Analysis of cross‐cultural color emotion

This study investigates the relationship between color perceptual attributes and color emotions, as well as the influence of different cultural backgrounds. Totally 214 color samples were evaluated on 12 emotion variables by subjects from seven different region groups in the psychophysical experiment. By factor analysis, it was found that three factors were sufficient to represent 80 “region‐emotion” variables. For each variable, there is no distinct difference among different region groups. The 12 emotion variables could be divided into four categories, namely, activity index, potency index, definition index, and temperature index. Factor scores were further calculated to study the determinants on each factor. The analysis showed that the three factors were mainly related to chroma, lightness, and hue, respectively. It was concluded that chroma and lightness were the most important factors on color emotion, whereas the influences of hue and cultural background were very limited. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 223–229, 2007     

Color space and its divisions

A synthesis of the author's recent work on color‐order systems and color‐difference evaluation is provided in context of current knowledge and practices. The development of a colorimetric model is demonstrated using Munsell “Celtic crosses” as a model of perceptual space. Issues surrounding color‐matching functions, unique hues, the Helmholtz–Kohlrausch effect, and lightness and chroma crispening are addressed, as is the difficulty of reconciling a difference‐based hue, chroma, lightness model with an Euclidean model. A new lightness scale and treatment of lightness crispening is proposed. The results indicate that, despite problems, relatively simple modified opponent‐color models provide good accuracy in predicting color‐order system and supra‐threshold small color‐difference data. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 209–222, 2001     

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.     

Dependence between apparent color and extractable color in paprika

The color properties of 96 paprika samples were evaluated by tristimulus reflectance measurements. The extractable color (ASTA units) of all these samples was also determined. The linear correlation between individual CIELAB parameters and extractable color was very poor. Several color indices used with other foods were shown to be of insufficient accuracy for predicting the extractable color in paprika. A new color index for paprika (PACI) is proposed based on the CIELAB coordinates L* (lightness), a* (red‐blue), and h (hue angle), and it is calculated as “1000a*/(L*+h)”. This new index showed a high correlation with the logarithm of extractable color (r = 0.9662) and was able to distinguish between sample groups of different ASTA units. © 1999 John Wiley & Sons, Inc. Col Res Appl, 24, 93–97, 1999     

Color effect of light sources on peridot based on CIE1976 L*a*b* color system and round RGB diagram system

Previous research indicated that the peridot's color is dominated by the selective absorption of visible light caused by ferrous ion, the hue angle of which is in an inverse ratio of the concentration of Fe²⁺. This article focuses on the color effect of peridot under different standard light sources based on the CIE1976 L*a*b* color space system and round RGB diagram system and tries to find the best one for its grading and display. Based on the results of a series of experiments, including electron microprobe analysis, spectrophotometer, UV‐Vis spectrum, standard illumination box, and Munsell neutral color chips, it was suggested that the spectral power distribution and color temperature of a standard light source significantly influence the color of peridot in terms of lightness and chroma, particularly in the hue of peridot. As for color grading and displaying of peridot, standard light source A fails to fit in, and the color of peridot under a fluorescent light source has a higher chroma but a lower hue angle than that under daylight light source. The best choice for grading and displaying peridot is the standard light source D₆₅. It is better to distinguish the hue of peridot when it is calculated by the round RGB diagram system.     

