Color names,stimulus color,and their subjective links

The aim of the research reported by this study was on the one hand to identify what colors were associated with particular words in relation to a specific language (Italian), by portraying them in color stimuli on the screen of a monitor; and on the other hand to verify whether some words of that language denoted colors that were either particularly well defined or confused with others. In an experiment using special software, the subjects were asked to produce colors directly, instead of choosing among a number of colors presented on the screen. The results showed that (i) it is possible to identify the color‐stimuli to which the terms of a language refer; that (ii) the “best” colors Giallo (Yellow), Rosso (Red), Blu (Blue), and Verde (Green) which the subjects were requested to produce were very similar to the corresponding unique hues; that (iii) among the mixed hues there were perceptually intermediate colors, that is, ones exactly midway between two consecutive unique colors: Arancione (Orange) and Viola (bluish Purple); that (iv) Turquoise and Lime were clearly positioned in the mental space of color of the participants; and that (v) for Italian speakers some hues coincide: Azzurro (Azure) and Celeste (Cerulean); Arancione (Orange), RossoGiallo (RedYellow) and Carota (Carrot); Lime and GialloVerde (YellowGreen), so that their color terms can be considered synonyms. Our most interesting finding, however, is that for Italian speakers these four mixed colors with their specific names (Lime, Turchese (Turquoise), Viola (bluish Purple) and Arancione (Orange) fall perceptually in the middle of each of the four quadrants formed in the hue circle by the four unique hues. The resulting circle is therefore characterized by eight colors of which four are unique and four are intermediate mixed. It would be advisable to repeat the study cross‐culturally to test for possible similarities and differences in color meanings with speakers of different languages. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 89–101, 2017     

Experimental determination of laws of color harmony. Part 3: Harmony content of different hue pairs

At the Budapest University of Technology and Economics in 1956, we decided to start large‐scale experiments on color harmony. The experiments and the processing of the experimental data were completed in 2006. The experiments described in this article were based on a long established experience that harmony content of different hue pairs greatly differ from each other. The vast majority of former research activities on the subject of color harmony narrowed down mostly to investigations of saturated color pairs. Color samples of our experiments have been defined within the color space of the Coloroid color system, built on harmony thresholds. The compositions, prepared for the experiments, always consisted of two saturated hues and three low saturation colors of each hue at varying brightness, making it a total of eight colors. Within the framework of the experiments, 48 hues were used. Out of these, each of the 24 was formed into composition pairs with the remaining 48 hues, forming a total of 852 compositions. The paired‐comparison experiments were conducted with the use of the compositions prepared by collage technique. Color samples made of painted paper, between 1980 and 1985, have been repeated between 2002 and 2006 with the same color selection but with computer‐generated pseudorandom patch system compositions. It has been established that harmony content of hue pairs can be expressed by the relative angle of their hue planes in the Coloroid color space. The harmony content of hue pairs exceeds that of other pairs, when this angle is below 10°, between 30° and 40°, between 130° and 140° or near to 180°. Those color pairs of which hue planes are between 60° and 90° to each other in Coloroid color space, exhibit the least harmony content. © 2008 Wiley Periodicals, Inc. Col Res Appl, 34, 33–44, 2009.     

Differences in attributes between color difference and color appearance (chroma and hue) for near‐neutral colors

Chroma‐step perception and its corresponding color difference in the same hue direction are the different attributes on color perception. The differences between them are different for different hues. Hue‐appearance step and its corresponding color difference along the same hue circle also have completely different concepts. The causes of the above two facts are clarified. The information based on various experiments and theoretical considerations are given for supporting the facts. In addition, it is clarified that the relationship on color‐appearance step and color difference has completely different characteristics between the quantitative (chroma) and the qualitative (hue) attributes of object colors. The importance of chromatic strength (CS) on hue is clarified in each of the three color attributes hue, value, and chroma. © 2004 Wiley Periodicals, Inc. Col Res Appl, 30, 42–52, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20073     

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     

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 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     

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 combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931

