Morning Sessions
Register HERE - Early Bird Pricing Ends May 13
Color Naming in Communication Across the Lifespan |
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
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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 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 |
Enhancing Colour Selection Skills in Design Education: Exploring the Role of Colour Preference in Colour Competency Development |
Wenxian Qian is a PhD candidate in Contemporary Arts at Lancaster University, specializing in color and visual communication. She holds a Bachelor's degree in Visual Communication Design from Suzhou University of Science and Technology and a Master's degree in Design Management from the University of Southampton. These academic experiences have provided her with an interdisciplinary foundation and a profound understanding of designer thinking, which she applies to research and practice. Wenxian's research focuses on enhancing color selection skills in design education. By exploring how color preferences influence palette development and their application in design tasks, she aims to develop strategies that evoke emotional resonance and connect meaningfully with audiences. Beyond her academic work, Wenxian has served as a contracted translator for Phoenix Publishing, where she successfully translated two foreign-language art books into Chinese. This role has enabled her to bridge cultural and linguistic boundaries while deepening her appreciation for global artistic dialogues. Her passion lies in integrating theoretical research with practical applications in contemporary arts and design. Through her work, Wenxian strives to contribute innovative insights into using color in visual communication, fostering meaningful and transformative connections between art, design, and diverse global audiences. |
![]() | Developing Color Science Curriculum for Non-Science Students |
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 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 |
Signal, Noise, and Color Communication for the Vision Deficient 50% ... And Everyone Else 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. |
Bill Fischer is professor emeritus and founder of the Digital Art & Design program at Kendall College of Art and Design of Ferris State University. He is the author of the I-See-U blueprint for Inclusive, Socio-Emotional, Entertaining, and Universal design. He was the executive producer for The EPIC Project (Engaging Production Inspiring Classrooms) an ongoing collaboration with faculty, K12 educators, and field experts that build and test digital media products focused on inclusion and innovation. He's designed toys, buildings, automotive interiors, animated, printed, and interactive media for over 30 years. Bill is a multiple award-winning designer in the automotive, digital media, and games arenas. He led teams that earned Ford Äôs best new product, three Motor Trend cars of the year, best in show in the American Advertising awards, and has earned seven patents. He supported teams that won best games at the Serious Play, and Meaningful Play game conferences. Most recently Bill has led teams that create board and digital games, animation, video, apps, AR/VR, and mixed reality media that utilize his universal design methods and tools to facilitate rich experiences for persons with disabilities and provide full participation in the ongoing socio-cultural fabric of the world we all share.
Computational Trichromacy Reconstruction: Empowering the Color-Vision Deficient to Recognize Colors Using Augmented Reality |
Yuhao Zhu is an Associate Professor of Computer Science and Brain and Cognitive Sciences at University of Rochester. He holds a Ph.D. from The University of Texas at Austin. His work integrates imaging, human vision, and computer science. |
Sensemaking Through Color: Understanding Sensory Profiles and Neuroaesthetic Perception |
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. |
Color Spaces for All |
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. |
Colour as a Medium for Cultural Expression: Natural Colours in Saudi Arabia's Historic Jeddah City Handcrafts Natural colours have long played a significant role in Saudi Arabia’s rich cultural heritage, reflecting the region’s deep connection to its environment and cultural identity. This study explores the uses of natural pigments and dyes in traditional Saudi crafts, focusing on their origins, applications, and symbolic meanings. By investigating materials such as plant-based dyes, mineral pigments, and organic extracts, the research uncovers how these colours are sustainably sourced and integrated into crafts in architectural elements and other surfaces in the western region of Saudi Arabia, specifically Historic Jeddah City. The presentation will highlight the aesthetic and functional dimensions of natural colours in Historic Jeddah, emphasizing their role in preserving intangible cultural heritage, and by shedding light on the challenges artisans face in maintaining authentic production methods. The research aim to inspire designers and educators to incorporate natural colour practices into modern applications, fostering a deeper understanding of the cultural and ecological significance of local craft traditions. It also provides insights for scholars, designers, and policymakers interested in sustainable practices, heritage preservation, and the role of colour as a medium for cultural expression. |