Effect of chromatic components on facial skin whiteness

Although the color measurement of facial skin becomes more common in dermatology and cosmetics, little is known about the relationship between subjective color perception and colorimetric values in facial skin. In this study, the possible relationships among perceived whiteness and the metric lightness, chroma and hue angle of Japanese females' facial skin color were investigated. First, the perceived brightness of the facial skin of Japanese females was evaluated visually and compared with metric lightness, chroma and hue angle, and the effect of hue and chroma on the perceived brightness was discussed. Second, a psychophysical experiment on the whiteness of the facial images and synthesized skin color plate images was conducted for examining the effect of hue and chroma on the perceived whiteness more precisely and independently. The results of two experiments showed that in regard to the facial skin color of the Japanese female, metric lightness disagrees with perceived whiteness or brightness in a narrow lightness range. The reddish facial skin color appeared brighter or whiter than that of a yellowish one in high lightness regions, and the low‐chroma facial skin color appeared brighter or whiter than a high‐chroma one. However, in the color plate images, a change in perceived whiteness by hue could not be confirmed, and the change in perceived whiteness by chroma was weaker than that from facial images. These results indicated that a higher‐level process of face recognition affected whiteness perception, and the criterion of facial skin whiteness was determined by facial skin color distribution. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011;     

Visual determination of hue suprathreshold color-difference tolerances

This research extends the previous RIT-DuPont research on suprathreshold color-difference tolerances in which CIELAB was sampled in a balanced factorial design to quantify global lack of visual uniformity. The current experiments sampled hue, specifically. Three complete hue circles at two lightnesses (L* = 40 and 60) and two chroma levels ( = 20 and 40) plus three of the five CIE recommended colors (red, green, blue) were scaled, visually, for hue discrimination, resulting in 39 color centers. Forty-five observers participated in a forced-choice perceptibility experiment, where the total color difference of 393 sample pairs were compared with a near-neutral anchor-pair stimulus of 1.03 A supplemental experiment was performed by 30 additional observers in order to validate four of the 39 color centers. A total of 34,626 visual observations were made under the recently established CIE recommended reference conditions defined for the CIE94 color-difference equation. The statistical method logit analysis with three-dimensional normit function was used to determine the hue discrimination for each color center. A three-dimensional analysis was required due to precision limitations of a digital printer used to produce the majority of colored samples. There was unwanted variance in lightness and chroma in addition to the required variance in hue. This statistical technique enabled estimates of only hue discrimination. The three-dimensional analysis was validated in the supplemental experiment, where automotive coatings produced with a minimum of unwanted variance yielded the same visual tolerances when analyzed using one-dimensional probit analysis. The results indicated that the hue discrimination suprathresholds of the pooled observers varied with CIELAB hue angle position. The suprathreshold also increased with the chroma position of a given color center, consistent with previous visual results. The results were compared with current color-difference formulas: CMC, BFD, and CIE94. All three formulas had statistically equivalent performance when used to predict the visual data. Given the lack of a hue-angle dependent function embedded in CIE94, it is clear from these results that neither CMC nor BFD adequately predict the visual data. Thus, these and other hue-suprathreshold data can be used to develop a new color-difference formula with superior performance to current equations. © 1998 John Wiley & Sons, Inc. Col Res Appl, 23, 302–313, 1998     

Cross‐regional comparison of colour emotions Part I: Quantitative analysis

Colour emotion is a feeling or emotion induced in our brains when we look at a colour. In this article, the colour emotional responses obtained by conducting visual experiments in different regions, namely Hong Kong, Japan and Thailand, using a set of 218 colour samples are compared using a quantitative approach in an attempt to study the influence of different cultural and geographical locations. Twelve pairs of colour emotions described in opponent words were used. These word pairs are warm–cool, light–dark, deep–pale, heavy–light, vivid–sombre, gaudy–plain, striking–subdued, dynamic–passive, distinct–vague, transparent–turbid, soft–hard, and strong–weak. These word pairs represent the fundamental emotional response of human beings toward colour. The influences of lightness and chroma were found to be much more important than that of the hue on the colour emotions studied. Good correlations of colour emotions among these three regions in East Asia were found, with the best ones for colour emotion pairs being light–dark and heavy–light. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 451–457, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20062     

Computational color combination analysis of Papilionidae butterflies as aesthetic objects

