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     

Optimal employment of color attributes to achieve saliency in icon matrix designs

With the wide use of smart devices, through which information is presented in vast quantities, objective guidelines are needed to enable designers to choose appropriate colors for information display. The purpose of this study is to determine which colors are the most eye‐catching in displays that employ icon matrices and thereby provide empirical grounds for strengthening the visual information structure of interface designs. Three attributes of color, which include hue, tone, and color combinations, are examined to optimize the color saliency in information displays. An eye‐tracking study was conducted to evaluate saliency objectively by analyzing fixations of visual attention. Based on the hue‐saturation‐brightness color system, a 5‐by‐5 matrix of 25 color patches was adopted to generate 21 color stimuli. Part I of the study focused on hue and indicated that warm colors are perceptually more eye‐catching relative to cool and neutral colors. Part II of the study investigated tonal influences and revealed that highly saturated colors provoked the greatest visual magnetism against a black background across all hue groups, although there was an alternative tendency for a blue hue. Contrary to expectations, no distinctive patterns were observed among brightness groups. With regard to color combination, Part III of the study provided empirical verification that high contrast between a foreground and a background generates a more dominant conspicuity. The results of the present study can be applied in designing electronic interfaces that display icon matrices to create effective communication by guiding visual attention and increasing aesthetic satisfaction. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 429–436, 2015     

Impact of environment color on individual responses in public spaces of shopping malls

This study aims to explore the specific impact of a color's hue, saturation, and brightness value on people's evaluation, behavior, and emotions in the public space of existing shopping malls. Following a field investigation, color composition and distribution characteristics in the public spaces of shopping malls are summarized. In the real scenes, the hues of colors are mainly warm colors, with some supplemented by blue. The saturation of the majority colors, which are almost grayish colors, is lower than 33% and their brightness is very wide and evenly distributed. An experiment was then conducted in the laboratory, wherein photos taken and sounds recorded on-site were shown to participants; the participants were then asked to answer questionnaires based on the pleasure-arousal-dominance emotion and approach-avoidance behavior theories. The results showed that hue has a weak effect on individual responses, whereas saturation was found to have a significant effect. Moreover, the brightness difference between colors can cause a change in satisfaction, behavior intention, and emotion. Additionally, in the public spaces of shopping malls, the red color is more associated with embodied meaning, whereas the green color is more associated with referential meaning, in which different objects have significantly different influences.     

Complexity of the color appearance of objects with nonuniform illumination

An inversion relationship is clarified between lightness and brightness, and also between chroma and colorfulness under nonuniform illumination with different illuminance levels (high and low) within the same visual field. Brightness (or colorfulness) of object color with low lightness (or chroma) under high illuminance level is perceived higher than that of another object color with high lightness (or chroma) under low illuminance level. Two color images are given for showing the inversion phenomena on brightness–lightness and colorfulness–chroma between object colors under different illuminance levels. These color images are useful for making researchers on color understand the differences in concept between brightness and lightness, and also between colorfulness and chroma. In particular, the concept of colorfulness is important, but difficult to understand. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 372–377, 2007     

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     

Effects of correlated color temperature on spatial brightness perception

The relationship between lamp color characteristics and brightness perception is not well known. In this study, nine lighting environment with correlated color temperature (3000 K, 5000 K, and 8000 K) and illuminance (1000 lx, 300 lx, and 100 lx) were created. Both the side by side visual matching and spatial brightness scaling experiments are designed to verify the effects of correlated color temperature on spatial brightness perception. The results of the study show that lighting with high correlated color temperature will have stronger spatial brightness perception than lower ones. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011     

Individual differences of unique hue loci and their relation to color preferences

Loci of the four unique hues (red, green, blue, and yellow) on the equiluminant plane on the color display and three preferred colors were obtained from 115 normal trichromats. We sought possible correlations between these measures. Different unique hue loci were not correlated with each other. The three preferred colors were not correlated with each other. We found five combinations of significant correlation between a preferred color and unique hue settings, yet the overall tendency is not very clear. We conclude that individual differences in color appearance measured by unique hues and color preferences measured by asking for favorite colors may not be predicted from each other or even within a category because the differences in the earlier visual mechanisms can be compensated for and these high‐level measures can be influenced by learning and experience. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 285–291, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20023     

Relationship between brightness/luminance ratio and additivity‐law failure

The degree of additivity‐law failure of a mixture color consisting of two component chromatic colors has very complex characteristics depending on the used component colors and their mixing conditions. It is significantly affected by the mixture‐color chromaticity and by the brightness/luminance ratio at the chromaticity. A simple relationship was derived between the following quantities: degree of additivity‐law failure, additivity‐law luminance (luminance of the mixture color derived by postulating additivity law), and brightness/luminance ratio at the chromaticity of the mixture color. This relationship can be applied to any additivity‐law failure experiment and any formula on brightness/luminance ratio. © 2002 Wiley Periodicals, Inc. Col Res Appl, 27, 185–190, 2002; Published online in Wiley Interscience (www.interscience.wiley.com). DOI 10.1002/col.10045     

