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Colors and Fillstyle
GraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphics andandandandandandandandandandandandandandandandandandandandandandandandandandandandandand TTTTTTTTTTTTTTTTTTETETETETETXETXETXETXETXETXETXETXEXEXEXEXEXEXEXEXEXEXEXEXEXEXEXEXEXEXXXXX Ordinary colors More colors Colorful Fill—in style Custom colors From one color to another Tricks Online L Part II – Graphics AT EX Tutorial PSTricks c 2002, 2003, The Indian T This document is generated by hyperref, pstricks, pdftricks and pdfscreen packages on an intel and is released under EX Users Group The Indian T pc pdf running Floor lppl T Trivandrum 695014, EX with iii, sjp http://www.tug.org.in gnu/linux Buildings,EX Users Cotton HillsGroup india 1/19 Ordinary colors More colors Fill—in style Custom colors From one color to another 2. Colorful Tricks Seeing the (ps)tricks so far, at least some of you may be wishing for a bit of color in the graphics. Here’s good news for such people: you can have your wish! PSTricks comes with a set of macros that provide a basic set of colors Online LAT X Tutorial and lets you define your own colors. However, it has some incompatibility with E the LATEX package color. However, David Carlisle has written a package pstcol Part II – Graphics which modifies the PSTricks color interface to work with LATEX colors. All of our examples in this chapter assumes that this package is loaded, using the PSTricks command \usepackage{pstcol} in the preamble. Note that this loads the pstricks package also, so that it need not be separately loaded. c 2002, 2003, The Indian TEX Users Group This document is generated by pdfTEX with hyperref, pstricks, pdftricks and pdfscreen packages on an intel pc running gnu/linux and is released under lppl The Indian TEX Users Group Floor iii, sjp Buildings, Cotton Hills Trivandrum 695014, india http://www.tug.org.in 2/19 Colorful Tricks 2.1. -
Basic Color I
Basic Color I Up to this point we have explored and /or reviewed 4 several basic visual elements that will help develop a solid foundation for a Language of Painting. With a strong focus on the dynamics of paint application, we have connected simple dots with confident lines, con- figured lines into a wide array of shapes, and applied contrasting pigments in concert with varied pressures to yield seamless gradations of value. However, the previous chapter incorporated a new element that many find to be one of the most powerful tools for the creative endeavor-- color. The Painted Pressure Scale chapter, had us grow our palette from the sparse black and white that we have started with to include three colors: Red, Yellow and Blue. It is our hope that your experience generated a good number of questions from this inaugural color use. With this chapter we will take some first steps towards answering those questions. We will also revisit some of the color concepts you may already hold and introduce you to some of the more advanced methods for identifying, using and understanding this brilliant aspect of the artist’s salvo. On any initial investigation into color we are faced with a robust vocabulary of terms and concepts that may leave us somewhat confused. Like the many other aspects of our curriculum, we make a strong effort to simplify all of this. We will endeavor to make use of what you may have learned in the past and offer options for you to integrate color in the manner you wish into your creative process efficiently and effectively. -
Scaling Lightness Perception and Differences Above and Below Diffuse White and Modifying Color Spaces for High-Dynamic-Range Scenes and Images Ping-Hsu Chen