We have carried out a new study of the color combinations selected by Le Corbusier in ‘les claviers de couleurs’ for the Salubra wallpaper company in 1931, by analyzing them in the Natural Color System, which allows us to understand the perceptive variables of colors (hue, blackness, and chromaticness) as well as their combination criteria. Regarding the perceptive variables, we have discussed the selected hue ranges in relation to other color proposals of Le Corbusier himself, and we have shown the extensive presence of earthy hues, or the noteworthy absence of other colors such as yellows, violets, black, and white. We have also analyzed the chromaticness of colors, which is generally low, and the blackness, also very limited. In relation to the combination criteria, we aim to find out the underlying order in the color combinations by studying the similarities and contrasts of their perceptive variables. We demonstrate graphically, by a navigable three‐dimensional model, and with statistical support, some principles in Le Corbusier's color preferences, such as the combination of colors with equal chromaticness, the search of some contrast in blackness, or the usual resource of contrasting cool with warm colors, something slightly different to the contrast of complementary colors. We have also discussed other compositional criteria held by Le Corbusier to use color in his Purist architecture, which are related to the position and proportion of the surfaces to be colored, the connotations associated to different hues, or the use of plain colors, among others. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 85–100, 2016     

Hue,saturation, lightness,and building exterior preference: An empirical study in Turkey comparing architects' and nonarchitects' evaluative and cognitive judgments

This study investigated architects' and nonarchitects' evaluative and cognitive judgments of color on building exteriors. Thirty architects and 30 high school teachers living in Izmir, Turkey participated in the study. The experiment had two phases. First, participants viewed eight images, in which the color of a building exterior was manipulated with hues selected from HSB (hue, saturation, and brightness) color space. Participants were then asked to rate each image on 7‐point semantic differential scales measuring preference (like–dislike), arousal (arousing–sleepy), naturalness (natural–artificial), and relaxation (relaxing–distressing). Second, participants viewed the same building in nine saturation and lightness levels for each hue and picked the most preferred lightness and saturation level for each hue. Findings showed that for a building exterior: (1) yellow and blue were the most liked colors, (2) some hues were rated as more arousing, more natural, and more relaxing over the others, (3) gender had an effect on color preference and semantic ratings of naturalness and relaxation, (4) architects and nonarchitects differed in their color preference and semantic ratings of arousal and naturalness, and (5) full bright and moderate to low saturated colors and full saturated and moderate to high bright colors were preferred more. The results have practical implications for architects and urban designers. A successful coloration of a building exterior may increase its use frequency and economical value. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 395–405, 2008     

Comparison of unique hue stimuli determined by two different methods using Munsell color chips

Unique hue stimuli were determined by male and female observers using two different visual experimental procedures involving Munsell color chips of varying hue but identical chroma and value. The hypothesis was that unique hues can be more reliably established by explicit selection from a series of ordered stimuli than implicitly by hue scaling a series of stimuli in terms of neighboring UHs and this was statistically confirmed. The implicit selections based on long term memory of UHs appears to have been more challenging to observers since variability was increased by nearly 50% compared to when UHs were explicitly selected. The ranges of unique hues selected in the two methods were, however, comparable and no statistically significant difference was found between the results of females and males. The intra‐observer variability in picking a stimulus to represent a unique hue, for all observers and averaged for all hues, was approximately 12% of the mean spread of unique hues, confirming that the large inter‐observer variability is driven by differences in color vision and perhaps cognitive processes. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010     

Correlations between color attributes and children's color preferences

This study examined the role of color attributes (lightness and saturation) on children's color preferences for interior room colors. It also investigated children's most preferred colors among each of the five major hue families in the Munsell color system using scale‐models. Previous color preference studies have typically been done with small color chips or papers, which are very different from seeing a color applied on wall surfaces. A simulation method allowed for investigating the value of color in real contexts and controlling confounding variables. Forty‐five color samples were displayed on scale‐models to 63 children ages 7–11 years old. This study identified children's most preferred colors among each of the five major hue families in Munsell color system. It also demonstrated that saturation was positively correlated with children's preferences in the red, green, blue, and purple hue families. In the yellow hue family, interestingly, lightness has a positive correlation with preferences. Children's gender differences were found in that girls prefer red and purple more than boys. These findings lead to color application guidelines for designers to understand better color and eventually to create improved environments for children and their families. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 452–462, 2014     

