DOCSLIB.ORG

Gernot Hoffmann the Digital Munsell

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gernot Hoffmann the Digital Munsell CIELab Document / Rendering Intent Relative Colorimetric / With Blackpoint Compensation Gernot Hoffmann The Digital Munsell Glossy version Colors by Lab numbers Illuminant D50 Out-of-gamut distances for sRGB and ISOCoated Protected by Copyright Public scientific application requires permission Commercial application requires a contract October 20 / 203 Website Load Browser Click here http://docs-hoffmann.de CIELab Document / Rendering Intent Relative Colorimetric / With Blackpoint Compensation Contents Used Hues by Used Neutrals name and angle Step dV= . Introduction 2 The Munsell nomenclature is interpreted Step dH=9° 2. Planes of constant Munsell Hue 3 - 4 for instance like this: N=0,1,...9,10 3. Planes of constant Munsell Value in CIELab 43- 44 0R 5/8 means H=8°, V=5 and C=8. Added N=0 and 2.5R 351 N=10 4. References 45 The Munsell Hue is defined by a name. 5R 0 The table contains the assigned angle 7.5R 9 Unused Introduction 10R 18 in degrees. Planes of constant H are made for mul- 2.5YR 27 1.25YR 22.5 The Munsell color system was created by the artist A.H.Munsell in 905 and then tiples of 9°. Planes of constant V are 5YR 36 3.75YR 31.5 improved over the years by scientists (Munsell renotation 943). 7.5YR 45 6.25YR 40.5 made for all available hues. 10YR 54 8.75YR 49.5 The colors are arranged so, that the perceptual difference between two neighbours Values V reach here from 0 to 0, in- is constant, concerning the hue (M. Hue or H in degrees), the lightness (M.Value V) cluding the ideal absorber and the ideal 2.5Y 63 1.25Y 58.5 and eventually the chroma (M.Chroma C). Good descriptions can be found in text diffuser. 5Y 72 3.75Y 67.5 books [],[2], [3], [5] and in the publication [9]. 7.5Y 81 6.25Y 76.5 Chroma C is usually shown by steps 10Y 90 8.75Y 85.5 Munsell samples are available as chips [29]. The perceptual balance requires viewing of 2 (2 steps C should be perceptually under light similar to illuminant C [6]. Such an illumination is hardly anywhere found equivalent to step V). 2.5GY 99 1.25GY 94.5 outside laboratories. 5GY 108 3.75GY 103.5 Available data with C= are ignored. 7.5GY 117 6.25GY 112.5 This document The Digital Munsell is based on the appearance of glossy Munsell Each page for a plane of constant H 10GY 126 8.75GY 121.5 chips under illumination D50. Light booths for D50 are available, either with fluorescent contains in fact two hues: tubes or with Solux tungsten halogen bulbs [26]. There was no attempt to simulate 2.5G 135 1.25G 130.5 H and H2 = H+80°. 5G 144 3.75G 139.5 the original appearance under illuminant C . Each page has a partner page which 7.5G 153 6.25G 148.5 10G 162 8.75G 157.5 The author is most grateful to Roger Breton for interesting discussions, for supplying contains CIELab values L*,a*,b* and CIELab reference data (originally from X-Rite's ColorMunki) and for measured data. gamma encoded values R,G,B for sRGB 2.5BG 171 1.25PB 238.5 Reference data for some colors were missing. The gaps could be filled by Roger's (written without apostroph) . 5BG 180 3.75PB 247.5 measured data (under D50) for the complete set. The lightness of the Neutrals in 7.5BG 189 6.25PB 256.5 If a color is out-of-gamut for sRGB, then 10BG 198 8.75PB 265.5 ColorMunki [30] was too large. The CIELab data were replaced by Roger's measured the estimated out-of-gamut distance is data. One totally wrong set 2.5B_6/0 was ignored. 