Color Research and Application最新文献

This article presents a theoretical reflection and a methodological proposal for the study of urban color as an element of experience and urban cultural construction. The purpose is to propose a methodology based on the analysis of the relationships between the objective and subjective aspects of color in the city. To this end, we aim to understand the objective visual perceptions and relate them to the subjective associations that the inhabitants identify from the urban experience. Additionally, a methodological crossover is carried out that considers the study of urban color from the perceptual and objective analysis of color with the methodologies of imaginaries and urban anthropology. Thus, the proposed chromatic approach links the objective and subjective aspects of color with the tangible and intangible elements of the city. By so doing, this article underlines how the results are not limited to the objective terms of the study of urban color but are enriched by the identification of subjective aspects, such as the analysis of the historical and social contexts in which the colors were chosen, as well as the perceptions that their inhabitants have about them. This research aims to deepen and broaden the view of a city from a chromatic study's perspective. The conclusions invite us to make a reading of the representations and perceptions of the inhabitants of a city who, through the questioning of color, can express their needs, desires and emotions for the place they inhabit and thus transmit a particular cultural construction of the city.

Personality traits are considered the primary determinants of emotional and behavioral patterns of individuals within the built environment, influencing the experience of architectural space over their cognitive representation. Specifically, the dimension of extraversion within an individual's personality holds considerable predictive value in determining their attitudes toward the environment. Consequently, this study aims to investigate the influence of personality traits on color preference by comparing preferences for context-free color samples and in-context spatial colors among individuals exhibiting varying levels of extraversion. It also aims to ascertain the most accurate color-construct scale for delineating individuals' preferences for in-context spatial color. The study employed the International Personality Item Pool (IPIP) representation of lexical factor markers for the Big-Five structure. For the study, 11 colors, referred to as basic color terms, were selected as stimuli. Data on color preference were obtained through a rank order test for 11 context-free color samples and 11 virtual images of in-context spatial colors, as well as ratings of in-context spatial colors based on 14 color-construct scales. Findings reveal the relationship between extraversion personality trait and color preferences, revealing distinct patterns between context-free and in-context color preferences. They also suggest the possibility of divergent preferences for in-context spatial colors among individuals with varying levels of extraversion, with certain colors eliciting significantly different ratings on color-construct scales. The study's findings shed light on the importance of personality traits in predicting the relationship between architectural spaces and colors, depending on individuals' personalities, particularly within design disciplines such as interior architecture.

In the early stage of a building design, forming a design concept is the first step. The architect must assimilate and organize information involving spatial needs, engineering, building codes, and budget considerations. They must also consider its visual appearance, how the building fits into its physical context, and, most importantly, how to conceive of the building holistically as both functional and aesthetic. A process for accomplishing this will use a methodology associated with intuition and imagination. A metaphor is used that gives form to the building through an analogy that imitates its activities and function and serves as a device for conceiving of the building as a whole. Making a design diagram that defines the concept using the metaphor and showing the relationship of the critical parts of the building is the biggest challenge in this stage. A new approach is to assign color to these parts in the design diagram. With the metaphor as guide, the hierarchical status of the parts will be shown by the perceptual weight of the colors in juxtaposition to one another by contrasts in hue, value, and chroma. The results show that the addition of color increases the clarity and comprehension of the design concept in the eyes of the designer, in visual presentations to faculty in academic settings, and to clients in the profession. The color decisions latter in the process may differ from those used in the diagram, but these decisions will adhere to the established hierarchies of the building parts as foreground or background colors. This methodology is intended to be a tool for students in architecture as well as professional architects.

Designing the colors of a new neighborhood without a color definition of facades is challenging task. While there is a wealth of research on color perception and architectural color design, tools and methods are needed to understand the chromatic experience of areas. Thus, this case-study research aims to explore the chromatic experience by introducing a new ethnographic Color Walk method. The participants are professionals in the fields of architecture and color. Two voice-recorded and transcribed discussions are examined from two perspectives: the suitability of the Color Walk to conceptualize the chromatic experience of neighborhoods and analyzing the main concepts used by professional participants. The analysis shows that the seven main concepts are: (1) material; (2) light; (3) views in/from/into the area; (4) atmosphere; (5) identity; (6) landscape/nature/landscape architecture; and (7) architecture. Architecture includes four subareas: (a) the color scale of the building design, (b) the color scale of the urban design, (c) the history of architecture, and (d) color trends. The results indicate that the Color Walk method allows conceptualizing how environmental colors are experienced. However, several repetitions are needed to confirm all the concepts. Furthermore, complex facade colors are only one element of the chromatic experience. Thus, other aspects should also be emphasized in environmental color design. The results also show that environmental color design is related to urban design and building design. The findings of this study contribute to existing research by expanding the concepts of urban design to environmental color design.

The Ishihara test plates are designed to offer a rapid and usable instrument to diagnose color deficiency. The original test, as well as other pseudo-isochromatic plates (PIP), is composed of physical charts produced following proprietary and standard printing procedures. In this work, we aim to measure and assess the color shifts that the aging of the plates may introduce. This work aims to raise the scientific and medical community's awareness of the risks that may occur in using an aged or damaged test, which may still appear in good condition but has been subjected to deterioration over time.

