On the colours dichromats see

Dichromatic colour vision is commonly believed to be a reduced form of trichromatic colour vision (referred to as the reductionist principle). In particular, the colour palette of the dichromats is believed to be a part of the colour palette of the trichromats. As the light‐colour palette differs from the object‐colour palette, the dichromatic colour palettes have been derived separately for light‐colours and object‐colours in this report. As to light‐colours, the results are in line with the widely accepted view that the dichromatic colour palettes contain only two hues. However, the dichromatic object‐colour palettes have proved to contain the same six component colours which constitute the trichromatic object‐colour palette (yellow, blue, red, green, black and white). Moreover, all the binary and tertiary combinations of the six component colours present in the trichromatic object‐colour palette also occur in the dichromatic object‐colour palettes. Yet, only five of the six component colours are experienced by dichromats as unitary (unique) object‐colours. The green unitary colour is absent in the dichromatic object‐colour palettes. The difference between the dichromatic and trichromatic object‐colour palettes arises from the fact that not every combination of the component‐colour magnitudes occurs in the dichromatic object‐colour palettes. For instance, in the dichromatic object‐colour palettes there is no colour with the strong green component colour. Furthermore, each achromatic (black or white) component colour of a particular magnitude is combined with the only combination of the chromatic components. In other words, the achromatic component colours are bound with the chromatic component combinations in dichromats. © 2012 Wiley Periodicals, Inc. Col Res Appl, 39, 112–124, 2014     

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     

Optimum solution of the CIECAM02 yellow–blue and purple problems

Brill [Color Res Appl 2006;31:142‐145] and Brill and Süsstrunk [Color Res Appl 2008;33:424‐426] found that CIECAM02 has the yellow–blue and purple problems and gave partial solutions to them. In this article we model the optimum solution to the yellow–blue and purple problems simultaneously as a constrained non‐linear optimization problem. An optimum solution resulting in a new CAT02 matrix is numerically obtained. This new matrix satisfies the nesting rule and performs better than the Hunt‐Pointer‐Estévez (HPE) matrix in predicting both corresponding colours and colour appearance data sets. Specifically, it was found that the new and HPE matrices performed significantly different on nine (out of 21) corresponding colour data sets and on all corresponding colours data sets as a whole. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 491–503, 2015     

Seasonal and emotional associations of the colours and their effects on directing the Turkish fashion

This article suggests a potential scientific approach in finding colour effects on human emotions and seasonal associations. A visual assessment of the colour samples was carried out with the help of Turkish observers in Denizli, Turkey. From the study, it was found that Turkish four season colours of spring, summer, autumn and winter were bright green, vivid yellow, dull yellow and dark grayish brown respectively. Moreover, the colour data were arranged in terms of gender and age of the observers. In this analysis, it was observed that the colour preferences changed according to the gender and age of the observers. For instance, the top spring colour preference of young ladies were vivid bluish green, light blue and bright purple, on the other hand the top spring colour preference of adult ladies was light yellow green and the top spring colour preference of young and adult men was bright green. In the study, the observers were also asked about elicited emotional associations of the main colours on their mind and the data were collected in a table. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 523–529, 2016     

Mathematical approach for predicting non‐negative tristimulus values using the CAT02 chromatic adaptation transform

It has been reported that for certain colour samples, the chromatic adaptation transform CAT02 imbedded in the CIECAM02 colour appearance model predicts corresponding colours with negative tristimulus values (TSVs), which can cause problems in certain applications. To overcome this problem, a mathematical approach is proposed for modifying CAT02. This approach combines a non‐negativity constraint for the TSVs of corresponding colours with the minimization of the colour differences between those values for the corresponding colours obtained by visual observations and the TSVs of the corresponding colours predicted by the model, which is a constrained non‐linear optimization problem. By solving the non‐linear optimization problem, a new matrix is found. The performance of the CAT02 transform with various matrices including the original CAT02 matrix, and the new matrix are tested using visual datasets and the optimum colours. Test results show that the CAT02 with the new matrix predicted corresponding colours without negative TSVs for all optimum colours and the colour matching functions of the two CIE standard observers under the test illuminants considered. However, the accuracy with the new matrix for predicting the visual data is approximately 1 CIELAB colour difference unit worse compared with the original CAT02. This indicates that accuracy has to be sacrificed to achieve the non‐negativity constraint for the TSVs of the corresponding colours. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011     

