Search

Graphic design plays a crucial role in branding and marketing in the current digital era. Digital marketing impacts the promotion of tourist destinations. Tourism has become an important and growing sector that has influenced the development of a country's economy. Colour as an element of graphic design evokes emotions and sets a certain mood for an image or graphic. The purpose of this study is to determine the role of colour perception in graphic design in promoting tourist destinations of Southeast Europe (SEE). We aim to explore the relationship between graphic design and the tourism industry in SEE countries, focusing on their tourism logos and slogans for advertising their tourist destinations. The analysis of the main characteristics of logos and slogans shows that they can be effective tools for promoting and supporting tourism in countries in the SEE region. It was observed that there is compatibility between the colours used in the logo and the country flag in 64% of the tourism logos of SEE countries. The colour green is the most commonly used colour in logo design.

Graphic design plays a crucial role in branding and marketing in the current digital era. Digital marketing impacts the promotion of tourist destinations. Tourism has become an important and growing sector that has influenced the development of a country's economy. Colour as an element of graphic design evokes emotions and sets a certain mood for an image or graphic. The purpose of this study is to determine the role of colour perception in graphic design in promoting tourist destinations of Southeast Europe (SEE). We aim to explore the relationship between graphic design and the tourism industry in SEE countries, focusing on their tourism logos and slogans for advertising their tourist destinations. The analysis of the main characteristics of logos and slogans shows that they can be effective tools for promoting and supporting tourism in countries in the SEE region. It was observed that there is compatibility between the colours used in the logo and the country flag in 64% of the tourism logos of SEE countries. The colour green is the most commonly used colour in logo design. [ABSTRACT FROM AUTHOR]

This study aims at evaluating the validity profile of Titmus vision screener V4 for gauging visual acuity and colour perception as a screening tool. Eleven hundred young adults attending eye OPD at a tertiary care center were included in the study. All individuals underwent distance visual acuity (DVA) measurement with Snellen chart and Titmus vision screener V4, at 6 m on the same day. Later, these individuals underwent colour vision testing with Ishihara pseudo isochromatic plates and Titmus vision screener V4. The age distribution ranged from 19 to 53 years with mean age as 26.6 years. Males (87.4%) were more as compared to females. Mean DVA measured by Snellen's chart and Titmus vision screener V4 were 0.088 ± 0.15 and 0.110 ± 0.17, respectively (p = 0.000). Mean difference between DVA by Snellen's chart and Titmus screener V4 was −0.021 ± 0.82 with 95% CI (−0.026 to −0.016). For measuring visual acuity, Titmus vision screener V4 showed a sensitivity of 99.5% and specificity of 90.6%. Negative predictive value and positive predictive value were 99.6% and 85.6%, respectively. For diagnosing colour perception, the Titmus vision screener V4 showed a sensitivity of 100% and specificity of 99.8%. The negative predictive value and positive predictive value were 100% and 88.8% respectively. Area under the curve of receiver operating characteristic (ROC) curve was 0.960 with 95%CI (0.949–0.972). Our study supports use of Titmus vision screener V4 as an excellent screening tool for measurement of visual acuity as well as colour perception. [ABSTRACT FROM AUTHOR]

Abstract Three methods can be used to evaluate the colour used on architectural heritage: manual evaluation, instrumental measurement, and process restoration. Optical instruments that can obtain relatively accurate chromaticity data are ideal. As architectural heritage sites age, their colour fluctuates. Researchers must screen colour data and analyse the features based on experience with colour perception. This study combines quantitative colour analysis and a scaled perception survey to analyse the Wen Yuan Ge in the Forbidden City and provide a new reference for researching and designing colour in architectural heritage.

Three methods can be used to evaluate the colour used on architectural heritage: manual evaluation, instrumental measurement, and process restoration. Optical instruments that can obtain relatively accurate chromaticity data are ideal. As architectural heritage sites age, their colour fluctuates. Researchers must screen colour data and analyse the features based on experience with colour perception. This study combines quantitative colour analysis and a scaled perception survey to analyse the Wen Yuan Ge in the Forbidden City and provide a new reference for researching and designing colour in architectural heritage. [ABSTRACT FROM AUTHOR]

Computer-based colour perception tests permit clinical assessment of cone-specific pathways, proving valuable for both identifying type and severity of hereditary colour vision deficiency and enhanced detection and monitoring of acquired colour deficiency from disease. Understanding the parameters that affect computer-based colour perception tests may enhance their veracity and clinical utility. Testing contrast sensitivity separately for the three cone systems enables a quantification of colour perception that can be clinically useful. This study evaluated the effects of pupil diameter and stimulus size on cone contrast sensitivity (CCS) assessed with the ColorDx (Konan Medical, Incorporated). Forty subjects, aged 21–31 years, who met the inclusion criteria participated. The tested eye was randomised. Two Landolt C sizes (2.68 degrees, 6/194, "small"; 8.58 degrees, 6/619, "large") were used, with one size and three chromaticities presented per block of trials. Stimulus presentation used the adaptive screening mode, sequentially determining contrast sensitivity for long-, medium-, and short-wavelength stimuli. Subjects were tested with their natural pupil size (range 4–5 mm diameter), then while viewing through a 2.5-mm artificial pupil. Parametric statistical tests were used for comparisons of performance across pupil size and stimulus size. Two-way within-subjects ANOVA indicates no interaction between pupil size and stimulus size for any of the three stimulus chromaticities. The main effect of stimulus size was significant for M-cone (F = 6.506, 2-tailed P =.015) and S-cone (F = 67.728, 2-tailed P <.001) stimuli. The main effect of pupil size was significant for all three stimulus chromaticities (L-cone: F = 227.161, M-cone: F = 249.979, S-cone: F = 89.371, 2-tailed P <.001 for all). Although CCS was reduced for all three chromaticities and both stimulus sizes with lower retinal illuminance, only S-wavelength cone contrast sensitivity was significantly different for the small versus large stimuli under the 2.5-mm pupil condition in this cohort. Whether CCS in older patients with naturally small pupils changes with an enlarged stimulus or dilated pupils remains to be explored. [ABSTRACT FROM AUTHOR]

