Color Harmony: Experimental and Computational Modeling
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Color Theory for Painting Video: Color Perception
Color Theory For Painting Video: Color Perception • http://www.ted.com/talks/lang/eng/beau_lotto_optical_illusions_show_how_we_see.html • Experiment • http://www.youtube.com/watch?v=y8U0YPHxiFQ Intro to color theory • http://www.youtube.com/watch?v=059-0wrJpAU&feature=relmfu Color Theory Principles • The Color Wheel • Color context • Color Schemes • Color Applications and Effects The Color Wheel The Color Wheel • A circular diagram displaying the spectrum of visible colors. The Color Wheel: Primary Colors • Primary Colors: Red, yellow and blue • In traditional color theory, primary colors can not be mixed or formed by any combination of other colors. • All other colors are derived from these 3 hues. The Color Wheel: Secondary Colors • Secondary Colors: Green, orange and purple • These are the colors formed by mixing the primary colors. The Color Wheel: Tertiary Colors • Tertiary Colors: Yellow- orange, red-orange, red-purple, blue-purple, blue-green & yellow-green • • These are the colors formed by mixing a primary and a secondary color. • Often have a two-word name, such as blue-green, red-violet, and yellow-orange. Color Context • How color behaves in relation to other colors and shapes is a complex area of color theory. Compare the contrast effects of different color backgrounds for the same red square. Color Context • Does your impression od the center square change based on the surround? Color Context Additive colors • Additive: Mixing colored Light Subtractive Colors • Subtractive Colors: Mixing colored pigments Color Schemes Color Schemes • Formulas for creating visual unity [often called color harmony] using colors on the color wheel Basic Schemes • Analogous • Complementary • Triadic • Split complement Analogous Color formula used to create color harmony through the selection of three related colors which are next to one another on the color wheel. -
Paquete En Python Para La Reducción De Dimensionalidad En Imágenes a Color
Departamento De Computación Título: Paquete en Python para la reducción de dimensionalidad en imágenes a color. Autora: Liliam Fernández Cabrera. Cabrera. Tutor: M.Sc. Roberto Díaz Amador. Santa Clara, Cuba, 2018 Este documento es Propiedad Patrimonial de la Universidad Central “Marta Abreu” de Las Villas, y se encuentra depositado en los fondos de la Biblioteca Universitaria “Chiqui Gómez Lubian” subordinada a la Dirección de Información Científico Técnica de la mencionada casa de altos estudios. Se autoriza su utilización bajo la licencia siguiente: Atribución- No Comercial- Compartir Igual Para cualquier información contacte con: Dirección de Información Científico Técnica. Universidad Central “Marta Abreu” de Las Villas. Carretera a Camajuaní. Km 5½. Santa Clara. Villa Clara. Cuba. CP. 54 830 Teléfonos.: +53 01 42281503-1419 i La que suscribe Liliam Fernández Cabrera, hago constar que el trabajo titulado Paquete en Python para la redimensionalidad de imágenes a color fue realizado en la Universidad Central “Marta Abreu” de Las Villas como parte de la culminación de los estudios de la especialidad de Licenciatura en Ciencias de la Computación, autorizando a que el mismo sea utilizado por la institución, para los fines que estime conveniente, tanto de forma parcial como total y que además no podrá ser presentado en eventos ni publicado sin la autorización de la Universidad. ______________________ Firma del Autor Los abajo firmantes, certificamos que el presente trabajo ha sido realizado según acuerdos de la dirección de nuestro centro y el mismo cumple con los requisitos que debe tener un trabajo de esta envergadura referido a la temática señalada. ____________________________ ___________________________ Firma del Tutor Firma del Jefe del Laboratorio ii RESUMEN Un enfoque eficiente de las técnicas del procesamiento digital de imágenes permite dar solución a muchas problemáticas en los campos investigativos que precisan del uso de imágenes para búsquedas de información. -
