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1.
An aesthetic measure based approach for constructing a colour design/selection system is proposed in this article. In this model, an image data base for the relationships between the psychological preference of customers and clothing colour tones is built using the membership functions of a fuzzy set, and an aesthetic measure calculation method based on colour harmony is also proposed. In addition, a skin colour detection theory is proposed to construct a skin colour detection program to detect the skin colour of a customer, which is then taken as the major colour in matching the skin, polo shirt, and(or) pant colours to select the best colour combination. Integrating the skin colour detection theory, colour harmony theory, aesthetic measure method, and fuzzy set theory, a program is constructed to build an aesthetic measure based colour design/selection system. With the aid of this system, one can get proper cloth colours to match his/her skin colour and image requirement by starting with inputting one's colour photo, catching image with a camera, or inputting R, G, B values of his/her skin. The theoretical results for the ranks of clothing colours proposed by the system are examined with the experimental results and the result shows they are very close, suggesting that the proposed colour selection system is acceptable. Although the selection of clothing colours is taken as an example to specify the methodology, it can also be used to develop a system for other products. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 411–423, 2008 相似文献
2.
Mengmeng Wang Kaida Xiao Ming Ronnier Luo Michael Pointer Vien Cheung Sophie Wuerger 《Color research and application》2018,43(4):458-470
This study aimed to investigate the variability of skin colour measurements for two kinds of extensively used instruments, telespectroradiometers (TSR) and spectrophotometers. A Konica Minolta CM700d spectrophotometer and a PhotoResearch PR650 telespectroradiometer were used to measure the forehead and the cheekbone of 11 subjects. The variability was evaluated using different measurement parameters including measurement aperture size and pressure on the facial locations for the spectrophotometer, and measurement distance for the telespectroradiometer. The mean colour difference from the mean was used to define the short‐term repeatability; the CIELAB colour difference and colour appearance changes in each perceptual CIELAB attribute between each of two instrument settings were used to evaluate the inter‐instrument agreement. The results show that, for the TSR, different measurement distances have identical repeatability but the colour shifts were significant; for the spectrophotometer, the large aperture size of the target masks gave the most repeatable results and the aperture size had more influence on the colour shifts than the measurement pressure. In addition, to investigate the effect of ethnicity and body location on measurement variability, skin colours from additional 151 subjects were measured. The differences between the measurements for different body locations were, in general, larger than the instrument repeatability and the inter‐instrument agreement. 相似文献
3.
To our knowledge, there has been no colour preference studies carried out 50 years apart, by using identical colour samples, done under identical experimental circumstances and by using experimental subjects selected from identical population groups. Our present article is a comparative study based on two experiments carried out on colour preference in 1967 and following that in 2017 50 years later. Graphs and mathematical expressions show the dependence of colour preference on age of the general public in this study. 相似文献
4.
Li‐Chen Ou M. Ronnier Luo Pei‐Li Sun Neng‐Chung Hu Hung‐Shing Chen 《Color research and application》2012,37(2):92-105
Two psychophysical experiments were carried out to investigate whether or not colour emotion responses would change with the advance of the viewer's age. Two forms of stimuli were used: 30 single colours (for Experiment 1) and 190 colour pairs (for Experiment 2). Four word pairs, warm/cool, heavy/light, active/passive, and like/dislike, were used to assess colour emotion and preference in Experiment 1. In Experiment 2, harmonious/disharmonious was also used in addition to the four scales for Experiment 1. A total of 72 Taiwanese observers participated, including 40 (20 young and 20 older) for Experiment 1 and 32 (16 young and 16 older) for Experiment 2. The experimental results show that for single colours, all colour samples were rated as less active, less liked, and cooler for older observers than for young observers. For colour combinations, light colour pairs were rated as less active and cooler for older observers than for young observers; achromatic colour pairs and those consisting of colours in similar chroma were rated as cooler, less liked and less harmonious for older observers than for young observers. The findings may challenge a number of existing theories, including the adaptation mechanism for retaining consistent perception of colour appearance across the lifespan, the modeling of colour emotion based on relative colour appearance values, and the additive approach to prediction of colour‐combination emotion. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011 相似文献
5.
