Illuminance dependency of L/Y (lightness/luminance-factor)-ratio effect

Using a modified model for predicting the perceived lightness of chromatic object colors for various adapting illuminances, the following two kinds of predictions were done for seven illuminance levels from 2 to 3000 lx on the basis of the Wysecki data. One concerned the contour lines of equal L/Y (lightness/luminance-factor) ratios in the whole chromaticity gamut, and the other the values of L/Y ratios for spectral colors. All the colors predicted have tristimulus value Y = 20. The computed results confirmed that the difference of L/Y-ratio effect found between the Wysecki and the Sanders-Wyszecki experiment was caused by the difference of the test adapting illuminance between them.     

Clarification of differences between variable achromatic color and variable chromatic color methods in the Helmholtz–Kohlrausch effect

The Helmholtz–Kohlrausch effect consists of two different approaches: the variable achromatic color (VAC) and variable chromatic color (VCC) methods. In this article the difficult conceptual difference between the methods is clarified using new explanations with their schematic figures. The concept of loci with various parameters on B / L or L / Y ratios is completely different between the two methods. The VCC method can determine perceived lightness values for achromatic and chromatic colors in the whole color space. The VAC method gives perceived lightness deviation between reference achromatic color and each of the various test chromatic colors both kept at the same Munsell Value. The VAC method can never give any information on equiperceived lightness to test chromatic colors. Despite the difference between the two methods, misuse of the VAC method is sometimes found for perceived lightness studies of various chromatic colors, because of its ease in observations. An example is shown for the L scale of OSA‐UCS. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 146–155, 2006     

Perceived lightness of chromatic object colors including highly saturated colors

A model was formulated for predicting the Helmholtz-Kohlrausch effect or the Y tristimulus values for chromatic object colors with the same perceived lightness (L/Y ratios). the model was extended from the previous one in Color Res. Appl. 16 , 16-25 (1991), making it possible to estimate the Helmholtz-Kohlrausch effect on chromatic object colors with any Munsell Value. By analyzing the two experiments by Wyszecki and by Sanders and Wyszecki using the extended model, the model parameters were estimated for each experiment. By using each of the two estimated equations, L/Y ratios for Y = 20.0 were predicted in the whole chromaticity gamut corresponding to the two kinds of experimental results. the derived contour lines for equal L/Y ratios correlated well with those estimated directly from each experimental data. In addition, extrapolated L/Y ratios for spectral colors with Y = 20.0 showed very good agreement with the luminance ratios for equally bright spectral stimuli, so-called brightness/luminance (B/L) ratios, derived from the luminous efficiency functions V_b,2(Λ) by CIE TC 1-02 and V_judd(Λ) proposed by D. B. Judd.     

Relationships among chromatic tone,perceived lightness,and degree of vividness

The present study describes the usefulness and importance of chromatic tone concept on object colors. It is clarified that the concept of a tone category consists of the same perceived lightness and the same degree of vividness of chromatic object colors in the tone irrespective of hue. Prediction equations are given to color attributes on perceived lightness and degree of vividness. They clearly show different functions on metric lightness and metric chroma on the two color attributes. It is also clarified that the theoretical opponent‐colors system by the author (NT system) gives a basis for defining the tone concept, perceived lightness, and degree of vividness. The results of the present study are useful for understanding fundamental color notion “tone,” which is important both in the fields of colorimetry (fundamental color‐perception study) and color design (practical application). In addition, attributes of equivalent whiteness–blackness [W‐Bk]eq and equivalent chroma Ceq are proposed. © 2005 Wiley Periodicals, Inc. Col Res Appl, 30, 221–234, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20108     

Predicting the lightness of chromatic object colors using CIELAB

A metric of perceive lightness of object colors, L**, is derived and evaluated. This metric, based on CIELAB parameters, is designed to predict the Helmhltz-Kohlrausch effect whereby chromatic object colors appear lighter than achromatic object of the some luminance factor. Models were fitted to published data and then tested with results from a new lightness-matching experiment that is described in this article. The L** metric predicts perceived lightness to within the interobserver variability and provides a simple, practical measure of this appearance attribute.     

