Time Table & Index
3 .1 3

Fr i.10 ：00 -17 ：50

9：30

Registration Entrance Hall, Media Art Center

10：00–10：05

Opening Address

YOSHIE Ryuichiro

President of Tokyo Polytechnic University (TPU)

10：05–10：55

Invited Lecture 1

P1
P4

Art, Reproduction Technology, and Science: Foundations of Understanding ColorJohn J. McCann , McCann Imaging
10：55–11：10

The Introduction of the 5th Exhibition at the col.lab Gallery

P7

Oral Presentation 1

P9

OGAI Yuta, TPU
11：10–11：25

Real-Time Emotion Estimation System Using Face API of Microsoft Azure
KANG Yousun, TPU
Oral Presentation 2

11：25–11：40

P11Comparative Analysis on the Effect of Illumination Color in Clinical Environment of Preventive Care
MORIYAMA Tsuyoshi, TPU
11：40-13：40

Lunchcol.lab Gallery Exhibition, Graduate Work Exhibition Open.

13：40-14：30

Invited Lecture 2

P13

Butterfly Color Vision - Another View of Our World
ARIKAWA Kentaro, SOKENDAI （Graduate University for Advanced Studies）
Oral Presentation 3

14：30–14：45

P15

AI Photographer Generating Experimental Photographs Using Artistic Style Transfer Neural Networks
KUHARA Yasuo, TPU
Oral Presentation 4

14：45–15：00

P17

A Fundamental Study on the Effect of Pigment Use Amount on the Color of Colored Mortar
JINNAI Hiroshi,

TPU

15：00–15：10

Break

15：10–15：25

Oral Presentation 5

P19Development of Structural Color Material Contributing to Maintenance Management of Social Infrastructure andits Application in the Civil Engineering and Architecture Fields
HIEJIMA Toshihiro, TPU
15：25–15：40

Oral Presentation 6

P21

Color Planning in Modern Architecture: Focusing on Housing Estates in Germany during the Weimar Period
EBISAWA Monado, TPU
15：40–15：55

Oral Presentation 7

P23

A Critical Assessment of German Classic and Modernist Ideas of Color
OGAWA Masato, TPU
15：55–16：10

Oral Presentation 8

P25

Preparation of Color Samples of Graphite Intercalation Compounds: Analysis and Use of Colors
MATSUMOTO Rika, TPU
16：10-16：25

Oral Presentation 9

Development of Multicolor-Holographic Flip-Books Systems Using Lithium-Niobate Crystals
CHEN Jun, TPU

P27

Time Table & Index
Closing Address

16：25-16：30

NOGUCHI Yasushi, Director of the International Research Center for Color Science and Art, TPU
Party with Invited Lecturers

16：40-17：50

3 .1 4

Sa t.10 ：00 -14 ：15

9：30

Opening the Doors

10：00-10：05

Opening Address

10：05–10：55

Invited Lecture 3

P29

The Art of Color Science: Individual Differences
Mark Fairchild,

Rochester Institute of Technology
Oral Presentation 10

10：55–11：10

P31

Powder Electroluminescent Device Based on Paper Substrate for Designing Multi-Functional Digital Signage
TSUNEYASU Shota, TPU
Oral Presentation 11

11：10-11：25

P33

Durability Improvement of Electrochromic Display with Nano-Structured Electrode
YAMADA Katsumi, TPU
Oral Presentation 12

11：25-11：40

P35

Scientific Research into the Green Metallic Luster of Safflower Red Pigment Extracted by Traditional Method
YAJIMA Hitoshi,

TPU

11：40-11：55

Oral Presentation 13

P37

Accuracy Verification for Self Localization Depending on Color Calibration Skill
SUZUKI Hidekazu, TPU
11：55-13：05

Lunchcol.lab Gallery Exhibition, Graduate Work Exhibition Open.
13：05-13：55

Invited Lecture 4

P39

Color Perception of Naturalistic Objects and Faces
MIZOKAMI Yoko, Chiba University
13：55-14：10

Oral Presentation 14

P41

Expanded Global Activities through Exhibitions of col.lab Exhibits and Branding Research at Oversea Museum
UCHIDA Takayuki, TPU
14：10-14：15

Closing Address

NOGUCHI Yasushi, Director of the International Research Center for Color Science and Art, TPU
P43International collaborative research and art production on TOKYO2020 theme colors “Crimson”, “Indigo”, and“Kasane no Irome” / SUYAMA Kei, TPU

Private University Research Branding Project supported by the Ministry of Education, Culture, Sports,
Science and Technology for Fiscal Year 2016
Create Tomorrow, Learn Future, and Connect the World by “Color”, KOUGEI Color Science and Art

Greetings from the President
Ryuichiro Yoshie, President, Tokyo Polytechnic University
Tokyo Polytechnic University (TPU) originated as the “Konishi Professional Schoolof Photography”, founded in 1923. It was established to train technicians and researchers
in the field of photography, a cutting-edge expression technology at the time. The school
was a pioneer in combining self-expression through photography (art) with photographic
techniques (technology). It developed into a university consisting of two unique faculties,
the Faculty of Engineering and the Faculty of Arts, and “technology-art fusion” is its
unique characteristic.
TPU’s project, which was adopted for a Private University Research Branding Project(Type B “Global Development Category”) for fiscal year 2016, is rooted in academic
disciplines such as photography, printing, and optics, which have been research fields of TPU since its founding. The
project picks “color” as a cross-cutting research theme that is common in today’s Faculty of Engineering and Facultyof Arts. We have formed the only “International Research Center for Color Science and Art” in Japan. Especially,
disseminating information by means of media art such as photography, video, augmented reality, projection mapping,computer graphics, manga, and games is a unique branding strategy only possible with TPU. We have established agallery where visitors can experience the pleasure of learning the science of “color” with media art. We also have been
hosting public lectures, international workshops, and research results presentation sessions under the theme of “color”.
We hope to attract many people to these events.
Through this project, we will build a solid brand for our university to be known for “color” and aim for true “fusionof technology and art”. So please look forward to our activities from now on.

Greetings from the Director of the Center
Yasushi Noguchi, Professor, Faculty of Arts, Tokyo Polytechnic University“Color” is mysterious. We think we understand it, but it has many unknown facets.
We tend to believe that the world exists as we see it in our everyday lives. But humanbeings can only see a part of the spectrum of electromagnetic waves falling on the earth.
For example, we cannot “see” infrared or ultraviolet rays. However, some species ofanimals can. The world seen by those animals may be richer than the one we human beings
see.
Seeing “color” seems to be self-evident, but, concerning its mechanism, there are moreunknown things than known ones. In order to solve the mysteries of color and to linkresearch results to new expressions, interdisciplinary activities that do not depend on
conventional expertise are needed.
Originally, engineering and art were not separate fields, and each developed byreceiving synergistic effects. Pictures, movies, CG, or interactive art would not havedeveloped without the latest technology of that era. Especially in a cross-cutting theme like “color”, collaborative
research of staff members of the Faculty of Engineering and the Faculty of Arts, which are the features of ouruniversity, will lead to development of new technologies and new expression. My role as the director of the Center isto provide an environment that produces such innovative research and production results.
It is also important to proactively release these results to the public (outreach activities). Therefore, in this project,
we established an experience-based system for learning color and established a gallery (i.e. col.lab gallery) that makes
the results public. In this gallery, we want visitors ranging from children to adults to experience scientific and artistic
fun and depth of “color” and will establish a cycle to connect visitors’ reactions to new research.
Through research and production of “color” that utilize the characteristics of our university, we will make efforts
to establish a firm brand for Tokyo Polytechnic University.

1About the Private University Research Branding Project
The “Private University Research Branding Project” is a governmental program that lends intensive support for
expenses, facility costs and equipment costs as a package to private universities working on unique research acrossthe university under the leadership of the president. There were 198 applications from private universities nationwide.
17 schools were selected for “Type A (Social development category: Research that contributes to development anddeepening of regional economy and society, employment, culture and other specific fields) and 23 schools including
TPU were selected for “Type B (Global development category: Research that contributes to national or international
economic and social development, and progress of science and technology through development of advanced andinterdisciplinary research bases)”.

Invited Lecturers
Prof. John McCann (McCann Imaging, Arlington, MA, United States)
John McCann has always been interested in color. He separated colored salts bychromatography in a high school science-fair. He synthesized pale-blue and pink isomers of
CuCl2 in freshman independent-research at Harvard. He worked for Edwin Land on twocolor photography and Retinex Theory during summers at Polaroid. He worked for Land for
20 years. After a Harvard degree in Biology in 1964, he managed Polaroid’s Vision Research
Lab until 1996. Land and McCann worked with Ansel Adams to invent an algorithm tocalculate photographic renditions mimicking Adams’ Zone System in 1971. John set up
Polaroid's first digital imaging laboratory in 1975. He developed a system that captured naturalscenes, calculated appearances, and wrote the computed image on media. This system
converted >1000:1 scene ranges to the 30:1 range in prints. The Retinex model simulates
what a painter would do to reproduce a scene. John’s work began with photography,
progressed to papers in controlled illumination, to computational electronic imaging. He
developed and patented efficient algorithms for making spatial comparisons among all pixels
in an image. The idea connecting color, and HDR imaging is that appearance is controlledby spatial, multi-resolution processes. He is a Fellow of Imaging Science and Technology(IS&T) and Optical Society of America (OSA). He is a past president of IS&T and Artists
Foundation, Boston. He is the IS&T/OSA-2002 Land Medalist and IS&T-2005 Honorary
Member. He continues his research on color vision, photography, and fine art.
Prof. Kentaro Arikawa (SOKENDAI-Graduate University for Advanced Studies, Hayama,
Japan)
Kentaro Arikawa is a professor of neuroethology at SOKENDAI. As a first-year graduate
student of Sophia University, Tokyo, he discovered that butterflies can detect light with theirgenitals and studied this unique light-sensing system for his Ph. D. He then started to study
color vision in butterflies. After being a biology professor at Yokohama City University for
21 years, he moved to SOKENDAI in 2006. He also served as a research fellow at Australian
National University and the National Institutes of Health, USA. Besides science, he enjoys
nature photography and flute playing.

2

Prof. Mark D. Fairchild (Founding Head, Integrated Sciences Academy
Professor & Director, Program of Color Science / Munsell Color Science Laboratory
Rochester Institute of Technology)
Mark D. Fairchild is a Professor and Founding Head of the Integrated Sciences Academy
within 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 withthe 1995 Bartleson Award by the Colour Group(Great Britain) and the 2002 Macbeth Awardby the Inter-Society Color Council for his research work in color appearance and other areasof color science. He is author of over 300 technical publications and the book, Color
Appearance Models, 3rd Ed., which serves as a reference to the fundamentals of color
appearance and the formulation of specific models. He served as Color Imaging Editor for
IS&T’s Journal of Imaging Science and Technology for 3 years and was named a Fellow of
IS&T (the Society for Imaging Science and Technology) in 2003 for his contributions to digitalcolor imaging. In 2007, Mark was presented with the Davies Medal by the Royal Photographic
Society for his contributions to photography in the digital field of imaging science. He
received the 2008 IS&T Raymond C. Bowman award for excellence in education and he wasnamed a Fellow of the Optical Society of America in 2012 for his contributions to researchand education in color and imaging sciences. In 2018 he received the Nickerson Service Award
from the Inter-Society Color Council. He was chair of CIE Technical Committee 1-34 on color
appearance models, is currently a member several other CIE technical committees dealing
with color appearance and image technology issues. Mark has been an active member of IS&T,
ISCC, CORM, CIE-USNC, OSA, SID, AAAS, VSS, and ACM-SIGGRAPH.
Prof. Yoko Mizokami (Chiba University, Japan)
Dr. Yoko Mizokami is a Professor in the Department of Imaging Sciences, Graduate
School of Engineering, Chiba University, Japan. She received a Ph.D. in Engineering in 2002
from Ritsumeikan University, Japan. From 2002-2006 she was a postdoctoral fellow at the
University of Nevada, Reno, Department of Psychology. She moved to Chiba University in2006. She belongs to Vision Sciences Society, International Colour Vision Society, OpticalSociety of America, and Illuminating Engineering Institute of Japan, Optical Society of Japan,
Vision Society of Japan, and Color Science Association of Japan. She is currently a memberof the Board of Directors of the International Colour Vision Society and an official CIE
Division 1 member. She is an associate editor of Color Research and Application. Her researchinterests lie in color vision, color science, and vision in natural environments. The current
research topics cover the influence of lighting to object appearance, the perception of images,
materials and skin, colorfulness adaptation, and color vision deficiency.

3Proceedings of 2nd International Symposium for Color Science and Art 2020

Art, Reproduction Technology, and Science:
Foundations of Understanding ColorJohn McCann
McCann Imaging, Arlington, MA 02474, USA

ABSTRACT• Physics describes the interaction of light andmatter. Although discussed by the ancient Greeks,
Molecular Physics has advanced most rapidly inthe past three centuries.
• Color Vision research describes the mechanisms
used in seeing: optics of the eye; retinal cells that
respond to visible photons; nerve cell response,
spatial comparison of neural response; sensations,and perceptions of color.
This talk studies these four different threads of Color.
More important, it emphasizes how they weave together
to influence, and advance each other. To understandColor, one has to study all of its historical threads. Thelong history of Picture Making is the story of artists
painting and printing them. In 1800, photography andstudies of light/matter interactions started the Molecular
Physics technologies of film, digital sensors, and displaysof today.
Picture Making’s biggest challenge is rendering thereal-world’s High Dynamic Range (HDR) of light. Painters
met that challenge in 1500, and physics-based
technology is fighting with it today. This talk uses HDR
imaging as a test of Picture Making, and a signature ofhuman Color Vision’s mechanisms.

Understanding Color is the fusion of today’s imaging
technology with our 160-century history of making
pictures. Molecular physics describes the mechanisms oflight-matter interactions, while painters and picture
makers have led the way to understanding how we see
Color. The painter’s hand is controlled by his Color
Vision. While Molecular Physics happens at the atomic
scale, Color Vision is controlled by neurons interactingwith the entire scene. The threads of Painting,
Reproduction Technology, Physics, and human Color
Vision weave together to make 2020‘s Color.
1. INTRODUCTION
Our understanding of Color is both practical andscientific. The practical part is the art of painting pictures,and the technology of reproducing scenes. The scientificpart is the interaction of light and matter. Physics
provides understanding of electromagnetic visible light(wavelengths between 400 and 700 nm). Somemolecules (colorants) modify the wavelength distributionof the illumination‘s light. Other atoms and molecules
emit light. All of color physics happens at a submicroscopic, molecular scale. More important, theselight /matter interactions at each location in the scene are
independent of all other parts of the scene. In otherwords, Molecular Physics describes local events.
Color in practical Picture Making is different. It uses
the viewer’s entire visual system as the most importantpart of the process, whether painting a landscape, ormaking firmware for a camera. The picture’s appearance
is the output of the viewer’s neural comparisons of all
scene elements. Appearance (sensations) depends on
the interaction of all of vision, and the entire scene. In
other words, human vision uses light from all parts of thescene to make the appearance of each scene element.
While local Molecular Physics events are necessary,vision also requires neural Spatial Comparisons madeacross the entire scene to make pictures. We know thisbecause two identical spots of light can appear different
colors in the same real-life scene.
Human fascination with Pictures Making goes back toman’s earliest recorded history.
• Painting requires the combination of tools andhuman vision to guide the artist’s hand in rendering
appearances.
• Printing goes back to rubbings of the earliest coins,and embossed clay. An artist’s hand made themaster, and technology made identical copies.

2. SNAPSHOTS IN TIME
Color becomes much more interesting when wecompare the threads at the same time in history. Whilepainting and printing made significant developments
centuries earlier, physics and color vision research haverecently caught up in importance for the future. The
following snapshot examples illustrates how these
historical threads interacted.
In 1500, at the height of the Italian Renaissance,
painting was revolutionized by the use of perspective andchiaroscuro (light and dark rendition). Perspective
imposed scientific rules controlling the size relationshipsof objects in the scene. Leonardo da Vinci invented
chiaroscuro to unify the rendition of light and shadows
throughout a painting. This began the rendition of HighDynamic Range (HDR) pictures. Also, Leonardo
observed that colors appear most beautiful whensurrounded by their opposites.
Around 1700 Newton’s physics experiments separated
white light’s different “refrangibilities” (wavelengths) thatappear red, yellow, green, blue and violet colors. He
used a second prism to recombine those wavelengths
into white light. Newton’s Color Vision observation was:4

Proceedings of 2nd International Symposium for Color Science and Art 2020
best elements of old and new into today’s photography.
The history of Color is the fusion of Art, Picture
Making, Physics and studies of Color Vision. Some of themost important contributors to understanding color madeextraordinary contributions to more than one of its fields:• Leonardo - Painting and Color Vision• Newton - Physics of light and Color Vision• Maxwell - Color Matching and Color Photography• Land - Instant Photography and Color Vision
These students of color amplified their contributions byworking in several fields. Newton’s double prism
experiment separated different wavelengths, and thenrecombined them. There, he identified light’s physicalproperties. When he described what these wavelenths
looked like, he knew that he was working in another field.
Newton separated the physics of light from light’s action
in human vision, describing it as “stir up a Sensation”.
Land was an expert in making silver halide and dye
images. As soon as he saw the wide range of colors in
red and white (2-color) photographs, he knew that themechanisms controlling color appearance were
fundamentally different from those controlling color infilms. He knew that RGB separations, used since LeBlon,
were made by local Molecular Physics interactions. He
knew the human retinal receptors used the same
physics-based mechanisms. Land recognized that
Molecular Physics is necessary, but not enough to
explain what we see. Additional mechanisms are needed
to understand Color Appearance and Color Constancy.
Land turned to Spatial Comparisons across scene.

