ISSN:0361-2317    

DOI:10.1002/col.5080200102

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY

ISSN:0361-2317    

DOI:10.1002/col.5080200103

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY

摘要:

AbstractIn the twentieth century, interest in color in architecture in Europe has been expressed in several ways. Two periods can be distinguished, characterized by different perceptions of the issue. First, between the 1920s and the outbreak of the Second World War, architects themselves tackled the question of color, either by adopting some sort of polychromy, or on the contrary by excluding it from the design of their buildings. In the second period, in the 1950s, a new form of coloration emerged, this time at the initiative of certain artist‐painters. This was the most significant step in terms of social, even utilitarian, character (but it should not be confused with another phenomenon linked to the manifestation of color, the mural). the new step was taken above all in France, where some artists preferred to apply their sensibility and experience to constructed space—on a different scale from the traditional scale of the painting. Patient experimental attempts and meticulous research by these few forerunners gave rise to a new profession serving architecture, that of the color consultant. It was with the development of industrial architecture and thanks to the way society was evolving that attention turned to the ambiance of the workplace, and the color consultant could come onto the scene. Previously, other professionals had been active for (or against) color in architecture, and prepared the ground for this specialization. A historical overview, marked by certain events in the 20th century architectural movement, illuminates in this discussion the origins and the need for the new profession. In a more detailed way, the working methods and some realizations of the principal French color consultants are addressed—a presentation that is intended to interest researchers or professionals by providing specific information that, despite its importance, seems to be lacking in specialized publications. © 1995 John Wiley&Son

ISSN:0361-2317    

DOI:10.1002/col.5080200104

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY

摘要:

AbstractExperiments were carried out to investigate the effect of simultaneous contrast on colour appearance by varying the lightness, colourfulness, and hue of an induction field surrounding a test colour. A total of 814 test/surround combinations were displayed on high‐resolution colour displays. Each was assessed by a panel of five to six observers using a magnitude estimation technique. the results indicate that colours presented on a computer display are affected by simultaneous contrast in a similar way to surface colours. All three colour appearance parameters studied (i.e., lightness, colourfulness, and hue) are affected and these effects are summarized. In general, the results support and add to the findings of the other studies. the Hunt colour appearance model was tested and gave a somewhat poor prediction to this data set. Further modifications are required to improve its performance. © 1995 John Wiley&Sons, I

ISSN:0361-2317    

DOI:10.1002/col.5080200105

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY

摘要:

AbstractThis article addresses the results of the recent North and Fairchild article on observer metamerism. It reports on the results of a different experiment that produced similar results to those of North and Fairchild. The history of observer metamerism is outlined briefly and some possible sources of the large variations in inter‐observer matches are suggested. Finally, a plea for a commercially viable special index of metamerism for change in observer is formulated. © 1995 John Wiley&Sons, I

ISSN:0361-2317    

DOI:10.1002/col.5080200106

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY

摘要:

AbstractThe functional relation of visual to colorimetric scaling of small color differences is needed for a realistic interpretation of the perceptual magnitude of a measured color difference. Linearity is usually assumed and differences are expressed in threshold units without adjustment. an experimental plan is described that provides for the application of gray‐scale assessment to visual judgments under controlled parameters. Gray scale and test colors were produced from a two‐component acrylic lacquer system. A green color center (CIE green) was chosen for a first test with color differences extending from the center in the directions of hue, saturation/chroma, and lightness in steps ranging from ‐5 to + 5 thresholds. Thirteen observers made 4 judgments of each of 78 color‐difference pairs. the resulting scales were typically linear but increasing less steeply than threshold stepping; however, Fstatistics showed some inhomogeneous effects. Scales along the main color directions tended slightly to subadditivity. the vector model of color difference better predicted the magnitude of diagonal jumps between two color directions than did the city‐block model. Relations to some recent color‐difference formulae were studied and the CIE TCI‐29 formula was found to be a good predictor for this color center. © 1995 John W

