Color Research and Application最新文献

Over the last four decades, development in the environmental color design field challenged the prevailing designer's attitude towards selecting architectural and urban color palettes. Examining praxiological issues in environmental color design is necessary to reveal influential conditions that can facilitate or obstruct a shift in the design paradigm. This research article presents a qualitative study of environmental color design praxis (ECDP) in urban contexts. The study sought to understand how designers constructed their perspectives on contemporary ECDP, how these perspectives influenced their design approaches and the conditions under which designers can change their attitude and practices in environmental color design. The conceptual model of ECDP emerged from the grounded theory analysis of the interviews with Brisbane designers and the interpretation of relevant texts written by prominent designers and scholars. This article describes the core components of the ECDP model and provides interpretations of how educational, pragmatic and socio-psychological factors influence dynamic changes in ECDP. The underlying research concludes that a holistic understanding of ECDP can inform the advanced and socially responsive environmental color design paradigm; the ECDP model provides a frame of reference for developing color design praxis theory.

The color coordination project focuses on an important industrial heritage site in the Mediterranean—the shipyards of the town of La Ciotat, which is situated in southeastern France. As part of a waterfront requalification project, the company, La Ciotat Shipyards, commissioned a color consulting design agency to collaborate in redeveloping the site and maintaining its unique identity. This article aims to present the color research conducted by the agency Nacarat Color Design in 2018, by putting it into perspective alongside the 1974 work carried out by renowned color designer, Jean-Philippe Lenclos, on the same industrial site but in a different political, economic, and social context. Applying a geopoetic approach, the color coordination project focuses first on understanding the current identity of the site and its history; second on applying a chromatic field research method; and, third on exploring the narratives brought by the use of color and materials. The complex social history of the shipyards of La Ciotat and its industrial conversion has created new challenges for the town, its inhabitants, and its workers. The conclusions of this study show how color and materials are understood as markers of the site's history, playing not only an important role in the affirmation of historical identity and the creation of a continuity, but also in the construction of a new narrative for a site that reinvents itself.

Normal color perception is complicated. But at its initial stage it is relatively simple, since at photopic levels it depends on the activations of just three photoreceptor types: the long- (L-), middle- (M-) and short- (S-) wavelength-sensitive cones. Knowledge of how each type responds to different wavelengths—the three cone spectral sensitivities—can be used to model human color vision and in practical applications to specify color and predict color matches. The CIE has sanctioned the cone spectral sensitivity estimates of Stockman and Sharpe (Stockman and Sharpe, 2000, Vision Res) and their associated measures of luminous efficiency as “physiologically-relevant” standards for color vision (CIE, 2006; 2015). These LMS cone spectral sensitivities are specified at 5- and 1-nm steps for mean “standard” observers with normal cone photopigments and average ocular transparencies, both of which can vary in the population. Here, we provide formulae for the three cone spectral sensitivities as well as for macular and lens pigment density spectra, all as continuous functions of wavelength from 360 to 850 nm. These functions reproduce the tabulated discrete CIE LMS cone spectral sensitivities for 2-deg and 10-deg with little error in both linear and logarithmic units. Furthermore, these formulae allow the easy computation of non-standard cone spectral sensitivities (and other color matching functions) with individual differences in macular, lens and photopigment optical densities, and with spectrally shifted hybrid or polymorphic L- and M-cone photopigments appropriate for either normal or red-green color vision deficient observers.

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.