Berit   Bergström  Senior Lecturer, NCS Colour AB Natural Color System Stockholm, Sweden

Berit Bergström
Senior Lecturer, NCS Colour AB
Natural Color System
Stockholm, Sweden

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Berit Bergström

Mrs Berit Bergström is a Senior Lecturer for NCS Colour AB in Stockholm, Sweden. As the Managing Director for the NCS Colour Academy between 1991 and 2012, Mrs Bergström has decades of experience giving colour courses and presentations worldwide in NCS on a very high level. She has carried out colour design courses for countless colour professionals and has conducted colour studies at university level worldwide.  Mrs Bergström is the Past President of AIC between 2014 and 2015, and held the Presidency for 2010 to 2013. She was the chairperson of the AIC Study Group on Colour Education between 1998 and 2009. She is currently the secretary of the Swedish Colour Centre Foundation, a member of the TASCII advisory Board, Tsinghua University, Beijing, China and member of the Advisory Board for Color Centre and Informatics at the Chinese Culture University, Taipei, Taiwan.
 

Thursday, June 14 - AM General Session
The Natural Colour System: A Visual Approach to Color

The Munsell Color System and the Natural Color System are both scientific systems based, partially or totally, on the visual perception of colours.

This presentation will show the background to the development of the NCS system, how it is used today in design and architecture, and illustrate the different colour attributes of Munsell and NCS.

The NCS system starts from six elementary colours, which are perceived by human beings as being "pure". The four chromatic elementary colours are yellow, red, blue and green, and the two non-chromatic elementary colours are white and black. All other colours can be described in terms of their degree of resemblance to the elementary colours.

The NCS system is a systematic method of denoting and describing colours, and the relationship between them, purely from their perceptual qualities. These are the only properties that can be seen and evaluated with the help of natural sense. Beginning with the elementary colours, I will show how it is possible to construct the three-dimensional descriptive model called the NCS colour space, which includes the whole colour world and makes it possible to describe any conceivable colour percept. 

Tuesday, June 12 - PM Breakout Session Workshop
Friday, June 15 - AM Breakout Session Workshop
Introduction to the Natural Colour System

“Choosing colours should not be a gamble.
It should be a conscious decision.
Colours have meaning and function.”
— Verner Panton from his book Notes on Colour

Colour is what we see, a subjective visual sensation. To characterize a colour you therefore have to describe what you see. It is not enough to identify a colour with pigments and their mixtures or with wavelengths and physical stimuli. How the colour is mixed, as well as the measurement data, is necessary for production, but to communicate with the customer you need a system in the way people see colours. NCS, the Natural Colour System®© is a logical colour system which builds on how the human being sees colour. The NCS notation gives you an unambiguous definition of a colour and any surface colour can be described. It can facilitate your colour specification, documentation and colour design. It is simple to decide and combine choices of colour with the help of NCS system.

A colour system does not necessarily give pretty colour combinations, but it does provide a tool for experimenting with different colour harmonies. You can develop your colour concept by observing what the colours look like and how they relate visually to each other. We will work hands-on with various colour exercises which will develop your capability and sensibility of seeing colour. 


  Roy Berns  Richard S. Hunter Professor Rochester Institute of Technology Rochester, NY

Roy Berns
Richard S. Hunter Professor
Rochester Institute of Technology
Rochester, NY

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Roy Berns

Roy Berns is the Richard S. Hunter Professor in Color Science, Appearance, and Technology within the Program of Color Science at Rochester Institute of Technology, USA. He directs the Andrew W. Mellon Studio for Scientific Imaging and Archiving of Cultural Heritage. He received B.S. and M.S. degrees in Textiles from the University of California at Davis and a Ph.D. degree in Chemistry from Rensselaer Polytechnic Institute. He has received lifetime achievement awards from the International Association of Colour, the Inter-Society Color Council, the Colour Group of Great Britain, and the Society of Imaging Science and Technology. The subject of Berns’ doctoral dissertation was designing a Munsell Book of Color where its appearance was invariant to changes in lighting.  He is the author of Color Science and the Visual Arts: A Guide for Conservators, Curators and the Curious. He is excited to return to the Munsell system. 

Monday, June 11 - AM General Session
Development of the Munsell Color Order System

Imagine the difficulties of communicating a color change without precise definitions or physical examples. As a textile colorist, I was stymied translating a variety of adjectives to dye amounts. Albert H. Munsell, a professor at Massachusetts Normal Art School (now Massachusetts College of Art and Design) was faced with a similar challenge. His solution was to invent a new way to organize colors and an accompanying color atlas. The key invention was Chroma, a measure of chromatic intensity at constant hue and lightness. This new dimension of color was remarkable since mixtures of artist materials such as a tint series do not maintain constant lightness. Munsell had to divorce himself from producing color and consider color conceptually. This presentation will explore how Professor Munsell came to develop his new system, its properties, and its evolution during the 20th Century.

Tuesday, June 12 - PM Breakout Session Tutorial
Archive Your Own Artwork Photographically

Many of today’s digital cameras have sufficient quality for use in artwork documentation. This tutorial will first review quality criteria including resolution, color accuracy, color encoding, bit depth, image noise, and sharpness. We will next consider how to photograph artwork that is repeatable and scientific. This includes adding reference targets into the frame. We will conclude with a demonstration of an easy-to-use color management system. Participants should have general knowledge about using a single lens reflex camera.


  Regina Lee Blaszczyk  Leadership Chair, History of Business University of Leeds Leeds, England

Regina Lee Blaszczyk
Leadership Chair, History of Business
University of Leeds
Leeds, England

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Regina Lee Blaszczyk

Regina Lee Blaszczyk is Professor of the Business History and Leadership Chair in the History of Business and Society at the University of Leeds in the UK. She is the author or editor of a number of books on color including The Color RevolutionBright Modernity: Color, Commerce, and Consumers, and The Fashion Forecasters: A Hidden History of Color and Trend Prediction, and serves on the editorial boards of Enterprise and Society and History of Retailing and Consumption. From 2009 to 2015, she was an associate editor at the Journal of Design History, the top design history journal in the humanities.

An award winning historian, Professor Blaszczyk's career has included jobs as a cultural history curator at the Smithsonian National Museum of American History in Washington, DC; as an American studies professor at Boston University; and as director of the Beckman Center for the History of Chemistry at the the Chemical Heritage Foundation in Philadelphia. From 2005 to 2012, she was a visiting professor at the University of Pennsylvania while running a consultancy dedicated to America's innovation heritage. 
 

