Monday,  June 16
10:00 - 11:00

Color Naming in Communication Across the Lifespan
Akvile Sinkeviciute - Northeastern University London

Color names aid in visualising information, as a shared understanding of the link between colors and their categorical labels improves color communication across different viewing conditions and observers (Mylonas & MacDonald, 2012). Ageing impacts this shared understanding, as color vocabulary richness declines with age (Griber et al., 2020; Sinkeviciute et al., 2024). This raises the question: What are the most effective color palettes for facilitating communication across age groups? Data from 4,170 English-speaking participants, aged 16-87, was analysed, including 104,655 unconstrained color-naming responses collected through a web-based experiment. The 606 simulated Munsell stimuli, approximately uniformly distributed across the color solid, were uniformly colored, 2-degree discs, viewed against a neutral grey background. The decline in vocabulary richness was strongly correlated with age (r = -0.70, p < .001). To create age-relevant color palettes, the data in this study was divided into two age groups: 16-39 and 40+. The best examples (foci) for all color names that can label all colors were identified for both age groups. Young participants offered 30 foci, compared to 20 for mature participants, reflecting differences in vocabulary size. We designed three color palettes for each age group based on a) perceptual discriminability ( ΔE00), b) categorical distinction ( Δh), and c) codability (-H). On average, color steps differed by ΔE00 = 42.25, SD = 20.09 (young) and ΔE00 = 38.94, SD = 19.12 (mature) in the perceptual palette; Δh = 0.89, SD = 0.14 (young) and Δh = 0.96, SD = 0.07 (mature) in the categorical palette; and -H = -3.25, SD = 1.71 (young) and -H = -2.92, SD = 1.96 (mature) in the codability palette. These palettes were applied to visualise complex information across various domains. Our findings show the influence of age on color naming and recommend age-relevant color palettes to improve visual communication across ages.

Akvile Sinkeviciute is a PhD candidate in Computer Science at Northeastern University London, specialising in intergenerational color communication. She also holds an MPhil in Linguistics and Language Acquisition from the Norwegian University of Science and Technology (NTNU), where her research focused on how bilinguals perceive colors depending on the language they are actively using, particularly when the languages differ in the number of basic color terms. Building on this foundation, her current research examines how English speakers from different generations name and perceive colors. By exploring the interplay between lower- and higher-level visual mechanisms across the lifespan, her work aims to deepen understanding of color language dynamics and offer practical solutions for effective intergenerational color communication. 

Color by the Word: Using Large Language Models to Standardize and Visualize E-Commerce Color Communication
Mohammad Fathi - University of Wisconsin-Milwaukee

In the world of online retail, the language of color often shapes consumer perceptions, influences searchability, and helps define brand identity. Yet, the textual color descriptors found in product listings are rarely standardized, making it challenging to identify meaningful patterns or compare products effectively. In this presentation, we explore how large language models (LLMs) can help develop a coherent, category-specific color lexicon from Amazon's extensive product metadata - without relying on image data. We begin by extracting color terms from product titles, descriptions, and features and highlight the inconsistencies that arise from purely human-generated text. We ask these models to provide both general and category-specific color vocabularies, examining how more targeted prompts affect the quality, breadth, and relevance of the resulting lexicons. By comparing original descriptors and LLM-refined terms, we reveal how standardized naming can uncover trends in consumer-facing attributes, such as the popularity of certain colors over time and their prevalence within specific product categories. We will showcase data visualizations illustrating how this refined lexicon enables clearer insights into e-commerce color communication, guiding future marketing strategies and informing ongoing research in brand presentation and consumer behavior. Ultimately, our work bridges a key gap in online retail: the lack of a structured, text-based color lexicon that can serve as a foundation for more consistent, meaningful, and impactful color communication.

Mohammad Fathi is a Ph.D. student at the University of Wisconsin-Milwaukee's Lubar College of Business, specializing in Quantitative Marketing. Before starting his Ph.D., he worked for several years in advertising, where he gained practical experience in designing and analyzing campaigns, often exploring how creative elements influence consumer behavior. His current research focuses on exploring the role of color mentions in large datasets, investigating how these elements might shape consumer perceptions and decision-making. While this is a relatively new area of focus for Him, it has opened up exciting avenues for understanding the intersection of textual and visual elements in marketing. 