Computational Color Harmony Based on Coloroid System
Computational Aesthetics in Graphics, Visualization and Imaging (2005) L. Neumann, M. Sbert, B. Gooch, W. Purgathofer (Editors) Computational Color Harmony based on Coloroid System László Neumanny, Antal Nemcsicsz, and Attila Neumannx yGrup de Gràfics de Girona, Universitat de Girona, and Institució Catalana de Recerca i Estudis Avançats, ICREA, Barcelona, Spain zBudapest University of Technology and Economics, Hungary xInstitute of Computer Graphics and Algorithms, Vienna University of Technology, Austria [email protected], [email protected], [email protected] (a) (b) Figure 1: (a) visualization of the overall appearance of a dichromatic color set with `caleidoscope' option of the Color Plan Designer software and (b) interactive color selection of a dichromatic color set in multi-layer mode, applying rotated regular grid. Abstract This paper presents experimentally based rules and methods for the creation of harmonic color sets. First, dichro- matic rules are presented which concern the harmony relationships of two hues. For an arbitrarily given hue pair, we define the just harmonic saturation values, resulting in minimally harmonic color pairs. These values express the fuzzy border between harmony and disharmony regions using a single scalar. Second, the value of harmony is defined corresponding to the contrast of lightness, i.e. the difference of perceptual lightness values. Third, we formulate the harmony value of the saturation contrast, depending on hue and lightness. The results of these investigations form a basis for a unified, coherent dichromatic harmony formula as well as for analysis of polychromatic color harmony. Introduced color harmony rules are based on Coloroid, which is one of the 5 6 main color-order systems and − furthermore it is an aesthetically uniform continuous color space. -
C-316: a Guide to Color
COLLEGE OF AGRICULTURAL, CONSUMER AND ENVIRONMENTAL SCIENCES A Guide to Color Revised by Jennah McKinley1 aces.nmsu.edu/pubs • Cooperative Extension Service • Guide C-316 The College of Agricultural, Consumer and Environmental Sciences is an engine for economic and community development in New Figure 1. Sample color wheel. Mexico, improving the lives of New Color is one of the most important stimuli in the world. It affects our moods and personal characteristics. We speak of blue Mondays, being Mexicans through in the pink, seeing red, and everything coming up roses. Webster de- fines color as the sensation resulting from stimulating the eye’s retina with light waves of certain wavelengths. Those sensations have been academic, research, given names such as red, green, and purple. Color communicates. It tells others about you. What determines and extension your choice of colors in your clothing? In your home? In your office? In your car? Your selection of color is influenced by age, personality, programs. experiences, the occasion, the effect of light, size, texture, and a variety of other factors. Some people have misconceptions about color. They may feel cer- tain colors should never be used together, certain colors are always unflattering, or certain colors indicate a person’s character. These ideas will limit their enjoyment of color and can cause them a great deal of frustration in life. To get a better understanding of color, look at na- ture. Consider these facts: All About Discovery!TM • The prettiest gardens have a wide variety of reds, oranges, pinks, New Mexico State University violets, purples, and yellows all mixed together. -
Verfahren Zur Farbanpassung F ¨Ur Electronic Publishing-Systeme
