DOCSLIB.ORG

Preferred Skin Colour Reproduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Preferred Skin Colour Reproduction Preferred Skin Colour Reproduction Huanzhao Zeng Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Department of Colour Science September, 2011 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. - ii - - iii - Acknowledgements It would have been impossible to complete this work without the help of many others. First, I want to thank my supervisor, Prof. Ronnier Luo, for encouraging me to continue learning, helping me identifying the research field, and advising me on every step of this research. Many thanks to Dr. Jan Morovic for encouraging me to work on a PhD degree under Prof. Luo‟s supervision and for many advices on this research, Prof. Steve Westland‟s advices and Dr. Di-Yuan Tzeng‟s advices on my research. I acknowledge the help of Dr. Tim Mauer and Dr. David Berfanger in organizing the first psychophysical experiment in HP Vancouver Site, and Mr. Tuo Wu and Mrs. Shilin Guo in testing the first skin colour enhancement method in HP San Diego Site. I also acknowledge many observers participated in my psychophysical experiments. To my family, I would like to express my thankful heart for their faithful support and consistent love. I apologize that many vacations, family events, and parties were missed because of my dedication to this research. Finally, I acknowledge the support of my employer, Hewlett-Packard Company. Its financial assistance and flexible working policy allowing me to work from Leeds made this work possible. Special thanks to my supervisors, Kevin Hudson, Dave Pinkernell, Ron Gompertz, and Kirby Frugia, for their support on my career development. - iv - Abstract The memory colour reproduction is an important factor in judging image quality of photographic images of real life scenes. As the most important memory colour category, skin tone was extensively studied for preferred colour reproduction in this research. The methodology to study skin colour preference was then applied to study the colour preference of two other important colour categories: green foliage and blue sky. There are three essential parts for preferred skin colour enhancement: 1) building a skin colour model to detect skin colours or skin pixels; 2) finding a preferred skin colour region or a preferred skin colour centre; and 3) developing an algorithm to morph skin colours toward the preferred skin colour region. This study for skin colour enhancement started with the mathematical modelling of the skin colour region for skin colour detection. The modelling of skin colours was then applied to adjust skin colours of test images for psychophysical experiments that were to determine a preferred skin colour region. Finally, the skin colour modelling and the preferred skin colour centres were applied to adjust skin colours of digital photographic images for preferred colour reproduction. Two approaches were developed to model the skin colour distribution for skin colour detection. The first approach was to model a local colour region for general applications. A convex hull is constructed to fit the geometrical shape of a local region, and then the convex hull is approximated with mathematical formulae. The formulations and data fitting are adjusted with interactive 3-D visualization. The approach is flexible for fitting data gamut with various mathematical forms for different purposes. The other approach was to model skin colours with elliptical shapes. Three elliptical skin colour models were developed for skin colour detection. The first one is to model the skin colour cluster using a single ellipse ignoring the lightness (or luminance) dependency. It is simple and efficient, and the skin colour detection accuracy may be adequate for many applications. In the second model, the skin colour ellipse is adapted to different lightness so that the shape of the ellipse fits the skin colour cluster more accurately. The model is more complex to train and is less efficient in computation, but it is more accurate in skin colour detection. In the third method, an ellipsoid is trained to fit the skin colour cluster. It is almost as simple to train as the first model, but the skin colour detection accuracy is improved. Finally, these models were applied to train mixed skin colours, African skin colours, Caucasian skin colours, and Asian skin colours. - v - The results of skin colour modelling were applied to guide psychophysical experiments to determine preferred skin colours for skin colour enhancement. A series of psychophysical experiments were conducted to study skin colour preference of mixed culture background; skin colour preference by ethnicity and skin colour preference across ethnicities. The results reveal that preferred skin colours are more chromatic than real skin colours; observer variances in skin colour preference are larger in chroma than in hue; the preferred skin colour centre for mixed skin colours is about (21, 24) for CIE a*b* with a hue angle of 49o in D50 illuminant; Orientals prefer slightly less chromatic skin colours than Africans and Caucasians; and preferred skin colour variations in Africans are higher than the variations in Caucasians and the variations in Orientals. In cross-culture preference, Orientals consistently prefer slight less chromatic Oriental, Caucasian, and African skin colours than Caucasians and Africans, and Africans prefer more chromatic Caucasian and Oriental skin colours than Caucasians and Orientals. Comparison of preferred skin colour ellipses in CIELAB and CAM02-UCS reveals that CAM02-UCS is more uniform than CIELAB in the skin colour region. Preferred skin colour enhancement algorithms were developed for skin colour enhancement in this research. The first method applies a static skin colour model to detect skin colours, and morphs skin colours toward a preferred skin colour centre. Psychophysical experimental results validate that the method of preferred skin colour enhancement effectively identifies skin colours without face recognition, improves the skin colour preference, and does not objectionably affect preferred skin colours in original images. The second method, skin colour enhancement using face box information, was proposed to further improve the result of skin colour enhancement. The skin colour distribution of face boxes were used to adjust the skin colour modelling