Evaluation of the visibility of colored objects under led lighting with various correlated color temperatures

This study proposes a “visibility” concept of colored objects that includes a combination of color brightness and appearance perception of colored objects that are illuminated by seven LED lights (each with a CIE color rendering index under 80 but with various correlated color temperatures). To determine the brightness perception of colored objects, luminance calculations and measurements were conducted. The areas of the “color brightness graph” in this study correspond to the results of eight different color sample papers under each of the LED lights with different CCTs. The luminance values were calculated by multiplying the SPD by the spectral luminous efficiency and spectral reflectance of a colored object. The luminance values were measured under these conditions to identify the relationship between the luminance calculations and the measured values. Efficient CCTs were identified for each color sample in terms of the brightness of the colored object. Further subjective evaluations were also conducted to identify the relationship between luminance values and subjective brightness perception. In addition, subjective evaluations of the color appearance perception were conducted to identify the overall visibility concept of colored objects. The subjective evaluations included brightness perception, color appearance, and similarity of the reference light source. The visibility of the colored objects was analyzed according to the results of the brightness and appearance perception of the colored objects that were illuminated by LED lights with various CCTs. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 78–88, 2017     

Categorical color constancy under RGB‐LED light sources

The light‐emitting diode (LED)‐based light sources have been widely applied across numerous industries and in everyday practical uses. Recently, the LED‐based light source consisting of red, green and blue LEDs with narrow spectral bands (RGB‐LED) has been a more preferred illumination source than the common white phosphor LED and other traditional broadband light sources because the RGB‐LED can create many types of illumination color. The color rendering index of the RGB‐LED, however, is considerably lower compared to the traditional broadband light sources and the multi‐band LED light source (MB‐LED), which is composed of several LEDs and can accurately simulate daylight illuminants. Considering 3 relatively narrow spectral bands of the RGB‐LED light source, the color constancy, which is referred to as the ability of the human visual system to attenuate influences of illumination color change and hold the perception of a surface color constant, may be worse under the RGB‐LED light source than under the traditional broadband light sources or under the MB‐LED. In this study, we investigated categorical color constancy using a color naming method with real Munsell color chips under illumination changes from neutral to red, green, blue, and yellow illuminations. The neutral and 4 chromatic illuminants were produced by the RGB‐LED light source. A modified use of the color constancy index, which describes a centroid shift of each color category, was introduced to evaluate the color constancy performance. The results revealed that categorical color constancy under the 4 chromatic illuminants held relatively well, except for the red, brown, orange, and yellow color categories under the blue illumination and the orange color category under the yellow illumination. Furthermore, the categorical color constancy under red and green illuminations was better than the categorical color constancy under blue and yellow illuminations. The results indicate that a color constancy mechanism in the visual system functions in color categories when the illuminant emits an insufficient spectrum to render the colors of reflecting surfaces accurately. However, it is not recommended to use the RGB‐LED light source to produce blue and yellow illuminations because of the poor color constancy.     

How strong metamerism disturbs color spaces

Systems for arranging and describing color include “color spaces” and “color order systems.” In a color space, tristimulus values R, G, and B are computable for every light (every point in the space). In familiar color spaces, such computation makes use of three functions of wavelength (the color-matching functions that define one of the CIE Standard Observers), one function corresponding to each of R, G, and B. In the presence of strong metamerism (marked spectral difference between the spectral power distributions of a pair of visually matching lights), the color-matching functions may report that one light of the pair has an entirely different color from that of the other member of the visually matching pair of lights. The CIE Standard Observer embodying those color-matching functions “sees” the two visually matching lights as entirely different in color, that is, it reports entirely different sets of R, G, and B for the two visually matching lights, and, thus, an entirely different chromaticity. In an example given here, each of the CIE Standard Observers assigns a strong green color to lights that are seen by normal human observers as a visual match to a hueless reference white. On the other hand, color order systems comprising sets of real objects in a specified illuminant, and which are assembled (visually arranged) by normal observers, as are the Munsell and OSA sets, do not suffer from the type of trouble discussed here. Color spaces depending on mathematical functions of R, G, and B are at risk: both Standard Observers are shown to plot visually identical lights at widely varying points in familiar color spaces (e.g., delta E*_ab = 40–50). © 1998 John Wiley & Sons, Inc. Col Res Appl, 23: 402–407, 1998     

Chromaticity‐matched but spectrally different light source effects on simple and complex color judgments

