Preference index for Japanese complexion under illuminations

This article proposes a useful evaluation method based on preferred complexion as one of color‐rendering methods of light sources. A relational equation between subjective evaluation values of preferred Japanese complexion under various illuminations and the D65 corresponding colors by adopting CIE94 chromatic adaptation transform on the CIE 1976 u′v′ chromaticity diagram was derived by using multiple regression. Then, preference index of skin color or PS was developed in order to evaluate quantitatively the degrees of preferred complexion from the equation. Furthermore, a new index PS_(ac,bc) was derived by using CAM02 color appearance model instead of the CIE94. Each relationship of R_a, R₁₅, CQS, MCRI, FCI, CCRI, and HCR to PS was examined. Then, the PS was found as an independent index which was quite different from the other indices when the PS was more than or equal to 80. Therefore, it is useful to develop and evaluate light sources to realize more comfortable lighting environments by applying the concept of the PS. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 143–153, 2016     

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     

Meat color in retail displays with fluorescent illumination

The color of beef longissimus dorsi muscle of a homogeneous group of fifteen males of Pirenaica breed in terms of the CIELAB color space was studied using the actual illuminating conditions existing in a representative fraction of retail displays operating in 51 local butcher's shops and supermarkets. All retail displays mounted fluorescent lamps and up to nine fluorescent models with different chromatic characteristics were found. Meat color was analyzed at four different times: immediately after cutting and after 1 day, 5 days, and 7 days of exposure to air. At each measurement day computed a*, b*, C* and h_ab color coordinates gave significantly higher values than the corresponding D65 values. All fluorescent models enhanced the red color of meat but none of them masked or enhanced meat color differences between samples or between measurement days. Significant differences in color coordinates were found between retail displays that mounted identical fluorescent models, proving the important role of uncontrolled environmental factors like daylight or scattered light from the walls and ceiling. With respect to computed color coordinates, the intrinsic natural variations in the color of meat samples were more important than variations in the illuminating conditions. © 2005 Wiley Periodicals, Inc. Col Res Appl, 30, 304–311, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20123     

Preference for color‐enhanced images assessed by color deficiencies

In this study, we propose color images with color enhancement for congenital red–green color deficiency on the basis of the model proposed by Mochizuki et al. [In Terrassa, Spain: Proceedings for CGIV, Springfield VA: IS&T 2008;208–213] with the aim of facilitating color customization in displays used by color‐deficient observers. Three types of color enhancements for deficiency were addressed in this study: colors were enhanced along the protan confusion line (i.e., P‐enhancement), deutan confusion line (i.e., D‐enhancement), and a line between the protan and deutan confusion lines (i.e., mix‐enhancement). We investigated the color‐enhanced image that is most preferred by each group of protan, deutan, and normal observers. Protan and deutan in this study indicate observers that are both dichromats and anomalous trichromats. Nine protan, nine deutan, and six normal observers participated in the experiment. The results showed that among the three types of color enhancements, the D‐enhancement provided the best performance for protan observers. For deutan observers, all three types provided effective enhancement, although the P‐ and mix‐enhancements were slightly better than the D‐enhancement. Our results indicated that color enhancement increases the preference evaluations of protan and deutan observers. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 234–251, 2014; Published Online 20 February 2013 in Wiley Online Library ( wileyonlinelibrary.com ). DOI 10.1002/col.21795     

Visual color matching under various viewing conditions

In this article, we provide colorimetry data for which it was judged that the colors between different media matched under various viewing conditions. Painted color patches, a monitor, and printed color patches were used in the color matching experiments, in which we compared the appearances of the painted color patch and the monitor, or the monitor and the printed color patch, using the method of constant stimuli. The nine types of viewing conditions we used could be envisaged to occur when comparing different device outputs indoors. The experimental data obtained were compared with corresponding colors predicted with the use of five types of color appearance model, including color appearance formulae. We found that when the viewing conditions were the same for the different media, there was good agreement between the experimental data and the CIECAT94 model. And by adjusting the brightness induction and the chromatic induction factors, it was possible to improve conformity for the lightness and the chromaticity. Moreover, it was possible to improve the white point shift, which cannot be adjusted with the use of optimized parameters by introducing incomplete adaptation. By optimizing the parameters and introducing incomplete adaptation, it is possible to make the mean color difference ΔE between the corresponding color and the color matching point less than 10 CIELAB units for all of the viewing conditions.     

Sample-independent color rendering index

The Sample-Independent Color Rendering Index (CRI) is a measure that is independent of the choice of test color samples and that can be used for assessing one important aspect of color-rendering properties of illumination, the aspect of accuracy of color rendering in a broad sense. This Sample-Independent CRI works by measuring the degree of conformity between the maximum color solid attainable under a test illuminant and that under a reference illuminant. the derivation of the Sample-Independent CRI, the calculation procedure involved, and some calculated results are presented.     

