Visual customization: Diversity in color preferences in the automotive interior and implications for interior design

Evolving multimodal mobility needs influences established human–product relationships and requires a deeper insight into color preferences for car interiors. Hence, a study was conducted in which 204 members of a web contest created 1,265 designs. After a peer‐evaluation process, 53 most‐appreciated and 34 least‐preferred interior color compositions were identified and compared to identify patterns in color choices. Besides, visual lightweight design by layering of large interior components such as the seat, a modest use of color and patterns accompanied by repetition and the framing of the entire interior to create a feeling of spaciousness were found. Additionally, differences in the type of color between most and least favored color designs were found. Brown and beige occur more frequently among the top‐ than the worst‐rated designs. Larger surfaces are favored in lighter hues and smaller components in darker hues.     

Investigation of metallic color perception using real‐world materials

Metallic colors have a unique appearance of glossiness with features such as highlights, contrast, and reflections on their surface, and therefore, metallic objects are very attractive to humans. Especially, gold, silver, and copper colors are familiar metals used as decorative materials, coins, and other furnishings. However, the mechanism and condition of metallic perception have not been fully investigated. There are a few studies for investigating metallic perception using rendered patches or images, but there is no study using real‐world objects. In our previous study, we developed a simple representation technique that made real objects appear to be made of gold by projecting a solid color onto a target nonmetallic object. By using the representation technique, in this study, we have further investigated the perception of metallic appearance such as gold, silver, and copper using real‐world materials, and analyzed the difference between these metallic perceptions. Our results indicate that the perception of the metallic object is different for gold, silver, and copper. Our new findings are as follows: the glitter required for the perception of gold and silver becomes an obstacle to the perception of copper; the metallic perception reveals that learning experience might be strongly affecting; and luminance adjustment is sensitive to the perception of metallic objects.     

Effects of color on expectations of drug effects: A cross‐gender cross‐cultural study

To study the role of color in expectations of drug effects, 80 Chinese participants (40 females and 40 males) were asked to classify each of seven single colored capsules and six differently colored two‐piece capsules into one of four classifications of drug effects. The results from the Chinese sample were also compared with that from four other cultural groups studied elsewhere. The Chi‐square test results showed that all seven single colored capsules yielded non‐chance distributions in classifications of drug effects, with six showing specific effects; and that five two‐colored capsules had non‐chance distributions, with four significantly associated with specific effects. Notable gender differences were observed in the expectations of drug effects. While the cross‐group comparison revealed consistent red‐stimulant and blue‐depressant associations across the five cultural groups, disagreements existed for other colors among the groups. The findings emphasized the importance of color in drug design and administration in support of drug differentiation, medication adherence, and drug efficacy, and suggest gender and cultural implications on the basis of color to achieve better drug effects. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 124–130, 2017     

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

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

Physical indices for judging appearance harmony of materials

In visual design, harmony refers to the similarity among objects and the components of these objects that appear as if they belong together. Harmony is related to the body, mind, and emotions as we relate to our living space, which means that the harmony of real objects is an important characteristic. Although the appearance harmony in specific materials has been investigated, harmony among different materials has not received adequate attention. In a previous study, we investigated the appearance harmony among various materials by psychophysical experiments. In this study, we correlated the psychophysical evaluations obtained from the experiments and the physical properties of the materials. By analyzing the relationship between psychophysical evaluations and the physical measurements for each material pairs based on cluster analysis, we found that the property of texture represented by the anisotropy histogram and that of reflectance obtained from the data of the bidirectional reflectance distribution function are important indices that can be used to judge the harmony of materials. In particular, the texture properties were more effective in judging the appearance harmony of material pairs in the fixed condition for illumination and viewing angles, and the reflectance properties were superior for the material pairs in the variable condition for illumination and viewing angles.     

Multiple roles of color information in the perception of icon‐type images

Despite the ubiquity of icons in computing and mobile devices, the role of color in icon‐based interface design has yet to be fully elucidated. This study began by conducting a card sorting experiment to determine the importance of color in the perception of commercial icons, as opposed to the simpler icons typically used in a laboratory setting. The study also sought to ascertain the importance of color when considered alongside other visual attributes in the general perception of icons. Participants were then asked to answer preset questions as a means of determining the relationship between the known color properties (e.g., hue, saturation, and brightness) of icons and their functional meaning, effectiveness in conveying meaning, and visual attractiveness. Finally, the speed and accuracy was assessed by which participants recognized well‐known icons rendered using familiar and unfamiliar colors. The empirical results identified color as an important attribute in the process of sorting icons, far exceeding other visual attributes including shape, complexity, pictorial style, and orientation. Nonetheless, it appears that color is not necessarily dominant in the initial stages of sorting. The results also revealed that color is closely related to visual attractiveness but largely irrelevant to effectiveness in the conveyance of meaning. The study also confirmed that correct color information is crucial to naming accuracy and the speed at which icons are recognized. Finally, the results indicate that icons lacking a unique symbol as a cue to recognition rely heavily on their signature color for identification. This study opens up several avenues of research by which to enhance our understanding of the functional role of color in icon perception.     