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 2011 Scaling lightness perception and differences above and below diffuse white and modifying color spaces for high-dynamic-range scenes and images Ping-hsu Chen Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Chen, Ping-hsu, "Scaling lightness perception and differences above and below diffuse white and modifying color spaces for high- dynamic-range scenes and images" (2011). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Scaling Lightness Perception and Differences Above and Below Diffuse White and Modifying Color Spaces for High-Dynamic-Range Scenes and Images by Ping-hsu Chen B.S. Shih Hsin University, Taipei, Taiwan (2001) M.S. Shih Hsin University, Taipei, Taiwan (2003) A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Color Science in the Center for Imaging Science, Rochester Institute of Technology Signature of the Author Accepted By Coordinator, M.S. Degree Program Data CHESTER F. CARLSON CENTER FOR IMAGING SCIENCE COLLEE OF SCIENCE ROCHESTER INSTITUTE OF TECHNOLOGY ROCHESTER, NY CERTIFICATE OF APPROVAL M.S. DEGREE THESIS The M.S. Degree Thesis of Ping-hsu Chen has been examined and approved by two members of the Color Science faculty as satisfactory for the thesis requirement for the Master of Science degree Prof. -
Development of a Methodology for Analyzing the Color Content of a Selected Group of Printed Color Analysis Systems
AN ABSTRACT OF THE THESIS OF Edith E. Collin for the degree of Master of Sciencein Clothing, Textiles and Related Arts presented on April 7, 1986. Title: Development of a Methodology for Analyzing theColor Content of a Selected Group of Printed Color Analysis Systems Redacted for Privacy Abstract approved: Ardis Koester The purpose of this study was to develop amethodology to compare the color choice recommendationsfor each personal color analysis category identified by the authorsof selected publications. The procedure used included: (1) identification of publications with color analysis systemsdirected toward female clientele; (2) comparison of number and names of categoriesused; (3) identification, by use of Munsell colornotations, the visual and written color recommendations ascribed toeach category; and (4) comparison of the publications on the basisof: (a) number and names of categories; (b) numberof color recommendations in each category; (c) range of hue value and chroma presented;(d) comparison of visual and written color recommendations by categoryand author. With the exception of comparison of publications onthe basis of written color recommendations, all components of themethodology were successful. Comparison of the publications used in development ofthe methodology revealed that: 1. The majority of authors use the seasonal category system. 2. The number of color recommendations per category was quite consistent within a publication but varied widely among authors. 3. There were few similarities in color recommendations even among authors using the same name categories. 4. There was poor agreement between written and visual color recommendations within all color categories. 5. There was no discernable theoretical basis for the color recommendations presented by any author included in this study. -
Color Space Conversion
L Technical Color Space Information Conversion The role of color space conversion in the process of scanning and reproduc- ing a color image begins the moment an image is captured by a scanner and continues through the point at which it is output on film. For the purpose of this article we will discuss conversions between three types of color systems: RGB, CIE, and CMYK. The RGB (Red, Green, & Blue) and CMYK (Cyan, Magenta, Yellow, & Black) color models have been described in greater detail in the Linotype-Hell Technical information piece entitled Color in Printing. For some background information on the CIE (Commission Internationale de l’Eclairage), please refer to Color Spaces and PostScript Level 2. CIE as a reference color space Most scanners acquire color in the form of RGB data. The majority of non- photographic printing methods employ CMYK inks or toners. In a closed sys- tem, where the characteristics of both the scanner and the printing method are well-defined, conversions may be made from RGB to CMYK through tables that maintain a reasonable level of color consistency. The process becomes somewhat more difficult as you add monitors, other scanners, proofing devices or printing processes that have different characteristics. It becomes critical to have a consistent yardstick, if you will, a means of con- verting between different color systems (and back again) without a loss in color fidelity. This is what CIE provides. Let’s start with some background on CIE, and then we will look at how it can be applied in an open system. Measuring color Light reflected off of, or transmitted through a colored object can be mea- sured by the wavelengths of light that are reflected or transmitted. -
