装饰布置居室 色彩巧搭配

当您准备装饰布置居室时．对色彩的搭配应以适应您的感受为前提，因为我们周围的环境和自然界的色彩是非常丰富多彩的．人们会对各种颜色产生不同的心理生理反应。     

浅谈陶瓷装饰中的色彩运用

简述了陶瓷装饰中色彩与中国画的色彩关系,并强调了色彩在陶瓷创作中的具体运用:处理好色与墨的关系.以及色彩的客观与主观关系.     

浅谈图像的色彩管理

形与色是组成图像的基本原素,医学摄影图像同其它一切图像一样存在色彩还原问题,在工作中怎样才能使图像的色彩保真传递,保证输出输入的一致,提高图片品质和工作效率是一项很重要的色彩管理技术。     

色彩在室内设计中的应用

色彩在室内设计中,充当着很重要的作用。色彩能吸引人的视觉反映,在当今社会发展的过程中,室内的色彩设计和搭配都对环境和人类感官有着不小的影响。不同的颜色运用于室内空间都有不同的效果,不同的色彩搭配运用于室内设计也有不同的效果。     

装饰色彩应用于室内设计中的路径探寻

装饰产品的原料作为室内设计的主要引导,装饰色彩是室内设计中一个重要的表现形式.纵然在有限,窄小的室内空间里,也能在有装饰色彩的辅助下,重新布局,创新设计方案,最终,敲定出一套最为完美的室内设计方案.在这篇文章中,就装饰色彩在室内设计中的原则,装饰色彩在室内空间设计的应用以及装饰色彩在室内设计中应当注重哪些方面进行探索.     

色彩——陶瓷装饰的眼睛

自然界的色彩现象绚丽多变.色彩与生活密切相关,色彩令这个世界变得缤纷,它能改变我们的心绪,世界上无所谓好看的色彩或不好看的色彩,只在乎我们如何掌握和驾驭.     

阿克苏诺贝尔粉末涂料发布2013年Interpon F家具色彩趋势

阿克苏诺贝尔粉末涂料日前发布了2013年Interpon F家具色彩趋势,带来了专为室内外家具精心挑选的流行色彩。2013年流行色彩系列中有15种室内家具和15种室外家具色彩可供选择。该流行色彩与Interpon色彩系列相辅相成、相得益彰,每一种色彩都可提供具有可持续性的高品质粉末涂料。     

关于数码摄影色彩与成像技术环节影响的研究

传统胶片摄影方式下影像色彩的调整是非常困难的,需要用复杂的暗房技术,而且效果难以保障,随着数码技术进入摄影领域,摄影在技术上发生了一场深刻的变革,几乎所有的摄影工作都可以运用数码方式进行,而且效果可控性远远大于传统胶片摄影.这使得运用数字化的拍摄方式获得影像具有了很大的技术优势,尤其影像色彩的调整,技巧和调整方式都大大进步了.本文主要针对数码摄影中影像色彩的调整技术及其应用,以及色彩和照片艺术表现效果的关系进行阐述,数码摄影中色彩处理的相关技术和色彩与成像艺术效果之间的关系.     

褪色的传统电影用数字彩色修复

胶片电影已经有100多年了,它是我国重要的文化遗产.胶片电影需妥善保管,否则会损坏得很快.目前,借助于高分辨率数字化平台,可以使一部已遭损坏的旧影片得以数字化修复.本文主要介绍用数字技术手段来还原已褪色的彩色胶片上的色彩,该方法首先需消除在扫描过程中产生的副吸收,再用校正矩阵来调整图像色彩和用直方图操作技术来提高图像的...     

建筑室内设计中色彩元素的创新应用

色彩是人们生活中的一部分，它能够使我们的生活充满美感。除此之外，色彩能够影响人的情绪，枯燥无谓的生活会因色彩的装扮而让人心情舒畅。建筑室内设计中色彩运用得当，特别是温馨、明丽的色彩能够为我们的生活增添乐趣。对此，本文对建筑室内设计中色彩元素搭配进行了研究讨论，并对如何利用色彩元素营造良好的舒适、温馨的室内环境进行探索，从而满足人们日益增长的精神文化追求，与审美需求。     

