23 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 Effect of display techniques on simultaneous color contrast Janejira Mepean1, Miyoshi Ayama2, Yoko Mizokami3, Mitsuo Ikeda4, Chanprapha Phuangsuwan4 1 Major of Color Technology and Design, Mass Communication Technology, Rajamangala University of Technology Thanyaburi, Thailand. janejira_m@mail.rmutt.ac.th 2 Center for Optical Research and Education, Utsunomiya University, Utsunomiya, Japan. miyoshi.ayama@gmail.com 3 Department of Imaging Sciences, Graduate School of Informatics, Chiba, University, Japan. mizokami@faculty.chiba-u.jp 4 Color Research Center, Rajamangala University of Technology Thanyaburi, Thailand. mitsuoikeda@rmutt.ac.th, Phuangsuwan@rmutt.ac.th Corresponding author: Chanprapha Phuangsuwan (Phuangsuwan@rmutt.ac.th) ABSTRACT In previous studies, simultaneous color contrast (SCC) was investigated using different display techniques, such as colored papers, electronic displays, and the two-rooms technique. The results suggested that the SCC effects varied depending on the techniques used. The strongest effects were obtained using the two- rooms technique, and the weakest when colored papers were used. However, the results of such studies may be affected by stimulus conditions such as size, chromaticity, and luminance. In the present study, we investigated the effects of three different display techniques on SCC, with the stimuli carefully set up, including with or without objects in the experimental space. Four carefully controlled color stimuli were used. The chromaticity, luminance, chroma, and size of these stimuli remained constant, regardless of the display techniques used. The elementary color-naming method was used to assess the color appearance of the SCC. The results suggested that the SCC effect is device-dependent and that any differences in the effect depend on the underlying mechanisms involved. When paper or LCD techniques are used, the SCC effect is caused by contrast induction from the surrounding colors; when the two-rooms technique is employed, the SCC is caused by chromatic adaptation and contrast induction at the same time. KEYWORDS Simultaneous color contrast, Display techniques, Contrast induction, Chromatic adaptation, Recognized visual space of illumination, Elementary color naming RECEIVED 22/04/2024; REVISED 05/11/2024; ACCEPTED 06/02/2025 Effect of display techniques on simultaneous color contrast 24 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 1. Introduction Simultaneous color contrast (SCC), also known as chromatic induction (Krauskopf et al., 1986; Lotto and Purves, 2000; Wu and Wardman, 2007), refers to the ef fect in which an area of color that is surrounded by another color is perceived dif ferently when the surrounding color changes. A classic example of simultaneous contrast is a gray patch placed at the center of a surrounding color. The gray patch appears as either an opponent color (Jameson and Hurvich, 1959; 1961) or a complementary color (Pridmore, 2007; Phuangsuwan and Ikeda, 2017) relative to the surrounding color. Researchers have explored this phenomenon using various experimental methods to present color stimuli, including paper (Land, 1959), electronic displays (Arend and Reeves, 1986; Webster and Mollon, 1994; Ekroll et al., 2004; Klauke and Wachtler, 2015), and the two-rooms technique (subject and test rooms) (Ikeda et al., 1998; Pungrassamee et al., 2005; Ikeda et al., 2006; Srirat et al., 2014; Phuangsuwan and Ikeda, 2017). Other studies compared the SCC ef fect between dif ferent techniques, such as electronic displays and fabrics (Wu et al., 2005), and electronic displays and paper (Jinphol et al., 2019). An interesting result was found in a study comparing the SCC ef fect across techniques, including the two-rooms technique (adaptation to the color of illumination), the paper technique (adaptation to the color of the object's surroundings), and the LCD technique (adaptation to the color of a self -luminous display) (Phuangsuwan and Ikeda, 2018; 2019). The results suggest that the dif ferences in SCC ef fects were device-dependent, with the strongest ef fect observed using the two-rooms technique, where the observer directly adapts to the illumination according to the recognized visual space of illumination (RVSI) theory (Ikeda, 2004; Pungrassamee et al., 2005; Ikeda et al., 2006). In contrast, the weakest ef fect was observed using the paper technique. Similar results have been found by researchers who compared the ef fects of chromatic adaptation using colored paper and the two-rooms technique (Ikeda et al., 