New colour appearance scales for describing saturation,vividness, blackness,and whiteness

This article describes the development of new models for predicting four colour appearance attributes: saturation, vividness, blackness, and whiteness. The new models were developed on the basis of experimental data accumulated in the authors' previous study, in which the four colour appearance attributes were scaled by 64 Korean and 68 British observers using the categorical judgment method. Two types of models were developed: the ellipsoid‐based and the hue‐based. For the former, the perceived saturation, vividness, blackness, and whiteness were modeled in the form of colour‐difference formulae between the test colour and a reference colour. For the latter, blackness, whiteness, and chromaticness scales were modeled by estimating hue‐dependent lightness and chroma values for the “full colour” in the framework of Adams' equation. The new models were tested using NCS data and were found to outperform some of the existing colour appearance models.     

An investigation into the variability of skin colour measurements

This study aimed to investigate the variability of skin colour measurements for two kinds of extensively used instruments, telespectroradiometers (TSR) and spectrophotometers. A Konica Minolta CM700d spectrophotometer and a PhotoResearch PR650 telespectroradiometer were used to measure the forehead and the cheekbone of 11 subjects. The variability was evaluated using different measurement parameters including measurement aperture size and pressure on the facial locations for the spectrophotometer, and measurement distance for the telespectroradiometer. The mean colour difference from the mean was used to define the short‐term repeatability; the CIELAB colour difference and colour appearance changes in each perceptual CIELAB attribute between each of two instrument settings were used to evaluate the inter‐instrument agreement. The results show that, for the TSR, different measurement distances have identical repeatability but the colour shifts were significant; for the spectrophotometer, the large aperture size of the target masks gave the most repeatable results and the aperture size had more influence on the colour shifts than the measurement pressure. In addition, to investigate the effect of ethnicity and body location on measurement variability, skin colours from additional 151 subjects were measured. The differences between the measurements for different body locations were, in general, larger than the instrument repeatability and the inter‐instrument agreement.     

Spectrophotometric error in colour coordinates introduced by fluorescence of white calibration tile

Fluorescence has been detected in some white standard tiles intended for the calibration of spectrophotometers for colour measurements. The problem is that usually no warning is given to the user about it, giving raise to errors if they are calibrated using conventional spectrophotometric techniques. This work analyzes the differences on the colour coordinates of one of these standards measured with a polychromatic illumination spectrophotometer and with a monochromatic illumination one. This work also analyzes the colour coordinates error obtained when other coloured standards are calibrated against one of these white fluorescent standards, when reflectance measurement is done with a polychromatic illumination spectrophotometer as well as with a monochromatic illumination instrument. These are the two most typical situations found in practice where the use of fluorescent standards may produce errors. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 111–114, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10233     

A Cross‐cultural comparison of saturation,vividness, blackness and whiteness scales

In a typical Euclidean three‐dimensional colour space such as CIELAB, the ‘third‐dimension’, such as CIELAB chroma, has long been criticized as being confusing and difficult to understand for naïve observers and it had relatively poor consistency in visual assessments. As an attempt to find a promising replacement to existing ‘third‐dimension’, two psychophysical experiments were conducted in this study using naïve observers. In the first experiment, 24 Korean observers assessed 48 NCS colour chips in terms of bright, light‐heavy, active‐passive, fresh‐stale, clean‐dirty, clear, boring, natural‐not natural, warm‐cool, intense‐weak, saturated, vivid‐dull, distinct‐indistinct, full‐thin and striking. According to experimental results, ‘saturated’ and ‘vivid‐dull’ were found to highly correlate with CIELAB chroma and were thus regarded as good candidates to become alternatives to existing ‘third‐dimension’. In the second experiment, 40 Korean and 68 British observers assessed more than 100 samples in terms of saturation, vividness, blackness and whiteness. Thus, observers assessed 120 samples for saturation, vividness and whiteness. For blackness, 110 samples were assessed. In both experiments, the colour samples were presented in a viewing cabinet and assessed individually. Principal component analysis identified two components that were associated with CIELAB lightness and chroma. In general, there was a similarity between the visual results of the British and Korean observers. High correlation coefficients were found for the following comparisons: predicted values of Berns' depth model versus the present ‘saturation’ response; Berns' clarity versus ‘vividness’ response; Berns' vividness versus ‘blackness’ response; and CIELAB lightness versus ‘whiteness’ response. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 203–215, 2017     

CIE 1976(L*a*b*)色空间在PVC-U型材颜色测量中的应用

通过对GB 11186-1989《涂膜颜色的测量方法》标准中关于CIE 1964补充标准色度系统、CIE 1976(L*a*b*)色空间的色坐标及色差公式和光与颜色的相关理论的分析,解析了GB/T 8814-2004《门、窗用未增塑聚氯乙烯(PVC-U)型材》中有关型材颜色测量要求,并给出了灰卡级数与总色差的换算关系。     

