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1.
John B. Hutchings 《Color research and application》2015,40(2):111-113
Popular usage of colour words as parts of speech obey certain rules according to whether they are population dependent and whether use demands a degree of colour vision. The word green refers to that colour most of us see, recognize and categorize as being of the colour called green. But, colours and colour words are to do with emotion as well as perception. What can we learn from the greatest writers, artists and musical composers; how do they, for example, regard green? From them we learn that we perceive colours with our ears as well as our eyes and, in an emotional sense, a colour word means or is associated with just what the writer intends. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 111–113, 2015 相似文献
2.
Li‐Chen Ou M. Ronnier Luo Andre Woodcock Angela Wright 《Color research and application》2004,29(3):232-240
This article classifies colour emotions for single colours and develops colour‐science‐based colour emotion models. In a psychophysical experiment, 31 observers, including 14 British and 17 Chinese subjects assessed 20 colours on 10 colour‐emotion scales: warm–cool, heavy–light, modern–classical, clean–dirty, active–passive, hard–soft, tense–relaxed, fresh–stale, masculine–feminine, and like–dislike. Experimental results show no significant difference between male and female data, whereas different results were found between British and Chinese observers for the tense–relaxed and like–dislike scales. The factor analysis identified three colour‐emotion factors: colour activity, colour weight, and colour heat. The three factors agreed well with those found by Kobayashi and Sato et al. Four colour‐emotion models were developed, including warm–cool, heavy–light, active–passive, and hard–soft. These models were compared with those developed by Sato et al. and Xin and Cheng. The results show that for each colour emotion the models of the three studies agreed with each other, suggesting that the four colour emotions are culture‐independent across countries. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 232–240, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20010 相似文献
3.
Li‐Chen Ou M. Ronnier Luo Andre Woodcock Angela Wright 《Color research and application》2004,29(5):381-389
In this study three colour preference models for single colours were developed. The first model was developed on the basis of the colour emotions, clean–dirty, tense–relaxed, and heavy–light. In this model colour preference was found affected most by the emotional feeling “clean.” The second model was developed on the basis of the three colour‐emotion factors identified in Part I, colour activity, colour weight, and colour heat. By combining this model with the colour‐science‐based formulae of these three factors, which have been developed in Part I, one can predict colour preference of a test colour from its colour‐appearance attributes. The third colour preference model was directly developed from colour‐appearance attributes. In this model colour preference is determined by the colour difference between a test colour and the reference colour (L*, a*, b*) = (50, ?8, 30). The above approaches to modeling single‐colour preference were also adopted in modeling colour preference for colour combinations. The results show that it was difficult to predict colour‐combination preference by colour emotions only. This study also clarifies the relationship between colour preference and colour harmony. The results show that although colour preference is strongly correlated with colour harmony, there are still colours of which the two scales disagree with each other. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 381–389, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20047 相似文献
4.
Li‐Chen Ou M. Ronnier Luo Andre Woodcock Angela Wright 《Color research and application》2004,29(4):292-298
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 相似文献
5.
This work is concerned with the prediction of visual colour difference between pairs of palettes. In this study, the palettes contained five colours arranged in a horizontal row. A total of 95 pairs of palettes were rated for visual difference by 20 participants. The colour difference between the palettes was predicted using two algorithms, each based on one of six colour-difference formulae. The best performance (r2 = 0.86 and STRESS = 16.9) was obtained using the minimum colour-difference algorithm (MICDM) using the CIEDE2000 equation with a lightness weighing of 2. There was some evidence that the order (or arrangement) of the colours in the palettes was a factor affecting the visual colour differences although the MICDM algorithm does not take order into account. Application of this algorithm is intended for digital design workflows where colour palettes are generated automatically using machine learning and for comparing palettes obtained from psychophysical studies to explore, for example, the effect of culture, age, or gender on colour associations. 相似文献
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Colour meaning is a challenging decision in interior architecture during the design process; however, specific meanings within different interior types have not yet been investigated. This study explored colour meaning in the context of residential interior types (eg, bedroom) under controlled conditions using 42 Munsell colours varying in hues, value, and chroma levels, with 14 adjectives (eg, comfortable, pleasant). The results demonstrate that some colours convey the same meanings (eg, vulgar) regardless of type of room; however, others (eg, beautiful) tend to require more complicated and sophisticated colour applications in different residential interiors. The study findings proved that colour meaning in RITs can be affected by all colour attributes. All colours that are named orange and red are selected for both negative and positive meanings. Colours that are named purple are selected less and only for negative connotations. The findings present an overall colour meaning guide for these residential interior types, which will be beneficial for decision makers (interior architects, designers, users) and colour researchers. 相似文献
7.