“For the Rays to speak properly are not coloured. In them
there is nothing else than a certain Power andDisposition to stir up a Sensation of this or that
Colour." [1] The double prism experiment, separated thephysics of light from the action of human vision, namely“stirring up a Sensation”. Also in 1700, Mezzotint printing
plates became popular for their efficiency. By using
different “rocker” tools to roughen metal plates, printersformed different tone textures, that transferred different
amounts of ink to the print paper. LeBlon used threecolor, plus a black mezzotint plates to become the color
printmaker for the French court. In Holland, Vermeer
painted “Girl with Pearl Earring” rendering the model andthe scene’s illumination in a remarkable HDR portrait.
In 1802, Thomas Young wrote “On the Theory of Lightand Colours” with a footnote suggesting that humanColor Vision was trichromatic. That footnote does not
explain his observation. Color-printing was everywhere in
London at the time. LeBlon’s 1707 Mezzotints show an
example of theory following practice. in 1810, Goethe,
the German poet, began a psychological branch of Colorby attacking Newton’s work and Newton’s character.
Rather than repeating Newton’s experiments, Goethe
held a prism in front of his eye. He did not understandwhat he saw. Goethe’s reports about afterimages, andopponent colors emphasized human vision. Goethe
missed Newton’s statements about “stirring up
Sensations”. Nevertheless, he started two centuries ofdebate on the relative importance of light vs. vision.
Today, Molecular Physics has produced color pictureswith remarkable improvements in the control of spectral
light, with much better color purity and chroma. Color
Vision research has provided many more details andmeasurements of Spatial Comparisons with the study ofpsychophysics and neurophysiology.
3. FRAMEWORK FOR UNDERSTANDING COLOR
Aristotle segmented his writing into books, each withrelated studies. This tradition of segmentation continues
in Universities, with Departments, and Divisions, such as
Arts, Humanities, Science, and Engineering. But, Coloris an essential part of many studies. Color does notbelong to a single field: It is a fusion of all of its different
parts. It builds on the integration of the best elements ofcompeting systems.
A good example of fusion is the complete
transformation of Photography over the past 40 years. In
1980, the photographic film industry made many millionsof cameras and billions of photographs. By 1990, many
companies made massive investments in digital
photography. In 2000, mature digital products began toreplace almost all film. The features of cost per picture,access to stored images, customer behavior, andespecially the ability of easy transport of images on theinternet morphed a very mature film industry into an
entirely different digital one. Digital photography fused theFig. 1 List of author’s foundational Ideas: Year, Idea,
and Field of Study. (Historical references [2] )3.1 Personal Color Frameworks
Each of us has a personal Framework of Color. Fig.1
is the list of ideas that form the foundation of my thinking
about color. It is made up of ideas from many different
disciplines. In high school I loved Chemistry. In college I
traveled from Chemistry to Biochemistry to Biology, whileworking part-time for Edwin Land at Polaroid. My work at
Polaroid studied color vision, computer models of vision,,5

Proceedings of 2nd International Symposium for Color Science and Art 2020
Psychophysical measurements of the conversion oflight to appearance have observed different results fordifferent scenes. The appearances of spots of light leadto different models than real-world scenes. Spatial
Comparison mechanisms are needed in real scenes andcomplex scene constructions.

very-large format Polaroid cameras, and the reproductionof art. I set up Polaroid’s first digital imaging lab in 1975
to model human Spatial Comparisons.
Fig. 1 is a list of essential ideas in my own research. I
worked backwards from current interests to identify its
most important foundations. The list includes originaldate, author who reported it, and the idea’s Field. Whilethese ideas are special for me, the more interesting list is
the Fields they came from. It shows themes of interest inlight and molecular physics, as well as how to understandvision and computer models of it. However, many of myimportant ideas are not main-stream to my themes.
These ideas come from other Fields.
The first challenge in fusing different views is that eachdiscipline uses its own vocabulary. Too often the samewords have conflicting definitions. Contrast is a word
common to all parts of color. But, photographers think ofContrast as the “slope of response function”, whileelectrical engineers think of it as “black level setting”.
Painters, neurophysiologists, computer programmers add
their own special meanings. Patience is necessary to
wander into other Fields, particularly in learning themeaning of unfamiliar terminology.
Finding how to use the ideas from different Fields isrewarding. It can end needless debates, and generate
insight and understanding. Try making your own Color
Framework of the ideas that are most important to you.

4. CONCLUSIONS
Recent applications of Molecular Physics andengineering brought us today’s color pictures. Colorkeeps getting better at a faster and faster rate.
Nevertheless, understanding how we see Color remains
a fascinating topic with problems to be solved.
Understanding them needs our entire color history. While
we recognize the many recent advances in Molecular
Physics, we have a new appreciation of the role of neural
Spatial Comparisons. Color photography’s three
separations are the result of Molecular Physics. Color
Vision’s three separations are the result of neural Spatial
Comparisons. Light controls technology, but neurons
control color appearance. Light/matter interactions
happen in the space of molecules. Appearance involves
processing the entire scene, so that models of vision
demand data from all receptors. Both the mechanism,and the data required are important parts ofunderstanding Color.
Two experimental studies are important in evaluating
real-world vision: Color Constancy and HDR Color.
Constancy works best in low-range scenes made of
uniform reflectances. It has been measured and modeled
successfully using Spatial Comparisons. Further, Color
Constancy is inconsistent with retinal adaptation
mechanisms.[5] Measurements of Color Constancy in
HDR scenes have shown that edges in illumination(shadows and specular reflections) are seen the same asedges in reflectance. In HDR scenes Constancy is limited
to l ocal segments. N everthel ess, the S p at ial
Comparisons that compensate for glare combine with
Spatial Comparisons for Constancy to model real-world
color.

3.2 Story of Color
The Framework in Fig. 1 leads to my condensation ofresearch in color. The chain of events leads to seeing
Color in a real-life scene:• Light/matter interactions controls light reaching eye• Molecular Physics• Optical Glare controls the image on the retina• Glare Spread Function (GSF)• Receptors convert light to nerve response• Molecular Physics• Neural processing• Counteracts Glare [3]• Spatial Comparisons• Controls Color Constancy [4]• Spatial Comparisons

6. REFERENCES[1] I. Newton, “Opticks”, 4th ed. (1730); Dover
Publications, Inc., New York, N.Y, p. 122, (1952).
[2] Historical Bibliography <https://mccannimaging.com/
col_lab/Framework.html>[3] J. McCann & V. Vonikakis, “Calculating Retinal
Contrast from Scene Content: A Program”, Front.
Psychol., 17 Jan 2018 | https://doi.org/10.3389/fpsyg.
2017.02079[4] J. McCann, C. Parraman, A. Rizzi, ÒReßectance,
illumination, and appearance in color constancy”,
Front. Psychol., 24 Jan 2014 | https://doi.org/10.3389/
fpsyg.2014.00005[5 ] J. McCann, “Limits of Color Constancy: Comparisonof the signatures of chromatic adaptation and spatialcomparisons”, In Proc. Electronic Imaging, IS&T, San
Francisco, (2019). <https://doi.org/10.2352/ISSN.
2470-1173.2019.14.COLOR-085 >The most common issue in understanding color resultsfrom applying the rules for Molecular Physics directly tothe prediction of color appearance. Leonardo observedthat Color Vision responds to the scene. This idea has
been reinforced by LeBlon, Goethe, Herring, Land, Hubel& Wiesel, Dowling, and Campbell. Molecular Physics
controls the light reaching the eye, and the response ofreceptor outer segments. But, it does not control
appearance. There is no light from the surround in
Maxwell’s Colorimetry. Hence no glare, and the only
Spatial Comparison is between the uniform spot to theminimal light surround.

6

Proceedings of the 2nd International Symposium for Color Science and Art 2020

The Introduction of the 5th Exhibition at the col.lab Gallery
Yuta Ogai
Tokyo Polytechnic University, 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan

2.2 Chaotic Video Feedback
Author: Yuta Ogai
If you capture an image on a screen with a camera anddisplay the captured image layered over the original
screen image, a repetitive pattern like a coupled mirror
emerges. A system using chaos mapping on each camera
image to break repeated objects gradually over each loop
is on display (Fig.2). The chaos mapping is a logistic mapthat converts the RGB or HSV value of each pixel to next
state. Viewers can interact with the system by stepping into
the repetitive screen and adjusting the mapping
parameters themselves.

ABSTRACT
Observing is the act of actively approaching an object,
and the results of observation vary according to theapproach, so it can be thought of as similar to talking withthe object. The 5th exhibition, “Talking with Color”, held at
the col.lab Gallery from Nov 19, 2019 to Apr 25, 2020, is
an art exhibit in which viewers can feel as if they areinteracting with color, such as by changing it autonomouslyor according to their behavior or subjectivity.
1. INTRODUCTION
When you look at flames, smoke, or waves as they
gradually change in shape, aren’t you drawn in and lose
your sense of time passing? As your consciousness isentangled in things that change, such as life does, itappears that the objects being looked at have their own
subjectivity separate from yours. Observing is the act ofactively approaching an object, and the results ofobservation vary according to the approach, so it can bethought of as a dialogue. The theme of the 5th exhibitionat the col.lab Gallery from Nov 19, 2019 to Apr 25, 2020 is“Talking with Color” [1]. This exhibit highlights art that helps
viewers feel as if they are interacting with color, such as bychanging it autonomously or according to their behavior or
subjectivity.

Fig. 2. Chaotic Video Feedback

2. THE ARTWORKS

2.3 DanceAI × smart-footwear ORPHE ONE
Authors: Naoyuki Hirasawa, Daichi Shimizu
Support: no new folk studio, Inc.
DanceAI automatically detects the movements of breakdances and feeds back the results using smart-footwear
ORPHE ONE. This system incorporates an AI (deeplearning) that learns movements in natural environments
using shoes with acceleration sensors (Fig.3). It canclassify skills and steps and evaluate their proficiency
using an application and the LED colors of the shoes.

2.1 The Dress
Supervising Editor: Yuta Ogai
The photo of “The Dress” became a hot topic on theInternet because its color appeared either as black/blue or
white/gold in photos depending on the viewer. "The Dress"
is on display with a system that allows the viewer to change
the color of the LED light that illuminates it (Fig.1).

Fig. 1. The DressFig. 3. DanceAI × smart-footwear ORPHE ONE

7

Proceedings of the 2nd International Symposium for Color Science and Art 2020
2.5.3 Color Expression by Pole Movement
Authors: Keisuke Kojima, Hiroto Akiyama, Kihiro
Kawahara, Daiki Tanaka, Masahiko Yamamoto, Masaomi
Sanekata, Yuta Ogai
Accelerometer sensors attached to poles such as Nordic
walking poles and bamboo swords measure the movementof the pole. An LED tape on each pole shows the
movement by converting the data to a color (Fig.5, left).

2.4 Through the Looking-Glass
Authors: Antoine Pasquali, Corentin Risselin, Daniel
Majonica, Javier Fdez, Steven Weigh
Support: Cross Compass, Ltd.
This exhibit lets viewers immerse themselves in bioinspired deep learning mechanics in a dynamic andinteractive way (Fig.4). The AI’s task is to apply a multistyle transfer to the video feed in real time as ademonstration of creativity. Each screen acts as a different
type of looking-glass. The left screen directly reflects what
we see (the video feed) and perceive (convolutional layers)of the real world. The center screen shows the “Latent
Space”, which is an integration layer for all the signals that
contribute to achieving the task – in this case, merging
different styles of transfer. For the human brain, this iscalled “Connectome”, a map of the neural wiring between
various areas of the cortex. On the right screen,reconstruction layers (deconvolution) operate the multistyle transfer.

Fig.5. Visualization of Body Information using Color
3. ASSOCIATED EVENTS
Kenichiro Mogi, a brain scientist, was invited to the
opening of this exhibition at the Atsugi Campus of Tokyo
Polytechnic University on Nov 30, 2019 to give a talk about
the relationship between color and consciousness. In
addition, on Dec 19, 2019, Naoaki Fujimoto was invited topresent a special lecture on “How to Create Interactive Art”.
Their informative talks were well-attended and a valuableaddition to the exhibition.
Fig. 4. Through the Looking-Glass

4. ACKNOWLEDGEMENT
This research was supported by the Private University
Research Branding Project sponsored by the Ministry of
Education, Culture, Sports, Science, and Technology(MEXT).

2.5 Visualization of Body Information using ColorThis exhibit considers the possibility of making hidden
information noticeable by visualizing body information
using color. The following three works are on display.

5. REFERENCES

2.5.1 Can Cloud AI Read Your Feelings?
Authors: Yousun Kang, Duk Shin
When viewers press the button in front of the small monitor(Fig.5, center), the camera on the large monitor sends data
to a cloud AI, which recognizes their faces [2]. While theviewers’ estimated ages and genders are output on thelarge monitor, if their emotions can be properly read fromtheir facial expressions, LED lights output a color
according to the emotion.

[1] The 5th Exhibition at the col.lab Gallery “Talking with
Color”, https://www.color.tkougei.ac.jp/events/events28_21.html. Accessed 28
Feb 2020 (in Japanese).
[2] Yousun Kang, Takenori Obo, Yuta Ogai, Duk Shin,“Real-Time Emotion Estimation System Using Face
API of Microsoft Azure”, Proceedings of the 2nd
International Symposium for Color Science and Art
2020, pp.9-10, 2020.

2.5.2 Visualization of Heart Rate with Color
Author: Takenori Obo
This system calculates heart rate from data acquired by
the air pressure sensor installed on the chair andrepresents them in color using a LED tape (Fig.5, right).

8Proceedings of 2nd International Symposium for Color Science and Art 2020

Real-Time Emotion Estimation System
Using Face API of Microsoft Azure
Yousun Kang*, Takenori Obo*, Yuta Ogai**, and Duk Shin**Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan* Department of Applied Computer Science, Facility of Engineering** Department of Electronics and Mechatronics, Facility of Engineering
2.2 Azure API (Application Programming Interface)Among various cloud computing platforms provided byMicrosoft Azure, we applied Face API to the vision part ofcognitive services. Face API can detect and compare
human faces. In addition, Face API integrates emotion
recognition, returning the confidence across a set of
emotions for each face in the image, such as anger,
contempt, disgust, fear, happiness, neutral, sadness andsurprise. These emotions are understood to becommunicated universally across cultures with particularfacial expressions.

ABSTRACTThis paper presents real-time emotion estimation
system using the Face API of Microsoft Azure. The system
can display the results of estimated emotion extracted
from face image with color light. We introduce the Face
API of Microsoft Azure which is a kind of cognitive service
to identify and analyze content within images.
Experimental results showed that the proposed system is
effective for implementing an estimation of not only
emotion but also age and gender in real-time.
1. INTRODUCTION
There will be more opportunities for communication
between human and AI (Artificial Intelligence) using
natural language. Emotional intelligence of computer
systems is increasingly important in human-AI interactions.
For example, a humanoid robot “Pepper” of SoftBank is
the personal communication robot that can read emotions,with the ability to analyze people’s expressions. Facial
image holds important quantity of attributes andinformation about a person, such as facial expression,
ethnicity, gender, and age. To predict emotions from facial
expressions images, many methods are proposed inrecent years. In this paper, we propose a new system topredict emotion from facial image in real-time. The system
uses cloud computing platforms provided by Microsoft
Azure. The results of the estimated emotion display text
words in a monitor and show a color light in smart lighting
system. In the next section, we introduce the cloudcomputing and Microsoft Azure. The proposed system is
explained about configuration of hardware and software in
section 3. Experimental results show in section 4. Finally,
we conclude and summarize work in section 5.

3. SYSTEM CONFIGURATION
3.1 Hardware Setup
The system comprises a web camera as an input
device, a PC based Window 10, a 60-inch monitor as adisplay, and color lights Hue in Philips as an output device.
Hue in Philips is a smart lighting system with a bridge. The
bridge acts as a smart hub, connecting with our PC to
output color light. Fig. 1 shows the appearance of thesystem in the cololab gallery in Tokyo Polytechnic
University. To implement the system, the user has to put aswitch called the action button as shown in Fig. 2. We
prepared another monitor displaying the manual about theusage of the system with the action button.

2. FACE API OF MICROSOFT AZURE
2.1 Cloud Computing
Cloud computing platforms provide servers, storages,
networking, applications over the Internet cloud with lower
cost. There are some representative services such as
AWS (Amazon Web Services), Microsoft Azure, and GCP(Google Cloud Platform). Since these commercial
services give more secure, reliable and flexible platforms
than on-premises servers, and more people are starting touse cloud computing services. The proposed systemutilizes Microsoft Azure which can operate hybrid andseamless servers integrated into edge computing
environments.

Fig. 1 The appearance of the proposed system in thegallery of cololab

9Proceedings of 2nd International Symposium for Color Science and Art 2020

3.2 Application Program
The application program is compiled by Python. By
using the specified threshold value, we can estimate anemotion among the various trained data by deep learningmodel. We can display the results to text words in themonitor and the size of the text represents the estimation
performance. Bigger text means higher performance.
When the application is executed in real-time, all results
are back up in the system.
(a) sadness(b) disgust(c) happiness(d) anger
Fig. 3 Results of estimated emotion in display monitor
Fig. 2 Display of the manual about the usage of thesystem with the action button of the other monitor
4. EXPERIMENTAL RESULTS
In this section, we show the results of the proposedsystem. Fig. 3 shows the sample images of a display foremotion estimation, age, gender. The application programis able to recognize faces from many people. Therefore,
recognized faces are simultaneously shown in the display
monitor. In addition, the smart color light system shows theresult from a person shown in Fig. 4. The smart lighting
system has the color of the rainbow such as red, orange,
yellow, green, blue, indigo, and violet. Each color
corresponds with the estimated emotion as shown in
Table 1.

(a) red light

5. CONCLUSION
In this paper, we estimated emotion, age, and gender
extracted from facial image in real-time. The system candisplay the color of light according to the emotion resultswith the Face API of Microsoft Azure. The relation of colorand emotion should be investigated in psychologicaleffects for future work. Since colors and emotions areclosely linked, we can develop the communication systemusing colors psychology and smart lighting system.

(b) orange light(a) green light(b) violet light
Fig. 4 Results of various color light system according
to estimated emotion
6. REFERENCES[1] P. R. Spence, “Searching for questions, original
thoughts, or advancing theory: Human-machinecommunication”, Computers in Human Behavior, pp.
285-287, Vol. 90, (2019)[2] Microsoft Azure URL :https://docs.Microsoft.com/ja-jp/
azure/cognitive-services/face/overview[3] A. S. Gremillion, “Colors and emotions: how colors
make you feel”, 99designs URL :https://en.99designs.jp/blog/tips/how-color-impacts-e
motions-and-behaviors/, (2019)

Table1 Corresponding color lights from the estimatedemotionColors lights
Estimated emotion
Red light
Anger
Orange light
Surprise
Yellow light
Fear
Green light
Sadness
Blue light
DisgustIndigo lightContempt
Violet light
Happiness

10Proceedings of 2nd International Symposium for Color Science and Art 2020

Comparative Analysis on the Effect of Illumination Color in
Clinical Environment of Preventive Care
Tsuyoshi Moriyama*, Takumi Shimada*, Takahiko Sakai**,Shun Nakamura***, Katsuyoshi Kasahara**** and Ichiro Urata*****Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan**Tokyo Polytechnic Univ., 2-9-5 Honcho, Nakano, Tokyo 164-8678, Japan***Corlab Inc., 2-24-16 Nakacho, Koganei, Tokyo 184-8588, Japan**** Urata Clinic, 1-26 Hongo, Uozu, Toyama 937-0805, Japan
could empower him or her by sending cheers. So is thecase in the working environment where intellectual
performance is required except for physical one.
Recent progress in lighting technology using LED has
enabled to use full color lights in daily life. However, no
scientific evidences support what color lighting stimuli
could be another cheering environmental factor because
conventional room lights were only white with a variety ofcolor temperatures and industrial standards for lighting
have all based on them [1]. Not only houses but also
workplaces these days pay much attention to theenvironmental conditions so that to maximize theperformance of workers in them by improving the quality of
their lives, which is critical under the circumstances ofshortage of workers in Japan.
In this paper, we report an experimental result where
the subjects executed cognitive tasks under a specific setof colored illuminations to see how they affect the task
score and the biological responses of humans.

