Color Models and Illumination Changes

Color model representation allows characterizing in a quantitative manner, any defined color spectrum of visible light, i.e. with a wavelength between 400nm and 700nm. To accomplish that, each model, or color space, is associated with a function that allows mapping the spectral power distribution of the visible electromagnetic radiation, in a space defined by a set of discrete values that quantify the color components composing the model. Some color spaces are sensitive to changes in lighting conditions. Others assure the preservation of certain chromatic features, remaining immune to these changes. Therefore, it becomes necessary to identify the strengths and weaknesses of each model in order to justify the adoption of color spaces in image processing and analysis techniques. This chapter will address the topic of digital imaging, main standards and formats. Next we will set the mathematical model of the image acquisition sensor response, which enables assessment of the various color spaces, with the aim of determining their invariance to illumination changes.

Wood Volume Measurement Using Color Images

Tämä työ käsittelee puutukkien tilavuuden mittaamista värikonenäön avulla. Värikuvat on saatu Simpeleellä olevan metsäteollisuusyrityksen hiomosta. Työssä esitetään perusteellisesti matemaattinen teoria, joka liittyy käytettyihin kuvankäsittelymenetelmiin, kuten luokitteluun, kohinan poistoon ja tukkien segmentointiin. Esitetyt menetelmät implementointiin käytännössä ja eri menetelmillä saatuja tuloksia vertailtiin keskenään. Kuvankäsittelyalgoritmit on implementoitu Matlab 6.0:n avulla. Pääasiassa käytettiin uusinta Image Processing Toolboxia, joka on versio 3.0. Tämä työn näkökulma on pääasiassa käytäntöön soveltava, koska metsäteollsuus on korkealla tasolla Suomessa ja siellä on paljon alan yrityksiä, joissa tässä työssä kehitettyä menetelmää voidaan hyödyntää.

Development of Color Difference Equations Matching to Human Vision System

Research on color difference evaluation has been active in recent thirty years. Several color difference formulas were developed for industrial applications. The aims of this thesis are to develop the color density which is denoted by comb g and to propose the color density based chromaticity difference formulas. Color density is derived from the discrimination ellipse parameters and color positions in the xy , xyY and CIELAB color spaces, and the color based chromaticity difference formulas are compared with the line element formulas and CIE 2000 color difference formulas. As a result of the thesis, color density represents the perceived color difference accurately, and it could be used to characterize a color by the attribute of perceived color difference from this color.

Color-space distortions following long-term occupational exposure to mercury vapor

Color vision was examined in subjects with long-term occupational exposure to mercury (Hg) vapor. The color vision impairment was assessed by employing a quantitative measure of distortion of individual and group perceptual color spaces. Hg subjects (n = 18; 42.1 +/- 6.5 years old; exposure time = 10.4 +/- 5.0 years; time away from the exposure source = 6.8 +/- 4.6 years) and controls (n = 18; 46.1 +/- 8.4 years old) were examined using two arrangement tests, D-15 and D-15d, in the traditional way, and also in a triadic procedure. From each subject`s `odd-one-out` choices, matrices of inter-cap subjective dissimilarities were derived and processed by non-metric multidimensional scaling (MDS). D-15d results differed significantly between the Hg-group and the control group (p < 0.05), with the impairment predominantly along the tritan axis. 2D perceptual color spaces, individual and group, were reconstructed, with the dimensions interpreted as the red-green (RG) and the blue-yellow (BY) systems. When color configurations from the Hg-group were compared to those of the controls, they presented more fluctuations along both chromatic dimensions, indicating a statistically significant difference along the BY axis. In conclusion, the present findings confirm that color vision impairments persist in subjects that have received long-term occupational exposure to Hg-vapor although, at the time of testing, they were presenting mean urinary concentration within the normal range for non-exposed individuals. Considering the advantages of the triadic procedure in clinical evaluation of acquired color vision deficiencies, further studies should attempt to verify and/or improve its efficacy.