Investigation of colour appearance models for illumination changes across media

The key to achieving successful cross‐media colour reproduction is a reliable colour appearance model, which is capable of predicting the colour appearance across a variety of imaging devices under different viewing conditions. The two most commonly used media, CRT displays (soft copy) and printed images (hard copy), were included in this study using four complex images. The original printed images were captured using a digital camera and processed using eight colour appearance models (CIELAB, RLAB, LLAB, ATD, Hunt96, Nayatani97, CIECAM97s, and CAM97s2) and two chromatic adaptation transforms (von Kries and CMCCAT97). Psychophysical experiments were carried out to assess colour model performance in terms of colour fidelity by comparing soft‐copy and hard‐copy images. By employing the memory‐matching method, observers categorized the reproductions displayed on a CRT and compared them to the original printed images viewed in a viewing cabinet. The experiment was divided into three phases according to the different colour temperatures between the CRT and light source, i.e., print (D50, A, and A) and CRT (D93, D93, and D50), respectively). It was found that the CIECAM97s‐type models performed better than the other models. In addition, input parameters for each model had a distinct impact on model performance. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 428–435, 2001     

Effect of color temperature on appearance of paintings exhibited under LED lighting

Colour of light modulates the appearance of displayed artifacts in exhibition. To understand the effect of light on appearance of paintings, few studies have experimented to establish a relation between pleasantness with the correlated colour temperature (CCT) of light. However, some studies have found that CCT has no significant effect on pleasant appearance of painting. Therefore, in this article, an experiment with a qualitative (questionnaire on semantic differential scale, N = 30) approach was designed to understand the effect of CCT on appearance of paintings exhibited under LED lights. The findings from the experimental result depict that the appearance of paintings changes due to different CCTs of LEDs having the same illuminance. In addition, the result reveals that for both mediums of paintings considered in this study, in comparison to warm white LED and artificial daylight LED, cool white LED has appeared to be more pleasant having moderately warm feelings to the viewers.     

Semantic interpretation of color differences and color‐rendering indices

A series of visual experiments were carried out to rate the similarity of color appearance of two color stimuli on categorical and continuous semantic rating scales. Pairs of color stimuli included two copies of the same colored real or artificial object illuminated by a test light source and a reference light source. A formula was developed to predict a category of color similarity (e.g., “moderate” or “good”) from an instrumentally measured color difference. Given a numeric value of a color difference between the two members of a pair of colors, for example, 2.07, the formula is able to predict a category of color similarity, for example, “good.” Because color‐rendering indices are based on color differences, the formula could be applied to interpret the values of the new color‐rendering index (n‐CRI or CRI2012) in terms of such semantic categories. This semantic interpretation enables nonexpert users of light sources to understand the color‐rendering properties of light sources and the differences on the numeric scale of the color‐rendering index in terms of regular language. For example, a numeric value of 87 can be interpreted as “good.” © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 252–262, 2014; Published online 14 March 2013 in Wiley Online Library ( wileyonlinelibrary.com ). DOI 10.1002/col.21798     

Impact of the adapted white point and the cultural background on memory color assessments

With their inherent ability of serving as an internal reference, memory colors provide a very powerful concept in the evaluation of color rendering properties of white light sources with respect to visual appreciation. Recent results for example suggest fairly good correlations between memory-based color quality metrics and the observers' general color preferences. However, due to technical limitations in the design of the underlying psychophysical experiments, they generally lack the explicit inclusion of realistic viewing and adaptation conditions, which is supposed to have a nonnegligible impact on the model prediction performance. In addition, intercultural effects might play a crucial role in the context of memory colors. For these reasons, the current article investigates the impact of both the adapted white point and the observers' cultural background on memory color assessments in order to contribute to a better understanding of these dependencies and their interactions. For this purpose, the color appearance rating results of Chinese and German observers were collected for a selection of 12 different familiar test objects assessed under two different adaptation conditions at 3200 K and 5600 K, respectively. From the statistical analysis of the experimental data, it is shown, in accordance to previous studies, that the impact of the observed intercultural deviations is likely to be of no practical importance even though significance is found. Despite considerably larger effect sizes, the same must be concluded for the two tested adaptation conditions.     

Color appearance rating of familiar real objects under immersive viewing conditions

With the concept of memory colors being considered to play a crucial role for many imaging and lighting applications, the questions how people assess the color appearance of familiar objects and what kind of fundamental characteristics can be derived from these assessments have extensively been studied in the past. However, all of the previous studies, the authors of this article are aware of, lack in realistic viewing and adaptation conditions. In the attempt of overcoming these deficiencies, a new experiment investigating the impact of long‐term memory on the color appearance ratings of 12 familiar test objects was performed. The pooled observer data were modeled in CIECAM02 color space using bivariate Gaussian functions whose centroids define the corresponding memory color centers for each test object. Comparisons with previous results obtained by Smet et al. revealed no significant differences in the reported memory color centers, but showed distinct deviations in the covariance matrices defining the shape of the fitted distribution functions. It is supposed that this new set of functions will lead to significantly different results when being used for the construction of an updated memory‐based color quality metric.     