Testing LED lighting for colour discrimination and colour rendering

Light‐emitting diode (LED) technology offers the possibility of obtaining white light, despite narrow‐band spectra. In order to characterize the colour discrimination efficiency of various LED clusters, we designed a classification test, composed of 32 caps equally distributed along the hue circle at about 3 ΔE* _ab‐unit intervals. Forty normal colour observers were screened under four different LED test light sources adjusted for best colour rendering, and under one control incandescent light of the same colour temperature. We used commercially available red, green, blue, and/or amber LED clusters. These yielded a poor colour rendering index (CRI). They also induced a significantly higher number of erroneous arrangements than did the control light. Errors are located around greenish‐blue and purplish‐red shades, parallel to the yellow‐axis direction, whereas when the distribution of light covers the full spectrum, the LED clusters achieve satisfactory colour discrimination efficiency. With respect to the lights we tested, the colour discrimination is correlated with the CIE CRIs as well as with a CRI based on our sample colours. We stress the fact that increasing the chroma of samples by lighting does not necessarily imply an improvement of colour discrimination. © 2008 Wiley Periodicals, Inc. Col Res Appl, 34, 8–17, 2009.     

The role of individual colour preferences in consumer purchase decisions

The purpose of this study is to test whether consumers' personal colour preferences (in an abstract sense rather than for a particular product) affect their intended product purchase decisions if they are given various colour choices. This work employs two experiments with visual components to investigate which colour a participant would choose if asked to select a product to purchase when there is a range of colours available. Two experiments were also designed to elicit a response about which colour each participant prefers (in an abstract sense). The study finds that personal colour preferences affect intended product‐colour purchase decisions but that the extent of this varies from one product category to the next. Further analysis reveals that personal colour preferences are secondary to factors such as colour functionality and colour performance. This work presents new experimental data about the role of colour in product and product packaging on intended consumer purchase decisions. A conceptual framework, supported by the experimental findings, are understanding the relationship between individual colour preferences and product‐choice colours, and more functional aspects of colour itself (such as the effect of colour on product's performance or functionality).     

Asymmetric colour matching: Memory matching versus simultaneous matching

We have compared corresponding pairs obtained by simultaneous matching (haploscopic matching) and by memory matching (after 10 min) using 34 reference tests selected from the Munsell Atlas (glossy), belonging to the four main hues 5Y, 5G, 5PB, and 5RP. These colours lie very close to the F₁ and F₂ axes in the SVF space, where we have analyzed our results. Illuminants D65 and A were used as reference and matching illuminants, respectively. Our results show for both kinds of matching a tendency to select more colourful colours than the original ones, with significant differences between matching and test colours, whereas hue does not seem to follow a definite pattern. This behavior is similar to that found in colour‐matching experiments without illuminant changes. The analogy does not hold for lightness, which in the present experiment does not seem to follow a clear pattern. The best matching colours lie along the red‐green axis and the worst matching colours along the blue‐yellow axis. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 458–468, 2001     

Psychophysical models of consumer expectations and colour harmony in the context of juice packaging

The aim of this study was to develop psychophysical models that predict the influence of pack colours on consumers' psychological responses of fruit juices, such as visually perceived expectations of freshness, quality, liking, and colour harmony. Two existing colour harmony models derived from experiments involving only uniform colour plaques were tested using the juice packaging experimental data. Both models failed to predict the visual results obtained. Nevertheless, two parameters relevant to chromatic difference and hue difference were somewhat associated with the visual results. This suggested that, among all colour harmony principles for uniform colours, only the equal‐hue and the equal‐chroma principles can be adopted to describe colour harmony of packaging used for juice. This has the implication that the principles of colour harmony may vary according to the context in which the colours are used. A new colour harmony model was developed for juice packaging, and a predictive model of freshness was derived. Both models adopted CIELAB colour attributes of the package colour and the fruit image colour to predict viewers' responses. Expected liking and juice quality can be predicted using the colour harmony model while expected freshness can be predicted using the predictive model of freshness. © 2013 Wiley Periodicals, Inc. Col Res Appl, 40, 157–168, 2015     

The influence of chemical reaction conditions upon poly(styrene‐methyl methacrylate‐acrylic acid) synthesis: Variations in nanoparticle size,colour and deposition methods

Monodisperse latex nanospheres of poly(styrene‐methyl methacrylate‐acrylic acid) with different sizes were synthetised by soap‐free emulsion copolymerisation and applied onto polyamide 6,6 fabrics by two methods, ie, gravitational sedimentation and dip‐drawing. Different‐sized nanospheres were synthetised by varying temperature and stirring velocity as reaction parameters. Scanning electron microscopy and scanning transmission electron microscopy were used to evaluate nanosphere sizes and deposition structures. The results showed two different nanosphere structural arrangements on the fabric surface, a hexagonal packed centre structure in the even surfaces and a square arrangement in the out‐of‐plane surfaces. Different colours were observed according to particle size, namely, violet (ca. 170 nm), blue (ca. 190 nm), green (ca. 210 nm), yellow (ca. 230 nm) and red (ca. 250 nm). An iridescence effect was also observed, displaying different colours at different observation angles. By controlling the size of the nanospheres it was possible to obtain different, brilliant and iridescent colours. Using different nanosphere sizes it was possible to obtain different interplanar distances and to control the light scattering in the crystalline lattice planes, obtaining Bragg diffraction patterns.     