Adequateness of a newly modified opponent‐colors theory

Two features of a newly modified opponent‐colors theory are examined for correctness: (1) The perceived chroma of pure color is different for different hues. This was confirmed by using Ikeda's UCS (Uniform Color Scales) formula and also by the maximum Munsell Chroma Values for different hues. (2) Chromatic colors with the same values of whiteness, blackness, grayness, and perceived chroma have the same perceived lightness and chromatic tone regardless of hue. This was confirmed by a theoretical analysis and observations of the color samples in the Practical Color Co‐ordinate System (PCCS) developed in Japan. Chromatic tone, a complex concept of object colors, is clarified. The structure of the newly modified theory and its corresponding color space were confirmed by observation of object colors. Furthermore, it was found effective for developing a color‐order system and its corresponding standard color charts to the modified theory. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 298–307, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10164     

Prediction of the Helmholtz-Kohlrausch effect using the CIELUV formula

The Helmholtz-Kohlrausch effect was predicted by using the CIELUV formula. The predictions were done to the chromatic colors in the whole chromaticity gamut including spectral colors by the Variable Achromatic Color (VAC) and the Variable Chromatic Color (VCC) methods. The effect of adapting-illuminance change in the perceived lightness of chromatic object colors was also taken into account in the prediction. The prediction equations by the CIELUV formula gave results quite similar to those by the equation for predicting the Helmholtz-Kohlrausch effect using the nonlinear color-appearance model. Their computational procedures for estimating various effects are very simple and easy to use. © 1996 John Wiley & Sons, Inc.     

Existence of two kinds of representations of the helmholtz-kohlrausch effect. II. the models

A formulation for predicting the Helmholtz-Kohlrausch (H-K) effect is given to the new VCC (variable chromatic color) method, which can derive the luminance factors of various chromatic object colors that match in perceived lightness with a fixed achromatic color. By using the formulation, the H-K effect by the VCC method is predicted within the whole chromaticity gamut including spectral colors. the magnitude of the effect in logarithmic scale by the VCC method is estimated to be twice as large as that by the VAC (variable achromatic color) method previously used. It is also stated that the VCC method is practically more important than the VAC method. the effectiveness of the new formulation is confirmed by comparing its predictions with the observations in two kinds of experiments. © 1994 John Wiley & Sons. Inc.     

Proposal of an opponent‐colors system based on color‐appearance and color‐vision studies

A new theoretical color order system is proposed on the basis of various studies on color appearance and color vision. It has three orthogonal opponent‐colors axes and an improved chromatic strength of each hue. The system has color attributes whiteness w, blackness bk, grayness gr, chroma C, and hue H. A method is given for determining Munsell notations of any colors on any equi‐hue planes in the system. A method is also given for determining grayness regions and grayness values on hue‐chroma planes in the system. It is concluded that colors with the same color attributes [w, gr, bk, C] but with different hues in the theoretical space have approximately the same perceived lightness, the same degree of vividness (“azayakasa” in Japanese), and also the same color tone. The tone concept, for example used in the Practical Color Coordinate System (PCCS), is clarified perceptually. The proposed system is a basic and latent color‐order system to PCCS. In addition, the concept of veiling grayness by a pure color with any hue is introduced. Further, relationships are clarified between generalized chroma c(gen) and grayness. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 135–150, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10234     

Concerning the calculation of the color gamut in a digital camera

Several methods to determine the color gamut of any digital camera are shown. Since an input device is additive, its color triangle was obtained from their spectral sensitivities, and it was compared with the theoretical sensors of Ives‐Abney‐Yule and MacAdam. On the other hand, the RGB digital data of the optimal or MacAdam colors were simulated to transform them into XYZ data according to the colorimetric profile of the digital camera. From this, the MacAdam limits associated to the digital camera are compared with the corresponding ones of the CIE‐1931 XYZ standard observer, resulting that our color device has much smaller MacAdam loci than those of the colorimetric standard observer. Taking this into account, we have estimated the reduction of discernible colors by the digital camera applying a chromatic discrimination model and a packing algorithm to obtain color discrimination ellipses. Calculating the relative decrement of distinguishable colors by the digital camera in comparison with the colorimetric standard observer at different luminance factors of the optimal colors, we have found that the camera distinguishes considerably fewer very dark than very light ones, but relatively much more colors with middle lightness (Y between 40 and 70, or L* between 69.5 and 87.0). This behavior is due to the short dynamic range of the digital camera response. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 399–410, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20245     

