Secondary Colors Research Articles

Colour reproduction analysis of portrait photography in cross-media system: image on the computer monitor–electrophotographic printing

Photography is dominant illustration technique. Two-thirds of illustrations are realised in this technique most in commonly in the digital photography system. The portrait is one of the most present and most challenging photographic motifs which can be, in a technical sense, analysed primarily through monitoring of the changes in the skin colours. Modern publishing is characterised by increasing number of small circulations created in electrophotographic printing and, parallel, in electronic media. This paper deals with the portrait photography created on the computer monitor and with electrophotographic printing and the question if they can be, for consumers, considered to be the same. The evaluation was attended by the visual comparison based on the principle of memory harmonisation and ΔE00 determination. The results point out satisfactory reproduction in the electrophotographic printing of colour portrait photography in comparison to the portrait defined on the computer monitor, although the reproduction results in colour changes for skin colours and primary and secondary colours of additive and subtractive synthesis.

A Estrutura Conceitual da Experiência: McDowell e o debate Kant-Hegel

O presente artigo pretende considerar a interpretação proposta por McDowell acerca do debate epistemológico travado entre Kant e Hegel. O fio condutor que adoto concerne à estrutura conceitual da experiência. Primeiramente, tento elucidar o sentido mais geral da recuperação de estratégias hegelianas pela filosofia analítica (1). Em segundo lugar, procuro descrever a posição mais geral adotada por McDowell à luz do debate Kant-Hegel (2.1 e 2.2), seu apelo ao argumento wittgensteiniano da linguagem privada (2.3) e sua inserção no debate moderno em torno da percepção de qualidades secundárias e de cores (2.4). Em seguida, eu tento a interpretação de alguns argumentos na Fenomenologia do Espírito seguindo indicações de McDowell (3). Finalmente, baseando-me na obra Having the World in View, procuro mostrar o sentido geral de sua interpretação alegórica da dialética do senhor e do escravo (4).

Application of extended artificial physics optimisation in product colour harmony design

There exists large blindness in computer-aided colour harmony design. To pursue a better design scheme of the product colour with the proposition for emotional, a model of product colour harmony design with colour emotion is established according to the quantitative affiliation relations between colour emotional and colour property. In the model, the designer should determine the value domains of three colour properties of the main colour and secondary colours according to the colour emotional expressed by products. The value domain is the feasible region of the main colour and secondary colours, which are regarded as the constrained conditions. And the aesthetics measure in the objective function will be optimised. An extended artificial physics optimisation EAPO algorithm adds the personal best positions of all individuals in the artificial physics optimisation's APO force computation equation, which can provide much useful information for the search and improve the convergence velocity of APO. EAPO algorithm is employed to search the best aesthetics measure in the colour feasible regions. The example simulation shows the effectiveness and efficiency of the method.

Person Identification for Visually Impaired using LabVIEW

Visually impaired find difficult to identify colors and person, the main objective of this project is to make them overcome these. An external camera is fitted with goggles for acquiring images. The acquired image is processed to obtain the required features such as colors in the case of audio colors or facial features in the case of personal identification. The obtained feature is encoded using MATLAB, then fed into LabVIEW through which speakers are connected to get the respective audio signals. The color presented to the camera is converted to corresponding sound. This will also be useful for the visually impaired to identify their friends and foes using face identification software which is implemented in here. This project is meant to describe light, by its frequency and intensity, in terms of an audible signal. However, the domain of the system here is limited only to primary and secondary colors. The complete software solution is implemented using LabVIEW and MATLAB.

Evaluation of canine intervertebral disc degeneration in colour-coded computed tomography.

BackgroundCanine intervertebral disc degeneration can lead to intervertebral disc disease. Mild degenerative changes in the structure of the canine intervertebral disc can be identified in magnetic resonance images, whereas these changes are not visible in computed tomographic images. Therefore, one aim of this study was to detect whether colour-coded computed tomography enhances the visibility of mild degenerative changes in the canine disc structure compared to non-contrast computed tomography. Furthermore, the study aimed to detect if intervertebral disc degeneration could be classified with a higher reliability in colour-coded images than in non-contrast images.ResultsComputed tomographic image studies of 144 canine intervertebral discs were coloured using three different lookup tables. Canine intervertebral disc degeneration was evaluated by three observers using a 5-grade classification system and compared to the evaluation of non-contrast CT and MRI images. A moderate to almost perfect intraobserver and a moderate to substantial interobserver agreement were found depending on the used colour code. On comparing non-contrast and colour-coded CT significant differences were found by one observer only. Significant differences in evaluation were found in grading intervertebral disc degeneration in MRI and colour-coded CT.ConclusionsIntervertebral disc degeneration could not be classified with a higher reliability on colour-coded images compared to non-contrast images. Furthermore, colour-coded CT did not enhance the visibility of mild degenerative changes in disc structure compared to non-contrast CT.However, the better intraobserver agreement and the subjective impression of the observers highlighted that the usage of colour encoded CT data sets with a wide range of tonal values of few primary and secondary colours may facilitate evaluation.

