Color naming in Italian language

The present study investigated Italian basic color terms (BCTs). It is an extension of our previous work that explored Italian basic color categories (BCCs) using a constrained color‐naming method, with 11 Italian BCTs allowed, including blu for naming the BLUE area. Since a latter outcome indicated a categorization bias, here monolexemic color‐naming method was employed, enabling also use of azzurro, deeply entrenched Italian term that designates light blue. In Experiment 1, colors (N = 367), sampling the Munsell Mercator projection, were presented on a CRT; color names and reaction times of vocalization onset were recorded. Naming consistency and consensus were estimated. Consistency was obtained for 12 CTs, including the two blue terms; consensus was found for 11 CTs, excluding rosso “red.” For each consensus category, color with the shortest response time was considered focal. In Experiment 2, consensus stimuli (N = 72) were presented; on each trial, observers indicated the focal color (“best example”) in an array of colors comprising a consensus category. For each of the 12 Italian CCs, centroid was calculated and focal color (two measures) estimated. Compared to English color terms, two outcomes are specific to Italian color naming: (i) naming of the RED‐PURPLE area is highly refined, with consistent use of emergent non‐BCTs; (ii) azzurro and blu both perform as BCTs dividing the BLUE area along the lightness dimension. The findings are considered in the framework of the weak relativity hypothesis. Historico‐linguistic, environmental, and pragmatic communication factors are discussed that conceivably have driven the extension of the BCT inventory in Italian. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 402–415, 2016     

Use of basic color terms by red–green dichromats. II. Models

Abstract: In our companion article (Color Res Appl 2013) we compared the use of Basic Color Terms (BCTs) by normal trichromats, protanopes, and deuteranopes in a mapping (which colors are instances of X?) and best exemplar (which is the best X?) tasks. In this article, we describe and compare two alternative models of the mechanisms underlying the use of Basic Color Terms (BCTs) by red–green dichromats and we focus on how well they fit the empirical data described in the companion article. Model A assumes that BCT use is based on the activity of the yellow–blue and lightness channels, whereas Model B also assumes that there is some degree of input from the red–green channel. Model B was more accurate than Model A in predicting: (1) The frequency of use of BCTs. (2) The distribution of correct responses for many BCTs in both tasks. (3) The distribution of correct responses and kind of errors for many BCTs. (4) The locations of the centroids for both tasks. We conclude that activity in a“residual” red–green channel influences the use of BCTs by R‐G dichromats, as well as the activity of the yellow–blue and lightness channels. The asymmetry of errors for some pairs of BCTs and the differences between primary and derived BCTs are also discussed. This article, in combination with its complementary one (Color Res Appl 2013), provides a comprehensive and detailed overview of how R‐G dichromats use BCTs to categorize surface colors and can integrate and explain some of the results and conclusions obtained in earlier research. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 372–386, 2014     

A similarity‐based cross‐language comparison of basicness and demarcation of “blue” terms

To investigate linguistic and perceptual boundaries within the “blue” region of the color gamut, we analyzed sorting data from speakers of six languages who sorted color stimuli by similarity. Two of these languages, Russian and Italian, are thought to have a separate basic color term and category for “light blue,” distinguishing it from “blue,” and the third was English, which lacks this distinction. There has been less study of the possible basicness of “light blue” terms in the other three languages: Lithuanian and Estonian (both spoken in Baltic states) and Udmurt (a linguistic enclave in North Russia). Sorting data from each sample of speakers were analyzed with principal component analysis and multidimensional scaling, reducing them to a pattern of interstimulus similarities. In addition, color‐naming data were collected for five of the languages and confirmed that sorting responses were not simply a reflection of the words used by subjects to label the stimuli. A “clustering index” was created, quantifying the extent of light/dark blue separation and the strength of any category boundary between them; this was low for English‐language participants but high for Russian and Italian. Udmurt and Lithuanian values were also high, whereas Estonian responses were closer to English. Thus, when clustering of blue stimuli is used as an additional indicator of basicness, the results are compatible with earlier evidence that “light blue” is a separate basic color category in Russian and Italian, and further indicate that light blue terms are basic in Udmurt and Lithuanian, but not Estonian. It may be that “blue” categories are especially susceptible to splitting into two under the influence of linguistic contact. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 362–377, 2017     