Terminology and 3D Models for a Universal Foundation in Colour Education
Robin Kingsburgh and Maggie Maggio

The Colour Literacy Project (CLP) recognizes the need for a basic level of colour literacy for all — regardless of age, education level, or discipline. Not only is colour integral to many aspects of our lives, its core concepts span many disciplines, including the sciences, humanities, arts, and design. This commonality makes colour an ideal focal point for building an introductory, universal color foundation as the educational basis for building discipline-specific knowledge later.

Expanding ways to describe colours is an essential component of a universal colour foundation. One core colour concept is: ‘Colours are more than just hue’. The term 'Character' is introduced to describe the appearance of  simple variations of a given hue—such as vivid, muted, pale, and dark. This terminology has been readily adopted by teachers and students alike, including very young children. Students quickly become attuned to the nuanced colour variations in their environment, using this vocabulary to describe the colours around them. This skill extends to describing new experiences and emotional associations, aligning with another core concept: ‘Colours communicate’.

Another core concept that reinforces appearance language is that ‘Color organization is 3D’. Expanding beyond the color wheel to three-dimensional color relationships is essential for effective communication, innovation, and problem-solving across disciplines. Simple, abstracted color models can play a critical role in helping to bridge the gap between the basics of 3D color relationships and more complex, discipline specific color models.

This approach simplifies complex concepts as a part of a universal colour foundation that empowers creators and professionals to collaborate and harness the full potential of color in their respective disciplines. By promoting the adoption of an interdisciplinary appearance language and reinforcing the language with the building of simple color models, we can enhance color literacy, foster interdisciplinary collaboration, and ultimately ensure that color is used in the most intentional and effective ways across diverse applications.

Robin Kingsburgh is a trained astronomer (Ph.D. in Astronomy, 1992, University College London), and a trained painter. Her artistic education comes from studies at the University of Toronto, as well as in the U.K. and France, and has paralleled her scientific development. She has longstanding interests in the intersections of art, science and education. She currently teaches various Natural Science courses at York University, Toronto, including Understanding Colour, a course on the science of colour, as well as The History of Astronomy and The Nature of Time. She has curated numerous shows and events in the Toronto area, featuring artwork inspired by the ideas and methodologies of science. She is President of the Colour Research Society of Canada, a Board member of the Inter Society Colour Council, a member of the Ontario Society of Artists, and a member of the joint ISCC/AIC Colour Literacy Project.   http://robinkingsburgh.com/ 

Maggie Maggio is a designer, artist, and art educator who has studied, taught, and worked with color for over forty years. Her personal explorations into the science of light and pigments led to the creation of workshops for artists and designers who want to incorporate the latest research in color science into their creative practice. Influenced by her experience teaching colour workshops around the world she now focuses on bridging between the art, science, and industry of color and advancing color literacy for the twenty-first century. Maggie has a BS in Interior Design from Drexel University and a M. Architecture from Syracuse University. She is the current President of the Inter-Society Colour Council of the United States, and co-chair of the joint ISCC/AIC Colour Literacy Project. She lives in Portland, Oregon - one of the most colorful cities in the world.

Monday,  June 16
11:20 - 12:30

Enhancing Colour Selection Skills in Design Education: Exploring the Role of Colour Preference in Colour Competency Development
Wenxian Qian - Lancaster University

This research explored design students' colour preferences and how these inform developing colour palettes for graphic design tasks. The main objectives were to deepen students' empirical understanding of how colour preference may influence palette development, help refine skills in extracting, creating, and applying colour palettes across different design situations, and bridge the gap between theory and practical application. Data was collected at Suzhou University of Science and Technology in China. Seventy-two students participated in three workshops: exploring personal colour preferences; using digital tools to extract colours from existing designs to create new colour palettes; and applying palettes to a poster design. In addition, semi-structured interviews with tutors explored their pedagogical approaches in colour education, common difficulties in colour perception and application, and effective teaching and learning strategies. Diverse preferences emerged from the analysis of the colour palettes. Strong, highly saturated colours were dominant in the 50% of the sample, with preference for softer pastel colours evident in 15% of the palettes; just three palettes were comprised of very dark colours. Despite shared cultural and educational backgrounds, participants demonstrated variability in their choices. Tutors emphasised the students' lack of confidence in using colour and their difficulty integrating theory with practice. Even if students have theoretical knowledge about colour, they do not know how to use it flexibly in their design work, leading to a separation of theory and practice. While optimistic about integrating AI tools into colour education, tutors noted that such tools alone cannot address challenges of critical thinking and creativity. The workshops are also being delivered at a UK university to evaluate cross-cultural applicability. The results will contribute to future consideration of enhancing design learning outcomes and skills, and how to better integrate digital tools into colour education