A colour study approach through colour measurements on slides of art paintings

The present work deals with the problem of colorimetric fidelity of digitized colour slides representing fine art paintings. This consists of a comparison between colour measurements provided by spectrophotometry on fourteen original colour samples, which are uniformly painted square-shaped patches and those taken on digitized colour slides of the same colour samples. Digital acquisition of slides were performed by a 3CCD detector and a combination of colour correction filters. The obtained R_cam, G_cam, and B_cam values were then corrected and transformed into X_cam, Y_cam, and Z_cam values based on the CIE 1931 XYZ colorimetric system. The colour difference, , in the CMC uniform colour space is also calculated and found to be equal to seven, = 7, in average value, when colour compensating filters are used. This method is finally applied to four art works reproduced on different slides, and colour results were qualitatively compared as an indication to these resulting from Ostwald disk and saturation diagrams of previous research studies related to paintings that are created by the same artists. This comparison led to the same conclusions that were already proposed by the previous researchers. The results clearly demonstrate the contribution of the method to a computer-aided study of art works through image data banks that are realized by slides, taking into consideration, however, that this study consists of a first approach, offering a promising solution to the problem of colour accuracy of slides. © 1997 John Wiley & Sons, Inc. Col Res Appl, 22, 326–334, 1997     

Colour and tolerance of preferred skin colours on digital photographic images

Skin‐tone has been an active research subject in photographic colour reproduction. There is a consistent conclusion that preferred skin colours are different from actual skin colours. However, preferred skin colours found from different studies are somewhat different. To have a solid understanding of skin colour preference of digital photographic images, psychophysical experiments were conducted to determine a preferred skin colour region and to study inter‐observer variation and tolerance of preferred skin colours. In the first experiment, a preferred skin colour region is searched on the entire skin colour region. A set of nine predetermined colour centers uniformly sampled within the skin colour ellipse in CIELAB a*b* diagram is used to morph skin colours of test images. Preferred skin colour centers are found through the experiment. In a second experiment, a twice denser sampling of nine skin colour centers around the preferred skin colour center determined in the first experiment are generated to repeat the experiment using a different set of test images and judged by a different panel of observers. The results from both experiments are compared and final preferred skin colour centers are obtained. Variations and hue and chroma tolerances of the observer skin colour preference are also analysed. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2013     

Effect of particle size on pigments colour

The historical pigments, contrary to modern ones, are not constituted by particles having all the same size and this influences the colour of the paint layers. The hiding power and colouring power of a pigment depends, in fact, on its particle size. The aim of this study was to evaluate the influence of particle size on optical characterization of paintings in terms of reflection of light and related colour specification. Starting from the qualitative observation, we have attempted to quantify the pigments colour variations induced by grinding and then attributable to granularity. Powdered pigments of principal colours have been selected in specific particle size range by mechanical sieving. The measurements were performed both on pigment pellets and on paintings realized with binder casein. All samples were characterized by an optical and colorimetric point of view through spectrophotometric analysis and for the surface morphological observation through scanning electron microscopy. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 236–243, 2017     

A computer‐assisted colour selection system based on aesthetic measure for colour harmony and fuzzy logic theory

An aesthetic measure based approach for constructing a colour design/selection system is proposed in this article. In this model, an image data base for the relationships between the psychological preference of customers and clothing colour tones is built using the membership functions of a fuzzy set, and an aesthetic measure calculation method based on colour harmony is also proposed. In addition, a skin colour detection theory is proposed to construct a skin colour detection program to detect the skin colour of a customer, which is then taken as the major colour in matching the skin, polo shirt, and(or) pant colours to select the best colour combination. Integrating the skin colour detection theory, colour harmony theory, aesthetic measure method, and fuzzy set theory, a program is constructed to build an aesthetic measure based colour design/selection system. With the aid of this system, one can get proper cloth colours to match his/her skin colour and image requirement by starting with inputting one's colour photo, catching image with a camera, or inputting R, G, B values of his/her skin. The theoretical results for the ranks of clothing colours proposed by the system are examined with the experimental results and the result shows they are very close, suggesting that the proposed colour selection system is acceptable. Although the selection of clothing colours is taken as an example to specify the methodology, it can also be used to develop a system for other products. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 411–423, 2008     

The colour sensitivity of a colour matching recipe

The article examines the concepts of the following three quantities: partial colour sensitivity of a recipe to a particular colorant, colour balance of a recipe, and the overall colour sensitivity and the related property of colour robustness of a recipe. the way to calculate numerical estimates of the above quantities is extended from the case of CIE L *a*b* to the case CMC(l:c) colour difference formula. Results of a few numerical experiments are included for illustration and some possible practical consequences are discussed.     