6.
Lucila R. Geymonat de Destefani T. W. Allan Whitfield 《Color research and application》2008,33(1):55-60
A feature of the empirical literature in colour psychology is that little attention has been given to how people in real settings engage in colour selection. Surprisingly, with rare exceptions, we know almost nothing about this. Besides its theoretical significance within psychology, this question has practical implications for industries where colour choice is important. A study is reported into that most ubiquitous of activities, selecting a paint colour for the home. This used a retrospective method supported by qualitative data analysis (NVivo) in which participants described their process of colour selection. The results indicate a process that is far from uniform, but one that consists of two essential stages. The first involves arriving at what we refer to as an affective specification of the qualities sought. Once constructed, this leads to the second stage of matching colour attributes to that specification. Selecting a wall colour emerges as a surprisingly complex process, and one that corresponds more closely to a search than to a simple affective choice. A parallel is drawn with decision research, particularly the field of naturalistic decision‐making. From participants' reports, colour selection also emerges as a process that women appear to understand better than men. © 2007 Wiley Periodicals, Inc. Col Res Appl, 33, 55–60, 2008 相似文献
7.
In memory‐matching techniques, the remembered colour might differ from the original colour even if the viewing situation is the same. Our aim was to point out whether these so‐called memory shifts are significant in the everyday situations of viewing photos depicting sky, skin, or plant, or viewing standalone uniform colour patches of sky, skin, or plant colours. In many cases, significant memory shifts have been found. Considering only one type of object (sky or skin or plant), memory shifts turned out to be systematic in the sense that they were directed toward specific intervals of hue, chroma, and lightness. This tendency was more explicit for photos than for standalone colour patches. A method to quantify prototypical colours and their tolerance bounds was suggested. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 278–289, 2001 相似文献
8.
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
9.
The earlier experimental results (Color Res. Appl. 16, 166–180, 181–197; 18, 98–113, 191–209; 20, 18–28) have been further extended to include data obtained using complex images. Binocular memory and simultaneous matching techniques were used to assess the colour reproduction quality of displayed monitor images processed via eight colour models against a hardcopy (original) image illuminated in a viewing cabinet. The results from a panel of nine observers were used to compare different colour models' performance. It was found that the BFD chromatic adaptation transform outperformed the other models. The Hunt94 model, which gave a good fit to the earlier results, did not perform well. This indicates that there are differences in colour appearance between the complex and simple viewing fields. Other aspects were also investigated such as observer precision and repeatability, spatial uniformity of the monitor, image dependency, and the difference between the category judgment and paired comparison results. © 1996 John Wiley & Sons, Inc. 相似文献
10.
The aim of this study was to use a minimum number of measured colour patches to evaluate the colour gamut of an n‐colour printing process. Traditionally, the colour gamut of a printing system has been derived by printing and then measuring a gamut target for example, a profiling chart. For an n‐colour printing (printing with more than four process inks), it is desirable to know the colour gamut of the given set of inks without having to print a large number of test patches. Different spectral printer models were used to predict the gamut of a 7‐colour printing process. The colorant space was divided into sectors each containing four inks. For each printer model, the colour gamut of the each four‐ink sector was predicted. All sector‐gamuts were then combined to predict the overall colour gamut of the n‐colour process. This predicted gamut was then compared with the gamut obtained by measurement using a gamut comparison index (GCI). The Yule–Nielsen modified spectral Neugebauer (YNSN) model gave the best accuracy, at the cost of a larger number of input measurements, than other models. A combination of the Kubelka–Munk (KM) and YNSN models performed well with the fewest input measurements. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 408–415, 2015 相似文献
11.
