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Rozprawy doktorskie na temat „Colour”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 25 lipca 2025

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1

Addae-Badu, S. "Large colour differences between surface colours." Thesis, University of Bradford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373215.

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Luo, M. R. "New colour-difference formulae for surface colours." Thesis, University of Bradford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372193.

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Hung, Tin Wai Robert. "Use of colour in machine vision : colour representation, edge detection with colour, segmentation of colour space and colour constancy." Thesis, City University London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312936.

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4

Liu, Bo-zhi. "Understanding colour image : colour constancy." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/50155/.

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Human visual system has a mechanism which ensures that the perceived colour of an object remains almost constant under varying illumination conditions, and this mechanism is called colour constancy. Electronic imaging systems such as digital cameras do not naturally have this ability. The color appearance of images of an object under different lighting conditions changes with the colour of the light sources and this can cause problems in many computer vision applications such as object recognition. To deal with this problem, many algorithms have been developed to estimate the input image’s ill
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5

Matas, J. "Colour-based object recognition." Thesis, University of Surrey, 1995. http://epubs.surrey.ac.uk/843934/.

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This thesis studies the use of colour information for object recognition. A new representation for objects with multiple colours - the colour adjacency graph (CAG) - is proposed. Each node of the CAG represents a single chromatic component of the image defined as a set of pixels forming a unimodal cluster in the chromatic scattergram. Edges encode information about adjacency of colour components and their reflectance ratio. The CAG is related to both the histogram and region adjacency graph representations. It is shown to be preserving and combining the best features of these two approaches wh
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Klaman, Marianne. "Adpects on colour rendering, colour prediction and colour control in printed media." Doctoral thesis, KTH, Numerical Analysis and Computer Science, NADA, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3332.

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Ou, Li-Chen. "Quantification of colour emotion and colour harmony." Thesis, University of Derby, 2004. http://hdl.handle.net/10545/251613.

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Cowan, Greig Alan. "Single-colour and single-flavour colour superconductivity." Thesis, University of Glasgow, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412941.

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9

Sundell, Johanna. "Colour proof quality verification." Thesis, Linköping University, Department of Science and Technology, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2358.

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<p>BACKGROUND </p><p>When a customer delivers a colour proof to a printer, they expect the final print to look similar to that proof. Today it is impossible to control if a match between proof and print is technically possible to reach at all. This is mainly due to the fact that no information regarding the production circumstances of the proof is provided, for instance the printer does not know which proofer, RIP or ICC-profile that was used. Situations where similarity between proof and print cannot be reached and the press has to be stopped are both costly and time consuming and are therefo
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10

Hårleman, Maud. "Daylight Influence on Colour Design : Empirical Study on Perceived Colour and Colour Experience Indoors." Doctoral thesis, KTH, Arkitektur, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4395.

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It is known that one and the same interior colouring will appear different in rooms with windows facing north or facing south, but it is not known how natural daylight from these two compass points affects perceived colour and the ways in which colour is experienced. The objective is to describe the perceived colours to be expected in rooms with sunlight and diffused light, and thus develop a tool for colour design. Two empirical investigations provide the basis for six attached papers. The model is exploratory with a qualitative character. One hundred and ninety-one studies were carried out w
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11

Huxtable, M. J. "Colour, seeing, and seeing colour in medieval literature." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2175/.

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This thesis re-approaches medieval literature in terms of its investment in visuality in general and chromatic perception in particular. The introduction raises the philosophical problem off-colour: its status as an object for science, role in perception, and relationship to language and meaning as expressed within inter-subjective evaluation. Two modes of discourse for colour studies of medieval literature are proposed: the phenomenological (from the philosophical tradition of such as Maurice Merleau-Ponty) seeking localised networks and patterns of inter-subjective, embodied, perceptual mean
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12

Deshpande, Kiran. "N-colour separation methods for accurate reproduction of spot colours." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8732/.