2014; Chitapanya et al., 2018). The RVSI theory explains our color appearance when entering an illuminated room, referred to as the subject room. First, the observer recognizes and understands the illumination and then adapts to its color. Following this, the observer accurately perceives the colors in subject room. To prove this understanding, the two-rooms technique is commonly used. The test room refers to the room where the test patch, which is seen through a window f rom the subject room, is placed. The advantage of this technique is that it allows for independent control of the lighting between the subject room and the test room. This allows for the clear measurement of the color appearance of the test area of which colorimetric values are constant because it is set in the test room, based on the recognition of illumination in the subject room. In this work, we aim to study the ef fects of different display techniques on the SCC ef fect, using three types of display techniques, as mentioned in Phuangsuwan and Ikeda (2018, 2019). The stimulus conditions and environmental settings in the previous work were not exactly consistent each other. In this study, the stimuli were carefully set to be as similar as possible across the three techniques in terms of chromaticity, luminance, chroma, and size. Additionally, the information about the display technique was hidden f rom the observer during the presentation. We also investigated the ef fect of the environment by adding various colored objects to the scene to simulate daily life (complex scene), comparing this with a scene with no objects to explore the ef fect of SCC. Many researchers have found that if the colors of objects near the test area harmonize with each other, it is possible to create a consistent set of colors within a subject room, thereby revealing a strong SCC ef fect (Mizokami et al., 2000). In contrast, if the colors of the objects are complex, the effect in the test area seems to decrease (Shevell and Wei, 1998). 2. Methodology 2.1. Stimuli The classical SCC pattern used in our previous study (Mepean et al., 2023) was also used in this experiment, as shown in Figure 1(a). We simulated the SCC pattern by printing on uncoated paper, through presentation on an LCD screen, and by mixing LED light in two rooms. The f ive surrounding colors used were red, yellow, green, blue, and gray, with a gray surround as the control condition. The chromaticities of the stimuli are shown in Figure 1(b). For all display techniques, the surrounding colors were the same or closely alike, with constant luminance. The chromaticities and luminance were measured using a Konica Minolta Spectroradiometer CS-2000 with CIE1931 color-matching functions for a 2 observer. A gray patch (x = 0.332, y = 0.351) with dimensions of 4 × 4 cm2 was placed at the center of each surrounding area. The chroma of the colors was quantif ied using CIE C*ab 3-43, and the luminance was in the range of 18–37 cd/m2, depending on the color (see Table 1A, Appendix A). The stimulus size was 21 × 31 cm2. The distance between the stimulus and the observer was 0.7 m. The visual angle of the stimulus was 17 × 25 for the surround and 3.3 × 3.3 for the gray patch. Effect of display techniques on simultaneous color contrast 25 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 Figure 1. (a) Scheme of SCC stimulus; (b) chromaticities of stimuli among three display techniques plotted in the CIE 1931 chromaticity diagram. (Mepean et al., 2023) 2.2. Apparatus As shown in Figure 2, for all three display techniques, our experiment was conducted in the same room. The room had dimensions of 1.2 m width, 3.0 m length, and 2.0 m height, and included a separating wall so that the single room was divided into a "test room" and a "subject room". The devices were placed in the test room so that the observers were unaware of the apparatus being used, and the stimuli were presented through a window in the wall. This window was designed to slope inward to reduce shadows and make the stimuli appear as if they were part of the wall. When the paper and LCD techniques were used, the subject room was illuminated by f luorescent lamps in the ceiling; these had an illuminance of approximately 1000 lx measured on the horizontal plane of the observer’s eye position, a correlated color temperature (CCT) of 5500K (x = 0.332, y = 0.366), and a color rendering index (CRI) of 80. For the two-rooms technique, a gray uncoated piece of paper, approximately Munsell N6, attached to cardboard was used as the surround stimulation. The center was a 4 × 4 cm2 window through which