Optimizing Color Rendering Index Using Standard Object Color Spectra Database and CIECAM02
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Applying CIECAM02 for Mobile Display Viewing Conditions
Applying CIECAM02 for Mobile Display Viewing Conditions YungKyung Park*, ChangJun Li*, M. R. Luo*, Youngshin Kwak**, Du-Sik Park **, and Changyeong Kim**; * University of Leeds, Colour Imaging Lab, UK*, ** Samsung Advanced Institute of Technology, Yongin, South Korea** Abstract Small displays are widely used for mobile phones, PDA and 0.7 Portable DVD players. They are small to be carried around and 0.6 viewed under various surround conditions. An experiment was carried out to accumulate colour appearance data on a 2 inch 0.5 mobile phone display, a 4 inch PDA display and a 7 inch LCD 0.4 display using the magnitude estimation method. It was divided into v' 12 experimental phases according to four surround conditions 0.3 (dark, dim, average, and bright). The visual results in terms of 0.2 lightness, colourfulness, brightness and hue from different phases were used to test and refine the CIE colour appearance model, 0.1 CIECAM02 [1]. The refined model is based on continuous 0 functions to calculate different surround parameters for mobile 0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 displays. There was a large improvement of the model u' performance, especially for bright surround condition. Figure 1. The colour gamut of the three displays studied. Introduction Many previous colour appearance studies were carried out using household TV or PC displays viewed under rather restricted viewing conditions. In practice, the colour appearance of mobile displays is affected by a variety of viewing conditions. First of all, the display size is much smaller than the other displays as it is built to be carried around easily. -
Computational Color Harmony Based on Coloroid System
Computational Aesthetics in Graphics, Visualization and Imaging (2005) L. Neumann, M. Sbert, B. Gooch, W. Purgathofer (Editors) Computational Color Harmony based on Coloroid System László Neumanny, Antal Nemcsicsz, and Attila Neumannx yGrup de Gràfics de Girona, Universitat de Girona, and Institució Catalana de Recerca i Estudis Avançats, ICREA, Barcelona, Spain zBudapest University of Technology and Economics, Hungary xInstitute of Computer Graphics and Algorithms, Vienna University of Technology, Austria [email protected], [email protected], [email protected] (a) (b) Figure 1: (a) visualization of the overall appearance of a dichromatic color set with `caleidoscope' option of the Color Plan Designer software and (b) interactive color selection of a dichromatic color set in multi-layer mode, applying rotated regular grid. Abstract This paper presents experimentally based rules and methods for the creation of harmonic color sets. First, dichro- matic rules are presented which concern the harmony relationships of two hues. For an arbitrarily given hue pair, we define the just harmonic saturation values, resulting in minimally harmonic color pairs. These values express the fuzzy border between harmony and disharmony regions using a single scalar. Second, the value of harmony is defined corresponding to the contrast of lightness, i.e. the difference of perceptual lightness values. Third, we formulate the harmony value of the saturation contrast, depending on hue and lightness. The results of these investigations form a basis for a unified, coherent dichromatic harmony formula as well as for analysis of polychromatic color harmony. Introduced color harmony rules are based on Coloroid, which is one of the 5 6 main color-order systems and − furthermore it is an aesthetically uniform continuous color space. -
Review of Measures for Light-Source Color Rendition and Considerations for a Two-Measure System for Characterizing Color Rendition
Review of measures for light-source color rendition and considerations for a two-measure system for characterizing color rendition Kevin W. Houser,1,* Minchen Wei,1 Aurélien David,2 Michael R. Krames,2 and Xiangyou Sharon Shen3 1Department of Architectural Engineering, The Pennsylvania State University, University Park, PA, 16802, USA 2Soraa, Inc., Fremont, CA 94555, USA 3Inno-Solution Research LLC, 913 Ringneck Road, State College, PA 16801, USA *[email protected] Abstract: Twenty-two measures of color rendition have been reviewed and summarized. Each measure was computed for 401 illuminants comprising incandescent, light-emitting diode (LED) -phosphor, LED-mixed, fluorescent, high-intensity discharge (HID), and theoretical illuminants. A multidimensional scaling analysis (Matrix Stress = 0.0731, R2 = 0.976) illustrates that the 22 measures cluster into three neighborhoods in a two- dimensional space, where the dimensions relate to color discrimination and color preference. When just two measures are used to characterize overall color rendition, the most information can be conveyed if one is a reference- based measure that is consistent with the concept of color fidelity or quality (e.g., Qa) and the other is a measure of relative gamut (e.g., Qg). ©2013 Optical Society of America OCIS codes: (330.1690) Color; (330.1715) Color, rendering and metamerism; (230.3670) Light-emitting diodes. References and links 1. CIE, “Methods of measuring and specifying colour rendering properties of light sources,” in CIE 13 (CIE, Vienna, Austria, 1965). 2. W. Walter, “How meaningful is the CIE color rendering index?” Light Design Appl. 11(2), 13–15 (1981). 3. T. Seim, “In search of an improved method for assessing the colour rendering properties of light sources,” Lighting Res. -
