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The purpose of this paper is to study how color contrast (complementary vs. analogous colors) affect individuals’ attitude and purchase intention in the context of web banner advertising. Previous research on the effect of color in marketing stated that color is one of the most important factors for fast decisions regarding product choice. However, the study of color has mainly focused on isolated colors (hue) and color temperature (cool vs. warm colors). Thus, color contrast studies are lacking. Two experimental studies (Ntotal = 409) were conducted in the context of web banner advertising. Study 1 involved a service setting (a wireless internet service provider) and Study 2 focused on a product category (a wireless headphone set). Findings revealed that the blue-green analogous color set tend to elicit higher levels of both attitude towards the ad and purchase intention. The results were partially confirmed for Study 1 and (totally) confirmed for Study 2. This research work contributes to shed some light into color perception and e-commerce strategy thus helping marketers and designers to create more effective web banner advertisements.

We extend research testing the effects of food color on flavor perception to analogous color. Analogous colors are those found next to each other on the color wheel. Subjects were assigned the task of tasting and evaluating a fruit-flavored beverage. Actual fruit flavor at two levels and beverage color at three levels were manipulated in a full factorial, between-subjects design. Thus each subject tasted and evaluated a single color/flavor combination. Results show that the small differences in food color represented by analogous color are sufficiently distinct and meaningful to consumers to significantly affect their ability to correctly identify the flavor of color-associated foods, as well as to form distinct flavor profiles and particular preferences—much as the grosser distinctions represented by complementary food color have been shown to do previously.

In this paper, we propose bi-directional depth propagation for 2D-to-3D conversion with color/depth-based superpixel segmentation. Depth propagation generates the depth image of the query frame based on motion information between two sequential frames. However, color-based superpixel segmentation causes segmentation errors due to weak edge and analogous colors, thus resulting in motion estimation errors. We provide color/depth-based superpixel segmentation for accurate motion estimation instead of the color-based superpixel segmentation. Experimental results show that the proposed method successfully estimates motion vectors for depth propagation and outperforms state-of-the-arts with comparable time cost in terms of PSNR.

The aim of the research reported by this study was on the one hand to identify what colors were associated with particular words in relation to a specific language (Italian), by portraying them in color stimuli on the screen of a monitor; and on the other hand to verify whether some words of that language denoted colors that were either particularly well defined or confused with others. In an experiment using special software, the subjects were asked to produce colors directly, instead of choosing among a number of colors presented on the screen. The results showed that (i) it is possible to identify the color-stimuli to which the terms of a language refer; that (ii) the “best” colors Giallo (Yellow), Rosso (Red), Blu (Blue), and Verde (Green) which the subjects were requested to produce were very similar to the corresponding unique hues; that (iii) among the mixed hues there were perceptually intermediate colors, that is, ones exactly midway between two consecutive unique colors: Arancione (Orange) and Viola (bluish Purple); that (iv) Turquoise and Lime were clearly positioned in the mental space of color of the participants; and that (v) for Italian speakers some hues coincide: Azzurro (Azure) and Celeste (Cerulean); Arancione (Orange), RossoGiallo (RedYellow) and Carota (Carrot); Lime and GialloVerde (YellowGreen), so that their color terms can be considered synonyms. Our most interesting finding, however, is that for Italian speakers these four mixed colors with their specific names (Lime, Turchese (Turquoise), Viola (bluish Purple) and Arancione (Orange) fall perceptually in the middle of each of the four quadrants formed in the hue circle by the four unique hues. The resulting circle is therefore characterized by eight colors of which four are unique and four are intermediate mixed. It would be advisable to repeat the study cross-culturally to test for possible similarities and differences in color meanings with speakers of different languages. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 89–101, 2017

The colors on picture books by Dick Bruna have been analyzed by using computer.Fundamental colors including red, blue and green specified by Bruna himself are revealed to be not pure fundamental colors. These picture books have taken reposeful colors that mixed one fundamental color to another fundamental one. The thread of narrative is made a development along the changes of these reposeful colors that increases the charm of picture books by Bruna.

In this study, 34 students and teachers from a college of fine arts selected suitable colors for their artistic work on CRT displays. From the results, several fundamental colors selected by artists can be seen on CIE-xy color spaces. The results of our experiment clearly showed that the 34 subjects could be divided into three groups based on differences in the level of red light or green light in their color palette. While a few subjects usually selected a color palette, which included high red light luminance, others usually liked colors, which included high green light luminance. Many others selected colors, which included the same level of red, and green light. When we put these results together with the findings from Rayleigh matches and molecular biology they suggest that among colors recognized by normal humans there are significant variations in color matches of red and green light made by individuals. In this paper we propose three types of digital color palette. These are the circular type, which includes the same level of red and green light luminance, the spiral type, which used low red light and high green light, and the zigzag type, which used high red light and low green light. The DIGITAL COLOR PALETTE in art is currently a subject of extensive research. Of importance is that this is artistic research by artists as to why an artist chooses certain colors out of the sixteen million colors available.

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