the observer viewed the gray patch in the test room. The surrounding color was mixed using LED light in combination with the f luorescent ceiling lamps, which were covered by color f ilters. This allowed for the simulation of surrounding colors that were the same as the paper stimuli. The two-rooms technique also involved the simulation of the gray patch by placing a whiteboard on the test-room wall opposite the window, with f luorescent lamps mounted parallel to the top and bottom of the window. The luminance on the whiteboard was controlled so that it was equal to that of the gray patch when the paper and LCD techniques were used. In the subject room, black walls were used to reduce the amount of color information resulting f rom ref lected light, and also to def ine the stimulus presentation area. To this end, the f ront and side walls were covered with black cardboard (Y = 5.6 cd/m2, x = 0.322, y = 0.347). When the two-rooms technique was employed, the chromaticities and luminance of the black wall were changed, depending on the subject-room illumination color simulated in the surrounding area, as follows: red (Y = 2.0 cd/m2, x = 0.494, y = 0.332); yellow (Y = 5.7 cd/m2, x = 0.429, y = 0.446); green (Y = 4.5 cd/m2, x = 0.314, y = 0.459); blue (Y = 2.6 cd/m2, x = 0.225, y = 0.239); and gray (Y = 4.5 cd/m2, x = 0.327, y = 0.343). To investigate the ef fect upon chromatic adaptation of the initial visual information in the space, we asked the observers to judge the color of the stimulus under the conditions of “without objects” and “with objects” such as books, dolls, and artif icial f lowers; these were placed on a shelf installed on the f ront wall of the subject room, as shown in Figure 3, and were arranged in such a way as might be witnessed in an everyday indoor setting such as a living room. 2.3. Observers Ten observers participated in the experiment: two males Figure 2. Three display techniques. (Mepean et al., 2023) Effect of display techniques on simultaneous color contrast 26 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 Figure 3. Front view of displayed stimulus in subject room (a) without objects and (b) with objects. and eight females, ranging in age f rom 19 to 46 years, with normal color vision as determined by Ishihara testing. Informed consent was given by all participants. Two of the observers were the authors of the present paper, both of whom have many years of experience in psychophysical experiments using the elementary color naming method for assessing color appearance. The eight naive observers were all trained to use this method before commencement of the experiment proper. 2.4. Procedure Each observer was f irst asked to look around the room for two minutes, so that they could adapt to the experimental environment. They were then asked to assess the color of gray patches and surrounding areas using the elementary color naming method, giving percentage estimates of chromaticness, whiteness, and blackness, which summed to a total of 100 percent. The apparent hues were then assessed based on the four unique hues of red, yellow, green, and blue, as specif ied in opponent color theory, again giving a total of 100 percent. The observers were allowed to evaluate apparent hues as one color or as a combination of two colors; however, combinations of opposing colors (red vs. green, yellow vs. blue) were not allowed. We also wanted to check whether the observers would perceive stimuli in dif ferent color appearance modes with dif ferent display techniques. Thus, we asked the observers to report the mode of appearance of stimuli at the gray patch and the surrounding area using three color appearance modes: “object mode," in which the color appeared as the color object; “self -luminous mode," in which the color appeared as the emitted light f rom itself or as a light source color; and “unnatural mode," in which the color looked brighter than the object (shiny) but was not the same as the light source color. Af ter these assessments, the observers were asked to close their eyes for one minute while the experimenter randomly changed the stimulus color within the same technique. Following this, the experimenter changed to another display technique in random order. When all three techniques had been evaluated, this was counted as one round. Each observer performed a total of f ive rounds. 