Preference for accent and background colors in interior architecture in terms of similarity/contrast of natural color system attributes

Color combination criteria are said to entail an affective response in interior design. We investigated the color combination criteria that orient the preference of current observers, after Le Corbusier's 1931 Salubra keyboards. We explored the similarity/contrast in Natural Color System (NCS) hue, blackness, and chromaticness in 312 combinations with four colors, two backgrounds and two accent colors, coming from 43 individual colors, on the walls of a simulated interior of a bedroom from the Swiss Pavilion (Le Corbusier, 1930-1931). Participants were 644 students of architecture and interior design in Western Europe and Near East, who evaluated with a Likert scale their preference for virtual images via an online survey. Results indicate that the most preferred color combinations are those with hues closer in the color wheel, being the similarity between hues in the backgrounds more important than in the accent colors, and with NCS B30G to G as the most preferred hues. Observers preferred color compositions with blackness under 10% and similar blackness between the two background colors, together with a certain blackness contrast between these background colors and the two color accents. Similarly, observers liked color compositions with low chromaticness and low chromaticness difference among the four colors of the composition.     

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     

Visual assessment of light source color quality

The color quality of the lit visual environment can be improved by optimizing light source spectral power distributions. For a comprehensive optimization, it is important to identify the relationship among the perceptual properties of color quality. In this work, a colorful still life or tabletop arrangement was constructed from real artificial objects. Thirty observers with normal color vision scaled nine different properties of color quality under three light sources, incandescent, fluorescent and white LED. Six factors were extracted from the correlations among the obtained visual color quality scales. Factors were assigned the following labels: memory, preference, brightness, fidelity, gamut and difference. Mean factor values were computed for each light source. Significant differences were found in case of preference, brightness and fidelity: for preference, INC was rated better than CFL and LED was rated better than CFL, for brightness, LED was better than INC and LED was better than CFL and for fidelity, INC was better than CFL and INC was better than LED. The brightness factor was consistent among the observers. Three clusters of observers were found for preference and fidelity. The memory, gamut and difference factors showed large interobserver variability. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2013     

Complementary colors theory of color vision: Physiology,color mixture,color constancy and color perception

I describe complementary colors' physiology and functional roles in color vision, in a three‐stage theory (receptor, opponent color, and complementary color stages). 40 specific roles include the complementary structuring of: S and L cones, opponent single cells, cardinal directions, hue cycle structure, hue constancy, trichromatic color mixture, additive/subtractive primaries, two unique hues, color mixture space, uniform hue difference, lightness‐, saturation‐, and wavelength/hue‐discrimination, spectral sensitivity, chromatic adaptation, metamerism, chromatic induction, Helson‐Judd effect, colored shadows, color rendering, warm‐cool colors, brilliance, color harmony, Aristotle's flight of colors, white‐black responsivity, Helmholtz‐Kohlrausch effect, rainbows/halos/glories, dichromatism, spectral‐sharpening, and trimodality of functions (RGB peaks, CMY troughs whose complementarism adapts functions to illuminant). The 40 specific roles fall into 3 general roles: color mixture, color constancy, and color perception. Complementarism evidently structures much of the visual process. Its physiology is evident in complementarism of cones, and opponent single cells in retina, LGN, and cortex. Genetics show our first cones were S and L, which are complementary in daylight D65, giving a standard white to aid chromatic adaptation. M cone later split from L to oppose the nonspectral (red and purple) hues mixed from S+L. Response curves and wavelength peaks of cones L, S, and (S+L), M, closely resemble, and lead to, those of opponent‐color chromatic responses y, b, and r, g, a bimodal system whose summation gives spectral‐sharpened trimodal complementarism (RGB peaks, CMY troughs). Spectral sharpening demands a post‐receptoral, post‐opponent‐colors location, hence a third stage. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011     

Chromatic induction: Opponent color or complementary color process?

In present convention, chromatic induction (simultaneous and successive contrast) is usually held to be an opponent color process. Fifty years ago, it was an accepted complementary color process. The latter was never disputed yet apparently overlooked, and is here shown to be the more accurate account by inspecting afterimages and published data on simultaneous and successive hue induction. © 2007 Wiley Periodicals, Inc. Col Res Appl, 33, 77–81, 2008     

Experimental object color unique hue data for the mean observer for color appearance modeling

Color appearance models, among other things, predict the hue of a stimulus when compared with defined stimuli that represent the four unique hues. Recent studies have indicated that the stimuli representing with high reliability unique hue (UH) percepts vary widely for different color‐normal observers. The average yellow and blue UH stimuli for 102 observers, as determined in a recent experiment at medium chroma, differ considerably from the CIECAM02 defined unique hues, based on the Swedish NCS. Wide inter‐observer variability precludes color appearance models from accurately predicting, for individual observers, all four unique hue stimuli. However, models should predict accurately those of a well‐defined average observer. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 505–506, 2008     

Practical color barrier‐free illumination for deuteranopia using LEDs

Here, we propose a color barrier‐free illumination consisting of white, red, and blue LEDs for people with deuteranopia‐type defects in color perception. Color perceptions of 20 volunteers with normal vision and four examinees of deuteranopia were evaluated by both the Ishihara test for color blindness and the Farnsworth Panel D‐15 test under color barrier‐free illumination. The illumination was comparably effective, not only for discriminating between red and green but also for discrimination of the hues on a color chip continuously. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 218–223, 2015