In this study, pink colour development was investigated by changing systemically alkaline and alkaline earth ratios of the developed glaze. Group-1 (Na 2 O/CaO, Na 2 O/MgO, Na 2 O/BaO) and Group-2 (CaO/MgO, CaO/BaO) represent compositional variations. Group-1 has alkaline oxides with changing ratios of 0.2 mol Na 2 O and 0.6 mol CaO and 0.2 mol Na 2 O and 0.2 mol BaO, respectively. These ratios vary as 0.2 mol CaO and 0.1 mol BaO in Group-2. According to the results, the pink colour intensity was improved in the compositions with cassiterite (SnO 2) and malayaite CaSn(SiO 5) phases. In addition, bar-shaped BaO–CaO–Al 2 O 3 –SiO 2 crystals were observed in structures with high barium oxide content. It could be concluded that the pink colour development regarding the a* (redness) value may also be related to the presence of BaO–CaO–Al 2 O 3 –SiO 2 [ABSTRACT FROM AUTHOR]

Colour is a silent language with the help of which people can communicate. It is rich in hidden meanings and symbolisms. We think of colour as an independent concept with a part to play in every aspect of our lives. Colour, as we know, does not exist in the outside world, beyond us, like gravity, protons and oxygen do. Instead, colour is created inside our heads. It is the characteristic of human visual perception. The recognition and interpretation of colour are determined by numerous factors: cultural, religious, spiritual, physiological, and psychological. Colour terms are widely used in phraseological units. Among most common ones are the idioms with the two opposite spectra - colours black and white. The present article discusses the perception of black and white in English and Armenian idioms. The current research is an attempt aimed at revealing the similarities and differences in these two languages through comparative-contrastive and descriptive methods of analysis. [ABSTRACT FROM AUTHOR]

In this article, we explore the use of colour for the analysis of shapes in digital images. We argue that colour can provide unique information that is not available from shape alone, and that familiarity with the interdisciplinary field of colour science is essential for unlocking the potential of colour. Within this perspective, we offer an illustrated overview of the colour-related aspects of image management and processing, perceptual psychology, and cultural studies, using for exemplary purposes case studies focused on computational palaeography. We also discuss the changing roles of colour in society and the sciences, and provide technical solutions for using digital colour effectively, highlighting the impact of human factors. The article concludes with an annotated bibliography. This work is a primer, and its intended readership are scholars and computer scientists unfamiliar with colour science.

Although several insect orders have been deeply studied in plant–animal interactions (e.g. pollination) cockroaches have traditionally been ignored in taxonomic and ecological studies. However, they could be playing a role in the reproduction of several plants. To date, 8 plant species use cockroaches as a pollination agent. In our study, we have reviewed 2865 records from citizen science platforms and our own data from the Iberian Peninsula to find flower visits made by cockroaches. We have detected 51 interaction records involving at least 8 different cockroach species and 35 plant species. Furthermore, nearly half of the detected cockroaches carried pollen on various parts of their bodies. These insects were found to mainly visit white, yellow and pink flowers from Apiaceae, Asteraceae and Cistaceae plant families (among others) mainly in late spring and early summer. However, for the confirmation of effective pollination, new studies must be carried out. Additionally, although the existence of pollination syndrome is far from being understood, we provide new insights that could help shed some light on this unknown relationship. Here we provide the first approximation of cockroach floral perception and we have detected that white flowers show the best fit and higher conspicousness to cockroach colour vision, as suggested for other neglected pollinator insects. [ABSTRACT FROM AUTHOR]

Commercial digital drawing pens have incorporated color sensing capabilities to improve the interactive experience of drawing. However, despite these improvements, it remains unclear whether color sensing and picking functions improve drawing learning performance. This study observed third and fourth grade elementary school students, who were in the "dawning realism" stage of artistic development, to determine how using a digital drawing pen with a color sensing function affected their color perception and feature detection abilities. This study analyzed quantitative data on color choice, with some students directly picking colors from the surface of an object and other students choosing colors from the app's default palette. This study also interviewed a focus group of experts who compared between the two aforementioned methods of choosing colors, as used in drawings. The results revealed the following advantages of using a digital drawing pen to directly pick colors off object surfaces: (1) children better utilize and depict the color gradient; (2) children interact with and observe objects and their shapes more thoroughly; (3) children draw objects' shapes and colors more precisely; and (4) children, being in the dawning realism stage, are better able to satisfy their need to perceive the colors and features of objects. [ABSTRACT FROM AUTHOR]