ABSTRACT
Conventional lights used in house were only white and theindustrial standard that has recommended the optimal
usage of lights have based on the color temperature.
Illumination used in daily life these days has extended toprovide the capability of using full color lights thanks torecent progress of LED lighting technology, but thestandard mentioned above has not considered the effectof color lights on humans yet. Here we investigated theeffect of colored lighting conditions on human cognitive
performance by conducting an experiment where thesubjects from multiple elderly generations executedcognitive tasks under several specific illumination
conditions with color to see how the task score and their
biological responses would vary among the conditions.

1. INTRODUCTION
Humans have nature for adopting to their environment
and keeping social balance with others by using all theirsenses, i.e., vision, auditory, olfactory, gustatory, andtactile. From a different point of view, the environment
including other people that surround a person may change
the way of affecting him or her so that he or she could
enhance the ability for doing tasks. Cheering in a sport
event is one of the examples where the audience plays therole of surrounding environment of a sport player that

2. EXPERIMENTS
2.1 Cognitive tasks
We exploited CogEvo that is widely used in research
institutes as, so to speak, de facto standard [2]. It divides
a measurement task for cognitive performance into fivecategories, 1) spatial awareness, 2) orientation, 3)
memory, 4) attention, and 5) planning. Every task is a kindof game and takes fifteen to twenty minutes in total tofinish.
2.2 Subjects
Three elderly generations across fifties to seventies
with twelve subjects(six for both males and females) were
instructed to do the task explained in Section 2.1. They
are healthy and cognitively clear. They understand theexperiment and the task and are able to do the task
without any accidental mistakes.
2.3 Experiment room and illumination conditions
Fig.1 shows the experiment room where the subject sits
next to the instructor who teaches the subject how to do
every task. A camera system that has thermos-camera
and optical camera stuck together locates in front of thesubject, and another video camera diagonally behind theFig. 1 Experiment room11

Proceedings of 2nd International Symposium for Color Science and Art 2020(a) red(b) green(c) blueFig. 2 Color conditions for calculation task.

subject that takes the scene of doing tasks and all. The
subject puts on heart beat sensor (myBeat [3]) at the
beginning.
Two LED lights locates under the wall facing the subject
that illuminate the whole wall and the ceiling over the wall,
which is the entire view of the subject in other words. The
illumination of every color was set to the maximum
illumination of red. Each subject did the task under asingle illumination condition assigned.

seventies compared with fifties and sixties).
Blinking rate counted the highest number in seventies.
In addition, it counted higher in red light compared withgreen and blue when significantly different (spatialawareness for fifties and sixties, and memory for fifties).
Red light might have forced difficulty in memorization andgetting aware of space.
4. CONCLUSION AND FUTURE WORK
We conducted an experiment that varied illumination
colors when subjects did cognition tasks. The task scores
correlated with the age, the biological metrics of heartbeat
rate and eye-blinking rate, and the illumination colors. The
result demonstrated that planning task for sixties
enhances under blue light. In addition, red light seemed togive load to cognitive task that led to higher rate of eye
blinking.
Future work include extending the experiment tocognitive performance in younger generation and also
human communication that could be affected by coloredillumination.

2.4 Measurements
The thermo-camera captures the temperature of theskin around root nose that correlates with theconcentration (the optical camera detects face region andfacial components from the image). The heartbeat sensor
captures heartbeat wave whose specific frequency
components correlate with nerve activities [4]. Also, theoptical camera gives the number and the timing ofeye-blinking that is known to be an indicator of memory
process in brain activity [5][6].
Those measurements were later analyzed with respect
to the age, the task score, and the illumination conditions
where three subjects for each generation (fifties, sixties,
and seventies) conducted the task under the same
illumination condition.

Acknowledgement
This work was supported by “FY2016 MEXT Private
University Research Branding Project”.

2.5 Results
As the subjects got older, the score for every task got
worse just as anticipated. Illumination condition did notaffect fifties and seventies in every cognitive task. Only insixties, a significant difference was found in the planningtask (see Fig.3). The score under blue lighting condition
topped those in green and white with 1% and 5%
significance level respectively. Blue light would enhance
the ability of planning (planning ability decreased in**

180

REFERENCES[1] JIS Illumination Standard,
http://kikakurui.com/z9/Z9110-2011-01.html, (2010).
[2] CogEvo, https://cog-evo.jp/, (as of 2020).
[3] myBeat, https://www.uniontool-mybeat.com/, UNIONTOOL CO., (as of 2020).
[4] Takahashi K., and Inoue H., “A Quantitative Analysis
on Stress and Fatigue for VDT Workers Measured byHeart Rate Variability (HRV), “ Departmental Bulletin
Paper of Akita University, 30’1-7, (2009).
[5] Yamamoto, H., Shimizu, Y., “Change of pupil sizeand blinking time in memorizing numerals, “ Journalof the Institute of Television Engineers of Japan,
45(3):370-376, (1991).
[6] Nakano, T., “A New Role of Default Mode Network
Revealed by Eyeblink, “ Physiological psychology
and psychophysiology, 31(1):19-26, (2013).

*

175

170
165
160

155
150
145

140
red

green

blue

(d) white

white

Fig. 3 Comparison of task scores between illumination
conditions (Planning for sixties).

12

Proceedings of 2nd International Symposium for Color Science and Art 2020

Butterfly Color Vision - Another View of Our World
Kentaro Arikawa
Laboratory of Neuroethology, SOKENDAI-Graduate University for Advanced Studies, Hayama, 240-0193, Japan
rhabdom along the ommatidial longitudinal axis. The rhabdom is surrounded by red or yellow pigment, which act asspectral filters for the photoreceptors. A subset of red-pigmented ommatidia has UV-absorbing fluorescence pigment at the top of the rhabdom. Distribution of the red, yellow and fluorescing ommatidia appears random: thePapilio eye is a random mesh of 3 types of ommatidia.
Spectral properties of rhodopsin and the filter pigments
determine photoreceptors’ spectral sensitivity, which canbe determined by measuring electrical responses of them.
We thus identified UV, violet (V), B, G, R and broad-band(BB) receptors (Fig. 1B). The receptors are embedded in
3 types of ommatidia in 3 fixed combinations [1]. The spectral heterogeneity of butterfly eyes is a particularly pronounced case among insects [2].

ABSTRACT
Butterflies often feed on nectar of colorful flowers. How
do they find flowers? Do they discriminate flowers bycolor? We found a swallowtail butterfly uses sophisticatedcolor vision when searching for food. Surprisingly, color vision system appears to be very much different among animals, even among butterflies. I will overview the current
understanding of insect color vision from the evolutionary
point of view: each animal has its own visual world. Studyof insect vision should also contribute designing novel “visual” devices and to manage insect pests for the crop without using chemical insecticides.

1. INTRODUCTION
Color vision is the ability of discriminating visual stimuli
based on their spectral (wavelength) contents irrespectiveof the intensity. We have a trichromatic system based on
the blue (B), green (G) and red (R) light sensitive sensors(photoreceptor cells) in the eye (Fig. 1A). Color vision appears to be rather common among animals, some of which
in fact exhibit surprisingly good performance in discriminating colors. For example, a swallowtail butterfly Papilio
xuthus can detect only 1 nm difference in wavelength,
which rivals our performance. But Papilio’s performance iseven better because their visible light expands deeply into
the ultraviolet range that we cannot see. We now know that
Papilio has a tetrachromatic system based on the UV, B,
G and R sensitive photoreceptor cells in the compound
eye. We have also demonstrated that Papilio exhibits color
constancy and simultaneous color as well as brightness
contrast. Here I first summarize our current understanding
about the color vision mechanism of Papilio, and then willcompare color vision among animals.

3. COLOR VISION OF PAPILIO
3.1 Color vision with color constancy
To demonstrate color vision in Papilio, we trained naïve
Papilio to take nectar on a colored disk, simulating theirflower-visiting behavior in the field (Fig. 1D). Papilio readily
becomes able to visit the colored disk even if it is presented with disks of other colors. Papilio really used chromatic cue of the disk, not the brightness, because they
could select the colored disk among the disks of different
shades of greys.
Perceived colors of objects basically remain constant irrespective of spectral contents of the illumination. This
property is known as color constancy, which is important
for animals that assess object quality by color. We confirmed that Papilio has color constancy by testing them under differently colored illuminations [3].

2. COMPOUND EYES
2.1 Photoreceptor spectral sensitivities
Compound eyes are composed of multiple units calledommatidia. The ommatidial array is visible from outside as
a number of hexagonally-packed facets. The diameter ofa facet is about 25 µm in most insects, which makes thenumber of ommatidia roughly proportional to the size ofcompound eyes. An ommatidium is a long structure, which
are tightly packed to each other making the compound eye
a dome-shaped structure. A compound eye of Papilio
xuthus is made up with about 12,000 ommatidia.
An ommatidium of Papilio contains nine photoreceptor
cells. Each photoreceptor bears numerous microvilli containing photosensitive protein, rhodopsin, forming a single

Fig. 1: Photoreceptor spectral sensitivities of humans (A), theJapanese yellow swallowtail, Papilio xuthus (B), and honeybee
Apis mellifera (C). D) Color vision test in Papilio xuthus.

13

Proceedings of 2nd International Symposium for Color Science and Art 2020

3.2 Wavelength discrimination
Dimension of color vision (tri- or tetra-chromacy, etc)
can be studied by measuring wavelength discrimination
ability. We can discriminate about 1 nm difference (≑ 1nm) in two wavelength regions, which are around 500 nm
and 600 nm (see Fig. 2B). These regions respectively correspond to where the sensitivities of B and G receptors,
and G and R receptors overlap. Existence of two highly
sensitive wavelength regions is because the system is trichromatic.
We measured wavelength discrimination in Papilio using its feeding response. We trained butterflies to extend
their coiled mouth towards light of certain wavelength.
When shown the training light with another light of different
wavelength at the same intensity, the butterfly extends its
mouth towards the training light if two lights are discriminable. We thus found that Papilio can detect 1-2 nm difference at around 430, 480 and 560 nm, indicating that theircolor vision system is tetrachromatic. Model calculation
well reproduced the behavioral results when we assumed
the UV, B, G and R receptors contribute the discrimination(Fig. 2A).
Figure 2B shows the wavelength discrimination of someanimals including humans. Honeybees and humans aretrichromatic, while goldfish and Papilio are tetrachromatic.
Papilio’s performance is indeed the best among them [4].

Fig. 2: (A) Wavelength discrimination () function of Papilio.
Troughs (open arrowheads) indicate high-sensitive regions.
Behavioral data (dotted line) are well explained by the model with
inputs from UV, B, G and R receptors (upper), but not by all six
receptors (lower), where significant deviation is observed in the UV
region (red arrowhead). (B) Comparison of wavelength
discrimination of animals.

color vision. If this is also the case of Graphium, other 11
receptors may be useful for detecting specific stimuli, forexample, fast-moving objects against the sky, or particular
light wavelengths reflected from potential mates or enemies.
4.2 Perspectives
We of course cannot see the world as butterflies do, because our eyes and brains are designed differently. It is
however still exciting to try to understand how the world of
butterflies looks like by combining evidence from various
kinds of experiments. We are currently studying hard tounderstand how the wavelength information is processedin their tiny brains to produce “colors” as their own experience. We are also interested in how color vision systems
have evolved over time by comparing the eyes and brainsof many different insects.
In this process, we may even discover principles for designing new artificial “visual” systems. It would be fantastic
if we could program drones to use their “eyes” to control
themselves as skillfully as insects do. Another possible application of insect vision research is to control insect pests.
Excess use of chemical insecticides damages environment. Perhaps we can safely keep pest insects away fromcrops by using light instead of chemicals. For this, we firsthave to understand how insect visual systems work.

4. COMPARATIVE ASPECTS
4.1 Photoreceptor diversity
As shown in Figs 1C and 2B, color vision of honeybees
and butterflies are different. Even among butterflies, color
vision properties appear to be different. Because behavioral experiments are not easy to perform, this has notbeen convincingly demonstrated at the behavioral level.
However, we see a clue of the variability at the photoreceptor level.
Some butterflies have only 3 receptor classes (UV, B
and G) in their eyes as honeybees do, suggesting their trichromacy. Some have 6 or more. The cabbage white,
Pieris rapae, has 6 as in Papilio, but the sensitivity profiles
are different: they are UV, V, B, G, R and dark red. In addition, the V receptors are found only in females. They are
replaced by double-peaked B (dB) receptors in males.
Sexual dimorphism is even more pronounced in the Eastern pale clouded yellow, Colias erate, where males have
one class of R receptors, while females have 3 classes ofthem. Multiple R receptors would make females capableof discriminating subtle differences in greenish, yellowish,
and reddish colors. This is probably beneficial in assessing
quality of leaves on which to lay eggs [5].
In terms of the number of receptor classes in butterflies,
the Common bluebottle, Graphium sarpedon, has the record at this stage, which is 15 [6]. How does Graphium use
these 15 classes of receptors? It seems unlikely that they
are “pentadeca-” chromatic. Papilio uses 4 out of 6 for

5. REFERENCES[1] Arikawa, J Comp Physiol A, 189, 791-800 (2003)[2] Perry, Kinoshita, Saldi, Huo, Arikawa, Desplan, Nature,535, 280–4 (2016)[3] Kinoshita, Arikawa, J Comp Physiol A, 200, 513-26(2014)[4] Koshitaka, Kinoshita, Vorobyev, Arikawa, Proc Biol Sci,
275, 947-54 (2008)[5] Marshall, Arikawa, Curr Biol, 24, R1150-4 (2014)[6] Chen, Awata, Matsushita, Yang, Arikawa, Front Ecol
Evol, 4, 1-12 (2016)14

Proceedings of 2nd International Symposium for Color Science and Art 2020

AI Photographer Generating Experimental Photographs
Using Artistic Style Transfer Neural Networks
Yasuo Kuhara
Tokyo Polytechnic Univ., 2-9-5 Honcho, Nakano, Tokyo 164-8678, Japan
2.2 AI Photographer Rainbow Mutations
AI Photographer Rainbow Mutations expanded AI
mutations to generate further complex mutations[4]. In
addition to the distortion data of the previous exhibition,
many types of data have been superimposed and crossed
over to produce 3414 novel mutations. For example, AI
learned Bubbles, Waves Rainbow, and the experimental
photos by Hajek Halke who is a German experimental
photographer (see Figures 6, 7, and 8). Additionally, AI
learning was also executed under the condition ofswapping a style image for a contents image. Examples ofgenerated photographs are shown in Figure 9. This video
installation was exhibited as a 65-inch landscape-style
OLED display panel[4]. (See the right-hand image in
Figure 1.)

ABSTRACT
Contemporary photographers have the idea ofconflating the imaging possibilities of digital technologies
with an experimental spirit. The AI photographer
developed in this project can produce experimental
photographs using deep learning, by which the methods ofa human contemporary photographer are learned byartistic style transfer neural networks. The AI
photographer generated thousands of diverse mutationsof a photograph as if forming a new generation that builds
the future as the descendants of a few pairs of parents.
1. BACKGROUND
Rainbow Variations by the photographer T. Koyama
weaves together Rainbow Forms, Melting Rainbow,
Waves Rainbow, Seventh Depths, and Pico[1]. Eachdazzling distortion was rendered using a layered, manual
process. For example, the camera captures the water
droplets and reticulations of the wet photographs, thechanging wave patterns of submerged photographs inclear water, intentional mistakes using a multi-shot digital
camera, etc.
In collaboration with T. Koyama, I have developed an AI
system that learns a method of producing experimental
photographs using artistic style transfer neural networks.
First, the works named Rainbow Variations: AI mutations
displayed at the fourth Special Exhibition at the Color
Science and Art Center, known as the “Collab Gallery,” isinspired by Rainbow Variations. Second, using thisexperience, the works named AI Photographer Rainbow
Mutations can create further unexpected mutations using
additional distortion data. These works were exhibited at
Tokyo Polytechnic University's Festa in the Faculty of Art
2019.

3. PERSPECTIVE
In this collaboration, we have generated experimental
photographs using neural networks that learned theprocess of producing of a photographer. We canrecognize the potential of AI learning the processes ofthinking and producing of artists. Neural networks will beable to learn various styles of artistic processes in the
future.

Fig. 1 Rainbow Mutations Exhibition.

2. WORKS
2.1 Rainbow Variations: AI mutations
Rainbow Variations: AI mutations generated
experimental photographs through inspiration by theconcept of Rainbow Variations using the interactive
artforms AI Artistic Painting Mirror[2] and Deep Neuro
Artist[3], which are based on deep neural networks. In the
exhibition, a video installation showed 1044 reconstructed
photographs. AI learned three distortion data of Meltings,
Waves, and Seventh Depths as a style image (see Figures
3, 4, and 5) and generated new mutations from Rainbow
Forms as a contents image (see Figure 2). This video
installation was exhibited as a 55-inch portrait-style OLED
display panel. (See the left-hand image in Figure 1.)

4. REFERENCES[1] T. Koyama, “Rainbow Variations,” Artbeat publishers,(2015)[2] Y. Kuhara, “Artificial Intelligence Artistic Painting Mirror
as Interactive Art Using Deep Neural Networks,” Proc. of
1st International Symposium on Color Science and Art
2018, pp. 23-24 (2018).
[3] Y. Kuhara, “Deep Neuro Artist,” Festa in Faculty of Art
2018, Tokyo Polytechnic University, Pictorial record
book, pp. 16-17 (2018).
[4] Y. Kuhara, “AI Photographer Rainbow Mutations,”
Festa in Faculty of Art 2019, Tokyo Polytechnic
University, Pictorial record book, pp. 28-29,78-79 (2019).

15

Proceedings of 2nd International Symposium for Color Science and Art 2020

Fig. 6 Bubbles 8.

Fig. 2 Rainbow Forms 12.

Fig. 7 Waves Rainbow 26.

Fig. 3 Waves 12.

Fig. 8 Photographs by Hajek Halke 6.

Fig. 4 Meltings 45.

Fig. 9 Examples of AI Mutations

Fig. 5 Seventh Depths 11.

