Color preference affected by mode of color appearance

Most color preference research focuses on colors in an object color mode. In our daily life, however, colors are perceived not only as an object color mode but also as other modes, such as unnatural object color and light source color modes. To explore the effect of the color appearance mode on color preference, we examined the relationship between color preference and the mode of color appearance. Thirty‐three color chips were chosen from the Munsell notation varying in hues and chromas. The color chips were presented in different color appearance modes by changing the subject's room illuminance and the color chip room illuminance. The experimental results showed that the brightest and most saturated colors were preferred. It was found that the subject preferred color in a light source color mode and unnatural object color mode to color in an object color mode. Moreover, we found that hue had a small effect on color preference in the light source color mode. We also investigated the relationship between color preference and the perceived color attributes (perceived chromaticness, whiteness, and blackness). In a supplementary experiment, elementary color naming was conducted. The results showed that the perceived chromaticness, perceived whiteness, and perceived blackness play a role for the determination of color preference for different color appearance modes. We, consequently, suggest that color preference is dominated not only by color attributes but also by the mode of color appearance. © 2009 Wiley Periodicals, Inc. Col Res Appl, 2010     

Testing the robustness of CIECAM02

CIE TC8‐01 has adopted a new color appearance model: CIECAM02¹ replaces the CIECAM97s.² The new model consists of a number of refinements and simplifications of the CIECAM97s color appearance model. This article describes further tests to the robustness of the forward and reverse modes. © 2005 Wiley Periodicals, Inc. Col Res Appl, 30, 99–106, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20087     

Differences in color naming and color salience in Vietnamese and English

The accepted model of color naming postulates that 11 “basic” color terms representing 11 common perceptual experiences show increased processing salience due to a theorized linkage between perception, visual neurophysiology, and cognition. We tested this theory, originally proposed by Berlin and Kay in 1969. Experiment 1 tested salience by comparing unconstrained color naming across two languages, English and Vietnamese. Results were compared with previous research by Berlin and Kay, Boynton and Olson, and colleagues. Experiment 2 validated our stimuli by comparing OSA, Munsell, and newly rendered “basic” exemplars using colorimetry and behavioral measures. Our results show that the relationship between the visual and verbal domains is more complex than current theory acknowledges. An interpoint distance model of color‐naming behavior is proposed as an alternative perspective on color‐naming universality and color‐category structure. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 113–138, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10131     

Measurement of memory of color

Colors produced by monochromatic wavelengths of light viewed in isolation have been used as the only visual variables in short‐term delayed matching (DM) and long‐term recall (LTR) protocols to quantify three types of color memory in individuals with normal color vision. Measurements were normally distributed, so that color memories of individuals could be compared in terms of means and standard deviations. The variance of LTR of colors of familiar objects is shown to be separable into two portions, one due to “preferred colors” and the other due to individuals' precisions of matching. The wavelength dependence of DM exhibited minima of standard deviations at the same wavelengths as those reported for color discrimination measured by bipartite wavelength matching, and these wavelengths were shown to occur at the wavelengths of the intersections of cone spectral sensitivities. In an intermediate “green” region of relatively constant color discrimination, it was possible to combine DM measurements for different wavelengths for statistical analysis. The standard deviations of DM for individuals of a healthy population were normally distributed, providing a 95% upper confidence limit for identifying individuals with possible short‐term memory impairment. Preliminary measurements of standard deviations of DM for delay times of ≤ 1 s were consistent with a proposed rapidly decaying color imagery memory. © 2002 Wiley Periodicals, Inc. Col Res Appl, 27, 233–242, 2002; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10067     

Research on color harmony of building façades

In this study, the 28 primary colors and 11 complementary colors suggested by Chang et al in their investigation on building colors in Wanhua District of Taipei City were taken as color samples. The two-color combination mode was adopted to obtain 308 simulation photos, and two-color harmony was discussed from the perspective of visual evaluation using psychophysical tests. This study explored building façade color harmony in the CIELAB color space, and the relationship between the color attributes (hue, lightness, and chroma) and the color harmony, and between the differences of the color attributes and color harmony. It found that a high lightness of a building's primary color is associated with a high level of building color harmony, while the color harmony is reduced when the color falls in the green or blue sector in the CIELAB color space; a greater lightness difference between building façade colors is associated with a higher level of building color harmony, while the colors are disharmonized when they tend to the blue sector in the CIELAB color space. The contribution of this study is to summarize the principles for the application of building color harmony in urban renewal, and proposed suggestions on building color harmony in the urban renewal process.     