Color appearance and color connotation models for unrelated colors

The purpose of this research is to investigate the color appearance and color connotation of unrelated colors. To investigate color appearance (i.e., brightness, colorfulness, and hue) for unrelated colors, 22 observers have answered their color appearance for 50 unrelated color stimuli using the magnitude estimation method. Perceptual data obtained by the experiment is compared with the color attributes data estimated by unrelated‐color appearance models, CAM97u and CAM02u. It is found that both models perform reasonably well but the performance of CAM02u is better than that of CAM97u. For investigating color connotation for unrelated colors, 32 observers have judged their color connotation for the 50 unrelated color stimuli using the 10 color connotation scales (i.e., “Warm – Cool,” “Heavy – Light,” “Modern – Classical,” “Clean – Dirty,” “Active – Passive,” “Hard – Soft,” Tense – Relaxed,” “Fresh – Stale,” “Masculine – feminine,” and “like – Dislike”), and semantic differential method is used for measurement. It is found that the color connotation models developed for related colors perform poorly for unrelated colors. Experimental results indicate that brightness attribute is confusing to estimate and does not affect color connotation significantly for unrelated colors. Based on the psychophysical data, new models for “Warm‐Cool”, “Heavy‐Light”, “Active‐Passive” and “Hard‐Soft” were proposed using CAM02u hue, brightness, and colorfulness. Color connotations for unrelated colors are classified into three categories, which “Color solidity,” “Color heat,” and “Color purity.” © 2013 Wiley Periodicals, Inc. Col Res Appl, 40, 40–49, 2015     

Use of basic color terms by red–green dichromats: 1. General description

Abstract: In this article we present data comparing red–green dichromats' use of “Basic Color Terms” (BCTs) with that of standard trichromats. In a complementary article (Color Res Appl 2013) we use these data to evaluate two models of the mechanisms underlying dichromats' use of BCTs. There were three groups of observers—trichromats, protanopes, and deuteranopes—that each performed two tasks: “mapping” (which of these are exemplars of X?) and “best exemplar” (which is the best instance of X?), where X took the value of each Spanish BCT. The mapping task results were subjected to multidimensional scaling that revealed that dichromats differ from trichromats in the number and nature of the dimensions needed for describing BCTs' use. Trichromats required three dimensions closely related to the opponent color mechanisms (red–green, yellow–blue) and the light‐dark channel. In contrast, tridimensional solution for dichromats was difficult to interpret, whereas the fit for the bidimensional solution was very good and revealed a chromatic dimension, which did not match any of the trichromatic dimensions, and an achromatic one. There were also some error‐asymmetries (sometimes “A” was the predominant error when choosing exemplars of “B”, but not vice versa) and the groups differed in the frequency of use of some BCTs (e.g., protanopes chose more stimuli as orange than trichromats and deuteranopes). As expected, the best exemplar task produced more correct responses than the mapping task, and for both tasks, “primary” BCTs (black, white, red, green, yellow, and blue) produced better results than “derived” ones (brown, purple, orange, pink, and grey). © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 360–371, 2014     

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.     

An exploration of malayalam basic and nonbasic color terms during a color naming task and in naturalistic narratives

Languages show variations in their basic color terms [Basic Color Terms: Their Universality and Evolution. Berkeley, CA: University of California Press; 1969]. Evidence for languages that have or lack basic color terms mainly comes from standardized naming tasks [The World Color Survey. Stanford, CA: CSLI; 2010]. In this article, we take a somewhat different perspective on the issue of color naming in languages. Starting from a language, Malayalam, with a limited number of basic color terms, and thus with a mixed color naming system, we ask how language users behave when they are asked to produce spontaneous narratives in a communicative setting in which color is manipulated systematically. Do narrators behave as predicted by naming task results and grammars, or do they behave (systematically) differently? In this article, we explore how two different color naming settings affect the expression of colors that have basic color terms in contrast with nonbasic terms. For this purpose, a color naming task was administered to validate basic and nonbasic color terms in Malayalam. The result showed that Malayalam has six colors considered simple color terms (e.g., chuvappu ‘red’) and five complex color terms (e.g., tavittu‐niram brown “color of rice bran”). This result was used to develop eight short stories in two color term conditions. The color terms extracted out from “naturalistic narratives” were more varied than those that were predicted by the color naming task. In the Malayalam primary color condition, respondents often used complex constructions rather than simple color terms only [e.g., chuvappu niram(ulla)]. In the secondary color condition, respondents, as expected, used more complex constructions, but they also avoided complex constructions in interesting ways. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 193–202, 2017     

