Thesis (MScAgric)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: Red colour development on bi-coloured apples and pears ensures better prices for producers. The use of postharvest irradiation to improve colour has been successful on apples, and the objectives of this thesis were to optimise conditions during irradiation for apples and to evaluate the effects of irradiation on pears. 'Cripp's Pink' apples responded to postharvest irradiation with high-pressure sodium (HPS) lights by developing a red blush, whereas the response to irradiation with UV 8 plus incandescent lights was less effective. '8raeburn' apples held at -0.5°C for 4 or 8 weeks prior to irradiation showed a decrease in hue angle and an increase in anthocyanin concentration after 72 hours of irradiation with HPS lamps. In 'Forelle' pears treated in the same way, neither colour development nor anthocyanin synthesis was affected by irradiation. '8raeburn' and 'Cripp's Pink' apples picked weekly for 5 weeks until the optimum harvest date were irradiated with HPS lights. A significant increase in fruit colour was only measured in mature fruit of both cultivars. 'Cripp's Pink' apples were harvested from two production areas with different microclimates, namely, Ceres and Grabouw, and stored for 0, 2 or 5 days at -0.5 °C before irradiation for 120 hours at either 6°C or 20°C. Fruit from Ceres that were irradiated immediately after harvest developed better colour at 6 °C than at 20°C. The differences between fruit irradiated at the two temperatures were no longer significant after 5 days of cold storage prior to irradiation. Fruit from Grabouw consistently developed better colour when irradiated at 6°C than at 20°C. Colour development slightly after 5 days of cold storage prior to irradiation. In another experiment, fruit from both areas were stored at -0.5°C for 20 days before irradiation at either 6°C or 6/20°C. The fluctuating temperature regime resulted in decreases in hue angle of 70° and 65° for the fruit from Grabouw and Ceres, respectively. The decreases were smaller (±200) when fruit were irradiated at 6°C. The hue angle value of well-coloured 'Cripp's Pink' apples held at 3rC under HPS lights for 144 hours increased from 29.3° to 48.3°, and anthocyanin concentration decreased from 739.9 IJg·g·1to 283.6 IJg·g·1. Control fruit held at the same temperature in the dark did not show any change in hue angle value or anthocyanin concentration. 'Bon Rouge' and 'Red d' Anjou', two full red pear cultivars, irradiated with HPS lights for 72 hours, showed no significant changes in hue angle. 'Forelle' pears, harvested with or without attached leaves, were irradiated with HPS at two temperature regimes, 20°C and 200/6°C. The resulting decreases in hue angle were attributed to yellowing and not red colour formation. In conclusion, the response of apples to postharvest irradiation was affected by maturity and temperature, while pears failed to respond at all. / AFRIKAANSE OPSOMMING: Rooikleurontwikkeling van twee-kleur appels en pere verseker beter pryse vir die produsente. Na-oesbestraling om kleur te verbeter is al suksesvol uitgevoer op appels, en die doelwit van hierdie tesis was om die kondisies vir appels gedurende bestraling te optimaliseer en om die effek van bestraling op pere te evalueer. 'Cripp's Pink' appels het reageer op na-oesbestraling met hoëdruk-natriumligte (HDN) deur 'n rooi blos te ontwikkel, terwyl die reaksie op bestraling met UV-B plus gloeilamplig minder effektief was. 'Braebum' appels opgeberg by -O.5aC vir 4 of 8 weke voor bestraling het 'n afname in die kleurskakeringswaarde getoon, asook 'n toename in antosianienkonsentrasie na 72 uur se bestraling met HDN ligte. 'Forelle' pere wat dieselfde behandeling ontvang het, het geen kleurontwikkeling en geen antosianienontwikkeling getoon na bestraling nie. 