3. Result and discussion The results for appearance, such as apparent hue angles and color coordinates, were calculated using equations (see Equations 1–4 in Chitapanya et al., 2021) and plotted on polar diagrams that are normally used in studies involving opponent color theory, as shown in Figure 4. The origin of the diagram indicates an absence of chroma- ticness, and the circumference indicates 100% chroma- ticness. The R, Y, G, and B axes indicate the unique colors of red, yellow, green, and blue, respectively. The average of the results obtained f rom the 10 observers was then used to indicate the color appearance of the SCC ef fect on the gray patch induced by each of the surrounding colors using the three display techniques. The mean values and standard deviations (SDs) for the ten observers are shown in Appendix A (Table 2A). In the absence of objects, for all four colors, the levels of chromaticness perceived in surrounding areas were similar when the paper and LCD techniques were used. However, these values were lower when the two-rooms technique was used. For the four colors, the mean ± SD values were 59±3%, 56±3%, and 26±2%, for the paper, LCD, and two-rooms techniques, respectively. Moreover, the levels of chromaticness perceived f rom the gray patches indicated that the SCC ef fect occurred for all display techniques, with higher levels being obtained when the two-rooms technique was used. In this case, for the four colors, the mean ± SD values were 19±5%, 19±2%, and 50±4%, using the paper, LCD, and two-rooms techniques, respectively. It can be seen that, as a result of the SCC ef fect, the observers’ perception of the color appearance of the gray patch was dependent on the color of the surrounding area. A red surrounding area induced the gray patch to appear green+blue (or cyan); a yellow surrounding area induced the gray patch to appear close to unique blue; a green surrounding area induced the gray patch to appear (a) (b) Effect of display techniques on simultaneous color contrast 27 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 red+blue (or magenta); and a blue surrounding area induced the gray patch to appear close to unique yellow. Similar results were obtained for all three display techniques when objects were present. The variation in chromaticness obtained using the dif ferent display techniques may now be considered. The RVSI theory suggests that the SCC ef fect is stronger when an observer is able to adapt to the color of the illumination in the subject room (Ikeda, 2004; Ikeda et al., 2006). It may be expected that lower levels of chromaticness will be perceived in surrounding areas when the two-rooms technique is used because the subject room is illuminated by colored light, and chromatic adaptation to illumination occurs by recognition of space and by understanding the illumination based on initial visual information (Mizokami et al., 2000). Under such conditions, color constancy is maintained because objects are perceived in their true colors, regardless of any changes in illumination. However, in our experiment, even though chromatic adaptation was not complete (because the color of illumination in the subject room could still be seen, as shown by the chromaticness of the surroundings), a stronger color contrast nevertheless appeared on the aperture at the center; this f inding is in line with the results obtained by Phuangsuwan and Ikeda (2018; 2019) in their study of the SCC ef fect conducted using the two-rooms technique. We anticipated that the ef fect of chromatic adaptation would be weakest when the paper technique was used. However, we found that the LCD technique produced an SCC ef fect that was similar to that obtained using paper. Both techniques involved the same stimulus condition and the same viewing condition, and the perception of SCC appeared to have been due to the same mechanism, namely, the chromatic induction of the surrounding areas. These results dif fer f rom the f indings of Phuangsuwan and Ikeda (2018; 2019), who found that SCC was lower when using the paper technique compared with the LCD technique. However, this dif ference may be Figure 4. Polar diagram showing an average of 10 observers. The color appearance for the paper (), LCD (), and two-rooms () techniques for surrounds (filled symbol) and gray patch (open symbol) in the “without objects” condition indicated by filled color, and in the “with objects” condition by filled black symbols. Effect of display techniques on simultaneous color contrast 28 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 Figure 5. Comparison of mean by elements, chromaticness, whiteness, and blackness of SCC among three display techniques and under “with objects” and “without objects” conditions. explained by factors such as dif ferent experimental conditions and numbers of observers. In