Three new approximately uniform color spaces named MLUV, MLUV1, and MLUV2 were developed by modifying CIELUV lightness, $��u^{\prime }�v^{\prime }�$ chromaticity coordinates, and $��u^{*}�v^{*}�$ color coordinates, respectively. Performance tests using the combined and four individual datasets employed at CIEDE2000 development showed that MLUV, MLUV1 and MLUV2 were significantly better than CIELUV. Using values of Standardized Residual Sum of Squares (CIE 217:2016) for predictions of the four individual datasets the ranking (from best to worst) was MLUV, MLUV2 and MLUV1, but for predictions of two ellipses datasets the ranking (from best to worst) was MLUV2, MLUV, and MLUV1. Overall, the MLUV2 space was found to be the best. Hence, it is expected that MLUV2 could be used for color specification and color difference evaluations, especially in industrial applications that depend on additive light mixing, such as color TV sets, video monitors, and lighting.

Conventional models (e.g., a Gain-Offset-Gamma model) were developed based on the assumption of channel independence. Modern displays (e.g., organic light-emitting-diode OLED displays), however, sometimes have crosstalk effects among the three channels, making these conventional models have poor performance. In this article, we propose a 3D piecewise model. It divides the display gamma encoded RGB space (i.e., R′G′B′) into 27 subspaces and characterizes the crosstalk effects between two and three channels based on the measurements of the tristimulus values of 64 combinations of digital signal values. The average color difference ΔE₀₀ of the 41 combinations between the model predictions and the measurements was around 0.34, in comparison to the average of 3.61 by the GOG model, across nine uncalibrated OLED displays. In addition, for displays with breakpoints on each channel, a revision is proposed to divide the subspaces for maintaining the accurate predictions. The proposed model was also validated by calibrating 94 uncalibrated OLED displays to the standard P3 RGB specifications, resulting an average color difference ΔE₀₀ reduced from 3.96 to 0.72.

Since the start of the new millennium, more diverse color expressions have appeared in the design of urban environments, especially in global cities. In this article, the notion of “new colors” refers to the emergence of saturated colors and new ways of using them in urban environments globally. With the impact of globalization and the disengagement of color from local materials, existing color approaches seem to be insufficient to explain the dynamic changes in color design. To understand the emerging “new colors”, this article proposes viewing environmental color as a social semiotic resource. Adapted from Gunther Kress and Theo van Leeuwen's social semiotic model of color, a model is developed to identify and explain “grammars of color” in environmental color design. With a particular focus on urban and landscape designs completed between 2000 and 2019, five main color practices of saturated colors were identified: branding and communication, urban interventions, sports and recreation, traffic environments, and historical and post-industrial sites. The analysis of these main color practices and semiotic resources suggests that the saturated color's role in social communication is emphasized in the urban space nowadays. Furthermore, the emergence of saturated colors and the growth of new expressions of color in the urban environment may be driven by the needs and interests of different sociocultural groups.

A method is described for determining and calibrating the CIE Whiteness Index (WI) of an OBA-treated specimen without incorporating into the measurement system a mechanically adjustable UV filter. The method requires spectrophotometric measurement of the specimen under two lights: UV-excluded to infer the reflectance r(λ) and UV to infer the fluorescence profile f(λ). Also required is a stored illuminant spectrum I_in(λ) that covers at least the whole visible wavelengths. Only one scalar value k is then needed to mathematically characterize the total spectral radiance factor (TSRF) of the same specimen under I_in(λ). Calibration uses a reference specimen with known WI, and adjusts k until the computed WI matches the reference WI value. If I_in(λ) is the illuminant chosen from ASTM E313 to define the WI, the k adjustment reduces to solving a single quadratic equation for k that involves the reference WI. In general, relative to directly measuring a specimen's TSRF, it is more instrument-independent to use the current method to characterize TSRF. Therefore, if a fluorescent specimen is measured using UV and UV-excluded illuminants, a complete, instrument-stable characterization of the specimen's TSRF can be derived by adjusting k, which can be done through a closed-form relation of k to the WI.

Basic perceptual abilities are universal, and most people can distinguish between millions of distinct shades. However, languages differ in the set of basic color terms (BCTs) they have. Despite numerous prior studies, the exact number of BCTs in Mandarin (Sino-Tibetan) and Spanish (Indo-European) is still debated. In Mandarin, this number varies from 6 to 11, whereas in Spanish there are about 11 or 12 BCTs. Additionally, differences between these two languages can be expected with regard to the differing usage of BCTs in reference to color, as well as the naming strategies used for specifying references. To clarify this, we recruited a group of Mainland Mandarin speakers and a group of Castilian Spanish speakers and assessed them in two related tasks: the list task, in which participants were asked to write down as many color names as they could recall; and the color-naming task, in which they were asked to name color chips from the Munsell color chart that were presented randomly. Our results suggest that Mandarin has nine BCTs, while Spanish has 12 BCTs. Furthermore, we found that Mandarin speakers use more modified terms and compounds to achieve precise color reference, whereas Spanish speakers rely more on monomorphemic non-basic terms. Finally, we observed that Mandarin speakers use some colors (gray, blue, and purple) less consistently; although, the color space is partitioned similarly by these two languages. Our results reinforce the view that there are universal constraints on color naming that are compatible with subtle cross-cultural differences in how colors are used.