Investigation and analysis of color terms in modern Japanese

Tominaga, Shoji; Ono, Ayaji; Horiuchi, Takahiko

doi:10.1117/12.838884

Cited by 3 publications

(7 citation statements)

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“…This finding was widely supported by many studies . In Japan, a study on color terms in modern Japanese found that a set of 15 color terms, including gold, silver, turquoise, and yellow–green in addition to Berlin and Kay's 11 basic color terms could form a stable set of important color terms used in Japanese daily life …”

Section: Introductionmentioning

confidence: 55%

“…A set of 15 basic color terms that appear in modern Japanese was used in the color naming experiments in this study. These color terms were identified from a previous study reported in 2010 . In the vocabulary test, the participants were asked to write more than 20 color terms that were commonly encountered in daily life on a paper sheet distributed to them.…”

Section: Experimental Methodsmentioning

confidence: 99%

“…[11][12][13] In Japan, a study on color terms in modern Japanese found that a set of 15 color terms, including gold, silver, turquoise, and yellowgreen in addition to Berlin and Kay's 11 basic color terms could form a stable set of important color terms used in Japanese daily life. 14 The study of color naming has gained momentum in recent years. Traditionally, most investigations on color naming were based on the use of color samples or reference patches.…”

Section: Introductionmentioning

confidence: 99%

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Color naming experiments using 2D and 3D rendered samples

Tanaka

Horiuchi

Tominaga

2014

Color Research & Application

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This article describes a color naming experiment using 2D and 3D rendered color samples. Conventional color naming experiments using a priori clues generally involve 2D clues such as color patches. However, in real‐world scenes, most objects have 3D shapes whose colors are affected by illumination effects such as shadows and gloss. We use 2D and 3D rendered samples as clues in the experiments, and analyze the relationship between color terms and object surfaces. First, we develop a color term collection system that can produce 218 test colors. We render the color images of a flat disk as a 2D sample and a sphere as a 3D sample on a calibrated display device. It is supposed that the 2D and 3D surfaces with the same object color are obtained under the same conditions of viewing and illumination. The results of color naming experiments show that there are differences for color terms between 2D and 3D samples. Important findings are as follows: (1) brighter color terms tend to be chosen for the 3D samples than the 2D samples, when observing achromatic colors, (2) achromatic color terms are chosen for 3D samples having low saturation, and (3) for chromatic colors, a darker color term is generally chosen in comparison to the corresponding 2D samples of the same color. These properties become more prominent by changing the illumination angle from 0° to 45° to the surface normal. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 270–280, 2015

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Section: Introductionmentioning

confidence: 55%

Section: Experimental Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Color naming experiments using 2D and 3D rendered samples

Tanaka

Horiuchi

Tominaga

2014

Color Research & Application

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“…27 Today we prefer dynamic dictionaries obtained through crowdsourcing, because they are larger and are evolving in time; examples are Moroney's color dictionary 17 and the xkcd corpus. 19 Similar projects have been carried out by Mylonas, 18 Tominaga, 28 and others.…”

Section: A Harmonious Methodology For Creating Harmonious Color Palettesmentioning

confidence: 84%

Harmonious colors: from alchemy to science

Beretta

Moroney

2012

SPIE Proceedings

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There is a very long tradition in designing color palettes for various applications, going back to at least the Upanishad. Although color palettes have been influenced by the available colorants, starting with the advent of aniline dyes in the late 1850s there have been few physical limits on the choice of individual colors. This abundance of choices exacerbates the problem of limiting the number of colors in a palette, i.e., in keeping them into a manageable quantity.For example, it is not practical for a car company to offer each model in hundreds of colors. Instead, for each model year a small number of color palettes is offered, each containing the colors for the body, trim, interior, etc. Another example is the fashion industry, where in addition to solid colors there are also patterns, leading to a huge variety of combinations that would be impossible to stock.The traditional solution is that of "color forecasting." Color consultants assess the sentiment or affective state of a target customer class and compare it with new colorants offered by the industry. They assemble a limited color palette, name the colors according to the sentiment, and publish their result. Textile manufacturers will produce fabrics in these colors and fashion designers will design clothes, accessories, and furniture based on these fabrics. Eventually, the media will communicate these forecasts to the consumers, who will be admired by their cohorts when they choose colors from the forecast palette, which by then is widely diffused.The color forecasting business is very labor intensive and difficult, thus for years computer engineers have tried to come up with algorithms to design harmonious color palettes, alas with little commercial success. For example, Johannes Itten's color theory has been implemented many times, but despite Itten's success in the Bauhaus artifacts, the computer tools have been of little utility. Indeed, contrary to the auditory sense, there is no known physiological mechanism sustaining harmony and the term "harmonious" just has the informal meaning of "going well together."We argue that the intellectual flaw resides in the belief that a masterful individual can devise a "perfect methodology" that the engineer can then reduce to practice in a computer program. We suggest that the correct approach is to consider color forecasting as an act of distillation, where a palette is digested from the sentiment of a very large number of people. We describe how this approach can be reduced to an algorithm by replacing the subjective process with a data analytic process.

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“…17,18 In the western culture, purple transitioned from violet to red. According to Zollinger,19 from Phoenician times the purple colorant was extracted from molluscs living in the coast of present day Lebanon and Israel.…”

Section: Naming Colormentioning

confidence: 99%