Developing Color Science Curriculum for Non-Science Students
Luke Hellwig - Fashion Institute of Technology

As a new faculty member at the Fashion Institute of Technology, I have spent this academic year revitalizing our color science curriculum and tailoring it to our unique student body of non-traditional science students. This curricular development has centered around a few major goals. First, converting the calculus-heaving math of color matching functions and tristimulus values into simplified algebraic processes that students can complete themselves or with the assistance of pre-programmed spreadsheets. Secondly, designing hands-on activities and labs to give students tangible examples of important color science concepts and phenomena without extensive laboratory resources. Finally, exploring connections between introductory color science and applications related to students' future careers in fashion and beyond. The lessons that I have learned from this process of curricular development may be useful for color science educators at all levels of education.

Luke Hellwig is an Assistant Professor of Color Science at the Fashion Institute of Technology in New York, where he focuses on color science education for non-traditional science students. He is also a Senior Editor for Color Research & Application. He was previously a color scientist for Samsung Display America Lab. Luke has a BA in Physics from Carleton College and a PhD in Color Science from the Rochester Institute of Technology. His research interests include color appearance models and psychophysics. His interest in color extends to painting and photography practices.

Expanding the Global Partners Network for 21st Century Colour Literacy
Luanne Stovall - Colour Literacy Project, University of Texas at Austin

The Colour Literacy Project (CLP) is a 21st century educational initiative that recognizes color as a meta-discipline. Our mission is to strengthen the bridges between the sciences, arts, design and humanities in order to address 21st century challenges and opportunities. The CLP Team is cultivating an innovative approach to color Äôs integrated role in our lives through hands-on experiences, creative problem solving and collaboration. Long term, the goal is to effectively communicate color literacy concepts across a broad spectrum of cultures and demographics in order to build synergy between human beings, our planet's health and overall economic prosperity. To accomplish these objectives, we are focused on delivering tools that make color teaching more engaging and relevant for all education levels Äė Äė from the Bottom-Up (K-12) to the Top-Down (Post-Secondary, Industry). Hands-on exercises introduce fundamental concepts for exploring the many ways that color impacts our lives. Partner experiences provide invaluable perspectives on usability, adaptability and clarity for effective integration into classrooms. Since 2022, the CLP has beta-tested two pathways of exercises with K-12 Partners based on the Colour Literacy Cornerstones: Experiencing, Describing, Perceiving and Working with Colors. Partners include St. Teresa Äôs Primary School, England, Morristown Beard School, New Jersey, DaVinci Middle School, Oregon, Dongmaojie Primary School, China. Working with Post-Secondary Partners in a 2-Way Collaboration: This fall, the CLP launched the Post-Secondary Partners Network. Over thirty university teachers from three continents completed the initial survey. The inaugural Orientation in November (via Zoom) introduced the two-part collaboration: beta-testing core CLP exercises and providing feedback, and sharing innovative exercises for the CLP Resource Library. By participating, partners join a forward-thinking global network of educators at the forefront of the Color Literary Movement. Together, we are building a meta-disciplinary framework that positions color literacy as valuable skills across all educational domains.

Luanne Stovall is an artist and color theorist with an MFA in painting from Tufts University and the School of the Museum of Fine Arts Boston. She attended Miami University, New York Studio School of Drawing, Painting Sculpture (New York City), University of Texas, and Skowhegan School of Painting and Sculpture (Skowhegan, Maine). Luanne is a member of the Colour Literacy Project (CLP) Core Team and a Lecturer in the School of Design and Creative Technologies at the University of Texas in Austin. She hasdesigned and taught color courses and workshops in many locations including UT Austin, The Contemporary Austin, School of the Museum of Fine Arts, Boston, Wellesley College, and MIT Sloan School of Business. She is the Host of the Colour Literacy Forums, Coordinator of the CLP Post-Secondary Partners Network, and team lead for the Inter-Society Color Council's Fluorescent Friday series. Luanne's paintings and works on paper have been exhibited widely, and are in private and public collections, including the Art Museum of South Texas; El Paso Museum of Art; Blanton Museum, Austin, TX; Moakley Cancer Care Center, Boston; and the Estee Lauder Collection. Luanne's website: https://www.luannestovall.com 

