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1.
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
2.
Li‐Chen Ou Yinqiu Yuan Tetsuya Sato Wen‐Yuan Lee Ferenc Szabó Suchitra Sueeprasan Rafael Huertas 《Color research and application》2018,43(5):736-748
A new set of quantitative models of colour emotion and colour harmony were developed in this study using psychophysical data collected from 12 regions in the world, including Argentina, China, France, Germany, Hungary, Iran, Japan, Spain, Sweden, Taiwan, Thailand, and the UK. These data have previously been published in journals or conferences (for details see Tables 1 and 2 ). For colour emotion, three new models were derived, showing satisfactory predictive performance in terms of an average correlation coefficient of 0.78 for “warm/cool”, 0.80 for “heavy/light” and 0.81 for “active/passive”. The new colour harmony model also had satisfactory predictive performance, with an average correlation coefficient of 0.72. Principal component analysis shows that the common colour harmony principles, including hue similarity, chroma similarity, lightness difference and high lightness principles, were partly agreed by observers of the same region. The findings suggest that it is feasible to develop universal models of colour emotion and colour harmony, and that the former was found to be relatively more culture‐independent than the latter. 相似文献
3.
This study investigates colour harmony in visual experiments in order to develop a new quantitative colour harmony model. On the basis of new experimental results, colour harmony formulae were developed to predict colour harmony from the CIECAM02 hue, chroma, and lightness correlates of the members of two‐ or three‐colour combinations. In the experiments, observers were presented two‐ and three‐colour combinations displayed on a well‐characterized CRT monitor in a dark room. Colour harmony was estimated visually on an 11 category scale from ?5 (meaning completely disharmonious) to +5 (meaning completely harmonious), including 0 as the neutral colour harmony impression. From these results, mathematical models of colour harmony were developed. The visual results were also compared with classical colour harmony theories. Two supplementary experiments were also carried out: one of them tested the main principles of colour harmony with real Munsell colour chips, and another one compared the visual rating of the new models with existing colour harmony theories. © 2009 Wiley Periodicals, Inc. Col Res Appl, 2010. 相似文献
4.
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
5.
Zena O'Connor 《Color research and application》2010,35(4):267-273
A plethora of theories and studies exist that focus on the relationship between colour and esthetic response as well as the construction of colour harmony. However, consensus regarding colour harmony is lacking in the literature leaving designers and architects with colour harmony information that is contradictory and ambiguous. This article examines both early and more recent theories and definitions of colour harmony. The diverse theoretical paradigms and disparate assumptions embedded within these theories are discussed in some depth, and the validity and veracity of predictive colour harmony theories are discussed from a current theoretical perspective. An updated definition of colour harmony is providedalong with a conceptual model that represents an attempt to revise colour harmony in line with current theoretical paradigms. This conceptual model acknowledges that the interface between colour and esthetic response is less deterministic and predictable, and more idiographic than previous theories allow. In addition, the conceptual model suggests that colour harmony is contingent on factors that may influence the relationship between colour and esthetic response such as individual and cultural differences as well as perceptual, contextual, and temporal factors. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010 相似文献
6.
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
7.
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
8.
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
9.
This study investigates harmony in two‐colour combinations in order to develop a quantitative model. A total of 1431 colour pairs were used as stimuli in a psychophysical experiment for the visual assessment of harmony. These colour pairs were generated using 54 colours selected systematically from CIELAB colour space. During the experiment, observers were presented with colour pairs displayed individually against a medium gray background on a cathode ray tube monitor in a darkened room. Colour harmony was assessed for each colour pair using a 10‐category scale ranging from “extremely harmonious” to “extremely disharmonious.” The experimental results showed a general pattern of two‐colour harmony, from which a quantitative model was developed and principles for creating harmony were derived. This model was tested using an independent psychophysical data set and the results showed satisfactory performance for model prediction. The study also discusses critical issues including the definition of colour harmony, the relationship between harmony and pleasantness, and the relationship between harmony and order in colour. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 191–204, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20208 相似文献
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11.
Although webpage and computer interface designers generally have little experience at generating effective colour schemes, colour selection appears only rarely in user interface design literature. This article describes the experimental evaluation of an algorithmic technique that applies colour harmony rules to the selection of colour schemes for computer interfaces and web pages. The technique uses a genetic algorithm to evolve colour schemes; the evolutionary path is determined by a quantitative colour harmony evaluation function. Our technique first creates abstract colour schemes by applying those rules to specific features of the interface or web page; the user then holistically modifies the scheme's overall colour cast, overall saturation, and light–dark distribution, producing colourings that are both harmonious and usable. We demonstrate experimentally that the software is relatively simple to use and produces colourings that are well‐received by humans. In an earlier article, the criteria for a colour harmony tool for computer interfaces and websites were described and used in the design of the Colour Harmoniser, our software implementation of a system that is based on classical rules of colour harmony, adapted and extended to suit graphical user interfaces. In this article, we describe two sets of experiments that have demonstrated the usability and effectiveness of the Colour Harmoniser tool, compared with standard methods of colour selection. These experiments suggest that the tool functions somewhat more effectively than we originally anticipated, producing colour schemes that were rated more highly on several quality scales than those produced by random choice, by humans who self‐classify as nonartists, and by humans who self‐classify as artists. © 2011 Wiley Periodicals, Inc. Col Res Appl, 38, 218–228, 2013. 相似文献
12.
