Harmonia, one of the reputed daughters of Aphrodite, goddess of beauty, lent her name to the aest... more Harmonia, one of the reputed daughters of Aphrodite, goddess of beauty, lent her name to the aesthetic principle of harmony. Clothing fashion has been a field for application of ideas of color harmony since antiquity, particularly in regard to clothing for members of higher societies. Colors connected by the lines of triangles, such as green, orange, and violet, result in paint mixture in near-black appearance. Among the oldest ideas on color harmony is a presumed relationship between musical tones and colors. A relationship between musical tones and colors was also claimed in so-called color organs. Newton’s incomplete color circle is already arranged so that compensative colors are approximately opposite, their mixture passing through white. A methodology used to determine complementary colors was colored shadows.Harmonia, one of the reputed daughters of Aphrodite, goddess of beauty, lent her name to the aesthetic principle of harmony. Clothing fashion has been a field for application of ideas of color harmony since antiquity, particularly in regard to clothing for members of higher societies. Colors connected by the lines of triangles, such as green, orange, and violet, result in paint mixture in near-black appearance. Among the oldest ideas on color harmony is a presumed relationship between musical tones and colors. A relationship between musical tones and colors was also claimed in so-called color organs. Newton’s incomplete color circle is already arranged so that compensative colors are approximately opposite, their mixture passing through white. A methodology used to determine complementary colors was colored shadows.Controlled Vocabulary Termsclothingclothing
The question of the essence of pictorial art and beauty has been the subject of thought and discu... more The question of the essence of pictorial art and beauty has been the subject of thought and discussion since ancient times. The range of pictorial art is huge, from the images in the caves of Southern France and Northern Spain, the paintings and frescoes of the Renaissance, the fantastic images of Blake, to realistic color photography, the huge canvases of abstract expressionist paintings, and the drip canvases of Jackson Pollock. In the first century CE, Pliny the Elder wrote a Natural History, including a canon of great artists of the Greek classical world. Italian painting is often thought to have declined in the seventeenth century into the baroque, the highest achievements shifting north and west, as exemplified in the works of Rubens, Vermeer, van Dyck, Velàzquez, Hals, Rembrandt, and Poussin. An indication of Goethe’s extended impact on color theory for painters is the so-called Goethe color triangle.The question of the essence of pictorial art and beauty has been the subject of thought and discussion since ancient times. The range of pictorial art is huge, from the images in the caves of Southern France and Northern Spain, the paintings and frescoes of the Renaissance, the fantastic images of Blake, to realistic color photography, the huge canvases of abstract expressionist paintings, and the drip canvases of Jackson Pollock. In the first century CE, Pliny the Elder wrote a Natural History, including a canon of great artists of the Greek classical world. Italian painting is often thought to have declined in the seventeenth century into the baroque, the highest achievements shifting north and west, as exemplified in the works of Rubens, Vermeer, van Dyck, Velàzquez, Hals, Rembrandt, and Poussin. An indication of Goethe’s extended impact on color theory for painters is the so-called Goethe color triangle.Controlled Vocabulary Termsart; paintingart; painting
Here several important color perception phenomena are presented that argue for substantial additi... more Here several important color perception phenomena are presented that argue for substantial additional processing beyond what has been described in the previous chapter. These include lightness, the Helmholtz-Kohlrausch effect, lightness and chromatic crispening effects, hue and chroma, stimulus mixture, simultaneous and successive contrast, adaptation, color constancy and metamerism, spreading and edge effects, volume colors and metallic colors.
In this chapter the background and development of the international system of specifying color st... more In this chapter the background and development of the international system of specifying color stimuli, the CIE colorimetric system, is discussed. Such a system makes it possible to calculate the optimal object color stimulus solid for a given light source: all real object color stimuli have to fall within its surface. The CIE system has been used not just to define color stimuli but also to build mathematical models for complex visual processes such as color difference calculation or color appearance modeling. The limitations of the CIE system as a basis of such calculations are touched on.
Metamerism is explained. Ways to reduce metamerism problems are described. The importance of care... more Metamerism is explained. Ways to reduce metamerism problems are described. The importance of careful planning and the coordination of the design, development, and color formulation aspects is underlined.