Effects of hue,saturation, and brightness on preference

A study was done to investigate preference responses for foreground–background color relationships. To do this, 123 university undergraduates in Ankara, Turkey, were asked to view eight background colors selected from HSB color space on which color squares of differing hues, saturations, and brightnesses were presented. Subjects were asked to show the color square they preferred on the presented background color. Findings showed that colors having maximum saturation and brightness were most preferred. Blue was the most preferred hue regardless of background. The findings for preferences for foreground–background color relationships are also included in this article. © 2002 Wiley Periodicals, Inc. Col Res Appl, 27, 199–207, 2002; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10051     

Color appearance and color connotation models for unrelated colors

The purpose of this research is to investigate the color appearance and color connotation of unrelated colors. To investigate color appearance (i.e., brightness, colorfulness, and hue) for unrelated colors, 22 observers have answered their color appearance for 50 unrelated color stimuli using the magnitude estimation method. Perceptual data obtained by the experiment is compared with the color attributes data estimated by unrelated‐color appearance models, CAM97u and CAM02u. It is found that both models perform reasonably well but the performance of CAM02u is better than that of CAM97u. For investigating color connotation for unrelated colors, 32 observers have judged their color connotation for the 50 unrelated color stimuli using the 10 color connotation scales (i.e., “Warm – Cool,” “Heavy – Light,” “Modern – Classical,” “Clean – Dirty,” “Active – Passive,” “Hard – Soft,” Tense – Relaxed,” “Fresh – Stale,” “Masculine – feminine,” and “like – Dislike”), and semantic differential method is used for measurement. It is found that the color connotation models developed for related colors perform poorly for unrelated colors. Experimental results indicate that brightness attribute is confusing to estimate and does not affect color connotation significantly for unrelated colors. Based on the psychophysical data, new models for “Warm‐Cool”, “Heavy‐Light”, “Active‐Passive” and “Hard‐Soft” were proposed using CAM02u hue, brightness, and colorfulness. Color connotations for unrelated colors are classified into three categories, which “Color solidity,” “Color heat,” and “Color purity.” © 2013 Wiley Periodicals, Inc. Col Res Appl, 40, 40–49, 2015     

The total colorant sensitivity of a color matching recipe: An approach to colorant weighting and tinctorial strength errors

The repeatability of the recipe color can be affected by several different types of inevitable inaccuracies in the coloration process. Two of the major causes of poor target‐color reproducibility are the (random) weighing and (proportional) strength errors. This article describes alternative definitions of colorant strength sensitivity and total colorant sensitivity of a dyeing recipe. The influences of the maximal colorant weighing and strength errors are taken into account in order to bring the magnitudes of the two treated types of sensitivity into a mutually realistic balance between each other. The quantifications of precision and accuracy of a color matching recipe are also developed and combined into a single‐number measure of recipe quality. The listed quantities are expected to be useful in selecting the most reliable one(s) among the different formulations for the same standard color. The methods are presented for calculating numerical estimates of the newly introduced quantities. The precision and accuracy of the coloration process are investigated in laboratory experiments involving repeated dyeings. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 300–306, 2008.     

Assessing the color of red wine like a taster's eye

Color of 33 commercial red wines and five‐color reference wines was measured in the same conditions in which visual color assessment is done by wine tasters. Measurements were performed in the two distinctive regions, center and rim, which are the regions assessed by wine tasters when the wine sampler is tilted. Commercial wines were classified into five color categories using the color specifications in their taste cards. The five color categories describe the spread of red hues found in red wines from the violet to brown nuances. The performance of CIELAB color coordinates in terms of their ability to reproduce the observed classification has been established using discriminant analysis. The CIELAB hue angle, h_ab, measured in the rim, where wine thickness is of the order of few millimeters, gives the best results classifying correctly 71.1% of the samples. Classification results are not significantly improved when additional color coordinates are considered. Moreover, ΔE* color differences with color reference wines do not provide good classification results. The analysis of reference and commercial wines supports the fact that hue is the main factor in the classification done by wine tasters. This is reinforced by the linear correlation found between h_ab in the rim and the wine age (R² = 0.795) in accordance with the fact that wines change their hues from violet to brown tints with ageing. © 2009 Wiley Periodicals, Inc. Col Res Appl, 34, 153–162, 2009     