Differences in color naming and color salience in Vietnamese and English

The accepted model of color naming postulates that 11 “basic” color terms representing 11 common perceptual experiences show increased processing salience due to a theorized linkage between perception, visual neurophysiology, and cognition. We tested this theory, originally proposed by Berlin and Kay in 1969. Experiment 1 tested salience by comparing unconstrained color naming across two languages, English and Vietnamese. Results were compared with previous research by Berlin and Kay, Boynton and Olson, and colleagues. Experiment 2 validated our stimuli by comparing OSA, Munsell, and newly rendered “basic” exemplars using colorimetry and behavioral measures. Our results show that the relationship between the visual and verbal domains is more complex than current theory acknowledges. An interpoint distance model of color‐naming behavior is proposed as an alternative perspective on color‐naming universality and color‐category structure. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 113–138, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10131     

Exact location of consensus and consistency colors in the osa‐ucs for the italian language

In a previous work, the authors reported on the results of a color naming experiment performed on native Italian speakers regarding the location of focal colors and centroids in the Uniform Color Scales of the Optical Society of America color system. That work was aiming at comparing such data with those previously obtained by Boynton and Olson (B&O) accounting for the differences in the paradigm and the language. The number of consistency and consensus colors in the different lightness plans was also reported but no information was provided on their placement. Though, such information is very important for any subsequent modeling stage. The objective of this article is to fill such a gap and share such data with the scientific community to provide a reference database for future investigation. Three different datasets were considered: the extended OSA (E‐OSA), the reduced OSA (R‐OSA), and the B&O's (B&O) sets of reference colors. Results show a good overlap among the locations of the consensus colors in the {L, j, g} color model between B&O and the subset of E‐OSA colors overlapping with the B&O 424 colors (R‐OSA), as well as a strong agreement on consistency. Furthermore, a close proximity among the centroids of homologue regions for the majority of the classes was found. © 2012 Wiley Periodicals, Inc. Col Res Appl, 38, 437–447, 2013     

Color and culture: Innovations and insights since Basic Color Terms—Their Universality and Evolution (1969)

Fifty years ago, in 1969, Berlin & Kay published Basic Color Terms—Their Universality and Evolution and set in‐motion a large‐scale systematic research program for studying color naming and categorization across first‐language speakers from different ethno‐linguistic societies. While it is difficult to gauge the impact a research program can make over 50‐years, many linguists, anthropologists, cognitive scientists, and perceptual psychologists consider the Berlin & Kay book as one of the top‐most influential works in cross‐cultural studies not only of color linguistics, but of cognition and language more generally. Today reverberations from the Berlin & Kay (1969) research program continue to resonate through recently available data sets that are being examined with new quantitative analysis methods and modeling approaches. Here we review the origins of the Basic Color Terms phenomenon, and note a few of the numerous directions from which on‐going related work continues to bring forth interesting results in the color categorization arena.     

Centroids of color categories compared by two methods

A procedure is described whereby the subset of Munsell colors of maximum chroma, which has been used by anthropologists to study color naming since Berlin and Kay in 1969, can be specified in the L,j,g coordinate system developed more recently by the Uniform Color Scales Committee of the Optical Society of America. The latter permits a meaningful specification of the centroid location of colors named by each basic term. The procedure is validated by comparing centroids obtained from six subjects who named samples of both the Munsell and OSA sets, and its usefulness is illustrated by comparing data from a four-year old who named only OSA samples and four- and two-year-olds who named only Munsell colors.     