Jie Xu 《Color research and application》2019,44(4):613-621
By communicating an integrated story, the Leicester City Football Club blue inherits and persists the history and legacy of the football club, which further provides a stable and consistent meaning for the local sports culture. Colour as a medium and agency creates an intimacy and loyalty between the different ethnic and social groups across local, regional, and global contexts. The case study demonstrated that colour could give place identity through branding practice, identity mediation, and visual culture formation. The process reflected that economic and cultural force had a large impact on place‐making, and could be the decisive influence upon colour symbolism. 相似文献
8.
Deciding a colour for a product is a significant task for designers to attract consumer attention and communicate brand messages. It requires an initial analysis that explores consumer expectations within the sector, and this information is then used to inform development of a product design. This article discusses the application of the product colour development process during the initial phase of product design. Using a case study approach, one particular product category—a dishwashing liquid product was selected based on the suggestion from a leading U.K. consumer goods manufacturing company that colour is a major design factor for this product category. In the first phase of the study, interviews and an online survey were carried out with consumers (to explore what elements are important when they purchase a washing‐up liquid product). In the second phase of the study, a colour meaning experiment was conducted to explore possible colours for dishwashing liquid packaging using a semantic differential method. The results show that yellowish and bluish green colours evoke positive responses while saturated and dark green colours are perceived more negatively. 相似文献
9.
This article presents the results of a study that investigates the status of colour information use in the design process and generates ideas for a colour tool. Face‐to‐face interviews with senior designers and brand managers from the packaging and branding fields were conducted as the primary data collection method. The results are categorized into six topics: colour decision, types of colour information considered to be important in the design process, reasons for considering colour information important in the design process, current use of colour information, design professionals' preferences for existing colour tool types and data types and suggestions for a colour tool. It is concluded that there are problems with existing colour resources and tools regarding their availability and usefulness; there is a strong demand for a colour tool in the packaging design and branding processes. The insight from this work will help researchers, design professionals and colour tool developers to make informed decisions on the areas on which they should focus, how they should do so and why. This will facilitate better provisions and uptake of useful colour information for design professionals in the design process and strategy fields. 相似文献
10.
Seongah Chin 《Color research and application》2012,37(2):134-147
In this article, we propose a method for supporting colour schemes for the exterior colour design of an urban scene in 3D and report on a user study for validating the proposed scheme. The realized simulator allows users to develop harmonized colouring schemes for an urban colour design in 3D with the selection of a dominant colour and subcolours automatically. The technical aspects include designing a colour scheming table based on a colour guideline, extracting the façade colour from an image collected from a real scene, and conducting colour scheming on a 3D scene. The proposed method enhances efficiency with respect to reducing processing cost as providing automatic colour scheme in 3D. In addition, the 3D simulator makes the proposed method interactive, which in turn increases the flexibility for manipulation of 3D simulated scenes by changing viewpoints by rotating, zooming, and navigating the simulator. The experimental results and a user study are presented. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010. 相似文献
11.
Colour management is ubiquitous in the digital world. However, despite the many advances in colour management over the last couple of decades, it remains an imperfect process. In the art and design community there is often a level of dissatisfaction and deep cynicism about colour management that can lead to lac of engagement with the process. This research explores colour management in a design context though three issues: the gamut issue, the intuitive issue and the engagement issue; each relates to areas where colour management could better connect with tacit design knowhow. The work focusses on the selection of colour in a digital context since for many users this is the first touch point that they have with colour management. Psychophysical studies have been carried out in both laboratory and design‐studio settings. It is shown that users can better predict the results from subtractive colour mixing than from additive colour mixing. The performance of various types of colour picker are explored and consequences for the design of user interfaces are discussed. 相似文献
12.