色度测定在陶瓷釉上颜料检验中的应用

本文通过陶瓷釉上颜料颜色的定量测定，确定了测定数据与正常人眼的视觉关系，利用定量测定数据控制和评价陶瓷釉上颜料的质量。     

Saturation‐specific pattern of acquired colour vision deficiency in two clinical populations revealed by the method of triads

Subjective colour spaces were reconstructed for persons occupationally exposed to mercury (Hg) and patients with diabetes mellitus type 2, two groups at risk for acquired colour‐vision deficiency, and compared with healthy normal trichromats. Judgments of colour dissimilarity were collected with the method of triads, applied to a composite assortment of colour samples. These were drawn from two widely used colour arrangement tests—10 hues from the Farnsworth D‐15 test and five from the Lanthony Desaturated D‐15d test, ensuring that the assortment sampled two levels of lightness and saturation. The data were analyzed with maximum‐likelihood multidimensional scaling (MDS) and within a novel individual‐differences MDS model to estimate subject‐specific parameters. The MDS solutions for the two clinical groups showed a compression along a blue‐yellow axis, limited however to desaturated hues. This result was confirmed by the individual‐differences model. In addition, the clinical groups were found to place significantly higher weights on the lightness differences between stimuli, conceivably to compensate for their reduced chromatic discrimination. The specific form of colour‐space distortion in the clinical groups indicated an increase in their thresholds for blue‐yellow signals, providing insights into the nature of impairment mechanisms. The results have implications for stimuli and diagnostic procedures for testing individual differences in color vision, and for analyzing the responses. This approach is sensitive to distinctive patterns of subtle colour‐vision impairment underestimated by the conventional D‐15d test. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 125–135, 2014     

Modelling of chromatic contrast for retrieval of wallpaper images

Colour remains one of the key factors in presenting an object and, consequently, has been widely applied in retrieval of images based on their visual contents. However, a colour appearance changes with the change of viewing surroundings, the phenomenon that has not been paid attention yet while performing colour‐based image retrieval. To comprehend this effect, in this article, a chromatic contrast model, CAMcc, is developed for the application of retrieval of colour intensive images, cementing the gap that most of existing colour models lack to fill by taking simultaneous colour contrast into account. Subsequently, the model is applied to the retrieval task on a collection of museum wallpapers of colour‐rich images. In comparison with current popular colour models including CIECAM02, HSI and RGB, with respect to both foreground and background colours, CAMcc appears to outperform the others with retrieved results being closer to query images. In addition, CAMcc focuses more on foreground colours, especially by maintaining the balance between both foreground and background colours, while the rest of existing models take on dominant colours that are perceived the most, usually background tones. Significantly, the contribution of the investigation lies in not only the improvement of the accuracy of colour‐based image retrieval but also the development of colour contrast model that warrants an important place in colour and computer vision theory, leading to deciphering the insight of this age‐old topic of chromatic contrast in colour science. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 361–373, 2015     

Colour memory for various sky,skin, and plant colours: Effect of the image context

In memory‐matching techniques, the remembered colour might differ from the original colour even if the viewing situation is the same. Our aim was to point out whether these so‐called memory shifts are significant in the everyday situations of viewing photos depicting sky, skin, or plant, or viewing standalone uniform colour patches of sky, skin, or plant colours. In many cases, significant memory shifts have been found. Considering only one type of object (sky or skin or plant), memory shifts turned out to be systematic in the sense that they were directed toward specific intervals of hue, chroma, and lightness. This tendency was more explicit for photos than for standalone colour patches. A method to quantify prototypical colours and their tolerance bounds was suggested. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 278–289, 2001     

An efficient method for solid‐colour and multicolour region segmentation in real yarn‐dyed fabric images

This paper presents an efficient approach to solid‐colour and multicolour region segmentation in real yarn‐dyed fabric images. The approach is based on a novel model describing the spectral response of a multispectral imaging system to yarn‐dyed fabrics. The model indicates that solid‐colour regions cannot be distinguished from multicolour regions in terms of reflectance, tristimulus, or CIELAB values owing to a geometric term representing the influence of fabric surface condition on measured colours. The geometric term makes it difficult to determine the segmentation thresholds of CIEXYZ and CIELAB colour histograms. However, solid‐colour and multicolour regions can be detected in CIExyY space because chromaticity coordinates are impervious to the geometric term. The CIExyY histograms of a solid‐colour region accord with one Gaussian distribution, but those of a multicolour region accord with a combination of two Gaussian distributions. The CIEXYZ, CIELAB, and CIExyY colour distributions of both solid‐colour and multicolour yarn‐dyed fabrics were analysed in detail in simulation and real experiments. Experimental results show that solid‐colour yarn‐dyed regions can be distinguished from multicolour yarn‐dyed fabric regions by the shapes of CIExyY histograms, but cannot be distinguished by the shapes of CIEXYZ or CIELAB histograms.     