Human ideas concerning the nature, purposes, and uses of color form a densely interwoven historic... more Human ideas concerning the nature, purposes, and uses of color form a densely interwoven historical web. This chapter presents a brief history of these ideas with the primary focus on general and scientific aspects. Colors were associated with the assumed four elements of the material world. The idea of color scales based on brightness was revived and quantified to some degree in the Renaissance. Color order continued to make progress as well. International Commission on Illumination (CIE) recommendations for mathematical description of various perceptual effects based on spectral sensitivity functions, such as color rendering of light sources and the changes in perceived color resulting from adaptation to different light sources, were also developed. Various revisions of the original hypothesis and various methods of analysis of the World Color Survey (WCS) data have been published since then, with a “final” version published in 2009.Human ideas concerning the nature, purposes, and uses of color form a densely interwoven historical web. This chapter presents a brief history of these ideas with the primary focus on general and scientific aspects. Colors were associated with the assumed four elements of the material world. The idea of color scales based on brightness was revived and quantified to some degree in the Renaissance. Color order continued to make progress as well. International Commission on Illumination (CIE) recommendations for mathematical description of various perceptual effects based on spectral sensitivity functions, such as color rendering of light sources and the changes in perceived color resulting from adaptation to different light sources, were also developed. Various revisions of the original hypothesis and various methods of analysis of the World Color Survey (WCS) data have been published since then, with a “final” version published in 2009.Controlled Vocabulary Termslight sources; lightinglight sources; lighting
Chapter 2 begins with a general definition of the meaning of color space and color solid. A histo... more Chapter 2 begins with a general definition of the meaning of color space and color solid. A historical survey of ideas about color order follows, beginning with ancient Greek philosophers. Given the paucity of surviving documents our knowledge in this area is incomplete. The survey continues through the Middle Ages and the Renaissance into the Age of Enlightenment. Three-dimensional color solids began making an appearance in the 18th century. The contributions of psychophysics, starting in the mid-19th century, to the matter at hand are discussed as are development in understanding of human color vision and of the colorimetric system. Brief discussions of the systems of Hering, Munsell, Ostwald, the German DIN 6164, the Optical Society of America Uniform Color Scales, the Swedish Natural Color System and others, including systems used in video display, are presented to bring the reader to the present in this multi-millennia pursuit of ordering human color perceptions.
... Concept of Color Space and Color Solid 1 1.1 Introduction / 1 1.2 Divisions of Color ... Klot... more ... Concept of Color Space and Color Solid 1 1.1 Introduction / 1 1.2 Divisions of Color ... Klotz / 63 2.11 The Early Development of Psychophysics / 63 2.12 Chevreul's Hemispheric System / 66 ... Color experiences are the outcome of processing by the brain of information acquired as ...
... doi:10.4249/scholarpedia.10686, revision #85267 [link to/cite this article]. Jump to: navigat... more ... doi:10.4249/scholarpedia.10686, revision #85267 [link to/cite this article]. Jump to: navigation, search. Curator and Contributors 1.00 - Rolf Kuehni 0.77 - Robert P. O'Shea 0.04 - Joel Z. Leibo 0.04 - Eugene M. Izhikevich Jonathan Williford Donald MacLeod. ...
Two psychophysical experiments were conducted at North Carolina State University (NCSU) and Roche... more Two psychophysical experiments were conducted at North Carolina State University (NCSU) and Rochester Institute of Technology (RIT) to obtain replicated perceived saturation data from color normal observers on the order of one unit of saturation. The same 37 Munsell sample sheets, including up to four references that had similar perceived saturation but different hue, were used in both experiments. Different assessment methods included presenting either four references simultaneously or only one reference at a time to observers and obtaining judged saturation magnitudes for the given Munsell samples. Four saturation models comprising S ab , S uv , CIECAM02, as well as Richter/Lübbe, were tested. CIECAM02 gave the best prediction of saturation for data obtained at NCSU while S ab outperformed other models for the RIT data. For the combined dataset, S ab , the Richter/Lübbe, and CIECAM02-based saturation models exhibited comparable performances. The Standardized Residual Sum of Squares index was used to measure the inter-and intra-observer variability and goodness of fit. Inter-and intra-observer variability of assessments was smaller than or comparable to those reported for the typical color difference evaluation experiments.
The British Journal for the Philosophy of Science, 2010
ABSTRACT Paul Churchland proposed a conceptual framework for translating reflectance profiles int... more ABSTRACT Paul Churchland proposed a conceptual framework for translating reflectance profiles into a space he takes to be the color qualia space. It allows him to determine color metamers of spectral surface reflectances without reference to the characteristics of visual systems, claiming that the reflectance classes that it specifies correspond to visually determined metamers. We advance several objections to his method, show that a significant number of reflectance profiles are not placed into the space in agreement with the qualia solid, and produce two sets of counterexamples to his claim for metamers.