'Braebum' en 'Cripp's Pink' appels wat weekliks geoes is vir 5 weke tot die optimum oesdatum is bestraal met HDN ligte. Slegs die volwasse vrugte van beide kultivars het 'n betekenisvolle toename in kleur getoon. 'Cripp's Pink' appels is geoes in twee produksie areas met verskillende mikroklimate, naamlik Ceres en Grabouw. Vrugte is opgeberg vir 0, 2 of 5 dae by -O.5aC voor bestraling vir 120 uur by of 6aC of 20aC. Vrugte van Ceres wat onmiddellik na oes bestraal is het beter kleur ontwikkel by 6aC as by 20aC. Kleurontwikkeling by vrugte bestraal by 6 of 20aC het nie verskil wanneer vrugte vooraf opgeberg was by -~5ac vir 5 dae nie. Vrugte van Grabouw het konstant beter kleur pntwikkel wanneer bestraling by 6°C eerder as 20°C plaasgevind het. In die volgende eksperiment, was beide die vrugte van Ceres en Grabouw vir 20 dae opgeberg by -o.soC voor bestraling by 6°C of 6°/20°C. Die flukturerende temperatuur regime het afnames van 70° en 65° in kleurskakeringswaarde getoon vir die vrugte van Grabouw en Ceres, respektiewelik. Die afname was kleiner (±200)wanneer vrugte by 6°C bestraal is. 'Cripp's Pink' appels wat goed gekleur was en opgeberg is by 3rC terwyl dit blootgestel is aan HDN ligte vir 144 uur, het 'n toename van 29.30 tot 48.3° getoon vir die kleurskakeringswaarde, en antosianienkonsentrasie het afgeneem van 739 I'g.g-1 tot 283.6 I1g.g-1. Die kontrole vrugte opgeberg by dieselfde temperatuur in die donker het geen verandering in beide die kleurskakeringswaarde of die antosianienkonsentrasie getoon nie. 'Bon Rouge' en 'Red d' Anjou', twee volrooi peerkultivars, is bestraal met HDN ligte vir 72 uur en het geen betekenisvolle verandering in kleur getoon nie. 'Forelle' pere, geoes met of sonder 'n aangehegte stingelsegment, is bestraal met HDN ligte by twee verskillende temperatuur regimes, nl. 20°C of 20/6°C. Die afname in kleurskakeringswaarde is aan vergeling toegeskryf eerder as aan rooikleurontwikkeling. Ter opsomming, die reaksie van appels op na-oes bestraling is beïnvloed deur rypheid en temperatuur, terwyl pere geen reaksie getoon het nie.

Red interior lighting used to preserve dark-adaptation needs to be replaced in military applications by blue/green lighting which is not detectable by 3rd-generation image intensifiers. This study investigated the influence of blue/green as compared to red and white light of equal photopic intensity on subsequent visual acuity , contrast sensitivity and dark-adaptation. Male subjects (n = 90) were assigned to one of 15 treatment conditions (n = 6) as determined by the colour (blue/green, red or white) and intensity (0.1; 0.4; 1.6; 6.4 and 25.6 cd/m²) of the pre-adaptation stimuli. A modified Goldmann/Weekers adaptometer was used to present the preadaptation stimuli, test stimuli and record visual (luminance) thresholds of each subject. Blue/green lighting had the same affect on visual (photopic) acuity and contrast sensitivity as white and red lighting. Blue/green affected visual (absolute) threshold at the start and during the process of dark-adaptation in the same manner as white but not the same as red lighting. White and red lighting did not differ significantly (p < 0.01) at low intensities (mesopic range) but did at the higher intensities (photopic range). After exposure to blue/green and white light, it will take longer to reach the same level of dark-adaptation than after exposure to red. These time differences increase with" increased intensities. The brightness ratio between red and white lights to produce the same dark-adaptation increases with an increase in intensity. At the upper mesopic region the differences between the effects of white and red lighting on subsequent dark-adaptation become irregular due to the inability to accurately equate non-monochromatic lights in the mesopic range.

