Achromatic Color Research Articles

A Study of the Costumes and Make-up in the Movie "Anna Karenina"

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

Metaphor of Colors in Indonesian

This brief article deals with the use of Indonesian words referring to colors for creating metaphorical expressions. All data presented are collected from various sources, such as Kamus Besar Bahasa Indonesia (Indonesian Standard Dictionary), and added with data obtained from Oxford Advanced Leaner’s Dictionary, Indonesian proverb book, encyclopedia, terminology collection book, poetry anthology, song lyrics, and data of the author’s own creation as an Indonesian native speaker. Set aside from their literal meanings, the metaphorically used color words are collected and classified into two categories, i.e. achromatic and chromatic colors. Then, their universalities are determined by comparing them with English color metaphors. Finally the existence of specific Indonesian color metaphors are identified by correlating them with extra linguistic factors, such as environment, history, religion, politic and other socio cultural activities. A careful analysis on the data shows that there is nearly no significant difference in metaphorical uses of achromatic colors in English and Indonesian. However, despite universal nuances of chromatic color metaphors, some specific ones emerge due to various external factors, such as environment, education, history, politic, law, religion, literature, and other socio cultural facts that are specifically found and practiced in Indonesia.

How metamer mismatching decreases as the number of colour mechanisms increases with implications for colour and lightness constancy

Metamer mismatching has been previously found to impose serious limitations on colour constancy. The extent of metamer mismatching is shown here to be considerably smaller for trichromats than for dichromats, and maximal for monochromats. The implications for achromatic colour perception are discussed.

마티스의 이국취미와 작품에 나타난 색채

The purpose of this study is to extract the color chip from the works of Matisse with the exotic tastes, to analyze the characters of adjacent colors, and to suggest the color coordination of artistic character. The research method is based on the literature study which analyzes visual materials. The results are as follows. Considering the colors of Japanese taste, He employs vivid and strong tone in red, yellow, and blue, light tone in pink, purple, and green and deep tone in green, purple, blue and black. His color scheme is very bold and splendid. In his Algerian taste, red is very popular, but an attention should be paid in his development of orange and blue tones. In general, the usage of various tones brings colors into less relief and make the contrast of tones more conspicuous. His Spanish taste, based on red and orange, attracts attentions with strong impressions, but sometimes, dark or adjacent pale tones creates strong, mild and murky atmosphere. The Moroccan taste, based on the development of blue tones which have strong attraction implies the lightness but represents silent and calm. The Rumanian taste, represented in primary colors of red, yellow and blue and achromatic colors is bright and clear. In addition, its light tone in various colors represents peace and romance. The coordination of the exotic colors with the unique adjacent colors created by Matisse is not based on the established color coordination theory, but extracts colors in the aspect of culture borrowing. Therefore, it can double the effects of the color scheme expressed in the existing designs and be used as the global and multi-cultural design sources.

Tailoring physicochemical and sensorial properties of defatted soybean flour using jet-milling technology

The effects of jet-milling on the physicochemical and sensorial properties of defatted soybean flour (DSF) were investigated. Superfine DSF powder (DSF-JM; D50=4.3±0.1μm) was prepared from DSF powder (DSF-150; D50=257.0±1.7μm) via conventional sifting followed by jet-milling. The jet-milled DSF showed significant increases in hydration properties, with increases in the water-holding capacity, water-solubility index, and swelling capacity of 24%, 39%, and 32%, respectively. Soluble dietary fibre and fat-binding capacity of DSF-JM also increased significantly (p<0.05). A quantitative descriptive analysis by trained panelists indicated that the sensorial properties of DSF were also modified by jet milling. The DSF-JM showed significant reductions in bitterness and roughness, but sweetness increased, and the colour of DSF-JM changed to a brighter achromatic colour. These results indicate that superfine DSF could be an ingredient used to modify physical and sensorial properties of food.