M. D. de Fez P. Capilla M. J. Luque J. Prez‐Carpinell J. C. del Pozo 《Color research and application》2001,26(6):458-468
We have compared corresponding pairs obtained by simultaneous matching (haploscopic matching) and by memory matching (after 10 min) using 34 reference tests selected from the Munsell Atlas (glossy), belonging to the four main hues 5Y, 5G, 5PB, and 5RP. These colours lie very close to the F1 and F2 axes in the SVF space, where we have analyzed our results. Illuminants D65 and A were used as reference and matching illuminants, respectively. Our results show for both kinds of matching a tendency to select more colourful colours than the original ones, with significant differences between matching and test colours, whereas hue does not seem to follow a definite pattern. This behavior is similar to that found in colour‐matching experiments without illuminant changes. The analogy does not hold for lightness, which in the present experiment does not seem to follow a clear pattern. The best matching colours lie along the red‐green axis and the worst matching colours along the blue‐yellow axis. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 458–468, 2001 相似文献
12.
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
13.
Finding an efficient way to understand individual colour preference is important to researchers and designers. This article compares three research strategies to test individual colour preference including two research experimental environments (online and laboratory) and two research methods (multiple choice for N‐alternative‐forced‐choice and multiple choice for rank‐order). Three psychophysical experiments have been carried out. Participants were presented with six colour patches (red, orange, yellow, green, blue, and purple) arranged in a random order on a computer display. In the first two experiments (Online experiment and Laboratory experiment I), participants were asked to indicate which colour square they prefer most; in the third experiment (Laboratory experiment II), participants were asked to rank their colour preferences of the six colour patches. The similarity between the results obtained from two experimental environments provides some validation for the online protocol and suggests that online experiments could be used more often. Pairwise comparisons for individual colour preference between genders and nationalities were carried out, and it was found that male and female responses were significantly different; but there was no statistical significance between Chinese and UK participants. The results from Monte Carlo simulations suggested that the rank‐order method should be preferred for individual colour preference studies involving small numbers of participants (especially less than 15 participants). 相似文献
14.
Buket Arik Tetsuya Sato Gulsah Sarikaya Yuksel Ikiz 《Color research and application》2016,41(5):523-529
This article suggests a potential scientific approach in finding colour effects on human emotions and seasonal associations. A visual assessment of the colour samples was carried out with the help of Turkish observers in Denizli, Turkey. From the study, it was found that Turkish four season colours of spring, summer, autumn and winter were bright green, vivid yellow, dull yellow and dark grayish brown respectively. Moreover, the colour data were arranged in terms of gender and age of the observers. In this analysis, it was observed that the colour preferences changed according to the gender and age of the observers. For instance, the top spring colour preference of young ladies were vivid bluish green, light blue and bright purple, on the other hand the top spring colour preference of adult ladies was light yellow green and the top spring colour preference of young and adult men was bright green. In the study, the observers were also asked about elicited emotional associations of the main colours on their mind and the data were collected in a table. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 523–529, 2016 相似文献
15.
Ásta Logadóttir Steve A. Fotios Jens Christoffersen Soren S. Hansen Dennis D. Corell Carsten Dam‐Hansen 《Color research and application》2013,38(1):46-57
An experiment was carried out to examine the method of adjustment when determining user preferences for the colour appearance of ambient lighting. A booth was lit using luminaires containing an array of white and coloured light emitting diodes (LEDs), allowing continuous variation of correlated colour temperature (CCT) between 2736 and 4014 K. It was predicted that the preferred CCT would be influenced by the available stimulus range, the anchor (initial setting before adjustment), adaptation time before onset of adjustment action and type of control dial. Preference was estimated for three different CCT stimulus ranges within the available range. All three ranges led to significantly different results for preferred CCT: 3288, 3490 and 3671 K. The experimental results confirmed that stimulus range, anchor and adaptation time have significant effect on the preferred CCT determined using the adjustment task, and thus, the importance of considering and reporting this information in studies that employ the method of adjustment. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2013 相似文献
16.