terms of chromaticness, as shown in Figure 4, we found that the results obtained using the paper and LCD techniques dif fered f rom those obtained using the two- rooms technique. However, any increase in chroma- ticness must also correspond to a decrease in either whiteness or blackness. Figure 5 shows the chromaticness (colored bar), whiteness (white bar), and blackness (black bar) elements of the SCC ef fect. The mean and SD values for the ten observers are provided in Appendix A (see Table 3A). No SCC ef fect was observed under gray surrounding conditions. A three-way ANOVA with 95% conf idence was applied to check the SCC ef fect on the chromaticness in the four colors’ surrounding conditions in the display techniques. The three factors are display techniques, objects (with and without), and colors. The results indicated a signif icant dif ference between techniques (F(2, 216) = 116.11, p < .001). Tukey’s HSD post hoc analysis revealed that the two-rooms technique was signif icantly dif ferent f rom both the paper (M = -28.13, SE = 2.12, p < .001) and LCD (M = -27.87, SE = 2.12, p < .001) techniques. However, there was no signif icant dif ference in chromaticness between the paper and LCD techniques (p = .99) (see Appendix A, Table 5A, post hoc Comparisons—Technique). There were also no signif icant dif ferences in chromaticness among the color surround conditions within techniques (F(3, 216) = 1.29, p = .27). The average results of the SCC for the four color surrounds are shown in Figure 6, which were compared between the conditions of with and without objects; the mean and SD values are shown in Appendix A (see Table 4A). It was found that the chromaticness between the conditions of with and without objects showed a slight dif ference (F(1, 216) = 4.70, p = .03); however, this is due to the dif ferences between the paper and two-rooms techniques, as well as between the LCD and two-rooms techniques. We assumed that the addition of objects to the subject room would help observers to better perceive the illumination in the space, and then adapt to it. More simply, we hypothesized that the observers would perceive an increase in SCC in the gray patch with objects condition. However, we found that there were no signif icant dif ferences between the conditions of with and without objects for the paper, LCD, and two-rooms techniques, at p > .05 (see Appendix A, Tables 5A-6A: post hoc Comparisons—Techniques ✻ Objects). Although the two- rooms technique showed a p-value of 0.06, meaning no signif icant dif ference between the “with objects” and “without objects” conditions, if we look at Figure 6, the chromaticness appears to be slightly dif ferent. In the “with objects” condition, the chromaticness is smaller than the “without objects” condition; this may be due to the surrounding object colors in the complex scene. With many highly saturated objects, the test stimulus was likely judged to have lower chromaticness. This result is consistent with the f indings of previous studies, which indicated that chromatic induction f rom a surrounding area into a central patch decreases when there is an inhomogeneous region outside the surrounding area (Jenness and Shevell, 1995; Shevell and Wei, 1998; Barnes et al., 1999). Although the previous results were obtained using an electronic display, our f indings showed similar results upon adding colorful objects to the scene illuminated by a single color Initially, we suspected that the color appearance mode might have been one of the factors af fecting the SCC. However, the results indicated that the observers ’ color Effect of display techniques on simultaneous color contrast 29 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 Figure 6. Comparison of elements, chromaticness, whiteness, and blackness of the SCC with and without objects for three display techniques. Error bars denote SD values for ten observers. appearance mode was the object mode for those techniques. This suggests that the highest chromaticness in the two-rooms technique is not inf luenced by the color appearance mode. The results for the SCC hues obtained using the three display techniques were plotted, as shown in Figure 7. The ordinate represents the hue angle of the SCC and the abscissa represents the hue angle of the surrounding area. We also compared the relationship between the SCC hue, which was induced by the surrounding hue in the present study, to the arrangements expected using opponent color theory and complementary color theory (see Figure 10 in Phuangsuwan and Ikeda, 2017). The display techniques chosen to present the