A conjoint measurement approach to color harmony

Pieters, Julius Marie

doi:10.3758/bf03199881

Cited by 8 publications

(7 citation statements)

References 16 publications

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“…Helson and Lansford 's (1970) overall conclusion was that color harmony is not easily predicted and depends on the interaction of the spectral characteristics of illumination source, background color, and the hue, brightness, and saturation of the object color. Their conclusion was reinforced in a later study conducted by Pieters (1979) was a function of three separate "harmonies," each related to one of the basic parameters. The function, which was derived by using a conjoint measurement algorithm, was expressed as a composition rule consisting of a distributive relationship between saturation harmony and the sum of hue harmony and brightness harmony.…”

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confidence: 90%

Dimensions of color harmony

Polzella

Montgomery

1993

Bull. Psychon. Soc.

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Twenty-one subjects rated a random sequence of 144 color pairs on a categorical scale ranging from 1 (harmonizing) to 7 (clashing). Another group of 35 subjects rated each individual color on a set of semantic differential scales. The colors were also scaled objectively in terms of Munsell measures for hue, chroma, and value. The color harmony ratings were analyzed by using multidimensional scaling and invoking a weighted individual-differences Euclidean distance model. A two-dimensional solution accounted for 83.1 % ofthe variability in the transformed data matrices. On the basis of supplementary regression analyses, it was found that hue, value (brightness), and the psychological attribute "pleasantness," were the factors that influenced the color harmony judgments. In general, harmonious color combinations involved colors that were similar with regard to these attributes.Color harmony , the "suitability" of juxtaposed colors, is a complex phenomenon that is influenced by the individual colors' characteristics (i. e., hue, brightness, saturation) and their relative areas _ The most extensive study of this phenomenon was conducted by Helson and Lansford (1970), whose subjects rated the pleasantness of 125 colors on 25 colored backgrounds in five sources of illumination_ The principle factor determining the pleasantness of color combinations was brightness contrast -the most pleasant combinations involved large brightness differences between color and background, whereas the least pleasant combinations involved little or no difference.Hue and saturation contrast were less decisive factors . In the case of saturation, large differences between color and background tended to be judged as being more pleasant than were small differences; however, small differences in saturation could be judged as being pleasant or unpleasant, depending on whether or not there was a high degree of brightness contrast. The findings regarding hue differences were even more equivocal. Earlier studies had shown that the more pleasant combinations involved either zero, small, or large hue differences between color and background, but not intermediate. Helson and Lansford (1970) found that this generalization held for some hue families, but not for others.Helson and Lansford 's (1970) overall conclusion was that color harmony is not easily predicted and depends on the interaction of the spectral characteristics of illumination source, background color, and the hue, brightness, and saturation of the object color.

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confidence: 90%

Dimensions of color harmony

Polzella

Montgomery

1993

Bull. Psychon. Soc.

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“…They only revealed the existence of the principles. In addition, more researchers avoid the composition factors, because they usually focus on color per se . This reveals the authors' awareness of the interference from image composition with these counter evidences.…”

Section: Related Workmentioning

confidence: 99%

An analytic measure of perceptual factors for color composition

Sheng

Zhang

et al. 2015

Color Research & Application

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Color images are usually observed as integrated objects, or called color gestalt. That is why color effect of image is not only affected by the color components themselves, but also determined remarkably by the image constructive frame, which holds the colors. Although, previous researchers have already explored this issue, the conclusions are usually descriptive principles that one should keep in mind for color designing. Precise quantification for image composition of color gestalt is still an ignored field in color research domain. As the use of computer-aided design (CAD) increases in the color design field, more quantifiable measures for constructive feature factors that affect color gestalt are needed. In this article, we introduce a three-dimensional model of image composition that can both quantify the effect of color gestalt and rebuild image composition to acquire certain color effect for color combination. This method pioneers a new perspective of appreciating the influence of image construction on color combination effect, and a new way of researching color by affective computing or Kansei engineering technology. To test the feasibility of the scale model by a usage study, an interactive toolkit was also built. Practice has confirmed that this method is a technical meaning in application technically meaningful approach, and will spur further research on color composition.

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“…Burchett classified color harmony attributes into eight categories: area, association, attitude, configuration, interaction, order, similarity, and tone . Pieters defined the measurement of color harmony as; color harmony = saturation harmony × (hue harmony + lightness harmony) . Polzella and Montgomery's experiment suggested that harmonious color combinations involve colors of similar brightness or similar hue .…”

Section: Related Workmentioning

confidence: 99%

“…8 Pieters defined the measurement of color harmony as; color harmony 5 saturation harmony 3 (hue harmony 1 lightness harmony). 9 Polzella and Montgomery's experiment suggested that harmonious color combinations involve colors of similar brightness or similar hue. 10 Hård proposed a theoretical model of color combination, in which some attributes are related to harmony concept.…”

Section: Related Workmentioning

confidence: 99%

A User‐Oriented Method for Preferential Color Scheme Generation

Zhang

Pan

et al. 2013

Color Research & Application

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Harmony and preference are two important factors in constructing color combination for the purpose of color design. We presented a method for generating harmonious color scheme in a previous project. As an extension to the project, we propose here a method for generating color schemes that are based on user's preference. We considered color combinations as a set of color relations rather than a summation of specific color components (color elements); and we derived a model of six‐variable color relations, representative value of hue, representative value of saturation, representative value of lightness, span of hue, span of saturation, and span of lightness. With this model, color combinations can be expressed as specific parameters of the six‐variable model. Individual preferences are represented as certain parameters, from which new color schemes can be reconstructed to meet individual requirements. An interactive system for generating preferential color schemes is built with all these principles integrated. As a color design toolkit for user study, the system accesses user's preference features for color combinations, and provides new color schemes that fit the user's need. User study shows that both professionals and novices can generally acquire preferential color schemes of their own. © 2013 Wiley Periodicals, Inc. Col Res Appl, 40, 147–156, 2015

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A conjoint measurement approach to color harmony

Cited by 8 publications

References 16 publications

Dimensions of color harmony

Dimensions of color harmony

An analytic measure of perceptual factors for color composition

A User‐Oriented Method for Preferential Color Scheme Generation

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