네온 컬러 패션에 나타난 배색 특성과 이미지

The research is committed to inquire about the attributes of color schemes and their image, and the results are as follows : One, the preference of ranges of neon colors was explicit, and the frequency of use of neon colors distinctively diverged season by season. Two, it was observed that, with neon colors, an achromatic color scheme was a more preferred arrangement. As for chromatic colors, neutral and mid-tone natural colors were more favored since they did not tarnish the properties of neon colors and, yet, more effective exhibiting images in diversity and variety. Three, the neon color fashion generally displayed a dual image: its original classification embellished with neon colors rendering the image of powerful and futuristic sensation. Having been around since the early 2000's, the frequency and range of use of neon colors have been increasing rapidly mostly by the sports, leisure and related industries. Regardless of the fact, neon colors will be rediscovered with a variety of color schemes and expand their application.

Color Preferences in Household Appliances: Data for Emotional Design

“Soft” ergonomics includes emotional needs and other qualitative aspects which affect the relationship of the user to the product .[1] Within this field fall likes or dislikes of a product as far as its color is concerned.This study included 52 volunteers unaffected by color blindness, 28 female and 24 male, ranging in age from 18 to 53, with an average age of 22.9 years.The experimental stimuli (nine chromatic and three achromatic) were applied to six different appliances. All of them were presented on a computer screen, one at a time, in random order. A continuous scale ranging from 0 (not at all) to 100 (very much) indicated to what extent the viewer liked the image. In general, for all the electric appliances, a greater preference was found for achromatic colors, especially white (77.2) and black (73.7), with similar scores. Even gray (58.5) surpassed the most preferred chromatic color, which was blue, with a score of 46.9.These findings suggest the need to obtain data about color preferences for specific products in order to satisfy the requirements of pleasurable design.

The Achromatic Object-Colour Manifold is Three-Dimensional.

When in shadow, the achromatic object colours appear different from when they are in light. This immediate observation was quantitatively confirmed by Logvinenko and Maloney (2006, Perception & Psychophysics, 68, 76-83) who, using multidimensional scaling (MDS), showed the two-dimensionality of achromatic object colours. As their experiments included only cast shadows, a question arises: is this also the case for attached shadows? Recently, Madigan and Brainard (2014) argued in favour of the negative answer. However, they also failed to confirm the two-dimensionality for cast shadows. To resolve this issue, an experiment was conducted in which observers rated the dissimilarity between achromatic Munsell chips presented in light and in shadows of both types. Specifically, the chips were presented in four conditions: in front in light; at slant in light; in front in shadow; and at slant in shadow. MDS analysis of the obtained dissimilarities confirmed the two-dimensionality of achromatic colours for both types of shadow. Furthermore, the dimension induced by the cast shadow (shadowedness) was found to be different from that induced by the attached shadow (shading). In the three-dimensional MDS output configuration these were represented by clearly different dimensions. This quantitatively supports a fact, well-known to artists, that attached and cast shadows are experienced as different phenomenological entities. It is argued that a shading gradient is perceptually experienced as shape (ie spatial relief).

