White lighting: A provisional model for predicting perceived tint in “white” illumination

Recently, a line of minimum tint in chromaticity space for sources of illumination of different correlated color temperatures (CCTs) from 2700 K to 6500 K has been reported. This line of minimum tint did not correspond to the line of blackbody radiation implicitly associated with sources of white illumination used in architectural applications. It was noted that chromaticities along the line of minimum tint were not metamers but, rather, should represent, for a given CCT, chromaticities where the neural signals from the two spectral opponent channels were minimized. Earlier work provided a theoretical framework for representing the four unique hues where the neural signals from one spectral opponent channel are minimized. This framework was used here to quantitatively represent the line of minimum tint and then to empirically test whether this representation could predict the amount of tint perceived in six different sources of “white” Illumination.” Based on these results, a provisional model is proposed for describing the tint and the amount of tint perceived in “white” Illumination used in architectural applications. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 466–479, 2014     

Hue and warm‐cool feeling as the visual resemblance criteria for iso‐CCT judgment

The hue perception and ‘warm‐cool’ feelings were investigated, in response to various lighting settings, following the adaptation to either 3500K or 5000K to compare which one—between conventional iso‐Correlated Color Temperature (CCT) and a new one based on CIE u'v′ color space—is more compatible with the visual perception. Twenty participants evaluated hue and warm‐cool feelings for 48 test lighting settings, by observing an empty gray booth. The results showed that yellow‐blue and ‘warm‐cool’ feelings are closely located around the Planckian locus, while red‐green roughly follows the line orthogonal to the Planckian locus in CIE u'v′ color space, at both 3500 K and 5000 K settings. This suggests that u'v′ color space correlates better with human perception.     

White lighting

White is a color sensation absent hue. Manufacturers describe practical light sources used for illumination as tinted warm‐white or cool‐white, but these informal designations do not seem to be based upon measured human color perceptions of white illumination. This article describes the results of a series of psychophysical experiments that more precisely measured subjective perceptions of white illumination from light sources of different correlated color temperatures (CCTs). Generally, perceptions of untinted white illumination for sources with high CCTs (above 4000 K) are associated with chromaticities that fall above the blackbody locus. In contrast, perceptions of untinted white illumination for sources with low CCTs (below 4000 K) are associated with chromaticities that lie well below the blackbody locus. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2013     

Hue,chroma, and lightness preference in Chinese adults: Age and gender differences

Recent studies have shown cultural differences in color preference. However, the color preference of people in China, which was found to have its own pattern, was yet to be studied in depth. The current study investigated color preference and the associated age and gender differences in an adult national sample (N = 1290) to provide a culture‐specific characteristic of color perception. Participants rated how much they liked each of 31 colors (four chroma‐lightness levels of red, orange, yellow, green, cyan, blue, and purple, plus three achromatic colors). We found a unique saturated color preference pattern characterized by red, cyan, and blue being preferred the most and orange as the least preferred chromatic color. The “red preference” phenomenon was observed in Chinese adults. Light colors were preferred the most in terms of chroma‐lightness level, followed by saturated, muted, and dark colors. The results of a principal component analysis of the 28 chromatic colors showed that blue‐green‐like colors (cool colors) constituted the largest proportion of color preference. The preference for orange and several dark colors increased with age, while that for bluish colors, purple, yellow, white, black, and light colors decreased. In terms of gender, women liked cyan, white, pink, and light colors and disliked red, orange, and dark colors more than men did. Our findings provide new empirical evidence about the color preference of Chinese and may offer some insight into the study of color preference and lay the foundations for future theoretical and practical research.     

Cross preferences for colors and shapes

Preferences for colors and geometric shapes vary considerably across individuals. Studies have demonstrated these variations in preference separately for colors and shapes, but the relationships between preference variations for colors and shapes are not yet known. By measuring individual preferences for basic colors and shapes, we found that color preferences and shape preferences were partly, but systematically, correlated. People who preferred some simple shapes (e.g., cone, pyramid) tended to prefer some light or warm colors (e.g., yellow, orange). In contrast, people who preferred some complex shapes (e.g., scrambled truncated‐pyramid, scrambled pyramid) tended to prefer some dark or cold colors (e.g., blue, blue‐green). That is, people who like “simple” or “complex” visual features might tend to like “light or warm” or “dark or cold” visual features. These results indicate that individual preferences for colors and shapes might not be independent, but could be correlated and intertwined to some extent. We suggest that the semantic information associated with colors and shapes underlies the cross preferences. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 188–195, 2016     

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.     