abstract: The origin and function of color in animals has been a subject of great interest for taxonomists and ecologists in recent years. Coloration in animals is useful for many important functions like species identification, camouflage and understanding evolutionary relationships. Quantitative measurements of color signal and patch size in mammals, birds and reptiles, to name a few are strong indicators of sexual selection cues and individual health. These measurements provide valuable insights into the impact of environmental conditions on habitat and breeding of mammals, birds and reptiles. Recent advances in the area of digital cameras and sensors have led to a significant increase in the use of digital photography as a means of color quantification in animals. Although a significant amount of research has been conducted on ways to standardize image acquisition conditions and calibrate cameras for use in animal color quantification, almost no work has been done on designing automated methods for animal color quantification. This thesis presents a novel perceptual"&ndash;"based framework for the automated extraction and quantification of animal coloration from digital images with slowly varying (almost homogenous) background colors. This implemented framework uses a combination of several techniques including color space quantization using a few dominant colors, foreground"&ndash;"background identification, Bayesian classification and mixture Gaussian modelling of conditional densities, edge"&ndash;"enhanced model"&ndash;"based classification and Saturation"&ndash;"Brightness quantization to extract the colored patch. This approach assumes no prior information about the color of either the subject or the background and also the position of the subject in the image. The performance of the proposed method is evaluated for the plumage color of the wild house finches. Segmentation results obtained using the implemented framework are compared with manually scored results to illustrate the performance of this system. The segmentation results show a high correlation with manually scored images. This novel framework also eliminates common problems in manual scoring of digital images such as low repeatability and inter"&ndash;"observer error. / Dissertation/Thesis / M.S. Electrical Engineering 2013

Orientador: Edison Bittencourt / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Quimica / Made available in DSpace on 2018-08-10T17:30:36Z (GMT). No. of bitstreams: 1 Morenval_PatriciaPadilhaNunes_M.pdf: 1652893 bytes, checksum: 02a23a8bf415a9489bdf5d12239fabcd (MD5) Previous issue date: 2007 / Resumo: Padrões de cores Munsell são muito utilizados como referência de cor em diversos campos da ciência. O presente estudo partiu da dificuldade do ajuste de cores na indústria de tintas, o que constitui um problema técnico, pois os profissionais que se relacionam com os clientes e os próprios clientes desconhecem as dificuldades de reproduzir as cores. Neste estudo, analisaram-se as diferenças de cores Munsell de mesma notação, mas adquiridas em diferentes datas. Entre os exemplares Munsell analisados estão: dois livros do The Munsell Book of Colors, o primeiro adquirido em janeiro de 2005, e o segundo, em dezembro de 2006, folhas Munsell adquiridas em setembro de 2004 e duas cartelas Munsell Neutral Value Scale, ambas adquiridas em dezembro de 2006. Todos os padrões analisados apresentavam o acabamento brilhante e foram adquiridos do mesmo fornecedor. Foi medida a diferença de cor através do espectrofotômetro Datacolor, em vinte cores e a análise visual foi realizada na cabine de luz BYK Gardner. Para aproximadamente 70% das amostras de cores Munsell analisadas, existe uma diferença de cor perceptível entre aquelas de mesma especificação. Os valores encontrados não tiveram constância de resultados, pois amostras mais antigas apresentaram valores de diferença de cor menores que amostras mais novas. Recomenda-se aos usuários de cores Munsell façam uma avaliação da cor de suas amostras para controlar o estado do seu exemplar. Concluiu-se que o Munsell têm variação entre as amostras de cores produzidas, e que essa variação pode interferir na análise do controle de qualidade de cor na indústria. As causas destas variações nos atributos da cor Munsell são desconhecidas, mas sabemos que o impacto no cliente que recebe a cor é grande, pois não se sabe se a cor que está sendo utilizada confere com as especificações, podendo até gerar conflitos se as partes interessadas não entrarem em acordo / Abstract: Munsell color charts are widely used as color reference in many science fields. This study was motivated by the difficult to match colors in the industry of paints, what constitute a technical problem, due to the fact that professionals that work with customers and customers don¿t know the difficulties of reproducing colors. In this work, we measured Munsell color differences with the same notation, but bought in different dates. Among them are; two ¿The Munsell Book of Colors¿, the first one was bought in