Preferred color gamut boundaries for wide‐gamut and multiprimary displays

Preferred chroma enhancement and its dependence on hue are studied in a two‐part experiment using a wide‐gamut multiprimary display. Earlier research showed a clear dependence on hue but was limited by the gamut of the display it employed; the present work builds on this while easing the gamut constraints. In the first part of the present experiment, a tuning task was used to refine the preference for chroma boost starting with standard‐gamut (Rec. 709) images. The overall median preferred boost is roughly 20%, but it is not uniform over hues: the preferred boost for orange, yellow, green, and cyan colors is greater than that for blue, magenta, and red colors. Dependence on image content and observer is noted, though a content‐independent chroma boost created by aggregating preference over many images performs well. An adjustment parameter for overall chroma, which incorporates the hue dependence averaged over image content, should be sufficient to handle the vast majority of interobserver variance in preference. In the second part of the experiment, various chroma boost algorithms were evaluated through a paired comparison task. The prescribed hue‐dependent chroma boost is preferred over all other variations, and all hue‐preserving chroma boost variations are preferred over both colorimetrically accurate and na??ve same‐drive‐signal renderings. The results may be applied in display design to select gamut boundaries that maximize satisfaction over the observer population. © 2012 Wiley Periodicals, Inc. Col Res Appl, 39, 169–178, 2014     

Skin‐color correction method based on hue template mapping for wide color gamut liquid crystal display devices

The development of wide color gamut (WCG) liquid crystal display (LCD) plays an important role in the high‐quality television (TV) field. Nowadays, people want their TV or display devices to have the capability of showing vivid colors while keeping skin colors as natural as they remember. Therefore, it is necessary to develop color‐correction technologies for WCG LCD system. A new color‐correction method named “natural skin‐color mapping algorithm” (NSCMA) for WCG LCD is proposed in this study. It can solve the skin‐color contour problem in color‐corrected images with simple skin‐color detection. Its development is based on the concepts of performing color mapping between source hue colors and target hue colors on each hue page. The polynomial regression is also applied to calculate the color mapping conversion matrices. Two color mapping factors called template‐size factor and tone‐compression factor are designed in NSCMA. The template‐size factor is used to adjust target template sizes adequately. The tone‐compression factor is designed to control the degrees of image enhancement. For facial skin‐color pictures, the appropriate settings of template‐size factor and tone‐compression factor will get suitable color image rendering on the WCG LCD. It is demonstrated that the WCG LCD can be corrected to show vivid color pictures and keep facial skin colors as natural as possible when the proposed NSCMA is performed. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011     

Applying image‐based color palette for achieving high image quality of displays

In the highly competitive display market, manufacturers continuously develop new technologies to improve the image quality of displays. However, color measurement and visual assessment are time‐consuming to production lines. A new method to measure and improve color quality of the displays automatically therefore, is urgently needed to the manufacturers. This article proposes a familiar color correction strategy to optimize the colors of different displays by means of creating an image‐based color palette which enables color correction for familiar objects (e.g., facial skin, blue sky, or green grass) in the multidisplay systems. To produce the image‐based color palette, the 8‐bit RGB value of each pixel in an image is transformed to L*d*n* (lightness/dominant color/nondominant color) color channels, and the dominant‐color regions in an image are subsequently extracted from the dominant color (d*) channel. The memory color data of familiar objects can be set in reference monitor in advance to determine the dominant color (d*) channel. Then a series of palette colors are generated around a displayed image. The color palette will be displayed as a target for two‐dimensional colorimeter shooting to obtain the measured color data. The familiar color correction model was established based on a first‐order polynomial regression to achieve a polynomial fit between the measured color data and the reference color data on the color palette. The proposed method provides a solution to correct familiar colors on a displayed image, and maintains the original color gamut and tone characteristic in the multidisplay systems simultaneously. It is possible to achieve the preferred intent of the displayed images by using the proposed familiar color correction method. © 2012 Wiley Periodicals, Inc. Col Res Appl, 39, 154–168, 2014     