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     

Gray and grayness—its complexities in color appearance of surface colors

Complexities on the roles of reference color gray and grayness are reviewed. They are essential in color appearance, but gray is an implicit color. Although “grayness” is not explicitly used in visual color assessment of surface colors or color order systems, gray can be combined with any colors having six primary‐color components using the term “grayish,” for example, grayish red and grayish yellow. However, the existing region of grayness is limited in a part of color‐appearance space. Illuminance dependency of gray perception is also clarified. Existence of two kinds of psychometric quantities are suggested: one is the attribute of grayness based on its psychological amount in a grayish color under study, and the other is the attribute of brightness of the grayish color under a specified illuminance, psychophysical quantity. The Nayatani‐Theoretical color order system, which uses three opponent‐colors axes, can clarify the above complexities of gray and grayness. Its importance is the same as six primary colors, red–green, yellow–blue, and white–black. © 2012 Wiley Periodicals, Inc. Col Res Appl, 39, 37–44, 2014     

A quantitative network model for color categorization

To clarify the higher‐order mechanism of human color perception, we measured the color appearances of 78 colored lights by an elemental color‐scaling method and by a categorical color naming method. The colors covered nearly the entire CIE 1931 xy‐chromaticity diagram with three different surrounds. The results showed that firm basic color zones derived by categorical color naming can be mapped with no overlap in an opponent‐color response space. We propose a network model with a threshold selector, maximum selectors, and multiplication units with gain factors to generate the categorical color responses quantitatively from the elemental color responses. The model can predict the categorical color naming results in different surround conditions with no change of parameters. This suggests that a nonlinear color vision mechanism for color categorization exists between the primary visual cortex (V1) and the inferior temporal cortex (IT) in the human brain. © 2002 Wiley Periodicals, Inc. Col Res Appl, 27, 225–232, 2002; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10060     

An attempt to reconstruct the meaning of al‐Tusi's color words

In a text dating between 1259 and 1277, the Persian scholar al‐Tusi presented a systematic arrangement of 26 color terms. We propose a reconstruction of all color terms from al‐Tusi's scheme, in terms of preferred translation, mean CIEL*a^*b^* coordinates and digital representation. This reconstruction is based on a visual experiment with 30 subjects, who identified the Munsell chip best representing each color term. Persian words for which the meaning changed since the time of al‐Tusi were substituted by direct translations. The results show considerable interobserver variability in the colors selected when identifying color terms. This relatively large variation was shown to be a characteristic for memory matching experiments in general. Several specific color terms for which the resulting color variation was particularly large are discussed in more detail, and possible explanations for these variations are proposed. The proposed reconstruction suggests that al‐Tusi's list is largely consistent in modern colorimetric terms, although some large hue shifts are observed for color terms corresponding to green. We found no evidence for blue‐green (“grue”) confusion. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 206–216, 2016     

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.     

Influence of basic color categories on color memory discrimination

Two color-memory experiments were performed to investigate whether observers tended to confuse colors with a smaller color difference in memory or colors in a same color-category region. We made color stimuli on a color CRT. Color difference was determined by a simultaneous color discrimination experiment. Color-category regions were obtained by a categorical color-naming experiment using the 11 basic color names: white, black, red, green, yellow, blue, brown, orange, purple, pink, and gray. The results show that two colors with a certain color difference can be confused more easily when they are in a same color category than in different color categories, and that colors identified with memory tend to distribute within their own color-category regions or their neighbor color-category regions, depending on their positions in a color space. These findings indicate that color memory is characterized by the color categories, suggesting a color-category mechanism in a higher level of color vision. © 1996 John Wiley & Sons, Inc.     

Preference for Japanese complexion color under illumination

To find the chromaticity coordinates of the “Preferred Complexion of Japanese Woman” under illumination, subjective estimation experiments were conducted on the complexions of 3 female models under each of 40 colors of illumination. The chromaticity coordinates of “Preferred Complexion” for each model were about the same together. The average chromaticity coordinates of 3 female models were (u′, v′) = (0.2425, 0.4895) under the standard illuminant D65. The “Preferred Complexion of Japanese Woman” in this experiment was compared with the “Preferred Complexion of Caucasian Woman” studied by Sanders. The “Preferred Complexion of Japanese Woman” was shifted to a slightly higher saturation and reddish in hue, compared with the actual complexion of “Japanese Woman.” On the other hand, the “Preferred Complexion of Caucasian Woman” was orange in hue, the same as the actual complexion of “Caucasian Woman.” The color shift of saturation of the “Caucasian Woman” was 3.5 times as large as that of the “Japanese Woman.” © 1997 John Wiley & Sons, Inc. Col Res Appl, 22, 269–274, 1997     

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     

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