16

Proceedings of 2nd International Symposium for Color Science and Art 2020

A Fundamental Study on the Effect of Pigment Use Amounton the Color of Colored Mortar
Hiroshi JinnaiTokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan

ABSTRACT
Focusing on the mortar portion, which is considered todetermine the color of concrete, experimental verification
was conducted on the effect of the amount of pigmentused on the color of colored mortar. In the preliminary
experiment, the color of the mixed powder of cement andpigment constituting the cement paste appearing on thesurface layer of the mortar was measured. As a result, it
was found that the region in which the color of the mixed
powder effectively changes as the pigment substitution
rate increases or decreases is in the range where thepigment substitution rate relative to the cement mass islower than 5% to 10%. Further, in the range where thepigment substitution rate relative to the cement mass islower than 5%, a clear change appears in the L*a*b*
values of the mortar as the pigment use amount isincreased or decreased. As the pigment substitution rateincreased, the L* value decreased and the a*b* value
approached the pigment color. However, since mortar withthe low pigment substitution rate of 1.25% can be clearly
confirmed visually to be blue, green, or yellow, relatively
inexpensive colored mortar is considered to be usable,
taking into account the optimum use method, including thefactor of cost.

Photo 1 Experiment on the effect of pigment
substitution rate on cement color

100

Blue

L*

80

Green

Yellow

60
40
20
0

0

2 0

4 0

6 0

8 0

1 0
0

2 0

4 0

0

2 0

4 0

6 0

8 0

1 0

0

2 0

4 0

6 0

8 0

1 0

0
-20

1. INTRODUCTION
Colored concrete colored with pigments is used forbuilding exterior walls and floor slabs. The amount ofpigment added to such concrete is often based on thestandard addition amount specified by the pigment
manufacturer. However, a wide variety of materials andblends are used for concrete, and the dosage of pigment isadjusted as required. When determining the dosage of
pigment, factors such as the water-cement ratio ofconcrete and color change over time must be taken into
account, but there are very few research reports on such
systematic experiments. In the present study, focusing on
the mortar portion, which is considered to determine thecolor of concrete, experimental verification was conductedon the effect of the amount of pigment used on the color ofcolored mortar.

a*

-40
-60
-80

-100
20

Blue
0

2 0

4 0

6 0

8 0

Green
6 0

Blue

0

Yellow

1 0
8 0

1 0

0

2 0

4 0

6 0

8 0

40

60

1 0

Green

b*

-20
-40
-60

Yellow

-80
0

20

40

60

80

100 0

20

40

60

80

100 0

20

80

100

Additive rate of pigment (%)

Fig. 1 Relationship between pigment substitution
rate and L*a*b* values of mixed powder

2. Preliminary experiment with mixed powder
Prior to the main experiment, a preliminary verification
experiment was conducted regarding the color of themixed powder of cement and pigment constituting thecement paste that appears on the surface layer of themortar. Photo 1 shows a picture of the experiment. In the

P hoto 2 Color Measurement of Co lored mortar

17

Proceedings of 2nd International Symposium for Color Science and Art 2020change appeared in the L*a*b* values of the mortar as thepigment dosage was increased or decreased. As thepigment substitution rate increased, the L value decreased
and the a*b* value approached the pigment color.
Moreover, although color change over time occurred in themortars with the water-cement ratio of 50%, thedifferences in Lab values due to the different substitution
rates were not narrowed.

experiment, powders in which blue, green, or yellow
pigment was mixed with white portland cement at a
substitution rate of 0% to 100% were manufactured, andthe L*a*b* values of the mixed powders were measured.
The experiment's results are shown in Fig. 1. Similarly, topast findings in other fields, the influence of the pigment
substitution rate on the color of the basic powder (cement)
becomes milder as the pigment substitution rate increases.
Looking solely at the L*a*b* values of the mixed powders,
the region in which the color of the mixed powder
effectively changes as the pigment substitution rateincreases or decreases was considered to be in the range
where the pigment substitution rate relative to the cement
mass is lower than 5% to 10%.

4. CONCLUSIONS
1) The region in which the color of the mixed powder
effectively changes as the pigment substitution rateincreases or decreases was considered to be in therange where the pigment substitution rate relative tothe cement mass is lower than 5% to 10%.
2) In the range where the pigment substitution rate relative
to the cement mass is not over than 5%, a clear change
appeared in the L*a*b* values of the mortar as thepigment dosage was increased or decreased.

Ｌ*

100
90
80
70
60
50
40
30
20
10
0

B50-1
B50-1/2
B50-1/4
1000 1

B50-1
B50-1/2
B50-1/4

10100
Age (Days)

1000 110100
Age (Days)

G50-1
G50-1/2
G50-1/4

50
40
30
20
10
0
-10
-20
-30
-40
-50

10
100
Age (Days)

1000 110100
Age (Days)

1000 110100
Age (Days)

ｂ*

B50-1
B50-1/2
B50-1/4

G50-1
G50-1/2
G50-1/4
1

0
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10

10
100
Age (Days)

1000 1

Weight change ratio (%)

B50-1
B50-1/2
B50-1/41

10100
Age (Days)

10100
Age (Days)

1000 1

G50-1
G50-1/2
G50-1/4

1000 110100
Age (Days)

1000 1

Y50-1
Y50-1/2
Y50-1/4
10100
Age (Days)

Y50-1/4

1000

10
100
Age (Days)

1000 1

B20-1
B20-1/2
B20-1/4

10100
Age (Days)

1000 1

Y20-1
Y20-1/2
Y20-1/4
10100
Age (Days)

1000

G20-1
G20-1/2
G20-1/4

Y20-1
Y20-1/2
Y20-1/4
1

50
40
30
20
10
0
-10
-20
-30
-40
-50

1000

Y50-1
Y50-1/2

10100
Age (Days)

50
40
30
20
10
0
-10
-20
-30
-40
-50

1000

G20-1
G20-1/2
G20-1/4

B20-1
B20-1/2
B20-1/4
1

1000

Y50-1
Y50-1/2
Y50-1/4
1

ｂ*

10
100
Age (Days)

Y50-1
Y50-1/2
Y50-1/4

ａ*

ａ*

1
50
40
30
20
10
0
-10
-20
-30
-40
-50

G50-1
G50-1/2
G50-1/4

100
90
80
70
60
50
40
30
20
10
0

Weight change ratio (%)

Ｌ*

3. Mortar experiment
The color measurement results are shown in Fig. 2.
Further, in the range where the pigment substitution rate
relative to the cement mass is not over than 5%, a clear

10100
Age (Days)

1000 1

B20-1
B20-1/2
B20-1/4

10100
Age (Days)

1000 110100
Age (Days)

1000

G20-1
G20-1/2
G20-1/4

Y20-1
Y20-1/2
Y20-1/4
1

0
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
1

10
100
Age (Days)

1000 110100
Age (Days)

1000 110100
Age (Days)

1000

B20-1

G20-1

Y20-1

B20-1/2

G20-1/2

Y20-1/2

B20-1/4

G20-1/4

10100
Age (Days)

1000 110100
Age (Days)

1000 1

Y20-1/4
10100
Age (Days)

1000(Blue specimen) (Green specimen) (Yellow specimen)(Blue specimen) (Green specimen) (Yellow specimen)
W/B=0.5
W/B=0.2
Fig.2 Measurement results of L*a*b* value and weight change ratio18

Proceedings of 2nd International Symposium for Color Science and Art 2020

Development of Structural Color Material Contributing to
Maintenance Management of Social Infrastructure and its
Application in the Civil Engineering and Architecture Fields.
Toshihiro Hiejima, Hiroshi Jinnai, Tsuyoshi Moriyama, Rika Matsumoto,
Mitsutoshi Okano, Noritoshi Nambu and Kazuyuki Hiraoka
Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan
from Toyo Aluminiums K. K., called “Chromashine”. The
silicon, urethane and epoxy resins was used as the main
ingredient. The weight ratios of pigment and synthetic
resin were 1:10 and 1:20. In this project, the structural
color paints were directly applied to the concrete surface
without using additives or primers.

ABSTRACTThis project constitute of the two independent themes
related with the structural color materials. (1) The one is todevelop the structural color materials detecting the aging
degradation of building material as the change of color.
(2) The other one is to develop the educational tool madeit possible to visualize and colorize the sounds. At first, we
succeeded in directly applying a structural color pigmenton the rough surface of concrete without primer coating.
Secondary, we demonstrate the visualization andcolorization of Chladni patterns created by the structural
color materials.

3. Results and Discussion
As show in Figure 1, all of pigment exhibit to retain theclear metallic color despite the roughness of concretesurface, and their color change depending on the view
angle. Urethane and silicon resins could be successfully
applied the pigment n the concrete surface, whereas the
epoxy resin was repelled on the concrete surface, causing
the color unevenness.
Figure 2 shows the typical reflectance spectra of SCP
applied on the surface of concrete. The absorption bands
were observed at the identical wavelength regardless ofthe differences of the resin. However, the maximum
reflectivity strongly depends on the resins, increasing inorder of urethane > silicon > epoxy resins.

1. INTRODUCTION
Structural colors are responsible for many of the brilliant
colors we see in nature. The blue of the sky, the rainbow ofcolors in an oil slick, the bright colors of peacock feathers,
the brilliant blue of a Blue Morpho butterfly, the metallic
colors of certain beetles, and the glimmering colors ofsome fish, are all due to structural color. This project
constitute of the two independent themes related with thestructural color materials. (1) The one is to develop the
structural color materials detecting the aging degradationof building material as the change of color. (2) The otherone is to develop the educational tool made it possible tovisualize and colorize the sounds.

(A) Urethane resin

I. Development of Structural Color Material
Contributing to Maintenance Management of Social
Infrastructure and its Application in the Civil
Engineering and Architecture Fields.
1 Introduction
A fifty or more years has passed since the last Tokyo
Olympics. Most of the social infrastructures built at thattime are rapidly progressing their deterioration. It is very
important issues in Japan to construct the maintenancesystems for easily diagnosing the deterioration of social
infrastructures. We focus on the point that the structural
color materials exhibit the remarkably change of colors by
the structural damage and distortion, which cause with
applying a slight external stimulus such as pressure,temperature and vibration. In this study, we tried todevelop the structural color paint to diagnose the aging
deterioration of buildings as the change of color.

(B) Silicone resin

2. Experimental
The structural color pigments (SCP) were obtained

Figure 1. Photographs of SCPs on the concretesurfaces, (A) Urethane and (B) Silicon resins.

19Proceedings of 2nd International Symposium for Color Science and Art 2020

Reflectance (Arb. Units)

In particular, it should be noted that the silicon resin retain
the high transparency, indicating to be a candidate for thetransparent dispersant in Section II.

Figure 4. Chladni figures in the various frequencies [1].

400

600
Wavelength / nm

2. Experimental
The sand art powder were obtained from Koeido Hobby
Ltd. SCP was also used “Chromaschine®”. Silicon oil (350cp) was used as the dispersion matrix for the SCP. The
weight ratios of SCP and silicon oil were 1:20. Chladni
figures were drawn on the iron plate equipped with thevibration generator and function generator.

800

Fig. 2 Typical reflectance spectra of the SCP-urethane
paint applying on the concrete surface.

3. Result and Discussion
As shown in Fig. 5, we succeeded in drawing thecolor-coded Chladni figures by using the difference ofdensity of the sand art powder.

Figure 3 shows the comparison of colors of SCP-urethane
paints before and after destruction of concrete.
Unfortunately, we could not observed the color change of
pigments with generating the cracks on the concrete.
II Development for Coloring of the Mysterious
Geometric Pattern "Chladni Figure" Made by Sound
with Using the Structural Color Materials
1. Introduction
Structural color is one of the interference of light; itarises through the reflection of light from complex
nanostructures found in the feathers of birds or the hardouter shell of beetles. These multi-layered structures
produce iridescence, whereby the color appears tochange depending on the angle of view. In contrast,
Chladni figures are one of the resonance phenomena ofsounds; it reveals the various shapes or patterns
characteristic of the vibrational mode of sounds, as shownin Figure 4.
If we can make Chladni figures colorized by using thestructural color materials, it could be an extremely
effective educational tool not only in experiencing scientificinterest but also on understanding in both of theinterference of light and the resonance of sounds forJapanese high school students. In this study, we wish to
demonstrate the Chladni figures changing optical patterns
according to the frequency of sound and the angle of view.

Figure 5. Photographs of Chladni figures drawn by using
the sand art powders.
Applying the vibration to SCP dispersed in Silicon oil,
we found to change the color tone of the optical texture
with elevating the frequency, although it is notnecessarily so clear (See Figure 6). In order to draw theclearer optical texture, it would be necessary to optimize
the viscosity of silicone oil and concentration of SCP.

Figure 6. The variation of optical texture of SCP dispersed
in Silicon oil as a function of the vibrational frequency.
4. REFERENCES
https://dailynewsagency.com/2013/06/10/amazing-resona
nce-experiment-g7j/

Figure 3. Comparison of colors in SCP-urethane paint before and after destruction of concrete.

20

Proceedings of 2nd International Symposium for Color Science and Art 2020

Color Planning in Modern Architecture: Focusing on
Housing Estates in Germany during the Weimar Period
Monado Ebisawa
Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan

regularity in coloration. In the latter project, different colors
were adopted according to the facing of the wall, i.e., he usedgreen for the east walls and red for the west walls of houses
because each color corresponded to the rising or setting sun.2
The Britz housing estate was designed between these two
projects. As Taut did not give any concrete explanation about
the color planning of this endeavor, we must consider his concept
by analyzing the existing architecture. Berlin architects Helge
Pitze and Winfried Brenne researched this housing estate in the
1980s, and most of its original colors have been restored inrecent years. By referring to the documents written by Pitze andBrenne3, and by constructing an original model of the housing
estate, the author of this paper tried to understand Taut’s concept.
A study using an architectural model has the following merits:First, it allows the author to have a bird’s-eye view of whole
design, even a large project like a housing estate, and second, itmeans the author can see the colors of both the street- andgarden-side walls, which are hard to observe on-site.

ABSTRACT
Modern architects developed color planning during the periodof Germany’s history known as the Weimar Republic. This
study discusses its use in modern architecture by focusing on the
Britz housing estate, designed by Bruno Taut in the second halfof the 1920s in Berlin. This housing estate consists of threestory apartment houses and two-story townhouses, each ofwhich has different color-planning characteristics. The author
tries to clarify them by analyzing an architectural model madewith the help of a field study and concludes that Taut’s approachto color planning seemed to change within a short period of time.
1. INTRODUCTION
Modern architecture that appeared at the beginning of thetwentieth century in Europe realized geometry-based, abstractarchitectural design. As we know these works mainly fromblack-and-white photographs, we may believe that modern
architecture was largely white and without color. However,various colors were used to enrich architectural spaces; in fact,
color was one of the most important elements of architecture atthat time. Many architects dealt with this in Germany during the
Weimar Republic, especially in the great numbers of housing
estates built in this era, where various colors were used both on
the inside and the outside of buildings. One of the most famous
German architects in this period was Bruno Taut (1880-1938).
This paper focuses on Taut’s masterpiece, the Britz housing
estate, and considers his approach to color planning by analyzing
an architectural model made with the help of a field study.

3. The Britz Housing Estate and its Architectural Model
Taut’s Britz housing estate was constructed by GEHAG in six
sections between 1925 and 1930, and this study focuses on
sections one and two (1925-27), which are characterized by acentral horseshoe-shaped building (Figs. 1, 2). These two
sections consist of 555 apartments (one-story dwelling units) and
472 townhouses. The horseshoe-shaped building and the threestory buildings constructed along the peripheral roads were allplanned to house apartments and were designed with flat-roofed,
geometrical modern forms (Figs. 2, 3). The two-story
townhouses located inside the site have seemingly traditionalarchitectural forms with pitched roofs (Fig. 4).
The architectural model for this study was constructed with ascale of one to five hundred (1/500). Both the form and color of
the houses were based on the documents written by Pitze andBrenne as well as observations made during the author’s fieldstudy. The model was built of Styrofoam and colored withacrylic paints.

2. Bruno Taut and Housing Estates in Berlin
In the history of modern architecture, Bruno Taut is famous as
an expressionist architect who presented an original utopian
vision in approximately 1920 as well as being known for his
work in Japan during the 1930s. However, he was mostproductive during the Weimar Republic, especially in the second
half of the 1920s. As the chief architect of a housing company
named GEHAG, he planned almost ten thousand dwellings in
Berlin from 1924 to 1931. After World War I, Germany faced aserious housing shortage, and many reasonable dwellings wererequired. For that reason, many apartment houses were planned
as simple buildings in which Taut used colors to enrich the
inhabitants’ living environment.
As some previous studies suggest1, Taut’s manner ofarchitectural coloring gradually changed from the 1910s to the
1930s. In an early project called Garden City Falkenberg (191316), which was termed a “box of watercolors” at the time, heseemed to use colors freely, while the fifth section of a forest
housing estate, Uncle Tom’s Cabin (1930), shows a clear

Fig. 1 Model of the Britz Housing Estate, Sections 1 and 2

21

Proceedings of 2nd International Symposium for Color Science and Art 2020
therefore, it can be speculated that Taut’s usage of blue changed
after the construction of Lining Street. There are also buildingson this street on which two colors alternate between every house,
like stripes (Figs. 4, 5), a coloration which is not foundelsewhere. Moreover, on many townhouses in section one, thecolors of the garden-side wall are different from those of thestreet-side wall, while most of the townhouses in section two
have the same colors on both sides.
We can say that the coloration of section two is more
systematic than that of section one. For example, in section two,the buildings on Jochen-Nussler Street in the southeastern area
are of great interest as they show a gradual transition from white
to yellow to red in a zigzag pattern (Fig. 7). This allows us topotentially see an aspect of Taut’s stance on systematic color
planning.