Color Overlapping Method for Projection Systems Based on Light-Emitting Diodes

A color overlapping method for increasing the brightness of projection systems using light-emitting diodes (LEDs) is proposed. The proposed approach drives the pulse width modulated signals of red, green, and blue LEDs. This color overlapping method synthesizes secondary colors of yellow and cyan from primary colors of red, green, and blue. By the proposed method, the brightness of the projected image is improved by about 30% compared to the conventional non-color-overlapping method in a projection system with LEDs.

REPRODUCTION OF MULTI-COLOURED ARTWORK IN WOVEN FORM WITH REDEFINED SUBTRACTIVE COLOUR SYSTEMS

This study enhances the capability to reproduce multi-coloured images in woven Jacquard forms where weave structure and pattern design were considerably involved in fabrication. In modern weaving, great convenience and efficiencies were established in both production and design process through digitalisation, while the colour adoption has been constrained as the applicable number of figuring yarns were limited. The enhancement toward colour realisation is traditionally related to weaving capability. Surface colour display is dominated by additive, subtractive or optical mixing (Mathur, 2007). An additive colour system offers the largest gamut among output models yet, the light mixing principle is not suitable to apply to weave colour creation. Pre-dyed opaque yarns are used and juxtaposed; small particles of yarn colours reflect lights and they were observed as a certain form of colour. The common and crucial criterial pertinent to an optical mixing of weave colours were aligned more with the subtractive mixing principle. A weave pattern was designed by subtractive primary colour classification and a multi-weft figuring method. Secondary colours are theoretically produced when coupled CMY layers are mixed(i.e., cyan + magenta = blue, cyan + yellow = green, magenta + yellow = red) and black is generated when all CMY primaries are mixed (Berns, 2000);however, non-bendable colours of threads are employed for colour reproduction in weaving and there is a limit to adopt a pigment mixing principle in the woven form. Therefore, each weave pattern required a modification to redefine primary colour regions and densities once an original artwork was separated and presented in greyscales levels. The weave patterns in an original subtractive scheme were altered by applying region-based segmentation to maximise the accessible colour gamut. In this study, the weaving application developed for the multi-coloured image was introduced and the design process was explained based on a practical experiment proceeded with a newly developed weaving application.

Colors versus Shapes by M. Boldt

Boldt, Mike. Colors versus Shapes. New York: Harper Collins, 2014. Print.Mike Boldt, a local Alberta author/illustrator, creates a carefully scripted theatrical scene in which colours and shapes vie to be the main character or star in a new book hosted by the characters from his first book, 123 versus ABC. The interplay between the colours and shapes is witty, entertaining and educational. Mike Boldt presents the dialogue in colored speech balloons, which allows for a great read aloud experience for the young audience which it is intended. A further benefit of this fun picture book is the introduction and explanation of the mixing of colours and the difference of shapes. This feature makes this book an excellent tool for young students to learn how primary colors combine to make secondary and tertiary colors. Additionally, it enables students to discover the names of different 2D shapes as the shapes morph through the addition of sides. Bantering and competition heat things up until both groups learn that working together is much more productive than working apart. Children will enjoy exploring the final product of such creative collaboration.In all, Colors versus Shapes is a fun educational picture book, full of colourfully illustrated pages with the theme of friendship as a the final lesson to be learned. Highly recommended: 4 out of 4 stars.Reviewer: Kelly Maxwell

Proposal of Colors for Standardization of the Traditional Colors of Korea - Focusing on the actual use of Obangsaek (five primary colors) and Ogansaek (five secondary colors) in the upper class society of the Joseon Dynasty -

Proposal of Colors for Standardization of the Traditional Colors of Korea - Focusing on the actual use of Obangsaek (five primary colors) and Ogansaek (five secondary colors) in the upper class society of the Joseon Dynasty -

