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The Secret Lives of Colour tells the unusual stories of the 75 most fascinating shades, dyes and hues. From blonde to ginger, the brown that changed the way battles were fought to the white that protected against the plague, Picasso's blue period to the charcoal on the cave walls at Lascaux, acid yellow to kelly green, and from scarlet women to imperial purple, these surprising stories run like a bright thread throughout history.

How to\" books are a dime a dozen. What makes this book special is that it is also a \"Why\" book. Hullfish sits down with world-class colorists and records not only what they do but why they do it. That's where the magic lies. \"How\" is the question to ask if you want to become a craftsman. \"Why\" is the question that creates artists. I bought the first edition for \"How\" and came away with a lot of \"Why.\" This edition has lots more of both, with material from several additional world class colorists. If you want an inside look into the art and craft of the professional colorist there's no better way to do it in book form. Whether you're learning to be a colorist or just want to understand what really happens when you decide something can be \"fixed in post,\" you need to read this book. -Art Adams, cinematographer/educator, ProVideoCoalition.com. This book just keeps getting better with each new edition. Steve Hullfish's approach is designed to teach techniques that transfer to a wide range of popular and accessible color correction tools. The intent is to demystify the process, so readers can learn the concepts and apply them, regardless of whether the software has sliders, wheels or curves. Best of all, Hullfish features extensive tips and tricks from some of the premier colorists in the country, so you can learn from the masters. If you only purchase one book on color correction, this is the essential guide to include in your library. -Oliver Peters, Oliver Peters Peters Post Production Services, LLC A terrific and much-needed book for anybody serious about digital color correction. Starting with the basics, it helps the reader work through a series of specific, well-illustrated examples, covering all the major software applications, and supports the text with insightful comments from prominent working colorists. All in all, it's essential reading for anyone who wants to improve their skills in this rapidly changing field. -Steve Cohen, editor, Emmy and ACE Eddie winner, author of Avid Agility.

Presents the science of colour from new perspectives and outlines results obtained from the authors' work in the mathematical theory of colour This innovative volume summarizes existing knowledge in the field, attempting to present as much data as possible about colour, accumulated in various branches of science (physics, phychophysics, colorimetry, physiology) from a unified theoretical position. Written by a colour specialist and a professional mathematician, the book offers a new theoretical framework based on functional analysis and convex analysis. Employing these branches of mathematics, instead of more conventional linear algebra, allows them to provide the knowledge required for developing techniques to measure colour appearance to the standards adopted in colorimetric measurements. The authors describe the mathematics in a language that is understandable for colour specialists and include a detailed overview of all chapters to help readers not familiar with colour science. Divided into two parts, the book first covers various key aspects of light colour, such as colour stimulus space, colour mechanisms, colour detection and discrimination, light-colour perception typology, and light metamerism. The second part focuses on object colour, featuring detailed coverage of object-colour perception in single- and multiple-illuminant scenes, object-colour solid, colour constancy, metamer mismatching, object-colour indeterminacy and more. Throughout the book, the authors combine differential geometry and topology with the scientific principles on which colour measurement and specification are currently based and applied in industrial applications. * Presents a unique compilation of the author's substantial contributions to colour science * Offers a new approach to colour perception and measurement, developing the theoretical framework used in colorimetry * Bridges the gap between colour engineering and a coherent mathematical theory of colour * Outlines mathematical foundations applicable to the colour vision of humans and animals as well as technologies equipped with artificial photosensors * Contains algorithms for solving various problems in colour science, such as the mathematical problem of describing metameric lights * Formulates all results to be accessible to non-mathematicians and colour specialists Foundations of Colour Science: From Colorimetry to Perception is an invaluable resource for academics, researchers, industry professionals and undergraduate and graduate students with interest in a mathematical approach to the science of colour.

Colour permeates contemporary visual and material culture and affects our senses beyond the superficial encounter by infiltrating our perceptions and memories and becoming deeply rooted in thought processes that categorise and divide along culturally constructed lines. Colour exists as a cultural as well as psycho-physical phenomenon and acquires a multitude of meanings within differing historical and cultural contexts. The contributors examine how colour becomes imbued with specific symbolic and material meanings that tint our constructions of race, gender, ideal bodies, the relationship of the self to others and of the self to technology and the built environment. By highlighting the relationship of colour across media and material culture, this volume reveals the complex interplay of cultural connotations, discursive practices and socio-psychological dynamics of colour in an international context.

These are five playfully pessimistic meditations on the metaphysics of colour, arguing that metaphysical thinking does not fit well with the beautiful universe of colours: Neither Platonism nor relativism nor reductionism nor the distinction between primary and secondary qualities nor the denial of the existence of some colours at the expense of others offers convincing ways of dealing with the phenomena of colour. In the final, sixth meditation the standard analysis of magenta is challenged with some unorthodox ideas that can be traced back to Johann Wolfgang von Goethe’s colour research.

Living Color is the first book to investigate the social history of skin color from prehistory to the present, showing how our body's most visible trait influences our social interactions in profound and complex ways. In a fascinating and wide-ranging discussion, Nina G. Jablonski begins with the biology and evolution of skin pigmentation, explaining how skin color changed as humans moved around the globe. She explores the relationship between melanin pigment and sunlight, and examines the consequences of rapid migrations, vacations, and other lifestyle choices that can create mismatches between our skin color and our environment. Richly illustrated, this book explains why skin color has come to be a biological trait with great social meaning— a product of evolution perceived by culture. It considers how we form impressions of others, how we create and use stereotypes, how negative stereotypes about dark skin developed and have played out through history—including being a basis for the transatlantic slave trade. Offering examples of how attitudes about skin color differ in the U.S., Brazil, India, and South Africa, Jablonski suggests that a knowledge of the evolution and social importance of skin color can help eliminate color-based discrimination and racism.

