Determining the depositional environment and the postmortem alterations to a set of remains are aspects of forensic investigations that are necessary to explain the circumstances surrounding the death of the individual. Further research on the taphonomic agents that can impact skeletal material can aid in the differentiation between various postmortem alterations that impact a single set of remains. The present study focuses on organic staining as a method for reconstructing the deposited environment of the remains and the taphonomic agents in which they came into contact. Organic staining results largely from tannins leaching from plant materials, including wood and leaves, and therefore can be seen on bone deposited in wooden coffin environments or on terrestrial surfaces. The present study hypothesized that the degree of staining observed on skeletal elements would increase as the length of exposure to the organic matter increased and that different plant materials, and environments, would leave different patterns or colorations of staining. The skeletal elements consisted of 150 commercially available pig (Sus scrofa) femora that had the epiphyses removed and were completely defleshed without utilizing chemicals or boiling. The sample was divided into three groups with differing conditions and/or types of organic material introduced. Some were buried in a marshy environment within wooden boxes constructed of ten wood types commonly utilized in coffin construction throughout U.S. history: hickory (Carya sp.), walnut (Juglans sp.), cherry (Prunus sp.), soft maple (Acer sp.), mahogany (Swietenia sp.), yellow pine (Pinus sp.), poplar (Populus sp.), cedar (Cedrus sp.), oak (Quercus sp.), and spruce (Picea sp.). Additional femora were deposited in plastic containers lined with the same wood types as above and filled with tap water. Five control bones were deposited in a container with tap water and five additional bones were placed in a container with commercial tannic acid. The final group of femora was deposited on the ground surface surrounded by four types of dead vegetation: evergreen pine needles (Pinus strobus), northern red oak leaves (Quercus rubra), sugar maple leaves (Acer saccharum), and acorns (Quercus rubra) collected from the Boston area. The bones were removed once a month from their experimental environments and left overnight to dry. The level of staining that manifested on the osseous material was recorded qualitatively using the Munsell Soil Color Chart under a consistent indoor 40- watt daylight light bulb. The staining was recorded after two months upon initiation of the study and every following month until the study’s completion. After the color staining was recorded, the bones were returned to their experimental environments until the next interval of data collection. An additional sample of 15 bones, which were previously buried with direct soil contact, was also analyzed. These bones were either buried within the O, A, or C soil horizons for an interval of 1, 2, or 3 years prior to analysis. They were photographed and the staining was classified on one occasion after which the bones were permanently withdrawn and not returned to the experimental environment. In all of the experimental environments, staining was present after two months of exposure, and the color darkened across the bone surface with each episode of data collection. Both groups exposed to the wood types displayed staining across the entire bone surface with a few major colors on the bone shaft, while minor colors were only expressed along the margins or as small patches along the shaft. As the buried boxes began to break down, which is commonly observed in coffin burials, soil was able to infiltrate the boxes and contact the bones. This process resulted in multiple shades of brown to be present in the staining across bones in multiple wood types. The bones in the plastic containers with wood exhibited a larger variation in color staining likely due to a higher concentration of tannins restricted to a smaller area around the bones combined with a lack of water inflow. The staining ranged from red for bones with mahogany to brown for bones with cedar to even dark gray or black on bones with walnut and tannic acid, respectively. The bones in plant matter differed in that the organic staining was sporadic, often with large areas of very pale brown or yellowish brown coloration and with smaller patches of shades of darker brown. The staining present on the buried soil bones was intermediate to the other samples, in that it was diffuse across the shaft with a large range of colorations present. The results from the present study indicate that staining can manifest on bone within a relatively short time frame once skeletonization occurs and a variety of colorations or patterns of staining can manifest based on the plant material. The present research demonstrates the potential of organic staining to aid in estimations of the postmortem interval as well as an environmental reconstruction through species identification.

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

Este trabalho apresenta uma nova metodologia para mapeamento no espaço de cor colorimétrico CIEXYZ, dos valores de triestímulo obtidos em um espaço de cor não colorimétrico definido pelas curvas de sensibilidade de um sensor eletrônico. A inovação do método proposto é realizar o mapeamento através de três redes neurais artificiais sendo que cada uma é especializada em mapear cores com um determinado triestímulo dominante. É feita a comparação dos resultados do mapeamento com vários trabalhos publicados sobre mapeamento de um espaço de cor em outro usando diversas técnicas. Os resultados mostram a eficiência do método proposto e permitem sua utilização em equipamentos para medir cores, incrementando sua precisão. / This work presents a new method for mapping a non colorimetric color space defined by the sensitivity curves of an electronic color sensor to the colorimetric color space CIEXYZ. The novelty of the proposed method is to perform the mapping by a set of three artificial neural networks, each one specialized in mapping colors with a specific dominant tristimulus. The results are compared with the ones obtained in published works about the mapping of color spaces, using several methods. The results of the method proposed in this work show that it is efficient and it can be used in equipments for measuring colors, improving its precision.