Wednesday, June 13 - AM General Session
Munsell's Vision for Teaching Artists

Even though Munsell ended up a business man, with a focus on selling a system of color identification, he started out as an artist attempting to find a way to teach color that would help artists of all ages to harmonize color.

Munsell was an artist. He went to and taught at an art school. He painted portraits on commission. He had a painting studio in the Back Bay of Boston. His first ideas were about teaching color harmony and they were a bit strange - giving children muddy colors for example. His system was used initially in products sold for use in teaching art to children. If you read his diaries you see that he spent many years lecturing teachers and art educators about his system.

But as he explored color science more and more, he began advocating for teaching what he called "Color Sense" rather than "Color Theory". 


  David Briggs  Artist and Teacher at the National Art School and Julian Ashton School of Art Sydney, Australia

David Briggs
Artist and Teacher at the National Art School and Julian Ashton School of Art
Sydney, Australia

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David Briggs

Dr David Briggs is a painter and teacher of painting, life drawing, anatomy and colour at the Julian Ashton Art School and the National Art School, Sydney. His classes specifically on color have included “Theories of Colour”, a Bachelor of Fine Arts lecture course on the theory and historical practice of color in the Art History and Theory Department at the National Art School, “Traditional and Modern Colour Theory”, a Public Programs course primarily for secondary school teachers also at the National Art School, and a long running workshop “Colour, Light and Vision” at the Julian Ashton Art School. David is the author of a website on modern colour theory for painters, “The Dimensions of Colour” (2007- ; http://www.huevaluechroma.com/) and has contributed to publications including the chapter “Colour Spaces” in the forthcoming “Routledge Handbook of Philosophy of Colour”. David is currently serving a term as Chairperson of the New South Wales Division of the Colour Society of Australia (2015 - ).

Wednesday, June 13 - AM General Session
Where is Color Education Now? The Influence of Science and Technology

Technology is constantly providing new resources for color education: to take just one example, Zsolt Kovacs-Vajna’s program “drop2color” is unprecedented in providing painters with three-dimensional representations of colorant mixing paths in Munsell space. Above all, the internet facilitates access to information ranging from rare historical texts on sites like archive.org to current publications, and allows anyone in the world to join in the task of disseminating a better understanding of color, and to have their efforts tested, refined and shared by an international audience.

This talk will discuss how applying technology and current color science to color education can help bridge the gap between the science and art of color.

Tuesday, June 12 -  PM Breakout Session Workshop
Dimensions of Colour for Artists 

The conceptual framework for object colors of hue, lightness and absolute or relative chroma remains the predominant color model among artists. This preference is in part due to the central role assigned to the representationally and compositionally important attribute of lightness. Nevertheless, other attributes of perceived color including brightness, colorfulness, saturation and brilliance are also relevant to the color problems faced by artists.

Through a combination of lecture content, Illustrations, demonstrations, interactive activities and open discussion we will explore in this workshop how these attributes of perceived color can be communicated so that they can be better understood by art students and artists.


  Paul Centore  Mathematician and Artist Munsell Color Science for Artists Windham, Connecticut

Paul Centore
Mathematician and Artist
Munsell Color Science for Artists
Windham, Connecticut

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Paul Centore

Paul Centore works with colour from both an artistic and a scientific viewpoint. Having earned a doctorate in mathematics, Paul naturally applies scientific tools to his Munsell endeavors. In particular, he has written an extensive amount of open-source Matlab/Octave code that incorporates the 1943 Munsell renotation standard. One use of the code is to analyze measurements of artist’s materials, such as pastels, to identify their colour properties, and provide guidelines for artists and manufacturers. Another use is to calculate the results of paint mixtures, to determine what paints to mix to produce a desired colour. Dr. Centore teaches math at Eastern Connecticut State University and continues his colour science and Munsell endeavors from his home in southeastern Connecticut. 

Tuesday, June 12 - AM Breakout Session Workshop
Practical Introduction to the Munsell Color System for Artists and Designers

This workshop introduces the Munsell system using the Munsell Color Student Set. Concrete examples and hands-on exercises are emphasized. Tools such as value scales will be introduced. The Reilly paint-mixing system, which is based on the Munsell system, will be demonstrated.
The workshop will focus on how Munsell hue, value and chroma relate to one another and human vision, and how those relationships can contribute to the effectiveness of a painting or graphic design.


  Osvaldo DaPos  Senior Scholar, Dept. of General Psychology University of Padua Padua, Italy

Osvaldo DaPos
Senior Scholar, Dept. of General Psychology
University of Padua
Padua, Italy

Osvaldo DaPos

Dr. Osvaldo da Pos is a Senior Scholar at the University of Padua, Italy. After graduating with a degree in Biology in 1971, he was awarded a one year scholarship at the University of Berkeley. Since 1987 he has served on the Faculty of Psychology of the University of Padua where he was in charge of the courses on Perception, General Psychology, and Ethics in Psychological Research at the Department of General Psychology. He retired from teaching in 2013. He is the co-founder and former director of the Inter-departmental Study Centre for Colour and Art and also co-founder of the Doctorate course in Perception and Psychophysics of the University of Padua. Dr. da Pos is a past Italian representative at the CIE Div.1, member of the AIC Executive Committee, member of many CIE Div.1 TCs, and past chairman of the AIC Study Group on "Visual Illusions and Effects". During the many years he has worked with visual illusions, he made significant contributions to the field with his experimental and theoretical works. His main research, inspired by the phenomenological theory of Gestalt, involves the perception of colour in its various aspects: contrast, assimilation, constancy, transparency, colour and illumination, colour and emotion, colour harmony, and colour names.

Monday, June 11 - PM General Session
Color, Color Names, Stimulus Color and Their Subjective Links

The methodology used in my latest research on color names is quite innovative as it requires each participant to freely produce on a calibrated monitor the color stimulus whose perceived color is the best representative of a number of specified color terms. We chose those monolexemic terms that in Italian are most frequently used to refer to the range of colors which cover the whole color circle, divided into its four main quarters. The goal of the research was to find out what colors are meant by specific Italian terms and to check whether some Italian color names are either particularly well defined or confused with others.

During the presentation I will share the details of this research and show how the resulting color circle is characterized by eight colors of which four are unique, and four are mixed perceptually intermediate. It would be important to repeat the study cross-culturally to test for similarities and differences in color meanings with speakers of different languages and do the groundwork for an adequate translation of color terms.


