Perceptions of the taste of colors in children and adults

Taste is an acquired phenomenon. The tastes of colors are related to people's perceptions and assumptions, as well as their personal experiences. In other words, there is a meaningful correlation between taste and color. However, this correlation requires extensive investigation before general patterns of taste perceptions can be determined. In addition, multiple studies of a range of different populations are necessary. This study investigated the responses of 56 male and 56 female Iranian participants aged 2 to 6 years to 11 colors commonly used in food and food packaging. Data analysis revealed significant correlations between perceptions of the taste of colors and the relationships between primary and secondary colors in Itten's color wheel. The data were also compared with data from an earlier and identical survey of the taste perceptions of adult Iranians. Participants in both groups perceived the taste of secondary colors as the taste common to their two constituent primary colors. In addition, the basic color rules set out in Itten's color wheel in relation to secondary and achromatic colors also affected how the taste of each color was perceived.     

Determination of correlated color temperature based on a color-appearance model

The present method of determining the correlated color temperature of an illuminant is based on the obsolete CIE 1960 u,v chromaticity diagram. A new method is proposed that is based on Hunt's color-appearance model for unrelated colors. Analytic functions were derived for the blackbody locus in appearance space to simplify the computation. CCT was calculated for some light sources and the results were compared to those obtained by the present method.     

Product color emotional design considering color layout

Emotional experience and demand for product colors are important factors in users' decisions to buy and use a product. Therefore, accurately characterizing users' emotional responses of the product's color has become a significant consideration for product color design. However, a product color design problem exists in which it is challenging to accurately and efficiently position users' color image space because consumers have completely different image perceptions when encountering a large number of color schemes generated by different color spatial distributions. For this reason, this article proposes a product color emotional design method that considers the color layout. A table is built of an elemental composition for product color design, which contains color layout forms. This article also establishes a mapping model based on the semantic difference and back propagation neural network between the users' color image perceptions and the elements of the product's color design. The system recommends a color layout form that matches the users' emotional image goal through the k‐nearest neighbor algorithm, and then the form is initialized using a genetic algorithm. The system can realize the solution to the optimal product color scheme by optimizing and evaluating the population. Designers can make intuitive choices and decisions through the product color recommendation system. Through an example of color design for industrial vacuum cleaners, this article shows that the method has satisfactory feasibility and applicability for solving the problem of the optimization of product color design with color layout forms.     

Model of saturation and brightness: Relations with luminance

The model is simple: For flicker luminance stimuli and maximum purity, the hue cycle's relative luminance (computed from CIE data) is reciprocal to relative saturation. Brightness/luminance ratio B/L is proportional to relative saturation S, i.e., B/L = 1.5 S^1/4. S times B/L ratio gives relative saturation for brightness stimuli; just as relative luminance times B/L ratio gives brightness. Predictions for any purity agree with data on saturation discrimination, color appearance in CIE space, B/L, and CIE brightness V_b. Predictions support Hunt's concept of “colorfulness” and indicate its causal role in proporitionality of S and B/L.     

Color constancy from invariant wavelength ratios. III: Chromatic adaptation theory,model and tests

A theory of chromatic adaptation is derived from Parts I and II, and presented in terms of relative wavelength, purity, and radiant power, leading directly to a predictive model of corresponding hue, chroma, and lightness. Considering that even simple animals have effective color vision and color constancy, the aim was to develop a simple model of complete adaptation. The model is tested against well‐known data sets for corresponding colors in illuminants D65, D50, and A, and for small and large visual fields, and performs comparably to CIECAM02. Constant hue is predicted from Part I's mechanism of color constancy from invariant wavelength ratios, where constant hues shift wavelength linearly with reciprocal illuminant color temperature. Constant chroma is predicted from constant colorimetric purity. Constant lightness is predicted from chromatic adaptation of spectral sensitivity represented by power ratios of complementary colors (rather than cone responses which lack spectral sharpening). This model is the first of its type and is not formatted for ease of computation. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010     

Some modifications to Hering's opponent‐colors theory

Some modifications are made to the achromatic color perceptions in Hering's opponent‐colors theory. They are the introduction of the reference color Gray and the use of the orthogonal coordinate system. The modified opponent‐colors theory has a symmetrical structure for the three opponent‐colors axes, whiteness‐grayness‐blackness, redness‐grayness‐greenness, and yellowness‐grayness‐blueness, and it unifies the Hunt and the Stevens and Jameson–Hurvich effects. It is also noted that two kinds of color‐appearance spaces exist. One is the color‐appearance space derived from color perceptions of object colors (called the CPS color‐appearance space). The other is that modeled from their colorimetric values for predicting color perceptions (called the UCS color‐appearance space). The CPS color‐appearance space is mainly described in this article. Scaling of the CPS color‐appearance space and the existence of the reference color perception Gray are discussed in detail. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 290–304, 2001     