Este trabalho apresenta uma nova metodologia para mapeamento no espaço de cor colorimétrico CIEXYZ, dos valores de triestímulo obtidos em um espaço de cor não colorimétrico definido pelas curvas de sensibilidade de um sensor eletrônico. A inovação do método proposto é realizar o mapeamento através de três redes neurais artificiais sendo que cada uma é especializada em mapear cores com um determinado triestímulo dominante. É feita a comparação dos resultados do mapeamento com vários trabalhos publicados sobre mapeamento de um espaço de cor em outro usando diversas técnicas. Os resultados mostram a eficiência do método proposto e permitem sua utilização em equipamentos para medir cores, incrementando sua precisão. / This work presents a new method for mapping a non colorimetric color space defined by the sensitivity curves of an electronic color sensor to the colorimetric color space CIEXYZ. The novelty of the proposed method is to perform the mapping by a set of three artificial neural networks, each one specialized in mapping colors with a specific dominant tristimulus. The results are compared with the ones obtained in published works about the mapping of color spaces, using several methods. The results of the method proposed in this work show that it is efficient and it can be used in equipments for measuring colors, improving its precision.

The study aims to achieve an understanding of the artist’s materials and techniques used by Lucky Madlo Sibiya when he created his carved and painted wood panel artworks. A survey of the artist’s materials and techniques is of great importance, because he is represented in multiple institutional, corporate and private collections – including the University of Pretoria. His carved and painted wood panel artworks are also reaching an age (at least 20 years old, as 2019 is the twentieth anniversary of his death) when they would soon require conservation and restoration, if not stored and displayed according to sound conservation conditions and standards. For best-practice conservation and restoration, in-depth knowledge of the materiality of an artwork is needed. In order to reach an in-depth knowledge of the materiality of Sibiya’s carved and painted wood panel artworks, the survey intends to examine and document through the combination of various historical, visual and analytical techniques artworks with unrefuted provenance. The analytical techniques used are popular in heritage conservation, because they are non-invasive and non-destructive. They include provenance studies, visual examination, technical photography, X-ray Fluorescence and Fourier-transform Infrared Spectroscopy. In combination, the techniques should reveal the materials and techniques Sibiya employed. This knowledge will be used to safeguard and preserve this part of South African art heritage. / Mini Dissertation (MSocSci)--University of Pretoria, 2020. / Tangible Heritage Conservation / MSocSci (Tangible Heritage Conservation) / Unrestricted

No description available.

Most of the drinking water supply in rural Bangladesh comes from groundwater collected using shallow tubewells. The tubewells, usually shallow because of the increased cost involved in deeper tubewells, have been installed by local drillers. A Sediment Color Tool was developed, with input from local drillers, that associated the arsenic concentration with specific sediment colors, in order to help the drillers install safe tubewells. This tool was digitized into the phone application, ASMITAS, to reduce subjectivity in sediment color determination due to human error or surrounding conditions, when used with a color sensor. The purpose of this study was to carry out a preliminary assessment of the application performance and usability, and the results provided by the application for color identification. 35 sediments were used and assigned into 4 different data sets to allow for comparison. Two data sets were assigned a Munsell color manually, while two were assigned the Munsell Soil Color (or Red-Green-Blue color) through use of the digital app. The sensor, the Nix Color Sensor Pro 2, was validated through a literature review and is considered accurate in identifying the color of the soil sediments. The data sets were compared based on the Delta E 2000 formula to determine the color difference between the data sets. The most relevant result of this method was between the Red-Green-Blue that the Nix Sensor originally provided to the application versus the closest matching Munsell code that the application could provide. It showed that the library from which the Munsell color was drawn was not yet expansive enough to accurately identify all sediments that may be scanned. Cyan-Magenta-Yellow-Black color comparisons were made to ascertain which aspects of the color are the most difficult to identify. It was found that both the sensor and the human eye had difficulties in identifying differences in the yellow percentage of several of the samples. The results showed that there may be greater need for distinction of which yellow percentages of Cyan-Magenta-Yellow-Black belong to which color sediment. Overall, the application appears to have a small number of less prominent features and functions to improve on prior to the publication of the application. At this stage of development, the main goal lies in the improvement and building of the Munsell color code reference library and the library of arsenic concentrations associated with each sediment color within the application, in order to improve the accuracy of the results. / Största delen av dricksvattenförsörjningen i lantlig Bangladesh kommer från grundvatten som samlas in med rörbrunnar. Rörbrunnarna, som vanligtvis är grunda som en följd av kostnaderna, har installerats av lokala borrare. Under 2007 antogs det att färgen på sedimentet i vilket rörbrunnarna placeras ger en indikation på arsenikens koncentration. Därför utvecklades Sediment Color Tool med input från de lokala borrarna. Verktyget vidareutvecklades till en digital app, ASMITAS, för att minska subjektiviteten i markfärgbestämning på grund av mänskliga fel eller omgivande förhållanden. Syftet med denna studie var att utvärdera applikationens prestanda i detta stadie av dess utveckling och färgidentifiering som genomförts av applikationen. 35 sediment användes i första bedömningen och klassificerades fyra gånger i fyra olika datamängder för att möjliggöra jämförelse. Två datamängder tilldelades en Munsell Soil Color manuellt, medan två tilldelades sin färg genom användning av den digitala appen. Sensorn som användes, Nix Color Sensor Pro 2, validerades genom en litteraturöversikt och anses vara korrekt när det gäller att identifiera färgen på sediment. De fyra datamängderna jämfördes visuellt med användning av färgbrickor. De jämfördes baserat på DE2000-formeln för att bestämma färgskillnaden mellan datamängden. Det mest avslöjande resultatet med denna metod var mellan dem två digitalt förvärvade datamängderna. Resultatet föreslår att referensbiblioteket i ASMITAS, från vilket matchen togs, ännu inte var tillräckligt stort för att identifiera alla sedimentprover noggrant för att ej vara märkbar för det mänskliga ögat. Cyan-Magenta-Gul-Svart jämförelser gjordes för att se vilka aspekter av färgen som är svårast att identifiera. Resultaten visade att både sensorn och det mänskliga ögat hade svårigheter att identifiera skillnader i den gula procentandelen av flera av proverna och sedimentfärgerna. Resultaten visade att det kan finnas ett större behov av åtskillnad av vilka gula procentsatser som tillhör vilken färg av sediment (och motsvarande arsenikkoncentration). Det finns ytterligare aspekter och funktioner av appen som är mindre centrala för dess prestanda som bör förbättras innan applikationen publiceras. I detta utvecklingsstadium ligger emellertid huvudmålet i förbättring och uppbyggnad av Munsell- färgkodreferensbiblioteket och biblioteket med arsenik-koncentrationer som är kopplad till varje sedimentfärg i applikationen. Detta för att öka resultatets noggrannhet.