Number of discernible colors for color-deficient observers estimated from the MacAdam limits

We estimated the number of colors perceived by color normal and color-deficient observers when looking at the theoretic limits of object-color stimuli. These limits, the optimal color stimuli, were computed for a color normal observer and CIE standard illuminant D65, and the resultant colors were expressed in the CIELAB and DIN99d color spaces. The corresponding color volumes for abnormal color vision were computed using models simulating for normal trichromatic observers the appearance for dichromats and anomalous trichomats. The number of colors perceived in each case was then computed from the color volumes enclosed by the optimal colors also known as MacAdam limits. It was estimated that dichromats perceive less than 1% of the colors perceived by normal trichromats and that anomalous trichromats perceive 50%–60% for anomalies in the medium-wavelength-sensitive and 60%–70% for anomalies in the long-wavelength-sensitive cones. Complementary estimates obtained similarly for the spectral locus of monochromatic stimuli suggest less impairment for color-deficient observers, a fact that is explained by the two-dimensional nature of the locus.

Kvalitetssäkring av Clas Ohlson AB´s grafiska produktionsflöde

The question formulation in the essay brought up whether Clas Ohlson works today with their graphical productionflow and if that way of working leads to a desirable result in press. After a dialogue with Clas Ohlson it emerged thatthey had certain problems with the material that came out of the printing presses. Certain colours were not reproducedaccording to the stated values that had been developed. In March -08 an analysis of the graphical production flowspresent situation were done at Clas Ohlsons in order to find out how they worked with their production of print materials.In the analysis, their way to work with color spaces, displays, ICC-profiles, PDF-exports, pictures and printerswere examined. Occasional interviews were also implemented with responsible personnel about how they worked withdifferent aspects.Deficiencies were found on almost all examined parts in their graphical production flow. Wrong colorspaces andCMYK-profiles was used in big extent, the displays where uncalibrated or incorrectly calibrated, wrong PDF-presetswas used frequently and it also showed that six different suppliers for their printing materials were used. The solutionsthat were relevant for the problems and defects were later on presented as proposals on measures.

Espaço de cores

O artigo apresenta definições para os termos espaço de cores e sistemas de cores; classifica, de acordo com David Brainard (2003), os sistemas de cores em dois grupos: aparência de cores e diferenças de cores. Dentre os diversos sistemas de cores existentes, o artigo descreve dois deles: o sistema de cores Munsell &– um dos mais utilizados entre os sistemas de aparência de cores &– e a descrição do sistema de cores CIE 1931 &– um dos mais utilizados dentre os sistemas de diferença de cores. Faz-se uma retrospectiva histórica da busca por espaços de cores que representem a percepção de cores humana assim como as diversas reconstruções de espaços de cores por métodos eletrofisiológicos ou psicofísicos. Muitas dessas reconstruções utilizam a escala multidimensional (mds). O artigo também introduz a possibilidade da reconstrução dos espaços de cores de pacientes com discromatopsia adquirida como uma distorção do espaço de indivíduos tricromatas normais.

Estudio comparativo de medidas de distancia para histogramas en problemas de reidentificación

Máster Universitario en Sistemas Inteligentes y Aplicaciones Numéricas en Ingeniería (SIANI)

Skin Lesion Extraction And Its Application

In this thesis, I study skin lesion detection and its applications to skin cancer diagnosis. A skin lesion detection algorithm is proposed. The proposed algorithm is based color information and threshold. For the proposed algorithm, several color spaces are studied and the detection results are compared. Experimental results show that YUV color space can achieve the best performance. Besides, I develop a distance histogram based threshold selection method and the method is proven to be better than other adaptive threshold selection methods for color detection. Besides the detection algorithms, I also investigate GPU speed-up techniques for skin lesion extraction and the results show that GPU has potential applications in speeding-up skin lesion extraction. Based on the skin lesion detection algorithms proposed, I developed a mobile-based skin cancer diagnosis application. In this application, the user with an iPhone installed with the proposed application can use the iPhone as a diagnosis tool to find the potential skin lesions in a persons' skin and compare the skin lesions detected by the iPhone with the skin lesions stored in a database in a remote server.