Verfahren zur Farbanpassung f ¨ur Electronic Publishing-Systeme Von dem Fachbereich Elektrotechnik und Informationstechnik der Universit¨atHannover zur Erlangung des akademischen Grades Doktor-Ingenieur genehmigte Dissertation von Dipl.-Ing. Wolfgang W¨olker geb. am 7. Juli 1957, in Herford 1999 Referent: Prof. Dr.-Ing. C.-E. Liedtke Korreferent: Prof. Dr.-Ing. K. Jobmann Tag der Promotion: 18.01.1999 Kurzfassung Zuk ¨unftigePublikationssysteme ben¨otigenleistungsstarke Verfahren zur Farb- bildbearbeitung, um den hohen Durchsatz insbesondere der elektronischen Me- dien bew¨altigenzu k¨onnen. Dieser Beitrag beschreibt ein System f ¨urdie automatisierte Farbmanipulation von Einzelbildern. Die derzeit vorwiegend manuell ausgef ¨uhrtenAktionen wer- den durch hochsprachliche Vorgaben ersetzt, die vom System interpretiert und ausgef ¨uhrtwerden. Basierend auf einem hier vorgeschlagenen Grundwortschatz zur Farbmanipulation sind Modifikationen und Erweiterungen des Wortschat- zes durch neue abstrakte Begriffe m¨oglich.Die Kombination mehrerer bekannter Begriffe zu einem neuen abstrakten Begriff f ¨uhrtdabei zu funktionserweitern- den, komplexen Aktionen. Dar ¨uberhinaus pr¨agendiese Erg¨anzungenden in- dividuellen Wortschatz des jeweiligen Anwenders. Durch die hochsprachliche Schnittstelle findet eine Entkopplung der Benutzervorgaben von der technischen Umsetzung statt. Die farbverarbeitenden Methoden lassen sich so im Hinblick auf die verwendeten Farbmodelle optimieren. Statt der bisher ¨ublichenmedien- und ger¨atetechnischbedingten Farbmodelle kann nun z.B. das visuell adaptierte CIE(1976)-L*a*b*-Modell genutzt werden. Die damit m¨oglichenfarbverarbeiten- den Methoden erlauben umfangreiche und wirksame Eingriffe in die Farbdar- stellung des Bildes. Zielsetzung des Verfahrens ist es, unter Verwendung der vorgeschlagenen Be- nutzerschnittstelle, die teilweise wenig anschauliche Parametrisierung bestimm- ter Farbmodelle, durch einen hochsprachlichen Zugang zu ersetzen, der den An- wender bei der Farbbearbeitung unterst ¨utztund den Experten entlastet. -
Color Harmonization Daniel Cohen-Or Olga Sorkine Ran Gal Tommer Leyvand Ying-Qing Xu Tel Aviv University∗ Microsoft Research Asia†
Color Harmonization Daniel Cohen-Or Olga Sorkine Ran Gal Tommer Leyvand Ying-Qing Xu Tel Aviv University∗ Microsoft Research Asia† original image harmonized image Figure 1: Harmonization in action. Our algorithm changes the colors of the background image to harmonize them with the foreground. Abstract colors are sets of colors that hold some special internal relation- ship that provides a pleasant visual perception. Harmony among Harmonic colors are sets of colors that are aesthetically pleasing colors is not determined by specific colors, but rather by their rel- in terms of human visual perception. In this paper, we present a ative position in color space. Generating harmonic colors has been method that enhances the harmony among the colors of a given an open problem among artists and scientists [Holtzschue 2002]. photograph or of a general image, while remaining faithful, as much Munsell [1969] and Goethe [1971] have defined color harmony as as possible, to the original colors. Given a color image, our method balance, in an effort to transfer the concept of color harmony from finds the best harmonic scheme for the image colors. It then allows a subjective perspective to an objective one. Although currently a graceful shifting of hue values so as to fit the harmonic scheme there is no formulation that defines a harmonic set, there is a con- while considering spatial coherence among colors of neighboring sensus among artists that defines when a set is harmonic, and there pixels using an optimization technique. The results demonstrate are some forms, schemes and relations in color space that describe that our method is capable of automatically enhancing the color a harmony of colors [Matsuda 1995; Tokumaru et al. -
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 -
Download Book of Abstracts
