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     

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     

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     

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     

A shift of the perceptual attributes of color due to the manifestation of the simultaneous contrast effect on a display

This research shows the effect of simultaneous contrast on a design solution that generates it, and it also shows how its manifestation affects the shift of perception attributes of the observer's color. In the conducted research, 55 subjects had to harmonize the primary stimuli from the reproduction obtained with the help of digital printing technology, with the primary stimuli presented on two computer screens. As a visual harmonization technique, simultaneous binocular harmonization was used. The primary stimuli were made achromatic, with a 50% Raster Tone value (RTV), and are surrounded by achromatic secondary stimuli whose values increase in steps from 10% RTV up to 100% RTV. A shift in the perceptual attributes of color has been shown with the help of the CIEDE2000 system. Using ANOVA with repeated-measures and Fisher's post hoc analysis, statistically significant differences were found between the perceived means of shift in the ΔC₀₀ chroma and ΔL₀₀ lightness on defined samples on both computer screens, while in the case of the ΔH₀₀ hue, no statistically significant differences were observed. The research also determined colorimetric differences in the ΔE₀₀ color difference. Moreover, the student's t test was used to determine that the effect is stronger when manifested on the Lenovo computer than on the Asus computer screen (P < .05).     

Accuracy of approximations for CIELAB chroma and hue difference computation

The transformation in CIELAB from differences in the L^*, a^*, b^* coordinates to those in lightness, chroma, and hue, ΔL^*, ΔC_ab^*, ΔH_ab^*, can be approximated by a rotation in 3-space. Expressions for the error in the approximation of chroma and hue differences are developed. Significant errors are introduced if either the hue angle or chroma difference between reference and sample colors are large. A computed example illustrates the use of the analysis. © 1997 John Wiley & Sons, Inc. Col Res Appl, 22, 61–64, 1997.     

Color effect of light sources on peridot based on CIE1976 L*a*b* color system and round RGB diagram system

Previous research indicated that the peridot's color is dominated by the selective absorption of visible light caused by ferrous ion, the hue angle of which is in an inverse ratio of the concentration of Fe²⁺. This article focuses on the color effect of peridot under different standard light sources based on the CIE1976 L*a*b* color space system and round RGB diagram system and tries to find the best one for its grading and display. Based on the results of a series of experiments, including electron microprobe analysis, spectrophotometer, UV‐Vis spectrum, standard illumination box, and Munsell neutral color chips, it was suggested that the spectral power distribution and color temperature of a standard light source significantly influence the color of peridot in terms of lightness and chroma, particularly in the hue of peridot. As for color grading and displaying of peridot, standard light source A fails to fit in, and the color of peridot under a fluorescent light source has a higher chroma but a lower hue angle than that under daylight light source. The best choice for grading and displaying peridot is the standard light source D₆₅. It is better to distinguish the hue of peridot when it is calculated by the round RGB diagram system.     

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     

Color space and its divisions

A synthesis of the author's recent work on color‐order systems and color‐difference evaluation is provided in context of current knowledge and practices. The development of a colorimetric model is demonstrated using Munsell “Celtic crosses” as a model of perceptual space. Issues surrounding color‐matching functions, unique hues, the Helmholtz–Kohlrausch effect, and lightness and chroma crispening are addressed, as is the difficulty of reconciling a difference‐based hue, chroma, lightness model with an Euclidean model. A new lightness scale and treatment of lightness crispening is proposed. The results indicate that, despite problems, relatively simple modified opponent‐color models provide good accuracy in predicting color‐order system and supra‐threshold small color‐difference data. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 209–222, 2001     

Computational color combination analysis of Papilionidae butterflies as aesthetic objects

In this study, our aim is to clarify the color combination rules of the human-preferred Papilionidae butterflies as aesthetic objects. A set of 118 butterfly images, including color polyphenism from the 47 Papilionidae species that are generally preferred by humans, was selected. These images were classified using hierarchical cluster analysis based on similarities of lightness, chroma, and hue attributes in CIELAB space, determined using histogram intersection. Then, the color distributions and combinations in each cluster were analyzed using a Gaussian mixture model and the color combination types defined in the present study. Accordingly, we obtained the following main color combination rules of human-preferred Papilionidae: (a) dominant low lightness and contrasting lightness components, (b) dominant low chroma and similar chroma components, and (c) dominant orange to yellow-green hue and similar hue components. These rules partly agree with the robust harmony principles found in previous research. We infer that the cognitive effects concerning the processing fluency through these color combination rules influence human aesthetic responses.     

Geodesic calculation of color difference formulas and comparison with the munsell color order system

Riemannian metric tensors of color difference formulas are derived from the line elements in a color space. The shortest curve between two points in a color space can be calculated from the metric tensors. This shortest curve is called a geodesic. In this article, the authors present computed geodesic curves and corresponding contours of the CIELAB ( ), the CIELUV ( ), the OSA‐UCS (ΔE_E) and an infinitesimal approximation of the CIEDE2000 (ΔE₀₀) color difference metrics in the CIELAB color space. At a fixed value of lightness L*, geodesic curves originating from the achromatic point and their corresponding contours of the above four formulas in the CIELAB color space can be described as hue geodesics and chroma contours. The Munsell chromas and hue circles at the Munsell values 3, 5, and 7 are compared with computed hue geodesics and chroma contours of these formulas at three different fixed lightness values. It is found that the Munsell chromas and hue circles do not the match the computed hue geodesics and chroma contours of above mentioned formulas at different Munsell values. The results also show that the distribution of color stimuli predicted by the infinitesimal approximation of CIEDE2000 (ΔE₀₀) and the OSA‐UCS (ΔE_E) in the CIELAB color space are in general not better than the conventional CIELAB (ΔE) and CIELUV (ΔE) formulas. © 2012 Wiley Periodicals, Inc. Col Res Appl, 38, 259–266, 2013     

Image color-appearance specification through extension of CIELAB

An extension of the CIE 1976 (L*, a*, b*) color space, CIELAB is described for applications in color reproduction. This extension incorporates a more accurate model of chromatic adaptation, capability to distinguish between the modes of appearance of reflective and self-luminous stimuli, and adjustments to account for changes in surround. The extension of CIELAB is referred to as the RLAB color space. This color space can be used for calculating metrics of lightness, chroma, hue, and color difference. It can also be used to determine the required colors for reproduction across changes in media and viewing conditions. A pilot experiment testing the RLAB model for cross-media color reproduction is also described.     