  Leatrice Eiseman  Executive Director Pantone Color Institute Carlstadt, NJ

Leatrice Eiseman
Executive Director
Pantone Color Institute
Carlstadt, NJ

Leatrice Eiseman

Leatrice Eiseman is a color specialist who has been called "the international color guru." Her color expertise is recognized internationally, especially as a prime consultant to Pantone, the leaders in color communication and specification. She has helped many companies to make the best and most educated choice of color for product development, brand imaging, interior/exterior design, fashion and cosmetics, or any other application where color choice is invaluable to the success of the product or environment.
 

Lee is also involved in color and trend forecasting for both fashion and home. She heads the Eiseman Center for Color Information and Training and is also executive director of the Pantone Color Institute. Lee has been widely quoted in many publications and recognized by Fortune Magazine and the Wall St. Journal as one of the most influential people in the world of color. She is the author of ten books on color. She is also a sought-after speaker for trade shows, schools, in-house business presentations, and webinars on color trends, the psychology of color and its usage as well as consumer color preferences and also offers classes on those subjects twice yearly. The next program will be held on Bainbridge Island, Washington in July.

Thursday, June 14 - PM General Session
Future Trends: The Connecting Circle of Color

Leatrice Eiseman, the executive director of the Pantone Color Institute will share information about the international color trends predicted for future that are resourced from the renowned Pantone View Color Planner forecast. Using examples from the colors for Autumn/Winter 19/20, she will explain the rationale behind the choices accompanied by evocative imagery that will provide the inspiration for each of the color palettes presented. Offering a variety of options for personalized mixtures and usages, the forecasted trend colors provide a circle of completion and connection for multiple industries.


  Mark Fairchild  Director, Munsell Color Science Lab Rochester Institute of Technology Rochester, New York

Mark Fairchild
Director, Munsell Color Science Lab
Rochester Institute of Technology
Rochester, New York

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Mark Fairchild

Mark D. Fairchild is Professor and Founding Head of the Integrated Sciences Academy in RIT’s College of Science and Director of the Program of Color Science and Munsell Color Science Laboratory. He received his B.S. and M.S. degrees in Imaging Science from R.I.T. and Ph.D. in Vision Science from the University of Rochester. Mark was presented with the 1995 Bartleson Award by the Colour Group (Great Britain) and the 2002 Macbeth Award by the Inter-Society Color Council for his works in color appearance and color science. The author of the textbook Color Appearance Models, he is a Fellow of the Society for Imaging Science and Technology (IS&T) and the Optical Society of America. Mark was presented with the Davies Medal by the Royal Photographic Society for contributions to photography. He received the 2008 IS&T Raymond C. Bowman award for excellence in education.


Monday, June 11 - PM General Session
Munsell's Legacy: Foundation & Laboratory

One of the great legacies of Albert Munsell's work to create the Munsell Book of Color and to found the Munsell Color Company was the creation of the Munsell Color Foundation, Inc. in 1942. This presentation will review the history of the foundation and its purposes during its 40-year life. Additionally, Munsell's ongoing legacy will be reviewed through the Foundation's dissolution in 1983 with the creation and endowment of the Munsell Color Science Laboratory at the Rochester Institute of Technology. The laboratory is now entering 35th year and has a lifetime of impact commensurate with that of the foundation itself. In honoring Munsell, we will also take a look at his impact on nearly four decades of color science students at RIT. The presentation will conclude with thoughts on Munsell's future legacy and the multidisciplinary fusion of color in the arts, the sciences, and applications.

Tuesday, June 12 - AM Breakout Session Tutorial
Color Appearance, Color Order, & Other Color Systems    FULL

How do color systems work? How do they vary? Are Munsell and Pantone doing the same thing? This tutorial will examine the mathematical description of color appearance and then explore how appearance is encoded in color order systems such as the Munsell Book of Color, the Natural Color System, and the OSA-UCS. It will also explore the differences between color appearance systems such as these and other systems that are used to name, specify, and communicate colors. We will end with a short update on recent progress in the understanding of human color vision for color appearance specification.


  Susan Farnand  Asst. Professor, Program of Color Science Rochester Institute of Technology Rochester, New York

Susan Farnand
Asst. Professor, Program of Color Science
Rochester Institute of Technology
Rochester, New York

  Don WIlliams  CEO Image Science Associates Rochester, New York

Don WIlliams
CEO
Image Science Associates
Rochester, New York

Susan Farnand and Don Williams

Susan Farnand is an Assistant Professor in the Program of Color Science at the Rochester Institute of Technology. She teaches course in the Principles of Color Science, Color Physics, and the Color Science History. Her research interests include human vision and perception, color science, cultural heritage imaging and 3D printing. She received her BS in engineering from Cornell University, her Masters in Imaging Science and her PhD in Color Science from the Rochester Institute of Technology. She began her career at Eastman Kodak, designing and evaluating printer systems. She is Publications Vice President of the international Society of Imaging Science and Technology and serves as an Associate Editor for the Journal of Imaging Science and Technology. She participates in several Standards efforts including ISO TC 42 JWG26 Archival Imaging.

Don Williams worked as a research imaging scientist for Kodak for 25 years until he left the company in 2006. His work there focused on both digital and traditional imaging practices across a number of disciplines that included reconnaissance, microfilm, consumer photography, and professional photography sectors.
He sits on international standards committees and is fully immersed and involved in the digital image archiving community, frequently contributing to the Federal Agencies Digitization Guideline Initiative and sits on the Still Image Working Group advisory board.

Don is the editor for ISO 12233, 2nd edition, Spatial Resolution Measurements, Digital Still Cameras, and has acted as coleader for equivalent performance standards on reflection and film scanners. His influence has extended into the mobile imaging arena where he was the sector leader for resolution measurement for Camera Phone Image Quality (CPIQ) imaging industry initiative.

Monday, June 11 - PM General Session
Modern Tools for Color Reproduction
Susan Farnand and Don Williams

Successful imaging performance assessment requires established performance goals, efficient test plans, and periodic performance auditing. All three of these require the selection and adoption of references against which to gauge imaging “goodness”. In many cases the use of common color elements such as those comprising the ColorChecker® test target is sufficient. However, we find that color imaging of cultural heritage content, especially collections predominated by near neutrals (e.g. paper, vellum, parchments), limited color gamut (e.g., watercolors), and near singular hues (early photographic prints), can be challenging. The capture of small color differences is not only important but problematic, largely because the color targets used today to calibrate or profile digital capture devices were not designed to discriminate the subtle color gradations of such content.