Uma interface para o controle de robôs móveis por intermédio de gestos

The main objective of this work was to enable the recognition of human gestures through the development of a computer program. The program created captures the gestures executed by the user through a camera attached to the computer and sends it to the robot command referring to the gesture. They were interpreted in total ve gestures made by human hand. The software (developed in C ++) widely used the computer vision concepts and open source library OpenCV that directly impact the overall e ciency of the control of mobile robots. The computer vision concepts take into account the use of lters to smooth/blur the image noise reduction, color space to better suit the developer's desktop as well as useful information for manipulating digital images. The OpenCV library was essential in creating the project because it was possible to use various functions/procedures for complete control lters, image borders, image area, the geometric center of borders, exchange of color spaces, convex hull and convexity defect, plus all the necessary means for the characterization of imaged features. During the development of the software was the appearance of several problems, as false positives (noise), underperforming the insertion of various lters with sizes oversized masks, as well as problems arising from the choice of color space for processing human skin tones. However, after the development of seven versions of the control software, it was possible to minimize the occurrence of false positives due to a better use of lters combined with a well-dimensioned mask size (tested at run time) all associated with a programming logic that has been perfected over the construction of the seven versions. After all the development is managed software that met the established requirements. After the completion of the control software, it was observed that the overall e ectiveness of the various programs, highlighting in particular the V programs: 84.75 %, with VI: 93.00 % and VII with: 94.67 % showed that the nal program performed well in interpreting gestures, proving that it was possible the mobile robot control through human gestures without the need for external accessories to give it a better mobility and cost savings for maintain such a system. The great merit of the program was to assist capacity in demystifying the man set/machine therefore uses an easy and intuitive interface for control of mobile robots. Another important feature observed is that to control the mobile robot is not necessary to be close to the same, as to control the equipment is necessary to receive only the address that the Robotino passes to the program via network or Wi-Fi.

Spectacle and the one-man band : technology, performing bodies, and imaginary spaces

L’étiquette « homme-orchestre » est apposée à une grande variété de musiciens qui se distinguent en jouant seuls une performance qui est normalement interprétée par plusieurs personnes. La diversité qu’a pu prendre au cours du temps cette forme n’est pas prise en compte par la culture populaire qui propose une image relativement constante de cette figure tel que vue dans les films Mary Poppins (1964) de Walt Disney et One-man Band (2005) de Pixar. Il s’agit d’un seul performeur vêtu d’un costume coloré avec une grosse caisse sur le dos, des cymbales entre les jambes, une guitare ou un autre instrument à cordes dans les mains et un petit instrument à vent fixé assez près de sa bouche pour lui permettre d’alterner le chant et le jeu instrumental. Cette thèse propose une analyse de l’homme-orchestre qui va au-delà de sa simple production musicale en situant le phénomène comme un genre spectaculaire qui transmet un contenu symbolique à travers une relation tripartite entre performance divertissante, spectateur et image. Le contenu symbolique est lié aux idées caractéristiques du Siècle des lumières tels que la liberté, l’individu et une relation avec la technologie. Il est aussi incarné simultanément par les performeurs et par la représentation de l’homme-orchestre dans l’imaginaire collectif. En même temps, chaque performance sert à réaffirmer l’image de l’homme-orchestre, une image qui par répétitions est devenue un lieu commun de la culture, existant au-delà d’un seul performeur ou d’une seule performance. L’aspect visuel de l’homme-orchestre joue un rôle important dans ce processus par une utilisation inattendue du corps, une relation causale entre corps, technologie et production musicale ainsi que par l’utilisation de vêtements colorés et d’accessoires non musicaux tels des marionnettes, des feux d’artifice ou des animaux vivants. Ces éléments spectaculaires divertissent les spectateurs, ce qui se traduit, entre autres, par un gain financier pour le performeur. Le divertissement a une fonction phatique qui facilite la communication du contenu symbolique.