Correspondence analysis of color–emotion associations

Emotions are often associated with colors, but what mediates color–emotion associations is not fully understood. This study examined associations between colors and emotions using correspondence analysis. The hypothesis that emotions are associated with colors through the correspondence between the hue circle and the circumplex model of emotion/affect was tested. Participants viewed 40 colors and reported a word that expressed an emotion that they associated with or felt in response to each color. Participants' responses were aggregated into a contingency table of colors and emotion words, and a correspondence analysis was conducted. An eight‐dimensional biplot was obtained. The first and second dimensions were related to hue, and the hue configuration was similar to colors' spectral trajectory in the CIE xy space or the CIELAB a*b* color space. The configuration of emotions was not consistent with the circumplex model of emotion, which rejected the above hypothesis. The associations in dimensions 1 and 2 appeared to be mediated by the perceived temperature of colors and emotions. In dimensions 3–6, dimensions that seemed to reflect secondary associations based on cultural convention or personal experiences (such as white with emotionless and purity and blue with depression) were obtained. These results also demonstrated the usefulness of correspondence analysis for analyzing color–emotion associations due to its ability to reveal the underlying statistical structure of associations.     

An intelligent color design method for visual communication design for public crisis

During a crisis, people's emotions are dynamically affected by changes in the environment, and by the attributes of object and subject in ways that depend on an emotion's essential characteristics. Negative emotions can cause psychological harm to people, but specific visual colors can instantaneously dispel or reduce those negative emotions. We developed a color design method based on a hybrid intelligent algorithm to predict accurately the significant negative emotions of people during a public crisis, and to explore the relationship between color structure and negative emotions developed. A Fuzzy Bayesian Network prediction model was constructed of people's significant negative emotions during a public crisis. Then, the concept of color cube was proposed that related color combinations to  particular emotions. Finally, based on the emotion arousal experiment and the BP neural network, the nonlinear mapping relationship between negative emotion and color cube was analyzed to predict the fading versus stimulating color structure of the significant negative emotions. This mapping provides a reference for the color design of visual communications during a public crisis. Our results show that the prediction model of emotions and color design method were effective.     

Background and foreground interaction: Influence of complementary colors on the search task

Labels are indispensable visual (communication) elements that completely deliver the geospatial message of maps. The objective of this study is to investigate the impact of complementary colors between the map's background and text on the readability of cartographic texts and thus on the efficiency of the map user's search task. This is compared with the use of the “traditional” black labels on the corresponding colored backgrounds. Furthermore, a number of user characteristics, such as gender and expertise, are taken into account as well. The users' eye movements were registered to study their attentive behavior during the visual search task. In addition to the complement of the color's hue, the analyses were based on the difference in luminance, which could also affect the labels' readability. The difference between the black and colored label design was significantly different versus the eye‐tracking metrics. A correlation was found between the color difference and reaction time measurement and between the luminance difference and fixation duration. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 437–445, 2015     

Gamut mapping from below: Finding minimum perceptual distances for colors outside the gamut volume

A colorimetrically characterized computer-controlled CRT display was used to determine closest perceptual color matches of 25 colors when an exact match was not allowed. An artificial but realistic color gamut was created by intersecting the display gamut with a gamut of a Xerox 4920 color laser printer. Each of 21 observers performed color matches between out-of-gamut colors and those on the artificial gamut's edge. Each observer made color matches on 4 different images. The images represented some of the categories that business graphic images can fall into. Between the different image types, there were no multidimensional (MANOVA) statistically significant differences at the 10% confidence level in any of the 25 colors tested. The mapping vectors showed that (1) observers don't make simple matches as assumed by most gamut-mapping experiments done to date, (2) the influence of image content for simple graphical images tested does not have a large effect when the task is to make closest perceptual color matches, and (3) CIELAB hue angle is not uniform enough, especially in blue and cyan regions, to make adequate gamut-mapping transforms. A simple model for clipping type gamut mapping is proposed. Results are compared to predictions of a new gamut-mapping technique that minimizes weighted color difference between the target color and the gamut boundary. © 1997 John Wiley & Sons, Inc. Col Res Appl, 22, 402–413, 1997     

Color heterogeneity in visual search

Distractor color heterogeneity refers to a condition in which a target is presented among distractors of different chromaticities. In the present study, the amount distractor color heterogeneity was varied systematically to determine how efficiently the visual system processes displays composed of search elements of multiple colors. Distractor color heterogeneity was expressed by selecting distractor chromaticities from sectors of various angles in a cone‐based normalized color space. The generalizability of the measurements was tested using two different visual search paradigms. An accuracy search task was used in which the search displays were presented as brief flashes and the dependent variable was search accuracy. A latency search task was used in which the display presentation time was under the participant's control and the dependent variable was reaction time. Compared to a homogeneous condition with distractors of a single color, distractor color heterogeneity had a deleterious effect on search performance in both paradigms. In normalized units, the measurements were similar across participants, target chromaticities, and tasks, but the same measurements expressed in non‐normalized units showed clear and systematic individual differences. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011     

Chromatic adaptation to illumination investigated with adapting and adapted color

