proposed using pili (Canarium ovatum) as a model. Kernel images of 52 pili accessions from the core collection of the Institute of Crop Science and National Plant Genetic Resources Laboratory, University of the Philippines Los Baños were captured using a calibrated VideometerLab 3 setup. Colour descriptor states were derived from the average International Commission on Illumination lightness (L*), green–red (a*) and blue–yellow (b*) colour component values. Cluster analysis and subsequent colour-parameter averaging per cluster were performed to produce representative colour values of descriptor states. The Euclidian distance (Delta E) of 3.5 was used to cut the cluster into readily distinguishable colour differences resulting to three descriptor states – light brown, brown and dark brown. Continuous colour variation of brown colour was observed indicating a possible quantitative nature of the trait. The use of delta E in elucidating the descriptor lists served as a gauge in successfully identifying distinguishable variations between colours. The method described can be applied to the elucidation of colour descriptor states of all parts of the plant of all crop species.
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28

Vetter, Roland E., Vera R. Coradin, Elisatbeth C. Martino, and Jose A. A. Camargos. "Wood Colour - A Comparison Between Determination Methods." IAWA Journal 11, no. 4 (1990): 429–39. http://dx.doi.org/10.1163/22941932-90000534.

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Precise colour description results in a better classification and evaluation of wood products. Two systems of colour determination were applied and compared in 98 Amazonian wood species: the Munsell colour system, a visual determination comparing colour standards with samples, and the DIN colour chart using a reflectance reading colorimeter. The Munsell system is sufficient, when applied in simple descriptions of wood colour. To evaluate variations and changes in colour, however, the method of reading the colorimeter and converting to the DIN colour chart is recommended. This method allows the user to calculate precisely differences between colours.
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Saunders, Barbara. "Naming the rainbow. Colour language, colour science and culture. By Don Dedrick." British Journal of Psychology 91, no. 2 (May 2000): 293–94. http://dx.doi.org/10.1348/000712600161754.

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30

Melville, G., L. Kedziora-Chudczer, and J. Bailey. "Colour–colour and colour–magnitude diagrams for hot Jupiters." Monthly Notices of the Royal Astronomical Society 494, no. 4 (April 24, 2020): 4939–49. http://dx.doi.org/10.1093/mnras/staa1074.

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ABSTRACT We use ground-based and space-based eclipse measurements for the near-infrared (IR) bands (JHKs) and Spitzer 3.6- and 4.5-μm bands to construct colour–colour and colour–magnitude diagrams for hot Jupiters. We compare the results with previous observations of substellar objects and find that hot Jupiters, when corrected for their inflated radii, lie near the blackbody line and in the same region of the colour–magnitude diagrams as brown dwarfs, including low-gravity dwarfs that have been previously suggested as exoplanet analogues. We use theoretical emission spectra to investigate the effects of different metallicity, C/O ratios, and temperatures on the IR colours. In general, we find that while differences in C/O ratio and metallicity do correspond to different locations on these diagrams, the measurement errors are too large to use this method to put strong constraints on the composition of individual objects. However, as a class, hot Jupiters cluster around the location expected for solar metallicity and C/O ratio.
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31

Kinoshita, M., N. Shimada, and K. Arikawa. "Colour vision of the foraging swallowtail butterfly papilio xuthus." Journal of Experimental Biology 202, no. 2 (January 15, 1999): 95–102. http://dx.doi.org/10.1242/jeb.202.2.95.

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This paper demonstrates that foraging summer-form females of the Japanese yellow swallowtail butterfly Papilio xuthus have colour vision. The butterflies were trained to feed on sucrose solution placed on a disk of a particular colour in a cage set in the laboratory. After a few such training runs, a butterfly was presented with the training colour randomly positioned within an array of disks of other colours, but with no sucrose solution. The results indicate that the butterflies learn rapidly to select the training colour reliably among different colours. The training colour was also correctly selected when it was covered with neutral density filters to reduce its brightness, or even when the colour was presented together with disks of a variety of shades of grey. These results demonstrate convincingly, for the first time, that a butterfly has true colour vision.
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Kinoshita, M., and K. Arikawa. "Colour constancy in the swallowtail butterfly Papilio xuthus." Journal of Experimental Biology 203, no. 23 (December 1, 2000): 3521–30. http://dx.doi.org/10.1242/jeb.203.23.3521.