建筑涂料色彩的设计方法研究——基于中国颜色体系国家标准

介绍了中国颜色体系国家标准,以及中国颜色体系国家标准在建筑涂料色彩应用中的设计方法、未来建筑涂料色彩的发展趋势等。     

Experimental determination of laws of color harmony. Part 2: Harmony content of different monochrome color pairs

In 1956, we came to the decision at the Budapest Technical University to start large scale experiments on color harmony. The experiments and the processing of the experimental results have been completed in 2006, after 50 years of research work. The focal point of the experiments published in the current article has been the practical experience that the span of intervals between saturations and brightnesses of the compositions influence the harmony content of the composition, namely they determine in what extent we perceive the color composition as a harmonic one. Within the framework of experiments compositions have been shown to the participants, first those consisting of color pairs featuring the same hues and saturations but different brightnesses then those consisting of the same hues and brightnesses but different saturations. The method of experiments consisted of comparisons in pairs. There were 780 compositions prepared for the tests. The number of elementary observations during the tests comprised 544 000. It has been established that the variation of harmony content as a function of brightness‐ and saturation‐intervals could be described by a harmony function. It has been established that the variation of harmony content depending on brightness‐intervals is not, but that of depending on saturation intervals is being influenced by the hues of colors of the color pair in the composition. It has been established that in case of compositions with the maximum harmony content the interval of brightnesses of the colors making the color pair in each case gives d30V (d9Y), the interval of saturations gives d30T or is near to it. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 262–270, 2008.     

The representation of colors in spherical space

Color scaling experiments have established that perceived colors are distributed on the surface of a hypersphere in spherical space. A formal mathematical model of the color space is defined. Color differences as estimated by an observer are equal to the chord distance between corresponding points on the surface in spherical space. In one mathematical model are united: brightness, saturation, and hue as expressed in the empirical Munsell and NCS systems; complementary colors; large color differences; and contrast effects that are not represented in other models. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 113–124, 2008.     

A systematic approach of predicting color preference on the basis of gray relational grade

During the color design process, it is critical to create diversified color schemes for various consumer groups. It is also important to allow members in a design team to brainstorm for creative ideas. A theory of inspecting natural color elements was proposed in this study based on the CIE 1976 (L*,a*,b*) (CIE 1976) color space and the fuzzy c‐means clustering method. A calculation model was built to determine people's preference for colors based on a serialized system. To determine which factors affect the prediction of consumers' preference for a series of products, a gray relational color preference system was used in combination with gray relational grade so that a designer can obtain reasonable prediction results. The proposed system recommends not only the optimal colors for a product but also the optimal color scheme for a series of products.     

Experimental determination of laws of color harmony. Part 6: Numerical index system of color harmony

The numerical index system of color harmony is intended to mark a great number of color pairs, optimally any number of existing color pairs, by a number between 0 and 100. This number expresses the extent to which a color pair is being felt harmonious by the average of people and the level of harmony content it possesses. The experiments described in this article have determined the basic data necessary to create this system. The series of the experiments have been done in two stages. The first stage, in which 24 test objects were presented to the experimental subjects, was carried out twice first in 1988–1990 and again in 2004–2006. Every test set was composed of eight compositions. The number of scores, given to each of the compositions, determined the harmony content of the color pair groups, whose members are formed from the saturated colors of different hues and from the members of the grey scale. In the second stage of the experiment, these data served as references for the experimental subjects. In the second stage, there were 192 tests. In these tests, there were different numbers of compositions each formed of different color pairs. One of the members of these color pairs was the member of the saturated color of the first experiment. The second member was always of different saturation and lightness for each of the compositions, purposefully chosen to match the saturated colors. Based on the experimental scores, we obtained a color harmony surface linked to the intersections with the coordinates in the Coloroid system. The color harmony surfaces and the distances between the related intersections indicate the harmony content of the color pair. The numerical values of these distances are called the color harmony index number of the color pair. These data make the creation of a color harmony indexing system possible, expressing the color harmony content of all possible color pairs, in the color space. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2012     

Experimental determination of laws of color harmony. Part 5: The harmony content of the various hue triads