Although perception begins when a stimulus is transduced by a sensory neuron, numerous perceptual mechanisms can modify sensory information as it is processed by an animal's nervous system. One such mechanism is categorical perception, in which (1) continuously varying stimuli are labelled as belonging to a discrete number of categories and (2) there is enhanced discrimination between stimuli from different categories as compared with equally different stimuli from within the same category. We have shown previously that female zebra finches ( Taeniopygia guttata) categorically perceive colours along an orange-red continuum that aligns with the carotenoid-based coloration of male beaks, a trait that serves as an assessment signal in female mate choice. Here, we demonstrate that categorical perception occurs along a blue-green continuum as well, suggesting that categorical colour perception may be a general feature of zebra finch vision. Although we identified two categories in both the blue-green and the orange-red ranges, we also found that individuals could better differentiate colours from within the same category in the blue-green as compared with the orange-red range, indicative of less clear categorization in the blue-green range. We discuss reasons why categorical perception may vary across the visible spectrum, including the possibility that such differences are linked to the behavioural or ecological function of different colour ranges.

Even today, film restoration (both photographic and cinematographic) is a challenge, because it involves multidisciplinary competences: from analogue film inspection and conservation to digitisation and image enhancement. In this context, thanks to the high manageability of digital files, the film restoration workflow often follows a digitisation step, which presents many approximations and issues that are often ignored. In this work, we propose an alternative approach to the issues commonly encountered in film restoration (mainly concerning colour and contrast restoration) aiming at restoring the original colour appearance, through models of human colour perception.

Understanding the influences of colour on individuals is essential for creating better work environments that result in higher employee performance. The effects of interior colour on employees' mood and wellbeing, which affects their performance, are undeniable and crucial. Many studies indicate that correctly applying colour in indoor work environments can increase employee satisfaction and productivity, increasing company profits. Job performance is defined as behaviours or activities carried out to achieve goals, and it is a behavioural outcome that is influenced by psychology, physiology, and individual preferences. The influence of colours on these issues has received a lot of attention. Therefore, this article examines existing colour literature to provide information on the impact of colours in work environments. The review includes 35 studies from 1959 to 2020, which are discussed in terms of psychology, physiology, preference, and behaviour outcomes to gather the information that can be applied to any environment where individuals perform work activities. The findings suggest that the influence of colours in work environments is unavoidable and requires further investigation and comprehension. [ABSTRACT FROM AUTHOR]

The idea of colour opponency maintains that colour vision arises through the comparison of two chromatic mechanisms, red versus green and yellow versus blue. The four unique hues, red, green, blue, and yellow, are assumed to appear at the null points of these the two chromatic systems. Here we hypothesise that, if unique hues represent a tractable cortical state, they should elicit more robust activity compared to other, non-unique hues. We use a spatiotemporal decoding approach to report that electroencephalographic (EEG) responses carry robust information about the tested isoluminant unique hues within a 100–350 ms window from stimulus onset. Decoding is possible in both passive and active viewing tasks, but is compromised when concurrent high luminance contrast is added to the colour signals. For large hue-differences, the efficiency of hue decoding can be predicted by mutual distance in a nominally uniform perceptual colour space. However, for small perceptual neighbourhoods around unique hues, the encoding space shows pivotal non-uniformities which suggest that anisotropies in neurometric hue-spaces may reflect perceptual unique hues.

Background: Although in clinical practice an impairment of sensory perception is frequently reported by depressed patients no mention of these symptoms is made in DSM-5, ICD-10 or ICD-11. Previous studies on colour perception have largely relied on patient self-reports and few have studied colour discrimination. Methods: The ability to discriminate small colour differences was assessed in 30 patients currently experiencing a moderate to severe depressive episode (ICD-10: F32.1-2, F33.1-2 or F31.3-4) and 32 healthy controls using the colour buttons of the Farnsworth Munsell 100-Hue test. Data were analysed by standard tests for comparing two groups (t-test, Mann–Whitney U-test, Chi-square test) and by ordinal regression and generalised estimating equation models. Results: Depressed patients failed significantly earlier (i.e., at larger differences between adjacent buttons) to discriminate between colours. This finding was retained after adjustment for potential confounders. There was no significant association with age, gender or depression score. Conclusions: We found a reduction in the ability to discriminate colours in depressed patients. This finding underlines the importance of sensory deficits as part of the symptomatology of depression. Sensory impairments should be taken into account in clinical care of patients with depression and should be included in diagnostic manuals. Further studies in larger samples including intra-individual comparisons between the depressed and the remitted state of patients are needed. In clinical practice, an impairment of sensory perception is frequently reported by depressed patients. However, no mention of these symptoms is made in the commonly used diagnostic manuals. In this pilot study, depressed patients and controls differed significantly in terms of the ability to discriminate colours with patients performing worse than their healthy counterparts. Sensory impairments should be taken into account in clinical care of patients with depression and should be included in diagnostic manuals. [ABSTRACT FROM AUTHOR]

