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We present the wide field slitless spectroscopy mode of the NIRISS instrument on the James Webb Space Telescope. This mode employs two orthogonal low-resolution (resolving power $\approx 150$) grisms in combination with a set of six blocking filters in the wavelength range 0.8 to $2.3\,\mu$m to provide a spectrum of almost every source across the field-of-view. When combined with the low background, high sensitivity and high spatial resolution afforded by the telescope, this mode will enable unprecedented studies of the structure and evolution of distant galaxies. We describe the performance of the as-built hardware relevant to this mode and expected imaging and spectroscopic sensitivity. We discuss operational and calibration procedures to obtain the highest quality data. As examples of the observing mode usage, we present details of two planned Guaranteed Time Observations programs: The Canadian NIRISS Unbiased Cluster Survey (CANUCS) and The NIRISS Survey for Young Brown Dwarfs and Rogue Planets., Comment: 19 pages, 12 figures, accepted for publication in PASP

The aim of this study was to develop psychophysical models that predict the influence of pack colours on consumers' psychological responses of fruit juices, such as visually perceived expectations of freshness, quality, liking, and colour harmony. Two existing colour harmony models derived from experiments involving only uniform colour plaques were tested using the juice packaging experimental data. Both models failed to predict the visual results obtained. Nevertheless, two parameters relevant to chromatic difference and hue difference were somewhat associated with the visual results. This suggested that, among all colour harmony principles for uniform colours, only the equal-hue and the equal-chroma principles can be adopted to describe colour harmony of packaging used for juice. This has the implication that the principles of colour harmony may vary according to the context in which the colours are used. A new colour harmony model was developed for juice packaging, and a predictive model of freshness was derived. Both models adopted CIELAB colour attributes of the package colour and the fruit image colour to predict viewers' responses. Expected liking and juice quality can be predicted using the colour harmony model while expected freshness can be predicted using the predictive model of freshness. © 2013 Wiley Periodicals, Inc. Col Res Appl, 40, 157–168, 2015

Visually assessed appearance is undoubtedly of great importance to the selection of fruit by the consumer at the point of sale while the food supply chain also heavily relies on colour assessment methodologies for the determination of product quality. The use of printed colour charts to assess the ripening stages of fruits (i.e., banana ripeness charts) and/or vegetables is common in the fresh produce supply chain, even though they have limitations. However, the development of a more reliable and an objective instrumental method is necessary to describe fruit ripeness using set colour appearance parameters rather than subjective evaluations based on colour charts. In this article, we report a novel digital imaging methodology that could be used by the fresh produce industry to estimate the ripening stages of bananas more accurately.

This paper describes a method for quantifying food appearance and studies the relationship between colour appearance and sensory characteristics of expected levels. Orange juice is used as an example. An experiment involving visual assessments was carried out using a calibrated digital display. The first phase of the experiment (i.e. Phase I) focused on investigating tolerance for colour as an orange juice attribute and the second phase (i.e. Phase II) concentrated on relationships between juice colours and expected sensory characteristics. Visual judgements were made of sourness, sweetness, bitterness, flavour strength and freshness. In Phase I, 174 juice colours were rendered systematically in CIELAB colour space and assessed by 15 observers. It was found that colour tolerance of orange juices can be determined using the CIELAB colour difference formula ( Δ E ab ∗ ). A colour will be accepted by the majority as natural orange juice if its colour difference against an ideal juice colour is smaller than 12.60 Δ E ab ∗ units, where the lightness, chroma and hue of the ideal orange juice colour was 67, 62 and 88°, respectively. In Phase II, observers were asked to assess the same panel of stimuli using the expected levels of the five sensory characteristics. It was found that greenish juice colours elicited greater sourness and bitterness responses. Darker juice colours were more likely to be expected to be bitter, and redder and yellower juice colours were expected to be sweeter and have stronger flavour. Fresher juices were distributed within the region of saturated yellow. These relationships were described by means of Δ E ab ∗ which reasonably explains the relationships except the cases of sourness (R2 = 0.66) and freshness (R2 = 0.66). A new colour difference formula ΔEOJ was proposed and this formula effectively improved the performance of predictions for sourness (R2 = 0.72) and freshness (R2 = 0.82). The methodology developed in this study includes a systematic study to find the “ideal” colour appearance of a particular food, application of the psychophysical method for assessing expected levels of different sensory characteristics and a method for modelling the appearance and expectation relationships. This methodology can be widely applied to optimise visually perceived expectations for other foods and products that are sensitive to visual judgements of quality.