Perceived density,a further attribute of color,revealed by the colors favored in Japan

Colors can be characterized by three main attributes: hue, value, and saturation. But colors also exhibit other phenomenological qualities. In this study, we identify one such secondary attribute of color: perceived density. We discuss the prevalence of dense colors in Japan starting from the “48 Teas and 100 Mice” colors of the Edo period, and develop the concept of perceived density through this aspect of Japanese color preference. When vivid colors were forbidden to commoners during the Edo period, subtle variations of brownish and grayish colors were created. These colors with base tones were not salient, yet they looked dense. Muted colors with paradoxical richness are still common in Japan today. Japanese commodity design often uses muddy colors with white or gray undertones, and deep colors with black undertones. Together they form distinct groupings of relatively dense color. The perceived density of color corresponds to how dense and filled, or thin and airy a color appears. Colors of higher perceived density appear to be more packed and to have mass. Perceived density of color is unusual in that it does not have a monotonic relationship with one of the primary perceptual attributes. High apparent density is observed in a central region of an equi‐hue plane where value or saturation are at intermediate values. We consider two possible explanations of how high values of density can coincide with middling values of value and saturation: characteristics of the spectral reflectance curves, or the complexity of the neural signals that underlie the emergent property.     

The appearance of colors produced by a minimum-energy stimulus and two pairs of fundamental colors

This article presents the results of experiments designed to measure the color appearance produced by a minimum-energy stimulus within very small color fields and exposed for a very short duration. The experiments also revealed the common nature of colors in both spatial and temporal reductions. The hue is shifted toward either red or green and then toward a line connecting yellow and blue on the chromaticity diagram. The decrease and increase in saturation and brightness, respectively, correspond to this variation in hue. The nature of the results pertaining to the mechanism of color perception led to the assumption that a color-sensation mechanism consisting of two pairs of fundamental colors acted functionally. These fundamental colors were calculated from the variations of the results obtained in color space, and were defined respectively as 513C, 510, 585, and 484 nm.     

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.     

On the conditions affecting the contribution of color to brightness perception

Colored stimuli appear to be brighter than an achromatic stimulus of the same luminance as the colored stimuli. We have studied this effect using similarity judgments in a triadic scaling task. Several instructions and stimulus configurations were used. the color sets contained colors at three luminance levels. When subjects are instructed to attend to brightness differences, the contribution of the brightness axis is strongly increased relative to the contribution of the color channels. Moreover, a correction to the color input is necessary when subjects are instructed to attend to brightness similarities between saturated colors. For a fixed adaptation level, the chromatic input is relatively stronger for the lower luminance levels. This correction is absent in all other investigated conditions. the correction found here confirms an earlier report by Fairchild and Pirotta (1991).     

Color analysis of natural colorant‐dyed fabrics

Colors from naturally dyed fabrics recently have attracted both consumers and manufacturers in fashion markets. Even though color attributes of the fabrics have been partially observed in some literature, a data base of colors for natural colorants in fabrics needs to be established and the colors to be characterized according to systematic color notations and tones in order to relate the traditional natural colors to contemporary color communication systems. Therefore, a study was performed to investigate color characteristics for a given large set of natural colorants‐dyed fabrics based on the Munsell color notations, to analyze their tones with relation to the notation such as hue, value, and chroma, and finally to identify the effects of mordanting, an important coloring auxiliary, on the colorimetric properties of the fabrics. As a result, the dominant hue for a total of 350 naturally dyed fabrics was yellowish families followed by reddish and purplish ones in the Munsell notation owing to the use of leaves and plant as usual natural dyestuff, which confirms the limit of color hues of the fabrics. Color value for most of naturally dyed fabrics was generally higher whereas the chroma was lower, which means that most of colors for naturally dyed fabrics tended to be bright and weak shaded. Grayish, light grayish, and soft tones were the main tones of natural colorant‐dyed fabrics. All of hue, value, and chroma were found as being influenced by mordanting in that more particularly; iron mordanting was likely to cause the decrease of both value and chroma for most of naturally dyed fabrics. These results could provide a systematic color data for naturally dyed fashion fabrics and suggest a future direction of color development for them. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 148–157, 2008     

Visual clarity and feeling of contrast

The visual clarity of a lighting environment is significantly affected by changing the general color rendering index (Ra) of its illumination. This effect has been studied by a number of researchers, but the cause of this effect has not been thoroughly studied. In order to clarify this, the mutual relations between visual clarity, lightness perception, and feeling of contrast are analyzed by using object colors under illuminations with various Ra values. the results obtained are as follows. (1) the visual clarity of a lighting environment is different from the lightness perception of the object colors in the environment. (2) the change in visual clarity of a lighting environment is highly correlated to a feeling of contrast between object colors under the illumination. (3) the effect of visual clarity is estimated effectively by assessing the feeling of contrast using a specially selected four-color combination. (4) the illuminance for equal visual clarity for any illumination is predicted by the equality of feeling of contrast under the same illumination specified by the gamut area made by the component colors of the four-color combination in a brightness and colorfulness space. (5) the effect of visual clarity under various illuminations cannot be predicted by using their Ra values.     