Differences in color naming and color salience in Vietnamese and English

The accepted model of color naming postulates that 11 “basic” color terms representing 11 common perceptual experiences show increased processing salience due to a theorized linkage between perception, visual neurophysiology, and cognition. We tested this theory, originally proposed by Berlin and Kay in 1969. Experiment 1 tested salience by comparing unconstrained color naming across two languages, English and Vietnamese. Results were compared with previous research by Berlin and Kay, Boynton and Olson, and colleagues. Experiment 2 validated our stimuli by comparing OSA, Munsell, and newly rendered “basic” exemplars using colorimetry and behavioral measures. Our results show that the relationship between the visual and verbal domains is more complex than current theory acknowledges. An interpoint distance model of color‐naming behavior is proposed as an alternative perspective on color‐naming universality and color‐category structure. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 113–138, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10131     

Measurement of memory of color

Colors produced by monochromatic wavelengths of light viewed in isolation have been used as the only visual variables in short‐term delayed matching (DM) and long‐term recall (LTR) protocols to quantify three types of color memory in individuals with normal color vision. Measurements were normally distributed, so that color memories of individuals could be compared in terms of means and standard deviations. The variance of LTR of colors of familiar objects is shown to be separable into two portions, one due to “preferred colors” and the other due to individuals' precisions of matching. The wavelength dependence of DM exhibited minima of standard deviations at the same wavelengths as those reported for color discrimination measured by bipartite wavelength matching, and these wavelengths were shown to occur at the wavelengths of the intersections of cone spectral sensitivities. In an intermediate “green” region of relatively constant color discrimination, it was possible to combine DM measurements for different wavelengths for statistical analysis. The standard deviations of DM for individuals of a healthy population were normally distributed, providing a 95% upper confidence limit for identifying individuals with possible short‐term memory impairment. Preliminary measurements of standard deviations of DM for delay times of ≤ 1 s were consistent with a proposed rapidly decaying color imagery memory. © 2002 Wiley Periodicals, Inc. Col Res Appl, 27, 233–242, 2002; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10067     

Color appearance and color connotation models for unrelated colors

The purpose of this research is to investigate the color appearance and color connotation of unrelated colors. To investigate color appearance (i.e., brightness, colorfulness, and hue) for unrelated colors, 22 observers have answered their color appearance for 50 unrelated color stimuli using the magnitude estimation method. Perceptual data obtained by the experiment is compared with the color attributes data estimated by unrelated‐color appearance models, CAM97u and CAM02u. It is found that both models perform reasonably well but the performance of CAM02u is better than that of CAM97u. For investigating color connotation for unrelated colors, 32 observers have judged their color connotation for the 50 unrelated color stimuli using the 10 color connotation scales (i.e., “Warm – Cool,” “Heavy – Light,” “Modern – Classical,” “Clean – Dirty,” “Active – Passive,” “Hard – Soft,” Tense – Relaxed,” “Fresh – Stale,” “Masculine – feminine,” and “like – Dislike”), and semantic differential method is used for measurement. It is found that the color connotation models developed for related colors perform poorly for unrelated colors. Experimental results indicate that brightness attribute is confusing to estimate and does not affect color connotation significantly for unrelated colors. Based on the psychophysical data, new models for “Warm‐Cool”, “Heavy‐Light”, “Active‐Passive” and “Hard‐Soft” were proposed using CAM02u hue, brightness, and colorfulness. Color connotations for unrelated colors are classified into three categories, which “Color solidity,” “Color heat,” and “Color purity.” © 2013 Wiley Periodicals, Inc. Col Res Appl, 40, 40–49, 2015     

Research on color harmony of building façades

In this study, the 28 primary colors and 11 complementary colors suggested by Chang et al in their investigation on building colors in Wanhua District of Taipei City were taken as color samples. The two-color combination mode was adopted to obtain 308 simulation photos, and two-color harmony was discussed from the perspective of visual evaluation using psychophysical tests. This study explored building façade color harmony in the CIELAB color space, and the relationship between the color attributes (hue, lightness, and chroma) and the color harmony, and between the differences of the color attributes and color harmony. It found that a high lightness of a building's primary color is associated with a high level of building color harmony, while the color harmony is reduced when the color falls in the green or blue sector in the CIELAB color space; a greater lightness difference between building façade colors is associated with a higher level of building color harmony, while the colors are disharmonized when they tend to the blue sector in the CIELAB color space. The contribution of this study is to summarize the principles for the application of building color harmony in urban renewal, and proposed suggestions on building color harmony in the urban renewal process.     