A theory of unique hues and colour categories in the human colour vision

A novel approach to assessing colour appearance is described. It is based on a new technique—partial hue‐matching—which allows for measuring colour in terms of component hues objectively, without resorting to verbal definitions. The new method is believed to have a potential to be as exact as colorimetric techniques. In contrast to classical colour matching, which implies visual equivalence of lights, partial hue‐matching is based on judgements of whether two lights that are different in colour have some hue in common. The major difference between classical colour matching and partial hue‐matching is that the latter is intransitive, whereas the former is generally believed to be transitive (though see Logvinenko, Symposium on 75 years of the CIE Standard Colorimetric Observer, Vienna, Austria, 2006). Formally, partial hue‐matching can be described as a reflexive and symmetric binary relation (i.e., tolerance). The theoretical framework of tolerance spaces is used for developing a theory of partial hue‐matching. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011     

From human skin to Nano-Skin: an experimental study on human skin temperature measurement

The human state in human–machine systems should be monitored to improve system performance. In monitoring it is preferable to use physiological cues such as skin temperature. The sensing capabilities of human skin were analyzed. The sensing system of human skin was modeled, and inspired the design of a Nano-Skin for physiological measurement in dynamic human–machine contact for human state recognition. The Nano-Skin involves a flexible bottom layer, sensors, special integrated circuit, interconnection between sensors and special integrated circuit, and flexible top layer. The requirements for the sensors of a Nano-Skin are summarized, and compared with common sensors, MEMS sensors, and nano sensors. A Nano-Skin with deposited platinum was manufactured. The manufacturing process is shown to be feasible and repeatable. The Nano-Skin with deposited platinum was used to measure skin temperature. Its performance was investigated using experiments. The results verified that the accuracy of the Nano-Skin sensors will not be lower than Pt1000Ω. Smaller sensors in a Nano-Skin generally have better performance.     

Experimental modeling of colour harmony

This study investigates colour harmony in visual experiments in order to develop a new quantitative colour harmony model. On the basis of new experimental results, colour harmony formulae were developed to predict colour harmony from the CIECAM02 hue, chroma, and lightness correlates of the members of two‐ or three‐colour combinations. In the experiments, observers were presented two‐ and three‐colour combinations displayed on a well‐characterized CRT monitor in a dark room. Colour harmony was estimated visually on an 11 category scale from ?5 (meaning completely disharmonious) to +5 (meaning completely harmonious), including 0 as the neutral colour harmony impression. From these results, mathematical models of colour harmony were developed. The visual results were also compared with classical colour harmony theories. Two supplementary experiments were also carried out: one of them tested the main principles of colour harmony with real Munsell colour chips, and another one compared the visual rating of the new models with existing colour harmony theories. © 2009 Wiley Periodicals, Inc. Col Res Appl, 2010.     

A study of colour emotion and colour preference. Part II: Colour emotions for two‐colour combinations

Eleven colour‐emotion scales, warm–cool, heavy–light, modern–classical, clean–dirty, active–passive, hard–soft, harmonious–disharmonious, tense–relaxed, fresh–stale, masculine–feminine, and like–dislike, were investigated on 190 colour pairs with British and Chinese observers. Experimental results show that gender difference existed in masculine–feminine, whereas no significant cultural difference was found between British and Chinese observers. Three colour‐emotion factors were identified by the method of factor analysis and were labeled “colour activity,” “colour weight,” and “colour heat.” These factors were found similar to those extracted from the single colour emotions developed in Part I. This indicates a coherent framework of colour emotion factors for single colours and two‐colour combinations. An additivity relationship was found between single‐colour and colour‐combination emotions. This relationship predicts colour emotions for a colour pair by averaging the colour emotions of individual colours that generate the pair. However, it cannot be applied to colour preference prediction. By combining the additivity relationship with a single‐colour emotion model, such as those developed in Part I, a colour‐appearance‐based model was established for colour‐combination emotions. With this model one can predict colour emotions for a colour pair if colour‐appearance attributes of the component colours in that pair are known. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 292–298, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20024     

A study of colour emotion and colour preference. Part III: Colour preference modeling

In this study three colour preference models for single colours were developed. The first model was developed on the basis of the colour emotions, clean–dirty, tense–relaxed, and heavy–light. In this model colour preference was found affected most by the emotional feeling “clean.” The second model was developed on the basis of the three colour‐emotion factors identified in Part I, colour activity, colour weight, and colour heat. By combining this model with the colour‐science‐based formulae of these three factors, which have been developed in Part I, one can predict colour preference of a test colour from its colour‐appearance attributes. The third colour preference model was directly developed from colour‐appearance attributes. In this model colour preference is determined by the colour difference between a test colour and the reference colour (L*, a*, b*) = (50, ?8, 30). The above approaches to modeling single‐colour preference were also adopted in modeling colour preference for colour combinations. The results show that it was difficult to predict colour‐combination preference by colour emotions only. This study also clarifies the relationship between colour preference and colour harmony. The results show that although colour preference is strongly correlated with colour harmony, there are still colours of which the two scales disagree with each other. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 381–389, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20047     