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     

Are chroma tolerances dependent on hue‐angle?

Relationships between suprathreshold chroma tolerances and CIELAB hue‐angles have been analyzed through the results of a new pair‐comparison experiment and the experimental combined data set employed by CIE TC 1–47 for the development of the latest CIE color‐difference formula, CIEDE2000. Chroma tolerances have been measured by 12 normal observers at 21 CRT‐generated color centers L*₁₀ = 40, C*_ab,10 = 20 and 40, and h_ab,10 at 30° regular steps). The results of this experiment lead to a chroma‐difference weighting function with hue‐angle dependence W_CH, which is in good agreement with the one proposed by the LCD color‐difference formula [Color Res Appl 2001;26:369–375]. This W_CH function is also consistent with the experimental results provided by the combined data set employed by CIE TC 1–47. For the whole CIE TC 1–47 data set, as well as for each one of its four independent subsets, the PF/3 performance factor [Color Res Appl 1999;24:331–343] was improved by adding to CIEDE2000 the W_CH function proposed by LCD, or the one derived by us using the results of our current experiment together with the combined data set employed by CIE TC 1–47. Nevertheless, unfortunately, from the current data, this PF/3 improvement is small (and statistically nonsignificant): 0.3 for the 3657 pairs provided by CIE TC 1–47 combined data set and 1.6 for a subset of 590 chromatic pairs (C*_ab,10>5.0) with color differences lower than 5.0 CIELAB units and due mainly to chroma. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 420–427, 2004; Published online in Wiley Interscience (www.interscience.wiley.com). DOI 10.1002/col.20057     

Forgotten pioneers of color order. Part I: Gaspard Grégoire (1751–1846)

Some 100 years before Albert Munsell developed his color order system, French silk merchant and inventor of a technology for producing works of art in silk velours, Gaspard Grégoire, introduced a color order system based on the color attributes hue, (relative) chroma, and lightness. Conceived in the mid‐1780s, an atlas with 1350 samples was produced before 1813 and found use in French Royal manufacturing operations and educational institutions. It was followed a few years later by one with 343 samples. Grégoire's work was subsequently overshadowed by Michel‐Eugene Chevreul's more complicated and less intuitive hemispherical system of 1839. © 2007 Wiley Periodicals, Inc. Col Res Appl, 33, 5–9, 2008     

Color change due to a varnish layer

The presence of a varnish layer modifies the light scattered and reflected by a painting. A general equation, valid for any bidirectional configuration, allows the expression between the final and initial diffuse reflectance by taking into account the influence of the different interfaces. This equation can be simplified to a homothetic relationship. In this case, the final colorimetric coordinates are directly expressed in terms of the initial coordinates. The results are then compared with the exact computations. Hue is not affected by the addition of a varnish. Lightness and chroma variations depend on the refractive index of the paint (n_p) to that of the varnish (n). If n_p > n, lightness and chroma increase. Conversely, if n_p > n, lightness always decreases, but chroma increases for light initial painting and chroma decreases for dark ones. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 196–204, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20008     

A fallacy in the definition of ΔH*

When a color differs from the reference, it is desirable to ascribe the difference to differences in the perceptual attributes of hue, chroma, and/or lightness through psychometric correlates of these attributes. To this end, the CIE has recommended the quantity ΔH* as a psychometric correlate of hue as defined by ΔH* = [(ΔE*)² - (ΔL*)² - (ΔC*)²]^1/2, where the correlates correspond to either the 1976 CIELAB or CIELUV color spaces. Since ΔH* is defined as a “leftover,” this definition is valid only to the extent that ΔE* comprises exclusively ΔL*, ΔC*, and ΔH* and that ΔL*, ΔC*, and ΔH* are mutually independent compositionally, both psychophysically and psychometrically. It will be shown that as now defined ΔH* lacks psychometric independence of chroma and always leads to incorrect hue difference determination. Such a deficiency causes problems, especially in the halftone color printing industry, since it can suggest an incorrect adjustment for the hue of the inks. A revised definition herein of ΔH* provides a psychometric hue difference independent of chroma, valid for large and small psychometric color differences regardless of chroma. However, for small chromas, the seldom used metric ΔC might be a better color difference metric than ΔH* because complex appearance effects make the perceptual discrimination of lightness, chroma, and hue components more difficult than for high chromas.     

The quantification of small visual colour differences

The Shademaster system, developed at UMIST, was used to explore the use of on-screen colour in order to assess the reliability of the CMC(l:c) formula as a measurement of small colour differences. Differences limited to almost pure hue, chroma and lightness changes around nine colour centres were judged by a group of ten observers. Each colour difference pair was presented on-screen in the form of a divided tile. The colour difference between each pair was measured using a Bentham telespectroradiometer and by a method using reverse transformation of RGB to CIE coordinates. The resultant measurements were used to determine the visibility of a particular colour difference, how that visibility varied from colour to colour and how it varied in different directions (i.e. hue, chroma or lightness). The data obtained from the judgements were used to construct perceptibility boundaries around each colour centre.     

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