Colour preference for Taiwanese floral pattern fabrics

A psychophysical experiment was carried out to investigate factors affecting colour preference for Taiwanese floral pattern fabrics, as a case study of object colour preference. A total of 175 test images of Taiwanese fabrics were used as the stimuli presented on a calibrated computer display. The images were generated on the basis of 5 existing Taiwanese fabrics, each manipulated into 35 images by changing the fabric colour. The 35 colours were selected to cover the most frequently used colours for existing Taiwanese fabrics. The 175 test images were assessed by 76 Taiwanese observers in terms of 9 semantic scales, including Taiwanese style/non‐Taiwanese style, Japanese style/non‐Japanese style, splendid/plain, traditional/modern, active/passive, warm/cool, heavy/light, like/dislike and harmonious/disharmonious. The experimental results reveal two underlying factors: “Splendidness” and “Harmony.” The like/dislike response was found to highly correlate with harmonious/disharmonious, but have poor correlation with Taiwanese style/non‐Taiwanese style. The study also reveals several factors affecting colour preference for Taiwanese fabrics, including the interaction effect of colour and pattern, observer's general liking for the object, and the effect of user experience. These findings can help develop a more robust, comprehensive theory of object colour preference. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 43–55, 2016     

Color tolerance study on white in practical aspect: Perceptibility versus acceptability

This study investigates how the color tolerance for whites is affected by color category and context. Two experiments with different contexts, perceptibility or acceptability, were conducted using 27 color variation samples from six color categories (Neutral‐White, Red‐White, Yellow‐White, Green‐White, Blue‐White, and Blue‐Vivid). The results indicated that the color tolerance for Green‐white is dominantly higher relative to the other white‐based colors, whereas the color tolerance for Yellow‐White and Neutral‐White are relatively lower. However, contrary to the hypothesis, no significant differences in the level of color tolerances could be found between the two context of perceptibility and acceptability. The color tolerance thresholds for each color category groups in both experiments were similar. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 582–588, 2014     

Tunable chromaticity and high color rendering index of WLEDs with CaAlSiN3:Eu2+ and YAG:Ce3+ dual phosphor-in-silica-glass

Phosphors-in-glass (PiG), which serves as a potential bi-replacement of both phosphors and organic encapsulants in high-power white light-emitting diodes (WLEDs), has captured much attention due to its high thermal stability and excellent luminescent properties. However, due to the high-temperature sensitivity and the chemical reactions between phosphors with glass matrix, a variety of phosphors, especially red phosphors could be hardly dispersed into the glass without thermal quenching and decomposition, which greatly limits the improvement of color rendering index and chromaticity tunability of the WLEDs. In this study, adopting the mesoporous silica (FDU-12) and commercial phosphors as raw materials, the phosphors-in-silica-glasses (PiSGs) embedded with red phosphor CaAlSiN₃:Eu²⁺ and yellow phosphor YAG:Ce³⁺ have been successfully prepared at low sintering temperature (950°C) and short preparation time (10 minutes) using spark plasma sintering. Owing to the well preservation of the originally emissive properties of the embedded phosphors, the warm WLEDs with tunable chromaticity and exhibited a superior performance with LE of 133 lm/W, CCT of 3970 K and CRI of 81 were fabricated by encapsulating the as-prepared PiSGs on the blue chips. Moreover, the PiSG composite exhibits a high thermal conductivity up to 1.6 W/m·K.     

Color‐emotion associations,designing color schemes for urban environment‐architectural settings

Color in urban design has become an important issue, each city may present different colors which help to define and describe its architectural features. In the study, color in urban design with architectural setting is studied, façade colors are analyzed with a specific emphasis on the following research questions; “Can color schemes be designed in respect to color‐emotion associations? ” and “Are color‐emotion associations affective while designing architectural setting‐urban environment?.” Non‐color experts, 170 people, from different European and non‐European countries were asked to match the most appropriate adjectives with the given street views in accordance to their color schemes. In the first step, the effect of color is identified in relation to architectural environment‐urban setting, second the relative effect of color is studied as a component of the material. A categorical specification on color cognition and linguistic level of representation is attempted. The results can be a starting point to highlight the importance of preparing color schemes in regard to color‐emotion associations. Abstract color schemes may also provide us an idea about image setting, especially at design process stage. In the study, keywords are linked as environment‐response pairs; such as quiet, calming, lively, exclusive, reserved, and natural. Human psychophysical structure such as “warm‐cool,” “heavy‐light” in regard to visualizing certain colors are evaluated and described in terms of building materials.     