Colour and ergonomics: On the selection of a “colour of the year”

The key role of colour in ergonomics has been emphasized by a number of researchers and design professionals. Although several research studies have been published regarding the use of colour in ergonomics, there are still some areas that need to be considered. The issue of deciding a “colour of the year” is an example, which represents a new challenge for researchers in the field of ergonomics. This is of particular interest considering the fact that the nature of research on the selection of a “colour of the year” is generally based on user experience. This paper argues that ergonomics should play a more prominent role in this field to ensure better user experience and performance. This paper highlights specific areas that need further study and development.     

How green is green? Sampling and perception in assessing green seeds and chlorophyll in canola

Green seeds are used as a grading factor in estimating chlorophyll in canola and rapeseed in the Canadian and U.S.A. grading systems. This work examines the effect that sampling and perception have on the estimation of green seeds as well as the effect that sampling has on the determination of chlorophyll. Individual seed analysis indicated that in order to be considered as green, seeds needed to contain between 200 and 400 mg/kg chlorophyll. Variation due to binomial sampling played a predominant role in the error in determining the green seed levels in canola. Sampling of large numbers of seeds, as in the loading of export shipments, reduced the error. Binomial sampling also contributed to the error in chlorophyll determination even with sample sizes as large as 500. Differences in perception of green also were noted between individuals with coefficients of variation as high as 50% at the 1% green seed level. The combination of perception error and sampling error may result in samples of 1,000 seeds drawn from a mass with 2% green seeds having green seed counts ranging from 0.96 to 3.04%, 19 times out of 20.     

A unified dynamic neural field model of goal directed eye movements

ABSTRACT

Primates heavily rely on their visual system, which exploits signals of graded precision based on the eccentricity of the target in the visual field. The interactions with the environment involve actively selecting and focusing on visual targets or regions of interest, instead of contemplating an omnidirectional visual flow. Eye-movements specifically allow foveating targets and track their motion. Once a target is brought within the central visual field, eye-movements are usually classified into catch-up saccades (jumping from one orientation or fixation to another) and smooth pursuit (continuously tracking a target with low velocity). Building on existing dynamic neural field equations, we introduce a novel model that incorporates internal projections to better estimate the current target location (associated to a peak of activity). Such estimate is then used to trigger an eye movement, leading to qualitatively different behaviours depending on the dynamics of the whole oculomotor system: (1) fixational eye-movements due to small variations in the weights of projections when the target is stationary, (2) interceptive and catch-up saccades when peaks build and relax on the neural field, (3) smooth pursuit when the peak stabilises near the centre of the field, the system reaching a fixed point attractor. Learning is nevertheless required for tracking a rapidly moving target, and the proposed model thus replicates recent results in the monkey, in which repeated exercise permits the maintenance of the target within in the central visual field at its current (here-and-now) location, despite the delays involved in transmitting retinal signals to the oculomotor neurons.     

Emotional response to color across media

In this study, the characteristics of emotional responses to color are explored in two empirical studies. In particular, the relationship between color attributes and emotional dimensions—valence, arousal, and dominance—is analyzed. To account for the cognitive quantity of color, 36 color stimuli were selected following hue and tone categorizations and based on the CIELAB LCh system. In one experiment, the colors were presented on A5‐size glossy paper whereas the identical colors were displayed on CRT monitors in the other experiment. In both experiments, the subjects assessed the emotional responses to each color stimulus using a Self‐Assessment‐Manikin (SAM), which consists of three rows of five pictograms illustrating the three dimensions of emotion, respectively. The empirical results provide evidence that the patterns of affective judgment of colors can be profiled in terms of the three dimensions of emotion (Reliability coefficient, Cronbach's alpha > 0.7). All three attributes of colors, i.e. hue, Chroma, and Lightness, influenced the emotional responses (repeated measurement One‐way ANOVA, P < 0.05), and especially, Chroma was always positively correlated with each of the three emotional dimensions (r > 0.60 P < 0.01). Moreover, the results indicate that emotional responses to color vary more strongly with regard to tone than to hue categories. Comparing the SAM ratings between the two experiments, a systemic explanation has yet to be found to conclude that there is a media effect on the emotional responses to colors. Furthermore, the process of affective judgment of colors and the limit of color as an emotion elicitor are discussed. © 2009 Wiley Periodicals, Inc., Col Res Appl, 2010.