Since antiquity, people have searched for a way to understand the colors we see—what they are, how many there are, and how they can be systematically identified and arranged in some kind of order. How to order colors is not merely a philosophical question, it also has many practical applications in art, design, and commerce. Our intense interest in color and its myriad practical applications have led people throughout history to develop many systems to characterize and order it. The number of color order systems developed throughout history is unknown but ranges in the hundreds. Many are no longer used, but continue to be of historical interest. Despite wrong turns and slow progress, our understanding of color and its order has improved steadily. Although full understanding continues to elude us, it seems clear that it will ultimately come from research in neurobiology, perception, and consciousness. This book is a compendium of 165 systems, dating from antiquity to the present. In it, the chapters present a history and categorization of color systems, describe each one using original figures and schematic drawings, and provide reviews of the underlying theory. Included are a brief overview of color vision and a synthesis of the various systems.

Objectives: Six types of chemical indicators (CIs) are specified in ISO11140-1 for monitoring steam sterilization processes (SSP). Types3-6 are “internal” CIs, placed inside packs to assess attainment of sterilizing conditions. Type4 CIs have an ink patch which changes colour during the SSP. Type5 CIs exist as an ink patch which changes colour or a “moving front” (MF) format where a dye migrates along a wick reaching a pass/fail marker point. This study compares the requirements for type4 versus type5 CIs according to ISO11140-1, evaluates the claims of some type4 and 5 CIs with regard SSP parameters, and tests the ability of type5 CIs to meet specified performance and variability of response. Methods: We reviewed ISO requirements and stated commercial claims of type4 and 5 CIs. Samples of several Type5 CIs were exposed to increasing times at a temperature of 121 o C in a CI Evaluating Resistometer. Upon completion of the test cycle samples were removed and the length of the ink migration measured and charted. Results and Conclusions: According to ISO11140-1 requirements, Type4 CIs need not respond to all SSP variables. Type4 CIs can have stated values (SV) which are unrelated to SSP parameters used. The tolerances for the pass/fail window for a Type5 CI is better than for a Type4. The performance of a Type5 CI has a relationship to that of a biological indicator (BI). The performance requirements for Type5 CIs are more prescriptive. MF- CIs provide greater clarity for interpretation compared to the colour change of some CIs. The SVs and colour change of type4 CIs are specified by the manufacturer. The minimum SVs for Type5 CIs are prescribed in ISO11140-1. When tested, there was considerable variation in the response of some Type5 MF-CIs; a factor not addressed in ISO11140-1.

Abstract Background Flower coloration is a key enabler for pollinator attraction. Floral visual signals comprise several components that are generated by specific anatomical structures and pigmentation, and often have different functions in pollinator attraction. Anatomical studies have advanced our understanding of the optical properties of flowers, and evidence from behavioural experiments has elucidated the biological relevance of different components of floral visual signals, but these two lines of research are often considered independently. Scope Here, we review current knowledge about different aspects of the floral visual signals, their anatomical and optical properties, and their functional significance in plant–pollinator visual signalling. We discuss common aspects, such as chromatic and achromatic contrast, hue, saturation and brightness, as well as less common types of visual signals, including gloss, fluorescence, polarization and iridescence in the context of salience of floral colour signals and their evolution, and highlight promising avenues for future research.

Gene therapy in colour It is often assumed that critical periods exist for the development of vision and other neural capabilities and that they end prior to adolescence. For example, it might be expected that gene therapy in adults with congenital vision disorders would be impossible. But experiments in adult spider monkeys who are normally red–green colour blind show that it is possible to add a third photopigment (human opsin) into some of their retinal cells by gene therapy. The monkeys acquire a new dimension of colour vision as a result. Not only does this suggest a possible therapy for a common congenital visual defect in humans (clinical trials are now under way), but also it demonstrates the extreme neuroplasticity of visual processing and points to possible routes by which trichromatic vision evolved. Red–green colour blindness is the most common single locus genetic disorder. Gene therapy is now used in adult monkeys, colour blind since birth, to provide the receptoral basis for trichromatic colour vision. Despite the expectation from classic visual deprivation experiments that neural connections established during development are incapable of processing an input not present from birth, treated monkeys displayed trichromatic colour vision behaviour. Red–green colour blindness, which results from the absence of either the long- (L) or the middle- (M) wavelength-sensitive visual photopigments, is the most common single locus genetic disorder. Here we explore the possibility of curing colour blindness using gene therapy in experiments on adult monkeys that had been colour blind since birth. A third type of cone pigment was added to dichromatic retinas, providing the receptoral basis for trichromatic colour vision. This opened a new avenue to explore the requirements for establishing the neural circuits for a new dimension of colour sensation. Classic visual deprivation experiments 1 have led to the expectation that neural connections established during development would not appropriately process an input that was not present from birth. Therefore, it was believed that the treatment of congenital vision disorders would be ineffective unless administered to the very young. However, here we show that the addition of a third opsin in adult red–green colour-deficient primates was sufficient to produce trichromatic colour vision behaviour. Thus, trichromacy can arise from a single addition of a third cone class and it does not require an early developmental process. This provides a positive outlook for the potential of gene therapy to cure adult vision disorders.