2.5B 207 1.25RP 310.5 indicated bottom right in CIELab units. 5B 216 Data sets from the Munsell Color Science Laboratory [8] cannot be used, because 3.75RP 319.5 If a color is out-of-gamut for the specified 7.5B 225 6.25RP 328.5 they are valid for illuminant C. There are two versions: the real Munsells and the 10B 234 CMYK space, which is at present ISO- 8.75RP 337.5 extrapolated Munsells. Real Munsell chromas are not larger than 6, whereas ex- Coated_v2_eci.icc, then the estimated trapolated Munsells can have chromas almost double as large. This is important for 2.5PB 243 1.25R 346.5 distance is indicated bottom left in each 5PB 252 3.75R 355.5 understanding some illustrations in [9] and for the interpretation of data in []. field. 7.5PB 261 6.25R 4.5 10PB 270 8.75R 13.5 This doc shows a subset of about 600 real Munsell colors, as existing in chip sets. The underlying algorithms are described It can be printed by a PostScript printer. All colors patches are programmed by CIE- in [24]. 2.5P 279 Patched by Lab numbers. 5P 288 Planes of constant V in CIELab contain 7.5P 297 measured data The printer should work in PostScript mode ‚Archive Format‘ instead of ‚Optimized gamut boundaries for sRGB and for 10P 306 for speed‘. Otherwise some elements might get lost. the CMYK space. The lightness L* was 10YR 5/2 Some printers cannot reproduce CIELab correctly. In such a case the CIELab values 2.5RP 315 10YR 5/4 calculated as mean value of all colors in 5RP 324 10B 2/4 in the PDF should be converted by Acrobat Professional into ProPhotoRGB, and the each diagram. 7.5RP 333 7.5Y 8/10 printer should use this wide gamut space as input space. 10RP 342 5P 5/10 2 CIELab Document / Rendering Intent Relative Colorimetric / With Blackpoint Compensation 80o 5BG 5R 0o 0 V 9 8 6 5 4 3 2 0 6 C 4 2 0 8 6 4 2 2 4 6 8 0 2 4 C 6 3 CIELab Document / Rendering Intent Relative Colorimetric / With Blackpoint Compensation o o Lab RGB 80 5BG 00 255 5R 0 0 0 255 0 255 0 V 0 Lab RGB Lab RGB Lab RGB 9.9 202 9.3 229 92. 249 - 3.8 240 -0.3 9 230 .6 22 -0.8 232 0.2 230 3.8 225 4 0 0 0 0 0 Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB 8. 49 8. 6 8.4 20 8.4 220 82.3 242 8.8 255 -2 3.2 24 - 2.6 20 -0.5 8 202 8. 9 .9 92 28.0 83 -2. 204 -0. 204 -0.3 203 4.3 95 9.4 88 5.0 3 0 0 0 0 0 0 0 0 0 5 2 Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB . 3 .5 96 2. 26 2.0 50 .4 3 2. 96 .8 23 2.0 230 2.4 245 2.5 255 -4 2.6 95 -3 .2 9 -2 2.3 89 - 2.4 83 -0.6 5 9.0 8.3 64 2.3 5 35.6 5 46.3 4 -6.0 83 -4.4 82 -2.6 8 -.3 8 -0.3 5 4.3 69 9.2 60 4.5 5 8.6 46 24.0 3 8 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 4 0 6 4 Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB 62.0 0 60. 0 6.6 59 60. 92 6.2 24 6.2 48 6.9 69 6. 84 6.9 20 62. 2 63.2 233 63. 248 -5 3.3 4 -4 3.5 6 -3 2. 65 -2 3. 5 - .4 54 0. 6 48 9.6 43 8.2 3 2.9 30 3.3 22 45.4 55.8 05 -9.6 65 -. 58 -5.4 5 -2.8 49 -. 49 -0. 48 4. 42 8.8 35 4. 26 20.0 25.6 29.8 04 4 0 6 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 0 Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB 5.2 0 50.5 0 5.2 2 5.0 5 5.3 02 5.2 2 5. 4 5.6 58 52.2 6 52.3 90 52.6 204 53.0 29 53.4 229 -4 8.8 43 -4 2.2 39 -3 2. 3 -2 0.5 32 -9.9 2 -0.5 5 22 9.3 9.5 0 29.4 04 39.0 95 48.0 86 58.0 3 64.4 63 - 0.3 38 -8. 34 -5.8 3 -3.5 2 -.5 24 -0.2 22 4.4 6 9. 0 4.6 0 9. 93 25.2 86 30.2 9 35.9 0 6 0 9 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB Lab RGB 40.8 0 40.8 0 40.5 4 40.8 40.9 9 4.6 9 4.5 34 4.6 48 4.9 62 42.0 5 43.2 89 42.5 98 -4 3.9 4 -3 .9 0 -2 2.2 06 -9.