These and other important examples of how test targets can be customized for optimal color reproduction, as well as non-visible forensic investigations, will be presented. We will also look toward the future in which targets might also take on new textures, shapes, and characteristics that probe and test for more dimensions of color appearance. Lastly, emerging multi-spectral and 3D modalities will open a whole new landscape of possibilities for color calibration, consistency, and reproduction.


  Paul Green-Armytage  University Associate Curtin University, Perth, Australia  

Paul Green-Armytage
University Associate
Curtin University, Perth, Australia
 

Paul Green-Armytage

Paul Green-Armytage was born and educated in England, graduating as an architect in 1964. After ten years’ experience working as an architect, exhibition designer and set designer for television in England, Canada and Australia, he took up a position, in 1976, as senior lecturer in charge of the first year program in design at what is now Curtin University, in Perth Australia. His interest in color research led to a PhD in 2005; the title of his thesis was “Colour, Language and Design”. He has contributed papers at many national and international conferences, served as a member of the executive committee of the International Colour Association and as president of the Colour Society of Australia. He retired from teaching in 2006 but remains active as a researcher and writer.
 

Wednesday, June 13 - AM General Session
Relating Munsell to Other Systems in An Elastic Color Solid

For a student of architecture in the early 1960s the Munsell system was a revelation. Munsell’s hue, value, and chroma were perfectly clear, but then they were challenged by the Ostwald system with its white content and black content. Revelation was followed by confusion. It became evident that there is no such thing as a single ‘correct’ colour solid or, indeed, a single ‘correct’ colour circle. Colour circles can be structured with equally spaced ‘primaries’ or organised so that ‘complementary’ colours are opposite to each other, but different systems have different sets of primaries, and different ways of establishing complementary relationships yield different pairings. These different relationships can be reconciled if the circle is treated as elastic with intervals between colours stretched or compressed to show the relationships relevant for a given situation. In the third dimension of a colour solid the principle of elasticity can also be applied show relationships of value or of whiteness/blackness; the structure of Munsell can be ‘morphed’ into that of Ostwald. During this talk I will show that, if the colour solid is regarded as elastic, it is easier to understand the information embodied in the structures of different colour order systems and also to see how they relate. 

Tuesday, June 12 - PM Breakout Session Workshop
Seeing Color 

This workshop might be called ‘Art for non-artists’ except that we hope some artists will also take part. The workshop has two main aims. The first aim is the same as that professed by Josef Albers when he arrived to teach at Black Mountain College in 1933: it is “to make open the eyes”. Albers wanted his students to learn, first, how to see. Participants in this workshop will be looking closely to see subtle colour relationships and will try to capture the colour character of a flower or a painting. The second aim is to open up new ways of generating colour combinations for possible application in such fields as textiles and interior design.

We will explore the possibilities of chance that emerge while playing a new version of The Colour Card Game and will follow the kind of advice once given to students by an eminent graphic designer: “When in doubt, rip off Matisse”. Participants will work with coloured paper to produce simple designs in a standard format. The standard format will make it easier to focus on colour relationships and on how the dimensions of hue, value, and chroma contribute to the overall effect of a design. Very little skill will be required and all materials will be provided. Participants will leave with their own examples of ‘Instant Art’.


  Leslie Harrington  The Color Association of the United States New York, New York

Leslie Harrington
The Color Association of the United States
New York, New York

  Anat Lechner  Professor of Business Management at the Stern School of Business, New York University New York, New York

Anat Lechner
Professor of Business Management at the Stern School of Business, New York University
New York, New York

Leslie Harrington

Leslie Harrington Ph.D is the Executive Director of CAUS, The Color Association of the United States and a member of the Executive Committee of the International Color Association. Leslie is a professional member of American Society of Interior Designers and has held positions in several other organizations. She has an undergraduate degree in interior design; an MBA from New York Univ., Stern School of Business; and a Ph.D. in color strategy.She has held various senior management positions in the area of color strategy and color marketing over a 25 year tenure within the industry, including 16-years serving as the Color and Design Director for Benjamin Moore Paints.

 

Anat Lechner’s research includes understanding the role of color effectiveness in designed environments and the link between color and emotions.  A former Research Fellow at McKinsey & Co. the founder of a boutique management-consulting firm, and a co-founder of Huegroup, Inc., a Color Intelligence company, Professor Lechner client list includes global Fortune 500 firms in the Financial Services, Pharmaceuticals, Chemicals, Energy, Food, High Tech, Design and Retail industries. Anat holds an MBA and a PhD in Organization Management from Rutgers University, NJ.

 

Tuesday, June 12 - PM Breakout Session Tutorial
Friday, June 15 - AM Breakout Session Tutorial
Creating a Color Forecast: The Business of Color

Put yourself in the shoes of a color consultant and explore the process of creating a color forecast. Color forecasting is sometimes referred to as a self-fulfilling prophecy but analyzing trends is critical for businesses who must decide - sometimes years in advance - on the color of their products. The risks of getting it wrong are great, the returns on getting it right are even greater. 


  Setsuko Horiguchi  Nippon Color & Design Institute Tokyo, Japan   

Setsuko Horiguchi
Nippon Color & Design Institute
Tokyo, Japan

 

  Katsura Iwamatsu  Research Fellow Nippon Color & Design Research Institute Tokyo, Japan

Katsura Iwamatsu
Research Fellow
Nippon Color & Design Research Institute
Tokyo, Japan

Setsuko Horiguchi and
Katsura Iwamatsu 

Setsuko Horiguchi graduated from the department of psychology of Waseda University in Tokyo with degree of Bachelor of Arts in Literature in 1981 and joined Nippon Color & Design Research Institute Inc. in April of 1981. Since then she has worked as a planning manager, consultant, and seminar lecturer in the fields of fashion, product, food, retail, housing, environment.  She is the editor of the biannual Japanese periodical of color trend forecast, "Season Image Color" and co-author of "Basic knowledge of Color Image", Tokyo: David publishing co., 1995. In addition to her work with NCD, she is a member of the Japan Sensory Engineering Association, Part-time lecturer at Kyoei University, Kyoei Gakuen Junior College, Part-time lecturer at the Tokyo Nutrition Foods College, Lecturer at the Nippon Barber Beauty Education Center, and a Landscape Advisor for Taito City of Tokyo.