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     

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     

Comparative studies on color preference in Japan and other Asian regions,with special emphasis on the preference for white

The results of three surveys are presented. The first survey was carried out in four large cities in Japan, and the findings were analyzed by factor analysis and cluster analysis. The second survey was carried out in Seoul, Korea and Tokyo, Japan to determine color preference in the two countries, focusing on the preference for white. The last survey compared color preference in Taipei and Tokyo, also with emphasis on the preference for white. In these successive studies on color preference in Japan and other Asian cities, the subjects were mainly asked to choose from a color chart the three colors they liked most and the three they liked least, and to state the reasons for their choices. The results of Survey 1 showed that color preference could be influenced by differences in age, sex, and geographical region. Also factor analysis and cluster analysis indicated some relation between color preference and the subjects' life styles. Dual scaling analysis of the results of Surveys 2 and 3 indicated that each Asian area has unique color preference tendencies and that there are statistically significant differences in the frequency of selection of colors of certain hues and tones. However, a high preference for white was common to all areas, along with preferences for some other colors. These results thus demonstrated a common strong preference for white in three neighboring Asian areas. The reasons given for the choices suggested that besides the factors of age and sex, associative images based on environmental and cultural aspects may be an important factor influencing color preference. © 1996 John Wiley & Sons, Inc.     

Japanese and Korean ideas about clothing colors for elderly people: Intercountry and intergenerational differences

This study evaluated the clothing colors worn by elderly persons. We took photos, with elderly persons as models, displayed them on a computer screen, and used computer graphics to produce 75 colors of clothing worn by elderly persons. The 75 colors were evaluated by Japanese and Korean elderly women and female students. We compared the ideal colors and colors actually worn by elderly women in Japan and Korea. The ideal clothing color worn most often, and the images held concerning these colors, were found to differ between elderly women and female students in Japan and Korea, between Japanese and Korean elderly women, and between Japanese and Korean female students. In brief, the ideal clothing color for elderly women was the color satisfying brilliance, functionality, and elegance. We found that Japanese consumers prefer clothing of red hue or light grayish‐orange, whereas Korean consumers prefer colors of cold hues or achromatic colors. The differences observed between Japanese and Korean women seem to be associated with various factors, including traditions, culture, public morals, and racial consciousness. Differences in the rate of aging in the society and the timing of this change may also be involved. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 139–150, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10132     

A comparative analysis of the characteristics and images of costume colors in the traditional plays of Korea,China, and Japan

The purpose of this study was to analyze quantitatively the characteristics and images of costume colors in the traditional plays of Korea, China, and Japan. The study focused on the Korean Masque, Beijing Opera, and Kabuki costume colors based on a selection of 1135 color samples. The collected source data were selected by extracting digital color data by using the Eyedropper Tool of Photoshop 7.0. The RGB color data were transformed to H V/C and the attributes of hue and tone were analyzed. Color images were analyzed with the color image scales of IRI Color Design Institute and Shigenobu Kobayashi to increase the validity of the evaluated images. As a result, the “five element colors (red, yellow, purple–blue (PB), white, and black)” from the theory of “Yin‐Yang Wu‐Xing” were used in the common stage costume colors of the Korean Masque, Beijing Opera, and Kabuki. Red, a preferred Asian color, was used most frequently in the costumes of these three traditional plays. A comparison of the traditional stage costume colors in the three northeast Asian countries revealed a difference in tones rather than in hues. First, the Korean Masque frequently used white in accordance with the tradition of white‐clad people and the cultural view of colors in which natural colors were preferred. Additionally, in the Masque, Koreans used colors based on the theory of Yin‐Yang Wu‐Xing with high‐chroma tones. On the other hand, the Beijing Opera exhibited the gorgeous and strong color images of China, by adopting high‐chroma colors in the Five Element Color: R, Y, PB, white, and black. Last, in the Kabuki costumes, a variety of white, black, dull, light, dark, strong, vivid, deep, bright, and grayish tones played an important role in showing various color images. The costume color images of the traditional plays of the three countries revealed that all shared the use of dynamic, springy/casual, and gorgeous images in the strong contrast of five element colors. Regarding the differences, the Korean Masque exhibited natural images in favor of natural colors, whereas the Kabuki displayed modern, decent/formal images by using dull, dark, and grayish colors. The study results suggested that the three countries commonly used five element colors from the theory of Yin‐Yang Wu‐Xing, but that their color images differed in terms of the tones used and the techniques for color combination. These results reflect that colors in the traditional costumes of the three countries are affected by their cultural codes, thereby representing the characteristics ofcertain peoples and cultural circles. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011     