Previous studies have demonstrated the association between visual perceptions (i.e., form, luminance, area, and colour perception) and numerosity processing; however, there is a lack of evidence on the different roles of visual perceptions that contribute to the close relationship between numerosity processing and arithmetic computation. Using a sample of 259 Chinese primary students, this study investigated the visual perception properties that underlie the relationship between numerosity processing and arithmetic ability. A series of cognitive tasks were used to assess their numerosity processing, arithmetic fluency, visual perception, and other general cognitive abilities as cognitive covariates. Visual perceptions were measured through figure matching, luminance matching, colour matching, and area matching tasks. The results showed that form, luminance, area, and colour perception significantly correlated with numerosity processing. Only form perception fully accounted for the close relationship between numerosity and arithmetic fluency. These results suggested that visual form perception was fundamental for numerosity processing and arithmetic fluency. [ABSTRACT FROM AUTHOR]

Background: This study aimed to verify the effects of bleaching toothpaste on colour stability, elastic properties, surface topography between aesthetic polyurethane and silicone elastomeric ligatures from different brands. Methods: Elastomeric ligatures tested were: 1‐Mini Single Case Ligature Stick (RMO‐polyurethane); 2‐Ligature "S" Shaped Dispenser (RMO‐Silicone); 3‐Sany‐tie (GAC‐translucent polyurethane); and 4‐Sili‐tie (GAC‐translucent silicone). The ligatures were randomly assigned from the brackets of canines and lower incisors of 40 patients. The study had two phases of 30 days in which a different toothpaste was used, followed by a washout period of 30 days. After each phase, ligatures were submitted to colour checking, tensile strength, and SEM. Results: The average of the ultimate tensile strength (m = 2.59; DP = 0.014) was higher in the control ligatures if compared to the tested ones (m = 2.24; DP = 0.014). There were no statistically significant differences between toothpastes regarding the type of ligature. Also, no interaction was observed between toothpastes in ligature's ultimate tensile strength and strain. The type of toothpaste did not minimize colour changes. Conclusion: In conclusion, there was no difference in colour stability and elastic properties between polyurethane or silicone aesthetic elastomeric modules. Whitening toothpastes had no impact on ligatures performance after 30 days in the oral cavity. [ABSTRACT FROM AUTHOR]

Purpose: Red signals signify danger in a range of situations, including train operations. Importantly, misperception of a red signal as yellow can have serious safety implications. This study investigated the effects of lens blur on incorrect colour perception of red signals, which has been implicated in previous train crashes. Methods: Participants included 15 young (26.6 ± 4.6 years) and 15 older (55.8 ± 3.1 years) visually normal adults. Red and yellow wayside train signals were simulated for two brightness levels (dim, bright) using a custom‐built projection system. The effect of blur (best‐corrected refraction [No Blur], +0.25 DS, +0.50 DS, +0.75 DS, +1.00 DS, +1.25 DS) on the number of incorrect colour perception responses of the signals was recorded. The order of conditions was randomised between participants. Results: For incorrect responses to the red signal, there were significant main effects of blur (p < 0.001) and signal brightness (p < 0.001) and a significant interaction between blur and brightness (p < 0.001). The effects of blur were greater for the dim compared to the bright signals, with significantly higher colour misperceptions for the dim signal for +0.50 DS blur and higher, compared with No Blur. Colour misperceptions of the yellow signals were low compared with that of the red signals, with only +1.25 DS blur resulting in a significantly higher number of incorrect responses than No Blur (p < 0.001). There were no effects of age for the red or yellow colour misperceptions (p > 0.19). Conclusions: Low levels of blur (+0.50 DS to +1.25 DS) resulted in a significant misperception of the red signals as orange‐yellow, particularly for dim signals. The findings have implications for vision testing and refractive correction of train drivers to minimise the possibility of colour misperception of red train signals. [ABSTRACT FROM AUTHOR]

The electromagnetic spectrum of light from a rainbow is a continuous signal, yet we perceive it vividly in several distinct colour categories. The origins and underlying mechanisms of this phenomenon remain partly unexplained. We investigate categorical colour perception in artificial neural networks (ANNs) using the odd-one-out paradigm. In the first experiment, we compared unimodal vision networks (e.g., ImageNet object recognition) to multimodal vision-language models (e.g., CLIP text-image matching). Our results show that vision networks predict a significant portion of human data (approximately 80%), while vision-language models account for the remaining unexplained data, even in non-linguistic experiments. These findings suggest that categorical colour perception is a language-independent representation, though it is partly shaped by linguistic colour terms during its development. In the second experiment, we explored how the visual task influences the colour categories of an ANN by examining twenty-four Taskonomy networks. Our results indicate that human-like colour categories are task-dependent, predominantly emerging in semantic and 3D tasks, with a notable absence in low-level tasks. To explain this difference, we analysed kernel responses before the winner-takes-all stage, observing that networks with mismatching colour categories may still align in underlying continuous representations. Our findings quantify the dual influence of visual signals and linguistic factors in categorical colour perception and demonstrate the task-dependent nature of this phenomenon, suggesting that categorical colour perception emerges to facilitate certain visual tasks. • Unimodal vision networks account for 80% of human colour categories. • Multimodal language-vision models (e.g., CLIP) explain the remaining 20%. • High-level semantic tasks influence the formation of human-like categories. • Categorical colour perception emerges as a mid-level visual representation. [ABSTRACT FROM AUTHOR]