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We have recently shown that the Japanese yellow swallowtail butterfly Papilio xuthus uses colour vision when searching for food. In the field, these butterflies feed on nectar provided by flowers of various colours not only in direct sunlight but also in shaded places and on cloudy days, suggesting that they have colour constancy. Here, we tested this hypothesis. We trained newly emerged Papilio xuthus to feed on sucrose solution on a paper patch of a certain colour under white illumination. The butterflies were then tested under both white and coloured illumination. Under white illumination, yellow- and red-trained butterflies selected the correctly coloured patch from a four-colour pattern and from a colour Mondrian collage. Under four different colours of illumination, we obtained results that were fundamentally similar to those under white illumination. Moreover, we performed critical tests using sets of two similar colours, which were also correctly discriminated by trained butterflies under coloured illumination. Taken together, we conclude that the butterfly Papilio xuthus exhibits some degree of colour constancy when searching for food.
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33

Dilrukshi, P. G. T., Helani Munasinghe, A. Buddhika G. Silva, and P. G. S. M. De Silva. "Identification of Synthetic Food Colours in Selected Confectioneries and Beverages in Jaffna District, Sri Lanka." Journal of Food Quality 2019 (October 1, 2019): 1–8. http://dx.doi.org/10.1155/2019/7453169.

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Colour is a key component to enhance the ultimate appetizing value and consumer acceptance towards foods and beverages. Synthetic food colours have been increasingly used than natural food colours by food manufacturers to attain certain properties such as low cost, improved appearance, high colour intensity, more colour stability, and uniformity. Varied foods and beverages available in the market may contain some nonpermitted synthetic colours and overuse of permitted synthetic colours. This may lead to severe health problems such as mutations, cancers, reduced haemoglobin concentrations, and allergic reactions. According to the Food Act, 2011 (No. 26 of 1980), Sri Lanka, only nine synthetic food colours are permitted and the colour concentration cannot exceed 100 ppm as a single component or in combination. This study aims to identify the synthetic food colours in confectioneries and beverages available in Jaffna district, Sri Lanka. Randomly collected 110 samples from eleven Medical Officers Of Health areas in Jaffna district were analyzed by using thin layer chromatography and UV-visible spectrophotometry. According to the results, 100% beverages and 85% confectioneries contained permitted synthetic food colours. Out of all, 7% of the confectioneries did not contain any synthetic food colour and 8% of the confectioneries contained nonpermitted colours which do not comply with any of the permitted synthetic food colours. Tartrazine (E102) (41%) was the most used synthetic food colour in both confectioneries and beverages. Moreover, 60% of the beverages violated the label requirement without including proper colour ingredients. The study concluded that there is a high tendency to use synthetic food colours in confectioneries and beverages and some confectioneries contain unidentified colours including a textile dye. Therefore, the implementation of regulations and awareness programs of food colours for consumers and food manufacturers are highly recommended.
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Mitchell, Daniel Jon. "Reflecting nature: chemistry and comprehensibility in Gabriel Lippmann's ‘physical’ method of photographing colours." Notes and Records of the Royal Society 64, no. 4 (October 13, 2010): 319–37. http://dx.doi.org/10.1098/rsnr.2010.0072.

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The origins of colour photography are typically traced to mid-nineteenth-century ‘three-colour’ processes based on a mixture of three primary colours. At the time, however, images produced by these means were pejoratively labelled ‘photographs in colours’ and not ‘colour photographs’ because they did not result solely from the direct action of light. In 1891, the French physicist Gabriel Lippmann claimed to have developed a direct, ‘physical’ method of colour photography, which the French industrialists Auguste and Louis Lumière subsequently improved. This article charts the rise and fall of so-called ‘interferometric’ colour photography and evaluates Lippmann's suppression of the chemical aspects of his work, in the context of his award of the 1908 Nobel Prize in Physics.
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35

Horváth, Gábor, József Gál, Thomas Labhart, and Rüdiger Wehner. "Does reflection polarization by plants influence colour perception in insects? Polarimetric measurements applied to a polarization-sensitive model retina ofPapiliobutterflies." Journal of Experimental Biology 205, no. 21 (November 1, 2002): 3281–98. http://dx.doi.org/10.1242/jeb.205.21.3281.