Proposal of a new concept for color‐appearance modeling

A new type of color‐appearance model (CAM) is proposed together with its concept and flow of formulations. The topics described are: (1) The existence of two kinds of color‐appearance models, CAMs previously used and CAMs newly proposed. (2) All the CAMs, previously developed and used, do not predict color‐appearance attribute of perceived lightness of object colors under any illuminations. They may be adequately called “the model for predicting color‐appearance match between object colors under different adapting conditions.” (3) Newly improved CAMs take the Helmholtz–Kohlrausch effect in the VCC method into account. They can determine object colors with the same Tone (equi‐perceived lightness, equi‐whiteness‐blackness, and equi‐perceived chroma) irrespective of hues under reference illuminant. The newly improved models can be named Integrated CAMs. Their applicable fields are described in detail. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 113–120, 2007     

Effect of texture on color variation in inkjet‐printed woven textiles

Inkjet‐printed textiles are influenced by a wide range of parameters due to highly diverse textile structures and the resulting textures. The goal of this study is to understand the effect of texture on color appearance in inkjet‐printed woven textiles. Cotton‐woven samples were constructed with nine different weave structures. Each sample was digitally printed with identical squares of primary colors cyan, magenta, and yellow and secondary colors red, green, and blue. The amount of ink applied was controlled consistently with an image editing software. CIE L* values were calculated from the measured reflectance. 25 observers ranked the perceived texture and color lightness of each sample. Perceived visual texture and perceived color lightness scales were estimated from the rankings using the rank order method. The measured CIE L* values and the scale of perceived lightness were positively related for the primary and secondary colors. Instrumental measurements of the textile surface characteristics were positively related to the visual scale. Texture was demonstrated to cause a measurable effect on color results in inkjet printing, both using instrumental and perceptual measures. To investigate if the color differences were substantial enough to cause “out of tolerance” ratings in textiles based on common textile industry color acceptance procedures, color differences among the samples were calculated and compared to a reference sample. Results demonstrated that color variation due to texture was sufficient to lead to rejection of a printed color in comparison to a color specification. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 297–303, 2015     

A structural comparison of the Munsell renotation and the OSA–UCS uniform color systems

A structural comparison has been made of the lightness, chroma, and hue scales of the Munsell system, as expressed in the Munsell Renotations, and of the OSA‐UCS system. While the lightness scales are similar (except for the adjustment for the Helmholtz–Kohlrausch effect and the inclusion of a “crispening” effect in OSA–UCS), there are significant differences in the chroma scales along the major chromatic axes. Unlike in CIELAB, the increments in X and Z along these axes for equal chroma steps in both systems do not fall on a continuous function. In the two systems, as well as in CIELAB lines connecting colors of equal chroma differences at different Y values point to nonreal origins. These differ among the three systems. A major difference between Munsell and OSA–UCS is the size of the first chroma step away from gray. An experiment has been performed with the result that the OSA–UCS system is in much better agreement with the average observer in this respect than the Munsell system. OSA–UCS exhibits considerably more internal uniformity in terms of X and Z increments between steps than the Munsell system. © 2000 John Wiley & Sons, Inc. Col Res Appl, 25, 186–192, 2000     

Color rendering: A calculation that estimates colorimetric shifts

Lights vary in their ability to render object spectral reflectances into color contrasts. When a light L1 is replaced by another L2, even if L2 matches L1 in chromaticity, systematic color shifts may occur, including a loss or gain of chromatic color. For instance, many familiar lights, when compared to daylight, dull red and green objects, rendering them closer to gray. An opponent colors method is appropriate to this discussion because it brings to the surface the notion of chromatic color, meaning actual departure from white or gray. In this article, an opponent‐colors analysis leads to a matrix formulation that serves two purposes. The effects of replacing L1 by L2 are estimated with a 3×3 “rendering matrix” P . Given an object's tristimulus vector under L1, the method makes an approximate prediction of the new tristimulus vector under L2. Thanks to the opponent formulation, matrix element P22 quantifies the gain or loss of redness and greenness, while P33 expresses gain or loss of blueness and yellowness. These in fact are major effects, so the method is both quantitative and explanatory. © 2003 Wiley Periodicals, Inc. Col Res Appl, 29, 43–56, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10213     

Heuristic analysis influence of saliency in the color diversity of natural images

The estimation of chromatic diversity of natural images is commonly quantified through the computation of the number of discernible colors and has received much attention because of the different implications it has. However, the relationship between that number and the number of colors that really attracts the attention from an observer is still not clear and has been given little attention. New concepts about salient discernible colors‐the salient chromatic diversity of images‐ and remarkable salient colors‐connected colors in the same salient image area‐are introduced as opposed to the classical number of discernible object colors, which is usually evaluated for the global image without differentiating between probable attended and non‐attended image regions. We have used different well‐known saliency models to locate the salient regions in the scenes and have heuristically studied the extent to which those models preserve the chromatic diversity of natural images. Based on a bottom‐up approach, a reduction of around 40%‐55% in the number of discernible colors were obtained, and not all saliency algorithms preserved a uniform sampling of the original color gamut. Thus, our results suggests that particularly the graph‐based visual saliency model got good low dissimilarity values in comparison with other approaches that put emphasis solely on color as the main low‐level feature. Furthermore, we have introduced a quantification scheme of the average number of remarkable salient colors appearing in the images, and have proved how the heuristic‐based analysis of salient image areas can be used to create segmented images automatically according to their salient chromatic diversity.     