According to unconscious perception hypothesis (UP), mental states of the same fundamental kind as ordinary conscious seeing can occur unconsciously. The proponents of UP often support it with empirical evidence for a more specific hypothesis, according to which colours can be seen unconsciously (UPC). However, UPC is a general claim that admits of many interpretations. The main aim of this paper is to determine which of them is the most plausible. To this end, I investigate how adopting various conceptions of colour and perceptual phenomenal character affects UPC’s resilience to objections. This brings me to the conclusion that the most plausible reading of UPC is the one according to which the phenomenal character of colour perception (i) is constituted by colours qua primitive mind-independent qualities of the environment and (ii) is not essentially tied to consciousness. My conclusion not only identifies the most plausible interpretation of UPC, but also highlights and supports an unorthodox version of the relational theory of perception, which is a perfectly viable yet so far overlooked stance in the debate about unconscious perception. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Medicina y Cine / Journal of Medicine & Movies is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article offers an alternative methodological approach to the exploration of subjective experiences by studying individuals' personal views of perceived colours. The study aims to investigate the construals of individuals related to perceived colours using an idiographic approach. The subjective approach proposed is based on the theory of personal construct psychology and the methodology of the repertory grid technique. A repertory grid experiment was conducted to determine individuals' ways of construing colours and examine the collective understanding of the content and structure of individuals' construals concerning perceived colours. Sixty undergraduate students participated in the experiment, yielding 60 different repertory grids that included a number of personal constructs indicating the construal process of participants in differentiating between 11 basic colours. Participants produced their own semantic bipolar dimensions for comparing the perceived colours and creating differential ratings according to their personal constructs. The elicited data were evaluated using qualitative content analysis to understand the differences between individual systems of constructs and investigate the commonality of shared constructs relating to colours. The data were also analyzed quantitatively to investigate the common structure of and interrelationship between elicited constructs and perceived colours. The outcomes have the potential to contribute to academic and practical knowledge concerning colour perception, as well as encouraging further studies with an idiographic approach. [ABSTRACT FROM AUTHOR]

Perceptual constancy, often defined as the perception of stable features under changing conditions, goes hand in hand with variation in how things look. A white wall in the orange afternoon sun still looks white, though its whiteness looks different compared with the same wall in the noon sun. Historically, this variation has often been explained in terms of our experience of "merely sensory" or subjective properties – an approach at odds with the fact that the variation does track objective features of the perceptual situation, such as illumination (in the case of colour constancy). One approach, becoming more common, is to account for the variation in terms of further "dimensions" to perceptual experience. Especially in colour perception, this is a natural thought to have but the idea is often left vague. In this paper I argue that the "dimensional" strategy has problems of its own, but is useful in drawing out some interesting complications in the way perceptual experience is structured. Specifically, the structure of "constancy spaces" brings out the different ways in which there is stability and instability in the experience of constancy, without the need for novel or merely subjective features. Instability arises in a contingent structural feature of perceptual experience. [ABSTRACT FROM AUTHOR]

Contemporary social psychology must take into account the rapid increase in the availability of virtual environments for social interaction. In two experiments, we aimed to advance the knowledge of how the colour of clothing influences the assessment of aggressiveness and guilt of a suspect. In addition to replicating the classic effect, we have attempted to verify it in a virtual environment. Study 1 has been conducted on a sample of 144 people. Firstly, the participants were informed that they would be exposed to a mug shot of a woman taken into police custody. Later, they received information that the female is suspected of committing an unspecified crime; however, her guilt still needs to be proven. The colour of the suspect’s clothes (white or black) was manipulated. Finally, the participants were asked to fill out the Aggressive and Guilty Impression Scale. The study confirmed the hypothesis that a woman dressed in black was perceived as more aggressive. This effect did not occur in the case of assessing her guilt. Study 2 was conducted to verify the black clothing effect in a virtual environment along with the female’s 3D avatar. A total of 189 subjects participated. Participants were informed of the alleged crime and shown a video that depicted a self-presentation of the woman represented by an avatar. The video was made in the vTime application. Finally, the participants answered the manipulation check and filled out the questionnaire. The results of the second study did not confirm the black colour effect. Gender identification did not moderate the effect of clothing colour on creating the impression of aggressiveness and guilt.

Contemporary social psychology must take into account the rapid increase in the availability of virtual environments for social interaction. In two experiments, we aimed to advance the knowledge of how the colour of clothing influences the assessment of aggressiveness and guilt of a suspect. In addition to replicating the classic effect, we have attempted to verify it in a virtual environment. Study 1 has been conducted on a sample of 144 people. Firstly, the participants were informed that they would be exposed to a mug shot of a woman taken into police custody. Later, they received information that the female is suspected of committing an unspecified crime; however, her guilt still needs to be proven. The colour of the suspect’s clothes (white or black) was manipulated. Finally, the participants were asked to fill out the Aggressive and Guilty Impression Scale. The study confirmed the hypothesis that a woman dressed in black was perceived as more aggressive. This effect did not occur in the case of assessing her guilt. Study 2 was conducted to verify the black clothing effect in a virtual environment along with the female’s 3D avatar. A total of 189 subjects participated. Participants were informed of the alleged crime and shown a video that depicted a selfpresentation of the woman represented by an avatar. The video was made in the vTime application. Finally, the participants answered the manipulation check and filled out the questionnaire. The results of the second study did not confirm the black colour effect. Gender identification did not moderate the effect of clothing colour on creating the impression of aggressiveness and guilt. [ABSTRACT FROM AUTHOR]

People have been accompanied by colours throughout the history and through all periods of life. In different eras, colours were also associated with status symbols of different social classes or mythological beliefs. We are often addressed emotionally by colour combinations, since colour perception is always and exclusively a sensorial experience. Various colour combinations can have a pleasant effect on us or leave us cold as well as in a state of shock. All of the above, presented the starting point of this research. Detection and perception of sensations through colour was accomplished by preparing a questionnaire related to 12 selected colours. The research included 302 participants from Slovenia, of both sexes and different ages, born from 1940 to 2004. From the obtained results, it could be concluded how popular a certain colour is in a material, design and spiritual sense. Moreover, the results were validated and compared regarding the gender and age of participants, and further compared with the results of previous studies.