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SUMMARYUsing imaging polarimetry, we have measured some typical reflection-polarization patterns of plant surfaces (leaves and flowers) under different illuminations. Using a quantitative model to determine photon absorptions in the weakly polarization-sensitive (PS≈2)photoreceptors of Papilio butterflies, we have calculated the influence of reflection polarization on the colours of leaves and flowers perceived by Papilio. Compared with a retina containing polarization-blind colour receptors, the colour loci of specularly reflecting and, thus, strongly polarizing areas on a plant are slightly shifted, which could cause the perception of false colours. However, the colour of specularly reflecting surfaces is strongly masked by white glare, which may prevent the perception of polarization-induced hue shifts. Although the perception of polarizational false colours by Papilio butterflies was previously demonstrated with artificial, strongly colour-saturated and totally linearly polarized stimuli, we expect that the weak polarization sensitivity of Papilio photoreceptors hardly influences colour perception under natural conditions.
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Spragg, R. "Spectrophotometry, luminescence and colour; science and compliance." Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 52, no. 4 (April 1996): 478–79. http://dx.doi.org/10.1016/s0584-8539(96)90117-8.

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37

Hunt, R. W. G. "The Colour Science of Dyes and Pigments." Optica Acta: International Journal of Optics 33, no. 8 (August 1986): 949–50. http://dx.doi.org/10.1080/713822044.

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38

Hinks, David. "Colour chemistry and science: impact and relevance." Coloration Technology 127, no. 1 (January 10, 2011): iii—iv. http://dx.doi.org/10.1111/j.1478-4408.2010.00281.x.

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39

McLaren, Keith. "Edwin H Land's Contributions to Colour Science." Journal of the Society of Dyers and Colourists 102, no. 12 (October 22, 2008): 378–83. http://dx.doi.org/10.1111/j.1478-4408.1986.tb01049.x.

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40

Collins, Patricia Hill. "Science, critical race theory and colour-blindness." British Journal of Sociology 66, no. 1 (March 2015): 46–52. http://dx.doi.org/10.1111/1468-4446.12117_3.

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Chu, Liwei, Pu Zhao, Xueqi Huang, Bo Zhao, Yisong Li, Kai Yang, and Ping Wan. "Genetic analysis of seed coat colour in adzuki bean (Vigna angularis L.)." Plant Genetic Resources: Characterization and Utilization 19, no. 1 (February 2021): 67–73. http://dx.doi.org/10.1017/s1479262121000101.

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AbstractSeed coat colour is an important quality trait, domestication trait and morphological marker, and is closely associated with flavonoid and anthocyanin metabolism pathways. The seed coat colour of adzuki bean, an important legume crop, influences the processing quality of its paste, the commodity and its nutritional quality. In this study, the genetic relationships of seed coat colour were analysed using 12 hybridized combinations of F2 individuals and four F3 families derived from hybridized combinations between the accessions of eight seed coat colours. The loci of the colour traits were analysed based on phenotypes and using the chi-square test. Ivory colour is recessive to red and is controlled by a single R locus. Black, black mottle on grey, black mottle on red, light brown, golden and brown are all dominant to red. The phenotypes of black mottle on red, light brown, golden and brown are all controlled by a single genetic locus. Black mottle on grey is controlled by two loci. Black is controlled with two loci, and the black locus shows dominant epistasis to another locus. A genetic model of these seed coat colours was predicted. Our results will be important for gene mapping and cloning of seed coat colour characters and for providing further insight into the regulatory network of seed coat colour.
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42

Santiago, Carl, Naomi F. Green, Nadia Hamilton, John A. Endler, Daniel C. Osorio, N. Justin Marshall, and Karen L. Cheney. "Does conspicuousness scale linearly with colour distance? A test using reef fish." Proceedings of the Royal Society B: Biological Sciences 287, no. 1935 (September 16, 2020): 20201456. http://dx.doi.org/10.1098/rspb.2020.1456.