SPONSORED BY: International Colour Association The Color Science Association of Japan IN COOPERATION WITH: Ministry of Foreign Affairs Ministry of Education, Science, Sports and Culture Ministry of Construction Agency of Industrial Science and Technology, MITI Kyoto Prefectural Government Kyoto Municipal Government SUPPORTED BY: Architectural Institute of Japan The Illuminating Institute of Japan The Institute of Electrical Engineers of Japan The Institute of Electronics and Communication Engineers of Japan The Institute of Imaging Electronics Engineers of Japan The Institute of Television Engineers of Japan Japan Ergonomics Research Society Japanese Institute of Landscape Architecture Japanese Ophthalmological Society The Japanese Psychological Association The Japanese Psychonomic Society Japanese Society for the Science of Design The Japanese Society of Printing Science and Technology Japan Society for Interior Studies The Japan Society of Image Arts and Sciences The Japan Society of Home Economics Optical Society of Japan The Society of Fiber Science and Technology, Japan The Society of Photographic Science and Technology of Japan Japan National Tourist Organization This International Scientific Congress, which is held with participants from both home and abroad is jointly supported by The Ministry of Education, Science, Sports and Culture who provided a Grant-in-Aid for Publication of Scientific Research Results and a Grant-in-Aid for Scientific Research for the fiscal year 1996. TABLE OF CONTENTS-------.... CONGRESS INFORMATION · -
23 / Color, Additive & Subtractive1
MassArt Studio Foundation: Visual Language Digital Media Cookbook, Fall 2013 23 / COLOR, ADDITIVE & SUBTRACTIVE1 In this section and the sections that follow we will explore different aspects of color as it pertains to Photoshop, digital images and printing. You will understand concepts such as RGB and CMYK color space and how to use Photoshop to adjust and correct color in your images. COLOR VOCABULARY Terms describing color are often familiar, but their exact meaning is not. Clarifying some of these terms will give you a context for viewing, choosing and addressing color in your work. When we talk about color in the context of computer displays and digital imaging systems, you’ll notice we often use different terms and a different set of primary and complimentary colors. For ANALOGOUS COLORS example, on the right is an RGB color Colors that sit side-by-side on wheel,2 which shows the relative mix of the wheel. They are often red, green, and blue primaries that are pleasing to the eye and provide mixed to produce the color along the a visual harmony. color wheel. COMPLEMENTARY COLORS HUE Opposite colors on the color Refers to color (e.g. red, blue, wheel. Used together these green, yellow) colors provide high contrast making things easy to notice. 1 Adapted from Digital Foundations, Chapter 05 2 Image from Wikimedia Commons, http://commons.wikimedia.org/wiki/File:RGB_color_wheel_10.svg 23 COLOR, ADDITIVE & SUBTRACTIVE 1 MassArt Studio Foundation: Visual Language Digital Media Cookbook, Fall 2013 SATURATION smart phones. This system combines Intensity, chroma and brilliance varying amounts of the primaries to all refer to how vivid a color is. -
Colour and Colorimetry Multidisciplinary Contributions
Colour and Colorimetry Multidisciplinary Contributions Vol. XI B Edited by Maurizio Rossi and Daria Casciani www.gruppodelcolore.it Regular Member AIC Association Internationale de la Couleur Colour and Colorimetry. Multidisciplinary Contributions. Vol. XI B Edited by Maurizio Rossi and Daria Casciani – Dip. Design – Politecnico di Milano Layout by Daria Casciani ISBN 978-88-99513-01-6 © Copyright 2015 by Gruppo del Colore – Associazione Italiana Colore Via Boscovich, 31 20124 Milano C.F. 97619430156 P.IVA: 09003610962 www.gruppodelcolore.it e-mail: [email protected] Translation rights, electronic storage, reproduction and total or partial adaptation with any means reserved for all countries. Printed in the month of October 2015 Colour and Colorimetry. Multidisciplinary Contributions Vol. XI B Proceedings of the 11th Conferenza del Colore. GdC-Associazione Italiana Colore Centre Français de la Couleur Groupe Français de l'Imagerie Numérique Couleur Colour Group (GB) Politecnico di Milano Milan, Italy, 10-11 September 2015 Organizing Committee Program Committee Arturo Dell'Acqua Bellavitis Giulio Bertagna Silvia Piardi Osvaldo Da Pos Maurizio Rossi Veronica Marchiafava Michela Rossi Giampiero