Effects of hue,saturation, and brightness on preference

A study was done to investigate preference responses for foreground–background color relationships. To do this, 123 university undergraduates in Ankara, Turkey, were asked to view eight background colors selected from HSB color space on which color squares of differing hues, saturations, and brightnesses were presented. Subjects were asked to show the color square they preferred on the presented background color. Findings showed that colors having maximum saturation and brightness were most preferred. Blue was the most preferred hue regardless of background. The findings for preferences for foreground–background color relationships are also included in this article. © 2002 Wiley Periodicals, Inc. Col Res Appl, 27, 199–207, 2002; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10051     

建筑涂料色彩的设计方法研究——基于中国颜色体系国家标准

介绍了中国颜色体系国家标准,以及中国颜色体系国家标准在建筑涂料色彩应用中的设计方法、未来建筑涂料色彩的发展趋势等。     

The total colorant sensitivity of a color matching recipe: An approach to colorant weighting and tinctorial strength errors

The repeatability of the recipe color can be affected by several different types of inevitable inaccuracies in the coloration process. Two of the major causes of poor target‐color reproducibility are the (random) weighing and (proportional) strength errors. This article describes alternative definitions of colorant strength sensitivity and total colorant sensitivity of a dyeing recipe. The influences of the maximal colorant weighing and strength errors are taken into account in order to bring the magnitudes of the two treated types of sensitivity into a mutually realistic balance between each other. The quantifications of precision and accuracy of a color matching recipe are also developed and combined into a single‐number measure of recipe quality. The listed quantities are expected to be useful in selecting the most reliable one(s) among the different formulations for the same standard color. The methods are presented for calculating numerical estimates of the newly introduced quantities. The precision and accuracy of the coloration process are investigated in laboratory experiments involving repeated dyeings. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 300–306, 2008.     

Assessing the color of red wine like a taster's eye

Color of 33 commercial red wines and five‐color reference wines was measured in the same conditions in which visual color assessment is done by wine tasters. Measurements were performed in the two distinctive regions, center and rim, which are the regions assessed by wine tasters when the wine sampler is tilted. Commercial wines were classified into five color categories using the color specifications in their taste cards. The five color categories describe the spread of red hues found in red wines from the violet to brown nuances. The performance of CIELAB color coordinates in terms of their ability to reproduce the observed classification has been established using discriminant analysis. The CIELAB hue angle, h_ab, measured in the rim, where wine thickness is of the order of few millimeters, gives the best results classifying correctly 71.1% of the samples. Classification results are not significantly improved when additional color coordinates are considered. Moreover, ΔE* color differences with color reference wines do not provide good classification results. The analysis of reference and commercial wines supports the fact that hue is the main factor in the classification done by wine tasters. This is reinforced by the linear correlation found between h_ab in the rim and the wine age (R² = 0.795) in accordance with the fact that wines change their hues from violet to brown tints with ageing. © 2009 Wiley Periodicals, Inc. Col Res Appl, 34, 153–162, 2009     

Experimental determination of laws of color harmony. Part 2: Harmony content of different monochrome color pairs

In 1956, we came to the decision at the Budapest Technical University to start large scale experiments on color harmony. The experiments and the processing of the experimental results have been completed in 2006, after 50 years of research work. The focal point of the experiments published in the current article has been the practical experience that the span of intervals between saturations and brightnesses of the compositions influence the harmony content of the composition, namely they determine in what extent we perceive the color composition as a harmonic one. Within the framework of experiments compositions have been shown to the participants, first those consisting of color pairs featuring the same hues and saturations but different brightnesses then those consisting of the same hues and brightnesses but different saturations. The method of experiments consisted of comparisons in pairs. There were 780 compositions prepared for the tests. The number of elementary observations during the tests comprised 544 000. It has been established that the variation of harmony content as a function of brightness‐ and saturation‐intervals could be described by a harmony function. It has been established that the variation of harmony content depending on brightness‐intervals is not, but that of depending on saturation intervals is being influenced by the hues of colors of the color pair in the composition. It has been established that in case of compositions with the maximum harmony content the interval of brightnesses of the colors making the color pair in each case gives d30V (d9Y), the interval of saturations gives d30T or is near to it. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 262–270, 2008.