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To be effective, animal colour signals must attract attention—and therefore need to be conspicuous. To understand the signal function, it is useful to evaluate their conspicuousness to relevant viewers under various environmental conditions, including when visual scenes are cluttered by objects of varying colour. A widely used metric of colour difference (Δ S ) is based on the receptor noise limited (RNL) model, which was originally proposed to determine when two similar colours appear different from one another, termed the discrimination threshold (or just noticeable difference). Estimates of the perceptual distances between colours that exceed this threshold—termed ‘suprathreshold’ colour differences—often assume that a colour's conspicuousness scales linearly with colour distance, and that this scale is independent of the direction in colour space. Currently, there is little behavioural evidence to support these assumptions. This study evaluated the relationship between Δ S and conspicuousness in suprathreshold colours using an Ishihara-style test with a coral reef fish, Rhinecanthus aculeatus . As our measure of conspicuousness, we tested whether fish, when presented with two colourful targets, preferred to peck at the one with a greater Δ S ­ from the average distractor colour. We found the relationship between Δ S and conspicuousness followed­­ a sigmoidal function, with high Δ S colours perceived as equally conspicuous. We found that the relationship between Δ S and conspicuousness varied across colour space (i.e. for different hues). The sigmoidal detectability curve was little affected by colour variation in the background or when colour distance was calculated using a model that does not incorporate receptor noise. These results suggest that the RNL model may provide accurate estimates for perceptual distance for small suprathreshold distance colours, even in complex viewing environments, but must be used with caution with perceptual distances exceeding­ ­10 Δ S .
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Wiebe, K. L., and G. R. Bortolotti. "Variation in colour within a population of northern flickers: a new perspective on an old hybrid zone." Canadian Journal of Zoology 79, no. 6 (June 1, 2001): 1046–52. http://dx.doi.org/10.1139/z01-065.

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We used a digital camera to quantify the colour of the tail feathers of 245 northern flickers (Colaptes auratus) in central British Columbia and investigate the frequency of colour morphs in the population of hybrids. The colour values generated by the camera corresponded well to the conventional method of ranking colours by eye, but was advantageous because it provided finer discrimination and a continuous colour variable. Rectrix colour varied in a continuum from the yellow of C. a. auratus to the red of C. a. cafer. By experimentally exposing red and yellow feathers to sunlight we showed that the intermediate orange colours were not a result of secondary fading of the carotenoid pigments. The distribution of colours in the population was bimodal. A paucity of intermediate phenotypes (orange birds) could not be explained by their mortality because return rates of birds to our study area was not associated with colour. New immigrants into the population tended to resemble parental types more often than hybrids. Assortative mating by colour in this population may tend to keep the subspecies separate, contrary to the situation in more southerly areas of the hybrid zone.
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Shrestha, Mani, Adrian G. Dyer, Jair E. Garcia, and Martin Burd. "Floral colour structure in two Australian herbaceous communities: it depends on who is looking." Annals of Botany 124, no. 2 (April 22, 2019): 221–32. http://dx.doi.org/10.1093/aob/mcz043.

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Abstract Background and Aims Pollinator-mediated interactions between plant species may affect the composition of angiosperm communities. Floral colour signals should play a role in these interactions, but the role will arise from the visual perceptions and behavioural responses of multiple pollinators. Recent advances in the visual sciences can be used to inform our understanding of these perceptions and responses. We outline the application of appropriate visual principles to the analysis of the annual cycle of floral colour structure in two Australian herbaceous communities. Methods We used spectrographic measurements of petal reflectance to determine the location of flowers in a model of hymenopteran colour vision. These representations of colour perception were then translated to a behaviourally relevant metric of colour differences using empirically calibrated colour discrimination functions for four hymenopteran species. We then analysed the pattern of colour similarity in terms of this metric in samples of co-flowering plants over the course of a year. We used the same method to analyse the annual pattern of phylogenetic relatedness of co-flowering plants in order to compare colour structure and phylogenetic structure. Key Results Co-flowering communities at any given date seldom had colour assemblages significantly different from random. Non-random structure, both dispersion and clustering, occurred occasionally, but depended on which bee observer is considered. The degree of colour similarity was unrelated to phylogenetic similarity within a co-flowering community. Conclusions Perceived floral colour structure varied with the sensory capabilities of the observer. The lack of colour structure at most sample dates, particularly the rarity of strong dispersion, suggests that plants do not use chromatic signals primarily to enable bees to discriminate between co-flowering species. It is more likely that colours make plants detectable in a complex landscape.
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Häggkvist, Roland. "Restricted Edge-colourings of Bipartite Graphs." Combinatorics, Probability and Computing 5, no. 4 (December 1996): 385–92. http://dx.doi.org/10.1017/s0963548300002133.