Comparing Measures of Gamut Area
Comparing Measures of Gamut Area Michael P Royer1 1Pacific Northwest National Laboratory 620 SW 5th Avenue, Suite 810 Portland, OR 97204 [email protected] This is an archival copy of an article published in LEUKOS. Please cite as: Royer MP. 2018. Comparing Measures of Gamut Area. LEUKOS. Online Before Print. DOI: 10.1080/15502724.2018.1500485. PNNL-SA-132222 ▪ November 2018 COMPARING MEASURES OF GAMUT AREA Abstract This article examines how the color sample set, color space, and other calculation elements influence the quantification of gamut area. The IES TM-30-18 Gamut Index (Rg) serves as a baseline, with comparisons made to several other measures documented in scientific literature and 12 new measures formulated for this analysis using various components of existing measures. The results demonstrate that changes in the color sample set, color space, and calculation procedure can all lead to substantial differences in light source performance characterizations. It is impossible to determine the relative “accuracy” of any given measure outright, because gamut area is not directly correlated with any subjective quality of an illuminated environment. However, the utility of different approaches was considered based on the merits of individual components of the gamut area calculation and based on the ability of a measure to provide useful information within a complete system for evaluating color rendition. For gamut area measures, it is important to have a reasonably uniform distribution of color samples (or averaged coordinates) across hue angle—avoiding exclusive use of high-chroma samples—with sufficient quantity to ensure robustness but enough difference to avoid incidents of the hue-angle order of the samples varying between the test and reference conditions. -
E GE Enhanced Color Lamps
e GE Enhanced Color Lamps TRANSFORM YOUR BUSINESS... WITH THE CHANGE OF A LIGHT BULB GE enhanced GE ENHANCED color lighting can... ■ Render colors in a natural way. COLOR LIGHTING ■ Highlight and accent objects as never before. ■ Allow you to choose light sources that enhance colors, giving furnishings, merchandise and even people a rich, vibrant look. CAN TRANSFORM ■ Give your surroundings a “warm” or “cool” tone, or somewhere in between. ■ Provide a pleasing light that improves visual A FACILITY FROM appeal, enhances productivity and overall satisfaction of the occupants of the space. ■ Permit more accurate determination of THE ORDINARY color differences. In addition to color enhancement, many of these GE products can also significantly reduce your energy costs and save lamp INTO THE replacement and labor costs. Evaluating light source color. EXTRAORDINARY. Two common ways of specifying light source color are: color temperature and color rendering index. Color Temperature indicates the atmosphere created WITH THE SIMPLE by the light source. • The higher the color temperature, the “cooler” the color. • Color temperatures... – Of 2000K-3000K create a “warm” atmosphere. CHANGE OF A – Above 4000K are “cool” appearance. – Between 3000K and 4000K are considered intermediate and tend to be preferred. LIGHT BULB, YOUR Color Rendering Index (CRI) rates a light source’s ability to render colors in a natural and normal way, based on a scale from 0 to 100. • In general, light sources with high CRI (80-100) BUSINESS CAN will make people and things look better than those with lower CRIs. TAKE ON A VIBRANT NEW LOOK. Color Rendering and 7000K Overcast C75 Sky Color Temperature Starcoat™ The chart at right shows both dimensions of light source SP65 SP65 color—color temperature and color rendering—for the most popular light sources. -
Chromatic Adaptation Transform by Spectral Reconstruction Scott A
Chromatic Adaptation Transform by Spectral Reconstruction Scott A. Burns, University of Illinois at Urbana-Champaign, [email protected] February 28, 2019 Note to readers: This version of the paper is a preprint of a paper to appear in Color Research and Application in October 2019 (Citation: Burns SA. Chromatic adaptation transform by spectral reconstruction. Color Res Appl. 2019;44(5):682-693). The full text of the final version is available courtesy of Wiley Content Sharing initiative at: https://rdcu.be/bEZbD. The final published version differs substantially from the preprint shown here, as follows. The claims of negative tristimulus values being “failures” of a CAT are removed, since in some circumstances such as with “supersaturated” colors, it may be reasonable for a CAT to produce such results. The revised version simply states that in certain applications, tristimulus values outside the spectral locus or having negative values are undesirable. In these cases, the proposed method will guarantee that the destination colors will always be within the spectral locus. Abstract: A color appearance model (CAM) is an advanced colorimetric tool used to predict color appearance under a wide variety of viewing conditions. A chromatic adaptation transform (CAT) is an integral part of a CAM. Its role is to predict “corresponding colors,” that is, a pair of colors that have the same color appearance when viewed under different illuminants, after partial or full adaptation to each illuminant. Modern CATs perform well when applied to a limited range of illuminant pairs and a limited range of source (test) colors. However, they can fail if operated outside these ranges. -