The electromagnetic spectrum of light from a rainbow is a continuous signal, yet we perceive it vividly in several distinct colour categories. The origins and underlying mechanisms of this phenomenon remain partly unexplained. We investigate categorical colour perception in artificial neural networks (ANNs) using the odd-one-out paradigm. In the first experiment, we compared unimodal vision networks (e.g., ImageNet object recognition) to multimodal vision-language models (e.g., CLIP text-image matching). Our results show that vision networks predict a significant portion of human data (approximately 80%), while vision-language models account for the remaining unexplained data, even in non-linguistic experiments. These findings suggest that categorical colour perception is a language-independent representation, though it is partly shaped by linguistic colour terms during its development. In the second experiment, we explored how the visual task influences the colour categories of an ANN by examining twenty-four Taskonomy networks. Our results indicate that human-like colour categories are task-dependent, predominantly emerging in semantic and 3D tasks, with a notable absence in low-level tasks. To explain this difference, we analysed kernel responses before the winner-takes-all stage, observing that networks with mismatching colour categories may still align in underlying continuous representations. Our findings quantify the dual influence of visual signals and linguistic factors in categorical colour perception and demonstrate the task-dependent nature of this phenomenon, suggesting that categorical colour perception emerges to facilitate certain visual tasks., Competing Interests: Declaration of competing interest The authors declare the following financial interests/personal relationships which may be considered as potential competing interests: Arash Akbarinia reports financial support was provided by Justus Liebig University Giessen. If there are other authors, they declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (Copyright © 2024 The Author. Published by Elsevier Ltd.. All rights reserved.)

Individual differences in colour perception, as evidenced by the popular debate of "The Dress" picture, have garnered additional interest with the popularisation of additional, similar photographs. We investigated which colorimetric characteristics were responsible for individual differences in colour perception. All objects of the controversial photographs are composed of two representative colours, which are low in saturation and are either complementary to each other or reminiscent of complementary colours. Due to these colorimetric characteristics, we suggest that one of the two complementary pixel clusters should be estimated as the illuminant hue depending on assumed brightness. Thus, people perceive the object's colours as being biased toward complementarily different colour directions and perceive different pixel clusters as chromatic and achromatic. Even though the distance between colours that people perceive differently is small in colour space, people perceive the object's colour as differently categorized colours in these ambiguous photographs, thereby causing debate. We suggest that people perceive the object's colours using different "modes of colour appearance" between surface-colour and self-luminous modes. [ABSTRACT FROM AUTHOR]

Many scholars use the complexity of colour categorisation as a key example in arguments about cognitive linguistics. This paper focuses on two of the main modern arguments of colour perception in relation to language and thought today: Rosch's "Prototype Theory" and Kay and McDaniel's "Fuzzy-Set Theory". It emphasises the need for these theories to be adapted to better understand colour categorisation in the Hebrew Bible. Ultimately, though parts of the modern approaches can apply to biblical texts, the inability to conduct anthropological research means it is extremely difficult to determine any universal truths about colour in antiquity. Colour is a culturally-sensitive phenomenon in the Hebrew Bible and is a unique entry point into understanding a culture's traditions and values. [ABSTRACT FROM AUTHOR]

In this study, we investigated the processes of coordination, adaptation, and calibration during the development of colour naming and colour constancy, and we tested whether colour term knowledge is related to colour constancy. We measured category membership and prototypes with 163 Munsell chips in preschool children (3- to 4-year-old) under neutral, green, and red illuminations, and compared their results to those of adults. We introduced an index of colour term maturity based on the similarity of children's colour term use to adults, and a colour category constancy index that quantifies the variation in colour categorisation that is specific to illumination changes. Results showed that illumination changes affected children's consistency of colour categorisation, but only to a small extent. However, colour term maturity and illumination-specific effects on consistency strongly varied in this age range. Correlations between colour term maturity and illumination-specific consistency indicated that colour constancy increases with colour term acquisition; but those results depended on the type of illumination changes (between neutral, green, and red). Together, our findings suggest that children progressively fine-tune and recalibrate the meaning of colour terms through processes of coordination and adaptation that are also involved in the calibration of colour constancy. [ABSTRACT FROM AUTHOR]

Many scholars use the complexity of colour categorisation as a key example in arguments about cognitive linguistics. This paper focuses on two of the main modern arguments of colour perception in relation to language and thought today: Rosch's "Prototype Theory" and Kay and McDaniel's "Fuzzy-Set Theory". It emphasises the need for these theories to be adapted to better understand colour categorisation in the Hebrew Bible. Ultimately, though parts of the modern approaches can apply to biblical texts, the inability to conduct anthropological research means it is extremely difficult to determine any universal truths about colour in antiquity. Colour is a culturally-sensitive phenomenon in the Hebrew Bible and is a unique entry point into understanding a culture's traditions and values. [ABSTRACT FROM AUTHOR]