As light‐emitting diode (LED) light sources mature, lighting designers will be able to deliver white light with a variety of spectral power distributions and a variety of color rendering properties. This experiment examined the effects of three spectral power distributions (SPDs) that were matched in illuminance and chromaticity on three measures of color perception: one objective (performance on the Farnsworth‐Munsell 100 hue test) and two subjective (judgments of the attractiveness of one's own skin, and preferences for the saturation of printed images). The three SPDs were a quartz‐halogen (QH) lamp and two LED sources that were matched to the QH lamp in terms of both illuminance and chromaticity; the three light sources were nominally CCT = 3500 K, x = 0.40, y = 0.39 and ～ 400 lx. LED A used three channels (red, green, blue), and had very poor color rendering (R_a = 18). LED B used four channels (red, amber, cyan, white) and had very good color rendering (R_a = 96, whereas the QH had R_a = 98). Secondary hypotheses addressed the effects of age and skin and eye color on the dependent measures. As expected, LED A delivered very different color perceptions on all measures when compared to QH; LED B did not differ from QH. The results show that it is possible for LED sources to match the familiar incandescent sources. However, although it is possible to deliver what appear to be millions of colors with a three‐chip (RGB) device, there is the risk of creating a very poor luminous environment. © 2013 National Research Council Canada and Wiley Periodicals, Inc. Col Res Appl, 39, 263–274, 2014; Published Online 12 April 2013 in Wiley Online Library ( wileyonlinelibrary.com ). DOI 10.1002/col.21811     

A quantitative network model for color categorization

To clarify the higher‐order mechanism of human color perception, we measured the color appearances of 78 colored lights by an elemental color‐scaling method and by a categorical color naming method. The colors covered nearly the entire CIE 1931 xy‐chromaticity diagram with three different surrounds. The results showed that firm basic color zones derived by categorical color naming can be mapped with no overlap in an opponent‐color response space. We propose a network model with a threshold selector, maximum selectors, and multiplication units with gain factors to generate the categorical color responses quantitatively from the elemental color responses. The model can predict the categorical color naming results in different surround conditions with no change of parameters. This suggests that a nonlinear color vision mechanism for color categorization exists between the primary visual cortex (V1) and the inferior temporal cortex (IT) in the human brain. © 2002 Wiley Periodicals, Inc. Col Res Appl, 27, 225–232, 2002; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10060     

Designing white‐light LED lighting for the display of art: A feasibility study

When displaying art, several criteria must be balanced when designing illumination including the artist's intention, damage, energy efficiency, viewing experience and understanding, and for commercial galleries and sales. The most common lighting for art includes natural daylight and incandescent spotlights. Neither source is optimal for all criteria; thus there is considerable interest in the use of white‐light light‐emitting diode (LED) lighting. A feasibility study was conducted to address two questions. First, was it possible to design a three‐primary LED source that yielded the same color rendering as common museum lighting? Second, could one design the lighting to achieve specific color appearance attributes? Three‐primary lights using a Gaussian function were optimized matching the chromaticity of D65 and minimizing color differences for a set of acrylic dispersion paints. The optimal wavelengths depended on bandwidth. Lights were also optimized that either maximized or minimized average chroma. A set of real LEDs was selected that produced similar results when evaluated computationally. A source that increases chroma may be useful when used to illuminate works of art with high light sensitivity: very low illuminances are necessary and such a source will compensate for the reduction of colorfulness and visual clarity. A source that decreases chroma may be used to render art in similar fashion to low‐light conditions such as churches and caves. In general, white LED lighting is advantageous for art conservation because they do not emit UV and IR radiation and their visible radiation is reduced when compared with their continuous spectrum equivalent. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011     

Effect of color temperature on appearance of paintings exhibited under LED lighting

Colour of light modulates the appearance of displayed artifacts in exhibition. To understand the effect of light on appearance of paintings, few studies have experimented to establish a relation between pleasantness with the correlated colour temperature (CCT) of light. However, some studies have found that CCT has no significant effect on pleasant appearance of painting. Therefore, in this article, an experiment with a qualitative (questionnaire on semantic differential scale, N = 30) approach was designed to understand the effect of CCT on appearance of paintings exhibited under LED lights. The findings from the experimental result depict that the appearance of paintings changes due to different CCTs of LEDs having the same illuminance. In addition, the result reveals that for both mediums of paintings considered in this study, in comparison to warm white LED and artificial daylight LED, cool white LED has appeared to be more pleasant having moderately warm feelings to the viewers.     

