Colour here,there, and in‐between—Placemaking and wayfinding in mental health environments

Colour design in mental healthcare environments is acutely significant. Sensory acuity may be impaired through age, illness, or heightened stress and anxiety. While research has played a role in the development of guidance on the use of colour in such environments, this article suggests that this tends to be followed in a dogmatic, risk‐averse manner and predominately without professional design input, leading to monotonous and under‐stimulating environments. The article reports on two case study projects by the authors, involving user participation and student volunteers. These colour design installations provide examples of practice‐led applied research within occupied healthcare facilities. The article discusses the significance of site‐specific colour design in relation to place‐making and wayfinding with reference to previous research that considers the role of colour as part of the everyday experience of all users, in contrast to an approach focused solely on the behavior of patients. It concludes that colour design knowledge developed and applied through “real world” live projects, involving students as part of their architectural education can address some of the shortcomings of laboratory or staged colour research.     

A study of colour emotion and colour preference. Part II: Colour emotions for two‐colour combinations

Eleven colour‐emotion scales, warm–cool, heavy–light, modern–classical, clean–dirty, active–passive, hard–soft, harmonious–disharmonious, tense–relaxed, fresh–stale, masculine–feminine, and like–dislike, were investigated on 190 colour pairs with British and Chinese observers. Experimental results show that gender difference existed in masculine–feminine, whereas no significant cultural difference was found between British and Chinese observers. Three colour‐emotion factors were identified by the method of factor analysis and were labeled “colour activity,” “colour weight,” and “colour heat.” These factors were found similar to those extracted from the single colour emotions developed in Part I. This indicates a coherent framework of colour emotion factors for single colours and two‐colour combinations. An additivity relationship was found between single‐colour and colour‐combination emotions. This relationship predicts colour emotions for a colour pair by averaging the colour emotions of individual colours that generate the pair. However, it cannot be applied to colour preference prediction. By combining the additivity relationship with a single‐colour emotion model, such as those developed in Part I, a colour‐appearance‐based model was established for colour‐combination emotions. With this model one can predict colour emotions for a colour pair if colour‐appearance attributes of the component colours in that pair are known. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 292–298, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20024     

A colour harmony model for two‐colour combinations

This study investigates harmony in two‐colour combinations in order to develop a quantitative model. A total of 1431 colour pairs were used as stimuli in a psychophysical experiment for the visual assessment of harmony. These colour pairs were generated using 54 colours selected systematically from CIELAB colour space. During the experiment, observers were presented with colour pairs displayed individually against a medium gray background on a cathode ray tube monitor in a darkened room. Colour harmony was assessed for each colour pair using a 10‐category scale ranging from “extremely harmonious” to “extremely disharmonious.” The experimental results showed a general pattern of two‐colour harmony, from which a quantitative model was developed and principles for creating harmony were derived. This model was tested using an independent psychophysical data set and the results showed satisfactory performance for model prediction. The study also discusses critical issues including the definition of colour harmony, the relationship between harmony and pleasantness, and the relationship between harmony and order in colour. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 191–204, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20208     

Computational production of colour harmony. Part 1: A prototype colour harmonization tool

Although web page and computer interface developers generally have little experience in generating effective colour schemes, colour selection appears rarely in user interface design literature, and there are few tools available to assist in appropriate choice of colours. This article describes an algorithmic technique for applying colour harmony rules to the selection of colour schemes for computer interfaces and web pages. Our software implementation of this approach—which we term the Colour Harmoniser—adapts and extends classical colour harmony rules for graphical user interfaces, combining algorithmic techniques and personal taste. A companion article presents the experimental evaluation of the system presented here. Our technique applies a set of rules for colour harmony to specific features of the interface or web page to create abstract colour schemes; the user then modifies the overall colour cast, saturation, and light–dark distribution, producing colourings that are both harmonious and usable. We demonstrate experimentally that the software is relatively simple to use and produces colourings that are well‐received by humans. In this article, we define a fitness function that numerically evaluates the colour harmony of a user interface and underpins a genetic algorithm for creating harmonious schemes. We show how abstract, hue‐independent, colour schemes may be mapped to real colour schemes, leaving the abstract colour harmony unchanged, but accommodating the developer's personal preferences for overall colouring, light–dark contrast, and saturation. This abstract/concrete separation automates the creation of harmonious schemes and allows unskilled developers to express their aesthetic preferences using simple direct manipulation controls. © 2011 Wiley Periodicals, Inc. Col Res Appl, 38, 203–217, 2013.     