Colours are one of the most important factors in everyday life. The exact number of existing colours is not yet fully known. Nevertheless, people are known for having poor colour memory. The ability to remember colours depends both on the characteristics of an individual and the situation in which the colour needs to be recalled. The field of colour memory (perception and memory of unusual colours) has been very poorly researched. The aim of this study was to analyse long-term colour memory for selected associative colours, comparing it with short-term colour memory. The research approach was based on observation, with observers observing for a period of time a particular colour, image, or a descriptively given reference colour. Colour was treated separately from associations in the first part, and related to associations in the second and third parts. The first part contained all the reference colours shown independently of associations, the second part contained grayscale images of brands, and the third part comprised descriptively given colours. The result analysis showed that people remember colours very poorly. Observers generally performed better in testing short-term memory. Moreover, the way the template was presented had a noticeable effect on the long-term colour memory. When the image was given in grey, the results were better. The descriptive rendering of reference colours shown did not contribute to better results. The gender of observers did not significantly affect the results.

Copyright of Tekstilec is the property of University of Ljubljana, Faculty of Natural Sciences & Engineering, Department of Textiles and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We frequently need to compare two or more colours, and we can rely only on the colour impression from our memory. Colours are not stored in our memories in their actual state and they can gradually be erased. This paper addresses the subject of short-term colour memory. The approach is based on an experiment where subjects observed a given colour for a certain period of time. The purpose of the research was to determine the relation between the reference colour, time delay and the accuracy in recalling of the colour from the subject’s memory. The colours studied in the research were presented with no association to bodies, shapes or textures. The main variables in the observing conditions were the basic colour parameters which define the colour, i.e. hue, saturation and brightness. The analysis of the final results showed that colour is not stored in our memories correctly and that it loses its basic parameters after 10 s. As the time delay increases, the accuracy of the colour impression in our memory diminishes. Colour is stored in our memory as clearer and more saturated. Bright colours are remembered as even brighter, while dark colours are stored as darker. The sensation of hue is generally stored very precisely, while the deviation in hue depends on the observed colour.

This research contributes to the study of colour terms as a cognitive phenomenon. Since colour is not a universal concept and an ordinary mind does not perceive colour separately from the object, it is possible to observe the knowledge about colour, which exists in the lan­guage but does not exist in its physical sense. We hold that the given knowledge is the cause of significant difficulties arising in the translation of various colour terms, though the nature of these terms existence should not be complex in its essence, being a basic phenomenon of the natural world. Moreover, certain ambiguity rises when reference points of colour do not coin­cide with the indirect naming of colours and shades in different languages. Different pairs of languages apparently set their individual spectrum of translation difficulties. We characterise some typical colour-related English into Russian translation difficulties which arise at the cognitive level.

This study aims to examine the influence of colour exposure on noise annoyance. Previous studies in the literature have focused mostly on the effects of colour exposure on loudness judgements; however, due to the cognitive nature of multisensory perception, the influence of colour on noise annoyance also needs to be investigated. Our experiments were designed to administer non-information-carrying sound signals (i.e. white noise) and visual stimuli (i.e. abstract colour samples) and to limit visual and auditory contextual information. Participants were asked to evaluate noise annoyance on an 11-point International Commission on Biological Effects of Noise (ICBEN) scale. The experiments were conducted in the form of audio-visual tests. During these tests, random combinations of three white noise sound samples with sound pressure levels of 66 dB(A) (−4 dB[A] acoustic condition), 70 dB(A) (0 dB[A] acoustic condition) and 74 dB(A) (+4 dB[A] acoustic condition), and six visual stimuli, including the elementary colours of the Natural Colour System (NCS)—yellow (Y), red (R), blue (B), green (G), white (W) and black (S)—were presented to a total of 42 participants. The black colour sample was used to measure the audio-only control condition for the three white noise sound samples. The results of the study reveal that the effects of sound, the effects of colour and the interaction effects of colour and sound on perceived noise annoyance were statistically significant. The effects of colour on the loudness evaluations of the previous studies and the effects of colour on noise annoyance evaluations presented in this study show very similar and concordant results, indicating that the effects of colour on noise annoyance depend on the sound pressure level (SPL). The results indicate that the hue contrasts of red–green, red–blue and yellow–blue and the lightness contrast of yellow–blue influenced perceived noise annoyance when the SPL was low or high. Within the contrast pairs, red and yellow were perceived to be annoying, whereas blue and green were perceived to be non-annoying. [ABSTRACT FROM AUTHOR]

This article studies the development of painting skills in preschool children by studying the works of Impressionist artists. Artistic perception is an important part of visual arts education that creates prerequisites for the formation of aesthetic personal qualities and creativity. The study offers methodological ideas for developing a sense of colour and colour combination by studying the artworks of the Impressionists. [ABSTRACT FROM AUTHOR]

