KEYWORDS: Databases, RGB color model, Algorithm development, Image retrieval, Visualization, Digital imaging, Photography, Visual process modeling, Systems modeling, Genetic algorithms
The combination of the increased size of digital image databases and the increased frequency with which non- specialist access these databases is raising the question of the efficacy of visual search and retrieval tools. We hypothesize that the use of color harmony has the potential for improving image-search efficiency. We describe an image- retrieval algorithm that relies on a color harmony model. This mode, built on Munsell hue, value, and chroma contrast, is used to divide the image database into clusters that can be individually searched. To test the efficacy of the algorithm, it is compared to existing algorithms developed by Niblack et al and Feldman et al. A second study that utilizes the image query system in a retail application is also described.
KEYWORDS: Computer programming, RGB color model, Visualization, Logic, Computer programming languages, Human vision and color perception, Colorimetry, Color vision, Internet, Gold
Casual users of color frequently misunderstand the relationships between spatially adjacent colors or even the simpler concepts of value and chroma. In this paper we discuss the design and use of Color Deducto, a computer game that provides an enjoyable way for players to learn about color relationships. Players learn from Color Deducto in two ways. First, they learn by playing the game, which consists of a series of logic puzzles. In each puzzle, players must infer the rule that distinguishes 'matching' grids (arrangements of colors that satisfy the rule) from non-matching grids. Second, players learn by devising their own rules for others to infer.
KEYWORDS: Visualization, Visual process modeling, Computer programming, Image processing, Systems modeling, Eye, Human vision and color perception, Human-machine interfaces, Visual system, Colorimetry
The creative process can be described as a continuous feedback loop between the material and an artist's decision making process. A skill can be described as knowledge of a material that allows making more informed decisions and more controlled interactions. As the artists attains a deeper knowledge of a material, the cognitive process involved in creation diverges from technical considerations and concerns itself more with meaning an depression. With computation, the creative process is better described as an evaluative process. Computers allow a multitude of stored copies and variations and also permit the visual artist to create many compositions. The artists may subsequently choose the most appealing among them, refining procedures and algorithms through an evaluative process of trial and error. The traditional relationship between the artist and the computer has been one of artists exercising visual judgement in light of manipulation of material. In this paper, we contrast the extensive use of randomness with a more controlled expression given advances in our modeling of human vision and of imagin system. The context for this discussion is computational expressionism, an exploration of computational drawing that redefines the concept of lines and compositions for the digital medium.
Palette synthesis and analysis tools have been built based upon a model of color experience. This model adjusts formal compositional elements such as hue, value, chroma, and their contrasts, as well as size and proportion. Clothing and household product designers were given these tools to give guidance to their selection of seasonal palettes for use in production of the private-label merchandise of a large retail chain. The designers chose base palettes. Accents to these palettes were generated with and without the aid of the color tools. These palettes are compared by using perceptual metrics and interviews. The results are presented.
An exploration of emotion in color communication is presented in this paper. It begins with an outline of a proposed theory of emotion and a hypothesis of how color may induce emotion. A discussion follows that details what is essential in a color message to predict emotional responses. Experiments are described that might assist in validating the theory put forth in this paper.
KEYWORDS: Data modeling, Visualization, Visual process modeling, Algorithms, Sensors, Systems modeling, Colorimetry, Statistical analysis, Color vision, Error analysis
This investigation is built upon our previous experiments on the experiential effect of color combinations. Within this study, we found that the systematic adjustment of color combinations can affect the magnitude of expressive response from individuals. We postulate that within each isobar of magnitude--low, medium, and high--there are distinct qualities of expression evoked, varying from stressful to harmonic. We designed an experimental procedure to measure responses by specifying various kinds of hue-to-hue alignment and controlling the variation of value and chroma contrast. Our experimental procedure and results are discussed in this paper.
KEYWORDS: Data hiding, Interference (communication), Signal processing, Image compression, Binary data, Digital watermarking, Image processing, Computer programming, Data processing, Signal attenuation
Data hiding is the process of embedding data into image and audio signals. The process is constrained by the quantity of data, the need for invariance of the data under conditions where the `host' signal is subject to distortions, e.g., compression, and the degree to which the data must be immune to interception, modification, or removal. We explore both traditional and novel techniques for addressing the data hiding process and evaluate these techniques in light of three applications: copyright protecting, tamper-proofing, and augmentation data embedding.
Many digital display systems economize by rendering color images with the use of a limited palette. Palettized images differ from continuous-tone images in two important ways: they are less continuous due to their use of lookup table indices instead of physical intensity values, and pixel values may be dithered for better color rendition. These image characteristics reduce the spatial continuity of the image, leading to high bit rates and low image quality when compressing these images using a conventional lossy coder. We present an algorithm that uses a debinarization technique to approximate the original continuous-tone image, before palettization. The color components of the reconstructed image are then compressed using standard lossy compression techniques. The decoded images must be color quantized to obtain a palettized image. We compare our results with a second algorithm that applies a combination of lossy and lossless compression directly to the color quantized image in order to avoid color quantization after decoding.
KEYWORDS: Visualization, Colorimetry, Computer graphics, Matrices, Color reproduction, Information visualization, Information operations, Visual process modeling, Visual communications, Distance measurement
An investigation to quantify experience of color was performed. It was demonstrated that experience of color can be described objectively, so that predictable visual sensations can be elicited by adjusting the relationships between colors. Central to this investigation is the formulation of a model of color experience that describes color relationships based on the types of interactions between colors. The model adjusts formal compositional attributes such as hue, value, chroma, and their contrasts, as well as size, and proportion. The investigation is developed within the context of the computer screen, where graphical elements, such as random matrices and text, serve as the color stimuli. Relative scaling experiments resulted in guidelines for adjusting the experience of color. The findings of this investigation have application in many areas, including color selection and color reproduction.
The integration of multimedia into heterogeneous computer applications exposes the need for context-sensitive multimedia objects which can adapt to the fluctuating resources and needs of the application. The typical model of a multimedia application is to give the application access to a library of static multimedia objects. System management of the presentation is limited to synchronization. We contend that multimedia objects should be dynamic and adaptable to their application environments. At the very least, multimedia objects should be scalable in terms of resource usage, e.g., the use of screen space, network bandwidth, and computational resources. Multimedia objects should also be able to alter their modes of representation in response to the changing needs of the user. Finally, multimedia objects should be capable of altering their content to fit the preferences of the user and the context of the presentation. We present a multimedia distribution system called O, which enables the creation of dynamic multimedia objects for distribution over a network. These objects are `self-aware,' in that they can be programmed with the behaviors necessary to respond to a changing presentation environment. O is featured as the multimedia distribution tool in both a personalized information retrieval application and a mapping application.
KEYWORDS: Colorimetry, Visualization, Human vision and color perception, Calibration, Electroluminescence, Imaging systems, Black bodies, CRTs, Manufacturing, Einsteinium
An experiment to quantify the effect of white point, black point, and surround color in color matching is presented. In this experiment, as in 'classical' colorimetry experiments, subjects are shown a color stimulus and are asked to adjust a parameter until a match is obtained. The stimuli used in this investigation consist of uniform color fields and continuous tone color images, whose white point, black point and surround color are varied. The results of this investigation are directly applicable to the display of images in a variety of displays and viewing conditions, for example, in the exchange of images among a variety of displays.
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