Perceptual evaluation of color gamut mapping algorithms

The recommendation of the CIE has been followed as closely as possible to evaluate the accuracy of five color gamut mapping algorithms (GMAs)—two nonspatial and three spatial algorithms—by psychophysical experiments with 20 test images, 20 observers, one test done on paper and a second one on display. Even though the results do not show any overall “winner,” one GMA is definitely perceived as not accurate. The importance of a high number of test images to obtain robust evaluation is underlined by the high variability of the results depending on the test images. Significant correlations between the percentage of out‐of‐gamut pixels, the number of distinguishable pairs of GMAs, and the perceived difficulty to distinguish them have been found. The type of observers is also important. The experts, who prefer a spatial GMA, show a stronger consensus and look especially for a good rendering of details, whereas the nonexperts hardly make a difference between the GMAs. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 470–476, 2008     

Image quality evaluation for high dynamic range and wide color gamut applications using visual spatial processing of color differences

High dynamic range (HDR) and wide color gamut imagery has an established video ecosystem, spanning image capture to encoding and display. This drives the need for evaluating how image quality is affected by the multitudes of ecosystem parameters. The simplest quality metrics evaluate color differences on a pixel‐by‐pixel basis. In this article, we evaluate a series of these color difference metrics on four HDR and three standard dynamic range publicly available distortion databases consisting of natural images and subjective scores. We compare the performance of the well‐established CIE L*a*b* metrics (ΔE₀₀ , ΔE₉₄ ) alongside two HDR‐specific metrics (ΔE_Z [J_za_zb_z], ΔE_ITP [IC_TC_P]) and a spatial CIE L*a*b* extension (). We also present a novel spatial extension to ΔE_ITP derived by optimizing the opponent color contrast sensitivity functions. We observe that this advanced metric, , outperforms the other color difference metrics, and we quantify the improved performance with the steps of metric advancement.     

Recovering spectral reflectance based on natural neighbor interpolation with model‐based metameric spectra of extreme points

In this article, we proposed a new method based on natural neighbor interpolation to recover the spectral reflectance of objects from an image captured by a traditional Red‐Green‐Blue (RGB) digital camera. The concept of model‐based metameric spectra of eight extreme points in the standard RGB (sRGB) color gamut was further introduced to ensure that almost all test samples in the entire gamut can be simply and properly recovered without needing the extrapolation or any other auxiliary techniques. The quasi‐Newton method was used to estimate iteratively the optimal parameters of these metameric spectra, satisfying the constraints of the gamut extreme points. Several experiments were performed. The effectiveness of the method with and without the metameric spectra was evaluated, including some performance comparisons with the principal component analysis (PCA) method of transformational type (classic PCA and weighted PCA) and that of interpolation type. The results showed that the proposed method greatly enlarged the accurately applicable domain of the interpolation strategy and offered spectra with feasibility and naturalness much superior to the PCA‐based methods. The proposed method was obviously better than the conventional interpolation ones, and had a similar performance with the weighted PCA method in terms of color difference.     

Evaluation of expanded gamut software solutions for spot color reproduction

Expanded gamut printing is an approach in color reproduction that expands the color gamut of conventional CMYK printing processes via the use of additional colorants, such as Orange, Green, and Violet inks. This study evaluates the ability of commercial color management software to create an accurate solution for an expanded gamut printing system. In this study, two printing processes were used, an Epson SureColor P9000 inkjet printer/proofer and an HP Indigo 7900 digital production press, both with 7-color expanded gamut ink sets. Software solutions from Alwan, CGS ORIS, ColorLogic, GMG Color, Heidelberg, and Kodak were evaluated. The systems were tested to see how well they could reproduce the colors in the entire PANTONE+ Solid Coated spot color library. It is shown that the solutions are able to reproduce 89% to 94% of the spot colors on the Epson P9000 inkjet printer and 77% to 87% of the library on the Indigo 7900, both to less than two CIEDE2000 (a typical tolerance in label and packaging work). The number of color patches in expanded gamut characterization test charts was noted, as this is still an area of proprietary, nonstandardized working practice. There are many different colorant combinations that can make the same color in expanded gamut printing. The ink build created by the different software solutions was studied, as it relates to press stability through appropriate choice of colorants. Pantone and Adobe provide everyday commercial tools for expanded color workflows. The study identified some issues with products from these companies that could confuse a less-skilled user in a busy production environment. The conclusion of the study is that expanded gamut solutions for spot color printing produce totally acceptable results for digital printing processes; expanded gamut printing is ready, here and now. The findings show that expanded gamut printing can replace cumbersome conventional spot color workflows creating considerable savings and advantages, especially for label and packaging printers.     