향과 색의 어울림이 영상 실감과 몰입감에 미치는 효과

영상의 장면에 후각정보를 가진 구체적인 대상이 있을 때, 그 향을 제시함으로써 실감을 증대시킬 수 있을 것이라는 가정은 상식적이다. 그러나 영상의 장면에 구체적인 후각정보가 없을 때 후각정보를 활용하여 영상에 대한 실감과 정서적 몰입감을 증대시키는 것에 대한 부분에 대해서는 아직 알려진 사실이 없다. 따라서 본 연구는 영상 자체가 제공하는 후각정보가 없을 때 후각정보를 통해 실감과 몰입감을 높일 수 있는 방법을 탐색해보고자 한다. 특히 본 연구는 특정 향과 어울리는 색이 있다는 것에 대한 다양한 연구를 토대로 영상이나 이미지의 색에 어울리는 향을 제공하면 실감과 몰입감을 증대시키는 것이 가능할 것이라고 기대하였다. 이를 위해 마흔여덟가지 다양한 향에 어울리는 색을 조사하여 그 중에 어울리는 색이 가장 명확한 다섯 가지 향을 선정하였고, 각 향에 어울리지 않는 색은 어울리는 색의 보색으로 결정하였다 (실험 1). 그 다음 선정된 향과 어울리는 색을 이미지나 영상에 입힌 조건 (색-향 일치조건), 어울리는 색의 보색을 입힌 조건 (색-향 불일치조건), 그리고 채도를 제거한 중립적 색을 입힌 조건 (색-향 중립조건)에 대해 이미지와 향의 매칭, 해당 향을 통한 실감증대, 해당 향을 통한 몰입감증대, 해당 향에 대한 선호도를 평가하게 하였다 (실험2; 3). 그 결과 색-향 일치조건의 매칭, 실감증대, 몰입감증대, 선호도 평가가 색-향 불일치와 중립 조건의 평가보다 높은 현상을 관찰할 수 있었다. 이는 장면에 구체적인 후각정보가 없을 때는 색-향일치가 영상이나 이미지의 내용 같은 시각적 정보보다 실감과 몰입감 증대에 더 효과적일 수 있다는 것을 보여주는 결과이다. 향후 다양한 연구가 더해져 후각정보를 통해 더 나은 실감과 몰입감을 경험하게 되길 기대한다. It is common sense that providing specific odor can increase the video reality when video scene has an object having specific odor. However, people still do not know how to increase video reality and emotional immersion when there is no information on specific odor in the scene. So, present study explores how we improve video reality and immersion when the scene has no concrete odor information from some objects. Especially, this research focuses on diverse previous studies about matching between odor and color and then we expect providing odor can increase video reality if the odor is well-matched with the video's color. To do this, we collected 48 odors and investigated which color was well-matched with each odor. As a result, we get 5 odors which had clearly well-matched colors and decide ill-matched colors of those 5 odors as complementary colors of well-matched colors (Experiment 1). After that, we organize 3 conditions such as coloring image and video clip with well-matched color (color-odor match condition), coloring those with ill-matched color (color-odor mismatch condition), and coloring those with achromatic color by removing color saturation (color-odor neutral condition). Under each of these three conditions, image-odor matching, increment of reality with the odor, increment of immersion with the odor, and odor preference are asked (Experiment 2; 3). The results showed that the scores of all 4 questions in color-odor match condition were higher than color-odor mismatch condition and neutral condition. These results mean that providing matching odor with the scene's color in video is very effective to increase video reality and immersion. We expect experiencing better reality and immersion with olfactory information by adding various future research.

Shape-to-Color Associations in Non-synesthetes: Evidence for Emotional Mediation

4 Shape Features: Curviness: Curved, angular Symmetry: Asymmetric, symmetric Closure: Open, intersecting-once, intersecting>1 # of Line-Segments: 2, 3, 8 line-segments 8 Hues: Red, Yellow, Green, Blue, Orange, Chartreuse, Cyan, Purple 4 Saturation/Lightness levels (”cuts”): Saturated, Light, Muted, Dark + 5 Achromatic Colors: White, Black, Light, Medium, & Dark Gray 1a 1c 2a 2c 3a 3c 4a 4c 5a 5c 6a

Eye disorders in patients with chronic alcoholism

Aim. To study the features of ophthalmic disorders in patients with chronic alcoholism. Methods. Sixty patients (120 eyes) with chronic alcoholism (the main group), including 20 people (40 eyes) with the first stage, and 40 people (80 eyes) with the second stage of chronic alcoholism. Control group consisted of 30 healthy volunteers aged 18 to 46 years. All patients underwent ophthalmologic examination, which included visual acuity test, refractometry, biomicroscopy, biomicroophthalmoscopy, visual field test using chromatic and achromatic colors, color vision test using the tables by E.B. Rabkin (1972), tonometry, flicker fusion rate, and bulbar conjunctiva microcirculation examination. Results. In patients of the control group, eye condition complied with a person’s age, a few changes of the conjunctiva microcirculation were revealed, perivascular changes index was assessed as 1.26±0.05 points, vascular changes index - 1.2±0.05 points, capillary changes index - 1.28±0.05 points, intravascular changes index - 2.3±0.05 points, total conjunctival index - 5±0.13 points. Patients with chronic alcoholism showed reduction of central vision in 26% of cases; white color perception visual field decrease - in 80% of cases, red color - in 40%, green - in 13% of cases. Color perception change was an acquired one in 88% of cases, inherited - in 22% of cases; unilateral reduction of visual flicker fusion rate to red light was observed in 35% of cases, bilateral decrease - in 23% of cases. All patients with chronic alcoholism had bulbar conjunctiva microcirculation disorders: perivascular changes index was assessed as 3.48±0.06 points, vascular changes index - 11.25±0.32 points, capillary changes index - 10.51±0.06 points, intravascular changes index - 2.36±0.06 points, total conjunctival index - 27.61±0.48 points. Conclusion. Alcohol intoxication causes profound pathological changes in the eye seen as visual field decrease, color vision disorders, reduced flicker fusion rate, presence of perivascular, intravascular and vascular disorders of bulbar conjunctiva microvasculature, which should be considered at main process monitoring and choosing the appropriate treatment.