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In packaging, spot colours are used to print key information like brand logos and elements for which the colour accuracy is critical. The present study investigates methods to aid the accurate reproduction of these spot colours with the n-colour printing process. Typical n-colour printing systems consist of supplementary inks in addition to the usual CMYK inks. Adding these inks to the traditional CMYK set increases the attainable colour gamut, but the added complexity creates several challenges in generating suitable colour separations for rendering colour images. In this project, the n-colou
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13

Ouyang, Y. "Simultaneous colour contrast and colour constancy in authentic scences." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518544.

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14

Izadan, Hossein. "Assessment of Colour and Colour Fastness of Textile Materials." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485589.

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The main aim of this research was to investigate the possible uses of digital image scanning to assess the colour and colour fastness of textiles. This method has the potential to be a simpler alternative to camera based colour fastness assessment, for example'by the DigiEye system.. The scanning device used was an Epson Perfection 2400 Photo scanner, a mid-range quality device. The scanner was operated in· two different modes, 24 and 48 bits colour resolution and was calibrated by adjusting its setting, testing its repeatability for colour measurement and examining the spatial uniformity o
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15

Hood, S. M. "Colour perception in females heterozygous for a colour deficiency." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604207.

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Initial experiments examine the performance of heterozygous females on standard tests of colour vision. The results of these tests do not provide convincing evidence to support the hypothesis that carriers share in the colour deficiencies of their fathers and sons. Colour vision is thought to depend upon two subsystems that remain parallel and independent in the early stages of visual processing. I examine the relative organizing power of these two subsystems and find that carriers of a colour deficiency cannot be considered as one population. For small element separations, the relative organi
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16

Khodamordi, Elham. "Modelling of colour appearance of textured colours and smartphones using CIECAM02." Thesis, Middlesex University, 2017. http://eprints.mdx.ac.uk/21823/.

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The international colour committee recommended a colour appearance model, CIECAM02 in 2002, to help to predict colours under various viewing conditions from a colour appearance point of view, which has the accuracy of an averaged observer. In this research, an attempt is made to extend this model to predict colours on mobile telephones, which is not covered in the model. Despite the limited size and capacity of a mobile telephone, the urge to apply it to meet quotidian needs has never been unencumbered due to its appealing appearance, versatility, and readiness, such as viewing/taking pictures
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17

Slavík, Jan. "Dance of colours : basic patterns of colour symbolism in Mahāyāna Buddhism /." Göteborg : Göteborg univ, 1994. http://catalogue.bnf.fr/ark:/12148/cb37018318c.

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18

Corvette, Michelle Nicole Anderson. "Consuming colour : a critical theory of colour concerning the legality and implications of colour in public space." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18804/.

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This thesis investigates the legality of colours and the implications of colours within public spaces. By legality of colours, this thesis references the quality or state of being in accordance and observance of laws that address colour. Colour is a phenomenon of visual light perception described in terms of hue, lightness, and saturation in tandem with the understanding that colour is a vibrating wavelength interpreted through the brain within a complex neurobiological construction. What are the impacts, force, and agency of colours in public spaces? How do colours re(produce) socio-cultural
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19

Panorgias, Athanasios. "Peripheral human colour vision : from cone contrast to colour perception." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/peripheral-human-colour-vision-from-cone-contrast-to-colour-perception(aa92cad7-477a-40ce-b91e-df87927d0caa).html.

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It is well known that the colour preferences of ganglion and LGN cells do not match the four perceptually simple colours red, green blue and yellow. It is also known that although colour perception is distorted in the peripheral visual field, there are four hues that appear stable with eccentricity. These are defined as peripherally invariant hues. Both of these observations must in some way reflect the physiological substrate of neurons at different stages of the primary visual pathway. The experiments described here are aimed at understanding the link between the physiology and the perceptio
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20

Forbes, Samuel Henry. "Colour word and colour category learning in infants and toddlers." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8ec923a1-fa95-4610-8c90-594033b2e706.