Assessing color performance of whole‐slide imaging scanners for digital pathology

The color performance of two commercial whole‐slide imaging (WSI) scanners was compared against the ground truth and a hypothetical monochrome scanner. Three biological tissue slides were used to test the WSI scanners. A multispectral imaging system was developed to obtain the color truth of the biological tissue slides at the pixel level. The hypothetical monochrome scanner was derived from the color truth as a lower bound for comparison. The CIEDE2000 formula was used to measure color errors. Results show that color errors generated by the modern commercial WSI scanner, the legacy commercial WSI scanner, and the monochrome WSI scanner are in the range of [8.4, 13.0], [18.0, 26.33], and [17.4, 17.6] ΔE₀₀, respectively. The legacy commercial WSI scanner was outperformed by not only the modern commercial WSI scanner but also by the hypothetical monochrome scanner.     

Spectral‐based color separation using linear regression iteration

The present article will introduce a very simple new method for spectral‐based color separation. This method inverts a Yule–Nielsen modified spectral Neugebauer model, utilizing its affine multilinearity in the 1/n‐space. By means of linear regression, a sequence of colorant combinations is constructed converging to a colorant combination that approximates the desired reflectance spectrum in the sense of the smallest RMS error. Each iteration step consists mainly of two simple matrix–vector multiplications. With the aid of various simulation experiments, investigations on the speed of convergence are conducted. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 229–239, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20211     

Media‐dependent color appearance modeling based on artificial neural networks

In this study, we tried to consider various color appearance factors and device characterization together by visual experiment to simplify the across‐media color appearance reproduction. Two media, CRT display (soft‐copy) and NCS color atlas (hard‐copy), were used in our study. A total of 506 sample pairs of RGB and HVC, which are the attributes of NCS color chips, were obtained according to psychophysical experiments by matching soft copy and hard copy by a panel of nine observers. In addition, a set of error back‐propagation neural networks was used to realize experimental data generalization. In order to get a more perfect generalizing effect, the whole samples were divided into four parts according to different hues and the conversion between HVC and R_HVCG_HVCB_HVC color space was implemented. The current results show that the displays on the CRT and the color chips can match well. In this way, a CRT‐dependent reproduction modeling based on neural networks was formed, which has strong practicability and can be applied in many aspects. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 218–228, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20209     

Teaching color theory for automotive coatings: A computer‐based approach

“Color Theory for Automotive Coatings” is a state‐of‐the‐art learning approach to the world of automotive color. This learning tool provides important information to design engineers, color formulators, chemists, paint shop managers, color technicians, and anyone who wants to be more discerning about the science and communication of color. The content synthesizes both historic and current relevant color knowledge bases. The interactive educational design incorporates concepts of adult learning. The fundamentals of color and its application to the automotive industry are presented at the student's own pace. The learner has control of the learning process. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 327–334, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10176     

Physics‐based spectral sharpening through filter‐chart calibration

The spectral overlap of color‐sampling filters increases errors when using a diagonal matrix transform, for color correction and reduces color distinction. Spectral sharpening is a transformation of colors that was introduced to reduce color‐constancy errors when the colors are collected through spectrally overlapping filters. The earlier color‐constancy methods improved color precision when the illuminant color is changed, but they overlooked the color distinction. In this article, we introduce a new spectral sharpening technique that has a good compromise of color precision and distinction, based on real physical constraints. The spectral overlap is measured through observing a gray reference chart with a set of real and spectrally disjoint filters selected by the user. The new sharpening method enables to sharpen colors obtained by a sensor without knowing the camera response functions. Experiments with real images showed that the colors sharpened by the new method have good levels of color precision and distinction as well. The color‐constancy performance is compared with the data‐based sharpening method in terms of both precision and distinction. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 564–576, 2015     