Tuesday,  June 17
10:00 - 11:00

Signal, Noise, and Color Communication for the Vision Deficient 50% ... And Everyone Else
William Fischer - I-See-U

This presentation will establish a parallel relationship between human color perception and the Shannon-Weaver model of communication. It will outline five universal color design strategies that can markedly minimize color-signal degradation for persons with nearly any vision deficiency while providing a rich color-experience for all. The perpetually influential Shannon-Weaver model was one of the first constructs in the field of information theory. The model centers around the effect five elements can have on signal and noise: (1)Source, (2)transmitter, (3)channel, (4)receiver, (5)destination. The color modalities I will associate with these include: (1) a person's or entity's intent - (2) the specific message the color is carrying - (3) its color characteristics (HSL) - (4) its efficacy within the human color perception spectrum - (5) the strength of the message-signal across that spectrum. I will simulate the signal degradation as it moves through the model for eight different vision-abilities, including: typical, low vision, color-deficiency, scotopic sensitivity, photophobia, cataracts, glaucoma, and macular degeneration. I will also demonstrate the degradation that can be caused by external sources, such as dim room lighting and digital screen glare. At the end, the simulations will be revisited with the five universal color design strategies applied. These simulations will serve as visual proofs that demonstrate their efficacy for providing high-signal, color-rich experiences for nearly everyone, regardless of their vision-ability.

Compensating for Color Deficits: Perceptual and Neural Adjustments in Anomalous Trichromacy
Fatemeh Charkhtab Basim - University of Nevada, Reno

Color helps communicate important visual information. In anomalous trichromacy (AT), reduced color signals challenge this process. AT occurs when the medium (M) and long (L) wavelength cone photopigments have closer spectral peaks, reducing the LvsM comparison signal. This can impair color perception, but most AT individuals may perceive colors much more similarly to color-normal (CN) observers than expected. This can suggest perceptual or post-perceptual compensation in AT individuals. We tested this through two experiments: color naming and contrast adaptation. In the naming experiment, CN and AT observers had to label colored squares with varying chromaticities displayed on different background luminances. CNs showed a constrained achromatic region with a blue-yellow bias, while ATs displayed larger, more variable achromatic regions. ATs labeled stimuli as achromatic less often than expected, suggesting perceptual compensation. In the adaptation experiment, we measured LvsM contrast thresholds before and after adapting to LvsM contrast modulations (1 Hz for 120 sec). Adaptation reduces sensitivity by increasing contrast detection thresholds, with larger increases occurring at higher adapting contrast levels. ATs have lower sensitivity, so if there was no compensation, normally they were expected to show weaker adaptation. However, deutan ATs adapted more than predicted, showing partial perceptual compensation through neural gain adjustments. Protan ATs showed minimal adaptation, except for one outlier who adapted strongly. These findings suggest that some ATs experience neural compensation in early visual processing, which can help them balance their reduced chromatic sensitivity.

Color Spaces for All 
An Approach to Indigenous Color in University Settings
Esther Hagenlocher - University of Oregon

Amidst the ongoing societal reconstruction for social justice, this research is of paramount importance as it focuses on establishing 'spaces of identification' for an environment that reflects and respects the Pacific Northwest heritage and its cultural and ethnic diversity for shared ethnicities and backgrounds. By understanding and leveraging the power of Color and how it relates to our cultural identity, we aim to foster a more supportive and inclusive environment. This research is not a solitary Endeavor. It is built upon a series of experimental color workshops conducted by the University of Oregon and RAL Colors and developed over ten years. Recently, we have included Malhum Architects and the Department of Color Study, HAWK, addressing the topic of trauma-informed Design, students' mental health, and well-being, which has become a focus area for every institution that educates young people globally. Students are actively involved in this research, exploring the influence of Color in a university setting and investigating the profound impact of Color on their immediate environment. Their participation is crucial in promoting learning and diversity. Guiding research questions include: How does color design improve living and learning conditions in the university context? How can this be tested? What is our cultural color heritage built on? How much is innate, and how much is culturally connoted? This color approach holds a transformative potential that is inspiring and crucial for every institution educating young people. It offers a practical pathway towards a more inclusive and diverse future, instilling a sense of hope and inspiration. These benefits are not just theoretical possibilities, but practical solutions that can pave the way for a healthier future for all, instilling confidence in our approach.

