Qajar epoch, as an era; Qazvin, as a city; color as an architectural design element; and house as a type of architectural space, are brought together in this research, as an effort to recognize and constitute color palette of the houses built during Qajar dynasty in the city of Qazvin, where the focus is on one of the most suitably protected houses, i.e. House of Amini-ha built in 1850s. Iranian architecture lived its last period of traditional building culture during Qajar Dynasty, between 1725 to 1925 and the city of Qazvin was one of the gates of modern life to Iran, especially in Qajar era. Meanwhile, Iranian architecture is known to be one of the most colorful ones in the world. New colors and, therefore, color combinations were introduced to the architectural color palette of both urban and house architecture during Qajar era. And if we accept house as a direct reflection of life to the space, then this research aims to pave the way to create color palettes of historical houses of different eras. Color reconstruction is vital for reconstruction of historical spaces and specifically in interiors, and requires accurate recognition of existing color palette. Constituting the color palette of a historical period forms also a base-palette for modern interiors, and for architects who wish to use colors and color compositions of Iranian interiors and architecture in their designs. Yet the question is: If the colorful historical background of Iranian architecture can support its contemporary architecture and interiors? The text begins with the power of color in the built environment, continues with a review of literature and a short history of color reconstruction, for example Jean and Dominique Lenclos’s comprehensive works in France, and then Tom Porter’s in the United Kingdom and Norway. Color basics and systems are followed by the evidences of how colors in houses of Qazvin are described in historical texts and researches. Then, general and punctual color palettes of respectively open, semi-closed and closed spaces of the house are studied. General color palette contains colors of vast surfaces like walls, roofs or ceilings and floors, and punctual color palette includes the colors of smaller architectonic elements like windows, doors and shutters. Color palettes of open spaces like courtyard are mainly formed by natural colors of materials, except ceramic latticework of basement windows, with its cold blue-green turquoise among grays and oranges of tiles and stones. Semi-closed spaces’ colors are similar to both interior and exterior colors, yet it is the closed space which enjoys from most various numbers of colors. It’s a carnival of tiny tidy colored planes, either with additive or subtractive colors. Yet, the colors by themselves are not considered as colors of Iranian architecture, or Qazvin architecture, or even those of Qajar houses. Besides form, it is the combination of these colors with proportions among planes, or as in the words of Itten, “contrast of extension” which makes those colors, colors of Iranian houses during Qajar epoch. These palettes might be considered as a beginning to architects, who search for Iranian color combinations, yet it’s only the beginning and more houses, more color palettes and more color combinations must be studied in order to come to a comprehensive result.

Due to the lack of consistency in defining colour harmony by different people, the present research was focused on finding the meaning of colour harmony. The relationships between colour harmony and colour pleasantness, beauty, calmness, and hue contrast were examined in order to fascinate the selections of the most harmonious colour combinations in different applications. A psychophysical experiment carried out for two colour combinations. On the basis of a novel method of data analysis, the results show that the term of colour harmony is not the same as any of the inspected colour terms. However, the meaning of colour harmony is much closer to the meaning of the colour beauty and the colour calmness. The concepts of colour beauty and colour pleasantness are also similar to each other. Furthermore, it seems that the male observers have a less tendency in selecting the complementary colour harmony pairs than the female observers. J. Color Sci. Tech. 8 2014), 85-92©. Institute for Color Science and Technology.

In color reduction algorithms the result will be evaluated based on visual or qualitative standards. Evaluation without considering the quantitative standard wouldnt be a complete and accurate evaluation and trends of viewer are very effective on the evaluation. In some articles, the result will be evaluated with MSE. In this standard error the difference between the final images’ pixels color with first image will be considered as a failure in which is not a suitable technique for evaluating of color reduction methods. In images color reduction, if a color completely be replaced by a color closed to the original color it wouldn’t be considered as a failure. If these replacements don’t happen for all of those specific color pixels, then an error has happened in color reduction. The disintegration of the resulted colors from color reduction algorithm with desired colors should be considered in presenting the evaluation criteria since this will not be considered in MSE. In some of color reduction applications such as color reduction in the carpet cartoons, the final desired pixel color is specified and presenting the wrong color will be an error. Therefore, in such applications, the quantitative evaluation based on final color of each pixel is possible. By presenting criteria for quantitative evaluation, viewer trends wouldnt be considered in evaluation and the possibility of accurate comparison of color reduction algorithms would take place. In this article, we have presented a technique of quantitative evaluation for color reduction algorithms. When the final desired color for pixels are specified, this criteria would work out. To demonstrate the functionality of this quantitative evaluation technique, one of the applications of color reduction which is color reduction in carpet cartoons would be discussed. Several methods of color reduction would be evaluated based on proposed evaluation criteria and reference [42], had the lowest error.