바디페인팅에 활용된 배색 이미지 연구

Due to the inflammatory of body exposure it did not become popular to the Korean natio n but the body painting as a body art is definitely required for it be become a new pure a rtwork. In this body painting color is the core factor for visual part and expression and col oring obtained from the color is very important in creating effective image. In Korea beauty industry the researches are limited to the study on coloring expression of general beauty m akeup. Therefore, this research analyzes color images in recent body painting artworks by defining characteristics of colors and coloring applied by theme. For the research subjects, dominant and secondary colors were extracted from the artworks presented in preliminary a nd final rounds of year 2012 and 2013 World Body Painting Festival. For the selection of fi nal coloring stimulation the most frequent coloring by theme was first chosen. Among the m, 2 individual coloring bands were selected by theme among the high frequency colors. F or the analysis of coloring image shown in body painting works total 8 coloring bands wer e created and they were compared and analyzed by indicating each divided coloring band on the coloring image scale by theme. In this research coloring image analysis was done after examining colors and coloring of artworks presented in World Body Painting Festival b y theme. This research has its meaning that it provides information and guideline for colori ng design work of body painting by analyzing coloring image used in color and coloring of body painting by theme.

Four shades of brown: tuning of electrochromic polymer blends toward high-contrast eyewear.

We report a straightforward strategy of accessing a wide variety of colors through simple predictive color mixing of electrochromic polymers (ECPs). We have created a set of brown ECP blends that can be incorporated as the active material in user-controlled electrochromic eyewear. Color mixing of ECPs proceeds in a subtractive fashion, and we acquire various hues of brown through the mixing of cyan and yellow primaries in combination with orange and periwinkle-blue secondary colors. Upon oxidation, all of the created blends exhibit a change in transmittance from ca. 10 to 70% in a few seconds. We demonstrate the attractiveness of these ECP blends as active materials in electrochromic eyewear by assembling user-controlled, high-contrast, fast-switching, and fully solution-processable electrochromic lenses with colorless transmissive states and colored states that correspond to commercially available sunglasses. The lenses were fabricated using a combination of inkjet printing and blade-coating to illustrate the feasibility of using soluble ECPs for high-throughput and large-scale processing.

Harmony in the Home: Fashioning the “Model” Artistic Home or Aesthetic House Beautiful through Color and Form

ABSTRACTBy the 1880s those proffering guidance on domestic decor were in agreement on one point: interiors had to be “harmonious.” This meant understanding the importance of color, form, and texture in fashioning the “model” interior popularly known as a House Beautiful; like a work of art, interiors were now compositions that required careful orchestration. Domestic advice pundits constantly drew analogies with both painting and music. Writers as diverse as “armchair evolutionist” Grant Allen, architect Owen W. Davis, designer and theorist Dr Christopher Dresser, and domestic experts Mrs Lucy Orrinsmith and Mrs H.R. Haweis all extolled the virtues of creating a “harmonious” ensemble. For the Aesthete “harmony” was a means of forging a distinct ensemble, one that expressed individual taste. A preference for secondary and tertiary colors exemplified superior cognition, as the common herd was apparently unable to appreciate subtle shades or tones. Journalist and art critic Harry Quilter condemned this obsession with “harmony” for instituting a dogma that was transforming art into a mystical cult. The quest for “harmony” was used to both define and castigate the aesthetic mission; due to their coloristic preferences they were judged to be “snobs.” The insistence on harmony would eventually result in the gesamtkunstwerk, the interior conceived as a “total work of art.” Although such unity of design would be hard to sustain, contemporary paint manufacturers still offer neutral or low tones with artful names, while “high-end” magazines feature model interiors devoid of humans least they rupture the harmony. Judging by current marketing strategies, a preference for subtle tones is still perceived as a mark of social distinction.

Diversity of Nuptial Plumages in Male RuffsPhilomachus pugnax

Nuptial ornament diversity was studied in 1814 individual male Ruffs that were caught in their spring staging areas in Friesland, The Netherlands. Ornaments (hereafter called plumages) comprised of a ruff, two head tufts and facial wattles. Individual feathers were found to be plain (white, black or one hue), or patterned with black and only one hue. Patterns of feathers varied modestly within males, and greatly between males. The colour of a male's ruff plus head tufts consisted of black and/or white and/or only one other hue. Ruff, head tufts and facial wattles differed In coloration and pattern between individuals. Using seven criteria we counted 801 different plumage variants. Nevertheless, except for wattle colour, characteristics did not combine at random. Some combinations of characteristics, such as a white ruff with white head tufts, occurred much more often than expected by chance. Other combinations, such as a white ruff with black head tufts, a black ruff with white head tufts, and a regular ruff pattern with an Irregular pattern, were rare. Mostly there was conformity between ruff and head tufts: they were identical or had reversed primary and secondary colours. Nuptial plumage characteristics were only weakly associated with body size. Some associations between nuptial plumage and the timing of moult were remarkable: only white males and males with a plain ruff pattern tended to have completed moult by the time of their capture In April. We discuss our findings, including the extreme diversity of nuptial plumages among individuals, In the light of development, genetics and function.