Global color impressions of multicolored textured patterns with equal unique hue elements

A global color impression from a multicolored textured pattern can be identified. It is not clear, however, how such a single color impression can be determined from the elemental colors of the multicolored textured pattern. To investigate this question, two hypotheses were evaluated. The first hypothesis is that a single color impression is determined by the colorimetric average of the elemental colors in the textured pattern (colorimetric average hypothesis). The second hypothesis is that the impression is influenced by the color appearances of the elemental colors in the textured pattern (color appearance hypothesis). Using an asymmetrical color matching method, the authors obtained single color impressions for random‐dot textured patterns consisting of two colors with the same unique hue and brightness but each with a different saturation. Our results showed that the matched colors were not located on the line connecting the two elemental colors of the pattern, but rather were on the curved unique hue loci line. Furthermore, the chromaticities of the matches shifted toward a higher saturation than the colorimetric averages. These results support the color appearance hypothesis and suggest that a single color impression from a multicolored textured pattern is determined by a mechanism that integrates the color appearances, i.e., hue, saturation, and brightness (or lightness), of the elemental colors in the pattern. In addition, it seems that the integration of the color appearances is not a simple process, because the apparent saturation of the color impression was higher than that of the colorimetric average and the average of the chromaticities of the colors in the pattern. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 267–277, 2007     

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     

Variability in Unique Hue Selection: A Surprising Phenomenon

Data from ten different experiments involving nearly 600 observers of determination of unique hues are compared. Six experiments involve determination using spectral lights; two use desaturated monitor colors, and the remaining two use color chip sets. Except for unique green, color chips result in narrower ranges of results than spectral lights. Unique green has a surprisingly large range of variation in both spectral light and color chip experiments, followed by red. Comparison of spectral light data indicates that one observer's unique blue can be another's unique green and vice versa, and the same for yellow and green. This finding raises significant questions for color appearance and color space/difference models, as well as philosophy of color. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 158–162, 2004;Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10237     

Emotional response to color across media

In this study, the characteristics of emotional responses to color are explored in two empirical studies. In particular, the relationship between color attributes and emotional dimensions—valence, arousal, and dominance—is analyzed. To account for the cognitive quantity of color, 36 color stimuli were selected following hue and tone categorizations and based on the CIELAB LCh system. In one experiment, the colors were presented on A5‐size glossy paper whereas the identical colors were displayed on CRT monitors in the other experiment. In both experiments, the subjects assessed the emotional responses to each color stimulus using a Self‐Assessment‐Manikin (SAM), which consists of three rows of five pictograms illustrating the three dimensions of emotion, respectively. The empirical results provide evidence that the patterns of affective judgment of colors can be profiled in terms of the three dimensions of emotion (Reliability coefficient, Cronbach's alpha > 0.7). All three attributes of colors, i.e. hue, Chroma, and Lightness, influenced the emotional responses (repeated measurement One‐way ANOVA, P < 0.05), and especially, Chroma was always positively correlated with each of the three emotional dimensions (r > 0.60 P < 0.01). Moreover, the results indicate that emotional responses to color vary more strongly with regard to tone than to hue categories. Comparing the SAM ratings between the two experiments, a systemic explanation has yet to be found to conclude that there is a media effect on the emotional responses to colors. Furthermore, the process of affective judgment of colors and the limit of color as an emotion elicitor are discussed. © 2009 Wiley Periodicals, Inc., Col Res Appl, 2010.