Katsura Iwamatsu joined the Nippon Color and Design (NCD) Research Institute Inc. in 1981 as the research assistant and secretary of president Shigenobu Kobayashi and later worked as lecturer of seminars, assistant manager of project planning and editorial works. From 1999 to 2008 she was a freelance editor with publisher Kodansha for several books of NCD such as "Color System", "Practical Color Design", and "Color Image Scale." She is currently a research fellow in NCD. Ms Iwamatsu will be presenting with and translating for Ms Horiguchi.

Thursday, June 14 - AM General Session
From Munsell Color System To A New Color Psychology System

The founder of Nippon Color and Design Research Institute (NCD), Shigenobu Kobayashi (1925-2010), graduated from Hiroshima College of Technology in 1947, then taught middle-school science while pursuing an MA in Psychology (1954) at Waseda University. He went on to publish several books on psychology, design, and color, and placed twice in Dokuritsu Exhibition, while teaching at various art schools and colleges.

It was with the intent of furthering the research in the psychology of color while creating a viable business model in the field, that Kobayashi founded NCD in 1967. The timing was opportune, for it was a period of rapid economic growth and modernization in Japan immediately after the 1964 Tokyo Olympics, when many in the nascent fields of graphics and design were eager to take advantage of the color psychology data provided by NCD. The first project undertaken by NCD was the creation of a 5000-color chart based on Munsell Color System for an auto maker, which inspired Kobayashi and his team to develop a new system based on Munsell Scale, by shifting the focus from Hue towards Tone (combination of Value and Chroma). The basic Color Image Chart encompassing 480 chromatic colors (40 Munsell hues x 12 tones) and 10 neutral colors was finalized in 1969, establishing the framework for NCD’s Hue and Tone System. With further refinements over subsequent decades incorporating C.E. Osgood’s Semantic Differential Method, the current Color Image Scale with Warm-Cool, Soft-Hard and Clear-Grayish axes was born. Representing 130 individual colors, it is a diagnostic model of psychological color space with a wide range of practical applications, from product development and marketing to city planning.

Our presentation will offer an overview of the evolution of Kobayashi’s system, along with actual examples of consumer products and hands-on experience in combining colors for real-life uses.

Tuesday, June 12th - AM Breakout Session Workshop
Friday, June 15th - AM Breakout Session Workshop
Psychological Analysis with the Color Image Scale

The Color Image Scale, developed by Nippon Color Design Research Institute (NCD) and its founder Shigenobu Kobayashi (1925-2010), is a revolutionary 3D modeling system for psychological color space with Warm-Cool, Soft-Hard, and Clear-Grayish axes. Based on decades of research, it depicts the psychological effect of color combinations using the least number of index colors possible. The research, based on Munsell Color System and started in the early 1970’s, was initially focused on individual colors, but gradually shifted its attention towards the psychological impact and pragmatic use of color. By incorporating the semantics and human perception to the traditional color anatomy, the final product offers a cultural and societal understanding of color that serves a wide variety of commercial and educational purposes.

Although based primarily on adjectives culled from the Japanese language, Color Image Scale is highly adaptable for cross-cultural comparative study of color design. In the workshop, we will offer a systematic view of the semantics of color, and outline the color-based structure of people’s relationship to their culture and environment. After creating 3-color combinations using 130 color samples (10 Hues x 12 Tones, plus 10 Neutrals) to match certain adjectival themes, the participants will work in groups to analyze the results according to Color Image Scale. Through this exercise exposing the audience to the vast possibility of color combinations, and through the following discussion, the workshop will offer new insights into the semantics of color.


  Tom Lianza  SequelCSI Boston, Massachusetts     

Tom Lianza
SequelCSI
Boston, Massachusetts
 

 

Tom Lianza

Tom Lianza is currently President and CTO of Sequel Color Science and Instrumentation (SequelCSI). His work focuses on color sensing systems and manufacture of display systems. He specializes in the design of color measurement instrumentation.

Thursday, June 14 - AM General Session
The Pantone Color System: A Short History

The Pantone System has a rich history in the design and printing community. This talk will discuss the historical elements of the development of the Pantone system and its past and current impact on the communities that utilize it.


  Steve Linberg  The Classical Lab Amherst, Massachusetts   

Steve Linberg
The Classical Lab
Amherst, Massachusetts

 

Steve Linberg 

Steve Linberg is an engineer, educator and artist who designs and builds tools for teaching art. Along with Graydon Parrish, Steve is an artist working in the classical realist tradition that thrived from the Renaissance through the late 1800. 

Parrish and Linberg share a passion for the highest reaches of fine art, and a conviction that knowledge and rationality enhance and further the pursuit of artistic skills. Each has decades of driven experience in their respective fields. The Classical Lab is their collaborative effort to enhance the teaching of art by way of scientific tools and training materials deeply integrated with classical aesthetics.

 

Friday, June 15 - Breakout Session Workshop
Munsell Color Mixing Demo

Graydon Parrish and Steve Linberg will introduce color mixing using the Munsell System and demonstrate the basics of mixing color in oil paints using the Hue, Value and Chroma of Munsell.


  Margaret Livingstone  Harvard University Cambridge, Massachusetts

Margaret Livingstone
Harvard University
Cambridge, Massachusetts

Margaret Livingstone

Margaret Livingstone is Professor of Neurobiology at Harvard Medical School. She has done research on hormones and behavior, learning, dyslexia, and vision. Livingstone has explored the ways in which vision science can understand and inform the world of visual art. She has written a popular lay book, Vision and Art, which has brought her acclaim in the art world as a scientist who can communicate with artists and art historians, with mutual benefit. She generated some important insights into the field, including a simple explanation for the elusive quality of the Mona Lisa’s smile (it is more visible to peripheral vision than to central vision) and the fact that Rembrandt, like a surprisingly large number of famous artists, was likely to have been stereoblind.
 

Wednesday, June 13 - PM General Session
What Art Can Tell Us About the Brain
Margaret Livingstone

Artists have been doing experiments on vision longer than neurobiologists. Some major works of art have provided insights as to how we see; some of these insights are so fundamental that they can be understood in terms of the underlying neurobiology. For example, artists have long realized that color and luminance can play independent roles in visual perception. Picasso said, "Colors are only symbols. Reality is to be found in luminance alone." This observation has a parallel in the functional subdivision of our visual systems, where color and luminance are processed by the evolutionarily newer, primate-specific What system, and the older, colorblind, Where (or How) system.