Surface color and color constancy

Color constancy is often treated as the tendency of surfaces to stay the same perceived color under changing illumination or context (removing/adding/replacing surrounding objects). But these types of color constancies are not basic ones and there is another kind of color constancy that is fundamental for the explanation of all color constancy phenomena. We experience it when looking at a curved uniformly colored surface or when changing the shape of the surface. A new concept of surface color is developed and the variety of all perceived colors is suggested to be described as a nine-dimensional set of 3 X 3 matrices corresponding to different surface colors. Examples of color matrices calculated for some colored surfaces being viewed by the standard viewer are presented and arguments supporting the concept are discussed. It is shown that the set of color matrices represents all perceived colors quite adequately.     

Effects of surrounding brightness on visual search for safety colors

The present article reports the investigation of the effects of surrounding brightness on a visual search for three safety colors: red, orange, and yellow. Images of visual stimuli consisting of an array of colored circles placed on a large visual field (a visual angle of 40°) were displayed on an 80‐in. screen with a DLP projector. Experiment I examined the search efficiency under three levels of background luminance that were equivalent to the three target luminances. The results showed that the search efficiency for the orange target decreased as the number of distractors increased, under each of the background luminance levels, whereas the efficiency scarcely decreased for the red and yellow targets. Although a reduction in background luminance increased the search efficiency for the orange target, it is suggested that the effect of background luminance is smaller than the effect of the target color in search efficiency. Experiment II examined the search efficiency under three conditions of low levels of incident illuminance, which were matched with a linear regression to the luminance of color chips of safety colors measured twilight conditions. The results showed that the search efficiency for the orange target decreased as the number of distractors increased under each of the different illuminance conditions, whereas the efficiency scarcely decreased for red and yellow targets. Furthermore, as illuminance decreased, the search time for the orange target was more greatly impacted than for red or yellow. These results imply that the recognition of orange tends to be influenced by the surrounding brightness. © 2005 Wiley Periodicals, Inc. Col Res Appl, 30, 400–409, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20152     

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     

Concerning the calculation of the color gamut in a digital camera

Several methods to determine the color gamut of any digital camera are shown. Since an input device is additive, its color triangle was obtained from their spectral sensitivities, and it was compared with the theoretical sensors of Ives‐Abney‐Yule and MacAdam. On the other hand, the RGB digital data of the optimal or MacAdam colors were simulated to transform them into XYZ data according to the colorimetric profile of the digital camera. From this, the MacAdam limits associated to the digital camera are compared with the corresponding ones of the CIE‐1931 XYZ standard observer, resulting that our color device has much smaller MacAdam loci than those of the colorimetric standard observer. Taking this into account, we have estimated the reduction of discernible colors by the digital camera applying a chromatic discrimination model and a packing algorithm to obtain color discrimination ellipses. Calculating the relative decrement of distinguishable colors by the digital camera in comparison with the colorimetric standard observer at different luminance factors of the optimal colors, we have found that the camera distinguishes considerably fewer very dark than very light ones, but relatively much more colors with middle lightness (Y between 40 and 70, or L* between 69.5 and 87.0). This behavior is due to the short dynamic range of the digital camera response. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 399–410, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20245     

Testing the performance of CIECAM02 from 100 to 3500 cd/m2

Color appearance models were developed to characterize the color attributes of stimuli under different viewing conditions based on data collected through magnitude estimation or color matching experiments. Although human beings experience very high light levels under daylight and the reproduction of colors under daylight is important in the color and imaging industries, the existing color appearance models were developed based on the data that were collected under the conditions with luminance levels below 700 cd/m² due to the lack of facilities to produce stable illumination at high light levels. A recent study investigating color preference of an artwork under a wide range of light levels from 20 to 15 000 lx suggested that CIECAM02 cannot accurately characterize the color appearance under extremely high light levels. This study was designed to directly test the performance of CIECAM02 from 100 to 3500 cd/m². Human observers performed color match for four hues under a series pairs of adapting conditions with a haploscopic viewing condition. It was found that CIECAM02 had the best performance in characterizing the hue angles but the worse performance in characterizing the brightness with a maximum underprediction around 200% across a wide range of luminance. This was mainly due to the fact that CIECAM02 was developed based on the data collected under relatively low adapting luminance levels. The color appearance model that was proposed to use the adapting luminance levels in characterizing the cone compression in the postadaptation process was found to have a much better performance in characterizing the brightness.