Awareness of the science of appearance could help the designer to create and construct a more effective space—whether that consists of interiors, packaging, cityscapes or a plate of food. This article examines the current status of appearance science having direct application to the work of the practical designer using a vocabulary common to both disciplines. The way has been paved by the work of Shigenobu Kobayashi, of the Nippon Color and Design Research Institute, Paul Green-Armytage, a design teacher, and studies on food products and food consumption environments as well as on colour semantics studies of psychologists such as, for example, Lars Sivik and Charles Taft. The article is in two parts, appearance properties and expectations of the design and impact of the design. First, there is a brief account of the application of bipolar scales to quantify both the physical properties of the scene as well as our expectations of the scene and second, the quantification and understanding of scene impact. These techniques detail how individual elements of a designed space, such as materials, design and illumination contribute to specific desired aspects of the space. The robust model proposed provides a firm platform for active collaboration between designer and scientist in the production of comfortable and effective living and working spaces. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2012

Popular usage of colour words as parts of speech obey certain rules according to whether they are population dependent and whether use demands a degree of colour vision. The word green refers to that colour most of us see, recognize and categorize as being of the colour called green. But, colours and colour words are to do with emotion as well as perception. What can we learn from the greatest writers, artists and musical composers; how do they, for example, regard green? From them we learn that we perceive colours with our ears as well as our eyes and, in an emotional sense, a colour word means or is associated with just what the writer intends. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 111–113, 2015

A space or building must be both energy and people friendly. Hence, there are two major elements to our perceptions of any space we happen to view or inhabit – the ambient physical conditions and the psychologically perceived state of the space. This paper examines methodologies for quantifying the latter. Perceptions of an environment are hierarchical and we downgrade the space first on that feature of the space to which our attention is most sensitive. Hence, we need to make high energy consumption space attributes as low as possible in the hierarchy. Perhaps to some diners the visually perceived cleanness of a room may be of paramount importance. For such people it is suggested that perception of a low cleanness space will make these diners more aware of deficiencies in, for example, room temperature. Hence to minimise perception of, in this case, low temperature we need to maximise the psychophysical perception of cleanness. For such maximisation we must be able to measure and understand the ...

This study was designed to assess the colour appearance of different wines. Four wine samples were chosen: table red, oloroso, tawny port and rose. These wines were poured at different depths in Petri dishes and in cocktail glasses. All samples were assessed by a panel of eight observers in terms of lightness, colourfulness and hue. All samples were also measured using a tele-spectroradiometer and a digital camera. It was found that physical measurements agreed with visual estimates of lightness, colourfulness and hue. There is some discrepancy between observer hue and physical measurement hue for shallow oloroso. This greenish hue was demonstrated in this work as a physical effect. Tele-spectroradiometer and digital camera results can detect this effect and agreed well. The results showed that the digital non-contact measurement method can obtain fast and accurate results for describing colour appearance of liquid food products like wines studied here.

Human beings use colour to manipulate their personal appearance and environment. A large part of this usage falls within the area of oral tradition and ritual that have been handed down within families, tribes or geographical areas. The resulting images are part of our culture; they are activities that give us feelings of belonging and of doing the ‘right thing’. Two surveys were designed to learn more of these very human activities. The first centered on Britain and Ireland; the other was international. Three major driving forces were found for the use of colour in folklore and symbolism—economic, historical and social. The Principle of Adaptation of Physical Resources accounts for the choice of mourning colours of most countries. Colour usage in death echoes the three approaches to mourning of sadness, joy (for the life of the dead), and fear of the spirits of the dead. The Principle of Adaptation of Ideas accounts for regional variations in colour folklore. This embodies a Darwinian-type principle of behavior, that is, “to survive within a community a belief must have relevance to that community.” A major principle of folk medicine involving colour is the Principle of curing like with like. There are four Principles of Colour Selection in folklore—by the contrast displayed, as a transfer from the perceived or actual usefulness of the colour, by association, and by availability. Green above all colours has especial significance both in the UK and Ireland. In everyday language it is the Principle of Singularity that controls use of colour words as symbols. The biological mechanism permitting these many and contrasting uses of colour depends on the fact that colour is a perception, not the property of an object. That is, a colour can ‘mean’ whatever we wish it to ‘mean’. © 2003 Wiley Periodicals, Inc. Col Res Appl, 29, 57–66, 2004; Published online in Wiley Interscience (www.interscience.wiley.com). DOI 10.1002/col.10212

Recent investigations of high-redshift QSO morphology are reviewed and compared. The PSF-removal is difficult and results are given in several different forms. The reliability of results from HST and ground-based AO are compared, and several caveats to conventional wisdom are given.