ABSTRACT In their article ‘In defense of incompatibility, objectivism, and veridicality about col... more ABSTRACT In their article ‘In defense of incompatibility, objectivism, and veridicality about color’ P. Roberts and K. Schmidtke offer the results of an experiment supposed to show that if selection of colored samples representing unique hues for subjects (naming) has a greater inter-subject variability than identification of sample pairs with no perceptual difference between them (matching) the result provides support for the philosophical concept of color realism. On examining the results in detail, we find that, according to standard statistical methodology, the relative magnitude of inter-subject variability in the matching experiment is for both tested colors larger than that in the naming experiment, thus invalidating their claims. In addition, we point out several serious shortcomings in the experiment.
The aim of this study was to determine how accurately color-normal subjects that have received ba... more The aim of this study was to determine how accurately color-normal subjects that have received basic information about, but do not have practical experience with, the Natural Color System (NCS) can estimate the Heringian components of a representative selection of samples. Twenty-five color-normal subjects, taking part in two trials with at least a 24 h gap between assessments, selected four samples representing individual unique hues (uHs) from a set of 40 highly chromatic NCS samples on a rotatable tray. The samples selected for assessment of components were displayed to the subjects who estimated the hue components of 16 high-chroma samples, hue and white/black components of 16 tonal color samples, and three achromatic samples with different blackness values. Variability in selection of samples representing uHs as well as the relationship between the subjects' estimates of unique hue components and the defined values of the system was obtained. It was found that hues alone are easier to correctly estimate than hues together with white and black and that the components of colors of higher chroma are easier to estimate accurately than those of lower chroma. It was also found that, for R and G, the mean uH choices of subjects differed very little from the NCS's R and G, whereas selections for yellow and blue deviated, the former by 1.22 hue steps (slightly greener than G90Y), and the latter by 1.36 hue steps (represented approximately by R85B). This may impact the accuracy of color models that employ NCS unique hues.
Harmonia, one of the reputed daughters of Aphrodite, goddess of beauty, lent her name to the aest... more Harmonia, one of the reputed daughters of Aphrodite, goddess of beauty, lent her name to the aesthetic principle of harmony. Clothing fashion has been a field for application of ideas of color harmony since antiquity, particularly in regard to clothing for members of higher societies. Colors connected by the lines of triangles, such as green, orange, and violet, result in paint mixture in near-black appearance. Among the oldest ideas on color harmony is a presumed relationship between musical tones and colors. A relationship between musical tones and colors was also claimed in so-called color organs. Newton’s incomplete color circle is already arranged so that compensative colors are approximately opposite, their mixture passing through white. A methodology used to determine complementary colors was colored shadows.Harmonia, one of the reputed daughters of Aphrodite, goddess of beauty, lent her name to the aesthetic principle of harmony. Clothing fashion has been a field for application of ideas of color harmony since antiquity, particularly in regard to clothing for members of higher societies. Colors connected by the lines of triangles, such as green, orange, and violet, result in paint mixture in near-black appearance. Among the oldest ideas on color harmony is a presumed relationship between musical tones and colors. A relationship between musical tones and colors was also claimed in so-called color organs. Newton’s incomplete color circle is already arranged so that compensative colors are approximately opposite, their mixture passing through white. A methodology used to determine complementary colors was colored shadows.Controlled Vocabulary Termsclothingclothing
The question of the essence of pictorial art and beauty has been the subject of thought and discu... more The question of the essence of pictorial art and beauty has been the subject of thought and discussion since ancient times. The range of pictorial art is huge, from the images in the caves of Southern France and Northern Spain, the paintings and frescoes of the Renaissance, the fantastic images of Blake, to realistic color photography, the huge canvases of abstract expressionist paintings, and the drip canvases of Jackson Pollock. In the first century CE, Pliny the Elder wrote a Natural History, including a canon of great artists of the Greek classical world. Italian painting is often thought to have declined in the seventeenth century into the baroque, the highest achievements shifting north and west, as exemplified in the works of Rubens, Vermeer, van Dyck, Velàzquez, Hals, Rembrandt, and Poussin. An indication of Goethe’s extended impact on color theory for painters is the so-called Goethe color triangle.The question of the essence of pictorial art and beauty has been the subject of thought and discussion since ancient times. The range of pictorial art is huge, from the images in the caves of Southern France and Northern Spain, the paintings and frescoes of the Renaissance, the fantastic images of Blake, to realistic color photography, the huge canvases of abstract expressionist paintings, and the drip canvases of Jackson Pollock. In the first century CE, Pliny the Elder wrote a Natural History, including a canon of great artists of the Greek classical world. Italian painting is often thought to have declined in the seventeenth century into the baroque, the highest achievements shifting north and west, as exemplified in the works of Rubens, Vermeer, van Dyck, Velàzquez, Hals, Rembrandt, and Poussin. An indication of Goethe’s extended impact on color theory for painters is the so-called Goethe color triangle.Controlled Vocabulary Termsart; paintingart; painting
Here several important color perception phenomena are presented that argue for substantial additi... more Here several important color perception phenomena are presented that argue for substantial additional processing beyond what has been described in the previous chapter. These include lightness, the Helmholtz-Kohlrausch effect, lightness and chromatic crispening effects, hue and chroma, stimulus mixture, simultaneous and successive contrast, adaptation, color constancy and metamerism, spreading and edge effects, volume colors and metallic colors.