and to adjust the coefficients for skin colour enhancement. The latter approach is more effective for enhancing skin colours that are far off from normal skin colours. Lastly, a new algorithm to morph skin colours was proposed. The method to build elliptical skin colour models was further applied to model colour regions of green foliages and blue skies of photographic images for colour detection and enhancement. Elliptical colour models for these two colour regions were trained and were used to detect green foliage and blue sky colours. The training results of the elliptical colour modelling of skin, green foliage, and blue sky of photographic images in CIELAB and CAM02-UCS were analysed to study these three memory colour objects and to study the colour space uniformity between CIELAB and CAM02-UCS. - vi - Abbreviations CMT Colour Masker Tool CRT Cathode Ray Tube ICC International Color Consortium LCD Liquid Crystal Display LUT Lookup Table PCS Profile Connection Space (in ICC Colour Management System) PSCC Preferred Skin Colour Centre SPD Spectral Power Distribution UCS Uniform Colour Space ROC Receiver Operating Characteristics - vii - Contents Acknowledgements .................................................................................................. iii Abstract ..................................................................................................................... iv Abbreviations ........................................................................................................... vi Contents ................................................................................................................... vii List of Figures .......................................................................................................... xv List of Tables ........................................................................................................ xxiii Chapter 1 Introduction ............................................................................................ 1 1.1 Aims and Scope .......................................................................................... 1 1.2 Thesis Structure .......................................................................................... 2 1.3 Summary of Contributions to Knowledge .................................................. 3 Chapter 2 Literature Survey ................................................................................... 5 2.1 Human colour perception ............................................................................ 5 2.1.1 The Nature of Light ........................................................................ 5 2.1.2 The Human Colour Vision .............................................................. 6 2.1.2.1 Colour Perception by Eye ................................................... 6 2.1.2.2 Colour Perception by Brain ................................................ 8
Load more

Recommended publications
  • Mark Seymour Life of a Documentary Photographer
    Online Issue 2 - February 2017 MARK SEYMOUR LIFE OF A DOCUMENTARY PHOTOGRAPHER THE SOCIETIES AWARD WINNING IMAGES OF 2016 BASICS WITH BRIAN “THE BRAIN” 10 ESSENTIAL PHOTOSHOP EFX WITH MARK CLEGHORN ACADEMY LIVE CRIT TOP TEN COMMENTS PIMP MY PICTURE GARDEN MACRO TIPS WITH MICHELLE WHITMORE ZEISS LENS REVIEW WITH LISA BEANEY BIG PHOTO COMPETITION - WELCOME TO THE BIG PHOTO E-ZINE HEADSHOTS elcome to the second issue of The Big Photo, we hope the first informed and enlightened you in some way. WThis month we’re brining you another fantastic variety ROADSHOW of content, a amazing Architectural Image of the month, an insight into the world of Top Documentary & Wedding photographer Mark Seymour, Garden Macro tips, Mark Cleghorn’s essential Photoshop EFX, and much much more. inspire The Big Photo is ultimately designed as a celebration of The Photographer Academy create photography and photographers, so this month we also brining you some of the amazing winning images from the SWPP 2016 Photographer of the Year is proud to present The Big awards. These images show the amazing quality of images being produced today and Photo UK Roadshow 2017 hopefully inspires you to shoot that little bit better every day. and this year it’s all about Remember you can get your images featured to, if you make the top ten in our monthly Headshots! critique then your image will appear in the magazine. Also, don’t forget The Big Photo is Bringing you specific training including Business, an interactive Ezine, so look for links to take you directly to more great content from The Lighting, Posing, Pricing, Products and finishing the Photographer Academy and our partners.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Cortical Mechanisms of Colour Vision
    REVIEWS CORTICAL MECHANISMS OF COLOUR VISION Karl R. Gegenfurtner The perception of colour is a central component of primate vision. Colour facilitates object perception and recognition, and has an important role in scene segmentation and visual memory. Moreover, it provides an aesthetic component to visual experiences that is fundamental to our perception of the world. Despite the long history of colour vision studies, much has still to be learned about the physiological basis of colour perception. Recent advances in our understanding of the early processing in the retina and thalamus have enabled us to take a fresh look at cortical processing of colour. These studies are beginning to indicate that colour is processed not in isolation, but together with information about luminance and visual form, by the same neural circuits, to achieve a unitary and robust representation of the visual world. SENSORY SYSTEMS It has been known since the nineteenth century that In the retinal ganglion cells, three channels convey there are three types of photoreceptor for daylight information from the eye to the brain7,8. In the L + M or vision in the human eye1,2. Since then, the shapes of the luminance channel, the signals from L- and M-cones spectral absorption functions of the different cones are added to compute the intensity of a stimulus. In the have been determined with increasing precision in L – M colour-opponent channel, the signals from L- and psychophysical experiments and verified using various M-cones are subtracted from each other to compute electrophysiological methods3. On the molecular the red–green component of a stimulus.