Visual assessment of light source color quality

The color quality of the lit visual environment can be improved by optimizing light source spectral power distributions. For a comprehensive optimization, it is important to identify the relationship among the perceptual properties of color quality. In this work, a colorful still life or tabletop arrangement was constructed from real artificial objects. Thirty observers with normal color vision scaled nine different properties of color quality under three light sources, incandescent, fluorescent and white LED. Six factors were extracted from the correlations among the obtained visual color quality scales. Factors were assigned the following labels: memory, preference, brightness, fidelity, gamut and difference. Mean factor values were computed for each light source. Significant differences were found in case of preference, brightness and fidelity: for preference, INC was rated better than CFL and LED was rated better than CFL, for brightness, LED was better than INC and LED was better than CFL and for fidelity, INC was better than CFL and INC was better than LED. The brightness factor was consistent among the observers. Three clusters of observers were found for preference and fidelity. The memory, gamut and difference factors showed large interobserver variability. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2013     

Grassmann's laws and individual color‐matching functions for non‐spectral primaries evaluated by maximum saturation technique in foveal vision

Over time, much work has been carried out to ascertain the validity of Grassmann's laws, Abney's law, CIE standard color‐matching functions and, up to now, no definitive answer has been given. Some of the phenomena subject of this debate are considered. An apparatus for color matching in 1.8° visual field has been realized with two sets of primary lights with broad spectral bands. This kind of primaries is the great difference with respect to other laboratories because it allows an indirect check of the Grassmann additivity law on the basis of the spectra and individual color‐matching functions by evaluating: (1) the tristimulus values of the primary lights; (2) the transformation matrices between the two reference frames defined by the two primary sets; and (3) the tristimulus values associated to all the pairs of matching lights in the bipartite field produced in the evaluation of the two sets of color‐matching function. The discrepancies of the data resulting in the check (1) and (2) are all compatible with the range defined by the uncertainty propagation of the individual color‐matching functions. In the check (3) fifteen tristimulus values over 18 have a discrepancy lower than one standard uncertainty. Grassmann's proportionality law is checked directly by reducing the matching lights with a neutral filter and holds true. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 271–281, 2008.     

Optimization of LED‐based light blendings for object presentation

This study looks at the perceived quality of light‐emitting diode (LED)‐based lighting of various colors. The objective was to find out whether LEDs could provide better (i.e., more relevant and acceptable) lighting than that which is obtained with standard halogen or fluorescent sources. The perception of objects was assessed under different lighting schemes. Subjects were invited to add red, cyan and/or amber to white LED‐based light to match the halogen and fluorescence rendering on specific targets: a color chart and a painting. They were also asked to rate the difference between the two, and to express their preference. The results obtained for the perception of LED‐based lighting were quite positive. Color blendings of LED light were found to provide illuminated situations similar to halogens or fluorescent sources. These blendings were well accepted, and indeed often preferred, although the color rendering index (CRI) was always low. This indicates that the CRI as it stands is inadequate to characterize the color rendering of solid‐state light sources, and needs to be updated. LED‐based lighting systems seem to have considerable potential for use in shops and display units, where they may well outperform existing lighting systems. © 2009 Wiley Periodicals, Inc. Col Res Appl, 34, 310–320, 2009     

Differences in color naming and color salience in Vietnamese and English

The accepted model of color naming postulates that 11 “basic” color terms representing 11 common perceptual experiences show increased processing salience due to a theorized linkage between perception, visual neurophysiology, and cognition. We tested this theory, originally proposed by Berlin and Kay in 1969. Experiment 1 tested salience by comparing unconstrained color naming across two languages, English and Vietnamese. Results were compared with previous research by Berlin and Kay, Boynton and Olson, and colleagues. Experiment 2 validated our stimuli by comparing OSA, Munsell, and newly rendered “basic” exemplars using colorimetry and behavioral measures. Our results show that the relationship between the visual and verbal domains is more complex than current theory acknowledges. An interpoint distance model of color‐naming behavior is proposed as an alternative perspective on color‐naming universality and color‐category structure. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 113–138, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10131     

