Whiteness,chromaticness, and blackness symmetries for CIELAB,with a numerical example

Whiteness, chromaticness, and blackness are defined for CIELAB. These NCS‐like color attributes offer an alternative to lightness and chroma for describing color. Their hue‐preserving symmetries are derived for tristimulus color space. A numerical example provides what theory predicts are visually uniform sequences of colors with constant lightness, whiteness, chromaticness, or blackness. Numerical approximation is unnecessary. Such sets of symmetric colors in one hue are visually interesting, and useful for computer aided design. The appropriateness of such attributes for CIELAB is briefly discussed. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010     

Formulation of interior design color palette based on the regression analysis of digital color samples

Various color models have been developed to represent color as a synthetic construct of its component attributes. The CMYK color model is based on a mathematical framework efficient for digitally planning and processing the colors for a domain‐specific application such as interior design. The CMYK color model correlated with the Munsell system would also increase usability and effectiveness. In this research, we suggest a computationally assisted systematic method to formulate a color palette useful for interior design. A continuous process of sampling, statistical analysis, and computational manipulations has been performed to derive a desirable color palette. First, color samples have been extracted from the representative interior design cases of residential buildings, offices, and commercial spaces. Second, the interrelationships among C, M, Y, and K values in all samples have been statistically analyzed followed by calculating the number of elements in the numerically categorized sets for C, M, or K value. New CMYK combinations were generated by using selected sets of C, M, or K value showing relatively dominant presence in the original samples. Then, the statistically extracted correlation function was used to propose a complete list of CMYK color combinations for interior design. The resulting CMYK combinations were then converted into the values represented in the Munsell color system. We envision that the proposed approach can increase both applicability and efficiency of the resulting color palette by considering both intuitive and mathematical color models with the support of a computational data processing technique. © 2005 Wiley Periodicals, Inc. Col Res Appl, 30, 135–145, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20092     

Study on the preference of city color image selection based on the logistic model: A case study of Shanghai

With the continuous progress of urbanization, China's urban color planning has begun to receive attention, but there are still many problems in the quality of color environment. In order to clarify further the urban color positioning of our country, the detailed urban color planning objectives are set up, and the opinions of residents with different attributes are included in the consideration scope of urban color planning objectives, so as to guide the future urban color planning scientifically. From the perspective of urban residents' preference, this article takes Shanghai as an example to analyze the difference of residents' preference for urban color selection with different attributes. In this article, the logistic regression model was used to analyze the results of residents' choice, so as to conclude that the significant factors influencing residents' preference for city color image include age, monthly income, current city of residence, frequency of coming to Shanghai and whether they have been to other countries. Therefore, paying attention to the above significant attributes of residents and carrying out in-depth research can provide reference value for the status of the city's future color image.     

Color appearance modeling of bicolor striped woven fabrics considering neighboring color effects

In this article, the effect of the spatial and colorimetric attributes of neighboring color on color appearance shift in bicolor striped woven fabrics is investigated. A total of 240 test/neighboring woven color combinations were constructed in four different striped paradigms. Each test color in the combinations was visually assessed by 12 observer panels with the use of the magnitude estimation method estimating the magnitude of perceptual color attributes lightness, colorfulness, and hue. The visual estimates obtained were analyzed statistically by employing correlation and simple regression methods, and, as a result, the following significant neighboring color effects were detected and individually defined: (1) neighboring color's size, lightness, colorfulness, and hue on test color's lightness, (2) neighboring color's colorfulness and hue on test color's colorfulness, and (3) neighboring color's hue on test color's hue. Furthermore, through multiple regression analysis, color appearance models by which the lightness, colorfulness, and hue of bicolor woven fabrics can be predicted were derived. The predictive performance of the models was evaluated by calculating the difference between the visually estimated and the predicted color appearances, using ΔL*, ΔC*, Δh°, and ΔE_CMC(2:1). Among all the derived models, the model producing the smallest mean error was chosen as a final model, and its great accuracy in color appearance predictions was verified through further statistical evaluation. It is envisaged that the findings of this research are of benefit to design textile products with bicolor striped woven fabrics to have desired color appearances. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 512–521, 2017     

Research on color harmony of building façades

In this study, the 28 primary colors and 11 complementary colors suggested by Chang et al in their investigation on building colors in Wanhua District of Taipei City were taken as color samples. The two-color combination mode was adopted to obtain 308 simulation photos, and two-color harmony was discussed from the perspective of visual evaluation using psychophysical tests. This study explored building façade color harmony in the CIELAB color space, and the relationship between the color attributes (hue, lightness, and chroma) and the color harmony, and between the differences of the color attributes and color harmony. It found that a high lightness of a building's primary color is associated with a high level of building color harmony, while the color harmony is reduced when the color falls in the green or blue sector in the CIELAB color space; a greater lightness difference between building façade colors is associated with a higher level of building color harmony, while the colors are disharmonized when they tend to the blue sector in the CIELAB color space. The contribution of this study is to summarize the principles for the application of building color harmony in urban renewal, and proposed suggestions on building color harmony in the urban renewal process.     