Background: Fluorescence-guided surgery (FGS) with 5-aminolevulinic acid (5-ALA) has been proven to assist neurosurgeons to achieve a more complete brain tumour resection. However, 5-ALA-guided surgery is limited since it is often difficult to distinguish the colour difference between the resected areas of malignant brain tumours from their background. Our aim was to evaluate which colour difference formula was optimal to distinguish between malignant brain tumours and the background healthy tissue using 5-ALA fluorescence.Materials and Methods: Thirty-seven patients with a primary or secondary malignant brain tumour ingested 5-ALA before the surgery. A 400 nm light was used to excite the fluorescence. Surgical videos were recorded for all the patients and a total of 183 samples were obtained from the fluorescent areas and their respective backgrounds. Three colour differences formulas - contrast ratio (CR), CIELab (ΔE*) and CIEDE2000 - were applied to the videos and compared using hot-cold maps. Baseline demographics, the tumour's location, the tumour's side, and tumour's World Health Organization (WHO) grade was also analysed for correlations relating to the fluorescence. Chi-square and the Student's t-test were used for univariate relations. The three channels of the CIELAB colour space (L*, a* and b*) were analysed together and separately (since L* of fluorescent areas was significantly higher than the background).Results: ΔE* resulted in good discrimination of a* and b*, and moderate but acceptable discrimination of L*. CIEDE2000 distinguished differences in a* and b*, although not in L*. The CR distinguished only L*, whereas the probability of discriminating a* and b* channels failed. Neither age, sex, tumour location, tumour size nor the WHO grade influenced the a*, b* and L* colour values (p > 0.05). Colour differences measured by ΔE* and CIEDE2000 correlated together (r = 0.99, p < 0.01), whereas CR correlated only with ΔE* (r = 0.21, p = 0.01) but not with CIEDE2000 (r = 0.07, p = 0.32).Conclusions: ΔE* obtained the best colour discrimination between the resected areas of malignant brain tumours and the background when compared to CR and CIEDE2000. Therefore, ΔE* may be the best formula to help neurosurgeons distinguish the colour differences when operating malignant brain tumours with 5-ALA fluorescence. [ABSTRACT FROM AUTHOR]

What determines which colour combinations will be attractive to a person and which will not? Is colour attractiveness only a subjective human experience, or can we predict it based on physical colour parameters? One of the pioneers of the attraction of colour theories was Michel Eugène Chevreul (1786–1889). He distinguished two types of colour harmony – analog colour and contrast – and tried to describe what harmonics are based on physical colour parameters. This was later done by other scientists. Later, semantic evaluation of colours was introduced and factor analysis attempted to identify emotions caused by colours or combinations of colours. The aim of this research is to test whether there is a consistent pattern of judgments of colour combinations under controlled conditions and, if so, to what extent they are influenced by the objective physical characteristics of those combinations. Subjects. The study involved 40 students (20 men, 20 women). All subjects had normal colour vision and were not related to fine art. Research tools. The study used 8 colours: 4 opponent (green, red, yellow and blue) and 4 additional (orange, lettuce, blue and purple). The 28 colour combinations (made up of two different colours) were composed of those 8 colours and printed onto cardboard card where each colour had area of 80 mm x 80 mm. Questionnaire of 40 adjectives consisting of 20 pairs of antonyms were used for semantic colour assessment. Procedure. The investigation was conducted in a dark room. Initially, all 28 cards with colour combinations were placed randomly on a desk lit by a 40 cm high fluorescent lamp (4000K correlated colour temperature). The subject was asked to select one of the cards with the most preferable colour combination, to write its code on the questionnaire and to mark all the epithets in the questionnaire which suits this colour combination. The same procedure was applied to the all other cards. One experiment lasted 35–50 minutes. Results and conclusions. Independent component analysis distinguished 4 dimensions describing colours: pleasure, energy, purple color and strength. Logistic regression analysis was run on colour factor loadings to discriminate colour combinations into two groups: liked and disliked colour combinations. It shows that that colour combination could be predicted as being liked or disliked with 85% probability. Adding physical colour parameters to the regression increases prognostic probability to 92 %. Also a relationship between subjective factors and physical characteristics of colour combinations was found. Pleasure correlates with hue contrast and strength with saturation contrast. It can be argued that the reliability of colour combinations is determined by both subjective and physical factors.

Grapheme–colour synaesthesia is a subjective phenomenon related to perception and imagination, in which some people involuntarily but systematically associate specific, idiosyncratic colours to achromatic letters or digits. Its investigation is relevant to unravel the neural correlates of colour perception in isolation from low‐level neural processing of spectral components, as well as the neural correlates of imagination by being able to reliably trigger imaginary colour experiences. However, functional MRI studies using univariate analyses failed to provide univocal evidence of the activation of the "colour network" by synaesthesia. Applying multivariate (multivoxel) pattern analysis (MVPA) on 20 synaesthetes and 20 control participants, we tested whether the neural processing of real colours (concentric rings) and synaesthetic colours (black graphemes) shared patterns of activations. Region of interest analyses in retinotopically and anatomically defined visual areas revealed neither evidence of shared circuits for real and synaesthetic colour processing, nor processing difference between synaesthetes and controls. We also found no correlation with individual experiences, characterised by measuring the strength of synaesthetic associations. The whole brain searchlight analysis led to similar results. We conclude that revealing the neural coding of the synaesthetic experience of colours is a hard task which requires the improvement of our current methodology: for example involving more individuals and achieving higher MR signal to noise ratio and spatial resolution. So far, we have not found any evidence of the involvement of the cortical colour network in the subjective experience of synaesthetic colours. [ABSTRACT FROM AUTHOR]