Mele Michele Russo Christine de Fernandez-Maloigne Laurence Pauliac Katia Ripamonti Organizing Secretariat Veronica Marchiafava – GdC-Associazione Italiana Colore Michele Russo – Politecnico di Milano Scientific committee – Peer review Fabrizio Apollonio | Università di Bologna, Italy Gabriel Marcu | Apple, USA John Barbur | City University London, UK Anna Marotta | Politecnico di Torino Italy Cristiana Bedoni | Università degli Studi Roma Tre, Italy Berta Martini | Università di Urbino, Italy Giordano Beretta | HP, USA Stefano Mastandrea | Università degli Studi Roma Tre, Berit Bergstrom | NCS Colour AB, SE Italy Giulio Bertagna | B&B Colordesign, Italy Louisa C. -
Copyrighted Material
Contents About the Authors xv Series Preface xvii Preface xix Acknowledgements xxi 1 Colour Vision 1 1.1 Introduction . 1 1.2 Thespectrum................................. 1 1.3 Constructionoftheeye............................ 3 1.4 The retinal receptors . 4 1.5 Spectral sensitivities of the retinal receptors . 5 1.6 Visualsignaltransmission.......................... 8 1.7 Basicperceptualattributesofcolour..................... 9 1.8 Colourconstancy............................... 10 1.9 Relative perceptual attributes of colours . 11 1.10 Defectivecolourvision............................ 13 1.11 Colour pseudo-stereopsis . 15 References....................................... 16 GeneralReferences.................................. 17 2 Spectral Weighting Functions 19 2.1 Introduction . 19 2.2 Scotopic spectral luminous efficiency . 19 2.3 PhotopicCOPYRIGHTED spectral luminous efficiency . .MATERIAL . 21 2.4 Colour-matchingfunctions.......................... 26 2.5 TransformationfromR,G,BtoX,Y,Z .................. 32 2.6 CIEcolour-matchingfunctions........................ 33 2.7 Metamerism.................................. 38 2.8 Spectral luminous efficiency functions for photopic vision . 39 References....................................... 40 GeneralReferences.................................. 40 viii CONTENTS 3 Relations between Colour Stimuli 41 3.1 Introduction . 41 3.2 TheYtristimulusvalue............................ 41 3.3 Chromaticity................................. 42 3.4 Dominantwavelengthandexcitationpurity................. 44 3.5 Colourmixturesonchromaticitydiagrams................ -
Computational Color Harmony Based on Coloroid System
Institut fur¨ Computergraphik und Institute of Computer Graphics and Algorithmen Algorithms Technische Universitat¨ Wien Vienna University of Technology Karlsplatz 13/186/2 email: A-1040 Wien [email protected] AUSTRIA other services: Tel: +43 (1) 58801-18601 http://www.cg.tuwien.ac.at/ Fax: +43 (1) 58801-18698 ftp://ftp.cg.tuwien.ac.at/ TECHNICAL REPORT Computational Color Harmony based on Coloroid System Laszl´ o´ Neumanna, Antal Nemcsicsb, Attila Neumannc a Grup de Grafics` de Girona, Universitat de Girona, Spain Institucio´ Catalana de Recerca i Estudis Avanc¸ats, ICREA, Barcelona email:[email protected] : Corresponding author b Budapest University of Technology and Economics, Hungary email:[email protected] c Institute of Computer Graphics and Algorithms, University of Technology, Vienna, Austria email:[email protected] TR-186-2-05-05 (revised) June 2005 Computational Color Harmony based on Coloroid System Laszl´ o´ Neumanna, Antal Nemcsicsb, Attila Neumannc a Grup de Grafics` de Girona, Universitat de Girona, Spain Institucio´ Catalana de Recerca i Estudis Avanc¸ats, ICREA, Barcelona email:[email protected] : Corresponding author b Budapest University of Technology and Economics, Hungary email:[email protected] c Institute of Computer Graphics and Algorithms, University of Technology, Vienna, Austria email:[email protected] June 26, 2005 Figure 1: Visualization of the overall appearance of a dichromatic color set with ‘caleidoscope’ option of the Color Plan Designer software ABSTRACT Figure 2: Interactive color selection of a dichromatic color set in multi-layer mode, applying rotated regular The paper presents experimentally based rules and grid methods creating harmonic color sets.