    [Show full text]
  • 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.
    [Show full text]
  • A Photojournalist's Field Guide: in the Trenches with Combat Photographer
    A PHOTOJOURNALISt’S FIELD GUIDE IN THE TRENCHES WITH COMBAT PHOTOGRAPHER STACY PEARSALL A Photojournalist’s Field Guide: In the trenches with combat photographer Stacy Pearsall Stacy Pearsall Peachpit Press www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education. Copyright © 2013 by Stacy Pearsall Project Editor: Valerie Witte Production Editor: Katerina Malone Copyeditor: Liz Welch Proofreader: Erin Heath Composition: WolfsonDesign Indexer: Valerie Haynes Perry Cover Photo: Stacy Pearsall Cover and Interior Design: Mimi Heft Notice of Rights All rights reserved. No part of this book may be reproduced or trans- mitted in any form by any means, electronic, mechanical, photocopy- ing, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trade- mark claim, the designations appear as requested by the owner of the trademark.
    [Show full text]
  • Rental Catalog Lighting • Grip
    RENTAL CATALOG LIGHTING • GRIP SAMYS.COM/RENT TABLE OF CONTENTS STROBE LIGHTING PROFOTO ....................................................................................................................1 BRONCOLOR ..............................................................................................................6 GODOX VIDEO LIGHT ............................................................................................... 10 POWER INVERTERS .................................................................................................. 10 QUANTUM FLASHES & SLAVES ................................................................................. 11 SOFT LIGHTS ............................................................................................................12 BRIESE LIGHTING & ACCESSORIES ...........................................................................13 LIGHT BANKS ............................................................................................................14 POCKET WIZARD REMOTE TRIGGERS .......................................................................15 METERS EXPOSURE METERS ..................................................................................................16 CONTINUOUS LIGHTING LED / TUNGSTEN / HMI .............................................................................................18 HMI LIGHTING ...........................................................................................................19 LED LIGHTS ...............................................................................................................21
    [Show full text]
  • Psychophysical Investigations Into the Neural Basis of Synaesthesia V
    doi 10.1098/rspb.2000.1576 Psychophysical investigations into the neural basis of synaesthesia V. S. Ramachandran* andE.M.Hubbard Center for Brain and Cognition, University of California, San Diego, 9500 Gilman Drive, LaJolla, CA 92093-0109, USA We studied two otherwise normal, synaesthetic subjects who `saw' a speci¢c colour every time they saw a speci¢c number or letter. We conducted four experiments in order to show that this was a genuine perceptual experience rather than merely a memory association. i)The synaesthetically induced colours could lead to perceptual grouping, even though the inducing numerals or letters did not. ii)Synaesthetically induced colours were not experienced if the graphemes were presented peripherally. iii)Roman numerals were ine¡ective: the actual number grapheme was required. iv)If two graphemes were alternated the induced colours were also seen in alternation. However, colours were no longer experienced if the graphemes were alternated at more than 4 Hz. We propose that grapheme colour synaesthesia arises from `cross-wiring' between the `colour centre' area V4 or V8)and the `number area', both of which lie in the fusiform gyrus. We also suggest a similar explanation for the representation of metaphors in the brain: hence, the higher incidence of synaesthesia among artists and poets. Keywords: synaesthesia; multisensory; extrastriate visual areas; psychophysics that the visual number grapheme rather than the numer- 1. INTRODUCTION ical concept is required for evoking colours. However, they The bizarre phenomenon of synaesthesia, e.g. `seeing both noted that if they `imaged' the corresponding Arabic sounds' or seeing speci¢c colours upon seeing speci¢c numeral then the corresponding colour was evoked, but numerals Galton 1880, 1883; Cytowic 1989; Paulesu et al.