stimuli appear to have little inf luence on the perception of SCC hue, either with or without objects. We compared the SCC hues for each of the four surrounding colors across dif ferent display techniques, considering three factors: display technique, objects (with or without), and color. The results showed no signif icant dif ference in SCC hues (F(6, 204) = 0.155, p = .988) (see Table 7A in Appendix A). This f inding is similar to the f indings of other studies of color appearance conducted using dif ferent devices, which found that the hue does not change (Wu, 2005; Billger, 2000; Kutas et al., 2005; Phuangsuwan and Ikeda, 2018; 2019). Pridmore (2007) suggested that SCC hues on gray patches induced by surrounding colors are understood in terms of complementary color theory. Pridmore also analyzed the SCC data obtained by Luo et al. (1995) and Wu and Wardman (2007), and asserted that the SCC can be better interpreted in terms of complementary colors theory. Therefore, in Figure 7, we compare the relationship between the surrounding hue and SCC hue as estimated by both opponent color theory and complementary color theory, based on information f rom Phuangsuwan and Ikeda (see Figure 10 in Phuangsuwan and Ikeda, 2017). The sum of squared dif ferences (SSD) indicates that the Figure 7. Relationship between surrounding hue and SCC hue (gray patch), compared to opponent color theory and complementary color theory. Error bars denote SD values for ten observers. SCC hue corresponded more closely with complementary color theory (blue line), which consistently outperformed opponent color theory (orange line) for red (SSD = 206 vs. 7046), green (SSD = 125 vs. 162) and blue surrounds (SSD = 70 vs. 142). In the yellow surround, both models performed almost equally (SSD = 353 vs. 354), supporting supports Pridmore's assertion (Pridmore, 2007). Our results strongly suggest that complementary color theory provides a more accurate prediction of SCC hue shifts compared to opponent color theory. Furthermore, we found that, with yellow surrounds, observers who perceived the surrounding area as yellow + red perceived the SCC color as blue + red. Similar results have been reported in previous research, including studies on af terimage color (Wilson and Brocklebank, 1995) and chromatic adaptation using the two-rooms technique (Phuangsuwan and Ikeda, 2017). This f inding is surprising because, according to both opponent color theory and complementary color theory, yellow + red Effect of display techniques on simultaneous color contrast 30 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 induction would be expected to cause a blue + green perception. 4. Conclusion The results of the present study suggest that the SCC ef fect is device dependent, and that variations in the SCC ef fect obtained using dif ferent display techniques may be caused by two mechanisms: 1. When either the paper or LCD technique is used, the SCC ef fect seems to be caused by the color of the surrounding area. This may be understood as chromatic induction f rom the color of the surrounding area, leading to the appearance of contrast color at the center. 2. When the two-rooms technique is used, the SCC ef fect seems to be caused by chromatic adaptation and contrast induction at the same time. 3. It is suggested that SCC relies on the complexity of the scene in the two-rooms technique, as the various color attributes of objects in the subject room provide visual information to the observer. 5. Acknowledgment We would like to thank Dr. Fusako Ikeda for the Fusako Scholarship, which supported Janejira Mepean in her graduate studies in Color Technology and Design at the Faculty of Mass Communication Technology, Rajamangala University of Technology Thanyaburi, Thailand. 6. Conflict of interest declaration The authors declare no conf lict of interest. 7. Funding source declaration This work was supported by JSPS Core-to-Core Program, (grant number: JPJSCCB20220006), and co-funded with Konica Minolta Sensing Singapore Pte Ltd . 