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VISUAL APPEARANCE AND TOTAL APPEARANCE - FROM PETITS POIS TO THE EIFFEL TOWER

机译:视觉外观和完全外观 - 从宠物偷偷到埃菲尔铁塔

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Fifty years ago the food industry had already discovered that the CIE system of colour specification was just the start of something promising. Unlike most other commercial materials, such as paints, textiles and plastics, food colour can rarely be manipulated independently of other attributes of appearance. Hence, the industry took an early interest in appearance as a whole. Appearance, as colour, is derived from two elements - the physical properties of what is in front of our eyes (including characteristics of the illumination), and our personal perceptual, physiological and psychological characteristics. The scene under consideration in this paper may be a single material or complex consisting of many components. Visual appearance is comprised of those properties we perceive as visual structure, the value, uniformity and pattern of surface texture (i.e. unevenness of surface), colour, translucency and gloss, plus changes of these properties with time or with response to, say, pressure or temperature. These attributes combine and interact with other sensory perceptions and our personal psychology to form a total appearance perception. All these attributes we can scale visually with precision and accuracy and sometimes instrumentally specify. When we think of objects as having derived attributes, such as acceptability of appearance of petits pois, the ripeness of tomatoes, the appearance warmth of a room, the elegance of the Eiffel Tower, then we are thinking in terms of total appearance and impact. Such attributes are related specifically to our recognition and psychological sensory, emotional and intellectual images and estimates of quality. As such they are scalable and understandable in terms of visual appearance attributes and their interactions. Three languages are therefore used in the specification and measurement of materials and scenes - physics, psychophysics and the language of expectations. We frequently need to specify a scene in terms of visual impact and various tools can be used. Older methodologies including connotative analysis are still valuable when combined with more recent developments. These include tools contributed by Kobayashi, Green-Armytage as well as newer methods. The latter involves, following Kobayashi with colour, specifying materials of design, lighting and even the finished design itself in terms of warm/cool and hard/soft axes.
机译:五十年前,食品行业已经发现,CIE制度的颜色规格只是有希望的事情的开始。与大多数其他商业材料不同,如涂料,纺织品和塑料,食物颜色很少可以独立于外观的其他属性操纵。因此,该行业对整体的外观提出了早期兴趣。外观,作为颜色,来自两个元素 - 我们眼前的物理性质(包括照明的特征),以及我们个人感知,生理和心理特征。本文中所考虑的场景可以是由许多组件组成的单一材料或复杂。视觉外观由我们认为的那些属性是视觉结构,表面纹理的价值,均匀性和模式(即表面不均匀),颜色,半透明和光泽,以及随着时间的推移或响应这些属性的变化,说,压力或温度。这些属性组合并与其他感官看法和我们的个人心理学相互作用,形成了完全的外观感知。我们所有这些属性都可以通过精度和准确性和有时乐意指定。当我们认为对物体具有衍生属性时,例如宠物的外观的可接受性,西红柿的成熟度,房间的外观温暖,埃菲尔铁塔的优雅,然后我们正在考虑完全外观和影响。这些属性与我们的认可和心理感官,情感和智力图像和质量估算有关。因此,在视觉外观属性及其交互方面,它们是可扩展的并且可以理解。因此,在材料和场景的规范和测量中使用了三种语言 - 物理,心理物理学和期望的语言。我们经常需要在视觉影响方面指定场景,并且可以使用各种工具。包括内涵分析的较旧方法仍然有价值,当结合更新的发展时仍然有价值。这些包括由Kobayashi,绿色陆军活动以及更新方法提供的工具。后者涉及Kobayashi,以彩色,指定设计,照明和甚至成品设计本身,甚至是温暖/凉爽和硬/软轴。

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