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
13.
J. H. Xin K. M. Cheng G. Taylor T. Sato A. Hansuebsai 《Color research and application》2004,29(6):451-457
Colour emotion is a feeling or emotion induced in our brains when we look at a colour. In this article, the colour emotional responses obtained by conducting visual experiments in different regions, namely Hong Kong, Japan and Thailand, using a set of 218 colour samples are compared using a quantitative approach in an attempt to study the influence of different cultural and geographical locations. Twelve pairs of colour emotions described in opponent words were used. These word pairs are warm–cool, light–dark, deep–pale, heavy–light, vivid–sombre, gaudy–plain, striking–subdued, dynamic–passive, distinct–vague, transparent–turbid, soft–hard, and strong–weak. These word pairs represent the fundamental emotional response of human beings toward colour. The influences of lightness and chroma were found to be much more important than that of the hue on the colour emotions studied. Good correlations of colour emotions among these three regions in East Asia were found, with the best ones for colour emotion pairs being light–dark and heavy–light. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 451–457, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20062 相似文献
14.
Although web page and computer interface developers generally have little experience in generating effective colour schemes, colour selection appears rarely in user interface design literature, and there are few tools available to assist in appropriate choice of colours. This article describes an algorithmic technique for applying colour harmony rules to the selection of colour schemes for computer interfaces and web pages. Our software implementation of this approach—which we term the Colour Harmoniser—adapts and extends classical colour harmony rules for graphical user interfaces, combining algorithmic techniques and personal taste. A companion article presents the experimental evaluation of the system presented here. Our technique applies a set of rules for colour harmony to specific features of the interface or web page to create abstract colour schemes; the user then modifies the overall colour cast, saturation, and light–dark distribution, producing colourings that are both harmonious and usable. We demonstrate experimentally that the software is relatively simple to use and produces colourings that are well‐received by humans. In this article, we define a fitness function that numerically evaluates the colour harmony of a user interface and underpins a genetic algorithm for creating harmonious schemes. We show how abstract, hue‐independent, colour schemes may be mapped to real colour schemes, leaving the abstract colour harmony unchanged, but accommodating the developer's personal preferences for overall colouring, light–dark contrast, and saturation. This abstract/concrete separation automates the creation of harmonious schemes and allows unskilled developers to express their aesthetic preferences using simple direct manipulation controls. © 2011 Wiley Periodicals, Inc. Col Res Appl, 38, 203–217, 2013. 相似文献
15.
Colour research from different scientific traditions start from different basic questions and use different methods and concepts. This makes it difficult to communicate and to judge result relevance in a wider perspective. Here we start from architects' need of colour knowledge and discuss recent studies of colour appearance and colour emotion, with and without explicit connection to architecture. We stress the need for further development and clarification of concepts and conclude that the multitude of studies with different approaches can be seen as cases, jointly adding to a widened and deepened understanding of colour. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010 相似文献
16.
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
17.
Within the framework of this article the results of two experiments are compared, on the preference and harmony content of neutral colours, carried out 50‐year apart, in 1967 and 2017. The experimental conditions and sample boards, shown to the experimental subjects were identical in both occasions. Result shows that in 2017 the very light and very dark colours have been preferred over other colours, against the findings in1967. At the same time, the experimental subjects found the colour pairs, formed of colours with higher contrast, more harmonic in 2017 than 50‐year earlier in 1967. 相似文献
18.
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
19.
The main aim of this study is to examine the effect of area on color harmony in simulated interior spaces. The secondary aim of the study is to investigate how the term color harmony is defined and the link between color harmony and related terms used to define it. These terms can explain why a color scheme is evaluated as harmonious. Four sets of three-color combinations created by using the hues red, blue, yellow, green, purple, and orange were studied in a simulated office interior emphasizing different proportional use of each color. Firstly, participants evaluated harmony content of the images. Secondly, they evaluated each image regarding the terms related to color harmony. Findings indicated that area had an effect on color harmony for two of the color combinations (warm & cool). However, there were no strong but rather moderate and weak correlations between color harmony and the terms. 相似文献
20.
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