Review of Measures for Light-Source Color Rendition and Considerations for a Two-Measure System for Characterizing Color Rendition
Review of measures for light-source color rendition and considerations for a two-measure system for characterizing color rendition Kevin W. Houser,1,* Minchen Wei,1 Aurélien David,2 Michael R. Krames,2 and Xiangyou Sharon Shen3 1Department of Architectural Engineering, The Pennsylvania State University, University Park, PA, 16802, USA 2Soraa, Inc., Fremont, CA 94555, USA 3Inno-Solution Research LLC, 913 Ringneck Road, State College, PA 16801, USA *[email protected] Abstract: Twenty-two measures of color rendition have been reviewed and summarized. Each measure was computed for 401 illuminants comprising incandescent, light-emitting diode (LED) -phosphor, LED-mixed, fluorescent, high-intensity discharge (HID), and theoretical illuminants. A multidimensional scaling analysis (Matrix Stress = 0.0731, R2 = 0.976) illustrates that the 22 measures cluster into three neighborhoods in a two- dimensional space, where the dimensions relate to color discrimination and color preference. When just two measures are used to characterize overall color rendition, the most information can be conveyed if one is a reference- based measure that is consistent with the concept of color fidelity or quality (e.g., Qa) and the other is a measure of relative gamut (e.g., Qg). ©2013 Optical Society of America OCIS codes: (330.1690) Color; (330.1715) Color, rendering and metamerism; (230.3670) Light-emitting diodes. References and links 1. CIE, “Methods of measuring and specifying colour rendering properties of light sources,” in CIE 13 (CIE, Vienna, Austria, 1965). 2. W. Walter, “How meaningful is the CIE color rendering index?” Light Design Appl. 11(2), 13–15 (1981). 3. T. Seim, “In search of an improved method for assessing the colour rendering properties of light sources,” Lighting Res. -
Effect of Area on Color Harmony in Interior Spaces
EFFECT OF AREA ON COLOR HARMONY IN INTERIOR SPACES A Ph.D. Dissertation by SEDEN ODABAŞIOĞLU Department of Interior Architecture and Environmental Design İhsan Doğramacı Bilkent University Ankara June 2015 To my parents EFFECT OF AREA ON COLOR HARMONY IN INTERIOR SPACES Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent University by SEDEN ODABAŞIOĞLU In Partial Fulfilment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in THE DEPARTMENT OF INTERIOR ARCHITECTURE AND ENVIRONMENTAL DESIGN İHSAN DOĞRAMACI BİLKENT UNIVERSITY ANKARA June 2015 I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Interior Architecture and Environmental Design. --------------------------------- Assoc. Prof. Dr. Nilgün Olguntürk Supervisor I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Interior Architecture and Environmental Design. --------------------------------- Prof. Dr. Halime Demirkan Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Interior Architecture and Environmental Design. --------------------------------- Assist. Prof. Dr. Katja Doerschner Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Interior Architecture and Environmental Design. --------------------------------- Assoc. Prof. Dr. Sezin Tanrıöver Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Interior Architecture and Environmental Design. -
Relationship of Solid Ink Density and Dot Gain in Digital Printing