Load more

Recommended publications
  • Basic Color I
    Basic Color I Up to this point we have explored and /or reviewed 4 several basic visual elements that will help develop a solid foundation for a Language of Painting. With a strong focus on the dynamics of paint application, we have connected simple dots with confident lines, con- figured lines into a wide array of shapes, and applied contrasting pigments in concert with varied pressures to yield seamless gradations of value. However, the previous chapter incorporated a new element that many find to be one of the most powerful tools for the creative endeavor-- color. The Painted Pressure Scale chapter, had us grow our palette from the sparse black and white that we have started with to include three colors: Red, Yellow and Blue. It is our hope that your experience generated a good number of questions from this inaugural color use. With this chapter we will take some first steps towards answering those questions. We will also revisit some of the color concepts you may already hold and introduce you to some of the more advanced methods for identifying, using and understanding this brilliant aspect of the artist’s salvo. On any initial investigation into color we are faced with a robust vocabulary of terms and concepts that may leave us somewhat confused. Like the many other aspects of our curriculum, we make a strong effort to simplify all of this. We will endeavor to make use of what you may have learned in the past and offer options for you to integrate color in the manner you wish into your creative process efficiently and effectively.
    [Show full text]
  • Development of a Methodology for Analyzing the Color Content of a Selected Group of Printed Color Analysis Systems
    AN ABSTRACT OF THE THESIS OF Edith E. Collin for the degree of Master of Sciencein Clothing, Textiles and Related Arts presented on April 7, 1986. Title: Development of a Methodology for Analyzing theColor Content of a Selected Group of Printed Color Analysis Systems Redacted for Privacy Abstract approved: Ardis Koester The purpose of this study was to develop amethodology to compare the color choice recommendationsfor each personal color analysis category identified by the authorsof selected publications. The procedure used included: (1) identification of publications with color analysis systemsdirected toward female clientele; (2) comparison of number and names of categoriesused; (3) identification, by use of Munsell colornotations, the visual and written color recommendations ascribed toeach category; and (4) comparison of the publications on the basisof: (a) number and names of categories; (b) numberof color recommendations in each category; (c) range of hue value and chroma presented;(d) comparison of visual and written color recommendations by categoryand author. With the exception of comparison of publications onthe basis of written color recommendations, all components of themethodology were successful. Comparison of the publications used in development ofthe methodology revealed that: 1. The majority of authors use the seasonal category system. 2. The number of color recommendations per category was quite consistent within a publication but varied widely among authors. 3. There were few similarities in color recommendations even among authors using the same name categories. 4. There was poor agreement between written and visual color recommendations within all color categories. 5. There was no discernable theoretical basis for the color recommendations presented by any author included in this study.
    [Show full text]
  • Color Space Conversion
    L Technical Color Space Information Conversion The role of color space conversion in the process of scanning and reproduc- ing a color image begins the moment an image is captured by a scanner and continues through the point at which it is output on film. For the purpose of this article we will discuss conversions between three types of color systems: RGB, CIE, and CMYK. The RGB (Red, Green, & Blue) and CMYK (Cyan, Magenta, Yellow, & Black) color models have been described in greater detail in the Linotype-Hell Technical information piece entitled Color in Printing. For some background information on the CIE (Commission Internationale de l’Eclairage), please refer to Color Spaces and PostScript Level 2. CIE as a reference color space Most scanners acquire color in the form of RGB data. The majority of non- photographic printing methods employ CMYK inks or toners. In a closed sys- tem, where the characteristics of both the scanner and the printing method are well-defined, conversions may be made from RGB to CMYK through tables that maintain a reasonable level of color consistency. The process becomes somewhat more difficult as you add monitors, other scanners, proofing devices or printing processes that have different characteristics. It becomes critical to have a consistent yardstick, if you will, a means of con- verting between different color systems (and back again) without a loss in color fidelity. This is what CIE provides. Let’s start with some background on CIE, and then we will look at how it can be applied in an open system. Measuring color Light reflected off of, or transmitted through a colored object can be mea- sured by the wavelengths of light that are reflected or transmitted.