Li‐Chen Ou M. Ronnier Luo Pei‐Li Sun Neng‐Chung Hu Hung‐Shing Chen Shing‐Sheng Guan Andrée Woodcock José Luis Caivano Rafael Huertas Alain Treméau Monica Billger Hossein Izadan Klaus Richter 《Color research and application》2012,37(1):23-43
Psychophysical experiments were conducted in the UK, Taiwan, France, Germany, Spain, Sweden, Argentina, and Iran to assess colour emotion for two‐colour combinations using semantic scales warm/cool, heavy/light, active/passive, and like/dislike. A total of 223 observers participated, each presented with 190 colour pairs as the stimuli, shown individually on a cathode ray tube display. The results show consistent responses across cultures only for warm/cool, heavy/light, and active/passive. The like/dislike scale, however, showed some differences between the observer groups, in particular between the Argentinian responses and those obtained from the other observers. Factor analysis reveals that the Argentinian observers preferred passive colour pairs to active ones more than the other observers. In addition to the cultural difference in like/dislike, the experimental results show some effects of gender, professional background (design vs. nondesign), and age. Female observers were found to prefer colour pairs with high‐lightness or low‐chroma values more than their male counterparts. Observers with a design background liked low‐chroma colour pairs or those containing colours of similar hue more than nondesign observers. Older observers liked colour pairs with high‐lightness or high‐chroma values more than young observers did. Based on the findings, a two‐level theory of colour emotion is proposed, in which warm/cool, heavy/light, and active/passive are identified as the reactive‐level responses and like/dislike the reflective‐level response. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2012 相似文献
17.
The aim of this work was to explore the limits of memory for the hue of coloured illumination using nonspectral colours. Eighty‐four undergraduate optometry students with normal colour vision as assessed by the Ishihara 38 plate test, were given 10 s to memorize the hue of a luminous surface (luminance 120 cd m?2), subtending 22 by 18 degrees in an otherwise unlit room. The sample hue was one of 12 samples with chromaticity spaced evenly every 30 degrees around a hue circle in the CIE UCS diagram. The circle, radius 0.06, was centered at the chromaticity of D65 (u′ = 0.198, v′ = 0.468). The hue was displaced randomly by between 40 and 100 degrees, and the participants were required to use one of two keys to return the hue to its original appearance. The keys changed CIE 1976 hue angle (huv) by 1 degree, one in a clockwise and the other in a counterclockwise direction, but left the CIE 1976 saturation (suv) and the luminance unchanged. Each participant saw the to‐be‐memorized hue once only and made subsequent adjustments without seeing it again. Four adjustments were made immediately, four after 1 h, and a further four after 1 week. The second and the fourth in each set of four were preceded by a clockwise displacement of hue angle and the remaining two by an anticlockwise displacement. The CIE 1976 UCS chromaticity of the standard and the chromaticity of the very first adjustment performed immediately after the presentation of the standard were separated by 0.0210 (s.d. 0.0178) averaged across hues. One hue (purple) was more readily nameable than the others and was more accurately reproduced. There was no evidence of stable individual differences in observers' memory: observers' accuracy in reproducing one colour was not significantly correlated with their accuracy in reproducing another. Adjustments made after an interval of 1 h were worse than those undertaken immediately, but no better than those performed after 1 week. The variability of hue memory under these conditions was similar to the variability of coloured surfaces under common sources of illumination. © 2006 Wiley Periodicals, Inc. Col Res Appl, 32, 11–15, 2007; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20281 相似文献
18.
H. Lin M. R. Luo L. W. MacDonald A. W. S. Tarrant 《Color research and application》2001,26(4):270-277
A colour‐naming model was developed to categorize volumes for each of the 11 basic names in CIELAB colour space. This was tested with three different sets of data for two languages (English and Mandarin), derived from extensive colour categorization experiments. The performance of the model in predicting colour names was satisfactory, with an average prediction error of 8.3%. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 270–277, 2001 相似文献
19.
The determination of the colour gamuts of colour reproduction media is an important aspect of both understanding them in isolation and using them in the context of a colour reproduction system. Although this is well understood for output colour reproduction media, a solution for input media is not to be had in a simple way. To this end, in this article, we propose a method based on simulating the responses of an input medium to given spectral power distributions. We then determine the gamut of an input medium on the basis of having a set of spectra that covers the majority of all possible spectra, knowing a medium's quantized responses to them, and then determining a boundary beyond which the medium does not produce variation in its responses. © 2002 Wiley Periodicals, Inc. Col Res Appl, 28, 59–68, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col. 相似文献