Dr. Douha Attiah holds a PhD in Colour Design for interiors from The University of Leeds, and an accomplished educator, consultant, and leader with extensive expertise in arts, culture, and design. As an Assistant Professor at King Abdulaziz University, she has developed transformative curricula, supervised postgraduate research, and spearheaded international collaborations. Her work integrates academic excellence with innovative approaches, bridging tradition and modernity in creative industries. |
An Introductory Study on Color Palettes of Color Me Beautiful, Carole Jackson 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. |
Wednesday, June 18
10:00 - 11:00 Applications
Red and Green as Visual Signifiers in the Brazilian Pharmaceutical and Health Market |
Camila Silva is an adjunct professor of the Design undergraduate Course at UFRJ and collaborator in the Postgraduate Program in Design at UFCG. Researcher in post-doctoral internship at the National Institute of Intellectual Property. Coordinator of the Industrial Design and Project Experiences Laboratory. Member of the ProCor do Brasil Association and member of the Interaction Design Foundation. Since 2005, she has worked in the packaging design segment for cosmetics, perfumery and personal hygiene, combining practical experience in companies in the sector with academic experience. Her last professional job was as coordinator of packaging projects for the international platform of the company Ceras Johnson through the agency Packaging Brands/RJ. Today she is dedicated to higher education and academic research and extension. Color Science, Visual Design, Packaging and sustainability, Innovation and Intellectual Property, Hybrid languages, Universal Design and Usability are her main areas of interest.
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, 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). |
Decoding the Language of Lip Color: A Cross-Cultural Perspective
Veronika Marek - L'Oréal 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. |
Veronika Marek holds a PhD from Sorbonne Université, Paris, France; she is a scientist with a decade of international experience in the beauty and ophthalmic industries. Currently, Veronika leads the Color Science division at L'Oréal USA Research & Innovation which she built from the ground up three years ago. Veronika works across multiple categories including make-up, hair color and skin care and is responsible for the development of innovative color-science informed strategies for L'Oréal USA. Her work includes researching the emotional impact of color in cosmetics, creating trend-forward shade ranges with a focus on skin tone and hair type inclusivity, and championing instrumental evaluation of color in cosmetic products. Previously, as a photobiology scientist at L'Oréal France Research & Innovation, she co-developed skin diagnostic devices for points of sale. Before joining L'Oréal, she worked in Research & Development at EssilorLuxottica France, where her research focused on phototoxicity on the ocular surface and neural pathways. |
Wednesday, June 18
11:30 - 12:30 Pigments
Ecologies of Invisible Colors: An Artistic Exploration of Bacterial Pigments
Felipe Leonardo Santos Shibuya - Rhode Island School of Design 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. |
Felipe Shibuya (he/him) is an American-Brazilian ecologist and artist who decided to adventure around the world. His journey began when he completed his PhD in ecology and nature conservation at the Federal University of Paraná. He then decided to explore the visual aspects he had included in his research, beyond the purely scientific perspective. He also holds an MFA in studio art from the State University of New York at Buffalo, where he worked with pigmented bacteria, with the intention of understanding how the colors they synthesize could be communication signals for humans. Being a scientist-artist enables Felipe to explore different forms of life, from bacteria to trees, using different methods, from microbiological culture to videos. However, all of his work involves aspects of his own identity, and he always highlights the visuality of nature. Currently, Felipe is an Assistant Professor in the Experimental and Foundation Studies Division at Rhode Island School of Design.
Yes, They Were Purple, But It Was Still Hazy |
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. |
Pigment Mapping in Historical Artifacts Using Multispectral Imaging and False Color Visualizations |
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. |
Register HERE - Early Bird Pricing Ends May 13
About ISCC and Color Impact 2025
The Inter-Society Color Council is the principal interdisciplinary society in the United States dedicated to advancing color research and best practices in industry, design/arts, and education.
ColorImpact 2025 promises to be a significant event for color professionals worldwide. Registration for the conference will open in the first quarter of 2025.
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