Impact of spectral power distribution of daylight simulators on whiteness specification for surface colors

The impact of spectral power distribution of daylight simulators (ie, D65 simulators) on surface whiteness specification was investigated by focusing on how CIE whiteness and tint values of 8 whiteness samples with fluorescent whitening agents (FWAs) vary under different D65 simulators. Large variations in both whiteness (～16 points) and tint (～1.6 points) are observed under the D65 simulators above BB grade, as characterized using the CIE metamerism index. However, it is found the variations of the whiteness and tint values are smaller under the D65 simulators whose radiant power in the UVA band (ie, 300‐340 nm) was within ±30% in comparison to CIE standard D65 illuminant, as defined in BS 950, which may be a better alternative for evaluating the quality of a D65 simulator for surface white specification using CIE whiteness and tint formulas. The findings also suggest the necessity to fine‐tune or revise the CIE whiteness and tint formulas to characterize the surface whiteness under nonperfect D65 simulators or arbitrary light sources.     

A study of colour emotion and colour preference. Part II: Colour emotions for two‐colour combinations

Eleven colour‐emotion scales, warm–cool, heavy–light, modern–classical, clean–dirty, active–passive, hard–soft, harmonious–disharmonious, tense–relaxed, fresh–stale, masculine–feminine, and like–dislike, were investigated on 190 colour pairs with British and Chinese observers. Experimental results show that gender difference existed in masculine–feminine, whereas no significant cultural difference was found between British and Chinese observers. Three colour‐emotion factors were identified by the method of factor analysis and were labeled “colour activity,” “colour weight,” and “colour heat.” These factors were found similar to those extracted from the single colour emotions developed in Part I. This indicates a coherent framework of colour emotion factors for single colours and two‐colour combinations. An additivity relationship was found between single‐colour and colour‐combination emotions. This relationship predicts colour emotions for a colour pair by averaging the colour emotions of individual colours that generate the pair. However, it cannot be applied to colour preference prediction. By combining the additivity relationship with a single‐colour emotion model, such as those developed in Part I, a colour‐appearance‐based model was established for colour‐combination emotions. With this model one can predict colour emotions for a colour pair if colour‐appearance attributes of the component colours in that pair are known. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 292–298, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20024     

Gender difference in color preference across cultures: An archetypal pattern modulated by a female cultural stereotype

A gender difference in color preference among British participants has been repeatedly reported, in which both males and females show a preference for blue‐green colors, while females express an additional preference for pink‐purple colors. To investigate the robustness of gender difference in color preference in a different culture, we tested 81 young adult Indians from a school of design and compared them to 80 young British students in Psychology. The 35‐item International Personality Item Pool (IPIP) and Bem Sex Role Inventory (BSRI) questionnaires were also administered to explore possible links between personality traits, gender schemata, and color preferences. Results confirmed a gender difference in both cultures; participants collectively expressed a preference for cool over warm colors, while in addition females showed a preference for pink colors, with a warm bias for Indian females and a cool bias for British females. While these results extend gender difference to Indian culture and support the universality of an underlying pattern they also reveal a culture‐specific contribution essentially observed in females. In British participants, color preference was correlated exclusively with BSRI scores in females and overwhelmingly with IPIP scores in males; this gender‐specific pattern of correlation was not replicated in the Indian sample. Results point to an archetypal pattern of gender difference in color preference with a remarkable cross‐cultural similarity in men and a subtle but significant cultural difference in women whose origin is yet to be explained.     

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     

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     

Does hue affect the perception of grayness?