4. Analysis of Taut’s Color Planning in Britz
The color planning of the Britz housing estate shows thedifferent characteristics of the three-story apartment buildings
and the two-story townhouses. The former buildings have an
eye-catching, unified coloration, as is seen on the horseshoeshaped building (Fig. 2) or the red buildings (called Red Front)
along the eastern peripheral road (Fig. 3). While planning these,
Taut seemes to have wanted to create a contrasting color effect.
For example, on the wall of the horseshoe-shaped building, Taut
adopted white as the background color and emphasizedstaircases and the top floor with blue lines. The Red Front also
has a contrast between its red background and pink staircases.
On the other hand, the townhouses show a relatively random
coloration consisting of four colors: dark red, yellow, white, andblue. Each townhouse has one color on the street-side wall, andsome of the townhouses have the same color on the garden side
as that of the street side, while others have a different one. In aprevious article4, the author pointed out the following
characteristics of colors on the street-side walls of these
townhouses:• Taut used dark red most commonly as a fundamental color. The
number of blue residences was small, and they were mainly
located at the end of a building.
• He gave the townhouses arbitrary zigzag arrangements andchanged colors where the houses followed this layout.
• He varied coloration from street to street. For example, in somebuildings, two colors alternated between every residence (orevery two residences), while some buildings were unicolored.
The author concluded that because there was no clear
regularity in the color planning, it must have been laid out
according to Taut’s sense of design.
By making the architectural model, it became clear that hiscolor planning seems to have changed in the short period of time
between section one, constructed between 1925 and 1926 in thenorthern area of the site, and section two, constructed between
1926 and 1927 in the southern area (Fig. 1). For example, thetownhouses along Lining street in the northeastern area show aunique coloration that is different from other streets, i.e., thewhole building is colored blue (Fig. 5). On other streets, blue
residences are placed only at the ends of townhouses (Fig. 6);

Fig. 2 The Horseshoe-shaped building

Fig. 5 Model of townhouses, Lining Street

5. Conclusion
This paper discusses Bruno Taut’s Britz housing estate as an
example of color planning in modern architecture. Taut’s color
planning became more systematic after designing the Britz
housing estate. Through analyzing an architectural model, theauthor observed that it changed between the creation of sections
one and two of this project.
During the Weimar Republic, many modern architects, notonly Taut, dealt with color. By considering the other architects’
works, the progression of color planning in modern architecture
may be traced more explicitly.
Acknowledgment
The author would like to thank Mr. Kentaro Tsutsumi forconstructing the architectural model. I also thank Mr. W. Brenne
and Mr. Jens Rieser for their advice and provision of materials.
Notes

1. e.g. W.Brenne, “Wohnbauten von Bruno Taut”, in: W.Nerdinger (ed.),
Bruno Taut, Stuttgart, 2001, pp.275-289
2. B.Taut, “Farbe”, Gehag-Nachrichten, I 6, 1930
3. Gross-Siedlung Britz: Dokumentation und Rekonstruktion desOriginalzustandes (Band 2A, 2B, 3A, 3C), Berlin, 1984-91
4. M.Ebisawa, “On the planning of residential buildings and their colors
in the Hufeisensiedlung Britz by Bruno Taut”, Summaries of technicalpapers of annual meeting of AIJ, 2019 (in Japanese)

Fig. 3 The Red Front

Fig.6 Model of townhouses in Section 2

22

Fig. 4 Townhouses, Lining Street

Fig.7 Model of townhouses,
Jochen-Nussler Street

Proceedings of 2nd International Symposium for Color Science and Art 2020

A Critical Assessment of German Classic and Modernist Ideas
of Colors
Masato Ogawa
Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan

relationship of light and darkness(439a). Goethe’s Theory
is rooted deeply on the Aristotelian tradition of philosophy.
2.2 Polarity of colors
Goethe formulated “Farbenkreis”, based on the idea of
dualistic opposition of colors, not later than July 1793. He
explained it in §50 of “Didaktischer Teil” 1808 as it follows:“Considered in general point of view, color is determined
towards one of two sides. It thus presents a contrast which
we call a polarity and which we may fitly designate by theexpressions plus and minus.”[2] Later he wrote on thechromatic opposition in a notebook of natural scientificstudy(1817-22), and characterizes the colors in oppositionas “colors which demands each other”, and calls them“complementary” [3]. Goethe is counted as the earliest
proponents of the notion “complementary colors”.

ABSTRACTThis paper contributes to reevaluation of Germanclassic ideas of colors, especially of Goethe. First, theoutline and feature of Goethe’s theory of color is described.
Next academic relation between Goethe and Hegel oncolor is considered from the development of Hegel’s
philosophic logic. Then we compare some modernist
remarks on German classic thoughts of color fromcontemporary Aspect.

1. INTRODUCTION
Goethe (1749-1832), well known as the writer of theplay “Faust”, devoted his energies not only to literature
work, but has occupied himself also a good deal withstudy of the natural sciences. The science of colors is forhim beyond a principle subject matter. It is rather his life
work. Today, his attacks on Newton’s theory of colors
turned out to be fundamentally flawed, whereas his masterwork “Zur Farbenlehre”(1810) privides even now various
inspirations for scholars and artists. This paper
reappraises German classic and modernist ideas of colors
from the contemporary philosophical point of view.

3. GOETHE AND HEGEL
3.1 Hegel as an apologist for Goethe
Goethe’s “Zur Farbenlehre” could not have a good
reputation just after its publication. It was refused by not afew scientists except for a tiny minority of exceptions. In
such a difficult circumstance little number of scholars tookside of Goethe. But one of them is Hegel (1770-1831).
In the part of philosophy of nature in “Encyclopedia ofphilosophical sciences” (1830) he expresses his approvalof Goethe’s criticism of Newton’s Theory [4]. He
acknowledges himself to be an apologist for Goethe
saying that “it is to Goethe we owe the theory of color
adequate to the notion. He was early drawn to study ofcolor and light, especially in connection with painting; andhis pure, simple feeling for nature, the first requirement fora poet, forced him to oppose barbarisms of reflection suchas we find in Newton.” [5] Hegel also understands color,basically following the doctrine of Goethe, with regard to
the dualistic relation of light and darkness.
3.2 Hegel’s approaching to Goethe’s theory
Hegel’s during his life time unpublished manuscripts oflectures on philosophy of nature(1803/04) indicates that
already in 1803 Goethe’s theory of color was mentioned in
lectures [6]. Indeed, It is a noteworthy evidence, because
Hegel referred to it before its publishing to the generalpublic. But a simple question arises at the same time: how
and when he got aware of it. There is a speculation, which
is given by the editorial note of Hegels Gesammelte Werke
Band V, that he was already in his early days informed of it
by a philosopher Schelling (1775-1854), who agreed with

2. GOETHE ON COLOR
2.1 Origin
Goethe’s gigantic work “Zur Farbenlehre” is nominatedfor the most important contribution to the science of colors.
A distinguishing feature is his systematic understanding ofcolor phenomenon, which is represented especially by his“Farbenkreis” (color circle) with the notion of polarity.
Goethe’s inquiry into colors had many years duration,
before the publication in a form of the book in 3 volumes
1810. His academic activity on colors began from a small
discovery in January 1790. He did an experiment withprism, in order to test out Newton’s doctrine of colors. The
observation and judgement then played a crucial role in
the formation of Goethe’s ideas of colors. His investigation
was motivated by a conviction that colors originate fromlively interaction of light and darkness, white and black. [1]The idea of dualistic constitution of chromatic system
can be traced back to Aristotle. Aristotle, who analyses
colors and human senses in “Περὶ Ψυχῆς” (On the Soul),defines in “Περὶ αἰσθήσεως καὶ αἰσθητῶν” (On Sense andthe Sensible) color (χρόα) ; “the limit of the translucent indeterminately bounded body” (439a). He explains thegenesis of various colors with respect for the oppositional

23

Proceedings of 2nd International Symposium for Color Science and Art 2020

Goethe’s polemics regarding new scientific researches ofcolor. [11] It just turned out in this research project that theGerman classic ideas of colors, in particular Goethe’s
theory of colors, contain various remarkable points fromcontemporary viewpoint.

Goethe on his criticism against Newton [7]. Hegel’s
acknowledgement of Goethe’s theory is dated possibly
earlier than 1803.
3.3 Hegel’s philosophy of arts
Hegel mentions Goethe’s theory in his lectures on
philosophy of Arts too. He says as following: “Now the
beauty of their [=direct opposites, like yellow and blue]
harmony consists in avoiding their sharp difference andopposition which as such is to be obliterated, so that intheir differences their unison is manifested. For they
belong together, since color is not one-sided, but anessential totality. The demand of such a totality can go sofar, as Goethe says, that even if the eye has before it only
one color as its object, it nevertheless subjectively sees
the others equally.” [8] The idea of “essential totality” ofcolor plays a principal role in the formation of his theory of
Aesthetics, also in the development of the dialectical
logical thought of philosophy.

5. REFERENCES[1] “Wie sich die einzelne Farbe auf Licht und Finsternis
als ihre erzeugenden Ursache beziehen: so bezieht
sich ihr körperliches, ihr Medium, die Trübe, auf das
Durchsichtige.” (J.W.v.Goethe, Die Schriften zur
Naturwissenschaft [Leopoldina], Verlag Hermann
Boehlaus Nachfolger Weimar, Abt.1, Bd.8, S.226-7)[2] J.W.v.Goethe, Die Schriften zur Naturwissenschaft[Leopoldina], Abt.1, Bd.4, S.50 (“Goethe’s Theory ofColor” translated by Charles Lock Eastlake, 1840
(Cambridge Uni. Press, 2014) p.21)[3] J.W.v.Goethe, Die Schriften zur Naturwissenschaft[Leopoldina], Abt.1, Bd.8, S.190[4] G.W.F.Hegel “Enzyklopädie der philosophischen
Wissenschaften” Zweiter Teil “Naturphilosophie”[StW609] Suhrkamp Verlag S.246f. (Hegel’s
Philosophy of Nature. Part 2 of The Encyclopedia of
the Philosophical Sciences(1830) translated by A. V.
Miller, Oxford Uni. Press 1970, p.199)[5] Ebd. S.255f. (Ibid. p. 206)
[6] G. W. F. Hegels Gesammelte Werke Band V, Felix
Meiner Verlag Hamburg 1975, S.83
[7] Ebd. S.367[8] G.W.F.Hegel “Vorlesungen über die Ästhetik” [StW613]
Suhrkamp Verlag S.187f. (Hegel’s Aesthetics.
Lectures on Fine Art. Translated by T. M. Knox,
Oxford Uni. Press 1970, p.141)[9] Carl Friedrich von Weizsäcker “Einige Begriffe aus
Goethes Naturwissenschaft” (in: Goethe Werke[Hamburger Ausgabe] Bd.13, Verlag C. H. Beck
München, 1981, S.539-555) S.539f.
[10] Ludwig Wittgenstein “Remarks on Colour” edited by
G.E.M. Anscome, translated by M. Schättle.
Blackwell Publishing, 1977, p.125, p.24.
[11] Dennis L. Sepper “Goethe contra Newton” Cambridge
Uni. Press 1988

4. SOME MODERNISTS’ REMARKS
4.1 Influences
German classic ideas of colors, esp. by Goethe, areeven today giving rise to many debates on the essence ofcolor. For example, the theory of dualistic opposition ofcolors, which is shared between Goethe and Hegel, leads
to Evald Hering’s “Gegenfarbentheorie” (theory of color
opponency) in 1878
Besides, the color education in the BAUAUS school in
Weimar and Kassel succeeded to the classic ideaof color.
4.2 Weizsäcker
In 20th century, a german physicist Carl Friedrich von
Weizsäcker (1912-2007) admits Goethe’s failure in his
polemic against Newton, whereas Weizsäcker stresses
that the concept of totality in Goethe’s theory doesn’t lose
its meanings. [9]4.3 Wittgenstein
Another remarkable example is Wittgenstein (18891951) and his philosophical investigations on colors. The
philosopher studied very late in his life Goethe’s “ZurFarbenlehre”. He was then a critically ill patient, but he had
started on a philosophical book on color; “Remarks on
Color”. He mentions everywhere in the book Goethe’s
theory of color. For instance, “Goethe’s theory of the originof the spectrum isn’t a theory of its origin that has proved
unsatisfactory.”(3rd Part §125) “We do not want toestablish a theory of color, but rather than the logic of color
concepts.”(1st Part §22) [10] In these sentences,
Wittgenstein expresses in his own style his approval
towards Goethe’s theory of color.
5. CONCLUSION
Goethe’s approaches to color, which we might callsubjective and aesthetic one, have been recently
reevaluated by some scholars. D. L. Sepper reassessed

24

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Preparation of Color Samples of Graphite Intercalation
Compounds: Analysis and Use of Colors
Rika Matsumoto, Masato Oshima, Katsumi Yamada, Tokio Yukiya, and Masaomi
Sanekata
Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan
In this study, we prepared color samples of a few typesof GICs and here we summarize their color images
together with their synthetic procedures, structures, andphysical properties. In this presentation, we mainly
introduce the photographic images and Raman spectra werecorded of the GIC samples.

ABSTRACT
Graphite intercalation compounds (GICs) exhibit
various colors depending on the materials used forintercalation and their concentrations. The color of a GIC,
which suggests its electrical properties, is the mostimportant characteristic of a GIC. In this study, we
synthesized graphite compounds with many different
types of intercalated materials, such as alkali metals,
metal chlorides, acids, and amalgams to obtain GICs that
display a range of striking colors. Here we present asummary of the color images of the GICs together with
their synthetic procedures, structures, and selected
physical properties.

2. EXPERIMENTAL
2.1 Samples
The graphite host we used mainly comprised PGS
graphite sheets (Fig.2), which are flexible and highlyoriented thin graphite sheets (Panasonic, 0.1 mm depth).
In addition, other types of graphite such as naturalgraphite powder were also used. The GIC samples weresynthesized by a vapor phase method under vacuum.
Specifically, the graphite and reagents were sealed in a
glass tube under vacuum and heated. Table 1 is the list of
prepared GIC samples with their reaction conditions.

1. INTRODUCTION
Graphite has a layered structure, with each layer
consisting of a sheet of hexagons, each of which contains
six carbon atoms. These layers form a stack of horizontal
sheets that are held together by weak bonds. This
structure therefore enables other chemical species toenter the space between consecutive graphite interlayers
to form graphite intercalation compounds (GICs), as
shown in Fig.1. The intercalation process is accompanied
by charge transfer between the graphite layers and theintercalated species and the number of electronic carriers,
i.e., electrons or holes, increases to 102-103 times. As aresult, the GICs have higher electrical conductivities than
the graphite host. Certain GICs have been reported tohave electrical conductivities higher than those of metallic
copper. Therefore, GICs are classified as synthetic
metals.

G01000

Carbon Atom

Graphite

1400

1600

1800

2000

Raman Shift / cm-1

Fig.2 Image and Raman spectrum of PGS.
Table 1 GIC samples and their reaction conditions.
Type
K-GIC
Rb-GIC
K-Hg-GIC
FeCl3-GIC
MoCl5-GIC
CuCl2-GIC
AlCl3-GIC
H2SO4-GIC*

Reagents
HeatingK
200 oC, 24-72h
Rb
200 oC, 24-72h
K, Hg
210 oC, 7dFeCl3
300 oC, 15-72h
MoCl5, MoO3
300 oC, 24-72h
CuCl2, AlCl3
500 oC, 15h
AlCl3, C4H4ClNO2
115 oC, 24h
H2SO4, HNO3
r.t., >3d
* Prepared by liquid method.
2.2 Photographic images
As GICs are unstable in air, the GIC samples were kept
encapsulated in the glass tube under vacuum. The imagesof the GIC samples were captured through the glass byusing the camera of an i-Phone 7 mobile device.
2.3 Measurements
Raman spectra of the GIC samples sealed in glass cells
under vacuum were recorded to determine their stage
structure by using an NRS-5500 instrument (Jasco, 532
nm laser line). After each sample was exposed to air, itsIntercalate

Ic0.335 nm

1200

GIC

Fig.1 Graphite and GIC.
Another striking characteristic of a GIC is its color. The
appearance of graphite is black or dark gray with luster.
On the other hand, the color of a GIC depends on theintercalated species and its concentration. The color
change is also derived from charge transfer. Even though
the color of a GIC is one of its most importantcharacteristics, investigations of the color, especially color
images, have rarely been published. We believe thesedata and results to be necessary to advance thedevelopment of GICs.

25

P

X-ray diffraction patterns were recorded to detect theperiod (Ic) in which the GIC could be identified. In addition,
electrical properties such as the electrical conductivity
were also measured.

AlCl3-GIC

MoCl5-GIC

FeCl3-GIC

3. RESULTS AND DISCUSSIONS
3.1 Alkali-metal GICs
Alkali-metal GICs are the most popular GICs with Li, K,
Rb, and Cs easily being intercalated into the interlayers of
the graphite structure. Figure 3 shows samples of thestage 1 and 2 structures of K-GIC prepared from PGS.
Alkali-metal GICs have a golden color in stage 1 (thecomposition is KC8) and appear blue in stage 2 (KC24).
The higher stage structures appear more dark blue toblack.
Figure 4 shows the Raman spectra of stage 1 and 2 for
Rb-GIC. The G0 band at 1580 cm-1 of the graphite
structure shifts as a result of intercalation, and the G1 andG2 bands appear at 1600 cm-1 and 1620 cm-1, respectively.
However, stage 1 alkali-metal GICs are known to exhibit
quite different Raman shifts, caused by an in-planestructure that differs from those of the higher stages [1].

Fig.5 Images of stage 1 FeCl3-, MoCl5-, and AlCl3-GICs.
G2

Stage 1
G1
G2
Stage 2
1400

1500

G0
1600

1700

1800

Raman Shift / cm-1

Fig.6 Raman spectra of stage 1 and 2 MoCl5-GICs.
3.3 Other GICs
The molecules of certain acids can intercalate withgraphite. Here, we prepared H2SO4-GIC. The GIC
structure containing H2SO4 was obtained by simply
submerging a piece of graphite into a liquid mixture of
H2SO4 and HNO3 in ambient atmosphere. The resulting
GIC was blue-green in color with a slight metallic luster asshown in Fig.7 and the structure was stage 1.
Amalgams with alkali metals are also well-known
intercalates of GICs, with K amalgams reported to be pinkin color. In this work, we attempted to prepare the K-Hg
GIC with the composition KHgC4 and succeeded inconfirming the bronze-pink color, as shown in Fig.7.

Stage 1
Stage 2
Fig.3 Photographic images of stage 1 and 2 K-GICs.
567 cm-1
1460 cm-1

Stage 1 (RbC8)
G1

H2SO4-GIC
K-Hg-GIC
Fig.7 Images of H2SO4- and K-Hg-GIC.

Stage 2 (RbC24)

400

600

800

1000

1200

Raman Shift / cm

1400

1600

4. SUMMARY
GICs with alkali metals, metal chlorides, acids, andamalgams were synthesized by using PGS graphite
sheets and color photographic images of these GICs weretaken. In addition, their structures and properties were
investigated. The study is presently continuing and we aim
to conduct various measurements in future. We plan toprepare additional beautiful GIC samples with HOPG
(highly oriented pyrolytic graphite) and to capture images
and carry out color measurements. We also aim toestimate the magnitude of electron transfer by measuring
the magnetoelectric properties to briefly assess therelationship between the color and these properties.

1800

-1

Fig.4 Raman spectra of stage 1 and 2 Rb-GICs.
3.2 Metal Chloride GICs
Many kinds of metal chlorides can be intercalated toform GICs. We selected FeCl3, CuCl2, MoCl5, and AlCl3
GICs for our work, because these are easily synthesized
and form the stage 1 structure. Images of these GiCs areshown in Fig.5. The colors of metal chloride GICs, which
are darker compared with those of alkali-metal GICs, aremostly blueish green with a slight metallic luster, while
AlCl3-GIC is dark blue. The surface morphology is unevenbecause of bubbles of chlorine gas generated during thereaction. The three GICs, FeCl3-, MoCl5-, and AlCl3-GICs,
almost have the same Ic values and electrical conductivity.
Figure 6 shows the Raman spectra of the stage 1 and 2
MoCl5-GIC. Stage 1 exhibits only the G2 band, whereas
stage 2 mainly exhibits the G1 band. The stage 2 MoCl5-GIC is gray in color.

ACKNOWLEGEMENTS
The authors thank Dr. N. Akuzawa for his support insynthesizing of K-Hg-GIC samples.
REFERENCES[1] M.S. Dresselhaus, G. Dresselhaus, “Intercalation
compounds of graphite,” Adv. Phys. 30, 139-326(1981).