8. Short biography of the author(s) Janejira Mepean - She is a Ph.D. student (D3) in Color Technology and Design at Rajamangala University of Technology Thanyaburi, Thailand (RMUTT). She obtained her master's degree in the same f ield f rom RMUTT in 2021. Her research interests focus on simultaneous color contrast. Miyoshi Ayama - Miyoshi Ayama obtained her Ph.D. f rom the Tokyo Institute of Technology in 1983. Af ter working at Utsunomiya University, Japan, for 27 years, she is now a professor emerita and an honorary fellow of the Center for Optical Research and Education at the Utsunomiya University, and an international advisor of the CRC at the RMUTT Thailand. Her research interests cover various f ields in visual and color science f rom basic to application. Yoko Mizokami - Dr. Yoko Mizokami is a Professor in the Graduate School of Informatics, Chiba University, Japan. She received a Ph.D. in Engineering in 2002 f rom Ritsumeikan University. From 2002-2006 she was a postdoctoral fellow at the University of Nevada, Reno, Department of Psychology. She moved to Chiba University in 2006. Her research interests lie in vision science, color science. Mitsuo Ikeda - Dr. Mitsuo Ikeda is a Professor at Rajamangala University of Technology Thanyaburi and works in the Color Research Center. He received a Ph.D. f rom the University of Rochester, USA. He has served as the President of International Colour Association (AIC) and as the Division 1 Director of the International Commission on Illumination (CIE). He was a Professor at Tokyo Institute of Technology (TIT), Kyoto University, and Ritsumeikan University, and was named a Professor emeritus of TIT. He was awarded the Judd Award f rom AIC. His research interest is on the human color vision mechanism. Chanprapha Phuangsuwan - Chanprapha Phuang- suwan received a Ph.D. degree at the Faculty of Science, Chulalongkorn University, Thailand in 2012 and returned to RMUTT as a lecturer and became an assistant professor. She is the Director of the RMUTT Color Research Center (CRC), which was established in 2013 . Her research interest is to investigate the color appearance of objects in relation to the space recognition where the objects are perceived to be located. Licensing terms Articles published in the “Cultura e Scienza del Colore -Color Culture and Science" journal are open access articles, distributed under the terms and conditions of the Creative Commons Attribution License (CC BY). You are free to share (copy and redistribute the material in any medium or format) and adapt (remix, transform, and build upon the material for any purpose, even commercially, under the following terms: you must give appropriate credit to authors, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use, you may not apply legal terms or technological measures that legally restrict othersfrom doing anything the license permits. Copyright: The authors keep the rights to further publish their contents where they want and can archive pre-print and post-print (submitted version and accepted version) and the published version of the PDF of their article with no embargo period. Effect of display techniques on simultaneous color contrast 31 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 References Arend, L., and Reeves, A. (1986). 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Effect of display techniques on simultaneous color contrast 32 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 Appendix A Table 1A. Luminance values, chromaticities, and chroma CIE C*ab of colors in the paper and display stimuli. Table 2A. Mean values of color appearance in polar diagram with SD in Figure 4. Table 3A. Mean values of amount of elements with SD in Figure 5. Table 4A. Mean values of amount of elements with SD in Figure 6. Color Device Y (cd/m 2 ) x y C*ab Paper 23 0.453 0.342 42 Display 23 0.453 0.343 41 Two-rooms 22 0.452 0.344 42 Paper 37 0.424 0.442 42 Display 37 0.424 0.449 43 Two-rooms 36 0.424 0.446 43 Paper 28 0.315 0.465 38 Display 26 0.321 0.464 36 Two-rooms 26 0.318 0.464 35 Paper 18 0.239 0.262 32 Display 18 0.242 0.263 32 Two-rooms 18 0.241 0.264 31 Paper 27 0.335 0.353 3 Display 27 0.335 0.35 5 Two-rooms 27 0.335 0.354 3 Paper 24 0.332 0.351 5 Display 24 0.335 0.351 5 Two-rooms 24 0.333 0.352 5 Gray surround Gray patch Red surround Yellow surround Green surround Blue surround Effect of display techniques on simultaneous color contrast 33 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 Table 5A. Results of the SCC effect in terms of chromaticness using a three-way ANOVA and post hoc test with display techniques, objects (with and without), and colors. Effect of display techniques on simultaneous color contrast 34 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 Table 6A. Results of the SCC effect in terms of whiteness using a three-way ANOVA and post hoc test with display techniques, objects (with and without), and colors. Effect of display techniques on simultaneous color contrast 35 Color Culture and Science Journal Vol. 17 (1) DOI: 10.23738/CCSJ.170102 Table 7A. Results of three-way ANOVA for SCC hue with display techniques, objects condition (with and without), and colors.