CREATE – deadline for applications approaching!!

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The deadline for applications to attend the final CREATE event in Norway is coming up – end of January. Please take a look at the CREATE webpage – http://www.create.uwe.ac.uk/ – and think about putting an application into this event. If accepted you will receive funding for travel and living expenses and, more importantly, you’ll get a fantastic networking opportunity to meet about 100 other people from all around Europe who are as interested in colour as you are. You don’t have to be European to qualify but you probably need to be based in Europe.

The venue in Norway is stunning and well worth the trip.

Shades of grey – novel

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It was nice to stroll into Leeds today and see all the green grass after all this snow we have had. All I have seen for the last 3-4 weeks is white – or rather, shades of grey as the snow melted, refroze and melted etc. So speaking of shades of grey, I came across a novel today in Waterstones of that very name – Shades of grey by Jasper Fforde – published in Dec 09. This novel is a sci-fi vision of the future where democracy has been replaced by colourtocracy; a social hierarchy based on your colour vision. Sounds interesting but it could take me some weeks to read it so if anyone has read it please reply to this post with a brief review.

Notice how the cover has red, yellow and blue on it. A further indication that the notion of red, yellow and blue as the primary colours is well and truly embedded in the general consciousness of the population (whether it is true or not that these are the primaries!).

Out of interest, I also bought The rain before it falls by Jonathan Coe (I love everything by this author) and Gateway by Frederik Pohl. Not of colour interest … but could be good reads.

Effect of colour names on consumer decisions

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For several decades there has been a great interest in understanding how we use colour names. Do we use the same colour categories (even though they may be called different things in different languages) irrespective of language and culture; in other words, is our perception of colour the same across all cultures and this shapes our use of colour names? Or, is our perception of colour shaped by our language. A well-known study by Berlin and Kay in the late 1960s suggested that language is shaped by perception. But the alterantive hypothesis – known as the Sapir-Whorf hypothesis – that perception is shaped by language also has support. We may soon know more about this issue because of an interesting on-line colour experiment being carried out by a scientist at Hewlatt-Packard. California-based Nathan Moroney’s multi-lingual colour-naming experiment uses a clever design that allows each participant to perform a small part of the experiment; but when lots of people take part – from all parts of the world and using different languages – some interesting and valuable data is collected. I won’t say any more about the work here because it is not complete yet; but I urge you to go and take part in the experiment. It only takes a minute or less to do it. And there is a debriefing document that you can read about the results obtained so far. Please visit http://www.hpl.hp.com/personal/Nathan_Moroney/mlcn.html.

Meanwhile a study by Skirinko (at the University of Virginia) and colleagues at Rice University reveals that the colour names that companies such for their products can have a big effect on sales. Consumer reactions are more positive to fancy names such as mocha as opposed to simple and generic names such as brown. The explanation for this is based on categorical perception; people use categories and a name such a mocha maps to a more positive cataegory than the simpler brown. So it is perhaps not jsut the colour of a product that affects sales; sales may also be affected by the langauage used to describe the colours of products.

The work by Skirinko et al. was published in Psychology and Marketing in 2006.

adobe photoshop colour management

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Now, before I write anything thing, I should say that I am a big fan of Adobe products. And it’s hard to think of a company that has done more to progress colour management than Adobe. At the Leeds University’s School of Design, where I teach, we use many Adobe products and Photoshop and Illustrator are virtually standards in their respective fields.

However, I don;t like the way Adobe presents its colour management options.

Colour management is difficult and certainly imperfect. For those users who don’t know or care about colour management the efforts of companies like Adobe and many others (especially those that constitute the ICC – http://www.color.org/index.xalter) have made colour fidelity much better over the last couple of decades. Open source profiles and the use of, for example, the sRGB colour space have ensured that even for users that don’t care or know about colour management, things pretty much work ok. And for those that are experts and know the difference between an input gamut and an output gamut; well, the colour management facilities provided by Adobe, for example, in Photoshop provide excellent tools and resources.

But I can’t help thinking that there is a huge gap between the naieve user and the expert user. Most of the design students in our school, for example, are not colour-management experts but, then, neither are they naieve users. However, the way that most software is designed (and this is not specific to Adobe, to be honest) is that it’s either all or nothing. As soon as you click on colour management options you are presented with a huge range of options (working spaces, rendering intends, colour temperatures, etc.). It just seems to me that this presents the user with a bit of knowledge with a problem since by fiddling with these settings they are more than likely to make things worse rather than better.