Many techniques developed over the centuries by artists can be understood in terms of the parallel organization of our visual systems. I will explore how the segregation of color and luminance processing are the basis for why some Impressionist paintings seem to shimmer, why some op art paintings seem to move, some principles of Matisse's use of color, and how the Impressionists painted "air". Central and peripheral vision are distinct, and I will show how the differences in resolution across our visual field make the Mona Lisa's smile elusive, and produce a dynamic illusion in Pointillist paintings, Chuck Close paintings, and photomosaics. I will explore how artists have intuited important features about how our brains extract relevant information about faces and objects, and I will discuss why learning disabilities may be associated with artistic talent.


  Wendy Luedtke  Electronic Theater Controls (ETC) New York, New York

Wendy Luedtke
Electronic Theater Controls (ETC)
New York, New York

Wendy Luedtke

Wendy Luedtke is part of the Advance Research Group at the international lighting company ETC - Electronic Theater Controls. She served as a Product Manager for Color and Lighting Products for Rosco-Spectrum from the mid-2000's to the mid-2010's. She is a seasoned lighting designer with theatre, live event, fashion and architectural experience, an Adjunct Instructor at New York University's Tisch School of the Arts, and the Chair of the Color Committee for the Illuminating Engineering Society.

Thursday, June 14 - PM General Session
To Specify a Sunrise: Art, Science and Modern Lighting Design

For generations of lighting designers, ubiquitous, Pantone®-like systems of filters and gels provided a simple, universal language for talking about color. With the adoption of LED technology, that’s changing. Fixtures have increasingly complex spectral tuning capabilities and characteristics, and control systems allow prolific color customization. How do we reliably and consistently reference color in an additive-mixing world? And how do we help lighting professionals translate these scientific variables and near-infinite color choices into a new artistic vernacular? This session explores the ways in which these ongoing questions are shaping the lighting world.


  Joy Turner Luke  Artist, Author, Activist Winchester, Virginia

Joy Turner Luke
Artist, Author, Activist
Winchester, Virginia

Joy Turner Luke

Joy Turner Luke wrote and illustrated "The Munsell Color System, A Language for Color" published by Fairchild Publications as the text accompanying the first three editions of the Munsell Student Color Set. Working as an artist and teacher for over 50 years, Joy has participated in many exhibitions, and taught numerous color in composition and design classes.

Wednesday, June 13 - AM General Session
Munsell's Vision for Teaching Artists

Even though Munsell ended up a business man, with a focus on selling a system of color identification, he started out as an artist attempting to find a way to teach color that would help artists of all ages to harmonize color.

Munsell was an artist. He went to and taught at an art school. He painted portraits on commission. He had a painting studio in the Back Bay of Boston. His first ideas were about teaching color harmony and they were a bit strange - giving children muddy colors for example. His system was used initially in products sold for use in teaching art to children. If you read his diaries you see that he spent many years lecturing teachers and art educators about his system.

But as he explored color science more and more, he began advocating for teaching what he called "Color Sense" rather than "Color Theory". 


  Kathryn Millard  Macquarie University Sydney, Australia

Kathryn Millard
Macquarie University
Sydney, Australia

Kathyrn Millard

Kathryn Millard is a writer, dramaturg and filmmaker. Psychology, mental health, popular fallacies and the afterlife of images are recurring themes in Kathryn’s body of work which spans award-winning feature dramas and documentaries.  Major credits as writer and director include the features Shock Room, Random 8, The Boot Cake, Travelling Light, Parklands and Light Years. Colour Files, Kathryn’s series of short documentaries (in production), delves into the audio-visual archive to explore key moments in the social history of colour. Kathryn is Professor of Screen and Creative Arts at Macquarie University, Sydney.
 

Tuesday, June 12 - AM Breakout Session Tutorial
Friday, June 15 - AM Breakout Session Tutorial

The Colour Wars: Colour Film Technologies and Aesthetics Post-War

This session includes a screening of the latest documentary in my Colour Files series followed by a discussion focused on the expansion of colour science and technology in the immediate post-war era. From the ‘colour wars’ between Technicolor and Eastman Kodak to the psychology of colour, this period was marked by a transformation of how we see colour on screen, at home and in the office. 


  Dimitris Mylonas  University College London London, England  

Dimitris Mylonas
University College London
London, England
 

Dimitris Mylonas

Dimitris Mylonas obtained MSc in Digital Colour Imaging from the University of the Arts, London and completed MRes in Media and Arts Technology at the School of Electronic Engineering and Computer Science, Queen Mary University, London. He held a research position at School of Psychology, University of Liverpool, and in the Wellcome Laboratory of Neurobiology, University College London. Currently he is a PhD student at the Department of Computer Science, University College London, researching colour naming within and across different cultures. Since 2015, Dimitris Mylonas is Chairman of the Study Group 'Language of Colour' of the International Colour Association (AIC).

Tuesday, June 11 - PM Breakout Session Tutorial
Color Naming Within and Across Languages 

In this tutorial, we will explore how people who speak different languages name simulated Munsell chips in an ongoing color naming experiment (accessible at: www.colornaming.com). Participants will also learn about the linguistic, behavioral and geometric features of these lexical color categories. The tutorial will be concluded with the presentation of a color naming model that automates the assignment of color names across the full 3D color gamut.

Friday, June 15 - AM Breakout Session Tutorial
Color Naming Brings People Together

In this tutorial, we will demonstrate the miscommunication involved in the use of language to describe colors, and present a web application (accessible at: www.colornaming.com) designed to facilitate color communication within and across languages. Participants will play the Colors of Babel, a color naming/matching card game that explores recipient-design strategies in color conversations. Playing the game will allow for individuals’ color names to be compared with the responses of thousands of participants in an online multilingual color naming experiment. By the end of this tutorial, you will understand the importance of user-centered design thinking for successful color communication.


  Roy Osborne  Editor at Thylesius Books London, England

Roy Osborne
Editor at Thylesius Books
London, England

Roy Osborne

Roy Osborne began lecturing on the theory and practice of color after publication of his ‘Lights and Pigments: Colour Principles for Artists’ in 1980, one of the first books to link traditional with new art media. A well-know editor and writer on the subject of color in art, he has exhibited extensively as a painter and taught and lectured at some 200 institutions worldwide. He is the author of ‘Color Influencing Form: A Color Coursebook’ (2004) and recently published a definitive color bibliography, ‘Books on Colour 1495-2015’ which includes a concise history and over 3,000 annotated titles cross-referenced by author and date of publication.
 