January 2005, the second one in December 2006, Munsell sheets bought in September 2004 and two ¿Munsell Neutral Value Scale¿ charts, which were bought in December 2006. All colors analyzed were in glossy finish and were bought from the same supplier. The color difference was measured by a Datacolor spectrophotometer in twenty colors and the visual analyze was done in a BYK Gardner light booth. As a result we found that for more than 70% of Munsell colors samples, there are a perceptive color difference among the ones which has the same specification. The obtained values show no constancy in the results, due to the fact that old samples had smaller results than the new ones. Is recommended to users of Munsell to do a color analyze in their samples, in order to estipulate the tolerance and to control the color. This work concludes that Munsell have colors variations which can interfere in the quality color control of industries. The causes of color variations are unknown, but the impact in customers who receives the color is high, which can cause conflict if both parts do not find a compromise / Mestrado / Ciencia e Tecnologia de Materiais / Mestre em Engenharia Química

What is meant with print quality, what makes people perceive the quality of an image in a certain way? An inquiry was made about what the parameters are that strongly affect the perception of digital printed images. A subjective test and some measurements make the basis for the thesis. The goal was to find a tool to predict perceived image quality when investigating the connections between the subjective test and the measurements. Some suitable images were chosen, with a variety of motifs. A test panel consisting of people that are used to observe image quality answered questions about the perception of the quality. Measurements were made on a special test form to get information about the six different printers used in the investigation. One of the discoveries was made when two images with the same colorful motif were compared. The first image got a much higher grade for general quality than the second image, even though the second image was printed with a printer that had a larger color gamut. The reason of this is that the first image consists of more saturated colors, and the second image has more details. The human eye perceives the more saturated image to be better than the image with more details. Another discovery was the correlation between the perceived general quality of a colored image and the perceived color gamut. One conclusion was that a great difference between two calculated color gamuts resulted in a large difference in perception of the color gamuts. A discovery of an image with very few colors and many glossy surfaces was that print mottle and sharpness are strictly connected to the general quality.

This study addresses an individual's performance, relating it to eyesight changes due to the aging of the individual and to color computer screens used for computer-based-instruction not designed specifically for older students. This study determines how existing research in gerontology, human-computer interface, and color use in visual graphics can be applied to the design of computer screen displays containing color text and backgrounds and how various color combinations will affect performance by adult learners forty years of age and older. The results of this research provide software developers and instructional designers guidelines to use when designing computer screen displays for use in instructional computing settings involving older adults.

The purpose of this study was to determine the physical elements which experienced trombonists associate with selected descriptors in characterizing the tone quality of that instrument. Stimuli sampled from live trombone tones and synthesized into musical phrases represented 17 variations in (1) presence/absence of attack transient, (2) rise time, (3) duration, (4) number of harmonics, (5) upper limit of harmonicity (6) spectral envelope shape, and (7) frequency.

This paper deals with traffic signs recognition. Red color area is obtained by thresholding in HSV color model. Selected radiometric deskriptors, Hough transform deskriptors and neural networs are used to classification. In conclusion has been designed complex decision algorithm.

This diploma thesis deals with image similarity based on colour. There are discussed necessary theoretical basis for better understanding of this topic. These basis are color models, that are implemented in work, principle of creating the histogram and its comparing. Next chapter deals with summary of recent progress in the field of image comparison and overview of several most used methods. Practical part introduces training image database, which gives results of success for each created method. These methods are separately described, including their principles and achieved results. In the very end of this work, user interface is described. This interface provides a transparent presentation of the results for the chosen method.