Esther Hagenlocher is an architect, scholar, and practitioner who studies the intersection of architecture and interior architecture, typically associated with issues of scale and generally understood to be mainly a matter of material and detail. As a professional, she has designed primarily residential and exhibition spaces. As different as these spaces may seem, they have an essential feature in common: They are often small in size, necessitating strategies to expand space. Small spaces are essential for a range of social issues. They are affordable to a wider range of incomes and generally require fewer resources, using less material per person. They achieve a higher density for the population using less land, and they have the potential to cost less to build and maintain. Esther Äôs research speaks to the efficient use of space, focusing on color and material studies in Architectural Education and Colorreflectivity in the context of Small Spaces. Her work is truly interdisciplinary, drawing from various fields to enrich our understanding of space. In her current research project, she is developing a first-time scientific approach to the oeuvre by Fritz Seitz, an artist, graphic designer, author, educator, and color scholar. 

Tuesday,  June 17
11:30 - 12:30

Colour as a Medium for Cultural Expression: Natural Colours in Saudi Arabia's Historic Jeddah City Handcrafts
Douha Attila 

Color possesses a remarkable ability to evoke feelings and shape perceptions. We investigated how color can be strategically employed in lip makeup to create shade offerings with emotional resonance. Building on our 2023 "EmoLip US" project, which studied the relationship between emotions and lip color preferences, "EmoLip China" extends this research to Chinese consumers. We recruited 80 women (18-40y.o.) with a natural mix of skin tones. They explored 18 positive emotions (e.g., "Daring", "Relaxed") paired with 174 lip colors displayed as digital patches and virtual try-ons (VTOs) on an avatar. Participants selected the most emotionally resonant colors for each emotion and rated their liking of the corresponding VTOs on a scale of 0-5. Simultaneously, we recorded their eye movements, skin conductance, heart rate and brain activity to capture implicit physiological responses, generating a composite emotional engagement score. Analysis revealed distinct cultural differences. For instance, "Trendy" linked to browns, oranges, and purples in China, contrasting with the US preference for reds. Chinese consumers were more critical of VTOs, with lower average liking scores (2.4-1.8 in China vs. 3.3-1.8 in the US). Furthermore, a larger proportion of colors initially chosen as patches elicited negative physiological responses when presented as VTOs in the Chinese cohort (19%) compared to the US cohort (8%). "EmoLip China" demonstrates the importance of cultural and emotional contexts in shaping lip color preferences, with implications for global product development strategies.

An Introductory Study on Color Palettes of Color Me Beautiful, Carole Jackson
Yoshie Enoki - Chiba University, Japan

What defines "suitable colors" for an individual, and why can specific colors be said to suit them? Survey results show that third-party judgments about which colors suit someone are often consistent, indicating that many people share similar opinions. This consistency suggests a fundamental reason why specific colors suit certain individuals, a hypothesis the author believes is worth exploring. Clarifying this could help standardize personal color analysis methods, reduce discrepancies in advisors' results, and enable individuals to confidently accept their "suitable colors."

This study revisits Carole Jackson's influential work, Color Me Beautiful, popular in the 1970s and 1980s, to explore how to address differences between a person's "suitable colors" and "preferred colors." Jackson categorized "suitable colors" into four seasonal types ÄîSpring, Summer, Autumn, and Winter Äîand proposed distinct color palettes for each. The author plans to conduct empirical analysis using digital color palettes, drawing on insights gained through personal color analysis to quantify the color assessment process. This research aims to apply Jackson's recommendations in a modern context, enhancing personalized color analysis and providing valuable results to clients and advisors.

Additionally, the study will extract dominant colors from skin tone, hair color, lip color, and eye color to develop categorization methods that increase objectivity in color selection. This approach will help individuals present an attractive appearance suited to various occasions. Starting with Jackson's standards, the study envisions using digital color palettes to enable deeper discussions between advisors and clients, laying a foundation for highlighting individual appeal more effectively.