Optimization of quinacridone magenta,Cu-phthalocyanine cyan,and arylide yellow ink films formulated for maximum color gamut

Investigation of ink formulation options with the purpose to obtain color-gamut-optimal set of Cyan Magenta and Yellow CMY inks is reported. Implementation of the thickness dependent Kubelka-Munk model on multiple ink layers having different and well-defined thicknesses, provides characteristic absorption and scattering (K, S ) spectra of the ink ingredients. These data enable accurate computation of the reflectance spectrum and thus the L*a*b* color coordinates for any given ink thickness or substrate. Pigment materials investigated are quinacridone as magenta, copper-phthalocyanine as cyan, and arylide yellow. Scaling the peak of the absorption band to the number of molecules per unit area for the specific pigments studied in this article provides the molar extinction coefficients, 1.21 × 10⁴ , 4.7 × 10⁴ , and 3.3 × 10⁴ cm²/millimole respectively, regardless of the different ink formulations used, in accord with Avogadro's principle. Having a set of three pairs of K, S spectra is used to compute the color gamut of any CMY color combination in the L*a*b* space as a function of ink layer thickness and formulation. Using an iterative algorithm, a color-gamut-optimal set of CMY inks is obtained.     

Optimization of color reproduction on CRT‐color monitors

In the present experimental study, we quantify the influence of the brightness and contrast levels of a CRT‐color monitor in the color reproduction of 60 Munsell chips distributed throughout the chromatic diagram. The images were captured by two CCD cameras, and the color differences were evaluated after reproducing the chips on a color monitor (the experiment was performed with 3 different monitors) for 9 combinations of brightness‐contrast levels. We evaluated the color differences with 3 different formulas: CIELAB, CIELUV, and CIE94. The results indicate that the optimal settings of a monitor, to minimize the color differences, is a medium or minimum brightness level in combination with a maximum contrast level. This combination ensures a more faithful color reproduction with respect to the original image. © 1999 John Wiley & Sons, Inc. Col Res Appl, 24, 207–213, 1999     

Color separation for improved perceived image quality in terms of graininess and gamut

Multi‐channel printing employs additional inks to improve the perceived image quality by reducing the graininess and augmenting the printer gamut. It also requires a color separation that deals with the one‐to‐many mapping problem imposed when using more than three inks. The proposed separation model incorporates a multilevel halftoning algorithm, reducing the complexity of the print characterization by grouping inks of similar hues in the same channel. In addition, a cost function is proposed that weights selected factors influencing the print and perceived image quality, namely color accuracy, graininess and ink consumption. The graininess perception is qualitatively assessed using S‐CIELAB, a spatial low‐pass filtering mimicking the human visual system. By applying it to a large set of samples, a generalized prediction quantifying the perceived graininess is carried out and incorporated as a criterion in the color separation. The results of the proposed model are compared with the separation giving the best colorimetric match, showing improvements in the perceived image quality in terms of graininess at a small cost of color accuracy and ink consumption. © 2016 Wiley Periodicals, Inc. Col Res Appl, 42, 486–497, 2017     

Digital color reconstructions of cultural heritage using color‐managed imaging and small‐aperture spectrophotometry

There are many examples of cultural heritage having optical properties that have changed with the passage of time. Examples include the yellowing, darkening, and fading of paints and varnishes caused by light exposure and atmospheric pollution. When it is infeasible to treat an object, an image simulation can provide a view to the past, known as a color reconstruction. A technique is described that relies on a color‐managed image, spectral reflectance factor measurements of the object, an optical model of colorant mixing, an optical database of artist materials, spreadsheet software, and image editing software. Spectral calculations are used to create adjustment curves where segmented portions of an object's image are translated in color. This approach has been used to produce color reconstructions of paintings by Vincent van Gogh and Georges Seurat. This colorimetric translation methodology is described and an example shown for the Chicago version of Vincent van Gogh's Bedroom. The methodology is compared with pixel‐based processing.