Quantifying colour appearance. Part I. Lutchi colour appearance data

The work described here forms part of a research project entitled Predictive Perceptual Colour Models. The aim of this project is to develop a colour appearance model capable of predicting changes of colour appearance under various different viewing conditions. This will provide industry with a quantitative measure for assessing the quality of colour reproduction and enable more rapid and accurate proofing simulations in the graphic art industry. A large-scale experiment has been carried out in which colour appearance was assessed under a wide range of viewing conditions. The parameters studied were (1) D65, D50, white fluorescent, and tungsten light sources, (2) luminance levels of about 40 and 240 cd/m², (3) five background conditions: white, grey, black, grey with white border, and grey with black border, and (4) two media: luminous colours (displayed on a high-resolution colour monitor) and nonluminous colours (presented in a viewing cabinet). Each colour was assessed by a panel of six or seven observers using a magnitude estimation method. In total, 43,332 estimations were made, and these form the LUTCHI Colour Appearance Data. Data analysis has been carried out to examine the reliability of the experimental results and to understand the effects of the various viewing parameters studied. (Part II of this article describes how the LUTCHI Colour Appearance Data has been used to test the performance of various colour spaces and models.     

Quantifying colour appearance. part IV. Transmissive media

The experimental data from this study extends the LUTCHI colour-appearance data to cover transmissive media. Two further experiments were carried out: one used a large cut-sheet transparency viewed using a back-lit illuminator, and another used a 35-mm slide projected onto a white screen. These new data were used to reveal the changes in colour appearance caused by different viewing parameters studied, and to evaluate the predictive accuracy of five uniform colour spaces and colour-appearance models. The results show that Hunt's 91 model (developed to fit earlier experimental results) did not perform as well as it did in the previous studies using nontransmissive media. This implies that there are large differences in perceived colour appearance between transmissive and nontransmissive media viewing conditions. Some modifications were subsequently made to Hunt's 91 model and the predictive accuracy was greatly improved.     

Quantifying colour appearance. part V. simultaneous contrast

Experiments were carried out to investigate the effect of simultaneous contrast on colour appearance by varying the lightness, colourfulness, and hue of an induction field surrounding a test colour. A total of 814 test/surround combinations were displayed on high-resolution colour displays. Each was assessed by a panel of five to six observers using a magnitude estimation technique. the results indicate that colours presented on a computer display are affected by simultaneous contrast in a similar way to surface colours. All three colour appearance parameters studied (i.e., lightness, colourfulness, and hue) are affected and these effects are summarized. In general, the results support and add to the findings of the other studies. the Hunt colour appearance model was tested and gave a somewhat poor prediction to this data set. Further modifications are required to improve its performance. © 1995 John Wiley & Sons, Inc.     

Unique hue data for colour appearance models. Part III: Comparison with NCS unique hues

In this study, Swedish Natural Color System (NCS) unique hue data were used to evaluate the performance of unique hue predictions by the CIECAM02 colour appearance model. The colour appearance of 108 NCS unique hue stimuli was predicted using CIECAM02, and their distributions were represented in a CIECAM02 a_c–b_c chromatic diagram. The best‐fitting line for each of the four unique hues was found using orthogonal distance regression in the a_c–b_c chromatic diagram. Comparison of these predicted unique hue lines (based on the NCS data) with the default unique hue loci in CIECAM02 showed that there were significant differences in both unique yellow (UY) and unique blue (UB). The same tendency was found for hue uniformity: hue uniformity is worse for UY and UB stimuli in comparison with unique red (UR) and unique green (UG). A comparison between NCS unique hue stimuli and another set of unique hue stimuli (obtained on a calibrated cathode ray tube) was conducted in CIECAM02 to investigate possible media differences that might affect unique hue predictions. Data for UY and UB are in very good agreement; largest deviations were found for UR. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 256–263, 2015     

Colour and appearance in nature part III. Color and appearance of homo sapiens

The principles of human colouration are very similar to those applying to other organisms, as outlined in the first and second articles of this series. The races of man are coloured differently for the very good reasons of adaptation to our environment, and any deviation from what is considered our normal colour is a good guide to the state of our wellbeing. Human beings have evolved and adapted to a reproductive sexual environment as well as to a climatological environment. Neanderthal man, at the start of the homo sapiens line, included ceremony and colour in his life pattern, and anthropologists have identified a basic colour triad used in body painting. There are various types of decoration and many motives to use colour, but it seems that body colour and decoration in general have remained vitally important to man's culture, enjoyment, and fear of life through the succeeding ages.     