Although gray is defined as an achromatic color sensation varying only in lightness, in practice, grayness can be tinged by any hue within a limited range of chroma. Given the fact that preferred perceived white and black are slightly chromatic, the hypothesis tested in this study is that the preferred perceived object gray is also slightly chromatic. Two psychophysical experiments were carried out to test this hypothesis. A total of 56 color normal subjects assessed 27 different gray patches that varied mainly in hue, in three separate trials. Subjects selected a subset of samples (10 in the first experiment and five in the second experiment) that were considered “most gray” resulting in 168 selected sets of samples. Subjects then ranked their selected subset of samples from most to least gray. A total of 1225 assessments were thus obtained (750 assessments in the first experiment and 465 in the second experiment). Results from both experiments were in good agreement and indicate that greenish blue grays in the range of 190° to 235° of CIELAB hue angle were selected as most gray, thus indicating that the perception of grayness is influenced by hue. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 374–382, 2015     

Highly thermally stable and emission color tunable borate glass for white‐light‐emitting diodes with zero organic resin

White‐light‐emitting glass is a kind of potential bireplacement of both phosphors and epoxy resin in high‐power white‐light‐emitting diodes (WLEDs) because of its high thermal conductivity and excellent thermal stability in aspect of luminescence, CIE chromaticity, and transmittance. In this study, a series of tunable white‐light‐emitting strontium borate (SBO) glass SBO:Tb³⁺,Eu³⁺ were prepared by conventional melt quenching method, and their luminescence properties were systematically studied through their photoluminescence excitation and emission spectra, decay curves, and quantum efficiency. Intense white light emitting can be achieved by in situ mixing of yellowish green and reddish orange emissions from Tb³⁺ and Eu³⁺, respectively, in single glass component SBO, and mixed white emissions can be tuned by Tb³⁺→Eu³⁺ energy transfer with the increasing concentration of energy acceptor Eu³⁺. The quantum efficiency of optimal glass SBO:10%Tb³⁺,6%Eu³⁺ was measured as 36.78%. And the excellent thermal stability of this glass can remain its luminescence intensity above 80% at the temperatures below 523 K. Its chromaticity shift is less than 0.01 at the temperature below 548 K, which is far smaller than that of commercial DS‐200 and triple‐color white‐emitting phosphor mixture. Except all above, the transmittance of this glass hardly shows loss after thermal aging at 120°C for 240 hours, which is superior to the only remaining 58.8% transmittance of epoxy resin. The thermal conductivity of this glass is 0.65 W/mK much better than the 0.16 W/mK of epoxy resin. Based on above research results, SBO:Tb³⁺,Eu³⁺ glass is considered as a promising candidate for high‐power WLEDs, thus a SBO‐WLED is simply assembled by SBO:10%Tb³⁺,6%Eu³⁺ glass and 378 nm LED chip that can present excellent luminescence performance with V=10 V, I=600 mA.     

A spectroscopic method for quick evaluation of tint strength and tint tone of titania (rutile) pigment and factors affecting them

Titanium dioxide (TiO₂) manufacturing industries measure optical properties such as brightness, colour, tint strength, tint tone, gloss, scatter coefficient, and others to ensure the quality of the product. Product characterization and process control generally focus on the optical properties, which determine its quality. In this work, titania rutile pigment with varying tint strength and tint tone is analyzed and a correlation is established between particle size and the optical properties such as tint strength and tint tone. It is observed that optical properties of titania pigment depends on the particle size as well as particle size distribution. A relatively faster evaluation of tint strength and tint tone can be made using the reflectance and particle size measurements. Analytical samples were prepared by ultrasonic dispersion of pigment in water containing calgon as dispersing agent. To verify the accuracy of the method, pigment tint strength and tint tone obtained from this study are compared with those resulting from traditional analysis. The results showed that the new method is viable.     

Continuously tunable broadband emission of Mn2+‐doped low‐melting point Sn–F–P–O glasses for warm white light‐emitting diodes

Tin fluorophosphate (TFP) glass, which can be used to manufacture a phosphor‐in‐glass (PiG) for achieving high‐power white light‐emitting diodes (w‐LEDs), has attracted a great deal of attention because of its low‐melting point. Mn²⁺‐doped ultralow glass transition temperature (~122°C) Sn–F–P–O glasses were prepared to achieve broadband visible light emission from 390 to 720 nm. By controlling the concentration of MnO, the emission color of the TFP glass can be adjusted from blue/cool white to warm white/red. In particular, 0.2 mol% MnO‐doped TFP glass, which yields bright and warm white light and has ultralow glass transition temperature and thermal stability, has a promising application prospect in the field of high‐power w‐LEDs.