Exploiting Colorimetry for Fidelity in Data Visualization Arxiv
Exploiting Colorimetry for Fidelity in Data Visualization Michael J. Waters,y Jessica M. Walker,y Christopher T. Nelson,z Derk Joester,y and James M. Rondinelli∗,y yDepartment of Materials Science and Engineering, Northwestern University, Evanston, Illinois 60208, USA zOak Ridge National Laboratory, Oak Ridge, Tennessee 37830, USA E-mail: [email protected] Abstract Advances in multimodal characterization methods fuel a generation of increasing immense hyper-dimensional datasets. Color mapping is employed for conveying higher dimensional data in two-dimensional (2D) representations for human consumption without relying on multiple projections. How one constructs these color maps, however, critically affects how accurately one perceives data. For simple scalar fields, perceptually uniform color maps and color selection have been shown to improve data readability arXiv:2002.12228v1 [cs.HC] 27 Feb 2020 and interpretation across research fields. Here we review core concepts underlying the design of perceptually uniform color map and extend the concepts from scalar fields to two-dimensional vector fields and three-component composition fields frequently found in materials-chemistry research to enable high-fidelity visualization. We develop the software tools PAPUC and CMPUC to enable researchers to utilize these colorimetry principles and employ perceptually uniform color spaces for rigorously meaningful color mapping of higher dimensional data representations. Last, we demonstrate how these 1 approaches deliver immediate improvements in -
Appendix G: the Pantone “Our Color Wheel” Compared to the Chromaticity Diagram (2016) 1
Appendix G - 1 Appendix G: The Pantone “Our color Wheel” compared to the Chromaticity Diagram (2016) 1 There is considerable interest in the conversion of Pantone identified color numbers to other numbers within the CIE and ISO Standards. Unfortunately, most of these Standards are not based on any theoretical foundation and have evolved since the late 1920's based on empirical relationships agreed to by committees. As a general rule, these Standards have all assumed that Grassman’s Law of linearity in the visual realm. Unfortunately, this fundamental assumption is not appropriate and has never been confirmed. The visual system of all biological neural systems rely upon logarithmic summing and differencing. A particular goal has been to define precisely the border between colors occurring in the local language and vernacular. An example is the border between yellow and orange. Because of the logarithmic summations used in the neural circuits of the eye and the positions of perceived yellow and orange relative to the photoreceptors of the eye, defining the transition wavelength between these two colors is particularly acute.The perceived response is particularly sensitive to stimulus intensity in the spectral region from 560 to about 580 nanometers. This Appendix relies upon the Chromaticity Diagram (2016) developed within this work. It has previously been described as The New Chromaticity Diagram, or the New Chromaticity Diagram of Research. It is in fact a foundation document that is theoretically supportable and in turn supports a wide variety of less well founded Hering, Munsell, and various RGB and CMYK representations of the human visual spectrum. -
Copyrighted Material
Contents About the Authors xv Series Preface xvii Preface xix Acknowledgements xxi 1 Colour Vision 1 1.1 Introduction . 1 1.2 Thespectrum................................. 1 1.3 Constructionoftheeye............................ 3 1.4 The retinal receptors . 4 1.5 Spectral sensitivities of the retinal receptors . 5 1.6 Visualsignaltransmission.......................... 8 1.7 Basicperceptualattributesofcolour..................... 9 1.8 Colourconstancy............................... 10 1.9 Relative perceptual attributes of colours . 11 1.10 Defectivecolourvision............................ 13 1.11 Colour pseudo-stereopsis . 15 References....................................... 16 GeneralReferences.................................. 17 2 Spectral Weighting Functions 19 2.1 Introduction . 19 2.2 Scotopic spectral luminous efficiency . 19 2.3 PhotopicCOPYRIGHTED spectral luminous efficiency . .MATERIAL . 21 2.4 Colour-matchingfunctions.......................... 26 2.5 TransformationfromR,G,BtoX,Y,Z .................. 32 2.6 CIEcolour-matchingfunctions........................ 33 2.7 Metamerism.................................. 38 2.8 Spectral luminous efficiency functions for photopic vision . 39 References....................................... 40 GeneralReferences.................................. 40 viii CONTENTS 3 Relations between Colour Stimuli 41 3.1 Introduction . 41 3.2 TheYtristimulusvalue............................ 41 3.3 Chromaticity................................. 42 3.4 Dominantwavelengthandexcitationpurity................. 44 3.5 Colourmixturesonchromaticitydiagrams................ -