Similarity Mapplet: Interactive Visualization of the Directory of Useful Decoys and ChEMBL in High Dimensional Chemical Spaces

An Internet portal accessible at www.gdb.unibe.ch has been set up to automatically generate color-coded similarity maps of the ChEMBL database in relation to up to two sets of active compounds taken from the enhanced Directory of Useful Decoys (eDUD), a random set of molecules, or up to two sets of user-defined reference molecules. These maps visualize the relationships between the selected compounds and ChEMBL in six different high dimensional chemical spaces, namely MQN (42-D molecular quantum numbers), SMIfp (34-D SMILES fingerprint), APfp (20-D shape fingerprint), Xfp (55-D pharmacophore fingerprint), Sfp (1024-bit substructure fingerprint), and ECfp4 (1024-bit extended connectivity fingerprint). The maps are supplied in form of Java based desktop applications called “similarity mapplets” allowing interactive content browsing and linked to a “Multifingerprint Browser for ChEMBL” (also accessible directly at www.gdb.unibe.ch) to perform nearest neighbor searches. One can obtain six similarity mapplets of ChEMBL relative to random reference compounds, 606 similarity mapplets relative to single eDUD active sets, 30 300 similarity mapplets relative to pairs of eDUD active sets, and any number of similarity mapplets relative to user-defined reference sets to help visualize the structural diversity of compound series in drug optimization projects and their relationship to other known bioactive compounds.

Material, espacio y color en Mies van der Rohe. Café Samt & Seide: Hacia una Propuesta Estructural