If I ruled the universe, then I would have software that is adaptive – that is, it would present colour management options in levels. It would be great if the software could work out your level of colour knowledge and present options accordingly; but if this is too difficult – or unpopular – then at least it could provide a number of levels: naieve, casual, knowledgeable and expert, for example. This way, users would be presented with an appropriate array and range of options.

As it is, I can’t help thinking that the software writers enjoy showing as many options as possible – as if they are shouting,  “Look how many features we have!”  – without regard for whether it is helpful to the user.

Why are carrots orange?

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Carrots are orange because they absorb certain wavelengths of light more efficiently than others. Beta-carotene is the main pigment and is mainly absorbs in the 400-500nm region of the visible spectrum with a peak absorption at about 450nm. Carotenoids are one of the most important groups of natural pigments.  They cause the yellow/orange colours of many fruit and vegetables. Though beta-carotene is most abundant in carrots it is also found in pumpkins, apricots and nectarines.  Dark green vegetables such as spinach and broccoli are another good source.  In these the orange colour is masked by the green colour of chlorophyll.  This can be seen in leaves; in autumn, when the leaves die, the chlorophyll breaks down, and the yellow/red colours of the more stable carotenoids can be seen.

However, the properties of beta-carotene are not what prompted me to make this blog. Last night I was watching the 4th in the series of Christmast Lectures by Prof Sue Hartley – the Royal Institution Christmas Lectures are a series of lectures given by a prominent scientist each year to an audience of children and broadcast on TV – http://www.rigb.org/registrationControl?action=home.

Prof Hartley’s lecture was about selective breeding and how humans had used this technique of thousands of years to make food safer and easier to eat. The section about wheat was particularly good.

However, she also talked about the colour of carrots and said that not all carrots are indeed orange at all. They come in many varieties including white and purple.

Prof Hartley said that it was the Dutch who selectively bred wild (white) and cultivated (purple) carrots to create the orange ones that we all know today. The orange was popular because it is the Netherland’s national colour and, at the time, the Dutch were fighting for independence. It was this story that has led me today – yes, Christmas Day – to make a virtiual visit to the British Carrot museum to research this story. You can follow my tracks at – http://www.carrotmuseum.co.uk/. Yes, such a place really does exist! 🙂

It turns out the story is not so clear as that told by Prof Hartley (though I am sure she is aware of this and was simply making it interesting to the children).   Certainfly the first cultivated carrots – in the Afghanistan region – were purple and orange carrots were cultivated in Northern Europe about 500 years ago. However, some scholars dispute the Dutch story about breeding orange carrots because orange was the national colour. Indeed, there is, apparently, a Byzantine manuscript from as long ago as 512AD that depicts orange carrots. So the mystery deepens and I have far better things to do on Christmas day than to research this further. Perhaps if any experts in carrot technology come across this page they can add an informative footnote?

dark alchohol makes you feel worse

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A paper in the journal Alchoholism: Clinical and Experiment Research by researchers at Brown University reveals that the colour of alchoholic drinks really does affect how bad you feel the next morning. Darker drinks (such as whisky) contain more chemical by-products than do lighter ones (such as vodka). However, how you feel (in terms of hangover) does not necessary correlate with performance loss the next day. So you may feel better drinking vodka but you would be just as incapable of driving or using heavy machines etc than if you drank whisky – though the latter may make you feel worse.

See http://www3.interscience.wiley.com/journal/123216970/abstract

pink stinks?

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PinkStinks (http://www.pinkstinks.co.uk/) is a campaign and social enterprise that challenges the culture of pink which invades every aspect of girls’ lives. The campaign has been running for 18 months and activists argue that while a wide variety of boys’ toys are available, those for girls are often predominantly pink. They argue that body image obsession is starting younger and younger, and that the seeds are sown during the pink stage, as young girls are taught the boundaries within which they will grow up, as well as narrow and damaging messages about what it is to be a girl.

It’s interesting that the notion of pink for girls and blue for boys has not always been so. A recent article on the BBC web site claims that in 1918 the Ladies’ Home Journal included the statement: “There has been a great diversity of opinion on the subject, but the generally accepted rule is pink for the boy and blue for the girl. The reason is that pink being a more decided and stronger colour is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl.” For more see http://news.bbc.co.uk/1/hi/magazine/8401742.stm.