Wednesday, June 13 - AM General Session
Teaching Color in Art and Design

The talk will start by examining the development of color-teaching from the earliest important source, Giovan Paolo Lomazzo’s ‘Treatise on the art of painting’, of 1584, through the many books variously influenced by it, to later textbooks on color for artists that were increasingly influenced, after Isaac Newton’s ‘Opticks’ (1704), by discoveries in the sciences, especially physics, vision and psychophysics. The talk will conclude with a brief examination of such Modernist color teachers as Paul Klee, Johannes Itten, and Josef Albers, and the opportunities and limitations offered by their well-documented approaches to teaching color in art and design.
 

Tuesday, June 12 - AM Breakout Session Tutorial
An Artist's Approach to Teaching Color

Roy Osborne’s presentation, illustrated with examples of students’ work, will examine his own various approaches to teaching color theory and practice in art, developed since he was first invited to teach BA modules in Color Theory at the University of Akron, Ohio (1986-87), and later developed at various college throughout England and elsewhere. The structure and content of the courses developed from the first draft of ‘Color Influencing Form’, written in 1984 but not published until 2004 (in an abridged edition). An underlying aim was not only to have students create ‘works of art’ for their portfolios, rather than mere color exercises, but to start to explore methodical relationships between color and form.


  Graydon Parrish  Artist Austin, Texas

Graydon Parrish
Artist
Austin, Texas

Graydon Parrish

Graydon Parrish attended New York Academy of Art before graduating summa cum laude from Amherst College, Amherst, Massachusetts. An internationally acclaimed artist, his paintings combine classical and contemporary realism. 
 

Wednesday, June 13 - PM General Session
Contemporary Realism

This slide presentation will show how Classic Realism meets Contemporary Realism in the work of many painters using the Munsell system today.


  Danny Rich  Sun Chemical Corporation Parsippany, New York   

Danny Rich
Sun Chemical Corporation
Parsippany, New York

 

Danny Rich

Dr. Danny Rich obtained his Bachelors degree in Physics from the University of Idaho in 1973. He received a Masters degree in Physics in 1977 from Virginia Polytechnic Institue and State University in Blacksburg, Virginia. His research involved laser optics and its application to light scattering experiments. During his studies at VPI&SU he met Dr. Fred W. Billmeyer, Jr. who convinced him to transfer to Rensselaer Polytechnic Institute and work toward a Ph.D. in Color Science. In 1980, he completed his program of studies by defending his dissertation entitled, "The Perception of Moderate Color Differences in Surface-Color Space". Has been awarded the Nickerson Service award from the Inter-Society Color Council in 1999, the National Printing Ink Manufacturers award for Technical Achievement in 2008, a Thomas Alva Edison award for innovation by the Research Council of New Jersey in 2008, the Robert F Reed Medal from the Printing Industries of America in 2013, the Mattiello Memorial award from the American Coatings Association in 2015. Dr. Rich is currently the Senior Color Physicist in the Color Research Laboratory of the Sun Chemical Corporation. He has published on all aspects of Color Science and Engineering, including visual perception, instrumentation and mathematical modeling.
 

Thursday, June 14 - AM General Session
Calvin McCamy's Recollections of the Munsell Color System in Industrial Color Technology

The talk recounts the life-time of work of Calvin McCamy on color technology and his utilization of the Munsell color order system to solve industrially important problems. In his memoir, Mr. McCamy describes how he was constantly called in to contribute to practical application of the Munsell Color system. He was at National Bureau of Standards (now NIST) when the renotation was being derived by the OSA, he was appointed by ANSI to serve on the ISO Committee that tried to raise the Natural Color System to an international standard, he created a popular color lecture titled "The Joy of Color" that always included the description of how Albert H. Munsell developed the system and how it was used in production at the Macbeth Corporation. Later, he was responsible for the ASTM standard D1535 Standard Practice for Specifying Color by the Munsell System, including the development of the first (and likely the last) formula to invert Judd's fifth order polynomial equation mapping Value onto luminance factor.

Cal consulted with the paint lab producing the collections and contributed to the problems encountered when modern synthetic organic pigments were introduced to replace the banned heavy metal pigments. Finally he recounts how he combined his love of photography and image science with the Munsell system and developed the Macbeth Color Checker which is today, the most widely used instrument for color imaging in the world.

Calvin McCamy's career was spread between two venues, The National Bureau of Standards in Washington, D.C. where he was involved in the metrology of photographic materials and color and later, as head of research and technology for the Macbeth Corporation, a division of the Kollmorgen company and the commercial Munsell Color Paint Lab.


  Sarah Sands  Senior Technical Specialist Golden Paint Company New Berlin, NY   Wednesday, June 13 - General Session   Not So Fast:The Often Seen but Rarely Told Issues with ASTM Lightfastness Ratings

Sarah Sands
Senior Technical Specialist
Golden Paint Company
New Berlin, NY

Wednesday, June 13 - General Session
Not So Fast:The Often Seen but Rarely Told Issues with ASTM Lightfastness Ratings

Sarah Sands

Sarah Sands received a BA in Studio Art from UC Santa Cruz, and her MFA in Painting from Yale School of Art, where she also worked as a studio assistant for the Yale University Art Gallery’s Department of Conservation. After Yale she taught painting at the NY Academy of Art and was an Assistant Professor of Painting at Indiana University before leaving academia to run Williamsburg Handmade Oils in the mid-90's, providing the main technical research and product support for customers. In 2002 she joined Golden Artist Colors, becoming the head of their Materials and Applications Department, and is currently the Senior Technical Specialist for both GOLDEN Acrylics and Williamsburg Handmade Oils. She serves as the Technical Editor of Just Paint, a website and newsletter covering research and new product development at Golden Artist Colors, and is a member of the ASTM Subcommittee on Artist Paints and Related Materials.


  John Seymour  Applied Mathematics and Color Science Consultant Milwaukee, Wisconsin

John Seymour
Applied Mathematics and Color Science Consultant
Milwaukee, Wisconsin

John Seymour

John Seymour is an applied mathematician and color scientist, working as a consultant since 2012 under the name “John the Math Guy”. John currently holds twenty-five US patents, has authored over forty technical papers, and is a much sought-after speaker. He is an expert on the Committee for Graphic Arts Technologies Standards and ISO TC 130, and currently serves as Vice President of Papers for Technical Association of the Graphic Arts. He writes a blog which is described as “applied math and color science with a liberal sprinkling of goofy humor.”
 