Predicting personality associations evoked by multicolored appearance of virtual agents: An exploratory study

Designing agents' color appearance that can evoke desired color‐personality associations (CPAs) is still a challenge. To respond to the challenge, this study proposed a multicolor personality index (MCPI) model to predict the CPAs evoked by agents using the color‐personality indices for single colors together with the histogram of agents' image. Specifically, the color personality index for each bin of an agent's histogram was first calculated based on the color‐personality indices for single colors; then, the predicted values of CPAs were obtained by calculating the weighted average of color‐personality indices of all bins in the histogram. To improve the MCPI model, a simple color‐attention index model was proposed to evaluate the effects of color on attention and the effects were introduced into the MCPI model, that is, the multi‐color personality index based on color attention (MCPI‐CA) model. To validate the two models, an experiment was conducted to collect the CPAs of five traits (i.e., extraverted‐introverted, moody‐unemotional, agreeable‐disagreeable, organized‐disorganized, and wide interests‐narrow interests) evoked by the multi‐colored appearance of agents. The results showed that (a) observers in general perceived the CPAs evoked by color appearance in similar way; (b) for most agents, the CPAs evoked by multi‐colored appearance could be predicted well by the MCPI model; and (c) the MCPI‐CA model usually had better performance than the MCPI model due to the inclusion of the effects of color attributes on attention. In addition, the limitations of the proposed models and their implications for designers were also discussed.     

Color space and its divisions

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

A general framework to study the price‐color relationship in paintings with an application to Mark Rothko rectangular series

We propose a general framework to study the relationship between the price of a painting and its color‐related attributes. To this end we focus on four key aspects: dominant colors, features of the color palette, color harmony, and color emotions. We demonstrate the usefulness of this approach with an example based on Mark Rothko's post‐1950 paintings (the “rectangular” series), and auction data from the 1994 to 2018 period. We identify two distinct price‐color regimes in Rothko's market: (a) [1994‐2005], a period in which prices are explained mainly by the growing popularity of the artist regardless of the color attributes of the paintings sold; and (b) [2006‐2018], a period in which color‐related attributes explain most of the prices. Furthermore, we find that in this second period, the dominant colors and the diversity of the color palette, are by far the most relevant attributes that influence the price; color harmony and color emotions hold almost no explanatory power during this period. Finally, we propose a new metric based on the Herfindahl Index to describe color diversity; this metric seems to be promising at characterizing the effect of the color palette on the price of a painting.     

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     

Comparison of color vision models based on spectral color representation

Recent break‐throughs in retinal imaging have raised new questions for color vision research, and the existing color vision models should be re‐evaluated. Many color vision models are based on an assumption that there are no differences in the detection phase, neither in the spatial configuration nor in the spectral sensitivities of cells. In this article, we have run experiments with four different color vision models. This evaluation gives us more knowledge about the essential properties of the models. We show how the tested color vision models are able to replicate the behaviour of human color vision by evaluating their performance in Farnsworth‐Munsell 100‐Hue color vision test. Also, the wavelength discrimination power of each model is presented and the properties of color spaces spanned by models are examined using samples from Munsell Book of Color. Our experiments show that there are large differences in the properties of different models. © 2009 Wiley Periodicals, Inc. Col Res Appl, 34, 341–350, 2009     

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     

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

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

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.     