International Journal of Engineering and Technical Research (IJETR) ISSN: 2321-0869, Volume-2, Issue-7, July 2014 Relationship of Solid Ink Density and Dot Gain in Digital Printing Vikas Jangra, Abhishek Saini, Anil Kundu gain while meeting density requirements. As discussed Abstract— Ours is the generation which is living in the age of above Dot gain is the measurement of the increase in tone science and technology. The latest scientific inventions have value from original file to the printed sheet. given rise to various technologies in every aspect of our life. Newer technologies have entered the field of printing also. II. MATERIALS AND METHODS Digital printing is one of these latest technologies which have further revolutionized entire modern printing industry in many Densitometer is used for measuring density of ink ways. It also facilitates working on large variety of surfaces, on the paper. Densitometer can be classified according to besides these factors digital printing have grown widely and type of materials they are designed to measure i.e. opaque made a special impact in print market. The presented analysis and transparent. Density of opaque materials is measured by system is used for study of print quality in Digital Printing. reflected light with a device called reflection type densitometer. Density of transparent materials is measured Index Terms— Digital Printing, Dot Gain, Solid ink density, by transmitted light with a device called transmission type Coated Paper and Uncoated Paper. densitometer. In order to measure the print quality i.e. solid ink density (SID) and dot gain (DG) on coated and uncoated I. -
Chromatic Adaptation Transform by Spectral Reconstruction Scott A
Chromatic Adaptation Transform by Spectral Reconstruction Scott A. Burns, University of Illinois at Urbana-Champaign, [email protected] February 28, 2019 Note to readers: This version of the paper is a preprint of a paper to appear in Color Research and Application in October 2019 (Citation: Burns SA. Chromatic adaptation transform by spectral reconstruction. Color Res Appl. 2019;44(5):682-693). The full text of the final version is available courtesy of Wiley Content Sharing initiative at: https://rdcu.be/bEZbD. The final published version differs substantially from the preprint shown here, as follows. The claims of negative tristimulus values being “failures” of a CAT are removed, since in some circumstances such as with “supersaturated” colors, it may be reasonable for a CAT to produce such results. The revised version simply states that in certain applications, tristimulus values outside the spectral locus or having negative values are undesirable. In these cases, the proposed method will guarantee that the destination colors will always be within the spectral locus. Abstract: A color appearance model (CAM) is an advanced colorimetric tool used to predict color appearance under a wide variety of viewing conditions. A chromatic adaptation transform (CAT) is an integral part of a CAM. Its role is to predict “corresponding colors,” that is, a pair of colors that have the same color appearance when viewed under different illuminants, after partial or full adaptation to each illuminant. Modern CATs perform well when applied to a limited range of illuminant pairs and a limited range of source (test) colors. However, they can fail if operated outside these ranges. -
ARC Laboratory Handbook. Vol. 5 Colour: Specification and Measurement
Andrea Urland CONSERVATION OF ARCHITECTURAL HERITAGE, OFARCHITECTURALHERITAGE, CONSERVATION Colour Specification andmeasurement HISTORIC STRUCTURESANDMATERIALS UNESCO ICCROM WHC VOLUME ARC 5 /99 LABORATCOROY HLANODBOUOKR The ICCROM ARC Laboratory Handbook is intended to assist professionals working in the field of conserva- tion of architectural heritage and historic structures. It has been prepared mainly for architects and engineers, but may also be relevant for conservator-restorers or archaeologists. It aims to: - offer an overview of each problem area combined with laboratory practicals and case studies; - describe some of the most widely used practices and illustrate the various approaches to the analysis of materials and their deterioration; - facilitate interdisciplinary teamwork among scientists and other professionals involved in the conservation process. The Handbook has evolved from