26

Proceedings of 2nd International Symposium for Color Science and Art 2020

Development of multicolor-holographic flip-books systems
using lithium-niobate crystals
Jun Chen, Mitsunori Toyoda, Yukihiro Ishii*,**Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan* Tokyo Univ. of Science, 1-3 Kagurazaka, Shinjuku-ku, Tokyo 162-8601, JAPAN** RIKEN Center for Advanced Photonics, Wako 351-0198, Japan
LN crystal as holograms while the LN crystal is rotated byan angle of 0.2°. After that, we can observe a color
animation by rotating the LN crystal with respect to a laser
beam, otherwise by using a LED broad-spectral source [7].

ABSTRACT
A multicolor holographic flip-books system ispresented, in which angle-multiplexed image plane
holograms are recorded using an Fe-doped LiNbO3(LN) crystal as recording media with a 532-nm green
laser. A 633-nm red He-Ne laser, the 532-nm green
laser, and a 432-nm blue diode laser were used toilluminate the recorded holograms. Multicolor flip-books
are obtained when the LN crystal was slowly rotated.
Bragg mismatching from the use of three wavelengths
is compensated by changing the reconstructing angles.
1. INTRODUCTION
We describe a multicolor-holographic flip-books systemusing Fe-doped LiNbO3 (LN) crystals. By using the system,
color animation can be observed by rotating the crystal
about the half angle of the recording beam.
Being different from the conventional hologram recorded
on a thin recording material, volume hologram using athick material allows the angle-multiplexed hologram
recording [1]. Thus, volume hologram has proved to bevery useful for optical memory due to the large storage
capacity and fast transfer rate. Moreover, photorefractive
materials like LN crystal can be used as a rewritable
recording media, the images can be erased and rewritten
again. Thanks to the angle-multiplexing property, it’sinteresting to use the LN crystal as a holographic recording
material for recording multicolor flip-books.
Fourier-transform scheme has been used to record thehologram in LN crystals. However, Bragg-mismatchoccurs when we use a light source with a different
wavelength for hologram reconstruction. We will be able toget only a part of image rather than a whole original image
since volume hologram acts as a band pass filter getting
through the bandlimited spatial frequencies of an input
image. Several techniques have been proposed to relievethat problems: using a spherical [2] or polychromatic [3]reconstructing wave to match the Bragg condition. On theother hand, an image hologram [3] can produces a whole
image. We demonstrate the whole-image reconstructions
from an image-plane volume hologram with a Fe-doped
LN crystal. A LN volume hologram can record a number ofmultiplexed images with the rotation of a crystal [4].

Fig. 1 Concept of the flip-books
3. THEORY AND OPTICAL SYSTEM
Fig. 2 shows a schematic configuration of the opticalsystem used for recording and reconstructing the flipbooks system.

Fig. 2 Optical setup
A diode-pumped solid-state (DPSS) laser (Coherent
Compass 315M-100SL, 532nm, 100mW) is used forrecording the holograms. The light beam from the DPSS
laser is split using a Beam-split into two beams. One isused to illuminate a liquid-crystal device (LCD) on which
the input images were displayed, and the light wave
passing through the LCD was imaged with a 4-f opticalsystem onto the LN crystal as the object wave. The otherbeam is expanded and then used as a reference wave.
The object and reference waves with a cross angle of 30°
overlapped on the LN crystal and form an interference

2. CONCEPTThe concept of the proposed multicolor-holographic flipbooks system [5,6] is schematically shown in Fig.1. The
images forming the flip-books are multiply recorded on an27

Proceedings of 2nd International Symposium for Color Science and Art 2020

4.3 Demonstration of color flip-books
As a demonstration, multi-color flip-books was made.
During the experiments, the original images was send to
LCD one by one, and recorded with the reference beam,
while the LN crystal was rotated by 0.2 degree between
two adjacent images.

fringe patterns. In the bright region of the fringe patterns,
the electrons of Fe level were excited, moved to dark
region and finally formed a space-charge field that
produces a space refractive index distribution via Pockels
effect. In this way the input image was recorded on the LN
crystal as a transparent image hologram. Because of the
sharp Bragg condition, the next image can be recorded byslightly rotating the crystal.
In multi-color observation of the flip-books, a He-Ne laser(632.8nm, 10mW), a DPSS laser described above, and adiode-laser (432nm, 8mW) were used as light sources.
The incident angle R for a red laser beam and B for a blue

laser beam are 
set as R sin1  R / G  sin G  andB sin1 B / G  sin G to match the Bragg condition

due to the wavelength difference between the recording
and readout lasers.
4. EXPERIMENTAL RESULTS
4.1 Exposure time reduction
In our experiments, a Fe-doped LN crystal of 10-mm
square and 4-mm thickness was used. Usually, a relatively
long time up to several minutes was required to record thehologram into LN crystal. We developed the recording
efficiency for different polarization condition for the firsttime. The p-polarization is quite better than s-polarization
usually used. The intensity dependence on the exposure
time is shown in Fig. 3. The exposure time can be reduced
from hundreds to seconds.

Intensity (a.u.)

10

P-in, P-out

8

S-in, P-out

Fig. 5 Demonstration of a RGB color flip-books
5. CONCLUSION
A multicolor holographic flip-boos system is presented.
The original images were recorded on a rewritable
photorefractive media, Fe-doped LN crystal, we canobserve a color animation by slowly rotating the crystal
with RGB illumination laser lights. By optimize the incident
light polarization condition, the exposure-time reduction
from hundreds to seconds enabled us to easily record alarge amount of images into the crystal.

S-in, S-out

6
4
2
0

1

2 Exposure
3 time（min）
4
5

6. Acknowledgment
This work was supported by “FY2016 MEXT Private
University Research Branding Project”

6

7. REFERENCES[1] K. Buse, A. Adibi and D. Psaltis, Nature, pp. 665- 668,
Vol. 393(1998).
[2] R. Fujimura, T. Shimura, and K. Kuroda: Optics
Express, pp. 1091-109818, Vol. 18 (2010).
[3] Y. Komori and Y. Ishii: Proc. of SPIE, pp. 1-7,
Vol.778119 (2010).
[4] T. Sato, J. Chen, and Y. Ishii, , Proc. of The Eleventh
Finland-Japan Joint Symposium on Optics inEngineering, pp1-2 (2015).
[5] T. Hosono, S. Hikota, J. Chen, M. Toyoda, Y. Ishii, The
80th JSAP Autumn Meeting, 20a-PA1-1(2019).
[6] F. Shishido, Y. Okeya, J. Chen, M. Toyoda, Y. Ishii,
Optics & Photonics Japan 2019, 3pP12 (2019).
[7] S. Nakadate, Y. Tokuyama, Y. Kume, M. Shibuya, J.
Chen, Y. Azuma, T. Moriyama, Optical Review, PP.478486, Vol.26, No.5, PP.478-486 (2019).

Fig. 3 Reconstruction image intensity at different
polarization condition
4.2 Angle separation
Another important issue in forming flip-books is angle
separation. We found there is no cross talk with a minimum
angle separation of 0.2°as shown in Fig. 4.

Fig. 4 Reconstructed images with an angleseparation of 0.2°

28

Proceedings of 2nd International Symposium for Color Science and Art 2020

The Art of Color Science: Individual Differences
Mark D. Fairchild
Rochester Institute of Technology, Program of Color Science / Munsell Color Science Laboratory,
One Lomb Memorial Drive, Rochester, NY 14623 USA
nor interest in, carefully defining individual color matching
functions and the variance of the population.
One approach to efficiently defining individual color
matching functions has been Monte Carlo simulation of thevarious physiological parameters that make up color
matching functions (lens, macula, pigments) in order tosynthesize individual functions.[5] Such techniques have
proven quite accurate and effective. In addition, the CIE,
in 2006, defined more accurate mean functions forvariable age and field size [6] and Asano et al. refined theMonte Carlo techniques to the point that individual
observers
couldbeaccurately
modeledandcharacterized.[7]Ultimately, these advances have allowed systems ofindividual colorimetry to be practically implemented andthe first practical system to predict both mean color
matches and confidence volumes about such matches
representing the spread of the observer population as firstsuggested by Nimeroff et al. in 1961[8] and as pursued by
the author for approximately three decades.

ABSTRACTThe fundamental data of color science are color
matching functions, which represent the spectral
absorption properties of cone photoreceptors. All
colorimetry follows from these functions, which, instandard form, are intended to represent the averagesensitivities of the population of human observers withnormal color vision. Individuals are, however, individual
and have their own color matching functions and othervisual responses that naturally vary from the mean. This
paper provides a review of the nature and magnitude ofindividual differences in color matching functions andother mechanisms of color perception along withsuggestions for practical systems to account for individual
differences in colorimetric practice.

1. The Big Questions
The two big questions discussed in this paper are (1)What do you see? And (2) Do you see what I see? Suchquestions often cross into the domain of the psychology
and philosophy of perception [1] or into the insoluble
questions of qualia [2] (e.g., is what you perceive whenseeing a stimulus described as red the same is what I
perceive when seeing a stimulus described as red).
However, these questions can be addressed to adegree from a more fundamental level. This isaccomplished by examining individual differences in theabsorption of light by the three cone classes in various
observers (individual differences in color matching
functions) and the anatomy and physiology underlying
them. The phenomena of individual differences in color
matching functions is often described under the rubric ofobserver metamerism (two stimuli that match in color toone observer might mismatch to another). In addition, thispaper examines individual differences in the higher-ordermechanisms of chromatic adaptation.

3. Chromatic Adaptation
Once cone signals are established through absorptionof light according to the cone responsivities (i.e. color
matching functions), they are subject to the mechanismsof chromatic adaptation to produce signals that ultimately
correlate with color appearance. While it is wellestablished that there are individual differences in color
matching functions, the question of whether there are
additional individual differences in chromatic adaptation
mechanisms (not due to the CMFs themselves) remains
open. One reason this has not been previously explored in
the context of color appearance is that correspondingcolors data, required to quantify chromatic adaptation
mechanisms, are often very imprecise and any potential
individual differences are masked by uncertainty in the
results. Once averaged across observers, correspondingcolors data are well described using the von Kries
hypothesis, and modern implementations of what is now
called the von Kries model, that dates back more than acentury.[9]More recently, research has been completed to obtainsignificantly more precise corresponding colors data.[10]These results indicate that there are very significant
individual differences in chromatic adaptation and that it
might be necessary to have individual models of chromatic
adaptation, in addition to individual CMFs, in order toproperly predict appearance.

2. Color Matching Functions
The CIE standard colorimetric observer was first
defined in 1931 (with a second version established in 1964
for larger fields of view) as well understood and utilized inpractical colorimetry.[3] These functions were intended torepresent the color sensitivities of a mean, or average,
observer and they have performed admirably in that rolefor nearly a century. It has also long been known that
individual observers exhibit significant variation about
those means in their color matching function data.[4]However, until recently, there were neither resources for,29

Proceedings of 2nd International Symposium for Color Science and Art 2020

promise for an improved future system of colorimetry isstrong.

Additionally, the results indicated that it might bepossible that chromatic adaptation is not reversible.[11] Inother words, when given a reference color under lightsource A and asked to select a corresponding color underlight source B, the answer might differ from the reverse
task when the reference is under source B and the matchis selected under source A. Chromatic adaptation might
not follow a transitive property across changes inillumination. This result is surprising and requires
additional data to be confirmed. Such research is now
underway.
Putting this all together allows improvements in avariety of applications such as the potential for
individualized color reproduction for high-quality
applications and quantifying the individual variability inassessment and specification of the color rendering
properties of illumination.[13]6. REFERENCES[1] D. Katz, “The World of Colour,” Kegan Paul, London(1935).
[2] D. Dennett,“Quining Qualia,” in Mind and Cognition,
W. Lycan (ed.), Oxford: Blackwell, 519–548 (1990).
[3] CIE, “Colorimetry, 4th Ed.,” CIE 015:2018 (2018).
[4] G. Wyszecki and W.S. Stiles, “Color Science, 2nd Ed.”
Wiley, New York (1982).
[5] M.D. Fairchild and R.L. Heckaman, “Metamericobservers: A Monte Carlo approach,” pp.185-190,
IS&T 21st Color & Imaging Conference,
Albuquerque (2013).
[6] CIE, “Fundamental Chromaticity Diagram with
Physiological Axes - Part 1,” CIE 170:2006 (2006).
[7] Y. Asano, M.D. Fairchild, and L. Blondé, “Individualcolorimetric observer model,” e0145671 , PLOS
ONE, Vol. 11 (2016).
[8] I. Nimeroff, J.R. Rosenblatt and M.C. Dannemiller,“Variability of spectral tristimulus values,” pp.475483, J. Research NBS A, Vol. 65A, No. 6 (1961).
[9] J. von Kries, “Chromatic adaptation,” Festschrift derAlbrecht-Ludwig-Universität, (Fribourg) (1902)[Translation: D.L. MacAdam, Sources of Color
Science, MIT Press, Cambridge, (1970)].
[10] S. Cai and M.D. Fairchild, “Individual correspondingcolors data and chromatic adaptation transform,” pp.
248-253, IS&T 24th Color & Imaging Conference,
San Diego (2016).
[11] S. Cai and M.D. Fairchild, “Bidirectional individual
corresponding colors data,” pp.643-654, Color
Research and Application , Vol. 43 (2018).
[12] M.D. Fairchild, “What sets the state of chromatic
adaptation?,” in press, OSA Fall Vision Meeting,Washington, D.C. (2019).
[13] M.J. Murdoch and M.D. Fairchild, “Modeling theeffects of inter-observer variation on color rendition,”
pp.1-18, Lighting Research and Technology, Vol. 49(2017).
[14] H.L. DeVries, “The fundamental response curves ofnormal and abnormal dichromatic and trichromaticeyes,” Physica, pp.367-380, Vol. 14 (1948).
[15] G. Jordan and J.D. Mollon, “A study of womenheterozygous for color deficiencies,” Vision Res.,
pp.1495-1508, Vol. 33, No. 11 (1993).
[16] G. Jordan, S.S. Deep, J.M. Bosten, and J.D. Mollon,“The dimensionality of color vision in carriers ofanomalous trichromacy,” J. Vision, 12, Vol. 10, No. 8(2010).

4. A Note On Tetrachromacy
One topic of individual differences that has recently
sparked more interest than warranted is the potential for
tetrachromacy in female carriers of anomalous
trichromacy. The potential for female trichromacy was
discussed as early as 1948[14] and speculated upon
decades earlier.[15] Because these females, especially ifthey have one son with normal color vision and anotherwith anomalous trichromacy, have the genetic coding for
four distinct classes of cones, it is likely that they have fourclasses of cones in their retina. However, what seems
likely, and perhaps ubiquitous, is that these women still
have trichromatic color appearance such that the fourcone classes are fed into three color responses at somepoint in the visual system. No female observer has yet
been identified with strong tetrachromacy (a fourdimensional color space) although Jordan et al.[16] did
manage to find one female carrier out of 24 evaluated thatshowed some signs of additional discrimination ability.
However, the extra dimension was not fully established inthat work and there are no indications of observers who
cannot function with trichromatic color reproduction (i.e.
would require a fourth primary in imaging systems) so it ispossible there are not functional, or strong, tetrachromats
despite the potential being there.
6. Conclusions
Colorimetry has been successful for nearly a decade
based on the psychophysical measurement and modelingof average, or mean, observers in terms of color matching
functions and chromatic adaptation models. More recent
data suggest that individual differences in both can havesignificant impact on the correlation between predicted
matches and appearance and individual visualassessments. Fortunately advances are underway toallow colorimetry to be personalized for individual
differences in both aspects of color perception and the30Proceedings of 2nd International Symposium for Color Science and Art 2020

Powder electroluminescent device based on paper substratefor designing multi-functional digital signage
Shota Tsuneyasu, Naoki Takeda, Yusuke Numata, Toshifumi SatohTokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan
2. EXPERIMENTAL
2.1 Materials
Tracing paper applied as a substrate was purchasedfrom Sakae Technical Paper Co., Ltd. Zinc sulfide(ZnS)-type particles (GG65) used as a phosphor layer
were purchased from Osram Sylvania. Barium titaniumoxide (BaTiO3) utilized as a dielectric layer was purchasedfrom Kishida Chemical Co., Ltd. Cyanoresin (CR-V)
applied as a high dielectric polymer was purchased from
Shinetsu Chemical Co., Ltd. Cyclohexanone used as asolvent was purchased from Fujifilm Wako Pure Chemical
Co. PEDOT:PSS applied as a transparent electrode waspurchased from Sigma-Aldrich Co., LLC. The
encapsulated TC materials utilized as a TC layer werepurchased in a slurry form from Kirokusozai Co., Ltd.
Finally, Ag-paste for application as a back electrode waspurchased from Mino Group Co., Ltd.
2.2 Preparation of the EL devices
The high-dielectric polymer paste was prepared bymixing cyanoresin and cyclohexanone at a weight ratio of
3:7. The phosphor particles and BaTiO3 were dispersed ina high-dielectric polymer paste at a weight ratio of 4:6.
These functional materials were laminated using an
automatic screen printing machine (TU2020-C, SeritechCo., Ltd.) (Fig. 1). Each material was sintered in aconstant-temperature oven (FS-405, Yamato ScientificCo., Ltd.) at 150 °C for 6 min. The transparent electrodewas sintered for 40 min.

ABSTRACTWe demonstrated the emissions of multi-colored lightfrom a powder electroluminescent device using athermochromic material through a temperature control. At
room temperature, the emission of a sapphire blue lightfrom the device was observed under the application of analternative current voltage. With an increase in thetemperature, the color of the thermochromic materials
changed from orange to white, leading to sky blue
emissions from the device owing to the decrease inenergy transfer from the excited state of the phosphor to
the thermochromic material.
1. INTRODUCTION
To realize a Super Smart Society, namely, Society 5.0,
many different types of electronic devices must beconnected to the global network at any time and in any
location. In such a society, the devices must not only
achieve flexibility with the ability to easily attach to thesurface of a curved object such as paper, they must also
have a workability allowing them to be cut into anarbitrarily shape. Display devices with a human machineinterface also require such functionalities. However, aconventional liquid crystal display device uses a hardglass substrate and a light-emitting diode backlight. In
addition, an organic electroluminescent (EL) display
device must block the oxygen and water to prevent anunfavorable reaction. Thus, such displays cannot achieve
the above requirements.
To overcome this, we focused on a powder EL device
that achieves numerous advantages, including a highthroughput, workability, weatherability, and stablebendability. With regard to the bending durability, wedemonstrated powder EL devices on an Ag grid laminatedwithPoly(3,4-ethylenedioxythiophene)-poly(styrenesulfonate) (PEDOT:PSS) that achieves a
successfully demented bending durability of 20,000
cycles [1, 2]. Despite such advantages, the commercial
applications of this device remain a niche market in its
present state. To realize new applications, a powder EL
device with a multiple functionalities should be achieved.
For this reason, we introduced a thermochromic (TC)material that can enable a reversible color change in a
powder EL device through an external heat stimulus,
thereby achieving a novel powder EL device that exhibits
multi-color light emissions from a change in temperature.
In this study, we introduced a TC layer that enables a color
change in a device from orange to white at 40 °C, andevaluate the electrical and optical behaviors.