专色油墨的配制

专色油墨的配制需一定的油墨色彩学知识。彩色油墨颜色有三种表达特征：色调、亮度和饱和度。彩色的干净与脏，是指彩色中出现的黑色多少而盲的。专色油墨调配分浅色和深色油墨的调配。专色油墨的调配方法分直接打小样和成品墨调配法。要掌握专色油墨的调配要点和调配技术才能熟练准确地调出合适的专色油墨。     

Effect of grey component replacement processing and varnishing on the light fastness of colours on cardboard prints

The visual appearance of packaging is one of its most important features. Electromagnetic irradiation causes a change in colour and often leads to colour fading (ie, to diminished visual appearance of a printed product). This research study aimed to determine the combined effect of grey component replacement image processing and varnishing on the protection of prints' appearance when exposed to accelerated ageing. For that purpose, two test charts were printed in a lithographic press and coated with water-based and ultraviolet-curable varnish before exposing them to xenon light. The prepared prints were evaluated by determining the tone values and colour difference, as well as the rub and abrasion resistance. In addition, Fourier Transform–infrared-attenuated total reflectance spectra were recorded to detect possible chemical changes caused by the (AcA). The results showed that the investigated period of (AcA) caused significant differences in the tone values of yellow, while the other primary colours proved to be more resistant. The water-based varnish provided better protection than the ultraviolet-curable varnish. The grey component replacement image processing diminished the colour difference caused by (AcA) on all the prepared print samples, and was particularly detected in tertiary colours containing the mid-range tone values of yellow (34%-68%). Both varnishes improved the rub resistance of aged prints, but only ultraviolet-curable varnish improved the abrasion resistance of both the unaged and the aged prints. In conclusion, applying varnish to prints ensured enhanced rub and abrasion resistance and diminished the colour change caused by (AcA). Finally, improved resistance to colour change was achieved by processing images with the grey component replacement method.     

Puzzling colours

Previous research has shown the effects of hue and lightness on judgments of perceived size. Findings are that red stimuli appear larger than blue ones, and that lighter stimuli seem to be larger than darker ones. Applicability of these results in product or interface design is limited, since the size-effect of colour has not been studied in relation to the user's task. In this article, the effect of colour on perceived fit between objects is studied in a puzzle task. Subjects are asked to select a peg fitting to a hole. the response mode is varied by pointing or actually handling the pegs, feedback being only available in the latter condition. A comparison between colour appearance is made by using surface (real puzzle) and self-luminous colours (computer screen). the hypotheses are that red pegs that are too small are chosen more often than blue ones, and that lighter coloured pegs that are too small are chosen more often than darker pegs. In the real puzzle task, perceived fit is not influenced by hue but is influenced by brightness when using a fluorescent colour. Hypotheses on the effects of hue and brightness are both confirmed when judging self-luminous colours on a computer screen.     

Colour management of a low‐cost four‐colour ink‐jet printing system on textiles

A low‐cost four‐colour (RBYK) dye‐based ink‐jet printing system for textiles was introduced in this study, in which red and blue inks were employed instead of the magenta and cyan inks used in half‐tone printing. The basis of a colour‐management system for this device was developed by determining the mapping between XYZ tristimulus values of output colours and the digital RBYK values using polynomial transforms. A second‐order equation was found to give the best performance with an average characterisation error of under 7 CIELAB units.     

Colour performance of ceramic nano-pigments

Ceramic nano-pigments have been recently developed for ink-jet decoration of ceramic tiles using quadrichromic technology (cyan, magenta, yellow, and black colours). The colouring mechanisms and performance of CoAl₂O₄, Au, (Ti,Cr,Sb)O₂ and CoFe₂O₄ nano-pigments were investigated by DRS, XRD and colorimetry. The nano-pigments were dispersed in several ceramic glazes and glassy coatings and their colour performance was compared with that of conventional micro-pigments. Each nano-pigment was characterized in terms of its colour mechanism and chemico-physical stability. Although the micro-pigments provided more saturated hues, intense colours were achievable in nano-pigments despite their very small particle size (<50 nm). Limitations to the use of nano-pigments arose for very high firing temperatures (>1200 °C) due to particle growth (e.g. Au) or dissolution in the glassy phase (e.g. titania).