ISSN:0361-2317    

DOI:10.1002/col.5080200107

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY

摘要:

AbstractIn 1993, the American Society for Testing and Materials carried out a field test of newly calculated tristimulus weighting factors. These weighting factors had been calculated by a method proposed by Venable. the test also included a method of correction for bandpass dependence put forth by Stearns. the purpose of the trial was to assess the possible reduction in bandpass dependence introduced by each of these sets of weights. A large number of sets of spectral data were gathered from the cooperators in the field test. Results of integration by the various sets of tristimulus weighting factors were calculated. A total of 15 120 color differences were calculated and statistics were derived to test the probable error resulting from each method of correction. Errors attributable to bandpass dependence were on the order of a few tenths to as much as one CIELAB unit when uncorrected weight sets were used. These errors could be reduced to a few hundreths of a CIELAB unit, and in some cases to a few thousandths of a unit, by employing one correcting strategy or the other. an overall mix of strategies was ultimately chosen to minimize the bandpass dependence over the entire range of weight sets. Utilizing this mixed strategy, the median error introduced into 10‐nm integration by bandpass dependence was only 0.004 CIELAB units. © 1995 John Wiley&Sons, I

ISSN:0361-2317    

DOI:10.1002/col.5080200108

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY

摘要:

AbstractBecause of the subjective nature of determining visual color‐match acceptability, we have for many years hoped that color measurement would provide objectivity for clear‐cut decisions. Despite impressive advances in spectrophotometers and computer software, few produceruser programs have been successful using only numerical data and with no visual override. Most companies “accumulate data” but make final decisions visually. Considering the many observers making color‐match decisions at color producer sites, molding plants and assembly plants, Ford set out to establish a plan for fully objective analysis. While developing the plan, certain guidelines became critical to good correlation of visual to measured data. A pilot program is described in which the resin producers certify batches of color concentrate or precolored resin as meeting certain measured criteria. the parts are then molded and installed in vehicles and are not challenged visually but are monitored for the record. Good color match quality has resulted. © 1995 John Wiley

ISSN:0361-2317    

DOI:10.1002/col.5080200109

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY

摘要:

AbstractThe colour resulting from the partial overlap of tiny dots of cyan, magenta, and yellow inks in a matrix is difficult to predict. A method of simulating it on the macro‐scale has been devised by measuring discs with coloured sectors using a spectrophotometer. Here the separate colours are mixed within the integrating sphere of the instrument. Although subtractive mixing occurs where colours overlap, the overall result to the eye/brain is interpreted by additive means. The result of mixing known areas of coloured surfaces additively was predicted successfully by Maxwell in the last century. His method, combined with the use of the CIE System, has been successfully used to predict the coordinates of the mixture of coloured sectors measured on the spectrophotometer. The theoretical model developed applies to trichromatic or polychromatic printing, whatever the substrate. © 1995 John Wiley&Sons, I

ISSN:0361-2317    

DOI:10.1002/col.5080200110

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY

摘要:

AbstractA psychological test was performed by using computergenerated color patterns, which were composed of ordered repeats of random color arrangements, and the effects of the repeat number were investigated. the results were analyzed in terms of power spectra of the Fourier transform of the color patterns, and it was clearly found that the psychological evaluation depended strongly not only on the amount but also on the degree of concentration (or scatter) of the power spectrum. Furthermore, in order to predict the psychological values of the color patterns, multiple regression analyses were done by using three models with 13, 14, and 15 specified variables that were obtained from the Fourier transform. It was found that the multiple correlation coefficient increased considerably by introducing the second‐order term of a variable that indicates the degree of concentration of the dynamic components, especially for the evaluation of beautifulugly or interesting‐boring. © 1995 John Wiley&Sons,

ISSN:0361-2317    

DOI:10.1002/col.5080200111

出版商:Wiley Subscription Services, Inc., A Wiley Company    

年代:1995

数据来源: WILEY