현대패션에 나타난 점프 슈트(Jump Suit)의 조형성과 특성

This study is intended to develop the creative and high value-added products as well as the development of diversity for jump suit for the future by analyzing the trend and feature shown in jump suit in the modern fashion. In the research methodology, the analysis was carried out over a total of 351 work pieces on jump suit among those presented in the collection of Paris, Milan, New York and London from 2006S/S to 2013F/W as well as literature review. The aesthetic features on suit jump design introduced in the modern fashion could be characterized as the following. First, both upper and lower garments are composed with a simple array of items and the stress was put on modernity feature through minimal expression technique. The feature of solid simplicity was also given with achromatic color or neutral monochrome. Second, the feminity image was emphasized with adoption of such highlighting items as detailed add-ons, tops, camisoles and blouses that stress the organically curved streamline including silhouette, material itself, crease and drape that enable the direct and indirect exposition of human body and the expression of smooth curve in human body. Third, jump suit revealed the multipurpose feature as item available for the diverse wear such as working habiliment, sports wear, uniform, office wear and evening wear, depending on the terms and conditions. Fourth, the deconstructive characteristic appeared through integration with various items, destruction of formative structure, non-structural shape, and ambiguity in wearing method.

Does hue affect the perception of grayness?

AbstractAlthough gray is defined as an achromatic color sensation varying only in lightness, in practice, grayness can be tinged by any hue within a limited range of chroma. Given the fact that preferred perceived white and black are slightly chromatic, the hypothesis tested in this study is that the preferred perceived object gray is also slightly chromatic. Two psychophysical experiments were carried out to test this hypothesis. A total of 56 color normal subjects assessed 27 different gray patches that varied mainly in hue, in three separate trials. Subjects selected a subset of samples (10 in the first experiment and five in the second experiment) that were considered “most gray” resulting in 168 selected sets of samples. Subjects then ranked their selected subset of samples from most to least gray. A total of 1225 assessments were thus obtained (750 assessments in the first experiment and 465 in the second experiment). Results from both experiments were in good agreement and indicate that greenish blue grays in the range of 190° to 235° of CIELAB hue angle were selected as most gray, thus indicating that the perception of grayness is influenced by hue. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 374–382, 2015

국내·외 리그별 프로축구 유니폼의 색채 특성과 이미지 비교 연구

The purpose of this study is to provide the basic information necessary to develop sports uniform design by comparing and analyzing the color features and images of professional football uniforms in Korea and foreign countries. The subjects of this study were limited to 5 top leagues in Europe (Premier League, Primera Liga, Bundesliga, Serie A, and Ligue 1) as well as J-League, and K-League. This study was done using the 2012/2013 season home and away uniforms for European leagues and 2013 season home and away uniforms for Korean and Japan leagues. Using the Adobe photoshop CS2 eyedropper tool, color chips and RGB values were extracted from digital images and converted into HV/C of Munsell Conversion. Finally, a total of 735 colors were used for the analysis. The color image scale by Shigenobu Kobayashi was used to position the color images. The results are as follows. First, the color analysis of professional football uniforms in leagues suggested that chromatic color (53.7%) was more prevalent than achromatic color (46.3%). The two most common colors of the ten chromatic colors were R(19.7%) and PB(18.0%), followed by Y(5.4%), RP(2.0%), G(1.9), GY(1.8%), B(1.6%), YR(1.5%), P(1.1%), and BG(0.7%). Second, for the color tone comparison and analysis of professional football uniforms in leagues, the most commonly used color tone was W(28.4%), followed by v(25.5%), Bk(16.3%), s(5.8%), dk(5.2%), b/lt(5.2%), dp(3.0%), sf(2.0%), ltGy(1.0%), p(0.5%), G/dkGy(0.4%), and ltg/mGy (0.1%). Third, for the comparison and analysis of color and color tone of professional football uniforms in leagues, W(28.4%), R(v)(17.7%), and Bk(16.3%) were commonly used. Finally, for the comparison and analysis of color images of professional football uniforms in leagues, the most commonly used color image was a casual image(31.8%), followed by modern image(26.5%), dynamic12.8%), cool casual(12.0%), gorgeous(9.3%), clear(6.6%), chic(3.5%), and elegant images. Dandy, classical, romantic and pretty images(0.4% respectively) were also used.