Effect of texture on color variation in inkjet‐printed woven textiles

AbstractInkjet‐printed textiles are influenced by a wide range of parameters due to highly diverse textile structures and the resulting textures. The goal of this study is to understand the effect of texture on color appearance in inkjet‐printed woven textiles. Cotton‐woven samples were constructed with nine different weave structures. Each sample was digitally printed with identical squares of primary colors cyan, magenta, and yellow and secondary colors red, green, and blue. The amount of ink applied was controlled consistently with an image editing software. CIE L* values were calculated from the measured reflectance. 25 observers ranked the perceived texture and color lightness of each sample. Perceived visual texture and perceived color lightness scales were estimated from the rankings using the rank order method. The measured CIE L* values and the scale of perceived lightness were positively related for the primary and secondary colors. Instrumental measurements of the textile surface characteristics were positively related to the visual scale. Texture was demonstrated to cause a measurable effect on color results in inkjet printing, both using instrumental and perceptual measures. To investigate if the color differences were substantial enough to cause “out of tolerance” ratings in textiles based on common textile industry color acceptance procedures, color differences among the samples were calculated and compared to a reference sample. Results demonstrated that color variation due to texture was sufficient to lead to rejection of a printed color in comparison to a color specification. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 297–303, 2015

A comparative study on perceptual evaluations of sports shoe exterior colors in Taiwan

AbstractWe investigated consumer psychology, perception, and aesthetics in relation to sports shoe colors in Taiwan. Semantic differential rating (three emotional adjective pairs) and preference rating questionnaires were distributed among 512 university students to investigate whether their responses to various sports shoe colors differed. The results show that black is one of the most popular colors for sports shoes. The participants preferred designs that incorporated white as the secondary color and disliked those that featured green as the main and secondary colors. In addition, designs incorporating black or red as the main color with a bright color as the secondary color were considered modern. Black and white designs were perceived to be more suited to formal occasions. Furthermore, when the area of the main color exceeded that of the secondary color, the participants perceived a strong sense of simplicity, unless the colors were blue and green. The participants preferred two‐color over one‐color designs, and three‐color designs had a higher correlation with participant preferences. Women required more time than men to evaluate a sample. The men typically examined the samples from a frontal angle, whereas the women focused on the sides of the sample. The scoring scale was polarized (e.g., highest score for modern was −10 and 10 for retro), rendering the values of the Pearson correlation coefficient analysis comparatively low, resulting in weak correlations between variables. However, the relative differences of these values retained referential value regarding objective quantification. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 178–193, 2015

Influence of nacre deposition rate on cultured pearl grade and colour in the black-lipped pearl oyster Pinctada margaritifera using farmed donor families

Cultured pearl nacre deposition rate in Pinctada margaritifera oysters was studied to examine its influence on Tahitian classification grade and colour and to further our understanding of using selected donor oysters produced in a hatchery system for the improvement of these traits. A large-scale grafting experiment using 150 farmed donor oysters was realised in Rangiroa atoll (French Polynesia). After 18 months of culture, 874 pearls were harvested and 7 pearls quality traits were recorded: (1) nacre deposition rate assessed by nacre thickness and weight, (2) classification grade, lustre and surface defects, and (3) colour assessed by pearl colour darkness level and visual colour categories. Nacre deposition rate significantly influence pearl grade, surface defects, darkness level and colour categories, but not the lustre. Grade A pearls had the thickest and heaviest nacre on average, compared with grade D pearls and rejects. In addition, pearls without any surface defect had thicker and heavier nacre. Pearls with low darkness were the thinnest and the lightest. Pearls of aubergine–peacock secondary colours were the thickest and the heaviest. These results highlight the importance of rapid nacre deposition rate for increasing the production of grade A pearls, with less surface defects and dominance of a black tone colour. Fast nacre deposition may, however, have a negative impact on other pearl quality traits, such as pearl lustre. This study demonstrates the importance of examining relationships between pearl quality traits in a way that provides solid information that can be directly used for breeding and genetic selection programmes.