In this study, our aim is to clarify the color combination rules of the human-preferred Papilionidae butterflies as aesthetic objects. A set of 118 butterfly images, including color polyphenism from the 47 Papilionidae species that are generally preferred by humans, was selected. These images were classified using hierarchical cluster analysis based on similarities of lightness, chroma, and hue attributes in CIELAB space, determined using histogram intersection. Then, the color distributions and combinations in each cluster were analyzed using a Gaussian mixture model and the color combination types defined in the present study. Accordingly, we obtained the following main color combination rules of human-preferred Papilionidae: (a) dominant low lightness and contrasting lightness components, (b) dominant low chroma and similar chroma components, and (c) dominant orange to yellow-green hue and similar hue components. These rules partly agree with the robust harmony principles found in previous research. We infer that the cognitive effects concerning the processing fluency through these color combination rules influence human aesthetic responses.     

Predictions of Munsell values with the same perceived lightness at any specified chroma irrespective of hues—Determination of any tonal colors

Simple formulas are proposed for predicting the Munsell value of colors with the same tone (the same values for whiteness‐blackness, perceived lightness, and chroma irrespective of hue). The formulas can be used for any tone. In other words, the method can determine the Munsell value with the same perceived lightness at any specified chroma irrespective of hue. The chromatic strength (CS) function is only used for the derivations. The formulas are very simple, and can be used not only in the colorimetry but also in the color design field. The concept described in this study is that a common CS function can be used for transforming each of the three color attributes (hue, lightness, and chroma) from their uniform color space metric to their corresponding color appearance space attribute. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011     

Study of the color characteristics of residential buildings in Shanghai

In 2018, Shanghai launched a campaign to renovate the façade of old residential areas. With the renovation of the façade of these residential buildings, problems such as chaotic colors, dull colors, and strongly conflicting colors of walls have increasingly occurred. In this article, the color data of building samples were obtained by field investigation and the color attribute grading evaluation of residential buildings was carried out by introducing evaluation factors; thus, the evaluation results of these buildings were finally obtained. Based on the analysis of the quantity and proportion of each color attribute at different evaluation levels, the color characteristics of residential buildings in Shanghai were finally summarized. Overall, Shanghai residential buildings are “warm colored” in hue, “bright” in lightness, and “partial white” in chromaticness. The research results provide theoretical support for the forward‐looking and scientific nature of color planning for residential buildings in the future and can serve as a reference for the selection of the main colors of building walls.     

A cross‐cultural comparison of colour emotion for two‐colour combinations

Psychophysical experiments were conducted in the UK, Taiwan, France, Germany, Spain, Sweden, Argentina, and Iran to assess colour emotion for two‐colour combinations using semantic scales warm/cool, heavy/light, active/passive, and like/dislike. A total of 223 observers participated, each presented with 190 colour pairs as the stimuli, shown individually on a cathode ray tube display. The results show consistent responses across cultures only for warm/cool, heavy/light, and active/passive. The like/dislike scale, however, showed some differences between the observer groups, in particular between the Argentinian responses and those obtained from the other observers. Factor analysis reveals that the Argentinian observers preferred passive colour pairs to active ones more than the other observers. In addition to the cultural difference in like/dislike, the experimental results show some effects of gender, professional background (design vs. nondesign), and age. Female observers were found to prefer colour pairs with high‐lightness or low‐chroma values more than their male counterparts. Observers with a design background liked low‐chroma colour pairs or those containing colours of similar hue more than nondesign observers. Older observers liked colour pairs with high‐lightness or high‐chroma values more than young observers did. Based on the findings, a two‐level theory of colour emotion is proposed, in which warm/cool, heavy/light, and active/passive are identified as the reactive‐level responses and like/dislike the reflective‐level response. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2012     

Investigating the personality associations evoked by single colors: An exploratory study