Ethics is the study of the moral value of human conduct. The ethics of colour use has rarely been featured as a topic of concern to the colour community. A limited exception is that of the use of colorants in food. This has in the past received much attention but legislation has now greatly restricted such usage. However, concern is resurfacing, and there are many other examples of the possible misuse of colour in food and the wider environment. This editorial asks questions in three areas of life: the environment, food, and marketing in general. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 87–89, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20204

Appearance images play a large part in directing and controlling human behavior. Such images are of different types, but all have their origins in the physics and design of the scene. the Total Appearance concept traces events leading to the formation of four image types. the approach is designed to embrace all scenes from the manufactured product, to interior design, to the performing and fine arts. This article represents an attempt to emphasize the continuity of science and art, helping practitioners of these traditionally disparate disciplines work together to achieve a greater understanding and control of the visual images we create and manage in our crowded world. Communication between designer and technologist can be based on a quantitative understanding of the basic perceptions of form, colour, translucency, gloss, and movement. Central to this is the understanding and use of colour. Rather than attempt an exhaustive treatment, an outline of the principles involved is given. In this way, the general application and breadth of the approach, as well as the integrated nature of the philosophy, can be better appreciated. Both scientist and nonscientist have much to contribute to the understanding of Total Appearance. © 1995 John Wiley & Sons. Inc.

The philosophy of the Total Appearance concept and its application to the measurement of scenes have been described in Part I of this article. The part played by the concept in the creation of images is now outlined with respect to six real scenes. Widely different types of scenes are described in terms of the images that might be engendered in the perceiver. The sources of these images are traced in terms of the properties of the scene and the characteristics of the perceiver. © 1995 John Wiley & Sons. Inc.

The James Webb Space Telescope (JWST) is a large (6.6 m), cold (

This chapter is devoted to the specification and measurement of object properties other than colour. The properties are grouped under the headings of physical form, translucency, gloss, uniformity and pattern, temporal properties, and analysis of complex scenes. The principles of established techniques, together with relevant examples and applications are included. Suggestions for possible approaches have been made for those areas in which techniques are presently lacking. The examples quoted inevitably apply to specific foods or systems, but the methodology is widely applicable within (as well as outside) the industry.

There is pressure on the food technologist to increase his or her understanding of the materials used in product processing and marketing. Increasing numbers of novelty snack products, designer desserts, low calorie, fat/alcohol/caffeine/sugar/starch-free products, and products of greater sophistication, are being marketed. Also increasing is the upgrading of raw materials for the processing and manufacture of fabricated foods. Higher, more consistent standards of produce is now demanded by stores. The movement towards the reduction of additives included in products is still progressing. Hence, there is even less opportunity to manipulate product attributes merely by the addition of colorants or other ingredients. At one time the concern was, perhaps, solely concerned with colour; now all aspects of appearance must be under control. In addition, the opening of wider and wider markets has exposed a lack of understanding of the ways and lives of potential customers. Hence non-physical factors, such as culture and climate, are assuming greater importance for the producer and manufacturer. All these factors, as well as the individual’s state of well-being, influence the customer’s decision to buy.

Food may be eaten almost anywhere at any time but, from the point of view of buying and consumption, it is appropriate to consider the four most common commercial and domestic environments. These are the shop, the kitchen, the dining room, and the hospital ward. Comments about our general immediate environment and food appearance in its widest sense have been noted in Chapter 2. In this chapter the contributions made by lighting, colour, and layout to the total appearance of food display, product control, and eating areas are considered.

It is not until a product is viewed in a disciplined way that the appearance and visually apparent defects can be quickly and properly defined. Often, it is not until then that consistent control can be achieved, or development and research into product appearance can progress. The overall appearance of a food is multidimensional. Sometimes only one visual attribute is important to the successful development or production of a product, but more often a complex situation occurs. As well as having a size and shape, a product may be of more than one colour, perhaps more than one translucency, gloss, or surface irregularity. A product’s success may depend on a complex mix of visual attributes. It is therefore surprising that no appearance profile system has been suggested to deal with this situation. Perhaps the reason is that the pointing finger helps to communicate the presence of an appearance attribute or defect. The pointing finger, however, is not good at describing attributes such as aroma, flavour, or texture. Hence a disciplined verbal framework is needed to describe such properties. A disciplined approach of appearance analysis has now become necessary to aid development in a market place of greater competition, more designer products, and greater numbers of more selective consumers.

