Colored Apparel - Relevance to Attraction in Humans

There are numerous different dyes available, many varied fashion trends, and various different ways to change/enhance physical aesthetics. Predicting color preferences and how colors and color combinations, in a shape context, stimulate certain emotions, represents a challenging prospect. Color is a critical cue for sexual signaling, but what the preferred colors actually are in humans, is difficult to predict. Understanding color preferences and perception of color within a context such as attraction, is essential for improving color forecasting and gaining a deeper understanding of color perception. The appearance of color can change based on lighting, shape, texture, and the surrounding environment and associated colors. While these provide physical color characteristics, human vision and perception contributes to how a color appears to the individual. Perception is unique to each individual and is constantly changing due to the influence of a range of variables. This can cause someone to appear visually attractive or visually unattractive. By taking into account all the variables that contribute to human studies in color perception, tailored research can continue to be undertaken to further develop a deeper understanding of color perception and human attraction regarding visual stimulation

Applied Vision Association Christmas Meeting, Leuven, Belgium 19–20 December 2013

For about 15 years, we have been attempting to create a software system (EvoFIT) that produces an identifiable composite when constructed of an unfamiliar face after a long retention interval (as is the usual case in police investigations). EvoFIT has now been shown to be effective in police field trials and has been used in 20 police forces. More recently, some developments have been very effective on their own to improve composite quality—these include: (a) encouraging constructors to focus on the overall (global) properties of the face during the initial interview (Holistic CI, H-CI), (b) constructing internal features first (masking external features), and (c) presenting composites for naming using a perceptual image-stretch format. In the current project, we explored whether these techniques would produce even more identifiable composites when combined. Forty participants looked at a video of an unfamiliar target face and, 24 hours later, received an interview to obtain a description of the face (either CI/ H-CI) and then constructed a composite using EvoFIT (either blurry externals/internals-only). Further participants were presented with the resulting composites to name, first front-on (the usual way to view the face) and then by looking at the face sideways (perceptual stretch). The three techniques were effective independently, replicating past research, but together produced composites with an effect that was more than just additive—to yield a mean naming level of 74% correct. A composite system using all three of these techniques would therefore appear to be effective for police-work

Noise-based Enhancement for Foveated Rendering

Human visual sensitivity to spatial details declines towards the periphery. Novel image synthesis techniques, so-called foveated rendering, exploit this observation and reduce the spatial resolution of synthesized images for the periphery, avoiding the synthesis of high-spatial-frequency details that are costly to generate but not perceived by a viewer. However, contemporary techniques do not make a clear distinction between the range of spatial frequencies that must be reproduced and those that can be omitted. For a given eccentricity, there is a range of frequencies that are detectable but not resolvable. While the accurate reproduction of these frequencies is not required, an observer can detect their absence if completely omitted. We use this observation to improve the performance of existing foveated rendering techniques. We demonstrate that this specific range of frequencies can be efficiently replaced with procedural noise whose parameters are carefully tuned to image content and human perception. Consequently, these fre- quencies do not have to be synthesized during rendering, allowing more aggressive foveation, and they can be replaced by noise generated in a less expensive post-processing step, leading to improved performance of the ren- dering system. Our main contribution is a perceptually-inspired technique for deriving the parameters of the noise required for the enhancement and its calibration. The method operates on rendering output and runs at rates exceeding 200 FPS at 4K resolution, making it suitable for integration with real-time foveated rendering systems for VR and AR devices. We validate our results and compare them to the existing contrast enhancement technique in user experiments

Color logic: Interactively defining color in the context of computer graphics

An attempt was made to build a bridge between the art and science of color, utilizing computer graphics as a medium. This interactive tutorial presents both technical and non-technical information in virtually complete graphic form, allowing the undergraduate college student to readily understand and apply its content. The program concentrates on relevant topics within each of the following aspects of color science: Color Vision, Light and Objects, Color Perception, Aesthetics and Design, Color Order, and Computer Color Models. Upon preliminary completion, user-testing was conducted in order to ensure that the program is intuitive, intriguing, and valuable to a wide range of users. COLOR LOGIC represents effective integration of color science, graphic design, user-interface design, and computer graphics design. Several practical applications for the program are discussed

Computer mediated colour fidelity and communication

Developments in technology have meant that computercontrolled imaging devices are becoming more powerful and more affordable. Despite their increasing prevalence, computer-aided design and desktop publishing software has failed to keep pace, leading to disappointing colour reproduction across different devices. Although there has been a recent drive to incorporate colour management functionality into modern computer systems, in general this is limited in scope and fails to properly consider the way in which colours are perceived. Furthermore, differences in viewing conditions or representation severely impede the communication of colour between groups of users. The approach proposed here is to provide WYSIWYG colour across a range of imaging devices through a combination of existing device characterisation and colour appearance modeling techniques. In addition, to further facilitate colour communication, various common colour notation systems are defined by a series of mathematical mappings. This enables both the implementation of computer-based colour atlases (which have a number of practical advantages over physical specifiers) and also the interrelation of colour represented in hitherto incompatible notations. Together with the proposed solution, details are given of a computer system which has been implemented. The system was used by textile designers for a real task. Prior to undertaking this work, designers were interviewed in order to ascertain where colour played an important role in their work and where it was found to be a problem. A summary of the findings of these interviews together with a survey of existing approaches to the problems of colour fidelity and communication in colour computer systems are also given. As background to this work, the topics of colour science and colour imaging are introduced

Preferred color correction for mixed taking-illuminant placement and cropping

The growth of automatic layout capabilities for publications such as photo books and image sharing websites enables consumers to create personalized presentations without much experience or the use of professional page design software. Automated color correction of images has been well studied over the years, but the methodology for determining how to correct images has almost exclusively considered images as independent indivisible objects. In modern documents, such as photo books or web sharing sites, images are automatically placed on pages in juxtaposition to others and some images are automatically cropped. Understanding how color correction preferences are impacted by complex arrangements has become important. A small number of photographs taken under a variety illumination conditions were presented to observers both individually and in combinations. Cropped and uncropped versions of the shots were included. Users had opportunities to set preferred color balance and chroma for the images within the experiment. Analyses point toward trends indicating a preference for higher chroma for most cropped images in comparison to settings for the full spatial extent images. It is also shown that observers make different color balance choices when correcting an image in isolation versus when correcting the same image in the presence of a second shot taken under a different illuminant. Across 84 responses, approximately 60% showed the tendency to choose image white points that were further from the display white point when multiple images from different taking illuminants were simultaneously presented versus when the images were adjusted in isolation on the same display. Observers were also shown to preserve the relative white point bias of the original taking illuminants