Despite the crucial role of color appearance in forming first impressions, it is still not clear how color evokes personality associations—that is, a color‐personality association (CPA). This study aims to propose a method for quantifying the relationships between color attributes and CPAs for single colors. Specifically, we first collected the CPAs of five traits evoked by single colors (i.e., extraverted–introverted, moody–unemotional, agreeable–disagreeable, organized–disorganized, and wide interests–narrow interests) in a carefully controlled experiment. Then, multiple linear regression (MLR) analyses were adopted to predict these CPAs based on three color attributes (lightness, chroma, and hue). Our results showed that (1) the personality associations could be evoked by colors and perceived consistently by observers; (2) the relationships between the color attributes and the CPAs could be well quantified by separately conducting MLR analyses in different regions of hue (i.e., red, green, blue, and yellow regions); and (3) both lightness and chroma were significant predictors in almost all predictive models and they might have different relative importance or directions of effect when predicting the CPAs in different regions of hue, even for the same trait. This study improves the understanding of how color evokes personality associations and takes the first step toward developing the method for predicting the CPAs for multicolor combinations. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 388–396, 2017     

Proposal of an opponent‐colors system based on color‐appearance and color‐vision studies

A new theoretical color order system is proposed on the basis of various studies on color appearance and color vision. It has three orthogonal opponent‐colors axes and an improved chromatic strength of each hue. The system has color attributes whiteness w, blackness bk, grayness gr, chroma C, and hue H. A method is given for determining Munsell notations of any colors on any equi‐hue planes in the system. A method is also given for determining grayness regions and grayness values on hue‐chroma planes in the system. It is concluded that colors with the same color attributes [w, gr, bk, C] but with different hues in the theoretical space have approximately the same perceived lightness, the same degree of vividness (“azayakasa” in Japanese), and also the same color tone. The tone concept, for example used in the Practical Color Coordinate System (PCCS), is clarified perceptually. The proposed system is a basic and latent color‐order system to PCCS. In addition, the concept of veiling grayness by a pure color with any hue is introduced. Further, relationships are clarified between generalized chroma c(gen) and grayness. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 135–150, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10234     

A fallacy in the definition of ΔH*

When a color differs from the reference, it is desirable to ascribe the difference to differences in the perceptual attributes of hue, chroma, and/or lightness through psychometric correlates of these attributes. To this end, the CIE has recommended the quantity ΔH* as a psychometric correlate of hue as defined by ΔH* = [(ΔE*)² - (ΔL*)² - (ΔC*)²]^1/2, where the correlates correspond to either the 1976 CIELAB or CIELUV color spaces. Since ΔH* is defined as a “leftover,” this definition is valid only to the extent that ΔE* comprises exclusively ΔL*, ΔC*, and ΔH* and that ΔL*, ΔC*, and ΔH* are mutually independent compositionally, both psychophysically and psychometrically. It will be shown that as now defined ΔH* lacks psychometric independence of chroma and always leads to incorrect hue difference determination. Such a deficiency causes problems, especially in the halftone color printing industry, since it can suggest an incorrect adjustment for the hue of the inks. A revised definition herein of ΔH* provides a psychometric hue difference independent of chroma, valid for large and small psychometric color differences regardless of chroma. However, for small chromas, the seldom used metric ΔC might be a better color difference metric than ΔH* because complex appearance effects make the perceptual discrimination of lightness, chroma, and hue components more difficult than for high chromas.     

Color determinants of surface stratification

Although color plays a crucial role in the demarcation of surfaces in the visual field, its role in depth perception is not well understood. Certain special effects of color on depth perception that arise from optical factors such as chromatic aberration (chromostereopsis) have been studied, but less is known about the role of perceptual factors of color in determining depth relations. The present study explores the role that the different attributes of color such as hue, chroma, and lightness play in the stratification of surfaces in depth. In two experiments, subjects manipulated specific dimensions of colors (hue, chroma, lightness, and whiteness) while making judgments of coplanarity of either two or more abutting surfaces. The results demonstrate that for surfaces to appear coplanar, their lightness has to be proportional to the natural (intrinsic) lightness of the hues. No meaningful effects of chroma, whiteness, or blackness were found in depth stratification. The results suggest a primary role of the natural lightness of hues in depth perception.     