La aparición de varias fotografías del Café Samt & Seide no publicadas hasta 2008 en las que se observaba la luz natural de la exposición; los planos a escala de la nave donde se realizó la exposición textil; y los croquis inéditos de la instalación de la seda localizados durante el transcurso de la Tesis Doctoral por el doctorando en el plano de la Sala de Cristal, han sido las principales aportaciones de la búsqueda documental que ha tenido por objeto el conocimiento espacial e interpretación gráfica del proyecto expositivo realizada durante el transcurso de la Tesis Doctoral para poder profundizar en el alcance de la propuesta protoarquitectónica y, a través de ella, en la obra y pensamiento de Mies van der Rohe. Material, espacio y color son elementos propuestos como capítulos que estructuran la disertación y que son empleados por Mies van der Rohe como factores de una nueva expresión espacial en la exposiciones como ensayos identificados con su idea de arquitectura. En el Café Samt & Seide, Mies van der Rohe y Lilly Reich proponen una sensibilidad en el empleo del material y color trasladada al espacio mediante una atmósfera rítmica y en movimiento de superficies abstraídas e iluminadas. La estructura visual de opuestos nace del doble material textil de la exposición desplegándose en un orden espacial y constructivo de elementos independientes iniciado en los apartamentos de la Colonia Weissenhof y Sala de Cristal de Stuttgart 1926-1927, y que será trasladado desde los espacios experimentales de 1927 a las series de mármoles y cristales del Pabellón Alemán 1928-1929. La síntesis intelectual (arte-ciencia-filosofía) guía el proceso de formalización y la técnica en una intención que será trasladada a su arquitectura en el empleo de la tecnología. La creatividad y repercusión de las vanguardias en la instalación muestra la voluntad integradora de la exposición y arquitectura como arte total. Los aspectos interpretativos de las artes plásticas, visuales y musicales se integran como criterios y sensibilidades aplicadas a las estructuras yuxtapuestas material, espacial y de color. Modernidad y tradición tectónica convergen en este espacio construido cuyas superficies cubren un armazón metálico oculto. La construcción mínima textil será incorporada como idea de forma en la futura construcción del pilar metálico, la pared flotante de sus viviendas y pabellones abiertos a la naturaleza, y la gran fachada tecnológica del espacio público de sus agrupaciones en la ciudad. El espacio total del Café Samt & Seide dentro de la gran nave de Berlín anticipa las exposiciones artísticas e industriales realizadas junto a Lilly Reich en el interior de las espaciosas salas de estructura metálica como instalaciones conceptuales de gravedad y luz antecedentes de los pabellones de grandes dimensiones y espacio universal. Arquitectura, construcción y lugar son integrados en la instalación por el principio estructural como propuesta de una idea de arquitectura que es desarrollada en las exposiciones. Oscilador y bastidor son construcciones escaladas dentro de la gran nave iluminada, expresando el conjunto un orden de partes que reflejan un todo integrado en la naturaleza y lo universal. Las múltiples relaciones espaciales, constructivas y conceptuales de la exposición con su arquitectura desvelan al Café Samt & Seide como un exponente y antecedente de su obra e idea a la que definió como una propuesta estructural. La estructura, entendida como un conjunto de valores culturales y medios técnicos, es el concepto con el que Mies van der Rohe identifica la síntesis intelectualtecnológica de su tiempo, constituyendo la finalidad de su expresión material, espacial y de color. ABSTRACT The unpublished pictures of the Café Samt & Seide appeared in 2008 in which the natural light in the exhibition can be seen; the scaled plan of the nave where the textile exhibition was held; and the unpublished sketches of the silk exhibition located by the doctoral candidate while preparing his dissertation have been the main input of the data search aiming at a better understanding of the space and a graphic interpretation of the exhibition project made by the doctoral candidate during the dissertation as a basic requirement to deepen in the scope of this protoarchitectural proposal and, though it, into Mies van der Rohe’s work and thinking. Material, space and colour are the elements put forward as the chapters structuring this dissertation and were used by Mies van der Rohe as factors of a new spatial expression in expositions as tests identified with his idea of architecture. In Café Samt & Seide, Mies van der Rohe and Lilly Reich present material and colour sensitivity transferred to space though a rhythmic and moving atmosphere made up by abstracted and lit surfaces. Such a visual grammar and oppositions unfolds into a space and constructive order of independent elements originated with the apartments of the Weissenhof Colony and Glass Room in Stuttgart 1926-1927, and which were transferred these test spaces 1927 to the series of marble and glass in the German Pavilion 1928-1929. The intellectual and formal will (art-science-philosophy) guides the technical expression, which is transferred to architecture through technology. The creativity and impact of avant-gardes in the installation reflects exhibition and architecture’s will to integrate as a Total Art. The interpretative aspects of plastic, visual and musical arts are part of a sensitivity applied to the overlapped structures of material, space and colour. Tectonic modernity and tradition converge in this space built with surfaces covering a hidden metal framework. The minimal textile construction is integrated as a shape idea in his subsequent construction of the metal pillar, floating wall in his housing and pavilions open to nature, and the great technological façade of the public space of his urban clusters. The total space of the exhibition inside the great nave in Berlin anticipates the artistic and industrial exhibitions done together with Lilly Reich inside the spacious Halls built with exposed metal structures as conceptual installation of gravity and light prior to the big-dimensioned pavilions and universal space. Architecture, construction and place are integrated by the structural principle. Oscillator and framework are scaled constructions integrated inside the great, lit nave, and the whole conveys order of its parts reflecting a whole integrated in nature and the universal. The many conceptual, space and constructive link of the textile exhibition to his European and American architecture add a greater knowledge of the time when Mies van der Rohe stated he gained a “new awareness” 1926, revealing Café Samt & Seide as a valuable example and the experimental precursor of his work and idea defined by himself as a “structural proposal”. The structure, understood as a set of cultural and material values expressed by architecture, is the notion used by Mies van der Rohe to identify the intellectual-technological synthesis as the idea of a time and which is the goal of its material, space and colour expression.