    [Show full text]
  • Color Measurement1 Agr1c Ü8 ,
    I A^w /\PK4 1946 USDA COLOR MEASUREMENT1 AGR1C ü8 , ,. 2001 DEC-1 f=> 7=50 AndA ItsT ApplicationA rL '"NT SERIAL Í to the Grading of Agricultural Products A HANDBOOK ON THE METHOD OF DISK COLORIMETRY ui By S3 DOROTHY NICKERSON, Color Technologist, Producdon and Marketing Administration 50! es tt^iSi as U. S. DEPARTMENT OF AGRICULTURE Miscellaneous Publication 580 March 1946 CONTENTS Page Introduction 1 Color-grading problems 1 Color charts in grading work 2 Transparent-color standards in grading work 3 Standards need measuring 4 Several methods of expressing results of color measurement 5 I.C.I, method of color notation 6 Homogeneous-heterogeneous method of color notation 6 Munsell method of color notation 7 Relation between methods 9 Disk colorimetry 10 Early method 22 Present method 22 Instruments 23 Choice of disks 25 Conversion to Munsell notation 37 Application of disk colorimetry to grading problems 38 Sample preparation 38 Preparation of conversion data 40 Applications of Munsell notations in related problems 45 The Kelly mask method for color matching 47 Standard names for colors 48 A.S.A. standard for the specification and description of color 50 Color-tolerance specifications 52 Artificial daylighting for grading work 53 Color-vision testing 59 Literature cited 61 666177—46- COLOR MEASUREMENT And Its Application to the Grading of Agricultural Products By DOROTHY NICKERSON, color technologist Production and Marketing Administration INTRODUCTION cotton, hay, butter, cheese, eggs, fruits and vegetables (fresh, canned, frozen, and dried), honey, tobacco, In the 16 years since publication of the disk method 3 1 cereal grains, meats, and rosin.
    [Show full text]
  • ARCA (Automatic Recognition of Color for Archaeology): a Desktop Application for Munsell Estimation
    ARCA (Automatic Recognition of Color for Archaeology): a Desktop Application for Munsell Estimation Filippo L.M. Milotta1;2, Filippo Stanco1, and Davide Tanasi2 1 Image Processing Laboratory (IPLab) Department of Mathematics and Computer Science University of Catania, Italy fmilotta, [email protected] 2 Center for Virtualization and Applied Spatial Technologies (CVAST) Department of History University of South Florida, Florida [email protected], [email protected] Abstract. Archaeologists are used to employing the Munsell Soil Charts on cultural heritage sites to identify colors of soils and retrieved artifacts. The standard practice of Munsell estimation exploits the Soil Charts by visual means. This procedure is error prone, time consuming and very subjective. To obtain an accurate estimation the process should be re- peated multiple times and possibly by other users, since colors might not be perceived uniformly by different people. Hence, a method for objective and automatic Munsell estimation would be a valuable asset to the field of archaeology. In this work we present ARCA: Automatic Recognition of Color for Archaeology, a desktop application for Munsell estimation. The following pipeline for Munsell estimation aimed towards archaeologists has been proposed: image acquisition of specimens, manual sampling of the image in the ARCA desktop application, automatic Munsell estima- tion of the sampled points and creation of a sampling report. A dataset, called ARCA108, consisting of 22; 848 samples has been gathered, in an unconstrained environment, and evaluated with respect to the Munsell Soil Charts. Experimental results are reported to define the best con- figuration that should be used in the acquisition phase.
    [Show full text]
  • Colorwatch: Color Perceptual Spatial Tactile Interface for People with Visual Impairments
    electronics Article ColorWatch: Color Perceptual Spatial Tactile Interface for People with Visual Impairments Muhammad Shahid Jabbar 1 , Chung-Heon Lee 1 and Jun Dong Cho 1,2,* 1 Department of Electrical and Computer Engineering, Sungkyunkwan University, Suwon 16419, Gyeonggi-do, Korea; [email protected] (M.S.J.); [email protected] (C.-H.L.) 2 Department of Human ICT Convergence, Sungkyunkwan University, Suwon 16419, Gyeonggi-do, Korea * Correspondence: [email protected] Abstract: Tactile perception enables people with visual impairments (PVI) to engage with artworks and real-life objects at a deeper abstraction level. The development of tactile and multi-sensory assistive technologies has expanded their opportunities to appreciate visual arts. We have developed a tactile interface based on the proposed concept design under considerations of PVI tactile actuation, color perception, and learnability. The proposed interface automatically translates reference colors into spatial tactile patterns. A range of achromatic colors and six prominent basic colors with three levels of chroma and values are considered for the cross-modular association. In addition, an analog tactile color watch design has been proposed. This scheme enables PVI to explore artwork or real-life object color by identifying the reference colors through a color sensor and translating them to the tactile interface. The color identification tests using this scheme on the developed prototype exhibit good recognition accuracy. The workload assessment and usability evaluation for PVI demonstrate promising results. This suggest that the proposed scheme is appropriate for tactile color exploration. Citation: Jabbar, M.S.; Lee, C.-H.; Keywords: color identification; tactile perception; cross modular association; universal design; Cho, J.D.
