Subjective color

a false or spurious color seen in some instances, owing to the persistence of the luminous impression upon the retina, and a gradual change of its character, as where a wheel perfectly white, and with a circumference regularly subdivided, is made to revolve rapidly over a dark object, the teeth of the wheel appear to the eye of different shades of color varying with the rapidity of rotation. See Accidental colors, under Accidental.

See also: Color

References in periodicals archive ?
The fluorescence is read by the 3M Attest Auto-reader, which provides a clear positive or negative result, eliminating the need for the technician to interpret a subjective color change or attempt to decipher a change in turbidity.
Communication between color buyers and vendors is improved by relying less on subjective color perception and by transmitting color information electronically instead of transporting color chips.
White is a very subjective color in the eyes of the beholder--it can suggest expensiveness or cheapness.
This is consistent with the main goals of De la loi du contraste simultane: to establish a scientific approach to the use of color in art and a method for taking advantage of subjective color effects in artistic production.
Chevreul's weighty analysis of simultaneous contrast and his interest in the control of subjective color effects for the economical and efficient production of art seem worlds apart from Baudelaire's concerns as an ambitious critic wishing to make his review of the 1846 Salon a literary showpiece and aesthetic manifesto.
As a painter who is advancing on the sheer force of ecstatic imagination, ideation, and subjective color, Dana Schutz just might be our finest contemporary symbolist.
All of these methods have certain disadvantages compared with subjective color ratings.
The romantic but subjective color descriptions in catalogs were superseded by the dry but accurate alphanumeric spectral types that prevail today.
Topics include an introduction to spatio-chromatic interactions, neural adjustments to chromatic blur, color contrast influences in perceiving shape, Fechner-Benham subjective colors and McCollough effects, cone contrast computations, surface interpolation, lightness and illumination in terms of gradients, a neural model of surface perception, and two contributions on the watercolor illusion.
Estimating which hues to apply to various areas, encouraged the students to apply subjective colors without fear.