The purpose of this study was to consider the impact on impression from other people by the change of light and color temperature during makeup corresponding to TPO while focusing on the light conditions during makeup. As the setting conditions of light during makeup, we set two types, one was a warm color condition assuming going to a bar and the other one was a white color condition assuming going to a university. In addition, we used a light assuming their houses as the control condition. We had four subjects put on makeup four times in total, two settings were putting on makeup under a house light and going to a bar and going to a university, and the other two settings were putting on makeup under a warm colored light and going to bar and makeup under a white colored light and going to a university. Afterward, regardless of the light during makeup, we had them put on makeup under a warm colored assuming a bar and under a white colored light assuming a university. We used the average face for each makeup that we created for four subjects as stimulation. We presented the stimulation one by one with iPad Air2 and individually evaluated the impression with SD method including 22 adjective pairs. 100 people participated the experiment. As a result of the factor analysis on the impression evaluation value, two factors were extracted. We named the first factor as Gracefulness Factor and the second factor as Heavy Makeup Factor. In order to show a characteristic per factor of each stimulation, we created a scatter diagram with average factor score. For the impression change of makeup corresponding to TPO, the impact from illuminance was more than the change of color temperature and it was shown that people could give more positive impression by makeup under the condition with higher illuminance.
In the present study, it aimed to extract common impression dimensions in 3 senses (color, music, and scent) with use of sensory information and examine a relation for each individual sense in the impression dimension. Color stimuli were selected on the basis of PCCS and total 25 stimuli (12 tones, 12 hues, and achromatic color) were used. The study used 30 kinds of scent stimulation mainly as food flavor. It also used music stimulation in 40 music categories selected from the preceding studies. These stimulations had impression evaluation with Semantic differential method (SD method) with 20 pairs of adjectives. In addition, color stimulation was evaluated for brightness and vividness with use of VAS. 37 people participated in the experiment. The study obtained 4 factors after extracting impression dimension by factor analysis. Integrated dimension for brightness and vividness was calculated for color tone stimulation by principal component analysis. The integrated dimension for this result was named as “Brilliantness”. When calculating correlation coefficient between the factor of “Brilliantness” and impression dimension, the study found a high correlation with Factor 1 and 2 in impression dimension; therefore, we decided to focus on these 2 factors. The study categorized each scent stimulation and music stimulation by cluster analysis. As the result, there were 8 groups/11 groups for scent/music stimulation respectively. When focusing on a relation for each color, scent, and music in Factor 1 and 2, the study recognized a distribution to the first/third quadrant for color/scent respectively while music indicated a distribution to the second/forth quadrant in addition to it.
Change of color appearance of invariant psychophysical color, namely a color of same chromaticity coordinates, was investigated. A subject observed a color chip placed in a test room illuminated white through a small window from a subject room illuminated by white, red, yellow, green, or blue light and assessed the color of the chip by the elementary color naming. With the white light he perceived the original color of the chip and with colored lights he perceived color after the chromatic adaptation to the light in the subject room. The color appearance shown on the polar diagram used in the opponent color theory indicated that the color of chips shifted away from the adapting color.
Color appearance of afterimages was measured by the elementary color naming. Twenty vivid colored stimuli were presented on a display on a white background one by one and subjects judged the color, which we called the adapting color. After 10 more seconds of gazing the stimulus the subjects judged the color of the afterimage, which we called the adapted color. Apparent hue correspondence of the adapting and adapted colors was similar to the results obtained by the two rooms technique but the chromaticness of the adapted color was 20 to 40 % of the adapting color, which is much smaller than the two rooms technique. The hue correspondence was analyzed both by the opponent colors theory and the complementarity, but not satisfactory.
It is said that the color constancy does not take place in a photograph. This research aimed to demonstrate the chromatic adaptation and consequently the color constancy on 2D photograph as a real space by utilizing a D-up viewer by using the two rooms technique. The experiment was to observe the color appearance of a test stimulus of N6; (1) in the real room, (2) in the photograph through a D-up viewer and (3) in normal viewing of 2D photograph. Five colors of illumination were investigated. Subjects perceived vivid color for N6 in the first two conditions but not for the third condition to show the chromatic adaptation to take place when subjects perceived the 3D space even in the photographs.
The color appearance of 24 colored objects were measured by the elementary color naming under ten different illumination of LED light, D65, red, yellow, green, and blue. The apparent colors of eleven objects to cover hues were plotted on a polar diagram used in the opponent colors theory. Under the D65 light all eleven objects gave large amount of chromaticness from 60 to 80 % making a large round contour on the diagram. A similar round contour was maintained for the most of colored illuminations but for the illuminations of which chromaticity points were almost on the spectral locus of u’v’ diagram the contour shrank and shifted toward the illumination color to indicate poor color constancy. A new index of the constancy was introduced.