Come Back, Ben by Ann Hassett, and: Pete Won't Eat by Emily Arnold McCully (review)

Reviewed by: Come Back, Ben by Ann Hassett, and: Pete Won't Eat by Emily Arnold McCully Hope Morrison Hassett, Ann . Come Back, Ben; written and illus. by Ann Hassett and John Hassett. Holiday House, 2013. [32p]. (I Like to Read) ISBN 978-0-8234-2599-0 $14.95 Reviewed from galleys R Gr. K-1. McCully, Emily Arnold . Pete Won't Eat; written and illus. by Emily Arnold McCully. Holiday House, 2013. [32p]. (I Like to Read) ISBN 978-0-8234-2853-3 $14.95 Reviewed from galleys R Gr. K-1. These two offerings from the Holiday House "I Like to Read" series offer simple storylines, lots of vowel sound repetition, and an extra-large font size to make reading more approachable for new readers. In Hassett's Come Back, Ben, a boy [End Page 93] flies off on a balloon past a series of passers-by until eventually landing on the moon, where he fills his pocket with moon rocks and sends himself floating back to earth. Cut-paper and ink illustrations in bold primary and secondary colors depict a fantasy-touched world where windows, kites, and mountains can talk. In McCully's Pete Won't Eat, a pig named Pete refuses to eat his bowl of green slop; just when Mom caves and makes Pete a sandwich, Pete decides to give the slop a try and finds that he likes it. McCully's line and watercolor illustrations feature a pastel cast of pigs and a particularly putrid bowl of green slop, and there is plenty of text-to-image pairing within the story to guide young readers. Both stories excel at their purpose—they are truly first readers designed to give newly independent readers a sense of early mastery with reading alone. Of the two, the Hassett offers a more fanciful storyline that departs from simple domestic themes, but either would be a welcome addition to a first reader collection. Copyright © 2013 The Board of Trustees of the University of Illinois

Colors for Zena by Monica Wellington (review)

Reviewed by: Colors for Zena by Monica Wellington Hope Morrison Wellington, Monica . Colors for Zena; written and illus. by Monica Wellington. Dial, 2013. [32p]. ISBN 978-0-8037-3743-3 $16.99 Reviewed from galleys Ad 4-7 yrs. This picture book embeds a lesson in primary and secondary colors into a simple narrative. When Zena wakes up in a monochromatic house, she wonders where all the colors have gone. And boy, does she find out: in the next spread, she and her dog encounter a world of yellow, in the next a world of red, and in the subsequent spread, orange, the mixture of the two previous hues. Then they encounter a blue spread followed by a yellow spread, followed by—you guessed it—green, and so on. Each time the primary colors mix, the resulting secondary color is announced by something of that color ("'I am yellow and red mixed together,' roars the lion"), thus delivering the lesson directly and accessibly. The concept is somewhat forced, and the accompanying text is slight and overexclamatory. Zena is an enjoyable figure, though, somewhat reminiscent of Dora the Explorer with her bobbed hair, her penchant for adventure, and her constant declarations of enthusiasm ("Red is exciting!" "Magnificent!" "Fantastic!"). The gouache illustrations have a tidy regularity that suggests digital art or even fabric art; each scene wisely counters the key color with black and gray tones, and as the progression continues, escapees from earlier spreads join Zena and add some color variety. The book closes with Zena and her new many-colored friends collaborating on a many-colored painting, and the resulting composition is chock full of colors encountered along the way, providing listeners with a final opportunity to review the color concepts presented. A succinct explanation of the color wheel and some suggested activities for experimenting with color are included. Copyright © 2013 The Board of Trustees of the University of Illinois

Fading red? No evidence that color of trunks influences outcomes in the ultimate fighting championship (UFC)

Fading red? No evidence that color of trunks influences outcomes in the ultimate fighting championship (UFC)

Color Image Analysis of Cosmetic Web-Site for Color Marketing

This study aims to derive the sensitive image analysing the color tones based on the web-sites of cosmetic brand and to know how the web-site color tones and the color tone image as visual factor for information transfer do influence the effective communication. 10 cosmetic brand web-sites are selected based on the pre survey, and the main page color tones of cosmetic brand web-site are analyzed by Color Catch and Munsell Conversion program, whereas the composition of color tones and color image such as the main trend colors, secondary colors, accent colors and etc are analyzed by a graphic professional program 'Adobe Photoshop'. 5 color tone groups are classified as Black&White, Green&White, Blue&White, Purple&White and Red&White according to the color distribution chart, and the emotional language is derived applying them to the pre research and IRI image scale. The color association is empirically analyzed by a survey method. The study results finally show Black&White is proper for expression of high quality and modern image, Green&White for pure and clean image, Blue&White for cool and transparent image, Purple&White for mysterious and elegant image respectively. This study results are necessary for plan of color delivering the strong transferring power of visual information the time when to make the effective web-sites, and it hopefully will be utilized as the basic data for the color marketing to actively express the brand identity and to satisfy the consumers' sensitivity.