El color en la transfiguración del espacio: un estudio empírico de los dispositivos de transformación y configuración

La presente investigación analiza la capacidad del color de cualificar los espacios y propone una clasificación que ordene los diferentes dispositivos que actúan en este proceso. El objetivo de esta tesis es describir estos dispositivos estableciéndolos como parte inequívoca de cualquier proceso desencadenado por la presencia del binomio luz y color. El color ha sido objeto de estudio y experimentación a lo largo de la historia, en todas las artes y las distintas disciplinas relacionadas con la física, la percepción y la interacción. De este modo se realiza una aproximación teórica e histórica al color desde puntos de vista interdisciplinares, para llegar a comprender el modo en el que el color se acaba separando de la forma para pasar a formar parte de la configuración del espacio. Con el propósito de alcanzar este objetivo, se ha realizado un recorrido a través de diferentes teorías y manifestaciones artísticas realizadas en torno al color a lo largo de la Historia, para encontrar las claves de la relación del color con el espacio. Tomando de base este primer acercamiento al tema, se realiza un estudio empírico exhaustivo con modelos físicos con el fin de aislar los dispositivos que intervienen el este proceso en el que el color se pone en relación con el espacio; se analiza su variación a medida que fluctúan las características de los elementos que desencadenan los dispositivos. El objetivo es descubrir un orden, una taxonomía, que permita interpretar cualquier transformación producida por el color en el espacio. Posteriormente, se verifica la validez de esta clasificación estudiando siete espacios modelo en los que el color transfigura el espacio mediante la activación conjunta de varios de los dispositivos analizados. Se ha elegido este grupo de siete espacios debido a que, al tomarlos como suma, sus interiores engloban todos los fenómenos encontrados en el análisis previo. El conjunto de los dispositivos que actúan en cada espacio forma un sistema único e irrepetible que tiene que ver con su transfiguración espacial mediante la luz y el color. Estos sistemas constituyen parte de la génesis propia de cada espacio a través de una secuencia de dispositivos de transformación y configuración espacial que lo hace singular. Los dispositivos clasificados en esta investigación se encuentran en cualquier espacio en el que intervengan la luz y el color, agrupándose secuencialmente en sistemas determinados que cualifican el espacio arquitectónico. ABSTRACT This research analyzes the ability of the colour to qualify the spaces and proposes a classification to arrange the different devices that act in this process. The aim of this thesis is to describe these devices, unequivocally established as part of any process triggered by the presence of light and color pairing. Colour has been the subject of study and experimentation throughout history, in all the arts and disciplines related to physics, perception and interaction. Thus a theoretical and historical approach to the colour is developed from interdisciplinary points of view, in order to understand the way that colour separates from the form and is part of the space configuration. With the purpose of reaching this target, there has been a journey through the artistic movements and theories on colour throughout history, seeking for the key points of its relation with the space. Based on these first intuitions as a starting point, an exhaustive empirical study is made with physical models with the purpose of isolating the devices that participate in this process where colour is related with the space as well as analyzing their variation to the extent that the characteristics of the elements which cause them fluctuate. The objective is to discover an order, a taxonomy that allows to performing any transformation produced by the colour in the space. Afterwards, the validity of this classification is verified by studying seven model spaces in which the colour transfigures the space by the combined activation of several analyzed devices. These seven spaces were chosen due to all the phenomenon set in the previous analysis are included in their interior space. The group of devices that act on each space creates an unrepeatable and unique system that has to do with its spatial transfiguration by means of light and colour. These systems form part of the origin itself of each space through a sequence of devices of spatial transformation and configuration that make this space unique. The devices sorted in this research transform and configure any space in which light and colour participate, sequentially grouping together in determined systems that qualify the architectonic space.

Zoning and Open Spaces, Washington, D.C., 1936 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Base map of the District of Columbia showing public and zoning areas, base prepared in the Office of the Surveyor, D.C., by direction of the Engineer Commissioner, D.C. It was published by Engineer Commissioner in 1936. Scale [ca. 1:19,200]. Base map "complete to June 13, 1933." The image inside the map neatline is georeferenced to the surface of the earth and fit to the Maryland State Plane Coordinate System Meters NAD83 (Fipszone 1900). All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as residential areas, open spaces, commercial and industrial areas, alley dwelling areas, roads, block numbers, railroads and stations, drainage, selected public buildings and points of interest, parks, cemeteries, and more. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.