The color sensitivity of the dyeing recipe is one of the most important parameters for controlling the dyeing process. This work studied the effect of color depth on the color sensitivity of a recipe of wool dyeing with weld natural dye. For this purpose, the woollen yarn was dyed with weld at low and high color depth using pre-mordanting method. The color sensitivity of the dyeing recipe was evaluated by measuring the color depth (K/S), color difference, and color sensitivity coefficient. The color sensitivity coefficient was measured by 10 % change in parameters of the dyeing recipe, such as dye concentration, mordant concentration, temperature, time, pH, and L.R. Also, the simultaneous color sensitivity of two, three, four, five, and six parameter combinations were measured by experimental and computational methods. The measured color sensitivity by the computational method was higher than the experimental method. In general, the color sensitivity at low color depth is more than high color depth.

Indoor environment have a high impact on the health, well-being and comfort of occupants. The characteristics of space and architectural design components have a direct effect on creating a positive feeling and improving the physical and mental performance of people. As one of the factors that affect the interior environment, colour is one of the most flexible materials that can change the characteristics of space.In addition to aesthetic features, the colour of space affects human behaviour, decision-making, and health. Therefore, choosing the colour of the living space will have a great impact on feelings of residents. The current research seeks to determine the range of influence of different colour spectrums on residents' feelings and answers the question of how much this influence is affected by residents' personal colour interests and preferences. This research has investigated the effect of colour in three categories of warm, cold and neutral on six emotions of relaxation, excitement, interest, concentration, pressure and participation of user. 286 online questionnaires were used to collect data, and two methods of t-test and path analysis were used for analysis. After analysing the data collected from the questionnaires, the results of the influence of the ranges of warm, cold and neutral colours on the feelings of the residents were determined as follows: the neutral colour spectrum has the highest positive effect on the feeling of relaxation, and the warm colour spectrum has the lowest positive effect. The warm colour spectrum has the highest positive effect on the feeling of excitement, and the cold colour spectrum has the lowest positive effect. The neutral colour spectrum has the highest positive effect on the feeling of interest, and the warm colour spectrum has the lowest positive effect. On the feeling of focus, the neutral colour spectrum has the highest positive effect and the warm colour spectrum has the lowest positive effect. On the feeling of pressure, the neutral colour spectrum has the highest positive effect and the warm colour spectrum has the lowest positive effect. The cold colour range had the highest positive effect and the warm colour range had the least positive effect on the sense of participation.According to the results and the repetition of the effect of the neutral and warm colour spectrum on the investigated emotions, it can be concluded that the neutral colour spectrum among the three main colour spectrums has the most influence in inducing a positive feeling. Moreover, the warm colour spectrum has the least effect in inducing a positive feeling in the six emotions. The results showed that users have different colour interests regarding the choice of colour for space and furniture and they do not simply choose one colour spectrum for all contexts (walls, ceiling, furniture, etc.). In addition, no correlation was observed in creating a positive feeling in users' emotions with their favourite colour spectrum. But among the users, the category of neutral colour enthusiasts chose neutral colours in most of the contexts and considered it as the increase factor of positive feelings.

