Digital colour cameras are dramatically falling in price, making them a ordable for ubiquitous appliances in many applications. Change in colour perception with changing light conditions induce errors that may escape a user's awareness. Colour constancy algorithms are based on inferring light properties (usually the white point) to correct colour. Other attempts using more data for colour correction such as (ICC based) colour management characterise a capturing device under given conditions through an input device pro le. This pro le can be applied to correct for deviating colour perception. But this pro le is only valid for the speci c conditions at the time of the characterisation, but fails with changes in light. This research presents a solution to the problem of long time observations with changes in the scene's illumination for common natural (overcast or clear, blue sky) and arti cial sources (incandescent or uorescent lamps). Colour measurements for colour based reasoning need to be represented in a robustly de ned way. One such suitable and well de ned description is given by the CIE LAB colour space, a device-independent, visually linearised colour description. Colour transformations using ICC pro le are also based on CIE colour descriptions. Therefore, also the corrective colour processing has been based on ICC based colour management. To verify the viability of CIE LAB based corrective colour processing colour constancy algorithms (White Patch Retinex and Grey World Assumption) have been modi ed to operate on L a b colour tuples. Results were compared visually and numerically (using colour indexing) against those using the same algorithms operating on RGB colour tuples. We can take advantage of the fact that we are dealing with image streams over time, adding another dimension usable for analysis. A solution to the problem of slowly changing light conditions in scenes with a static camera perspective is presented. It takes advantage of the small (frame-to-frame) changes in appearance of colour within the scene over time. Reoccurring objects or (background) areas of the scene are tracked to gather data points for an analysis. As a result, a suitable colour space distortion model has been devised through a rst order Taylor approximation (a ne transformation). By performing a multidimensional linear regression analysis on the tracked data points, parameterisations for the a ne transformations were derived. Finally, the device pro le is updated by amalgamating the corrections from the model into the ICC pro le for a single, comprehensive transformation. Following applications of the ICC based colour pro les are very fast and can be used in real-time with the camera's capturing frame rate (for current normal web cameras and low spec desktop computers). As light conditions usually change on a much slower time scale than the capturing rate of a camera, the computationally expensive pro le adaptation generally showed to be usable for many frames. The goal was to set out and nd a solution for consistent colour capturing using digital cameras, which is capable of coping with changing light conditions. Theoretical backgrounds and strategies for such a system have been devised and implemented successfully.

Asking the question: How can the waffle weave be reinterpreted through material, technical and colour research, the investigation of this MA thesis revolves around the weaving technique with the aim of presenting a collection of various woven textiles, where the waffle has been used in different ways. The weave, with its three- dimensional structure creates an interesting canvas to experiment upon as its structure creates both texture as well as depth to the textile. Furthermore, the research is conducted through a systematic exploration of the different aspects mentioned above, where theory and practise go hand in hand. Moreover, the practical experiments start as sketches on the computerised ARM looms and then are scaled up and revised on the industrial jacquard looms. The results showcase a variety of waffle weaves; from flat to three- dimensional, with various colour and surface effects as well as different compositions and overall forms. So, through this research, the degree project aims to explore and experiment the potential and possibilities of the waffle weave

The human eye is a conspicuous and unique component of facial appearance. From other mammalian eyes it is set apart mainly by its unusual shape, visible white sclera, and a wide range of iris colours, which is something unique within a single species. Whether alone or in the context of the face as a whole, eye colour is an underexplored area within research into the perception of various personality traits. In this thesis, the author first reviews the physiological factors connected with eye colour and reported correlations between eye colour and different psychological and behavioural conditions. This is followed by an investigation of a possible relationship between eye colour and perceived dominance and attractiveness. The first and second study examines whether and to what extent eye colour is associated with facial morphology responsible for perceived dominance. The results are ambiguous. A cross-cultural comparison in the third study revealed that faces with blue eyes are judged as more attractive only in populations where individuals with darker eyes predominate. It is thus discussed whether this population-specific pattern is the consequence of a negative frequency-dependent selection that may have contributed to the present-day eye colour diversity. In short, the aim of this thesis was to...

Abstract:Uniquely amongst the earliest writing systems, the Egyptian hieroglyphic script was sometimes enhanced by colouring the signs. This was not done in an arbitrary fashion, but was conventional, with each colour used in a conscious attempt either at materialism, naturalism, semi-naturalism or as a metaphor. This study aims to shed some light on the processes involved in writing in colour. The methodology, theory, analysis and extended commentary are to be found in Volume 1.The study shows that a polychrome canon was in use, in a remarkably coherent and stable fashion, during some two thousand five hundred years, from the Old Kingdom right through to the Ptolemaic period. A palaeography, showing the best examples of each hieroglyph together with a brief commentary, forms the whole of Volume 2. These exemplars are taken from a database of polychrome hieroglyphs: a collection of over three thousand six hundred signs extracted from fifty-two monumental inscriptions. They cover 67% of all the hieroglyphs found in Gardiner’s sign list. Those signs in the collection that possess coloured images can all be found in Volume 3. The palaeography is intended to be a practical tool, as is the application created in order to facilitate the navigation, consultation and update of the database.In the process of analysing this data, several commonly held ideas about colour symbolism and the identification of certain hieroglyphs were brought into question and rectified, where possible. However, many unanswered questions remain, leaving the door open to further fascinating research. / Doctorat en Langues, lettres et traductologie / info:eu-repo/semantics/nonPublished