Applications of a Color-Naming Database
IS&T's 2003 PICS Conference Applications of a Color-Naming Database Nathan Moroney and Ingeborg Tastl Hewlett-Packard Laboratories Palo Alto, CA, USA Abstract sampling of RGB values. Currently over 1000 participants have provided color names. One raw data element An ongoing web-based color naming experiment† has consists of an RGB triplet or node and a corresponding collected a small number of unconstrained color names string of color names. A nominal sRGB8 display was from a large number of observers. This has resulted in a used. The performed analysis suggests that the exact large database of color names for a coarse sampling of characteristics of the assumed nominal display will red, green and blue display values. This paper builds on a minimally impact the analysis as it relates to the relatively previous paper,1 that demonstrated the close agreement for large color name categories. this technique to earlier results for the basic colors, and Following terminology proposed by Berlin and Kay,5 presents several applications of this database of color the basic colors are those that are hypothesized to be names. First, the basic hue names can be further shared by all fully developed languages. These colors are subdivided based on a number of modifiers. Pairs of red, green, blue, yellow, white, black, gray, orange, pink, modifiers are compared based on actual language usage brown and purple. There is a further hypothesis that these patterns, rather than on a fixed hierarchical scheme. names tend to enter into languages in a somewhat fixed Second, given a sufficient sampling of color names using sequence. -
Standard Colour Spaces
Artists House t: +44 (0)20 7292 0400 14-15 Manette St f: +44 (0)20 7292 0401 London, W1D 4AP www.filmlight.ltd.uk UNITED KINGDOM Technical Note Standard Colour Spaces Richard Kirk Document ref. FL-TL-TN-0417-StdColourSpaces Creation date January 9, 2004 Last modified 30 November 2010 Version no. 4.0 Summary In 1931, the Commission Internationale d'Éclairiage (CIE) recommended a system for colour measurement. This system allowed the specification of colour matches using the CIX XYZ tristimulus values. In 1976, the CIE recommended the CIE LAB and CIE LUV colour spaces for the measurement of colour differences, and colour tolerances. These colour spaces, and their more modern variants are the basic tools for modern colorimetry. You can use Truelight without knowing all about CIE colour spaces. However, if you wonder why the XYZ and the L*a*b* calibration for the same monitor look different, you may find your explanation here. Whites are dealt with in a separate section. Most of us know what white paper and white paint is. We might think we know what white light is too. A full discussion of what is and what is not 'white' is much too big a task for this small note, but we introduce a few basic issues. Scanners and printers usually communicate in their own device-dependent RGB. Video has its own colour standard. Densitometers use Status A and Status M colour spaces. We describe all the spaces that Truelight uses to build up a colour transform. Finally we describe a number of effects that are not covered by the standard colour models. -
Testing the Robustness of CIECAM02
Testing the Robustness of CIECAM02 C. J. Li,*1,2 M. R. Luo2 1Shenyang Institute of Automation, Chinese Academy of Science, Shenyang, China 2Department of Colour and Polymer Chemistry, University of Leeds, Leeds LS2 9JT, UK Received 14 July 2003; revised 22 March 2004; accepted 28 June 2004 Abstract: CIE TC8-01 has adopted a new color appearance tional complexity, whereby industrial applications require model: CIECAM021 replaces the CIECAM97s.2 The new the color appearance model to be not only accurate in model consists of a number of refinements and simplifica- predicting the perceptual attributes but also simple in com- tions of the CIECAM97s color appearance model. This putation complexity. To this end, its nonlinear chromatic article describes further tests to the robustness of the for- adaptation transform must be simplified. Li, Luo, Rigg, and ward and reverse modes. © 2005 Wiley Periodicals, Inc. Col Res Hunt5 first considered the linearization of the CMCCAT974 Appl, 30, 99–106, 2005; Published online in Wiley InterScience (www. using the available experimental data sets. The newly de- interscience.wiley.com). DOI 10.1002/col.20087 rived linear chromatic adaptation transform (CMC- Key words: CIECAM02; CIECAM97s; forward mode; re- CAT2000) is not only simpler but also more accurate than 4 6,7 8 verse mode; sRGB space; object color solid CMCCAT97 and CIECAT94. Fairchild and Hunt, Li, Juan, and Luo9 made further revisions to the CIECAM97s using different linear chromatic adaptation transforms. The INTRODUCTION former used a modified linear chromatic transformation, and The CIE in 1997 recommended a simple version of the color the latter used CMCCAT2000.