We, in 1956 the Department of Architecture at the Budapest University of Technology and Economics, decided to start an extensive color harmony experiment. The experimental work, the collation, and processing of the collected data, lasting 50 years, was completed in 2006. The experiments described in this article are based on earlier experimental results obtained from investigation into the harmony content of hue pairs. We then decided to search for a third hue, which in association with an existing pair, with high‐color harmony, forms a hue triad with high‐harmony content too. The compositions prepared for the experiment were composed in each case of three hues of four identical saturation but different brightness, forming a group of 12 colors. The color content of the compositions covered the color space uniformly. That was the first stage in the experiment, carried out with 60 compositions. In the second stage, we investigated the effect of the saturation content of the colors used in the composition, on the harmony content of the hue triads. For this experiment, we prepared 48 compositions. In these experiments, we applied the method of grading. We concluded that the level of the harmony content of the hue triads depends on the inclination between the hue planes in the Coloroid color space. We also concluded that to every hue, selected for starting point, six well‐definable groups of hues can be ordered from the Coloroid color space, from which color triads with high harmony content, can be selected. It showed conclusively that the saturation level of the individual members of the triads has a significant influence on their harmony content. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011     

Experimental determination of the laws of color harmony. Part 4: Color preference and the color harmony content

In 1956, we decided at the Budapest University of Technology and Economics to start a large‐scale experiment on color harmony. The experiments and the processing of the experimental results have been completed in 2006. These experiments, described in this article, form a study of how much are people, participating in the experiment, influenced by their own personal color preference in judging the harmony content of a composition. These experiments have utilized the results of former (1958–1969) color preference experiments and the system of color preference indexes, which were developed by the generalization of those results. Within the framework of these experiments, conducted between 1998 and 2006 there were 24 compositions, shown to the participants, at first one by one, then in pairs and at last in groups of six. They had to assess the harmony content of the compositions and award a score on a scale between 0 and 10. Each composition possessed a specific amount of harmony content according to the rules of color space, based on the Coloroid harmony threshold and verified by former experiments. In these experiments the number of elementary observations were 135 568. The people participating in the experiment were approximately equal number of men and women, from the age group between 10 and 70 years. During processing, by using the color preference numerical indexing system, we compared the results of those experiments with the color preference of a similar age group, by using color compositions, identical to the ones used in the present experiment. We have found that the sensation of the color harmony and its intensity have a strong relation to how the observers relate to colors and also their color preferences. The sensation of color harmony is also influenced by the gender and the age of the observer. © 2009 Wiley Periodicals, Inc. Col Res Appl, 34, 210–224, 2009     

Design and performance of a color chart based in digitally processed images for sensory evaluation of piquillo peppers (Capsicum annuum)

A chart of color standards for visual color evaluation of the piquillo pepper (Capsicum annuum) has been designed. The chart comprises six rectangular regions of digitally processed images of piquillo peppers covering the observed visual range of variability in this product. Colorimetric characterization of piquillo peppers and the color chart has been made using instrumental color measurements. Both trained and untrained sensory panels tested the reliability of the designed color chart. The Pearson correlation coefficient between color chart scores and subjective color quality scores is 0.831 (P < 0.01). Correlation between all instrumental color coordinates, with the exception of CIELAB a*, and visual color chart scores are significant at P< 0.001 and Pearson correlation coefficients range from ?0.747 with CIELAB chroma C* to ?0.926 with CIELAB hue angle h. Repeatability of visual color chart scores is completely satisfactory, having found no statistically significant differences between color chart scores in samples evaluated twice by panelists. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 305–311, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20026     

Analyzing a decade of Colors of the Year

The Color of the Year was first introduced by Pantone in 2000, and recently (the last decade) we saw the trend of introducing a Color of the Year being picked up by more and more companies. Paints and coatings companies typically select their colors of the year by extensive research by designers and trend experts, resulting in a plurality of colors being introduced as Color of the Year, every year. In this article, we collated colors of the year of 15 different paints and coatings companies published in the past decade and we show that most colors of the year can be described as neutral or off‐white color (ie, the median value for NCS Chromaticness is low, 20%) although occasionally colors of the year have high NCS Chromaticness. We demonstrate that the distribution of colors of the year follow a certain narrative from year to year: The average Lightness and Chroma (averaged over all companies, per year) appear to follow a wavelike pattern, where the average Lightness appears to repeat itself every ~8 years and the average Chroma approximately every 4.5 years. Similarly, we can see a cyclic pattern in the hue: From mostly yellowish red or greenish blue in 2015, towards predominantly blue in 2017, to a wide variation in hues in 2020 suggesting a fragmentation in colors of the year preferences. In addition, we demonstrate that the colors of the year differ significantly from what can be expected if the colors would have been selected randomly. This could reflect the fact that paint companies use similar raw data to identify their color trends.