Back electrode
Dielectric layer
Phosphor layer

TC layerTransparent electrode
Substrate
Fig. 1 Structure of powder EL devices
2.3 Photophysical and EL measurements
Ultraviolet-visible (UV-vis) absorption spectra of thefilms were measured using a spectrophotometer(OP-TR/RF-GONIO-MN,
Ocean
Photonics).
Photoluminescence spectra were obtained using aspectrofluorometer (FluoroMax-3, Horiba). The excitation
wavelength of the films was 350 nm. The voltage
dependences of the current and the luminance of the
prepared devices were measured using an EL
measurement system (SX-1152, Iwatsu Electric CO.,Ltd.).

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Proceedings of 2nd International Symposium for Color Science and Art 2020

5. ACKNOWLEDGMENTS
This work was supported by “FY2016 MEXT Private
University Research Branding Project” and the Ebara
Hatakeyama Memorial Foundation.
6. REFERENCES[1] M. Ohsawa, N. Hashimoto, N. Takeda, S. Tsuneyasu,
and T. Satoh, “Printed Invisible Silver-Grid
Transparent Electrode on Flexible Epoxy Film andApplication to Powder Electroluminescent Device,”
Proc. IDW ’19, pp. 1558-1561 (2019).
[2] M. Ohsawa, N. Hashimoto, N. Takeda, S. Tsuneyasu,
and T. Satoh, “Flexible powder electroluminescentdevice on transparent electrode of printed invisible
silver-grid laminated with conductive polymer,” Flex.
Print. Electron. (under review).


1.0

Phosphor
Initial state
Heated state

0.5

0.5

0.0
400

500
600
Wavelength / nm

0.0
700

Fig. 2 PL spectrum of the phosphor layer
and absorbance spectra of the TC layer in
the initial/heated states

Current / mA

0.060

Luminance / cd m

Frequency:1 kHz
Without TC
0.5
With TC

-2

1.0

30
0

50

100

150
200
Voltage / V

250

300

Fig. 3 Current (top) and luminescence(bottom) dependence of the voltage inpowder EL devices with/without TC layer

1.0

Initial state
Heated state

0.5

0.0
400

500
600
Wavelength / nm

700Fig. 4 Normalized EL spectra of the device in
the initial/heated states under the applicationof ±170 V at AC voltage of 1.2 kHz

32

AbsorbanceNormalized PL intensity

1.0

Normalized EL intensity

3. RESULTS AND DISCUSSION
Fig. 2 shows the normalized photoluminescence (PL)spectrum of the phosphor layer and the absorbance
spectra of the TC layer in the initial and heated states. The
PL spectrum of the phosphor showed a peak at 450 nm.
By heating the TC layer to 40 °C, the absorbance within
the visible light region was decreased. This change in theabsorbance band in the TC layer and the PL spectrum of
the phosphor overlap well. Such an overlap with theabsorption and emission bands facilitates an energy
transfers between the phosphor and TC layers.
Fig. 3 shows the current and luminescencedependence of the voltage in powder EL devices
with/without a TC layer at room temperature. With theintroduction of the TC layer, the current of the powder EL
device decreased to 0.36 mA, which is 0.45-times lower
than that of the powder EL device without a TC layer (0.80mA). Corresponding to this result, the luminance is also
lower. It is thought that the electrode distance increases by
the introduction of the TC layer.
To demonstrate the multi-color EL by utilizing a change
in the external temperature, we measured the EL spectraof the device in the initial and heated states under theapplication of an AC voltage of ±170 V at 1.2 kHz(Fig. 4).
In the initial state, a sapphire blue EL band with threeemission peaks at 450, 490, and 550 nm was observed
because the device was in a colored state. By contrast, ina heated state, the color of the device changed fromorange to white, and the sky blue EL band with anemission peak 450 nm is almost identical to that of the PL
spectrum (Fig. 2). The intensity at 450 nm of the device ina heated state was 2.5-times higher than that in the initialstate. These results indicate that the EL color of the EL
device can be controlled through the energy transfer
between these materials.

Proceedings of 2nd International Symposium for Color Science and Art 2020

Durability Improvement of Electrochromic Display with
Nano-Structured ElectrodeKatsumi Yamada, Shota Tsuneyasu, Fukuro Koshiji, Takayuki Uchida,
and Toshifumi SatohTokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan

ABSTRACT
2. Experimantals
2.1 Preparation of ITO Electrode Modified with Au
Nano-island (Au-ITO)
Au nano-island was immobilized on ITO electrode byelectrochemical deposition with pulse voltage (11 V) andconstant voltage (1.0 V). This reaction was carried out
using an aqueous solution of Au (I) trisodium disulphite
and potassium sulfite at room temperature.

Au nano-islands were immobilized on ITO electrodes
by pulse electrolysis.
Poly(pyrrole) [PPy] waselectrochemically polymerized using the nano-structured
electrode (Au-ITO). The electrochromic changes of PPy
on the Au-ITO could be more stable than one on an
untreated ITO electrode.
1. INTRODUCTION
Recently, we reported that the electrochromic (EC)
response of conductive polymers could be improved byusing Au nano-particles with island structure immobilized
on transparent electrode. These nano-structures were
easily obtained by sputtering or electrochemical
deposition. In order to improve the EC response, theenhancement of coloring by plasmonic electric fields of Au
nano-particles (with a particle size of several tens ofnanometers) contributes to the thinning of EC material
films. [1,2] The dielectric-metal-dielectric (DMD) structure
formed between these particles probably improve theelectrical conductivity of the EC material.
The stability of EC changes was focused on this study
as the effect on the EC characteristics by using thenano-structured electrode. It is well known that the redox
reaction of conductive polymer is accompanied by a large
and powerful volume changes. We believe that thepolymer film detachment from the electrode due to volume
changes play the great role to the deactivation of the ECchanges.

2.2 Preparation of Poly(pyrrole) Film
The PPy films were prepared on the electrode by anelectropolymerization with a cyclic potential application
between -500 mV and +800 mV (vs. Ag-AgCl, scan rate:
50 mV/s). The polymerization solution was 10 mM pyrrole
and 0.1 M lithium perchlorate (LiClO4) dissolved in water.
2.3 Transmittannce measurement
The EC characteristics of the PPy on the electrodewere evaluated by the transmittance measurement in thetransparent glass cell. Fig. 1 shows the schematic
diagram of the transparent glass cell.
3. RESULTS AND DISCISSION
3.1 Polymerzation+ 0.09Au Plate
Au-ITOITOCurrent / mA

+ 0.06+ 0.03

+

0.00

-0.03

-0.06
-600

-400

-200

0

+ 200 + 400 + 600 + 800 + 1000

Potential / mV(Vs.Ag-AgCl)

Fig. 2 Cyclic voltammograms (scan rate : 50 mV/s) of
the pyrrole polymerization on ITO, Au-ITO and Au
plate electrodes at the first potential scanning.

Fig. 1 Schematic diagram of the transparent glass
cell.

33

Proceedings of 2nd International Symposium for Color Science and Art 2020

Fig. 2 shows cyclic voltammograms at the time of thefirst scan during polymerization using the ITO electrodeand the Au-ITO electrode. Comparing the monomer
oxidation currents at +800 mV, the Au-ITO shows about
10 times larger current value than the ITO electrode.
Generally, this current is considered to be a mixture of acurrent for monomer oxidation and a current for oxidationof a polymer adsorbed (or deposited) on an electrode. On
the cyclic voltammogram, oxidative currents for potential
scan in negative direction from +800 mV were smaller thanthat in positive direction to +800 mV. It indicates that
conductive polymers has never deposited on the electrodesurface. These results suggest that the Au-ITO electrode,in which three-dimensional Au nano-structures arepresent in the form of islands, has a significantly larger
effective electrode surface area for monomer oxidation
than the ITO electrode. In particular, there is a large
difference in the monomer oxidative potentials between
Au-ITO and ITO. The value of the Au-ITO electrode ismore negative (at least 200 mV) than the ITO electrode).
By lowering the applied
potentials
for theelectropolymerization of pyrrole in an aqueous solution, it
is possible to suppress a degradation reaction such ashydrolysis
occurring
simultaneously
withthepolymerization reaction. Decomposition sites generated
during the polymerization with positive potentials have a
disconnection of π-conjugate structure, which probably
accelerates the decomposition reaction in entire film.

continuous activity decay was observed from 2nd cycle.
On the other hand, in the case of Au-ITO, the decay issuppressed up to 7th cycle. A significant difference in thestability was found between Au-ITO and ITO.
3.3 EC stability
As the demonstration of EC stability, fig. 4 showed achange in transmittance at a wavelength of 700 nm whencontinuous cyclic scans (50 mV/s) of the applied potential
between -500 mV and +450 mV were carried out on PPy
film immobilized on each electrode. For PPy films on bothelectrodes, the transmittance increased and decreased
periodically due to redox reaction. In the ITO, the amountof change in transmittance had been reduced since the
2nd cycle. On the other hand, in the case of the Au-ITO,
the amount of change was stable until the 7th cycle. In
addition, subsequent decay (after 8th cycle) of the change
was slower than that of ITO.

Tran. at 700 nm / %PPy/ITO
PPy/Au-ITO

3.2 Electrochemical Activity
0

200

400

Time / sElectrochemical avtivity / %100

Fig. 4 Electrochromic stabilities of the PPy films on
the Au-ITO or ITO electrodes for applied potential
cycles.

80

60

PPy/Au-ITO
PPy/ITOThe decomposition reaction seemed to be faster,probably because the aqueous solution was used as theelectrolyte. About both electrochemical activity and EC
stability, better results were obtained from the Au-ITO. It is
concluded that the detachment of the polymer film issuppressed by the three-dimensional nano-structure
existing on the ITO electrode surface.

40
100

200

300

400

Time / sFig. 3 Electrochemical stabilities of the PPy films on
the Au-ITO or ITO electrodes for applied potential
cycles.

4. REFERENCES

In order to compare the decay in the electrochemical
activity of PPy film on each electrode, continuous cyclic
scans (50 mV/s) of the applied potential between -500 mV
and +450 mV were carried out for the PPy films on eachelectrode in the polymerization solution. Fig. 3 shows theelectrochemical activities of the PPy films for each cycle,
where the activity value of 100% was the reduction current
at 0 mV in the first cycle. In the case of ITO electrode, a[1] Y. Tanaka and K. Yamada, J. Soc. Photogr. Sci.
Technol. Jpn., pp.60-61, Vol. 80, (2017)[2] K. Yamada, F. Koshiji and T. Uchida, Bull. Soc. Photogr.
Imag. Japan, pp.18-22, Vol. 28, (2018)34

Proceedings of 2nd International Symposium for Color Science and Art 2020

Scientific Research into the Green Metallic Luster of Safflower
Red Pigment extracted by Traditional Method
Hitoshi Yajima, Maiko Sasaki, Keiko Takahashi, Masato Oshima,
Kazuyuki Hiraoka, Morio Yashiro, Katsumi Yamada
Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan
ABSTRACTHigh quality safflower red pigment was extracted by an
improved method of traditional one. The extracted
pigment shows a green metallic luster in a dry state. In
this project, this phenomenon was studied scientificallyand the obtained results were expressed as a movie film.

1.INTRODUCTION"Beni" is a pigment used for makeup such as lipstick,and is bright red.However, if "Beni" is applied thickly, thecolor becomes green with metallic luster instead of red. 
Since the late Edo period, makeup methods utilizing thisphenomenon have been widely known. It is called"Sasabeni" and means shiny green like bamboo leaves,and can be seen in Ukiyo-e.

remaining an unsolved matter, which the “Beni” shows
greenish metallic luster in the dry state. This film is
produced to reveal the mystery. The main production staff
are the same as the previous work. The production
method is also planned to be finished only with 35 mm film,
and in fact, some scenes have been executed. The
remarkable changes in the video production environment
over the last few years have made it difficult to finish works
only with film prints. As a result, it became hybrid work offilm print and digital data.

Almost at the same time in 1810, Johann Wolfgang vonGoethe published “Theory of Color (Zur Farbenlehre)”. He
described in the part 3 of the book, 578 of Chemical
Colours, "A remarkable appearance may be here adverted
to; pigments, in their deepest and most condensed state,especially those produced from the vegetable kingdom,such as the indigo just mentioned, or madder carried to its
intensest hue, no longer show their own colour; on thecontrary, a decided metallic shine is seen on their surface,in which the physiological compensatory colour appears.".
In modern Japan, there is a long-established store that
deals almost exclusively with cosmetic “Beni”. They
explain, "The red pigment is so pure that it absorbs red
light and emits the opposite color, green light, so it looks
iridescent in the dry state."As we can be seen from theexpression of opposite color, Goethe “Theory of Color (Zur
Farbenlehre)” has gained wide acceptance in traditional
industries and the arts.
However, it is difficult to accept these explanations as it
is from Newton's optical point of view that leads to modern
science.
Then, we started the scientific research about green
metallic luster of safflower red pigment after modificationof traditional extraction method of the pigment. Since then
6 years were passed, we came to present the results as
this film work today. Fig. 1 Screen shot of “Miyako fūzoku kewai
2. ABOUT THE FILM
den”(Hanshichimaru Sayama).
Title: “Sasa color lipstick”（ The Green Metallic Luster bySafflower Red Pigment ）Prores422HQ 11 min.              
Background： The previous our film produced in 2016 is
3 . OVERVIEW OF THE FILM

35

Proceedings of 2nd International Symposium for Color Science and Art 2020
Scientific considerations on the phenomenon that red
pigment "Beni" produced from safflower has a green
metallic luster when it is dried state.

Yajima, Maiko Sasaki, Keiko Takahashi, Masato Oshima,
Kazuyuki Hiraoka, Morio Yashiro, Katsumi Yamada, Bull.
Soc. Photogr. Imag. Japan. (2018), Vol. 28-2, 18–22.

Fig. 3 Screen shot of “Beni”.
Fig. 2 Safflower grown on Atsugi campus.

4. TARGET OF THE FILM
We assumed that high school students could
understand.

15 15
20 20
30 30
40 40
50 50
60 60
70 70

Reflectance / %30

5. HIGHLIGHT OF THE FILM
The “Beni” make-up scene, as operation manual written
in the Edo period, show that the lower lip has a green
metallic luster, and the bright red color of the upper lip isaccompanied by red fluorescence.

20

10

500

550

600

650

Wavelength / nm
6. STAFF OF THE FILM
Staring     Momoka Endou Music    
Yoshiharu
Fig. 4 Specular reflection spectra of safflower red） on the black base.  Incident
film （”Beni”）
Director/Producer Hiroshi Yajima, Maiko Sasaki    pigment
angle and reflected angle were 15°°- 70°° and 15°°
Cinematography Hisoshi Nose
-70°
°
for
surfacenormal,respectively.
Cooperation   Kanazawa Institute of Technology   Nobeyama Radio Observatory   Hadano City   Pola Reserch Institute of Beauty&Culture
7. SCIENTIFIC BASIS OF THE FILM
This work is not commercial film, and is awareness film.
All comments in the film are scientifically supported byjournal papers as follows:
1. “Green Metallic Luster on the Film of Safflower Red
Pigment Extracted by a Traditional Method -Approach with
Optical Measurements-“ Hitoshi Yajima, Maiko Sasaki,
Keiko Takahashi, Kazuyuki Hiraoka, Masato Oshima,
Katsumi Yamada, J. Soc. Photogr. Sci. Technol. Jpn.,(2018), Vol.81, 65-69
2. “ Influence of Photo-illumination on Greenish
Metallic Luster of Safflower Red Pigment Film” Hitoshi

Fig. 5 Screen shot of green metallic luster of “Beni”.

36

Proceedings of 2nd International Symposium for Color Science and Art 2020

Accuracy Verification for Self-Localization Depending on
Color Calibration Skill
Hidekazu Suzuki, Kaori Watanabe, Yuehang Ma
Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa, 243-0297, Japan
ABSTRACTWe developed a self-localization technique using anomnidirectional camera for an autonomous soccer-playing
robot. Positional information is important for the robot’s
strategic behavior and cooperation. We developed aself-localization method, which uses the white lines on thesoccer field to generate a search space model, and afitness function in a genetic algorithm (GA) to identify the
robot’s position on the pitch. We conducted an experimentto verify the accuracy of this method and confirmed thedifference in positional accuracy by using team members
who adjust the parameters for color detection.
1. INTRODUCTION
RoboCup’s main research goal is to study how
multi-robot and multi-agent systems engage andcooperate with each other in dynamic situations, throughthe game of soccer [1]. On the RoboCup soccer field,
robots use self-localization to estimate their own position,
as well as the positions of the goals and other robots. They
then use this information to decide on a strategy. The
robot uses image information, environment information,and field information. In this paper, we describe a real-time
self-localization method that applies a genetic algorithm(GA) for the RoboCup middle size league (MSL), which
has the largest field (12 x 18 m).

Fig. 1. Mechanicallayout of our robot

Fig. 2. Process of making
search model

3.1 Search model
Figure 2 shows the process of making the search modelwith our method. We obtain the white detection image by
converting the color space from RGB to HSV and YUV,
and we generate the field information by orthogonalizing
the white line information, as shown in Fig. 2(b).

2. Hardware structure
We developed a robot with recent MSL technology: ahigh-torque-driving module, ball-control module, electrical
kicking module using a solenoid, and USB 3.0 camera
system.
The omnidirectional vision system (Fig. 1) of our robot
consisted of a FLIR Flea3 camera, Vstone varifocal lens,and Vstone hyperboloidal mirror. An image captured bythis vision system is shown in Fig. 2(a), and the image sizeand frame rate are 512 x 512 pixels and 30 fps,
respectively.

3.2. Model-based matching
Our self-localization method uses model-basedmatching to compare geometric information from the whitelines on the MSL field and the search model to generate
the search space. Let us denote the set of pixels thatcompose the search model shown in Fig. 3, as . The
positionand orientationof the search modelin the image are represented as. Then the
movement ofin the matching area is expressed. By denoting the pixel value of the field imageas3. Self-localization method
The robots use the white lines on the MSL field for
self-localization. We developed a self-localization methodthat uses model-based matching to generate a search
space based on the white line information from the soccer
pitch. It then uses the fitness function to express therobot’s correct position as the maximum value of thefunction. The self-localization method uses a GA [2] tooptimize the fitness function.

,corresponding to the area of the moving model as, the evaluation functionof the moving
model is given as follows.