本文论述铁道罐车控制系统结构及紧急切断阀(气相)与内置全启式弹簧安全阀并联组合设计结构的改造意义。 相似文献
13.
Zena O'Connor 《Color research and application》2011,36(1):55-60
Creating a logo design is an important task for a new company wishing to gain entry in a particular industry sector. It requires an initial situation analysis that examines existing logos within the sector, and this information is then used to inform creation of a new logo design. Colour, one of a number of design elements used to create a new logo, is a key element in creating a unique logo and in terms of enabling a logo achieve differentiation in a competitive environment. This article discusses the application of the environmental colour mapping process during the initial situation analysis phase of logo design. The process, which has been applied in urban design studies in Japan, America, France, England, and Norway has recently been augmented with the addition of digital technology. Using a case study approach, the ‘environment’ for the purpose of this study represented the logo designs of organizations within a specific industry sector. The main outcome from the process (colour data presented in the form of a colour map) was examined for patterns of similarity and dissimilarity and an attempt was made to identify new options for logo colours within the sector based on colour differentiation. This study represents a new application of the environmental colour mapping process and a number of limitations and benefits are discussed. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011 相似文献
14.
In recent studies, contextual situations of applied colours are compared to colours presented as samples or chips. Findings of such studies point out different results in terms of similarities or differences between the evaluations of isolated/abstract colours and contextualized situations. Architectural and spatial contexts have their own characteristics regarding colouring criteria, so it is of great importance to examine the architectural/spatial colouring process from this point of view. This study explores this process by investigating the consistency of semantic ratings of four sequential stages of the architectural colour design process, namely, colour chips/samples, abstract compositions, perspective drawings and 3D models. The architectural context for the study was a simple interior space. Fifteen different colour schemes were applied on the four media representing the stages. Subjects rated the 15 sets against seven bipolar, five‐step semantic differential scales. The scales consisted of harmonious‐discord, pleasant‐unpleasant, comfortable‐uncomfortable, spacious‐confined, static‐dynamic, exciting‐calming and extroverted‐introverted. Findings indicated that there are significant associations between the evaluations of the abstract compositions, the perspective drawings and the 3D models; however, the evaluations of colour chips are significantly different than the others. The medium effect observed mostly between abstract and contextualized media. Additionally, factor analysis showed that pleasantness, harmony, spaciousness and comfort are connected in the evaluations of contextual situations, while pleasantness and harmony differ from spaciousness and comfort in the evaluations of colour chips and abstract compositions. The factor of activity (arousal) (dynamism, excitement, and extroversion) stays the same for all four media. It is also found that different colour characteristics are determinative over different media. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010 相似文献
15.
Shuo-Ting Wei Li‐Chen Ou M. Ronnier Luo John Hutchings 《Color research and application》2015,40(2):157-168
The aim of this study was to develop psychophysical models that predict the influence of pack colours on consumers' psychological responses of fruit juices, such as visually perceived expectations of freshness, quality, liking, and colour harmony. Two existing colour harmony models derived from experiments involving only uniform colour plaques were tested using the juice packaging experimental data. Both models failed to predict the visual results obtained. Nevertheless, two parameters relevant to chromatic difference and hue difference were somewhat associated with the visual results. This suggested that, among all colour harmony principles for uniform colours, only the equal‐hue and the equal‐chroma principles can be adopted to describe colour harmony of packaging used for juice. This has the implication that the principles of colour harmony may vary according to the context in which the colours are used. A new colour harmony model was developed for juice packaging, and a predictive model of freshness was derived. Both models adopted CIELAB colour attributes of the package colour and the fruit image colour to predict viewers' responses. Expected liking and juice quality can be predicted using the colour harmony model while expected freshness can be predicted using the predictive model of freshness. © 2013 Wiley Periodicals, Inc. Col Res Appl, 40, 157–168, 2015 相似文献
16.
