Wednesday Poster Presentations


Authors of THE FOLLOWING POSTER PAPERS WILL PRESENT ON Wednesday at 1:00 PM in the Atrium

Click on the title to open and close the abstract summary

W-1 CIE Lab Color Space Analysis Depending on Traditional Housing Type of Seochon, Seoul
Jinkyung Choi, Juyeon Kim
Soongsil University, Seoul, Korea

Abstract Pending

W-2 Adolf Hoelzel - Willi Baumeister - Fritz Seitz: Color Education in the Context of Disciplines
Esther Hagenlocher
University of Oregon, Eugene, USA

This project focuses on the work of late Fritz Seitz, who made substantive contributions to Color. In 2014 Seitz’s oeuvre was settled in the Willi Baumeister Foundation at the Stuttgart Museum of Art. Willi Baumeister is one of the most important painters of German classical modernism. He studied at the Stuttgart State Academy of Art with Adolf Hölzel, who reinterpreted the artistic pedagogy of the 19th century and helped shape that of the 20th century (The Teaching of Means). In 1905 Hölzel painted one of the first abstract paintings. Baumeister opened and generalized Hölzel’s pedagogy and theory and propagated them practically and theoretically (The Unknown in Art, 1947). Fritz Seitz was a student of Baumeister, who took his teaching approach and opened it to applied art. The purpose of this research is to rediscover their pedagogy of color, which was new at the time and could still be new today.

W-3 Practical Application of Browns and Grays based on a Vector Concept – The Practical Strength of the Asymmetrical Munsell Color Space
Woon Lam Ng
Nanyang Technological University, Singapore

The asymmetrical Munsell Color Space presents transitional colors (browns and grays) in in relation to their pure hues. It assists in planning of practical color application. The most significant advantage is its true practical representation of color relationships. It avoids beginners assuming that different color pairs could simply be substituted based on symmetrical color wheels which are commercially available. By learning how to visualize the existence of browns and grays, it further reflects the true vector length of one color to another. More comprehensive discussion of color application vector design and a derived color model will be presented based on the Munsell Color System both my poster and my paper. It will assist and simplify the training of color application with transitional colors especially.

W-4 The New Color: A Multidisciplinary 21st Century Learning Model
Luanne Stovall, Leslie Mutchler
University of Texas, Austin, USA

The New Color paradigm at the University of Texas at Austin is a 21st century learning model aligned with Albert Munsell’s mission to raise awareness about the pivotal role of color, and to provide tools for impactful color solutions. Artists and educators Luanne Stovall and Leslie Mutchler will implement a large format multidisciplinary course for all majors, in concert with the 2019 Bauhaus centennial.

The aim of The New Color†is to provide a shareable, sustainable and scalable STEAM model (Science, Technology, Engineering, Art, Math) vital to students, professionals, and curious minds from all walks of life.This initiative celebrates the Bauhaus ideal of gesamtkunstwerk - total work of art - by connecting dots between disciplines and exposing dense networks of color codes coursing through our lives. Stovall and Mutchler anticipate the long term impact will be a paradigm shift in basic educational priorities, upgrading STEM to the more dynamic STEAM

W-5 Web-based tool for Automatic Color Adjustment based on CIECAM02-m2
Primož Weingerl, Ana Mendizza, Dejana Javoršek
Faculty of Natural Sciences and Engineering, Department of Textiles, Graphic Arts and Design, University of Ljubljana, Ljubljana, Slovenia

In this work, a web-based tool that automatically adjusts the color of a user interface element, based on the change of background color, in order to preserve its color appearance, is presented. The tool that supports different versions of CIECAM model (CIECAM02 and CIECAM02-m) is build as single-page- application (SPA). To check the performance of the color adjustment and usefulness of the tool, the user can view colors in three different preview modes and change parameters of the selected CIECAM model. The user can also add colors to the palette and export their numeric values in different formats for further usage. Besides its primary practical usage, the tool also has an educational purpose, since the user can see how changing the background, affects the color appearance of an element and how different versions of CIECAM model can be used to adjust the element’s color in order to maintain color appearance.

W-6 Museum as Color Educator: A Case Study
Jennifer Cohlman Bracchi
Smithsonian Libraries; Cooper Hewitt, Smithsonian Design Museum, USA

In 1960,  Cooper Union Museum (now Cooper Hewitt, Smithsonian Design Museum) held one of its most significant exhibitions – The Logic and Magic of Color. Featuring over 300 objects, it involved museum staff, Cooper Union’s Art and Physics faculty, and the manufacturing world. On display just three years before Albers’ Interaction of Color, many factors suggest he was directly involved. WPA artist and color theorist Hilaire Hiler was also included, presenting the
most complete execution of his color system. The exhibition led to the ISCC donating several of its members libraries - Dorothy Nickerson, Walter Granville, Howard Ketcham, I. H. Godlove - to the Cooper Union Museum Library (now Smithsonian Libraries). Saturated: The Allure and Science of Color, presented by Cooper Hewitt and Smithsonian Libraries (May 11, 2018 -January 13, 2019) includes many of these books, Hiler’s rediscovered work, and much more. 