Yoshie Enoki worked at Tokyo Broadcasting System, Inc., specializing in set design and CG production for TV programs for nearly 30 years. In 2000, she pursued graduate studies at the Tisch School of the Arts, New York University, and interned at CBS NEWS, gaining expertise in editorial design. She honed her skills in TV production, focusing on lighting and video color control to enhance visual aesthetics and spatial forms. During this period, she contributed to numerous TV programs and began teaching color coordination at the university level. She teaches at Showa Women's University's Department of Environmental Design and is a graduate student at Chiba University. She also serves as secretary of the Color Teaching Materials Study Group of the Color Science Association of Japan. Her research examines Carol Jackson's color analysis, introduced to Japan in the 1980s, and the development of tools to help users make informed color harmony decisions. This work assists individuals in selecting colors that suit them while addressing gaps between personal preferences and suggested schemes. By integrating practical design expertise with academic research, she seeks to advance the field of color theory and its practical applications.

Color is fundamental to all forms of life on Earth. Life as we know it is only possible due to the presence of oxygen, which plants, algae, and cyanobacteria utilize through a green pigment Äîchlorophyll Äîas the basis for photosynthesis. In nature, color serves various functions across species, but generally, it drives evolutionary processes such as camouflage, aposematism, and communication. Color can manifest at different levels, some of which are imperceptible to humans, such as those outside the visible light spectrum or on microscopic scales, where bacteria and viruses exist. Bacteria, present in virtually all environments Äîfrom human skin to the deep ocean Äîplay essential roles in biological processes like organic matter decomposition and nitrogen fixation in the soil. Despite their microscopic size, bacteria have evolved ways to become perceptible to other organisms, producing odors and colors. The pigments produced by bacteria, such as carotenoids and melanin, allow them to display a wide color palette, ranging from purple to red. As in other organisms, colors in bacteria serve critical functions for survival, as demonstrated by their role in antibiotic responses and protection against ultraviolet radiation and freezing temperatures. However, significant gaps remain in our understanding of how pigment production in these microorganisms is linked to communication. Through a series of artworks, I explore how visualizing and materializing these microscopic beings can generate new ecological and philosophical meanings. I propose that when bacteria display their colors, they communicate messages that not only make us aware of their presence but also foster a stronger connection between what is visible and invisible, enabling a future of sustainable collaborations.

Pigment Mapping in Historical Artifacts Using Multispectral Imaging and False Color Visualizations
David Messinger - Chester F. Carlson Center for Imaging Science, Rochester Institute of Technology

The wide and varied use of pigments in historical artifacts (primarily manuscripts) carried many meanings, from decorative illuminations for story telling to markings indicating chapter, section, or sentence structures. However, multiple methods existed to create pigments of similar visual color. Multispectral imaging, including imaging in wavelengths beyond the limits of the human visits, provides an opportunity to differentiate between pigments of similar visual color but different chemical makeup. The Multispectral Imaging System for Historical Artifacts (MISHA) developed under an NEH grant by the Rochester Institute of Technology collects images in 16 different wavelengths, from the ultraviolet through the infrared. Based on knowledge of specific reflectance spectral differences of materials of known chemical mixtures, we create false color visualizations that provide qualitative pigment mapping capabilities using a low-cost multispectral imaging system. These maps use color to visually differentiate between pigments of similar visual color but different chemical makeup. Examples of this pigment mapping will be shown for multiple, largely medieval, manuscripts.

Dr. David Messinger received a Bachelors degree in Physics from Clarkson University and a Ph.D. in Physics from Rensselaer Polytechnic Institute. He has worked as an Analyst for XonTech Inc. and on the National Missile Defense Program for Northrop Grumman. He is currently a Professor and the Xerox Chair in Imaging Science at the Rochester Institute of Technology, where from 2014 - 2022 he was the Director of the Chester F. Carlson Center for Imaging Science. He also holds a position as Visiting Professor at the Institute of Medieval and Early Modern Studies, Durham University, UK. He is a Fellow of SPIE, serves as the co-Chair of the SPIE conference Algorithms, Technologies, and Applications of Multispectral and Hyperspectral Imaging,  and has published approximately 200 scholarly articles. He has served on several program review boards for various government agencies and National Laboratories. His personal research focuses on projects related to spectral image analysis using physics-based approaches and advanced mathematical techniques with applications to remote sensing problems, cultural heritage imaging, archeology, and disaster response. 