The role of gamut,intuition and engagement in colour management in a design context

Colour management is ubiquitous in the digital world. However, despite the many advances in colour management over the last couple of decades, it remains an imperfect process. In the art and design community there is often a level of dissatisfaction and deep cynicism about colour management that can lead to lac of engagement with the process. This research explores colour management in a design context though three issues: the gamut issue, the intuitive issue and the engagement issue; each relates to areas where colour management could better connect with tacit design knowhow. The work focusses on the selection of colour in a digital context since for many users this is the first touch point that they have with colour management. Psychophysical studies have been carried out in both laboratory and design‐studio settings. It is shown that users can better predict the results from subtractive colour mixing than from additive colour mixing. The performance of various types of colour picker are explored and consequences for the design of user interfaces are discussed.     

Die Zusammensetzung ”︁oxidierter Fettsäuren”, ihr Gehalt als Beurteilungsgrundlage für erhitzte Fette und ihre Beziehung zur Verseifungsfarbzahl

Composition of “Oxidized Fatty Acids”, Their Content as a Basis for the Evaluation of Heated Fats and Their Relationship to Saponification Colour Number “Oxidized fatty acids”? obtained from various thermally oxidized fats according to DGF method C-III 3 (68) have been investigated. Empirical formula determined from molecular weight, and C-, H- and O-content, and the possible structural formulas are discussed. During oxidation the content of ?oxidized fatty acids”? increased parallel to the increased in saponification colour number E100%, 1 cm/470 nm. Contrary to other investigations, it has been proved that the relationship between saponification colour number and “oxidized fatty acids? is not affected by the material fried. Thus it is possible to use saponification colour number in combination with acid value as basis for the evaluation of heated fats.     

Universal models of colour emotion and colour harmony

A new set of quantitative models of colour emotion and colour harmony were developed in this study using psychophysical data collected from 12 regions in the world, including Argentina, China, France, Germany, Hungary, Iran, Japan, Spain, Sweden, Taiwan, Thailand, and the UK. These data have previously been published in journals or conferences (for details see Tables 1 and 2 ). For colour emotion, three new models were derived, showing satisfactory predictive performance in terms of an average correlation coefficient of 0.78 for “warm/cool”, 0.80 for “heavy/light” and 0.81 for “active/passive”. The new colour harmony model also had satisfactory predictive performance, with an average correlation coefficient of 0.72. Principal component analysis shows that the common colour harmony principles, including hue similarity, chroma similarity, lightness difference and high lightness principles, were partly agreed by observers of the same region. The findings suggest that it is feasible to develop universal models of colour emotion and colour harmony, and that the former was found to be relatively more culture‐independent than the latter.     

Computational production of colour harmony. Part 2: Experimental evaluation of a tool for gui colour scheme creation