The feasibility of establishing new color image scales using the magnitude estimation method

Color image is one of the most important factors in art and design. In general, artists and designers apply their own personal image meanings into their work. However, the image meaning for a specific work is frequently in conflict with those of the general observer. Thus it is necessary and important to derive one set of merit color image scales which can be utilized to predict the color image meanings of works in parallel with the average person's perception and which can also serve as a guide for artists and designers. In this study, the psychophysical method (magnitude estimation method), usually used in visual measurement of color appearance, was employed to attempt to establish new color image scales to evaluate the color image meanings of works matching those of the average person. The results show that new color image scales WIP are developed, and the relativity between the latest color image scales WIP and the color attributes (say Lightness L*, Hue h, and Chroma C*) of the CIELAB color space is also discussed. The total mean value of coefficient of variation for the results of visual assessment in the experiment of evaluating the color image meanings of the 207 color specimens used, in general, is about 36, similar to that for those experiments conducted using the psychological method. Also, a good relationship between the new color image scales and the color attributes of the CIELAB color space can be found. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 463–468, 2007     

Appearance variations of textile materials due to different near gray backgrounds

The preliminary experiments were carried out for investigating the effect of lightness of achromatic background (white, grays, and black) on color appearance attributes (lightness and colorfulness) of some colored fabrics. A series of achromatic backgrounds at eight levels of lightness was provided. Each test color was viewed against these backgrounds and the perceived lightness and colorfulness were evaluated by using the pair comparison method. The results indicated that the lightness of achromatic background affects perceived lightness and colorfulness. The lightness of tests colors increases when surrounded by dark backgrounds while a consistent trend was not noticed for perceived colorfulness. The results from visual assessment were compared with the predicted results by the CIECAM97s model. The predictions of the model were in agreement with the perceived lightness by visual assessment but there was not any correlation between the results of model and visual assessment for colorfulness. In the second part of the experiments, a colorimetric match of samples on different backgrounds was carried out by visual judgments as well as implementation of color appearance models in reverse mode. Results from visual trials were significantly different from those predicted by the models. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 133–141, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20190     

An evaluation of the Hunt94 color appearance model under different light sources at low photopic to low mesopic light levels

Color appearance models allow for the quantification of color appearance under a variety of viewing conditions. Such models may ultimately provide a measure for accurate assessments of the color‐rendering properties of light sources. This article evaluates the Hunt94 color appearance model using a new set of color‐naming and magnitude‐rating data. At one photopic level (10 cd/m²), the evaluations showed that for a xenon lamp and an enhanced metal halide lamp that have chromaticities and spectra close to an equal energy spectrum, the Hunt94 model provided good predictions of the primary and secondary color names and hue magnitudes for a wide range of color chips under the two illuminants. However, for other light sources the Hunt94 model predictions deviated considerably from the evaluations. Three modifications were applied to the Hunt94 color appearance model to predict color‐naming and magnitude‐rating data better for all light sources. The modified Hunt94 model gave good predictions (correlation coefficients r ～ 0.95) of the secondary hue magnitude of the color chips used in the experiment at photopic light levels (10 cd/m² and 1 cd/m² background luminances) under “white” light sources. However, the modified model was still unable to predict color appearances at low mesopic light levels (0.1 cd/m² and 0.01 cd/m²). © 2005 Wiley Periodicals, Inc. Col Res Appl, 30, 107–117, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20088     

Color prediction models for digital Jacquard woven fabrics

The current industry practice for producing jacquard fabrics uses computer‐aided design (CAD) systems that provide visual simulations of the final color appearance of actual fabrics prior to production. This digital process is fundamentally based on the prediction of combined weave‐color effects, which can be successfully achieved by accurate color mixing models and the structural details of the fabrics. With the accurate models used in CAD systems, designers would see simulations more closely resembling fabrics to be produced. By checking the previews, the designers can easily modify, that is, recolor, the designs on the display monitor without doing repetitive physical sampling with the adjustment of the weaves and the yarn colors. However, there is no ready applicable accurate color mixing model for woven structures and there has not been sufficient investigation of the color prediction despite its usefulness for the current digital CAD process. Our study investigated the, color prediction of jacquard woven fabrics designed based on the principle of optically subtractive color mixing with the use of CMY colors. The color prediction was firstly done through the application of the six color mixing models previously developed for various other applications including fiber blending and printing. The performance of each model was evaluated by calculating the difference between the predicted and the measured colorimetric data, using ΔE_CMC(2:1). The average color difference from the models was 11.93 ΔE_CMC(2:1), which is hardly acceptable in textile industry. In order to increase the accuracy in color prediction, the six models were then optimized. As a result, substantial improvements for all models were obtained with a decrease in color difference to 4.83 ΔE_CMC(2:1) on average after the optimizations. Among the six optimized color mixing models, the optimized Warburton‐Oliver model, that is, W‐O model, was found to have the lowest average ΔE_CMC(2:1) value of approximately equaling to 2, which is considered potentially useful to be applied to the current digital fabric color prediction. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 64–71, 2016     

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