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This thesis examines how and when infants learn colour words, and how the knowledge of colour words affects their comprehension of colour categories. Over the course of seven experimental chapters, the ability of infants and toddlers to learn colour words, use colour words to process colours, and the role that colour words play in learning to perceive colour are all assessed. Chapters 2 and 3 assess claims that colour words are learned late using parental report and eye-tracking methods, finding that colour words are learned as early as 19 months. In contrast to this, Chapter 4 demonstrates th
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21

Jakobsson, Torbjörn. "Shape from shading, colour constancy, and deutan colour vision deficiencies." Doctoral thesis, Umeå universitet, Institutionen för psykologi, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-111106.

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Four studies including ten experiments adresses interrelations between some major and classical issues in visual perception: 3-D perception, colour constancy, colour perception and colour vision deficiencies. The main experimental paradigm to investigate the issues is within that of simulated shape from shading. 3-D impressions are induced by projecting space-modulated illuminations onto flat surfaces (displays), varying the colours and layout of the displays and the colour and modulation of the illumination. Study I includes four experiments investigating three types of space- modulated illum
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22

Won, Seahwa. "Colour information in design : understanding colour meaning in packaging design." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12472/.

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Colour is a powerful visual cue that affects consumer brand choice. Although there is an obvious and recognised value in the use of colour information in design, the literature demonstrates that colour information is an underexplored area that has not yet been addressed in detail by design research either practically or theoretically. Moreover, colour crosses various disciplines; due to its multi-disciplinary nature, it is not clear whether colour information is being effectively utilised in design. The aim of this study was to identify which types of colour information are useful in packaging
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23

Barnard, Kobus. "Practical colour constancy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0025/NQ51839.pdf.

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24

Macuda, Todd J. "Equine colour vision." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ58148.pdf.

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25

Hubel, Paul Matthew. "Colour reflection holography." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.257949.

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26

Pritchard, Deborah. "Colour and composition." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650289.

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This dissertation examines not only how sound-colour manifests itself within the author's musical language, but also questions whether practise at such a synesthetic method has generated greater dexterity in its execution. Drawing on research from the philosophy of art and taking a personal approach, three areas of investigation are taken 1) a critical analysis of Oliver Messiaen's Couleurs de la cite celeste, where he claims that the piece evolves in the manner of colours; 2) an exploration into the author's own compositional process through an analytical study of Seven Miniatures After Chaga
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27

Pilling, Michael. "On colour categorisation." Thesis, University of Surrey, 2001. http://epubs.surrey.ac.uk/2106/.

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28

Walcott, P. A. "Colour object search." Thesis, City University London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264759.

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29

Skelton, Alice Elizabeth. "Infant colour perception." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/77041/.

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30

Nordqvist, Amanda. "Colour and light." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10378.

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This work explores how colour and light can be used as the prime design materials. They are investigated in unison in relation to spatiality. Colour is a way for us to understand and identify what we see, it is primary for how we interpret our surroundings. The aim is to explore colour, light and reflections, by the means of printing and dyeing of translucent materials, as an attempt to challenge the visual perception of the spectator and the experience of how spatiality is perceived. The project investigates how the boundaries of a textile can be questioned, for example where does a pattern b
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31

Basson, Rozanne. "Canvas : colour production hub." Diss., Pretoria :[s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-11212007-205438.

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32

Akbay, Saadet. "Multi-attitudinal Approaches Of Colour Perception: Construing Eleven Basic Colours By Repertory Grid Technique." Phd thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615567/index.pdf.

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Colour is a basic aspect of perception and the perception of colour varies from individual to individual. This indicates that the perception of colours mean different semantics in various contexts to different individuals. Therefore, these differences in perception forms to behave in different attitudes towards colours among individuals and it is likely to achieve different attitudinal responses to colours from individuals. Relying on the effects of colours on individuals, the initial interest of this thesis is to explore the attitudinal approaches of individuals to colours. This thesis is f
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33

Fridell, Anter Karin. "What colour is the red house? : perceived colour of painted facades /." Doctoral thesis, Stockholm : Tekniska högsk, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3040.