Although webpage and computer interface designers generally have little experience at generating effective colour schemes, colour selection appears only rarely in user interface design literature. This article describes the experimental evaluation of an algorithmic technique that applies colour harmony rules to the selection of colour schemes for computer interfaces and web pages. The technique uses a genetic algorithm to evolve colour schemes; the evolutionary path is determined by a quantitative colour harmony evaluation function. Our technique first creates abstract colour schemes by applying those rules to specific features of the interface or web page; the user then holistically modifies the scheme's overall colour cast, overall saturation, and light–dark distribution, producing colourings that are both harmonious and usable. We demonstrate experimentally that the software is relatively simple to use and produces colourings that are well‐received by humans. In an earlier article, the criteria for a colour harmony tool for computer interfaces and websites were described and used in the design of the Colour Harmoniser, our software implementation of a system that is based on classical rules of colour harmony, adapted and extended to suit graphical user interfaces. In this article, we describe two sets of experiments that have demonstrated the usability and effectiveness of the Colour Harmoniser tool, compared with standard methods of colour selection. These experiments suggest that the tool functions somewhat more effectively than we originally anticipated, producing colour schemes that were rated more highly on several quality scales than those produced by random choice, by humans who self‐classify as nonartists, and by humans who self‐classify as artists. © 2011 Wiley Periodicals, Inc. Col Res Appl, 38, 218–228, 2013.     

A study of colour emotion and colour preference. Part III: Colour preference modeling

In this study three colour preference models for single colours were developed. The first model was developed on the basis of the colour emotions, clean–dirty, tense–relaxed, and heavy–light. In this model colour preference was found affected most by the emotional feeling “clean.” The second model was developed on the basis of the three colour‐emotion factors identified in Part I, colour activity, colour weight, and colour heat. By combining this model with the colour‐science‐based formulae of these three factors, which have been developed in Part I, one can predict colour preference of a test colour from its colour‐appearance attributes. The third colour preference model was directly developed from colour‐appearance attributes. In this model colour preference is determined by the colour difference between a test colour and the reference colour (L*, a*, b*) = (50, ?8, 30). The above approaches to modeling single‐colour preference were also adopted in modeling colour preference for colour combinations. The results show that it was difficult to predict colour‐combination preference by colour emotions only. This study also clarifies the relationship between colour preference and colour harmony. The results show that although colour preference is strongly correlated with colour harmony, there are still colours of which the two scales disagree with each other. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 381–389, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20047     

Requirements capture for colour information for design professionals

This article presents the results of a study that investigates the status of colour information use in the design process and generates ideas for a colour tool. Face‐to‐face interviews with senior designers and brand managers from the packaging and branding fields were conducted as the primary data collection method. The results are categorized into six topics: colour decision, types of colour information considered to be important in the design process, reasons for considering colour information important in the design process, current use of colour information, design professionals' preferences for existing colour tool types and data types and suggestions for a colour tool. It is concluded that there are problems with existing colour resources and tools regarding their availability and usefulness; there is a strong demand for a colour tool in the packaging design and branding processes. The insight from this work will help researchers, design professionals and colour tool developers to make informed decisions on the areas on which they should focus, how they should do so and why. This will facilitate better provisions and uptake of useful colour information for design professionals in the design process and strategy fields.     

User evaluation of a virtual colour laboratory as a tool for demonstrating colour appearance

The aim with our research is to contribute to a better understanding of how colour research findings can be conveyed to a broader target audience, using digital media. This article presents a user study focusing on the popular science project the Virtual Colour Laboratory (VCL). The VCL is an interactive webpage for presenting and demonstrating existing research results on spatial colour phenomena. It was initiated and carried out with the intention of spreading knowledge of colour appearance and colour perception to a wider target audience, from the viewpoint of practice based architectural colour research. The VCL enables the user to investigate actively how colours appear in different situations, and provides information on relevant literature and links for further studies. In a questionnaire study, carried out in 2014, two groups of users including architecture students and professionals within architecture, art and design evaluated the usability of the VCL with a combination of qualitative and quantitative methods. The predominant result showed that the VCL generally was highly appreciated. However, the results also show differences in how the two groups experienced the visual and written content of the stations in the VCL, as well as differences in how they experienced the VCL as a whole. This highlights the importance of adjusting levels of information depending on the target group, as well as presents advantages and difficulties of showing research on spatial colour appearance on the web using digital visualization as a medium for presentation. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 611–625, 2016     