lecture and laboratory handouts that have been developed for the ICCROM training programmes. It has been devised within the framework of the current courses, principally the International Refresher Course on Conservation of Architectural Heritage and Historic Structures (ARC). The general layout of each volume is as follows: introductory information, explanations of scientific termi- nology, the most common problems met, types of analysis, laboratory tests, case studies and bibliography. The concept behind the Handbook is modular and it has been purposely structured as a series of independent volumes to allow: - authors to periodically update the -
,論説 REVIEW ARTICLES Visualization of Color Order
Japanese SooietySociety for the ScienceSoienoe of Design 研 究 論文 ,論説 REVIEW ARTICLES Received December 10,1997 ; Accepted June 6,1998 535.61 535.649 ー 色 の 世 界 の ビ ジ ュ ア ラ イ ゼ シ ョ ン Visualization of Color Order ● 時 長 逸 子 ● 荒 生 薫 岡 山 県 立 大 学 岡 山 県 立 大 学 Tokinaga Itsuko Arou Kaoru O んαツα 1η α Prefecturα l Ohay α m α Prefeeturα l University University ● Key words : Color Order , Color Order System . Color Notation 要 旨 1,は じ め に 色 に は 、顔料 あ る い は 染 料 と し て の 物 質 性 と 文 化 的 に 関 わ っ 色 の 世界 を 表 わ す た め に 我 々 が 用 い る の は ,民 族 固有 の 言 語 ‘’ て き た 象徴性 と い う二 面 が 存 在 す る。例 え ば 、赤 を 意 味 す る 言 に よ る 表 現 と ,色 相 ,明 度 ,彩 度 と い っ た 専 門 用 語 に よ っ て シ 葉 が 血 液 を表 す こ とが 多 い こ と か ら 、そ れ が 生 命 と い う シ ン ボ ス テ マ チ ッ ク に構 成 さ れ た 色 空 間 と して の 表 現 と が あ る。後 者 ル に 結 び つ き 、さ ら に 色 に 象徴 さ れ る と い う こ と が 言 わ れ て い は カ ラ ーオ ーダ ーと呼 ば れ て お り,か な り早 い 時期 に二 次 元 だ る 。ま た 、中 国 に お い て 、東西 南北 に そ れ ぞ れ 配 置 さ れ だ 四 象 け で は 表 現 で きな い こ と が 判 っ て い た 。 そ の た め 様 々 な三 次 元 は 春 秋 戦 国 時 代 後 に 、五 方 配 五 色 の 説 法 の 流 行 か ら青 龍 、白 虎 、 的展 開 を 行う こ と が 試み ら れ て きた の で あ る 。実試料 に よ っ て 朱雀 、玄 武 と い う 名 称 を 得 る [注 1]。中 国 の 宇宙 観 と し て 考 え 色 を 系統 的 に 表 す こ と が で き る よ う に な る と ,色 の 世 界 は よ り ー ー ー ら れ る こ れ ら の 配 置 は 循 環 を 表 し て お り 、方 位 と 色 と 生 物 に 綿 密 に 構 築 さ れ る よ う に な っ て い っ た カ ラ オ ダ シ ス テ 。 = = よ っ て 象 徴 さ れ る 。こ の 考 え 方 か ら は 方 位 色 生 物 の 図 式 が ム の 概 念 は こ の よ う な 背 景 か ら 生 ま 礼 実試 料 を シ ス テ ム に 従 っ 成 り立 ち 、お 互 い の 連 想 を 可 能 と す る 。 て 空 間 的 に 配 置 して 表 す カ ラ ーア トラ ス が 開 発 さ れ た 。ア トラ 一一 こ の よ うに 、色 と い う の は 「物 質 の 属 性 に す ぎ な い け れ ど ス の 存 在 は ,我 々 に そ の シ ス テ ム の 理 解 を 早 め る と い う点 -
ARCA (Automatic Recognition of Color for Archaeology): a Desktop Application for Munsell Estimation
ARCA (Automatic Recognition of Color for Archaeology): a Desktop Application for Munsell Estimation Filippo L.M. Milotta1;2, Filippo Stanco1, and Davide Tanasi2 1 Image Processing Laboratory (IPLab) Department of Mathematics and Computer Science University of Catania, Italy fmilotta, [email protected] 2 Center for Virtualization and Applied Spatial Technologies (CVAST) Department of History University of South Florida, Florida [email protected], [email protected] Abstract. Archaeologists are used to employing the Munsell Soil Charts on cultural heritage sites to identify colors of soils and retrieved artifacts. The standard practice of Munsell estimation exploits the Soil Charts by visual means. This procedure is error prone, time consuming and very subjective. To obtain an accurate estimation the process should be re- peated multiple times and possibly by other users, since colors might not be perceived uniformly by different people. Hence, a method for objective and automatic Munsell estimation would be a valuable asset to the field of archaeology. In this work we present ARCA: Automatic Recognition of Color for Archaeology, a desktop application for Munsell estimation. The following pipeline for Munsell estimation aimed towards archaeologists has been proposed: image acquisition of specimens, manual sampling of the image in the ARCA desktop application, automatic Munsell estima- tion of the sampled points and creation of a sampling report. A dataset, called ARCA108, consisting of 22; 848 samples has been gathered, in an unconstrained environment, and evaluated with respect to the Munsell Soil Charts. Experimental results are reported to define the best con- figuration that should be used in the acquisition phase.