    [Show full text]
  • 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.
    [Show full text]
  • Unique Hues & Principal Hues
    Received: 19 June 2018 Revised and accepted: 6 July 2018 DOI: 10.1002/col.22261 RESEARCH ARTICLE Unique hues and principal hues Mark D. Fairchild Program of Color Science/Munsell Color Science Abstract Laboratory, Rochester Institute of Technology, Integrated Sciences Academy, Rochester, This note examines the different concepts of encoding hue perception based on New York four unique hues (like NCS) or five principal hues (like Munsell). Various sources Correspondence of psychophysical and neurophysiological information on hue perception are Mark Fairchild, Rochester Institute of Technology, Integrated Sciences Academy, Program of Color reviewed in this context and the essential conclusion that is reached suggests there Science/Munsell Color Science Laboratory, are two types of hue perceptions being quantified. Hue discrimination is best quan- Rochester, NY 14623, USA. tified on scales based on five, equally spaced, principal hues while hue appearance Email: [email protected] is best quantified using a system based on four unique hues as cardinal axes. Much more remains to be learned. KEYWORDS appearance, discrimination, hue, Munsell 1 | INTRODUCTION note that the NCS system was designed to specify colors and their relations according to the character of their perception For over a century, the Munsell Color System has been used (appearance) while Munsell was set up to create scales of to describe color appearance, specify color relations, teach equal color discrimination, or color difference (rather than color concepts, and inspire new uses of color. It is unique in perception). Perhaps that distinction can be used to explain the sense that its hue dimension is anchored by five principal the difference in number of principal/cardinal hues.
    [Show full text]
  • Major Color Order Systems and Their Psychophysical Structure
    Chapter 7 Major Color Order Systems and Their Psychophysical Structure In this chapter only the Munsell, OSA-UCS, and Swedish NCS systems will be discussed. The former two are the most important attempts to create psy- chologically uniform systems, the latter uses the presumed natural approach of Hering (see Chapter 2) to create a color order system, having a regular structure, but not one uniform in terms of size of perceived differences. There are several other newer color order systems extant, but they neither make claims for uniformity nor for regularity according to new, significant psycho- logical attributes. The issue of viewing conditions for these systems has been attended to in different ways.As discussed previously,the Munsell system is illustrated as if the chips at each value level would be viewed against an achromatic surround of the same value.Chips of two adjacent value levels are illustrated as if viewed against an achromatic surround of intermediate value. The actual atlas displays the chips on white paper (historically of various degrees of whiteness), thus result- ing in distortions of the value scale, particularly at lower values.The OSA-UCS system is defined for an achromatic surround of luminous reflectance Y = 30 (L = 0).The atlas samples are in transparent jackets.NCS,finally,has been estab- lished against an immediate achromatic surround of Y = 78 in a light booth painted with an achromatic gray of Y = 54.The atlas displays samples on white paper. Both latter systems only result in the intended color experiences when viewed against the appropriate surrounds. Munsell and NCS are defined for Color Space and Its Divisions: Color Order from Antiquity to the Present, by Rolf G.