Yun Chen Jie Yang Qianqian Pan Marjan Vazirian Stephen Westland 《Color research and application》2020,45(1):85-94
Strong associations exist between colours and concepts or words. Understanding these associations, sometimes referred to as colour emotions, is important for effective use of colour in art and design. Traditionally the relationships have been systematically explored in experiments where participants scale colours according to bipolar adjectives such as warm-cool. In this article, a method for exploring the relationships between words and colours is suggested and is demonstrated. A psychophysical experiment is described where participants select colours based on words. The data are used to show that many similarities between the word-colour relationships for UK and Chinese participants although some interesting differences are also revealed. The method makes explicit the observation that there is not a one-to-one relationship between words and colours. The method could be used to explore word-colour relationship for specific words and participant groups or could be used to generate ground-truth data for testing methods for automatically generating the word-colour relationships. 相似文献
17.
Dianne Smith 《Color research and application》2003,28(5):360-365
Environmental colour is multifaceted, playing a variety of roles in our everyday lives. However, is colour considered important in the design of our built environment by those who practice design, such as architects and interior designers? Prototypes and massing models for designs are often presented in white or monochromatic combinations, irrespective of the materials incorporated and the colours that may be applied in the final constructed building, interior, or object. Therefore, questions are raised concerning design professionals' perceptions of the importance of colour in relation to space and form, and to the experience of place. The built environment is understood by the designers and design researchers generally in one of four contexts—as object, as product, as communicator, or as social domain (Smith, Architectural Experience: A Composition of Viewpoints, doctoral dissertation, Queensland University of Technology, Australia; 2000). Designers who consider place as an experience, or as part of a social domain, will address the design task differently than those who treat it as an object to be coloured. In addition, Franz (A Phenomenographic Study of Design in the Interior Context, doctoral dissertation, Queensland university of Technology, Australia; 1997) identified four conceptions of designing held by designers: experiential, structural, production, and retail. Therefore, designers' conceptions of what it is to design in general are related to the manner in which they design in practice. In association with such conceptions, it is assumed that the integration of colour in the built environment is also influenced by these understandings. Explorations into environmental meaning, in addition to colour theory and decorative applications, are hypothesized to be important sources of information for designers involved in colouring the built environment. Discussions of environments in terms of signification and experience may broaden practitioners' understanding of the role that colour plays in place formation. In addition, the findings of a study in which 16 Queensland architects and interior designers were surveyed to ascertain whether colour is considered an integral part of their design process are reported. The study is not conclusive, however; although further investigation is required, the study does identify differences and commonalities among participants that are of interest in light of the aforementioned issues. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 360–365, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10182 相似文献
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This article describes the results of an experiment to evaluate people's impressions of a live landscape scene, the famous West Lake in Hangzhou, China. We invited seventy students from different academic backgrounds to participate in this project. The goals of this study were to find a method for the evaluation of the perception of a live scene, to reveal differences for subjects from different backgrounds, and to provide a method for teaching students. In the experiment, students sat together and looked at the lake from one similar location. The whole scene was divided into five parts, and the students were asked to give their judgment of those five different subjects. The results were analyzed to find the main components describing the scene. The novel features in the work involved the assessment of the scene using a large number of people, to have observers from various backgrounds, and to provide a new teaching method for colour science and colour design. 相似文献
20.
Luwen Yu Stephen Westland Zhenhong Li Qianqian Pan Meong Jin Shin Seahwa Won 《Color research and application》2018,43(2):258-267
The purpose of this study is to test whether consumers' personal colour preferences (in an abstract sense rather than for a particular product) affect their intended product purchase decisions if they are given various colour choices. This work employs two experiments with visual components to investigate which colour a participant would choose if asked to select a product to purchase when there is a range of colours available. Two experiments were also designed to elicit a response about which colour each participant prefers (in an abstract sense). The study finds that personal colour preferences affect intended product‐colour purchase decisions but that the extent of this varies from one product category to the next. Further analysis reveals that personal colour preferences are secondary to factors such as colour functionality and colour performance. This work presents new experimental data about the role of colour in product and product packaging on intended consumer purchase decisions. A conceptual framework, supported by the experimental findings, are understanding the relationship between individual colour preferences and product‐choice colours, and more functional aspects of colour itself (such as the effect of colour on product's performance or functionality). 相似文献