4-Methylimidazole (4-MEI) is a simple nitrogen-containing heterocyclic compound, and recently classified as group 2B by International Agency for Research on Cancer (IARC). Caramel coloring is widely applied food coloring in many food products including coffee, carbonated beverages, beer and wine. In present study, ɣ-irradiation was applied to Caramel Color III to reduce the level of 4-MEI without color changes. Caramel coloring III was ɣ-irradiated with 1, 3, 5, 10, 30, 50 and 100 kGy. Non-irradiated caramel coloring was served as a control. The level of 4-MEI and color were analyzed on all caramel coloring. The concentration of 4-MEI in the non-irradiated caramel coloring was 714.9 mg/kg. The level of 4-MEI in caramel coloring was significantly reduced from 3 kGy ɣ-irradiated caramel coloring (p0.05). Therefore, ɣ-irradiation could be used as an alternative processing method to improve the quality of caramel coloring by reducing 4-MEI content without its color change.

An edge coloring of a digraph D is called a P3-rainbow edge coloring if the edges of any directed path of D with length 2 are colored with different colors. It is proved that for a P3-rainbow edge coloring of a digraph D, at least dlog2χ(D)e colors are necessary and 2 dlog2χ(D)e} colors are enough. One can determine in linear time if a digraph has a P3-rainbow edge coloring with 1 or 2 colors. In this paper, it is proved that determining that a digraph has a P3-rainbow edge coloring with 3 colors is an NP-complete problem even for planar digraphs. Moreover, it is shown that dlog2χ(D)e colors is necessary and sufficient for a P3-rainbow edge coloring of a transitive orientation digraph D.

Accessing the uses of color in carpetenables us to open a window into the designers’ viewpoints and the way they treated colors in carpets.In analyzing carpets, apart from the practical aspects, color and the way it is usedis underlined in the aesthetics of carpet.The purpose of this research is to offer a way to measure the color proportionby considering the effect of light colors on audience’s perception of color in the carpet. The research was conducted by experimental method and by taking into account the properties of color scattering in carpet, resulted from the scattering of scheme and presence of a dominant color in the background, which also relies on Agden Nicholas Rod and FransGerritsen`s color theory.This paper by introducing hypothesis of height of colors in carpets, through three case studies of carpets from the Safavidera, and by using Image J color analysis software, during two tests of Pure Color Measurement and color value assessment, develops color analysis.The paper seeks to answer the question as to whether or not the use of color in the carpets complies with any rules. It indicates that the colorsin carpets are used as interlocking layers which only through analysis become recognizable and increase the illusion of convexity. Hence the results show that one of the most important phenomena in taking on carpet colors is the phenomenon known as virtual color height which can be achieved by forming the contrast of saturation in the margins to create a kind of virtual depthobtained by increasing color distances and eliminating simultaneous contrast. Using this method can help the carpet designers with picking the right colors and add to the richness of Persian carpet colors.

Human visual system is able to distinguish numerous numbers of colors. However, this matter has been always raised how the people would like to categorize colors into main clusters and which words, they usually use to name them. In this issue, Kay and Berlin’s researches are the most important studies. They claimed industrialized human societies usually categorize the colors into 11 main groups, including: Black, White, Gray, Red, Green, Blue, Yellow, Pink, Orange, Brown and Purple. This paper is a review on color naming to introduce and discuss the concept of color naming and color categorization, the experimental procedure of color naming, and the results presented in several investigations. Dividing color spaces into fuzzy sets for color categorization, establishment of WCS and MACS research centre, experiment done for color naming, naming array, color naming data analysis, some samples of WCS languages and universal color naming for all languages are reviewed.

The "color" element in an artwork can beautifully describe deep human thoughts, emotions, and feelings that may not be seen with the eyes. Therefore, the choice of the color palette type in an artwork can reveal the feelings, wishes, and pains of its creator. Hence, assessing the color palettes of artworks can show the aesthetic aspect and the level of color knowledge of the creator of the work. In this research, the color palettes of three samples of traditional Baluch handwoven have been evaluated for the first time using the instrumental method of reflective spectroscopy and Itten's color theory. The results show that the colors identified in the handwoven were obtained by the traditional dyeing method and using local dye plants (Chaghak, Gol-gaz, Nash, Rodang...). In addition, the colorimetric data confirm the color knowledge of the Baluch people, because the color palette of these handwoven had the least amount of color changes over time. In addition, most of the colors used in these handwoven are "warm and pure" primary and secondary colors and they often follow Itten's "contrast and similar" harmony patterns.