新显色剂IANS分光光度法连续测定铜和锌

在 Triton X-100及掩蔽剂存在下,新显色剂1-(2-咪唑偶氮)-2-萘酚-4-磺酸(简称 IANS)分光光度法连续测定 Cu~(2+)、Zn~(2+)的实验条件和方法。测定 Cu~(2+)、Zn~(2+)的 pH 分别在3.0和8.5。最大测定波长分别在530nm和520nm。摩尔吸光系数分别为2.06×10~4L·mol~(-1)·cm~(-1)和4.01×10~4L·mol~(-1)·cm~(-1)。Cu~(2+)、Zn~(2+)在0～20μg/25mL 服从比尔定律,测定的 Cu~(2+)和 Zn~(2+)之比允许在0.01～50之间.方法已用于头发及镁合金中微量 Cu~(2+)、Zn~(2+)的快速连续测定,结果满意。     

On attributes of achromatic and chromatic object‐color perceptions

Adapting luminance dependencies of various color attributes of object colors (lightness, brightness, whiteness‐blackness, whiteness‐blackness strength, chroma, and colorfulness) were clarified under white illumination with various adapting illuminances. The correlation between the perceptions of lightness and brightness and those of whiteness‐blackness and whiteness‐blackness strength is also clarified for achromatic object colors. The difference between the increase of brightness and that of whiteness‐blackness contrast (the effect studied by Stevens and Jameson—Hurvich) by raising their adapting illuminance is resolved without any contradiction. It is also shown that the nonlinear color‐appearance model developed by the author and his colleagues is able to explain the complex characteristics of all the above color attributes of object colors by making minor modifications to it. In addition, two kinds of classifications of various color attributes are given; one is based on the similarity of perception level, and the other on the degree of adapting illuminance dependency. © 2000 John Wiley & Sons, Inc. Col Res Appl, 25, 318–332, 2000     

Effect of chromatic components on facial skin whiteness

Although the color measurement of facial skin becomes more common in dermatology and cosmetics, little is known about the relationship between subjective color perception and colorimetric values in facial skin. In this study, the possible relationships among perceived whiteness and the metric lightness, chroma and hue angle of Japanese females' facial skin color were investigated. First, the perceived brightness of the facial skin of Japanese females was evaluated visually and compared with metric lightness, chroma and hue angle, and the effect of hue and chroma on the perceived brightness was discussed. Second, a psychophysical experiment on the whiteness of the facial images and synthesized skin color plate images was conducted for examining the effect of hue and chroma on the perceived whiteness more precisely and independently. The results of two experiments showed that in regard to the facial skin color of the Japanese female, metric lightness disagrees with perceived whiteness or brightness in a narrow lightness range. The reddish facial skin color appeared brighter or whiter than that of a yellowish one in high lightness regions, and the low‐chroma facial skin color appeared brighter or whiter than a high‐chroma one. However, in the color plate images, a change in perceived whiteness by hue could not be confirmed, and the change in perceived whiteness by chroma was weaker than that from facial images. These results indicated that a higher‐level process of face recognition affected whiteness perception, and the criterion of facial skin whiteness was determined by facial skin color distribution. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2011;     

The measurement of colour in chemical indicators applicable to food spoilage

Two diferent types of chemical indicator used to monitor food spoilage due to thermal abuse were evaluated using an I.C.S. colour measurement system. One indicator exhibited an abrupt colour change after about 340 min room temperature, whereas the other exhibited a slower colour change at about the same time. The two diferent behaviors lend themselves to dierent applications. © 1994 John Wiley & Sons, Inc.     

Universal models of colour emotion and colour harmony

A new set of quantitative models of colour emotion and colour harmony were developed in this study using psychophysical data collected from 12 regions in the world, including Argentina, China, France, Germany, Hungary, Iran, Japan, Spain, Sweden, Taiwan, Thailand, and the UK. These data have previously been published in journals or conferences (for details see Tables 1 and 2 ). For colour emotion, three new models were derived, showing satisfactory predictive performance in terms of an average correlation coefficient of 0.78 for “warm/cool”, 0.80 for “heavy/light” and 0.81 for “active/passive”. The new colour harmony model also had satisfactory predictive performance, with an average correlation coefficient of 0.72. Principal component analysis shows that the common colour harmony principles, including hue similarity, chroma similarity, lightness difference and high lightness principles, were partly agreed by observers of the same region. The findings suggest that it is feasible to develop universal models of colour emotion and colour harmony, and that the former was found to be relatively more culture‐independent than the latter.