Color Research and Application最新文献

Much research has been done on the relationship between emotions and colors, and many color scheme recommendation tools have been developed. These tools can often help recommend a suitable color scheme to express a certain emotion, but it is still difficult to design satisfying schemes based on such recommendations. In this study, based on the Color Scheme Bible, Compact Edition, we developed Emocolor, which allows professionals to generate a large number of color schemes based on emotional words or emotional images. It is also used to iteratively optimize the generated color schemes based on an interactive genetic algorithm to find the color scheme design that best matches the user's emotion. Through the evaluation of tram color schemes based on emotional words, Emocolor can effectively generate tram color schemes that match users’ emotions. It can also effectively transfer the emotion of an image with a single dominant color to a tram color scheme. In short, Emocolor can help professionals describe the relationship between emotion and color in a more accurate way and design emotional color schemes. Emocolor can be applied in advertising design, product design, interior design, and other fields.

Accurate characterization of color depth is important for assessing a dye's relative strength, color fastness, and so on. There are several formulas for color depth, however, with evaluation effects that are quite different. In this study, we attempt to investigate the equi-depth properties of the color depth formulas so as to provide a reference for selection. One thousand two hundred and six color samples were dyed around six standard depths of three hues in SDC Standard Depth Scales. Sixteen observers were recruited for “Pass–Fail” psychophysical experiments. More than 30 000 experimental data points were obtained to calculate the values of discrimination thresholds and acceptable tolerances at six different standard depths for each formula. The equi-depth properties of five main color depth formulas were statistically analyzed through their coefficients of variation (CV)% values. Results show that the Yang3 formula is optimal for both color depth discrimination threshold and acceptable tolerance, and its average wrong decision is less than the minimum wrong decision of all observers, as well as those of the other four formulas. Overall, Yang3 formula shows the best equi-depth and highest relatively accuracy among the five formulas.

This text proposes exploring the relationship between color, landscape, and architecture. It refers to the interrelation between the color of the landscape and architecture of one of the world's southernmost regions, Patagonia, at the southernmost tip of Chile. It is suggested that the chromatic atmosphere of this territory is marked by the vastness of the landscape, incorporating its architecture. The study is approached from an exploratory and chromatic observation perspective, through photographs and watercolors, supported by a historical and planimetric (plans and maps) literature review. The results show a complex territory, whose chromatic atmosphere evinces a deep and indissoluble link between color, landscape, and architectural heritage, concluding that the colors found onsite form an intrinsic part of this territory's identity.

There exists a general misunderstanding among colorists as to the units involved in the equation for tristimulus integration. The investigator of the color-matching functions chooses four cardinal stimuli which, along with his choice to cause the three primaries to have equal coloration power to each other, causes him to assign units to the color-matching functions in order that these units may be carried to the equation for tristimulus integration. This note discusses the development of these units using the 1931 RGB experiment and subsequent algebraic processing as an example. It develops exactly what these units are and concludes that they are consistent.

The concept of color space is ubiquitous in color science and technology and is applied to a wide variety of stimulus, signal, and perceptual dimensions. This Color Forum paper aims to discuss the concept of representing color in a multidimensional geometric space and whether such a concept is useful in helping us understand human color perception. The conclusion is that the concept of color space might not be of utility, but the hope is that this paper prompts further thoughts and review by others and motivates additional Color Forum papers that either provide examples of the utility of the color space concept or add further support to the idea that it might be time to look at color differently.

We have developed a system that separates and measures the optical properties of skin that determine its visual quality, that is, the surface reflection, diffuse reflection, and subsurface scattering components of the skin. This system includes two polarization filters that separate light from the skin into a surface reflection component image and a diffuse reflection component image. Furthermore, by using a projector as a light source and irradiating the skin using a high-frequency binary illumination pattern, the subsurface scattering component image alone can be separated and generated. Application of an algorithm that calculates the luminance value Y for each component image not only makes it possible to analyze each light signal from the skin quantitatively, but also enables understanding of how each light signal is related to the skin's overall appearance. Using the proposed system, we performed a survey of 154 Japanese women aged from their 20s to their 70s and analyzed age-related changes in the optical properties of their skin. The results revealed the following. First, the luminance value Y of the surface reflection from the cheek and its standard deviation within the analysis area increase with age. Second, the Y value of diffuse reflection from the skin decreases with age. Third, the amount of light in the subsurface scattering components also decreases with age. The proposed system is expected to be suitable for a wide range of applications, including color science, and various studies of the appearance of human skin.

The development of urban color planning and design has evolved alongside massive urbanization in China over the past two decades. In this field, Jianming Song has become one of the most profound practitioners, having carried out hundreds of urban color projects since the turn of the millennium. This study aims to answer the question: What can be learned from these projects to provide useful knowledge for future urban development? In response to the complexity of the urban context and the relationship between urban space and colorscape, Song utilizes linguistics-based design methodologies as an effective way to solve practical problems. This article articulates the application of linguistics in urban typology, color narratives, and the development of color themes. The study also identifies an integrated methodological framework that include the perspectives of ontology, epistemology and methodology. The research findings point to a renaissance of traditional culture implemented in contemporary design practice. Urban color planning and design is the product of local, social, economic, and political relations. The research encourages local knowledge combined with intellectual analysis to contribute to the design revolution in urban development.

The main goal of this article is to summarize and present the most important facts concerning the use of the blue color in the built environment, considering its symbolic, functional, and decorative aspects. This monograph of color is aimed to contribute to a better understanding and clarify the place and meaning of the blue color in the architectural space and allow architects to use this color with greater awareness of its characteristic features in the historical context. The results of the detailed analysis of more than 200 blue buildings, collected by the author since 2006, are grouped into seven main thematic sections, which express different ways of applying blue in the architectural space: as a symbol/idea, the color of the sky, as traditional, contrast, and material color, as a visual attribute and brand color, and last but not least as the color of the light. The main conclusion is that, although the rationales for using blue color in architecture were diverse, symbolic and aesthetic considerations prevailed. As the dominating color of the sky and water, blue is considered the most intangible of all hues in architecture. Also, as a worldwide attribute of divinity, connected with Heaven as the domicile of deities and gods, it has received a considerable spiritual load. The universality of this symbolism, combined with the high cost of pigments, has given the blue color its unique and exclusive value. Even nowadays, despite the greater availability of blue materials and colorants, blue has not become a prevalent color in architecture. On the contrary, its visual impact, both in glass curtain walls and in night illuminations, still emphasizes its immateriality and reference to spiritual symbolism.

Designers are often called upon to design therapeutic spaces that serve people who are in fragile emotional and/or physical states. While there is considerable guidance on designing for function in these spaces, the evidence-based guidance on aesthetics is virtually non-existent, especially when it comes to color. For a long time, the prevailing assumption in these studies, and among the public in general, has been that hues are the drivers of emotional content (e.g., red is exciting and blue is calming) and they have, for the most part, disregarded the distinct emotional connotations of light, dark, and muted versions of a hue. This oversight has led to unfortunate outcomes in the real world. The idea that blue is calming, for instance, has paved the way for brand new state-of-the-art facilities featuring light blue walls that occupants may read as cold and unwelcoming. Designers need a rational, evidence-based approach that helps them understand what many of them already know intuitively: spaces can be calm and inviting without being blue. After an overview of the design process, this article proposes that Pleasure-Arousal-Dominance (PAD) theory may aid designers to better understand that pale and dark (high and low value) colors convey opposites messages related to strength/power (dominance), and that vivid and muted colors (high and low chroma) convey opposite messages about energy/activity level (arousal). Finally, the author illustrates how this thought process might be applied in an architectural design practice.