Design and study of a color sensitivity function

If we study color reproduction, such as computer color matching or the appraisal of metametric index, we wish to understand the characteristic of color differences that are caused by the object spectral reflectivity change at each wavelength. If we simulate the light source, we wish to know the characteristics of color differences that are caused by change in relative power distribution of the light source at each wavelength; if we simulate a human eye instrument, we wish to know the characteristics of color differences that are caused by change in visual sense of human eyes at each wavelength. So, we define the color‐sensitivity functions of an object, a light source, and human eyes. According to the chromatic theory, the color‐sensitive functions of an object, a light source, and human eyes are defined in the widely used CIE1976 (L*a*b*) color space and color difference.¹ Their mathematical formulae are deduced. The three kinds of color‐sensitive functions are studied systematically and comprehensively in the whole color space. The characteristics of the color‐sensitive functions are summarized, and the mathematical models of the three kinds of color‐sensitive functions can be utilized in some fields such as computer color matching, simulation of a standard light source, and humans viewing a colorimeter. © 2005 Wiley Periodicals, Inc. Col Res Appl, 30, 118–124, 2005; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20089     

Texture affects color emotion

Several studies have recorded color emotions in subjects viewing uniform color (UC) samples. We conduct an experiment to measure and model how these color emotions change when texture is added to the color samples. Using a computer monitor, our subjects arrange samples along four scales: warm–cool, masculine–feminine, hard–soft, and heavy–light. Three sample types of increasing visual complexity are used: UC, grayscale textures, and color textures (CTs). To assess the intraobserver variability, the experiment is repeated after 1 week. Our results show that texture fully determines the responses on the Hard‐Soft scale, and plays a role of decreasing weight for the masculine–feminine, heavy–light, and warm–cool scales. Using some 25,000 observer responses, we derive color emotion functions that predict the group‐averaged scale responses from the samples' color and texture parameters. For UC samples, the accuracy of our functions is significantly higher (average R² = 0.88) than that of previously reported functions applied to our data. The functions derived for CT samples have an accuracy of R² = 0.80. We conclude that when textured samples are used in color emotion studies, the psychological responses may be strongly affected by texture. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010     

Light wavelengths of LEDs to improve the color discrimination in Ishihara test and Farnsworth Panel D‐15 test for deutans

This study was performed to determine significant light wavelengths to improve color discrimination ability of subjects with deutan. We conducted both the Ishihara test and the Farnsworth Panel D‐15 test for subjects with deutan and normal color vision. Seven different LED lights from 450 to 660 nm and an additional D65 white lamp were utilized to change the lighting conditions, including the wavelength and intensity. The results of the Ishihara test and D‐15 test showed that color identification of deutans was markedly improved with the longer wavelength LEDs regardless of the intensity of the additional D65 lamp. Notably, the error rates of deutans in the Ishihara test were <25% for LED wavelengths of 630 and 660 nm. In the case of subjects with normal color vision, the D65 lamp abolished the errors in the Ishihara test, regardless of the LED wavelength. Addition of the D65 lamp also decreased the number of crossings in the D‐15 test. These results suggested that illumination by LED light with longer wavelengths, such as 630 and 660 nm, may provide deutans with greater red‐green discrimination ability in both the Ishihara test and the Farnsworth Panel D‐15 test. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 424–430, 2017     

The feasibility of establishing new color image scales using the magnitude estimation method

Color image is one of the most important factors in art and design. In general, artists and designers apply their own personal image meanings into their work. However, the image meaning for a specific work is frequently in conflict with those of the general observer. Thus it is necessary and important to derive one set of merit color image scales which can be utilized to predict the color image meanings of works in parallel with the average person's perception and which can also serve as a guide for artists and designers. In this study, the psychophysical method (magnitude estimation method), usually used in visual measurement of color appearance, was employed to attempt to establish new color image scales to evaluate the color image meanings of works matching those of the average person. The results show that new color image scales WIP are developed, and the relativity between the latest color image scales WIP and the color attributes (say Lightness L*, Hue h, and Chroma C*) of the CIELAB color space is also discussed. The total mean value of coefficient of variation for the results of visual assessment in the experiment of evaluating the color image meanings of the 207 color specimens used, in general, is about 36, similar to that for those experiments conducted using the psychological method. Also, a good relationship between the new color image scales and the color attributes of the CIELAB color space can be found. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 463–468, 2007     