In the terrestrial biosphere forests have a significant role as a carbon sink. Under recent climate change, it is increasingly important to detect seasonal change or ‘phenology’ that can influence the global carbon cycle. Monitoring canopies using camera systems has offered an inexpensive means to quantify the phenological changes. However, the reliability is not well known. In order to examine the usefulness of cameras to observe forest phenology, we analysed canopy images taken in two deciduous forests in Japan and England and investigate which colour index is best for tracking forest phenology and predict carbon uptake by trees. A camera test using model leaves under controlled conditions has also carried out to examine sensitivity of colour indices for discriminating leaf colours. The main findings of the present study are: 1) Time courses of colour indices derived from images taken in deciduous forests showed typical patterns throughout the growing season. Although cameras are not calibrated instrument, analysis of images allowed detecting the timings of phenological events such as leaf onset and leaf fall; 2) The strength of the green channel (or chromatic coordinate of green) was useful to observe leaf expansion as well as damage by spring late frost. However, the results of the camera test using model leaves suggested that this index was not sufficiently sensitive to detect leaf senescence. Amongst colour indices, Hue was the most robust metric for different cameras, different atmospheric conditions and different distances. The test also revealed Hue was useful to track nitrogen status of leaves; 3) Modelling results using a light use efficiency model for GPP showed a strong relationship between GPP and Hue, which was stronger than the relationships using alternative traditional indices.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-06-11T14:07:57Z No. of bitstreams: 1 HANNA FRANÇA MENEZES - DISSERTAÇÃO PPGDesign 2018..pdf: 84986995 bytes, checksum: 37d7333f46e5b8fc742a7f9ec888ef3c (MD5) / Made available in DSpace on 2018-06-11T14:07:57Z (GMT). No. of bitstreams: 1 HANNA FRANÇA MENEZES - DISSERTAÇÃO PPGDesign 2018..pdf: 84986995 bytes, checksum: 37d7333f46e5b8fc742a7f9ec888ef3c (MD5) Previous issue date: 2018-02 / Infography has been characterized as a new representaíion of form the contemporary informative journalism genre, that synthesizes the information from the resources the graphic visual language, aiming quick and efficient reading the news. Among the visual language elements that characterize its configuration, the color becomes an important feature the infographics, can contribute to emphasize and organize complex visual information, for clarity, visual balance, and harmony. However, it can also have negative effects, if used improperly, making information difficult to understand. Within this context, the present study investigates the indicative, perceptive and representative functions of color in the journalism infographics, aiming to propose recommendations for its use in the design of infographics. Therefore, this research presents an exploratory, mixedmethod (qualitative and quantitative) approach, to be carried out in four stages: (i) characterization of color functions; (ii) analysis of a set of infographics; (iii) processing and interpretation of data; and (iv) recommendations for the use of color in the project of journalism infographics. Comparing the three categories was observed that perceptive and indicative function categories were the most recurrent, being the functions harmonize, organize, hierarchize and measure the most ones. However, these same categories were also those ones that presented a higher number of probiems in the use of color, with the functions maintaining readability and visibility and maintaining consistency the most problematic ones. Such analysis identified successful uses and highlighted some shortcomings, moreover contributing recommendations for directing the proper application of color in journalism infographics.