Predictions of Munsell values with the same perceived lightness at any specified chroma irrespective of hues—Determination of any tonal colors

Simple formulas are proposed for predicting the Munsell value of colors with the same tone (the same values for whiteness‐blackness, perceived lightness, and chroma irrespective of hue). The formulas can be used for any tone. In other words, the method can determine the Munsell value with the same perceived lightness at any specified chroma irrespective of hue. The chromatic strength (CS) function is only used for the derivations. The formulas are very simple, and can be used not only in the colorimetry but also in the color design field. The concept described in this study is that a common CS function can be used for transforming each of the three color attributes (hue, lightness, and chroma) from their uniform color space metric to their corresponding color appearance space attribute. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011     

Field trials on color appearance and brightness of chromatic object colors under different adapting-illuminance levels

Field trials of the nonlinear color-appearance model were done by using chromatic object colors under different illuminance levels. Color-appearance match and brightness match were made for Munsell color pairs by using haploscopic matching. Each color pair was only different in Munsell Chroma. The color-appearance and the brightness match were realized by adjusting the illuminance of one of the two haploscopic fields. Observed illuminances were significantly different between the color-appearance and the brightness matches for the same color pairs. The model accurately predicted the illuminances of color-appearance matches by using the metrics of lightness and chroma Q, T, P of the model, and those of brightness matches by using the metric brightness of the chromatic color B_c. In addition, the estimated contribution of colorfulness to brightness of chromatic colors was generally consistent with that predicted by the formula of Ware and Cowan. To test metric brightness B_c further, an additional experiment on haploscopic matching was done using illuminants with different R_a values. In the experiment, the same samples were used in both fields. Again, matching illuminances in this case were well predicted by using the same contribution factor of colorfulness to brightness already estimated.     

Which color is more colorful,the lighter one or the darker one?

To answer a question often asked in industrial color reproduction, a series of highly chromatic color samples of the same CIELAB hue but of small variations of CIELAB chroma and lightness were prepared and scaled for perceived colorfulness. The results indicate that lightness contributes to the perceived colorfulness as defined by the observers according to their everyday color experiences. For the samples used, colorfulness can be modeled by factoring in the CIELAB L* value in addition to CIELAB C*. The results show that colorfulness, as implied in our everyday color experiences, can be a complex perceptual attribute. A newer psychophysical scaling model is also presented, since Thurstone's Case V model was shown to be inadequate. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 168–174, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10142     

Complexity of the color appearance of objects with nonuniform illumination

An inversion relationship is clarified between lightness and brightness, and also between chroma and colorfulness under nonuniform illumination with different illuminance levels (high and low) within the same visual field. Brightness (or colorfulness) of object color with low lightness (or chroma) under high illuminance level is perceived higher than that of another object color with high lightness (or chroma) under low illuminance level. Two color images are given for showing the inversion phenomena on brightness–lightness and colorfulness–chroma between object colors under different illuminance levels. These color images are useful for making researchers on color understand the differences in concept between brightness and lightness, and also between colorfulness and chroma. In particular, the concept of colorfulness is important, but difficult to understand. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 372–377, 2007     

Analyzing the natural color system's color-order system by using a nonlinear color-appearance model

The Natural Color System (NCS) is analyzed by using a nonlinear color-appearance model. Perceptual uniformity was examined for each of the NCS attributes of blackness (s), chromaticness (Cr), and hue. Some nonuniformities were found in chromaticness and hue spacing, which were probably the result of the assessing and scaling method used in developing the system. In addition, a colorimetric interpretation is given to a principal plane in the NCS consisting of the colors with (s,Cr) = (50,0) and (0,100). The colors with (0,100) have different values of Y for different hues. Based on the analysis, a method is developed to predict the NCS attributes from the values x, y, Y of an object color by using the nonlinear color-appearance model. The present analysis clarifies the importance of the NCS system in studying the color appearance of object colors.