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34

Klarén, Ulf, Harald Arnkil, and Anter Karin Fridell. "Colour and Light in Design : - Levels of experiencing colour and light." Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3957.

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: In our designed culture, every environment, object and picture is analyzed from the viewpoint of colour and light. Colour and light play an important role in social life and culture. This paper springs from an epistemological project about concept formation in the field of colour and light. Based on own observations and scientific and scholarly references it presents a graphic model describing possible constituent relations between colour and light experiences. Design is the art of using knowledge – implicit or explicit – about how humans perceive, experience, and relate to the world around.
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35

Cheung, Eric Sau Hoi. "Colour quantisation and compression of images for limited colour display devices." Thesis, Imperial College London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416090.

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Crichton, Stuart Owen John. "Investigations into colour constancy by bridging human and computer colour vision." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2722.

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The mechanism of colour constancy within the human visual system has long been of great interest to researchers within the psychophysical and image processing communities. With the maturation of colour imaging techniques for both scientific and artistic applications the importance of colour capture accuracy has consistently increased. Colour offers a great deal more information for the viewer than grayscale imagery, ranging from object detection to food ripeness and health estimation amongst many others. However these tasks rely upon the colour constancy process in order to discount scene illu
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37

Feng, Gaoyang. "Colour information in natural scenes : frequency of metamerism and colour gamut." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/colour-information-in-natural-scenesfrequency-of-metamerism-and-colour-gamut(0987f4cf-b0e3-49f9-b6c0-cc79a0b8d1a5).html.

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Colour is an important source of information in the natural world. It can be used for distinguishing and identifying surfaces and objects and separating one region from another. For instance, flowers and grasses in a garden can be distinguished by their colours despite a change in illuminant. Intuitively, the identifiability of surfaces in a scene can be described by their volumes of colour gamuts. But is this approximation of the identifiability accurate? On the other hand, the existence of metamerism in natural scenes shows that colour is sometimes unreliable for surfaces identification. Est
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38

Schmeisser, Michael. "Colour dynamics in Leucadendron." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5314.

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Thesis (PhD(Agric)--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: The bright colouration of involucral leaves in Leucadendron is unfortunately transient in nature. Undesirable colour changes render this cut flower unmarketable, resulting in a considerable loss of profit. A deeper understanding of the mechanism leading to colour change is needed to form the framework on which future manipulation strategies can be built. Yellow Leucadendron possess the ability to degreen and regreen naturally, a phenomenon linked to the controlled degradation of chlorophyll and the lesser degradation o
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Al, Ghazali Nabiel. "An evaluation of some problems related to colour match, colour data and colour-measuring devices in aesthetic restorative dentistry." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548772.

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40

Vurro, Milena. "The role of chromatic texture and 3D shape in colour discrimination, memory colour, and colour constancy of natural objects." Thesis, University of Newcastle upon Tyne, 2011. http://hdl.handle.net/10443/1251.

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The primary goal of this work was to investigate colour perception in a natural environment and to contribute to the understanding of how cues to familiar object identity influence colour appearance. A large number of studies on colour appearance employ 2D uniformly coloured patches, discarding perceptual cues such as binocular disparity, 3D luminance shading, mutual reflection, and glossy highlights are integral part of a natural scene. Moreover, natural objects possess specific cues that help our recognition (shape, surface texture or colour distribution). The aim of the first main experimen
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41

Frisk, Mattias. "En Studie i Rött : Hur beskrivs, uppfattas och kopplas färg samman med innehåll i Mark Rothkos abstrakta målningar?" Thesis, Linköping University, Department of Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-16609.

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<p>Undersökning av färgen i förhållande till innehåll i Mark Rothkos abstrakta verk. Studien innefattar en undersökning i hur man skriver om färg i anslutning till Rothkos abstrakta målningars innehåll och huruvida färg kan avgöra betydelser.</p><br><p>A study about color in relationship to content in Mark Rothko’s abstract paintings. It includes a research in how people write about color when discussing Mark Rothko´s paintings and how that is related to content. It also looks at color in relationship to meaning.</p>
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O'Connor, Moira. "Architects' attitudes to British Building Colour Standards and colour-use in general." Thesis, Teesside University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253749.