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Suppose each vertex of a bipartite multigraph (with partition (X, Y)) is assigned a set of colours; we say this colour scheme is feasible if the edges of the graph can be properly coloured so that each receives a colour in both of its endpoints' sets. We prove various results showing that certain types of colour scheme are always feasible. For instance, we prove that if the colour scheme obtained by assigning the set {1,…, d(x)} of colours to each vertex x of X and the set T = {1,…, t} (t < Δ(X)) to each vertex of Y is feasible, then so is every colour scheme where each vertex x of X gets d(x) colours from T and each vertex of Y gets the set T.
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Singh, Satish K., Shishir Kumar, and Rajiv Saxena. "Minimum average colour space entropy – colour component transform based colour image compression." International Journal of Image and Data Fusion 1, no. 4 (December 2010): 309–23. http://dx.doi.org/10.1080/19479832.2010.501508.

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Mikheev, Eduard. "Colouristic Analysis of Russian Orders." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 75–87. http://dx.doi.org/10.36340/2071-6818-2019-15-3-75-87.

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In addition to the symbolism, compositional laconism and colour palette are important for the visual perception of an order. The combination of colours is the first thing perceived by the human eye. This article offers an analysis, based on colour science and colouristics, of the colours and their combinations used to create orders. The work examines three periods of the Russian order: the Russian Empire, the Soviet Union, and modern Russia. Gold, silver, platinum, and sometimes copper are used in the manufacture of orders. Each of these metals has its own colour: gold is golden yellow, silver and platinum are of silver-grey colour, and copper is golden pink. The colour of the enamel may be ruby red, white, blue, grey, black and green. All orders are divided into four groups. Orders for which only one colour is used are in the first group. These are orders made of one type of metal without the use of enamel. The second group includes awards to which, in addition to the base metal, enamel or the second metal is added. Orders consisting of three colours are in the third group; orders with four colours or more are in the fourth group. An order which is made using only ruby red enamel can be considered an example of a good and concise combination. The classic combination of the silver-grey metal with red enamel works very well. The yellow colour of the metal matches with the red one, creating a bright festive palette. The same as the combination of the saturated and the neutral, the golden yellow goes well with the silver-grey. In addition to the base metals, such as silver and enamel, gilding is used in other awards. As a rule, red is dominant in such orders; some elements are gilded but the silver-grey colour balances the bright combination of red and golden. The next category of orders with four or more colours can be divided into two subgroups. The first subgroup includes orders with one or two dominant colours whereas orders with four or more colours, distributed relatively evenly, are in the second one. Having analysed the orders of the three historical periods of Russia, the following conclusions can be drawn: the royal orders are more conservative, the most interesting colour combinations are from the Soviet era, the modern awards have largely lost the experience of previous generations.
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Scharcanski, J., H. C. Shen, and A. P. Alves da Silva. "Colour quantisation for colour texture analysis." IEE Proceedings E Computers and Digital Techniques 140, no. 2 (1993): 109. http://dx.doi.org/10.1049/ip-e.1993.0016.

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Sánchez-Marañón, M., R. Huertas, and M. Melgosa. "Colour variation in standard soil-colour charts." Soil Research 43, no. 7 (2005): 827. http://dx.doi.org/10.1071/sr04169.

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This paper presents colourimetric analyses of 6 standard soil-colour charts (1372 chips) from different manufacturers, editions, and degrees of use. The CIELAB hab, L*, and C*ab were found to have significant (analysis of variance, P < 0.05) variations among tested charts, and the Munsell hue, value, and chroma measured in most chips varied from their notation by as much as 1 unit. This discrepancy can be attributed to printing differences and/or colour fading. The Munsell loci of constant hue and chroma plotted in CIELAB colour space showed that colour fading is not uniform, so that visual steps between neighbouring chips change, and constant hue and chroma lines become deformed. The colour difference between chips identically designated in two charts ranged from 0.94 CIEDE2000 units (above perception threshold) for charts from the same manufacturer and degree of use, to 3.72 CIEDE2000 units for old charts from 2 different manufacturers. Chips from old charts became yellowish, darker, and less saturated. These colour changes are consistent with the responses of 10 observers who, on assessing 10 soil-colour samples, reported Munsell notations to have redder hue, lighter value and greater chroma. Periodic colourimetric checking of soil-colour charts would be advisable in order to avoid mistakes in soil-colour description.
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Armarego-Marriott, Tegan. "Colour compensation." Nature Climate Change 10, no. 6 (June 2020): 492. http://dx.doi.org/10.1038/s41558-020-0811-3.

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