Tuesday, June 12 - Keynote Speaker at Award Banquet
The Color Name Conundrum 

Webster's Third New International dictionary contains a few thousand definitions of color names that are at once whimsical and tedious. John Seymour (AKA John the Math Guy) will recount his vain attempts to win an argument with his wife about color names. He starts by turning to the biggest dictionary in his house to map out the two disputed color names. Along the way, he finds some interesting history about official naming of colors and the tie to the Munsell company. He may not have won the argument, but his presentation is guaranteed to be great edutainment!

Friday, June 15 - AM Breakout Session
Unwildering the Bewildering Panoply of Color Measurement Devices (Tutorial)

You wouldn't think it would be all that hard. You go into McSpectros, and ask the guy behind the counter to show you a color measurement device. For some reason, he starts out talking about geometry, diffraction gratings, and polarization filters, and then asks if you have OBAs. This tutorial fills in the gap, starting with a simple explanation of how light interacts with objects, and what that light can tell us about the object. This provides a foundation for an explanation of the options for how the light is captured and measured, and when and where the different options are appropriate.


  Renzo Shamey  Director, Color Science & Imaging Lab North Carolina State University Raleigh, North Carolina

Renzo Shamey
Director, Color Science & Imaging Lab
North Carolina State University
Raleigh, North Carolina

Renzo Shamey

Renzo Shamey directs activities at the Color Science and Imaging Laboratory at the COT of North Carolina State University. Current research areas include color perception, unique hues, perception of object whiteness, blackness, grayness, and color difference modeling. Other areas of interest include coloration of various substrates, and development of expert systems for the coloration industry. He currently directs the Polymer and Color Chemistry program at North Carolina State University.

Rolf Kuehni

Educated as a textile chemist, Rolf Kuehni became interested in the fascinating subject of color early in his professional life. After moving to the US from Switzerland he became a member of the Inter-Society Color Council in the early 1950s. He is the author and co-author of four scientific/technical books related to color: 1. Computer colorant formulation, Lexington Books, 1975, 2. Color space and its divisions, Wiley Interscience, 2003, 3. Color, An introduction to practice and principles, John Wiley and Sons, Third edition, 2013, 4. Color ordered, co- authored with Andreas Schwarz, Oxford University Press, 2008. He is also the author or co-author of over 90 peer-reviewed articles on color science and the history of color. Since the year 2002 he is an adjunct professor at the TECS department of North Carolina State University in Raleigh, NC.

Monday, June 11 - AM General Session
The Evolution of Color Order Systems

Working together with Rolf Kuehni, author of Color: An Introduction to Practice and Principles, Color Space and Its Divisions: Color Order from Antiquity to the Present , and Color Ordered,  we will present a visual history of color order systems.


  Lois Swirnoff  Professor Emeritus Brookline, Massachusetts

Lois Swirnoff
Professor Emeritus
Brookline, Massachusetts

Lois Swirnoff

Known for her creativity, Prof. Lois Swirnoff's work on color is recognized internationally. Following graduation from The Cooper Union School of Art in NY, Josef Albers admitted her to his graduate program at Yale where she received her BFA and MFA Summa Cum Laude. She taught color courses at a number of universities including Harvard, Wellesley, University of California and Cooper Union.  A Fulbright fellow in Italy, she designed large scale installations of color as light.  She is the author of Dimensional Color, a book on color and form and The Color of Cities: An International Perspective.
 

Tuesday, June 12 - AM Breakout Session Workshop
Color is Magic: Albers' Exercises 

A workshop session inspired by Josef Albers' seminal text Color Interactions. Participants will explore the appearance of color in contexts and by juxtaposition using the material of ColorAid papers.


Friday, June 15 - Breakout Session Workshop
Extending Color Interactions with Form & Space

This workshop session will explore how color as a dimension influences volumes, spaces, and visual constellations.

  Greg Wallace  Reference Librarian, Massachusetts College of Art & Design Boston, Massachusetts     

Greg Wallace
Reference Librarian, Massachusetts College of Art & Design
Boston, Massachusetts
 

 

Greg Wallace

Greg Wallace is the reference and instruction librarian at MassArt. He also holds a Ph.D. in history of art from Brown University. He has an ongoing fascination with color theory and has the pleasure of showing the MassArt Library's collection of antique Munsell objects to students and faculty every year.


Tuesday, June 12 - AM  Tutorial   FULL
Tuesday, June 12 - PM   Tutorial
MassArt Munsell Treasures   

A show-and-tell demo. Experience first hand antique Munsell devices, instructional toys, and memorabilia kept at the MassArt Library. You'll see a vintage color sphere that spins, an early version of the "color tree," a 1920s edition of Munsell's Atlas with still vibrant color chips, assorted whirligigs and Maxwell disks, as well as unpublished Munsell photos and documents.

  Michael Webster  Foundation Professor, Dept of Psychology University of Nevada Reno, Nevada

Michael Webster
Foundation Professor, Dept of Psychology
University of Nevada
Reno, Nevada

Michael Webster

Michael Webster is a Foundation Professor in the Department of Psychology at the University of Nevada, Reno, and Director of the University's Center for Integrative Neuroscience (an NIH COBRE). He received his PhD from UC Berkeley in 1988 and was a postdoctoral fellow at the University of Cambridge from 1988-1994. His research has focused on color and form perception, and how these percepts are shaped by adaptation to physical properties of the environment or physiological properties of the observer. He also studies the patterns and bases for individual differences in color perception.

Monday, June 11 - PM General Session
Color in Language, Culture, and the Environment

The spectrum of light varies continuously but languages parse this continuum into a small number of discrete categories. The bases for these categories have been studied extensively but remain unresolved. Armed with Munsell's palette, Berlin and Kay sampled color terms across a wide range of cultures, revealing strong similarities in color categories. However, in the decades since there continue to be new challenges and insights about color perception and color naming, work that bridges perception and cognition, and the individual and their environment. I will review these developments and our current understanding of the nature and meaning of color categories.

  David R. Wyble  Avian Rochester, LLC Rochester, New York   Thursday, June 14 - General Session Closing  General Sessions Summary

David R. Wyble
Avian Rochester, LLC
Rochester, New York

Thursday, June 14 - General Session Closing
General Sessions Summary

David R. Wyble

David R. Wyble is president and founder of Avian Rochester, LLC. Since 2011, Avian Rochester has been delivering color standards; traditional and custom measurements; and consulting services to the color industry. Prior to founding Avian Rochester, Wyble was a color scientist within the Munsell Color Science Laboratory, at the Rochester Institute of Technology, and before that a Member of Research & Technology Staff at Xerox Corp. He holds a BS in Computer Science and MS and PhD degrees in Color Science from RIT and Chiba University, respectively.