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Thornton, A. L. "Colour object recognition using a complex colour representation and the frequency domain." Thesis, University of Reading, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301911.

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44

Nacher-Garcia, C. "An evaluation of advanced digital colour technology for colour matching maxillofacial prosthetics." Thesis, University of Surrey, 2016. http://epubs.surrey.ac.uk/812771/.

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Aim: To evaluate the reliability and reproducibility of the Spectromatch-Pro digital colour system (Spectromatch Ltd. UK) in the reproduction of simulated skin-silicone colour samples; and to determine threshold Delta E (∆E) (CIE L*a*b*) of perceptible and acceptable colour differences for maxillofacial prosthetics. Method: A two phase quantitative research design. Phase 1: tested; (i) the reproducibility of the spectrophotometer for eight subjects (n=48) scans; from four ethnic groups White, Chinese, Asian and Black. (ii) minimum silicone-skin sample thickness for colour scanning; and (iii) r
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45

Smith, Geraldine. "Colour My World: The Effect of Colour and Context on Brand Personality." Thesis, The University of Sydney Business School, Discipline of Marketing, 2023. https://hdl.handle.net/2123/29943.

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Colour has inherent meaning that evokes strong associations and is used by brand managers to capture the consumers attention and convey the brand's personality. Despite the importance of colour as a communication cue for brand identity, empirical studies of colour are still needed to consider how the meaning of colour changes in the context of specific product categories. An experiment was conducted with 1078 participants to test the effect on both brand logo colour and product category context on brand personality perceptions, as well as attitude towards the brand and purchase inte
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46

Larsen, Morten. "When Colour Narrates: Colour as a Narrative Tool in Audio-visual Storytelling." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371144.

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This thesis explores the use of colour as a narrative tool within the realm of cinema. Even though colours have taken up a considerable role in the history of film, colour theory and colour aesthetic have not received reasonable attention in film studies compared to other fields. The thesis reflects upon why this might be the case based on the hypothesis by David Bachelor that a history long “chromophobia” has existed in the arts in the Western world. The paper then seeks to give an overview of relevant theory of colour that tries to shed light on the multiplex nature of colour itself, and in
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47

Fogelström, Elise. "Investigation of Shapes and Colours as Elements of Character Design." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-208203.

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Character design is applied widely both in the game and movie industry. For character designers, it is essential to design intuitively and to avoid repeated and unfulfilling designs. To understand certain methodologies used in design, this degree project investigates if there are further limitations or considerations that need more attention when designing purposeful characters. To get an overview if culture, age and gender affect the choice of shapes and colour schemes of characters, as a method, the online survey was used providing results based on answers from 72 participants.
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48

Starrett, Malin John. "Checking the facts in science : the experience of experimenting." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365940.

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49

Gohar, Kadar Navit. "Diagnostic colours of emotions." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2298.

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This thesis investigates the role of colour in the cognitive processesing of emotional information. The research is guided by the effect of colour diagnosticity which has been shown previously to influence recognition performance of several types of objects as well as natural scenes. The research presented in Experiment 1 examined whether colour information is considered a diagnostic perceptual feature of seven emotional categories: happiness, sadness, anger, fear, disgust, surprise and neutral. Participants (N = 119), who were naïve to the specific purpose and expectations of the experiment,
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Reining, Stefan. "Apriority and Colour Inclusion." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/246105.

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My central aim in this dissertation is to propose a new version of local scepticism regarding the a priori, namely, a version of scepticism regarding the apriority of (knowledge of) truths about certain relations between colours. The kind of relation in question is, for instance, expressed by sentences like ‘All ultramarine things are blue’ and ‘Nothing is both red all over and green all over’ – sentences that have, among defenders of the a priori, commonly been regarded as expressing paradigm examples of a priori truths. In the course of my argumentation for this kind of local scepticism
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