Unique hue data for colour appearance models. Part II: Chromatic adaptation transform

Unique hue settings of 185 observers under three room‐lighting conditions were used to evaluate the accuracy of full and mixed chromatic adaptation transform models of CIECAM02 in terms of unique hue reproduction. Perceptual hue shifts in CIECAM02 were evaluated for both models with no clear difference using the current Commission Internationale de l'Éclairage (CIE) recommendation for mixed chromatic adaptation ratio. Using our large dataset of unique hue data as a benchmark, an optimised parameter is proposed for chromatic adaptation under mixed illumination conditions that produces more accurate results in unique hue reproduction. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2013     

Investigation of colour size effect for colour appearance assessment

Three psychophysical experiments were conducted to investigate the colour appearance changes between different sizes under various media or viewing conditions. The results are highly consistent that when increase stimulus size, the colour will appear to be lighter and more colourful with little change in hue. © 2010 Wiley Periodicals, Inc. Col Res Appl, 36, 201–209, 2011;     

A model of colour vision for predicting colour appearance

A set of possible cone spectral sensitivity functions has been used to obtain combinations of responses that provide good predictions for loci of constant hue, simple criteria for unique hues, and good approximations to the NCS and Munsell schemes for surface colours, and to data on the appearance of spectral colours.     

Unique hue data for colour appearance models. Part I: Loci of unique hues and hue uniformity

Psychophysical experiments were conducted to assess unique hues on a CRT display for a large sample of colour‐normal observers (n = 185). These data were then used to evaluate the most commonly used colour appearance model, CIECAM02, by transforming the CIEXYZ tristimulus values of the unique hues to the CIECAM02 colour appearance attributes, lightness, chroma and hue angle. We report two findings: (1) the hue angles derived from our unique hue data are inconsistent with the commonly used Natural Color System hues that are incorporated in the CIECAM02 model. We argue that our predicted unique hue angles (derived from our large dataset) provide a more reliable standard for colour management applications when the precise specification of these salient colours is important. (2) We test hue uniformity for CIECAM02 in all four unique hues and show significant disagreements for all hues, except for unique red which seems to be invariant under lightness changes. Our dataset is useful to improve the CIECAM02 model as it provides reliable data for benchmarking. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011     

A model of colour vision for predicting colour appearance in various viewing conditions

A previously published model of colour vision predicted the hues, lightnesses, saturations, and chromas of colours seen under a medium photopic level of illumination. This model has now been extended to provide, in addition, predictions of brightness and colourfulness, for both related and unrelated colours, at any level of illumination, whether photopic, mesopic, or scotopic. The model has also been extended to cover a wider range of stimulus intensities and the use of various backgrounds.     

Colour and appearance in nature part II. Colour and appearance of flowering plants and animals

Colour and appearance of flowering plants and animals are discussed in terms of the three driving forces for colouration discussed in Part I. They are: first, the need to absorb incident radiation; second, the combination of reflection properties and visual characteristics; and third, incidental colouration caused because a biochemical, which has been optimised by an organism, happens to be coloured. Pigments and structures have evolved in both plants and animals to optimise colouration. Many flowering plants have evolved in conjunction with different flying creatures to enable pollination to occur. There are only two principles in animal colouration: Either the animal does not want to be seen or he does want to be seen (or does not mind being seen). The mechanisms by which these aims can be achieved are varied. There are three “dimensions” to the visual impact, or total appearance, which one animal has upon another: They are colour, pattern, and behavioural display.     

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     

Use of a predictive colour model for managing the colour appearance of two‐colour woven fabrics

The aim of this study was to implement a two‐dimensional colour appearance model for prediction of the colour values of weft threads when the optical mixing of a two‐colour woven structure had to match the colour appearance of a single‐colour reference woven fabric. Five single‐colour woven fabrics were woven from five threads of similar hue. One of the samples was chosen as a reference, for which the colour appearance was the goal to be achieved in the two‐colour woven fabrics prepared with the other available warp threads and newly dyed weft threads. The colour values of dyed weft threads were predicted by a two‐dimensional colour appearance model. With dyed weft threads, managing the colour appearance of the two‐colour woven fabric was enabled to achieve the colour values of the reference. In the results, colour deviations between the predicted and measured colour values of weft threads revealed some limitations to the colour appearance model and performance of the dyeing process. After the production of the two‐colour woven fabric, the colour appearance matched the appearance of the reference, resulting in deviations of ΔE_CMC(2:1) = 1.2‐7.8. Moreover, the differences between theoretically predicted and measured colour values of the two‐colour woven fabric were evaluated as small, ranging from ΔE_CMC(2:1) = 1.5‐1.9. The results demonstrated the efficiency of implementing the colour appearance model and the dyeing process of weft threads as an approach to achieve the defined colour appearance of two‐colour woven fabrics, which with small colour deviations matches the colour of a single‐colour reference.