Sensemaking Through Color: Understanding Sensory Profiles and Neuroaesthetic Perception
Piper Hutson - Lindenw

This presentation explores the intersection of neuroaesthetics and color perception, offering insights into how sensory profiles shape our understanding of color and its emotional and cognitive impacts. Drawing from her co-authored book NeuroArts and Sensemaking, the talk examines how diverse sensory experiences influence how we interpret and respond to color, particularly in materials like neon, fluorescence, and gold leaf. These materials, with their unique optical properties, provide a lens for understanding the interplay between sensory processing and aesthetic engagement. The session highlights the neuroscience behind color perception, focusing on how individuals with varying sensory profiles - such as neurodivergent and neurotypical populations - process color differently. It also delves into the historical and scientific narratives of color, from the stability of traditional pigments like Prussian Blue to the dynamic visual effects of modern fluorescent and reflective materials. These examples illuminate how color serves as a medium of communication, evoking emotions, enhancing memory, and shaping our sensory reality. By exploring the sensory and cognitive dimensions of color, this presentation offers practical applications for art, design, and therapeutic practices. It emphasizes the importance of understanding sensory diversity to create more inclusive and impactful uses of color in creative and professional contexts. Bridging the gap between science and art, the talk invites a deeper appreciation of color as both a sensory experience and a powerful tool for sensemaking in our increasingly complex world.

Piper Hutson, EdD, is an art history professor and Arts and Health Specialist based in Missouri. She specializes in neurodiversity, cognitive neuroscience, and the transformative potential of art in healing. As a coauthor and researcher, Piper explores the intersections of brain networks, sensory experiences, and creative practices to foster inclusion and well-being, particularly for neurodivergent individuals. Piper collaborates with state arts councils, museums, and healthcare organizations to design and implement programs that leverage cutting-edge technology - including haptics, biometrics, and sensory tools - to enhance interoception, emotional regulation, and cognitive resilience. With a strong foundation in neuroaesthetic research, Piper's innovative initiatives merge art and science to inspire wonder, promote self-awareness, and support transformative healing experiences. 

Red and Green as Visual Signifiers in the Brazilian Pharmaceutical and Health Market
Camila Assis Peres Silva - Universidade Federal do Rio de Janeiro

This paper is part of an academic study exploring the role of color in the construction of visual identities for pain and fever relief medication brands, with a particular focus on the recurring use of green and red. The primary medications in this category include those containing the active ingredients acetaminophen, ibuprofen, and dipyrone, and most brands in this sector employ these color schemes. This research considers the potential for consumer confusion arising from these visual similarities. However, the primary objective of this study is to investigate the development of a chromatic category specific to pain and fever medications, drawing connections to existing scholarly work on the historical and cultural significance of these colors. To achieve this, the paper presents a visual survey of brands, products, and services within the broader health sector in Brazil. The aim is to demonstrate that, beyond the shared visual elements observed on pharmacy shelves, the use of red and green as colors symbolizing pain relief and health is a recurring phenomenon with deeper, culturally embedded meanings.

Thoughts on the Use of Close-Range Photogrammetry in Chromatic-Spatial Investigations: The Case of Gaud 's Expiatory Temple of the Sagrada Família
Leonardo Pestana Collalto Toni - Universidade de São Paulo 

The study of chromatic compositions adopted in architectural projects is an important way to understand the various possibilities of thinking about color in the creation of architectural spaces. These studies often rely on methodologies involving the digital reading of color samples using devices like Colorpin or Nix chromatic sensors, or by comparing the samples with color charts. However, these tools do not allow for the reading of the colors projected by lights or shadows, which can change over time and significantly alter the perception of an environment's chromatic context. A building that exemplifies this issue is Antoni Gaudí's Expiatory Temple of the Sagrada Família, whose interior is bathed in a dynamic variety of colors projected by the light filtered through its multicolored stained-glass windows. As conceived by Gaudí, these windows imbue the space with cooler tones in the morning and warmer hues in the afternoon, mimicking the natural hues of the sunlight throughout the day. How, then, can we perform a chromatic reading of those colors that are not embedded in the construction materials themselves but are instead conferred upon them by the ambient light? Close-range photogrammetric surveys can serve as a useful tool for chromatic mapping in such cases. These surveys generate data such as georeferenced point clouds enriched with chromatic information, from which the colorimetry of each point can be extracted, allowing for comparisons, analyses, and readings of the environment's chromaticity. Additionally, this type of reading can be conducted with a widely accessible device, such as a smartphone, as opposed to the up mentioned costly colorimeters. This presentation seeks to investigate the possibilities of using the close-range photogrammetry survey in the chromatic study of built environments.