    [Show full text]
  • PRECISE COLOR COMMUNICATION COLOR CONTROL from PERCEPTION to INSTRUMENTATION Knowing Color
    PRECISE COLOR COMMUNICATION COLOR CONTROL FROM PERCEPTION TO INSTRUMENTATION Knowing color. Knowing by color. In any environment, color attracts attention. An infinite number of colors surround us in our everyday lives. We all take color pretty much for granted, but it has a wide range of roles in our daily lives: not only does it influence our tastes in food and other purchases, the color of a person’s face can also tell us about that person’s health. Even though colors affect us so much and their importance continues to grow, our knowledge of color and its control is often insufficient, leading to a variety of problems in deciding product color or in business transactions involving color. Since judgement is often performed according to a person’s impression or experience, it is impossible for everyone to visually control color accurately using common, uniform standards. Is there a way in which we can express a given color* accurately, describe that color to another person, and have that person correctly reproduce the color we perceive? How can color communication between all fields of industry and study be performed smoothly? Clearly, we need more information and knowledge about color. *In this booklet, color will be used as referring to the color of an object. Contents PART I Why does an apple look red? ········································································································4 Human beings can perceive specific wavelengths as colors. ························································6 What color is this apple ? ··············································································································8 Two red balls. How would you describe the differences between their colors to someone? ·······0 Hue. Lightness. Saturation. The world of color is a mixture of these three attributes.
    [Show full text]
  • Reflectance Measurements of Pigmented Colorants
    Reflectance Measurements of Pigmented Colorants Jeffrey B. Budsberg Donald P. Greenberg Stephen R. Marschner Technical Report PCG-06-02 Cornell Program of Computer Graphics September 6, 2006 In this report, we present the results of an experimental study on the appearance of artists’ paint over time. Paint samples were handmade to ensure material quality, using various pigment colorants and adhesive binding media. We present the results of our diffuse reflectance measurements, which show very significant perceptual differences in two different domains: how the appearance of paint changes over time; and how the appearance of one pigmented colorant varies when dispersed in different materials. Acknowledgements This work would not have been possible without the contributions and support from many individuals. The authors would like to thank Stan Taft for his commentary in the early stages of this research. Fabio Pellacini proved to be a great resource for hashing through ideas, as well as aiding in the implementation of the rendering code in graphics hardware. James Ferwerda was very helpful in the discussion of color science and visual perception. We thank Steve Westin for assisting in the setup of the equipment in the light measurement laboratory and Victor Kord for lending his expertise on artists’ materials. This research was supported by the Program of Computer Graphics, the Depart- ment of Architecture and the National Science Foundation ITR/AP 0205438. i Table of Contents 1 Background 1 1.1 Introduction . 1 1.2 Color Spaces . 3 2 Results 5 2.1 Reflectance Data . 5 2.2 Effect of Binding Media . 30 2.3 Effect of Time .
    [Show full text]
  • Color Appearance and Color Difference Specification
    Errata: 1) On page 200, the coefficient on B^1/3 for the j coordinate in Eq. 5.2 should be -9.7, rather than the +9.7 that is published. 2) On page 203, Eq. 5.4, the upper expression for L* should be L* = 116(Y/Yn)^1/3-16. The exponent 1/3 is omitted in the published text. In addition, the leading factor in the expression for b* should be 200 rather than 500. 3) In the expression for "deltaH*_94" just above Eq. 5.8, each term inside the radical should be squared. Color Appearance and Color Difference Specification David H. Brainard Department of Psychology University of California, Santa Barbara, CA 93106, USA Present address: Department of Psychology University of Pennsylvania, 381 S Walnut Street Philadelphia, PA 19104-6196, USA 5.1 Introduction 192 5.3.1.2 Definition of CI ELAB 202 5.31.3 Underlying experimental data 203 5.2 Color order systems 192 5.3.1.4 Discussion olthe C1ELAB system 203 5.2.1 Example: Munsell color order system 192 5.3.2 Other color difference systems 206 5.2.1.1 Problem - specifying the appearance 5.3.2.1 C1ELUV 206 of surfaces 192 5.3.2.2 Color order systems 206 5.2.1.2 Perceptual ideas 193 5.2.1.3 Geometric representation 193 5.4 Current directions in color specification 206 5.2.1.4 Relating Munsell notations to stimuli 195 5.4.1 Context effects 206 5.2.1.5 Discussion 196 5.4.1.1 Color appearance models 209 5.2.16 Relation to tristimulus coordinates 197 5.4.1.2 C1ECAM97s 209 5.2.2 Other color order systems 198 5.4.1.3 Discussion 210 5.2.2.1 Swedish Natural Colour System 5.42 Metamerism 211 (NC5) 198 5.4.2.1 The
    [Show full text]