Colour-odour correspondences in women during the menstrual cycle: Comparative analysis between the menstrual and ovulation phases

Women might experience modulation in their perception and cognition of colours and odours during the menstrual cycle, but how women's impressions of and correspondence between colours and odours differ according to the cycle changes remains unknown. Here, we experimentally examined women's performance of several tasks, including evaluation of impressions of colours and odours, matching/nonmatching of colours with odours, and identification of odours, comparing two phases: the beginning of menstruation and ovulation. The results showed that participants had similar impressions of colours and odours and made similar colour choices for odours in both the menstrual and ovulation phases, while “pleasant-unpleasant” impressions of colour and odour might vary according to the menstrual cycle. We found no significant differences in odour identification between the phases. The findings imply that hormonal changes during the menstrual cycle might affect “pleasant-unpleasant” impressions of colour and odour but not other features regarding impressions or crossmodal correspondence. In future studies, examination with a large number of participants is necessary.     

Uniform colour spaces based on the DIN99 colour‐difference formula

Several colour‐difference formulas such as CMC, CIE94, and CIEDE2000 have been developed by modifying CIELAB. These formulas give much better fits for experimental data based on small colour differences than does CIELAB. None of these has an associated uniform colour space (UCS). The need for a UCS is demonstrated by the widespread use of the a*b* diagram despite the lack of uniformity. This article describes the development of formulas, with the same basic structure as the DIN99 formula, that predict the experimental data sets better than do the CMC and CIE94 colour‐difference formulas and only slightly worse than CIEDE2000 (which was optimized on the experimental data). However, these formulas all have an associated UCS. The spaces are similar in form to L*a*b*. © 2002 Wiley Periodicals, Inc. Col Res Appl, 27, 282–290, 2002; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10066     

Request for existing experimental datasets on colour emotion and colour harmony

The Technical Committee 1‐86 of the International Commission on Illumination on “Models of colour emotion and harmony” is requesting the submission of datasets for use in developing new models of colour emotion and colour harmony. The data should be submitted to the TC Chair, Dr. Li‐Chen Ou at the National Taiwan University of Science and Technology. © 2012 Wiley Periodicals, Inc. Col Res Appl, 2012     

A mathematical model describing the ARI “autocirculation reactor” for low temperature conversion of H2S into sulphur

A prototype “autocirculation”-type reactor has been designed and constructed at the N.I.O.C. Research Institute, Tehran and a mathematical model describing the concentration versus time profile subsequently developed. The model encompasses mass transfer considerations and kinetic studies of the regeneration reaction. For this purpose, the rate equation for iron complex oxidation, proposed by Japanese researchers, was modified and a new rate equation presented. This rate equation has been widely used in the above mentioned mathematical model. With this model, the vessel volume for a time-dependent H₂S feed has been calculated for a “ZDDP” production unit.     

A colour study approach through colour measurements on slides of art paintings

The present work deals with the problem of colorimetric fidelity of digitized colour slides representing fine art paintings. This consists of a comparison between colour measurements provided by spectrophotometry on fourteen original colour samples, which are uniformly painted square-shaped patches and those taken on digitized colour slides of the same colour samples. Digital acquisition of slides were performed by a 3CCD detector and a combination of colour correction filters. The obtained R_cam, G_cam, and B_cam values were then corrected and transformed into X_cam, Y_cam, and Z_cam values based on the CIE 1931 XYZ colorimetric system. The colour difference, , in the CMC uniform colour space is also calculated and found to be equal to seven, = 7, in average value, when colour compensating filters are used. This method is finally applied to four art works reproduced on different slides, and colour results were qualitatively compared as an indication to these resulting from Ostwald disk and saturation diagrams of previous research studies related to paintings that are created by the same artists. This comparison led to the same conclusions that were already proposed by the previous researchers. The results clearly demonstrate the contribution of the method to a computer-aided study of art works through image data banks that are realized by slides, taking into consideration, however, that this study consists of a first approach, offering a promising solution to the problem of colour accuracy of slides. © 1997 John Wiley & Sons, Inc. Col Res Appl, 22, 326–334, 1997     

Esthetic decision‐making: How do people select colours for real settings?