    [Show full text]
  • 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
    [Show full text]
  • Elb 500 Ttl Unit
    USER MANUAL GEBRAUCHSANLEITUNG MANUEL D’UTILISATION EN MANUALE D’USO FR MANUAL DE FUNCIONAMIENTO ES MANUAL DO USUÁRIO IT GEBRUIKSAANWIJZING NL РУКОВОДСТВО ПО ЭКСПЛУАТАЦИИ DE PT ユーザーマニュアル 用户手册 ELB 500 TTL UNIT Elinchrom LTD – ELB 500 TTL Unit – 11.2020 TABLE OF CONTENTS INTRODUCTION 4 ELB 500 TTL CHARACTERISTICS 5 BEFORE YOU START 7 GENERAL USER SAFETY INFORMATION 7 CONTROL PANEL 12 MENU FEATURES 19 RADIO FEATURES & SETUP 19 EN SKYPORT MODE 20 PHOTTIX MODE 20 FLASH MODE SETUP 21 ELB 500 BATTERY 23 ELB 500 HEAD 27 TROUBLESHOOTING 29 MAINTENANCE 31 DISPOSAL AND REYCLING 33 TECHNICAL DATA 34 LEGAL INFORMATION 36 DECLARATION OF CONFORMITYUSA & CANADA 39 3 INTRODUCTION Dear photographer, Thank you for buying the Elinchrom ELB 500 TTL unit. All Elinchrom products are manufactured using the most advanced technology. Carefully selected components are used to ensure the highest quality and the equipment is submitted to many tests both during and after manufacture. We trust that it will give you many years of reliable service. Please read the instructions carefully before use, for your safety and to obtain maximum benefit from many features. Your Elinchrom-Team EN This manual may show images of products with accessories, which are not part of sets or single units. Elinchrom set and single unit configurations may change without advice and may differ in other countries. Please find actual configurations at www.elinchrom.com For further details, upgrades, news and the latest information about the Elinchrom System, please regularly visit the Elinchrom website. The latest user guides and technical specifications can be downloaded in the “Support” area.
    [Show full text]
  • Cerebral Mechanisms Operating in the Presence and Absence of Inflammatory Pain
    Annals ofthe Rheumatic Diseases 1996; 55: 411-420 41 REVIEW: PAIN Series editor: Bruce L Kidd Ann Rheum Dis: first published as 10.1136/ard.55.7.411 on 1 July 1996. Downloaded from Cerebral mechanisms operating in the presence and absence of inflammatory pain Anthony K P Jones, Stuart W G Derbyshire During episodes ofinflammatory arthritic pain, surprising if such parallel processing did not the brain has the task of integrating new also exist for non-primary sensations such as information from receptors of muscle, tendon, pain. There is now growing evidence that pain and skin afferents with nociceptive information is processed by a network or 'matrix' of struc- from the joint capsule and, possibly, peri- tures in the brain (fig 1), some components of articular bone. This integration will incorpor- which could be considered to comprise parallel ate motivational, affective, discriminative, at- but integrated processing. tentional, and motor responses that may result in changes of behaviour and modification of central nervous system (CNS) processing of NEUROANATOMY OF NOCICEPTION IN ANIMALS pain. It is as yet unclear what the nature of this Studying pain in animals presents an insoluble CNS modification may be, and suggested problem. Human beings can call out and influences on pain related affective-motor express their pain in ways that are commonly responses or the inflammatory process itself understandable to other members of their remain largely speculative. species; unfortunately, there is no equivalent It is likely to be some time before we begin frame of reference when dealing with animals. to have a proper understanding of the complex Increased blood pressure, movements of integrated processes that operate during withdrawal, dilatation of the pupil, increased arthritic pain and other chronic pains.
    [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]