The state of chromatic adaptation was investigated by using the two‐room technique. This technique involves a subject in a room who looks a white board in a separate test room through a window and judges the color of the window using the elementary color naming method. When the subject room is illuminated with a colored light and the test room with a white light, the window appears to be a very vivid color, for which the apparent hue depends on the color of the subject room. The color is referred to as the adapted color. The subject also evaluated the appearance of the illumination color of the subject room, which is called the adapting color. Two types of illuminating light in the subject room, fluorescent lamps with 7 colors and LED lamps with 19 colors, were employed. The adapting and the adapted colors were plotted on a polar diagram that was used in the opponent color theory, from which the hue angles were obtained. The hue angle difference between the two colors did not appear to be 180° except for one pair of adapting and the adapted colors, which implies that chromatic adaptation does not follow the opponent color concept. An improvement was achieved to explain the results by introducing complementary colors relation between the adapting and adapted color.     

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.     

Influence of chroma and hue on spatial balance of color Pairs

Earlier research has shown that the relative chroma (saturation) of color pairs affects the relative areas of those colors that appear balanced in a predictable way. Small areas of high chroma balance large areas of low chroma. The present study shows that this chroma effect is independent of the background the colors were viewed against, and relatively independent of the hues involved. In particular, the chroma effect is as strong for hue pairs adjacent or intermediate on the color circle as for complementary hues. Finally, this study compared Munsell's theory of spatial balance to that of Moon and Spencer, finding better agreement with the former.     

Colored apparel and its potential influence on heterosexual attraction

The objective of this study is to determine if men would follow the “red effect” when choosing colors for women to wear on a date, and also to determine if the colors that men would wear when going on a date would be the same as the colors that females (their date) would wish them to wear. A set of psychophysical data was generated from this experiment, where participants were asked to rank a set of 10 colored samples based on preference for each question asked. There were three different sets of colored samples. The set of colored samples given to the participant depended on the question. A total of five questions were asked. Scaling analysis was done on the data to organize a set of items according to preferences providing values, an interval scale (Z values), that correspond to the relative perceptual differences among the stimuli. The Z values were graphed to show the general preference of colors for women to wear, and the preference of colors for men to wear. A Spearman's rank-order correlation coefficient (SRCC) was calculated comparing each individual's rank order with the mean rank order for that specific question. An average Spearman's rank order was calculated for each question and each gender in order to determine the variability in answers. Scaling results indicate that men follow the “red effect,” but women preferred to wear other colors such as turquoise, blue, or yellow depending on the outfit. Males and females agreed that no matter the colored bottoms (denim or black), blue was the preferred color top for men to wear. SRCC results showed a lot of variability between individual answers and the mean answer indicating that participants' rankings did not necessarily agree with general color preferences presented in the scaling analysis. While scaling analysis might suggest certain color preferences such as men following the “red effect” and women preferring to wear blue, the poor correlation found using SRCC between the individual answers and the mean rank orders suggests that color preferences for each individual are inherently unique.     

Influence of a holistic color interval on color harmony

This study investigates how a holistic color interval, i.e., the nondirectional color difference between a pair of colors in a CIELAB uniform color space, influences perceived color harmony. A set of 1035 test color pairs displayed on a CRT was evaluated for the degree of harmony. These test color pairs consist of pairs combined from among the selected 46 test colors evenly distributed in color space. The subjects were asked to select their three preferred colors from these 46 test colors and then to evaluate the degree of harmony of the test color combinations. The color intervals (ΔE) of each test color combination were calculated and treated as values of an independent variable. In addition, the evaluated degrees of color harmony were considered as values of a dependent variable, in which statistical analysis confirmed the relationship: the degree of harmony is a cubic function of the color interval. Moreover, the plot of this relationship allowed us to identify four color intervals: roughly corresponding to the regions of first ambiguity, similarity, second ambiguity, and contrast in Moon and Spencer's model. However, our results indicated that Moon and Spencer's principles for classifying harmonious/disharmonious regions in terms of the color interval for three color attributes—lightness, chroma and hue—may be inappropriate in predicting perceived color harmony. As for the color intervals between a pair of colors considered as a function of the three attributes, the interval for lightness may have a predominant effect on color harmony, expressed in terms of a cubic relationship. Results of the study further demonstrated that the subject's choice of colors significantly influences perceived color harmony. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 29–39, 2001     

Quantifying colour appearance. part IV. Transmissive media

The experimental data from this study extends the LUTCHI colour-appearance data to cover transmissive media. Two further experiments were carried out: one used a large cut-sheet transparency viewed using a back-lit illuminator, and another used a 35-mm slide projected onto a white screen. These new data were used to reveal the changes in colour appearance caused by different viewing parameters studied, and to evaluate the predictive accuracy of five uniform colour spaces and colour-appearance models. The results show that Hunt's 91 model (developed to fit earlier experimental results) did not perform as well as it did in the previous studies using nontransmissive media. This implies that there are large differences in perceived colour appearance between transmissive and nontransmissive media viewing conditions. Some modifications were subsequently made to Hunt's 91 model and the predictive accuracy was greatly improved.