In this chapter the background and development of the international system of specifying color st... more In this chapter the background and development of the international system of specifying color stimuli, the CIE colorimetric system, is discussed. Such a system makes it possible to calculate the optimal object color stimulus solid for a given light source: all real object color stimuli have to fall within its surface. The CIE system has been used not just to define color stimuli but also to build mathematical models for complex visual processes such as color difference calculation or color appearance modeling. The limitations of the CIE system as a basis of such calculations are touched on.
Metamerism is explained. Ways to reduce metamerism problems are described. The importance of care... more Metamerism is explained. Ways to reduce metamerism problems are described. The importance of careful planning and the coordination of the design, development, and color formulation aspects is underlined.
Human ideas concerning the nature, purposes, and uses of color form a densely interwoven historic... more Human ideas concerning the nature, purposes, and uses of color form a densely interwoven historical web. This chapter presents a brief history of these ideas with the primary focus on general and scientific aspects. Colors were associated with the assumed four elements of the material world. The idea of color scales based on brightness was revived and quantified to some degree in the Renaissance. Color order continued to make progress as well. International Commission on Illumination (CIE) recommendations for mathematical description of various perceptual effects based on spectral sensitivity functions, such as color rendering of light sources and the changes in perceived color resulting from adaptation to different light sources, were also developed. Various revisions of the original hypothesis and various methods of analysis of the World Color Survey (WCS) data have been published since then, with a “final” version published in 2009.Human ideas concerning the nature, purposes, and uses of color form a densely interwoven historical web. This chapter presents a brief history of these ideas with the primary focus on general and scientific aspects. Colors were associated with the assumed four elements of the material world. The idea of color scales based on brightness was revived and quantified to some degree in the Renaissance. Color order continued to make progress as well. International Commission on Illumination (CIE) recommendations for mathematical description of various perceptual effects based on spectral sensitivity functions, such as color rendering of light sources and the changes in perceived color resulting from adaptation to different light sources, were also developed. Various revisions of the original hypothesis and various methods of analysis of the World Color Survey (WCS) data have been published since then, with a “final” version published in 2009.Controlled Vocabulary Termslight sources; lightinglight sources; lighting
Chapter 2 begins with a general definition of the meaning of color space and color solid. A histo... more Chapter 2 begins with a general definition of the meaning of color space and color solid. A historical survey of ideas about color order follows, beginning with ancient Greek philosophers. Given the paucity of surviving documents our knowledge in this area is incomplete. The survey continues through the Middle Ages and the Renaissance into the Age of Enlightenment. Three-dimensional color solids began making an appearance in the 18th century. The contributions of psychophysics, starting in the mid-19th century, to the matter at hand are discussed as are development in understanding of human color vision and of the colorimetric system. Brief discussions of the systems of Hering, Munsell, Ostwald, the German DIN 6164, the Optical Society of America Uniform Color Scales, the Swedish Natural Color System and others, including systems used in video display, are presented to bring the reader to the present in this multi-millennia pursuit of ordering human color perceptions.