Dependence of the color appearance of some flowers on illumination

Seven flower colors perceived by five color experts using visual color measurement under 2800 K warm white fluorescent lamps, 3500 K plant growth lamps, and 6500 K light‐emitting diodes (LEDs) were compared with those under 6500 K fluorescent lamps, which represented illuminants in florist shops. Fluorescent lamps (6500 K, 1000 lx) were found to be effective for displaying flower colors and were used as the standard condition. The colors of flowers generally shifted in the same direction as those of the illuminants in CIELAB space. The color differences were highest under the 3500 K fluorescent lamp at both 500 and 2000 lx. At 500 lx, the ΔE values under the 6500 K LED were higher than those under the 2800 K lamp. The C* and ΔE values revealed that the 2800 K lamp was unsatisfactory for purple‐blue and purple flowers and was more suitable for floral displays at lower illuminance. Under the 3500 K lamp, the highest color distortion occurred in cool‐colored flowers, but C* increased for purple‐blue and purple flowers. The 6500 K LED tended to decrease C* for warm‐colored flowers under both illuminances, but it was effective for displaying purple‐blue and purple flowers with increased C*. © 2012 Wiley Periodicals, Inc. Col Res Appl, 39, 28–36, 2014     

Desaturation of color by environment light in cataract eyes

The visual perception of the cataract eyes is composed of three elements, color, brightness, and haze. The color element is related to the reduced transmittance of light at short wavelengths of crystalline lens, the brightness element to the reduced transmittance at entire region of wavelength, and the haze element to the opacity of the crystalline lens. Researchers pay attention to only the color and brightness elements when they discuss on the color perception by the cataract eyes. We will show in this article that the haze element is also related to the color perception. There exists always environment light in our living situation. Light comes to the eyes from every direction. When the light enters the cataract eye it is scattered by the opacity of the crystalline lens and overlaps on the retinal image of objects that the eye is looking at. The environment light is usually white in color, and it reduces the colorimetric purity of the objects. The color appearance of the objects desaturates. This purity change was confirmed colorimetrically by measuring colors of test patches with the cataract simulating goggles placed in front of the lens of a colorimeter. The desaturation was then confirmed psychophysically by subjects wearing the goggles, who matched two color patches with and without the goggles. The same experiment was done by a subject whose right eye was operated for the cataract and the left eye was before the operation. Desaturation of color was found, though the desaturation was not as strong as with the goggles. In another psychophysical experiment the subject did the heterochromatic brightness matching experiment by using his right eye and left eye, respectively, before and after operation. The results were interpreted that all the color patches presented were perceived as being less saturated by eyes having cataracts. The importance was pointed out that, when we do experiments on the color perception by elderly observers we should not neglect the effect of the environment light. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 142–147, 2008     

Effects of correlated color temperature on spatial brightness perception

The relationship between lamp color characteristics and brightness perception is not well known. In this study, nine lighting environment with correlated color temperature (3000 K, 5000 K, and 8000 K) and illuminance (1000 lx, 300 lx, and 100 lx) were created. Both the side by side visual matching and spatial brightness scaling experiments are designed to verify the effects of correlated color temperature on spatial brightness perception. The results of the study show that lighting with high correlated color temperature will have stronger spatial brightness perception than lower ones. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011     

Evaluation of discomfort glare from color leds and its correlation with individual variations in brightness sensitivity

The light‐emitting diode (LED) has attracted attention as an alternative light source to fluorescent and incandescent lighting. The characteristics of LED light are different from other sources, but regulations for LED products have not been completely established. Common LED lights, such as automotive lamps, street lighting systems and traffic lights, are produced under the existing glare regulations for other light sources, and some organizations are seeking to establish standardized regulations for LED products. Glare can impair vision and cause discomfort and must be considered when establishing regulations for lights. In this study, we measured the sensitivity of observers to the discomfort glare from color LEDs and analyzed the correlation between discomfort glare sensitivity and brightness sensitivity using heterochromatic brightness matching and flicker photometry. The results indicate a correlation between discomfort glare sensitivity and brightness sensitivity using blue LEDs and mild correlations with green and red LEDs. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010.     

Changes in hue and saturation of chromatic lights presented in the peripheral visual field

The perception of ten different colors on a CRT display presented across the horizontal meridian of the visual field were measured to determine the range of relevant test stimuli for color zone map measurement. Hue and saturation judgments were used based on the opponent‐colors theory. The changes of the unique hue components for eccentric displays of red, yellow, green, and blue fall within the distribution range of previous results obtained using monochromatic lights. Chromatic displays of nearly unique hues with high saturation would be significant as test colors for measurement for a color zone map. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 413–424, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10194