Relationships among chromatic tone,perceived lightness,and degree of vividness

The present study describes the usefulness and importance of chromatic tone concept on object colors. It is clarified that the concept of a tone category consists of the same perceived lightness and the same degree of vividness of chromatic object colors in the tone irrespective of hue. Prediction equations are given to color attributes on perceived lightness and degree of vividness. They clearly show different functions on metric lightness and metric chroma on the two color attributes. It is also clarified that the theoretical opponent‐colors system by the author (NT system) gives a basis for defining the tone concept, perceived lightness, and degree of vividness. The results of the present study are useful for understanding fundamental color notion “tone,” which is important both in the fields of colorimetry (fundamental color‐perception study) and color design (practical application). In addition, attributes of equivalent whiteness–blackness [W‐Bk]eq and equivalent chroma Ceq are proposed. © 2005 Wiley Periodicals, Inc. Col Res Appl, 30, 221–234, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20108     

Effects of luminance,wavelength and purity on the color attributes: Brief review with new data and perspectives

A color stimulus may be characterized by three psychophysical dimensions (luminance, dominant wavelength, and purity), whose corresponding color attributes are lightness, hue, and chroma/colorfulness. The 3 × 3 matrix gives nine basic effects of the psychophysical dimensions on the color attributes (e.g. the effect of luminance on hue), but there are 49 possible combinations as more complex effects (e.g. the effect of luminance on hue and chroma, i.e. on chromaticity). Researching and quantifying such effects enables modelling of the underlying neural mechanisms and of color appearance. Using a simple nomenclature to identify the effects (e.g. Ph denotes the effect of Purity on hue), this paper briefly reviews and interrelates 15 of the commonest effects, giving new data or new graphical perspectives to clarify or fill gaps in the literature. Contrast and no‐contrast effects (stimuli viewed simultaneously or singly, respectively) are differentiated. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 208–222, 2007     

The impact of signboard-building color combinations on color harmony and legibility

The aim of this study was to investigate the impact of signboard-building color combinations on color harmony and legibility. Two hundred and three participants rated 54 signboard-building color combinations against two scales of color harmony and legibility. In this article, the terms “brick,” “stone,” and “glass” refer to three types of building exteriors used in the experiment (ie, brick masonry, greystone, and curtain walls, respectively). Major findings are as follows: (a) there was a positive linear correlation between color harmony and legibility in all three types of building exteriors, (b) the type of building exterior affected the color harmony and legibility of signboard colors, (c) no hue-related patterns were observed, (d) the effects of chroma differences on color harmony were weak and the effects of chroma differences on legibility were moderate, (e) the effects of lightness differences on color harmony and legibility were strong in brick, but the effects of lightness differences were weak in stone and glass, (f) white color combinations (ie, color pairs including white signboards) turned out to be the most harmonious and legible, and (g) color combinations of light signboards and dark buildings (negative polarity) were rated most harmonious and legible, with the exception of vivid red (positive polarity). The findings of this study provide insight into the characteristics of harmonious and legible colors in the context of signboard design.     

Which color is more colorful,the lighter one or the darker one?

To answer a question often asked in industrial color reproduction, a series of highly chromatic color samples of the same CIELAB hue but of small variations of CIELAB chroma and lightness were prepared and scaled for perceived colorfulness. The results indicate that lightness contributes to the perceived colorfulness as defined by the observers according to their everyday color experiences. For the samples used, colorfulness can be modeled by factoring in the CIELAB L* value in addition to CIELAB C*. The results show that colorfulness, as implied in our everyday color experiences, can be a complex perceptual attribute. A newer psychophysical scaling model is also presented, since Thurstone's Case V model was shown to be inadequate. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 168–174, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10142