W-7 An Order System based on Material Perception which adds Dimensions to Surface Color Perception
Tien-Rein Lee, Vincent C. Sun
International Colour Association
Chinese Culture University, Taipei, Taiwan

Abstract Pending

W-8 Munsell's Contribution between Theory and Application: from Coeval Matrices to Contemporaneity
Anna Marotta, Marco Vitalia
DAD- Department of Architecture and Design, Politecnico di Torino, Torino, Italy

Abstract Pending

W-9 How much Colour Science is Not Too Much
Robert Hirschler, Paula Csillag, Pablo Manyé, Mônica Neder
AIC Study Group on Colour Education, Budapest, Hungary ESPM, São Paulo, Brazil
Universidade Regional do Cariri (URCA), Crato, Brasil
Universidade Federal de Juiz de Fora, MG, Brasil

Artists, designers and architects learn about colours, but the question is how much colour science (covering much more than just colour physics) should be included in their curricula. The authors of this paper (a chemical engineer, a designer, a visual artist and an architect/designer) will present a critical survey of the literature, including a review of the text books written for this public audience. With examples taken from their own respective teaching practice they will describe and discuss the main topics they consider important to be included in the curricula of future visual artists, designers and architects.

W-10 Tools for Online Color Science Education: Color Order, Color Vision, and Color Measurement
Michael J. Murdoch, Susan Farnand
Munsell Color Science Laboratory, Rochester Institute of Technology, Rochester, NY, USA

RIT’s online graduate-level course “Fundamentals of Color Science” was designed to share the basics of color with non-majors and remote students, with the specific goal of giving remote students virtual hands-on learning experiences. In our poster presentation, we will demonstrate online activities that we developed to reinforce concepts related to color order systems, color vision, and color measurement. These activities complement other course components
including weekly readings, quizzes to check learners’ comprehension, online discussion boards, and short projects.
Example modules include a color order systems activity in which students organize randomly-generated color patches into an arrangement they find intuitive and a virtual spectrophotometer that mimics the behavior of a real laboratory instrument. Students select virtual color samples to measure and download corresponding spectral data that include actual measurement variation. They then use these data for further assignments, including computing colorimetric values, as they would in an on-campus class.

W-11 The Children Color Experiences from Munsell Lesson
Annamaria Poli, Franca Zuccoli
Università degli Studi di Milano Bicocca, Milano, Italy
Università degli Studi di Milano Bicocca, Milano, Italy

This contribution would take explicit several reflections from Munsell Color Study, regarding the opportunities for children to have significant color-experiences in educational context, not only as pigment experience, but also through scientific, emotional, linguistic and cultural perspectives exploring color among the interdisciplinary relations of content. What differences are there from the like colors, and the unlike ones? This is one of the essential notes of Albert Henry Munsell, from his “Plan first year” to introduce the terms of value and chroma during color lessons in the school context. The research group on Play and Colour Education at Università of Milano- Bicocca, Italy, presents the “Color Project” dedicated on the relevance of color role in the learning experience: color is undoubtedly a key feature in the life of young children.

W-12 Hue and Tone System: from Munsell to a New Color Psychology System
Setsuko Horiguchi, Katsura Iwamatsu
Nippon Color and Design Research Institute Inc., Tokyo, Japan

In 1967, Shigenobu Kobayashi (1925-2010) and six others founded Nippon Color and Design Research Institute Inc. (NCD) in Tokyo. Initially, much time was spent on hand-spraying the test pieces with 5000 colors according to the Munsell scale. With further research involving multiple color samples, the understanding was obtained that consumer perception and emotional reaction depended more on the commonality of tone than hues per se. Consequently Hue and Tone System was developed as a chart of 480 colors in 1969. Then, a parallel system of 130 colors was created towards commercial and educational use. The aim was to provide a pragmatic framework with the least number of colors possible for analysis and application. This result was a big step towards another psychological system, Color Image Scale.