37

Proceedings of 2nd International Symposium for Color Science and Art 2020

The fitness function
obtains the maximum value
when the position of the search model corresponds to thesame position as the robot on the MSL field. The problem
of detecting the robot’s position and orientation isconverted to a search problem of such thatismaximized [3].
3.3 Genetic algorithm
In our self-localization method, we use a GA to find the
maximum value of the fitness function. GAs are atype of artificial intelligence and are parallel
search-and-optimization processes that mimic natural
selection and evolution. We use an elitist model topreserve the best individual in the population in every
generation, genetic coding by gray code, roulette selection
and one-point crossover. The parameters of the GA
process are determined by previous experiments.

Fig. 3. Model matching

3.4 Verification
We performed an experiment to verify the effectivenessof the proposed self-localization method. Figure 4(a)shows the error between the correct position and thedetected position in a quarter of the MSL field at an intervalof one meter. The severity of the error is indicated by thebrightness of the gray scale. The average error was 13.5
cm, so the self-localization method is accurate enough forplaying soccer.
Figure 4(b) shows another experimental result in thesame situation for another team member who does nothave enough color calibration skill for self-localization, i.e.,a beginner team member. The average error was 38.7 cm,
and the maximum error was 866 cm. These results meanthat the robot sometimes does not recognize the position
correctly.
Figure 5 shows the search models of each experiment.
The search model of Fig. 5(a) generated by a specialist
who is experienced in color calibration for this task can
express the white line shape of the pitch well. However,the search model of Fig. 5(b) generated by a beginner
expresses only part of its shape because the parameterset for color detection is not suitable in this experimental
environment. In this case, the parameters, especially theparameters for detecting green, were incorrect.

(a) Specialist(b) BeginnerFig. 4. Self-localization error(a) Specialist(b) BeginnerFig. 5. Search model

4. Conclusion
In this paper, we described a self-localization methodthat generates a search space using model-basedmatching combined with white line information from the
RoboCup MSL soccer field. It calculates the position of therobot by using a genetic algorithm to optimize the fitness
function. We verified the effectiveness of theself-localization method and confirmed that it is accurateenough for playing soccer.
Moreover, we also verified the difference in accuracy ofself-localization between specialist and beginner. We
confirmed that its accuracy is completely different
depending on color calibration skill.

5. References[1] RoboCup Federation official website,
https://www.robocup.org/[2] D.E. Goldberg, “Genetic Algorithms in Search,
Optimization and Machine Learning",
Addison-Wesley, 1989.
[3] K. Watanabe, Y. Ma, T. Yoshida, H. Suzuki, "Real-Time
Self Localization for Autonomous Robot of RoboCup
MSL", Proceedings of The 2020 International
Conference on Artificial Life and Robotics(ICAROB2020), OS22-1, pp. 94-97, 2020

38

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Proceedings of 2nd International Symposium for Color Science and Art 2020

Expanded Global Activities through Exhibitions of col.lab
Exhibits and Branding Research at Oversea Museum
Takayuki Uchida, Yasuo Kuhara, Hitoshi Yajima, Keiichi Miyazaki, Katsumi Yamada
Tokyo Polytechnic Univ., 1583 Iiyama, Atsugi, Kanagawa 243-0297, Japan

ABSTRACT

So far, the following three representative works thathave been exhibited at the university's col.lab gallery andthe explanation of this project have been exhibited andworkshops in a room in a museum. A flyer for this event asshown figure 2 was prepared in English and Finnish.

Color is closely related to photography, printing, andoptics, which have been research fields of TPU since its
foundation. Color is also one of the fundamental elementsof art. In such a background, In such a background, ourproject have held between exhibition including workshop.
and research of scientific view point. Since the category
adopted by the University is Type B (global developmenttype), some of the above activities will be introduced andexhibited at museums overseas. Specifically, therepresentative activities were exhibited at the Emile
Kreuz-Seder Museum (Municipal) in Finland. Furthermore,in the foreign country of Finland, we took care to convey
Japanese culture from the viewpoint of art andengineering from the ancient tradition of Japan, "BENI".

Exhibitionare1)
Movie of "BENI" wasscreening(Finnishsubtitles)
anddemonstration
by
Assoc. prof. Yajima,
2) Interactive camera
demonstrationoffamous painters paintstyle
called as "AI
mirror" provided by
Prof. Kuhara,3) Threekinds of large optical
illusion color mixing
cubes called as "CMY
Cube" was presented
by lecturer Miyazaki.

1. INTRODUCTION
This year marks the fourth year since the university's
branding activities began. Up to now, the exhibition at the“col.lab” gallery has been diversified and continued once
every six months while changing the exhibits. We are also
working on less than 20 themes in our research.
In this presentation, we will introduce the expanded
global activities through exhibitions of col.lab exhibits andbranding research at museum of Finland.
2. Exhibitions and workshops at museums

Fig.2 Flyer of TPU exhibition and symposium inEmile Kreuz-Seder Museum in Finland

Emile Kreuz-Seder Museum. is classified as an Art andCultural Museum, found in 1916, It is located about 200
km northwest of Helsinki. and is now managed by the cityof Harjavalta, Finland. Fig.1(a) and (b) shows photographof the entrance of the museum and (b) aerial photograph,
respectively. From May 5 to September 8, 2019, themuseum exhibited under the theme "Japonism Today."(a) About

(a)

(b)

.

(b)

Car

Fig.1 (a) A photograph of the entrance of the museum and(b) Aerial photographFig.3 Photograph of (a) BENI(safflower) movie screening and(b) workshop on color extraction and dyeing from safflower.
Inset fig is demonstration of workshop.

41

Proceedings of 2nd International Symposium for Color Science and Art 2020Three kinds of large optical illusion color mixing cubes
called as "CMY Cube is shown in fig.6. The exhibition of
the CMY cube was also pick-up in a two-page spread in a
local newspaper (SATAKUNNAN KANSA1), in Finland).

Figure 3 shows the movie of "BENI", which was shown to
the general public people, elementary and junior highschool students, and Japanese people living in Finland.
For this screening, subtitles were included under thesupervision of a Finnish translator and a dyeing
researcher. As a result, works that convey Japaneseculture, which has a reputation in Japan, could bepromoted to foreigner.

3.

Collaboration between Technology and Art

On of the aim of the TPU branding project is promoting tofurther collaboration between technology and art on color.
According to this philosophy, The roots of this project,"BENI", which won an award in the artistic cinema area,
have made further progress in the activities of this project.
It has been successful in scientific research on themechanism of red coloring, and as a result has been
awarded 2019 best paper award of the society ofphotography and imaging of japan which was entitled“Green metallic luster on the film of safflower red pigment
extracted by a traditional method -Approach with Optical
Measurements-”..

In the case of CMY Cube, The difference in theappearance (color) of the CMY cube depending on the
direction of light incidence is verified by using a lighting
Fig.4 Photograph of Pamphlet. Black card is free sample of dome as shown in fig.7(a) and also shown numbering oflighting source as shown in fig 7(b)"BENI" distributed to participants.
Free sample of "BENI"
distributed to participants

Free sample of "BENI" distributed to participants asshown in Fig.4 . High quality "BENI" indicates a shining
green color instead of red as shown in the Fig.4 as onblack card.. By adding a little water to it, it shows a bright
red color. In this workshop, participants were able toexperience these phenomena myself by using distributing
samples. As the results, It was very reputable.

4

(b)

(a)

2

1
3

10

5

9

6

11

7

8

12
13

20

19
18

14
15

17

16
21

28

22

27
26
32

Participants of this event were not only general Finnish
but also elementary and junior high school students andJapanese tours, and their ages and fields were diverse.
About 300 color samples were distributed at the "BENI"
exhibition, and a considerable number of visitors wereobtained at this exhibition in only 3days.

23

24
25

29
31

30

Fig.7 (a) Shape of lighting dome and (b) numbering of lighting
source.

Color Indication on CMY cube(a) TheoreticalFig.5 Photograph of interactive
camera demonstration of famous
painters paint style called as "AI
mirror".

Fig.6 Photograph of threekinds of large optical illusion
color mixing cubes called as"CMY Cube

Fig.5 shows an interactive camera demonstration of
famous painters paint style called as "AI mirror". This
exhibition was very well received because eachparticipant's face projected by a camera looks like apicture of a famous painter.

Hence, through the exhibits and branding research on thecolor successfully make the faculties of Engineering andArts can both conduct studies , which will lead to further
collaboration between technology and art for world wide.
1)

Satakunnan Kansa is a Finnish
newspaper published in Pori, Finland.

2)

T.Yajima, M,Sasaki, K.Yamada et.al, 2019 Best Paper
Award of the The Society of Photography and Imaging ofJapan.

42(b) Experimental by using lighting dome

languageregional

Proceedings of 2nd International Symposium for Color Science and Art 2020

International collaborative research and art production on TOKYO
2020 theme colors “Crimson”, “Indigo”, and “Kasane no Irome”
KEI SUYAMATokyo Polytechnic Univ., 2-9-5 Honcho, Nakano, Tokyo, 164-8678, Japan
time, we will participate in the 160th Japan andA groupof faculty members

from Tokyo

Portugal's diplomacy anniversary events sponsored

Polytechnic University (TPU), Coimbra University

by the Embassy of Japan in Portugal to contribute to(Coimbra), and IADE, Creative University, are doing

the exchange between the two countries.

collaborative research and art production on TOKYO
2020 Olympic Games theme colors “Crimson”,

First attempt“Indigo”, and “Kasane no Irome.” Producted works

In December 2019, Yukio Yamanaka, TPU faculty,

will be presented at art exhibition events both ingave a lecture at the Faculty of Engineering ofJapan and Portugal as part of 160th Japan and

Coimbra University. The title was “TOKYO 2020 andPortugal's

Kasane no Irome”. There, he explained about

diplomacy

anniversary

activities

supported by Embassy of Japan in Portugal.

cultural significance of “Crimson” and “Indigo”. It

Their joint work goes back to 2007, and many ofshowed the reason why they have selected thesethe faculty members, undergraduate students, andtheme colors for the 2020 Tokyo Olympic Games. In

graduate students from these three schools haveaddition, Yamanaka introduced the core graphic,

participated in the activities and produced art works.

“Kasane no Irome” and explained “the sense of

Based on such achievements, the current TPU

Japan”

faculty members are again working with Coimbra

Yamanaka talked about “24 seasons” in Japaneseand IADE partners on research and production plans

calendar and way of grasping detailed sense ofon the theme of “color”.

seasonal changes. A sense of color was linked to

producedby“color”.

Inthelecture,TPU members first did historical study ofthis sense of seasons, creating a culture of using

traditional Japanese color, “Kasane no Irome”,

various color combinations and names. Kasane's

which is the theme color. Based on the finding fromcolor scheme became a method of expressing thethis study, they have given lectures and workshops

meaning of status, celebration, contraindications by

at Coimbra and IADE, and now they are examining

overlapping multiple colors. The TOKYO 2020

the differences in color expression among different

Olympic Games theme colors “Crimson” andcultural groups with Coimbra and IADE members.

“Indigo” and Core Graphic, “Kasane no Irome” have

They use various methods of media art, such as

been selected as symbols that represent this uniqueanimation and interactive art for the productions.

way of capturing colors in Japan.

One of the planned outcomes of this collaborative

An animation production workshop was held the

project is to disseminate the result media art works

next day presented by Yukio Yamanaka, Keiof faculty members and their students in both Japan

Suyama, and Masamichi Okubo. In this workshop,and Portugal and show them internationally. Schoolparticipants created short animations using thefacilities and outside galleries in Japan and Portugal

time-lapse technique by combining pieces of colored

will be used for the art exhibitions and presentations

paper and line drawings, and they gained the newof research findings. We also plan to hold lectures

understandings on animation production. As a result

and workshops based on this research. At the same43

Proceedings of 2nd International Symposium for Color Science and Art 2020of this workshop, a 12 of short video clips werementioned in the plans.

completed by 12 participating students, and the clips
were edited into one video production. The
completed animation work was shown on a screen
at the end of the workshop.
Second attempt
We have planned the next workshop based on thefirst lecture and workshop. Lecture "Media as
Colors" in February 2020. Testu Kondo, another
TPU faculty, shares creative ideas and perspectives
as he shows his personal art productions andFig.1 ”CRIMSON,INDIGO and color chart

various types of projects with media technologies.

/TOKYO2020 official web site"

After the lecture, a workshop “Creative art andhttps://tokyo2020.org/jp/news/notice/20180817-02.html

media workshop” will be held. The purpose of thisworkshop is to let students with various backgrounds
collaborate and create art works with strong
concepts. Discussion and concept building will be
the most important rolls for this workshop. They pickup any media to express their ideas based on
concepts of “Color”. Workhop proceeds through thesteps of Brain Storming, Concept and philosophy
building, and Technical Approach. In this production,
we plan to use the animation video produced in thefirst workshop. The goal of the outcome is Exploring
Fig.2 Photograph of one of workshop on
international collaborative research

our artistic idea and aesthetic of "Color" withtechnology.
These two types of lectures and workshops arealso given to students and graduate students ofTokyo Polytechnic University, and finally summarize
theproducts

ofbothuniversities,

Exhibition

opportunity in 2021 at Collabo gallery in Japan.
What is “color”?
Students,

graduatestudents,

andfacultymembers from both Japan and Portugal will be
asked to consider “What is ‘color’ for me?” andexpress it in various media art forms using theTOKYO 2020 theme colors “Crimson”, “Indigo” andFig.3 Photograph of one of lecture on
international collaborative research“Kasane no Irome”. The works will be shown at
exhibitions in both Japan and Portugal as we have

44

The 2nd International Symposium for Color Science and Art 2020
Theme: Diversity of Color Science and Art
Proceedings
Private University Research Branding Project supported by
Ministry of Education, Culture, Sports, Science and Technology（MEXT）

Organizer
International Research Center for Color Science and Art,
Tokyo Polytechnic University (TPU)

Academic Supporting Organizations
The Japanese Society of Printing Science and Technology
The Imaging Society of JapanThe Institute of Image Electronics Engineers of JapanThe Color Science Association of JapanThe Society of Photography and Imaging of JapanThe Japan Society for Arts and History of Photography

Editing
International Research Center for Color Science and Art,
Tokyo Polytechnic University (TPU)
Published on March 13, 2020

International Research Center for Color Science and Art
Atsugi Campus: 1583, Iiyama, Atsugi, Kanagawa 243-0297, Japan
Nakano Campus: 2-9-5, Honcho, Nakano, Tokyo 164-8678, Japan
https://www.color.t-kougei.ac.jp/

45

46

付 録

47

48

３月１３⽇（⾦）

タイムテーブル・目次

9︓30

会場受付開始｜芸術情報館１F エントランスホール

10︓00-10︓05

開会挨拶

義江

龍⼀郎｜東京工芸大学

10︓05–10︓55

P1

学⻑

招待講演 1P4

アート、複製技術、そして科学︓⾊を理解するための基礎
John J. McCann , McCann Imaging
10︓55–11︓10
大海

カラボギャラリー第５回企画展の紹介

P7

悠太｜東京工芸大学工学部准教授

11︓10–11︓25

事業研究者講演 1

P9

Microsoft Azure の Face API を用いた実時間感情推定システム
姜

有宣｜東京工芸大学工学部教授

11︓25–11︓40

事業研究者講演 2

P11

介護予防の臨床における環境照明⾊の影響の数値化
森山剛｜東京工芸大学工学部准教授

11︓40-13︓40

昼食

カラボギャラリー体験型作品展⽰・卒業制作優秀作品展⽰を⾒学
13︓40-14︓30

招待講演 2P13チョウの⾊覚ーもうひとつの視覚世界
蟻川

謙太郎｜総合研究大学院大学教授

14︓30–14︓45

事業研究者講演 3

P15

芸術スタイル変換ニューラルネットワークを使用して実験的写真を生成する AI フォトグラファー
久原泰雄｜東京工芸大学芸術学部教授

14︓45–15︓00

事業研究者講演 4

P17

顔料の使用量が着⾊されたモルタルの⾊に与える影響に関する基礎的研究
陣内浩｜東京工芸大学工学部教授

15︓00–15︓10

休憩

15︓10–15︓25

事業研究者講演 5

P19

社会インフラの維持管理に貢献する構造⾊の新規開拓とその応用
比江島俊浩｜東京工芸大学工学部教授

15︓25–15︓40

事業研究者講演 6

P21

近代建築空間の⾊彩に関する復元的研究－ヴァイマール期ドイツのジードルンクを中⼼に
海⽼澤

模奈⼈｜東京工芸大学工学部教授

15︓40–15︓55

事業研究者講演 7

P23

ドイツ近代美学における⾊彩論の現代的意義に関する研究小川真⼈｜東京工芸大学芸術学部教授

15︓55–16︓10

事業研究者講演 8

⿊鉛層間化合物の⾊標本の作製
松本

P25－⾊の分析とその活用－

⾥⾹｜東京工芸大学工学部教授49

16︓10-16︓25

事業研究者講演 9P27

LN 結晶を用いた多⾊ホログラム動画表⽰素子の開発
陳軍｜東京工芸大学工学部教授

16︓25-16︓30
野口

閉会挨拶

靖｜⾊の科学芸術センター⻑｜東京工芸大学芸術学部教授

16︓40-17︓50

招待講演者との懇親会

3 月 1４⽇（土）タイムテーブル・目次

9︓30

会場受付開始｜芸術情報館１F エントランスホール

10︓00-10︓05

開会挨拶

10︓05–10︓55

招待講演 3P29

⾊彩科学の芸術︓ひとりひとりの違い
Mark Fairchild，Rochester Institute of Technology
10︓55–11︓10

事業研究者講演 10

P31

熱刺激により発光⾊制御可能な分散型ＥＬデバイスの創出
常安翔太｜東京工芸大学工学部助教

11︓10-11︓25

事業研究者講演 11

P33

ナノ構造電極を用いたエレクトロクロミック表⽰の耐久性向上
山田

勝実｜東京工芸大学工学部教授

11︓25-11︓40

事業研究者講演 12

P35

伝統的⼿法で抽出されたベニバナ⾊素の緑⾊⾦属光沢の科学的解明
矢島仁｜東京工芸大学芸術学部准教授

11︓40-11︓55

事業研究者講演 13

P37

⾊調整スキルによる⾃⼰位置同定の精度検証
鈴⽊秀和｜東京工芸大学工学部准教授

11︓55-13︓05

昼食

カラボギャラリー体験型作品展⽰・卒業制作優秀作品展⽰を⾒学

13︓05-13︓55

招待講演 4P39

⾃然な物体や顔に対する⾊知覚
溝上陽子｜千葉大学大学院教授

13︓55-14︓10

事業研究者講演 14

P41

col.lab 展⽰・ブランディング研究の美術館などへの海外展開
内田孝幸｜東京工芸大学工学部教授

14︓10-14︓15
野口

閉会挨拶

靖｜⾊の科学芸術センター⻑｜東京工芸大学芸術学部教授

50