[ES] Hoy en día es posible observar una difusión global del color blanco en el panorama de la arquitectura contemporánea. Las cuestiones vinculadas al empleo de este particular color penetran con profundas raíces en los tiempos antiguos, en la cultura, en la historia. Para buscar las razones tras el uso del blanco, la presente investigación propone un punto de vista holístico, analizando el mito, la poética y la ciencia del blanco en arquitectura. Estas tres claves de lectura del fenómeno del blanco conducen a diferentes razones para explicar su empleo. Claves de lectura que se separan exclusivamente para obtener un estudio más ordenado del tema, pero que en la complejidad de la arquitectura actúan de forma inseparable. La tesis estudia y analiza el escenario de la arquitectura contemporánea a partir del color, pero teniendo conciencia que este representa solo un parámetro entre los muchos que realizan la forma y el espacio de la arquitectura. De las obras del pasado, de los tratados y de las teorías, hoy llega una narración llena de alternancias - de épocas de revival, pero también de renacimientos y vanguardias -, un verdadero mito en el que el color blanco, a pesar de todo, resiste con constancia hasta establecerse en la memoria actual. Al acercarse a la época hodierna, los contornos de ese mito se vuelven más nítidos y precisos, y las cuestiones históricas y culturales se unen con las innovadas necesidades de la práctica arquitectónica contemporánea. Varios arquitectos emplean el blanco para sus obras y para lograr determinadas y distintas ideas. Se define entonces una poética del blanco, es decir, una forma esencialmente subjetiva de pensar y construir arquitectura. Para investigar estas instancias individuales y específicas, al análisis de obras de arquitectura se une una serie de diálogos sobre el blanco que enriquecen el tema con las experiencias directas de los arquitectos. Aunque el color sea un fenómeno por su naturaleza muy subjetivo, el empleo del blanco en arquitectura es soportado por la ciencia y, en particular, por algunas ventajas físicas y químicas. La construcción del blanco es posible gracias a varias técnicas que amplían y extienden su larga tradición constructiva gracias a la innovada eficacia de métodos antiguos, pero también con nuevas tecnologías y materiales. El estudio se enfoca en particular en el análisis de la cultura arquitectónica española, portuguesa e italiana; la investigación no se limita a estos ámbitos geográficos, extendiéndose a considerar un horizonte global para la arquitectura blanca. El análisis de las obras de arquitectura blanca publicadas en revistas científicas de relevancia internacional proporciona un dato estadístico y objetivo de la condición global de la cuestión. La definición de la tendencia contemporánea al empleo del blanco, se remonta a la segunda mitad del siglo XX, cuando algunas obras acogen los valores del mito y los renuevan de una forma actual. No obstante, la difusión global del blanco en arquitectura se debe a su capacidad de representar ideales diferentes y múltiples. Se deduce, entonces, que el blanco no es el color de una homogeneización, sino que representa un factor común a muchas experiencias de la contemporaneidad. / [CA] Hui en dia és possible observar una difusió global del color blanc en el panorama de l'arquitectura contemporània. Les qüestions vinculades a l'ús d'aquest particular color, penetren amb profundes arrels en l'antiguitat, en la cultura, en la història. Per a cercar les raons de l'ús del blanc, la present investigació proposa un punt de vista holístic, analitzant el mite, la poètica i la ciència del blanc en arquitectura. Aquestes tres claus de lectura del fenòmen del blanc conduïxen a diferents raons per explicar el seu ús. Claus de lectura que se separen exclusivament per a obtindre un estudi més ordenat del tema, però que en la complexitat de l'arquitectura actuen de forma inseparable. La tesi estudia i analitza l'escenari de l'arquitectura contemporània a partir del color, però tenint consciència que aquest representa només un paràmetre entre els molts que realitzen la forma i l'espai de l'arquitectura. De les obres del passat, dels tractats i de les teories, hui arriba una narració plena d'alternances - d'èpoques de revival, però també de renaixements i avantguardes -, un vertader mite en què el color blanc, malgrat tot, resisteix amb constància fins a establir-se en la memòria actual. A l'acostar-se a l'època hodierna, els contorns d'eixe mite es tornen més nítids i precisos, i les qüestions històriques i culturals s'uneixen amb les innovades necessitats de la pràctica arquitectònica contemporània. Diversos arquitectes empren el blanc per a les seues obres i per a aconseguir determinades i distintes idees. Es defineix llavors una poètica del blanc, és a dir, una forma essencialment