W-13 Human Color Vision System is Additive and Subtractive at the Same Time
Shahin Aldhahir Alkindy  
R&D, Mosul, Iraq

Abstract Pending

W-14 The Dependency of CIELAB Color Coordinates on Surface Temperature of Textile, Ceramic, Plastic, Paint, and Print Materials
Jiangning Che, Muditha Senanayake
Apparel Merchandising and Management Department, California State Polytechnic University,
Pomona, USA

Abstract Pending

W-15 Objects as Culture-Specific Referents of Color Terms in Russian
Yulia A. Griber, Galina V. Paramei, Dimitris Mylonas
Smolensk State University, Smolensk, Russia
Liverpool Hope University, Liverpool, UK
University College London, London, UK

In the present study, we investigated object referents of color terms elicited from Russian speakers. An unconstrained color-naming method was employed. Data were obtained in a web- based experiment using a subset of the Munsell Renotation Data set (N=600 in total) specified in sRGB. A refined dataset included 14,260 responses from 713 native Russian speakers. Among 518 object-derived color terms we (1) identified most frequent ones and estimated their
occurrences; (2) estimated derivational productivity, i.e., the number of unique monolexemic and polylexemic descriptors derived from each object name, and frequency of each descriptor’s occurrence; (3) identified categories of objects, functioning as color-term referents. In addition to analysis of the full dataset, we examined differences in color naming between speakers of different age groups, educational-level and social groups, females and males. To assess culture-specific features of object-derived color names in Russian, the outcome was compared to previously obtained data for English speakers.

W-16 Refurbishing a nearly 100 year-old Eastman Kodak Colorimeter for use in the Institute of Optics’ Teaching Laboratories
Daniel Tchoonghyon Kim, Jennifer D. T. Kruschwitz
University of Rochester, Institute of Optics, Rochester, NY USA

An antique, subtractive, Eastman Kodak colorimeter (designed by Loyd A. Jones) was discovered in storage at the Institute of Optics at the University of Rochester. The device components were in extreme disrepair. Over the course of a semester the colorimeter was dismantled, studied, and then refurbished. A 1920 JOSA article written by Jones
was used to reconstruct the hue lines from the original color gamut. New subtractive filters were printed using inkjet inks on transparencies, vastly increasing the gamut. A camera was also attached to the eyepiece with the hope of semi-automating the color matching process. The poster will chronicle each step in the analysis and refurbishment
process, and provide digital color matching images.

W-17 Status Quo for the development of Colour Appearance Modeling
Ming Ronnier Luo
State Key Laboratory of Modern Optical Instrumentation, Zhejiang University, Hangzhou, China
School of Design, University of Leeds, Leeds LS2 9JT, UK

The poster will describe the recent research work on colour appearance modelling. The CIE does recommend a model, CIECAM02, to predict colour appearance percepts, lightness, brightness, lightness, colourfulness, chroma, saturation, hue under different viewing conditions. However, it is restricted to apply for the related colours of fixed visual fields under limited dynamic range. This paper will cover the new works on a) chromatic adaptation transform (CAT) to consider two-steps modelling, new data under new viewing conditions such as chromaticity of reference white and medium/surround conditions, b) uniform colour space for high dynamic range (HDR) and wide colour gamut (WCG) applications, c) new colour appearance scales, whiteness, blackness, vividness, d) varying visual field from 2o to 50o. With the new research equipment on spectrum tunable LED lighting, they facilitate the study. Finally, a list of tasks will
be provided to achieve a comprehensive colour appearance model.

W-18 Richter Cone Excitation Coordinates and the Munsell System
Klaus Richter
Berlin University of Technology, Berlin, Germany

CIE 170-1 has defined linear relations between the CIE cone sensitivities LMS and CIEXYZ. The cone excitation chromaticities are linear transformations of LMS or XYZ divided by Y. Examples are the cone exitation chromaticities a=x/y and b=-0,4z/y with Z=S and Y=0,5(L+M). For example in the diagram (a,b) the colours of Munsell Chroma 2 are located on circles of decreasing size for Value 1 to 9. Chromatic adaptation is described in (a,b) by the Judd chromaticity shift.

The LMS cone sensitivities have a bandwidth of 100nm similar as the optimal elementary (e) colours Be, Ge, Ye, Re (420-520, 470-570, 520-620, 570-470). The bandwidth and location of Ye and L is identical. The "1-minus- relation" of colorimetry allows to calculate the CIELAB data of Re,Ye,Ge,Be and complements the CIE Reportership Report R1-47 on elementary colours, see and These data are requested for a
device independent RGB* system in ergonomics, see

W-20 Seed Respiration CO2 Colorant Concentration Is An Effective Seed Quality Factor In Sprouting Gain
Lev Vozchikov
Laboratory Selena, USA

Abstract Pending

W-21 Study on the Effect of a New Color Depth Formula
Hongying Yang, Zhihui Yang, Wanzi Xie, Jingjing Zhang, Ning Pan
College of Textile, Zhongyuan University of Technology, Zhengzhou, China
Institute of Textile and Garment Industry, Zhongyuan University of Technology, China
Department of Textile and Garment, University of California, Davis, USA

Abstract Pending