Color naming experiments using 2D and 3D rendered samples

AbstractThis article describes a color naming experiment using 2D and 3D rendered color samples. Conventional color naming experiments using a priori clues generally involve 2D clues such as color patches. However, in real‐world scenes, most objects have 3D shapes whose colors are affected by illumination effects such as shadows and gloss. We use 2D and 3D rendered samples as clues in the experiments, and analyze the relationship between color terms and object surfaces. First, we develop a color term collection system that can produce 218 test colors. We render the color images of a flat disk as a 2D sample and a sphere as a 3D sample on a calibrated display device. It is supposed that the 2D and 3D surfaces with the same object color are obtained under the same conditions of viewing and illumination. The results of color naming experiments show that there are differences for color terms between 2D and 3D samples. Important findings are as follows: (1) brighter color terms tend to be chosen for the 3D samples than the 2D samples, when observing achromatic colors, (2) achromatic color terms are chosen for 3D samples having low saturation, and (3) for chromatic colors, a darker color term is generally chosen in comparison to the corresponding 2D samples of the same color. These properties become more prominent by changing the illumination angle from 0° to 45° to the surface normal. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 270–280, 2015

현대패션에 나타난 레깅스 디자인의 조형적 특성 연구

Leggings are recognized as unique fashion items that meet the needs of customers to express individuality due to their protective and thermal functions. They are highly practical fashion items that show a casual, street and sportive style with a noted influence on outdoor leisure fields. This study analyzes the sociocultural background for the spread of leggings as well as their design characteristics, coordination characteristics and authentic characteristics. The formative characteristics of modern legging designs are as follows. First, the shapes of modern leggings are ankle-length, calflength, above-knee, knee-length, stirrup and top of the foot-length. Leggings are transformed in many ways: length-expansion, side-slit, unbalanced length, variations of straps, cut-out, trimmings, pattern transformation and complex form. Second, modern leggings contain achromatic colors in modern and sensual image, vivid colors in sportive image and metallic colors futuristic and technical image. Third, leggings patterns value originality, uniqueness and rarity as shown by printed geometric patterns, hand crafted geometric and natural patterns, and abstract patterns expressed through various materials and themes. Fourth, modern leggings' textures are categorized into erotic, simply-functional, seasonless, glossy, and metallic. Functional and fashionable leggings reflect the psychological needs of modern society. This study suggests a direction for the development of legging designs and provides a theoretical database for higher value-added leggings business.

A Comparison Analysis of Color Characteristics and Images in Flight Attendant Uniforms of Korea, China and Japan

The purpose of this research was to conduct a comparison analysis of color in the characteristics and image of Korea/China/Japan airline uniforms. Research subjects for this research included 19 Korean, Chinese and Japanese airlines servicing the Incheon International Airport in South Korea. The analysis methods are based on the Munsell Color Order System and PCCS (Practical Color Coordinate System) tone classification in order to examine the color characteristics. For the color image analysis, the present research performed a positioning on Shigenobu Kobayashi's color images scale with adjectives in order to compare the resulting differences. As a result of the analysis, this research discovered the following; First, achromatic colors were found to be used most frequently in flight attendant uniforms of Korea/China/Japan. In Korean flight attendant uniforms, YR/Y, GY and B/PB/P; in Chinese, R/PB, RP, YR/Y/GY and BG/P; in Japanese, RP, R/P/PB and Y/BG were found in order. As for the main uniform colors, Korean flight attendant uniforms were found to be in the colors YR, and R/GY/B/P; Chinese flight attendant uniforms, R, PB, and P/B; and Japanese flight attendant uniforms, R, BG, B, RP and N. Second, Korean flight attendant uniforms used W and It most frequently; China flight attendant uniforms, W; and Japanese flight attendant uniforms, W and v. Regarding the main colors, Korean flight atteddant uniforms used lt/g and v/p; Chinese flight attendant uniforms, v, dp and s/d/dkg; and Japanese flight attendant uniforms, v/dkg and Bk. Third, after positioning each country’s uniform color combination bars on the Kobayashi image scale, Korean flight attendant uniforms showed classic images along with casual/pretty/elegant/chic images; Chinese flight attendant uniforms displayed, casual images as well as, dynamic/gorgeous/chic/cool casual/dandy images; and finally, Japanese flight attendant uniforms converyed dandy images along with casual/gorgeous images.