The Space Telescope Imaging Spectrograph (STIS) is a second- generation instrument for the Hubble Space Telescope (HST), designed to cover the 115-1000 nm wavelength range in a versatile array of spectroscopic and imaging modes that take advantage of the angular resolution, unobstructed wavelength coverage, and dark sky offered by the HST. STIS was successfully installed into HST in 1997 February and has since completed a year of orbital checkout, capabilities that it brings to HST, illustrate those capabilities with examples drawn from the first year of STIS observing, and describe at a top level the on-orbit performance of the STIS hardware. We also point the reader to related papers that describe particular aspects of the STIS design, performance, or scientific usage in more detail.

Man generally regards the appearance of food with great interest. The look of a meal can have the effect of appetite stimulation or depression, it can result in joy or total depression. When he or she is eating to enjoy, rather than merely to survive, pains are taken to use colour and appearance to increase temptation and appetite prior to consumption. Traditional meals around the world look different. The browns and greens of the west; the paler more subtle shades of the Chinese dish; the brightly coloured, delicately sculptured components of the Thai meal are examples. We respond to the aesthetic nature of colour, pattern and design. However, within each foodstuff, the appearance has deeper meanings and associations.

There are several reasons for specifying colour and appearance. These include the need to: develop realistic quality control methods; help in unravelling the chemistry and physics of appearance changes taking place during processing and marketing; quantify and back up sensory assessment; and understand and possibly predict consumer response. The emphasis of this chapter is on the principles of colour measurement as applied to different physical forms of food. Examples are given to illustrate the problems, and the solutions sought by various workers.

Light is radiation capable of stimulating the eye. We can see light in the form of a direct source such as a lamp, but otherwise we can only see it after it has been scattered by a material with which it has come into contact. Light used for general illumination is white, but there are many types of white light each having different spectral power outputs. The simplest light emitter is a hot body such as the sun. However, the spectral distribution of sunlight varies considerably during the day because the sun varies in angle above the horizon. Hence its light passes through different depths of atmosphere and different concentrations of atmospheric pollutants at different times of the day. Direct sunlight has a reasonably balanced spectrum. The colour of the sky away from the sun is dominated by scattered blue light. The sun low in the sky looks red. This is light from which the high energy short wavelengths have been removed by scattering. As pollution levels increase, more shorter wavelength light is preferentially scattered until the sun appears red. The same phenomena account for the appearance of a glass of dilute skimmed milk which has a blue reflected colour, but is red-brown when viewed by transmission.

Food colour chemistry has been given much attention in the literature, but the treatment in this chapter is centred on the chemical implications of processing and manufacture. It is convenient to divide food colorants into the three groups: natural colorants, browning, and other additives. The first group comprises the naturally occurring colorants: chlorophylls, carotenoids, flavonoids, meat pigments, and fish pigments. This group overlaps, as far as enzymic browning is concerned with the second group, colours produced during marketing or processing. These include enzymic and non-enzymic browning. The use of each natural colorant as an additive is discussed under each pigment type in the first group. Group three includes separate accounts of other natural colorants, which are or which may become permitted additives, and synthetics.

The principles of human colouration are very similar to those applying to other organisms, as outlined in the first and second articles of this series. The races of man are coloured differently for the very good reasons of adaptation to our environment, and any deviation from what is considered our normal colour is a good guide to the state of our wellbeing. Human beings have evolved and adapted to a reproductive sexual environment as well as to a climatological environment. Neanderthal man, at the start of the homo sapiens line, included ceremony and colour in his life pattern, and anthropologists have identified a basic colour triad used in body painting. There are various types of decoration and many motives to use colour, but it seems that body colour and decoration in general have remained vitally important to man's culture, enjoyment, and fear of life through the succeeding ages.

Colour and appearance of flowering plants and animals are discussed in terms of the three driving forces for colouration discussed in Part I. They are: first, the need to absorb incident radiation; second, the combination of reflection properties and visual characteristics; and third, incidental colouration caused because a biochemical, which has been optimised by an organism, happens to be coloured. Pigments and structures have evolved in both plants and animals to optimise colouration. Many flowering plants have evolved in conjunction with different flying creatures to enable pollination to occur. There are only two principles in animal colouration: Either the animal does not want to be seen or he does want to be seen (or does not mind being seen). The mechanisms by which these aims can be achieved are varied. There are three “dimensions” to the visual impact, or total appearance, which one animal has upon another: They are colour, pattern, and behavioural display.