A feature of the empirical literature in colour psychology is that little attention has been given to how people in real settings engage in colour selection. Surprisingly, with rare exceptions, we know almost nothing about this. Besides its theoretical significance within psychology, this question has practical implications for industries where colour choice is important. A study is reported into that most ubiquitous of activities, selecting a paint colour for the home. This used a retrospective method supported by qualitative data analysis (NVivo) in which participants described their process of colour selection. The results indicate a process that is far from uniform, but one that consists of two essential stages. The first involves arriving at what we refer to as an affective specification of the qualities sought. Once constructed, this leads to the second stage of matching colour attributes to that specification. Selecting a wall colour emerges as a surprisingly complex process, and one that corresponds more closely to a search than to a simple affective choice. A parallel is drawn with decision research, particularly the field of naturalistic decision‐making. From participants' reports, colour selection also emerges as a process that women appear to understand better than men. © 2007 Wiley Periodicals, Inc. Col Res Appl, 33, 55–60, 2008     

Colour combination effects in experimental rooms*

This article deals with the way colours in a room affect each other through contrast effects and reflections. The study presented is based on the visual observations of the colour appearance of three inherent colours in a sequence of experimental situations. My point of departure was a yellow, blue, and red room. The room had distinctly different colour appearances of the same inherent colours when observed at different locations. The effects of both contrasts and reflections were evident. However, reflection effects seemed to dominate the situation. In a study of small experimental rooms, different combinations of the same three inherent colours were systematically tested. Comparisons were made to examine the differences in colour appearance between monochromatic rooms and multicoloured rooms with varying colour schemes. The illumination was kept stable. In the cases studied, it was obvious how the colours in the two‐coloured rooms became more alike or “neutralized each other.” The contrast strengthening between abutting areas on the same level had distinct significance for colour appearance and perception of space. However, not in such a way that the perceived colour differences became larger in the two‐coloured room than between each monochromatic rooms. © 1999 John Wiley & Sons, Inc. Col Res Appl, 24, 230–242, 1999     

Print quality evaluation and applied colour management in coldset offset newspaper print

This article aims to investigate print quality in newspaper print, by considering the appropriate calibration standard and applying colour management. In particular, this article examines the colorimetric properties of eight Norwegian newspaper printing presses, to evaluate the relevant colour separation approach, either by applying custom separation profiles or by using an industry standard profile. The key method underlying the work described here relies on obtaining colour measurements to determine the repeatability of each participant in terms of colour differences. Furthermore, the variation between the eight newspaper printing presses and the variation according to the colorimetric values of the ISO 12647‐3 standard are important parts of the quantitative evaluation. Based on the colour measurements two custom ICC profiles were generated and an industry standard profile “ISOnewspaper26v4.icc” was also used. The first custom profile was generated using averaged colour measurement data set from a test print run, and the second using a data set averaged between measured data and the characterization data set “IFRA26.txt” provided by IFRA. These three profiles were applied to four test images, which were then printed by the eight newspaper printing presses. A psychophysical experiment was carried out to determine the “pleasantness” of the reproductions, which were produced using the three profiles. The results of the study show the performance of the appropriate profile, which is applied to the eight newspaper printing presses to obtain significant best print quality. Eventually the results demonstrate the fact that the print variations in colours between the eight printing presses are larger thanthe difference between the custom and the standard profiles. Hence, the print variations and not the profile selection may have determined the visual print quality. Therefore the study reveals the importance of adopting international standards and methods instead of using insufficiently defined house standards to preserve equal results among different newspaper printing presses. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011