Edge integration in achromatic color perception and the lightness-darkness asymmetry

To maintain color constancy, the human visual system must distinguish surface reflectance-based variations in wavelength and luminance from variations due to illumination. Edge integration theory proposes that this is accomplished by spatially integrating steps in luminance and color contrast that likely result from reflectance changes. Thus, a neural representation of relative reflectance within the visual scene is constructed. An anchoring rule-the largest reflectance in the neural representation appears white-is then applied to map relative lightness onto an absolute lightness scale. A large body of data on human lightness judgments is here shown to be consistent with an edge integration model in which the visual system performs a weighted sum of steps in log luminance across space. Three hypotheses are proposed regarding how weights are applied to edges. First, weights decline with distance from the target surface whose lightness is being computed. Second, larger weights are given to edges whose dark sides point towards the target. Third, edge integration is carried out along a path leading from a common background field, or surround, to the target location. The theory accounts for simultaneous contrast; quantitative lightness judgments made with classical disk-annulus, Gilchrist dome, and Gelb displays; and perceptual filling-in lightness. A cortical theory of lightness in the ventral stream of visual cortex (areas V1 → V4) is proposed to instantiate the edge integration algorithm. The neural model is shown to be capable of unifying the quantitative laws of edge integration in lightness perception with the laws governing brightness, including Stevens' power law brightness model, and makes novel predictions about the quantitative laws governing induced darkness.

Background matching by means of dorsal color change in treefrog populations (Hyla japonica)

Treefrogs change dorsal coloration to match background colors, presumably for predator avoidance. Dorsal coloration in treefrogs results from rearrangement of pigment granules in dermal chromatophores. This physiological basis for color change suggests that brightness and chroma are the color components that may change in response to background color. However, results of experiments are conflicting in that there is no consensus as to which color component is critical for color change in treefrogs. We tested predictions of the physiological model for color change in treefrogs by investigating dorsal color change under five background colors in three different populations of the treefrog Hyla japonica. Differences in color components between background colors and frogs were used as a measure of background matching. Throughout a 1-week experimental period, brightness and chroma differences decreased monotonically, while hue difference remained constant for all background colors. Chroma differences were smaller with the natural colors such as green and brown than with achromatic colors. Moreover, variation in color change among frogs from three localities that differed in land cover suggested that chroma change capacity may be sensitive to environmental conditions. Under the white background color, however, decreasing brightness difference seemed to be crucial to background matching. Furthermore, chroma difference and brightness difference did not decrease indefinitely, suggesting a trade-off between chroma difference and brightness difference under the white background. Thus, background matching may generally occur by decreasing chroma difference under most background colors in H. japonica, but brightness matching may be important under the white color.

Tone-mapping and dynamic range compression using dynamic cone response

Over the last several decades, the tone-mapping and color correction methods have been incorporated into the display device such as LCD/LED display device or the photographic print. However, conventional methods are based on Gray-World Assumption using spatial smoothing filter to estimate the local illumination component. For this reason, most of these methods have several problems like visual perception problem, scale the contrast, gray-out, color distortion (dominate color, halo-artifact) and so on. Accordingly, this paper presents a color correction method using the dynamic cone response function based on human visual perception. The proposed method consists of tone-mapping and dynamic cone response. The tone-mapped image is obtained by using chromatic and achromatic colors. Thereafter, the resultant image is processed through the dynamic cone response function, and it is to estimate the dynamic response of human eye as well as to deal with mismatch between a real scene and the rendered image. The experimental results show that the proposed method yields better performance of color correction over the conventional methods.