subjectiva de pensar i construir arquitectura. Per a investigar estes instàncies individuals i específiques, a l'anàlisi d'obres d'arquitectura s'unix una sèrie de diàlegs sobre el blanc que enriquixen el tema amb les experiències directes dels arquitectes. Encara que el color siga un fenòmen per la seua naturalesa molt subjectiu, l'ús del blanc en arquitectura és recolzat per la ciència i, en particular, per alguns avantatges físics i químics. La construcció del blanc és possible gràcies a diverses tècniques que amplien i estenen la seua llarga tradició constructiva gràcies a la innovada eficàcia de métodes antics, però també amb noves tecnologies i materials. L'estudi s'enfoca en particular en l'anàlisi de la cultura arquitectònica espanyola, portuguesa i italiana; la investigació no es limita a aquestos àmbits geogràfics, estenent-se a considerar un horitzó global per a l'arquitectura blanca. L'anàlisi de les obres d'arquitectura blanca publicades en revistes científiques de rellevància internacional proporciona una dada estadística i un objectiu de la condició global de la qüestió. La definició de la tendència contemporània a l'ús del blanc, es remunta a la Segona meitat del segle XX, quan algunes obres acullen els valors del mite i els renoven d'una forma actual. No obstant això, la difusió global del blanc en arquitectura es deu a la seua capacitat de representar ideals diferents i múltiples. Es dedueix, llavors, que el blanc no és el color d'una homogeneïtzació, sinó que representa un factor comú a moltes experiències de la contemporaneïtat. / [EN] Today it is possible to observe a global diffusion of white color in the panorama of contemporary architecture. The issues linked to the use of this particular color, penetrate with deep roots in ancient times, in culture, in history. To find the reasons for the use of white, this research proposes a holistic point of view, analyzing the myth, the poetics and the science of white in architecture. The three keys to reading the phenomenon of white lead to different reasons to explain its use. Reading keys that are separated exclusively to obtain a more orderly study of the theme, but that in the complexity of architecture act in an inseparable way. The thesis studies and analyzes the scenario of contemporary architecture starting from color, being aware that this represents only one parameter among the many that realize the shape and space of architecture. From the works of the past, from the treatises and from the theories, today arrives a narration of continuous alternations - of epochs of revival, but also of rebirths and vanguards -, a true myth in which the white color, In spite of everything, it endures with constancy until it is established in the present memory. As we approach today's times, the outlines of this myth become clearer and more precise, and historical and cultural issues are combined with the innovated needs of contemporary architectural practice. Various architects use white for their works and to materialize certain and different ideas. This defines a poetics of white, or in other words, an essentially subjective form of thinking and building architecture. To analyze these individual and specific instances, the analysis of architectural works is accompanied by a series of dialogues on white that enrich the theme with the direct experience of architects. Although color is a very subjective phenomenon by its nature, the use of white in architecture is supported by science and, in particular, by some physical and chemical advantages. The construction of white is possible thanks to various techniques that expand and extend its long construction tradition thanks to the renewed efficiency of ancient methods, but also with new technologies and materials. The study focuses in particular on the analysis of Spanish, Portuguese and Italian architectural culture, but the research is not limited to these geographical areas, extending in considering a global horizon for white architecture. The analysis of works of white architecture published in scientific journals of international importance, provides a statistical and objective data of the global condition of the issue. The definition of the contemporary tendency to use white dates back to the second half of the twentieth century, when some works embrace the values of myth and renew it in a contemporary way. Despite this, the global diffusion of white in architecture is due to its capacity to represent different and multiple ideals. It is therefore deduced that white is not the color of homogenization, but on the contrary it is a common factor in many contemporary experiences. / Marco, PD. (2020). Arquitectura blanca. Mito, poética, ciencia. El color blanco en la arquitectura contemporánea [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/160488 / TESIS