Leonardo Pestana Collalto Toni, Faculdade de Arquitetura, Urbanismo e Design da Universidade de S Ģo Paulo (FAUD-USP), architect and urban planner graduated at Universidade Paulista (UNIP), with a master's degree in Architectural Technology at the Faculty of Architecture, Urbanism, and Design at the Universidade de São Paulo (FAUD-USP), and a member of the CNPq research group "Cor, Arquitetura e Cidade". His research focuses on chromatic and biomimetic relationships in architecture, earning him third place in the student papers category at the AIC 2024 Midterm Meeting. He has also published in other international symposia such as the IASS Annual Symposium for Future Visions (2015), the 4th ICOMOS/BRAZIL Scientific Symposium (2020), and the 1st ICOMOS/LAC Scientific Symposium (2020). Additionally, he presented as an invited speaker at the IV International Congress on Technology in Education (2024). Currently, he is conducting research on the use of alternative methods for chromatic survey and presentation, focusing its study cases on ther buildings analyzed in his master's thesis. Professionally, he works in the field of architectural restoration. Over the past four years, he has contributed to the restoration and conservation of buildings such as the Ibirapuera Marquee (Oscar Niemeyer, 1954), J lio Prestes Station Gare (Christiano Stockler das Neves, 1925), and the former Fasano Restaurant in the Conjunto Nacional (David Libeskind, 1954). 

Yes, They Were Purple, But It Was Still Hazy
Olivia Kuzio - Getty Conservation Institute

Recent scientific examination of Van Gogh's "Irises" revealed that the painting's iris flowers, which today appear blue, were once purple. A key finding of the study was the identification and mapping of the light-sensitive red pigment geranium lake, which was mixed with three blue pigments - cobalt blue, ultramarine, and Prussian blue - to create the various shades found in the irises. When initially applied, the mixture of red geranium lake with the blue pigments would have created shades of purple. But, how purple? A team of conservators, scientists, and imaging specialists collaborated to create a 1:1, 3D physical reconstruction of how the painting may have originally appeared. Optical microscopy of a cross-section sample revealed a glimpse of the unfaded purple paint mixture shielded beneath the surface. However, reimagining the full range of purples could not be simply extracted from this single visual point of reference. To address this, we turned to color science. By modeling the optical properties of the unfaded pigment mixtures (as determined from chemical analysis), we created a series of tone palettes with known relative pigment concentrations Äîsimilar to paint swatches from a hardware store. These palettes bracketed the gamut of purples Van Gogh could have reasonably mixed up. Starting with the relative amounts of geranium lake and blue pigments observed in each paint stroke, we selected ranges of purple tones from the palettes and recolored the brush strokes accordingly. The result: vibrant purple irises with intricately gradated tones, rendered through scientific modeling and applied with artistic sensibility. This presentation will discuss how the interdisciplinary team linked the scientific and aesthetic understanding of the faded flowers, enabling effective communication and consensus on "how purple" the irises originally were.

Olivia Kuzio is an Assistant Scientist in the Technical Studies Research laboratory of the Getty Conservation Institute. Her projects center around imaging systems, with a focus on expanding the Institute's capabilities in reflectance imaging spectroscopy and incorporating it with other scientific imaging techniques, such as macro X-Ray fluorescence scanning. She conducts technical studies on works of art to address questions of composition, artistic practice, and material degradation as she works to develop standard protocols for spectral imaging of museum objects. She was also previously a Getty Graduate Intern (2019-2020) and a GCI Professional Fellow (2022-2023) in the TSR lab. She received a PhD in color science from Rochester Institute of Technology, and MS and BS degrees in chemistry from RIT and the Pennsylvania State University, respectively.