... Concept of Color Space and Color Solid 1 1.1 Introduction / 1 1.2 Divisions of Color ... Klot... more ... Concept of Color Space and Color Solid 1 1.1 Introduction / 1 1.2 Divisions of Color ... Klotz / 63 2.11 The Early Development of Psychophysics / 63 2.12 Chevreul's Hemispheric System / 66 ... Color experiences are the outcome of processing by the brain of information acquired as ...
... doi:10.4249/scholarpedia.10686, revision #85267 [link to/cite this article]. Jump to: navigat... more ... doi:10.4249/scholarpedia.10686, revision #85267 [link to/cite this article]. Jump to: navigation, search. Curator and Contributors 1.00 - Rolf Kuehni 0.77 - Robert P. O'Shea 0.04 - Joel Z. Leibo 0.04 - Eugene M. Izhikevich Jonathan Williford Donald MacLeod. ...
Two psychophysical experiments were conducted at North Carolina State University (NCSU) and Roche... more Two psychophysical experiments were conducted at North Carolina State University (NCSU) and Rochester Institute of Technology (RIT) to obtain replicated perceived saturation data from color normal observers on the order of one unit of saturation. The same 37 Munsell sample sheets, including up to four references that had similar perceived saturation but different hue, were used in both experiments. Different assessment methods included presenting either four references simultaneously or only one reference at a time to observers and obtaining judged saturation magnitudes for the given Munsell samples. Four saturation models comprising S ab , S uv , CIECAM02, as well as Richter/Lübbe, were tested. CIECAM02 gave the best prediction of saturation for data obtained at NCSU while S ab outperformed other models for the RIT data. For the combined dataset, S ab , the Richter/Lübbe, and CIECAM02-based saturation models exhibited comparable performances. The Standardized Residual Sum of Squares index was used to measure the inter-and intra-observer variability and goodness of fit. Inter-and intra-observer variability of assessments was smaller than or comparable to those reported for the typical color difference evaluation experiments.
The British Journal for the Philosophy of Science, 2010
ABSTRACT Paul Churchland proposed a conceptual framework for translating reflectance profiles int... more ABSTRACT Paul Churchland proposed a conceptual framework for translating reflectance profiles into a space he takes to be the color qualia space. It allows him to determine color metamers of spectral surface reflectances without reference to the characteristics of visual systems, claiming that the reflectance classes that it specifies correspond to visually determined metamers. We advance several objections to his method, show that a significant number of reflectance profiles are not placed into the space in agreement with the qualia solid, and produce two sets of counterexamples to his claim for metamers.
ABSTRACT In their article ‘In defense of incompatibility, objectivism, and veridicality about col... more ABSTRACT In their article ‘In defense of incompatibility, objectivism, and veridicality about color’ P. Roberts and K. Schmidtke offer the results of an experiment supposed to show that if selection of colored samples representing unique hues for subjects (naming) has a greater inter-subject variability than identification of sample pairs with no perceptual difference between them (matching) the result provides support for the philosophical concept of color realism. On examining the results in detail, we find that, according to standard statistical methodology, the relative magnitude of inter-subject variability in the matching experiment is for both tested colors larger than that in the naming experiment, thus invalidating their claims. In addition, we point out several serious shortcomings in the experiment.
The aim of this study was to determine how accurately color-normal subjects that have received ba... more The aim of this study was to determine how accurately color-normal subjects that have received basic information about, but do not have practical experience with, the Natural Color System (NCS) can estimate the Heringian components of a representative selection of samples. Twenty-five color-normal subjects, taking part in two trials with at least a 24 h gap between assessments, selected four samples representing individual unique hues (uHs) from a set of 40 highly chromatic NCS samples on a rotatable tray. The samples selected for assessment of components were displayed to the subjects who estimated the hue components of 16 high-chroma samples, hue and white/black components of 16 tonal color samples, and three achromatic samples with different blackness values. Variability in selection of samples representing uHs as well as the relationship between the subjects' estimates of unique hue components and the defined values of the system was obtained. It was found that hues alone are easier to correctly estimate than hues together with white and black and that the components of colors of higher chroma are easier to estimate accurately than those of lower chroma. It was also found that, for R and G, the mean uH choices of subjects differed very little from the NCS's R and G, whereas selections for yellow and blue deviated, the former by 1.22 hue steps (slightly greener than G90Y), and the latter by 1.36 hue steps (represented approximately by R85B). This may impact the accuracy of color models that employ NCS unique hues.
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