Color Science

In this keynote the focus is on mapping out the landscape of benefits provided by multi-primary printing and on highlighting some of the major challenges that stand in the way of harnessing its potential. A brief introduction to three and four primary printing and the business needs for multi-primary printing is followed by an enumeration of potential benefits that printing with more than three primaries has. Next some of the key challenges of using larger numbers of primaries are discussed and finally examples are given of future opportunities opened by multi-primary printing.

When emulating single, uniformly colored surfaces the most common aim is for the emulation to look as similar to the original as is possible given the constraints of how it is generated. The work presented here reports results of a psychometric experiment in which observers made choices from among the colors on the surface of a reproduction gamut, given original colors outside it. The resulting choices were found to follow trends identified in previous studies on self-luminous displays whereby the visually most similar colors preserved about twice as much lightness and hue as chroma. Such a trade-off among color appearance attributes can therefore be applied irrespective of the media between which colors are to be mapped.

This paper deals with the color theory and the application of this theory in architectural design. Since the modernist architects and modern era in architecture, the colors of the buildings were not in the focus of their authors. On the contrary, the modern movement has taught us that color, and especially artificial one, is almost a crime to use and in a way, it expresses a lack of a style. Through examining universal color harmony principles in this paper the problem and phenomenon of using colors in contemporary architecture was discussed, which had its roots in the modern movement and evolved through technological advance especially in material technology. The industrial architecture is used as an example, to narrow down the research field, but also for the reasons of extensive and creative use of color in this type of buildings. We have examined several industrial buildings that have been systematized into three categories. All three categories are analyzed for the application ...

Este estudo tem como tema Design de Ambientes Hospitalares, cujo, objectivo é colocar o Design de
Interiores ao serviço da melhoria do ambiente pediátrico através da criação de uma proposta de um ambiente
acolhedor nas pediatrias, demonstrando os efeitos dos ambientes pediátricos na pronta recuperação e bem-estar
naquele local e, tornando a pediatria um lugar atractivo e não estranho para as crianças/pacientes.
Como aplicar o Design de Interiores para tornar o ambiente hospitalar espaço interactivo e acolhedor? Por se
tratar duma pesquisa qualitativa, foi realizado um estudo de caso, uma entrevista, formulou-se um questionário e
observações directas feitas pelo autor de modo a obter maior informação possível em torno desta temática. O
resultado da pesquisa confirma nos que, o Design proposto em conjunto com o investimento em aspectos lúdicos
propícios a divertir os enfermos e levá-los ao mundo da imaginação é capaz de tornar o ambiente mais tranquilo e
descontraído para as crianças. Conclui-se que a cor interfere na percepção dos ambientes hospitalares de
assistência à saúde infantil pois, os seus usuários avaliaram como necessário o planeamento cromático e como
adequado às crianças aqueles ambientes com a presença de policromia e cores alegres, avaliando-os como
agradáveis e lúdicos; foram avaliados como monótonos e cansativos, os ambientes pintados com cores neutras e,
como irritantes, aqueles pintados com cores saturadas.

Warum lieben Mädchen Pink? Die neurowissenschaftliche Studie der britischen Psychologinnen Anya Hurlbert und Yazhu Ling gibt Aufschluss. 1 Sie führt die Vorliebe von Frauen und Mädchen für Rot-und Rosatöne auf die geschlechtsspezifische Arbeitsteilung in der Urgeschichte zurück. Als Sammlerinnen hätten Frauen ihre Augen darauf trainiert, Beeren möglichst effizient zu erkennen. Die Anziehungskraft, die Rosa heute auf Mädchen ausübe, habe somit mit dem evolutionsbezogenen Vorteil zu tun, der Frauen das Erkennen von Rotund Rosatönen erleichtert und für das Überleben der Urmenschen gesorgt haben soll. Wer horcht nicht interessiert auf, wenn renommierte Wissenschaftlerinnen belegen, dass Frauen bereits in der Urgeschichte Rosa bevorzugten, würde das doch eindeutig erklären, warum kleine Mädchen sich mit Haut und Haaren dieser Farbe verschreiben. In der Öffentlichkeit erhalten evolutionspsychologische Studien viel Aufmerksamkeit, sei dies in reich bebilderten Reportagen oder aber in ironisierenden Artikeln, welche die Titelseite von Gratiszeitungen oder die letzte Seite von Tageszeitungen zieren. Was sind die zentralen Argumente der evolutionspsychologischen Studien über die Farbpräferenz von Menschen und wie werden sie in den Massenmedien kommuniziert? Ein Blick in die Geschichte zeigt, dass die Farbe Rosa erst in den 1950er Jahren allgemein als Mädchenfarbe betrachtet wurde. Mancherorts vollzog sich diese Entwicklung sogar noch später. Die historischen Erkenntnisse scheinen den evolutionsbiologischen Spekulationen jedoch keinen Abbruch zu tun. Wie

This paper deals with the color theory and the application of this theory in architectural design. Since the modernist architects and modern era in architecture, the colors of the buildings were not in the focus of their authors. On the contrary, the modern movement has taught us that color, and especially an artificial one, is almost a crime to use and in a way, it expresses a lack of a style. Through examining universal color harmony principles in this paper the problem and phenomenon of using colors in contemporary architecture was discussed, which had its roots in the modern movement and evolved through technological advance especially in material technology. Industrial architecture is used as an example, to narrow down the research field, but also for the reasons of extensive and creative use of color in this type of buildings. We have examined several industrial buildings that have been systematized into three categories. All three categories are analyzed for the application o...

This paper deals with the color theory and the application of this theory in architectural design. Since the modernist architects and modern era in architecture, the colors of the buildings were not in the focus of their authors. On the contrary, the modern movement has taught us that color, and especially artificial one, is almost a crime to use and in a way, it expresses a lack of a style. Through examining universal color harmony principles in this paper the problem and phenomenon of using colors in contemporary architecture was discussed, which had its roots in the modern movement and evolved through technological advance especially in material technology. The industrial architecture is used as an example, to narrow down the research field, but also for the reasons of extensive and creative use of color in this type of buildings. We have examined several industrial buildings that have been systematized into three categories. All three categories are analyzed for the application ...

The need of tone mapping high dynamic range (HDR) images has highly increased recently because they are useful not only for static images but also for multimedia applications. Therefore, how to produce visually sufficient HDR images has been one of the important discussions in the computer graphics community for years against the problems which come from the limited number of bits in image formats and the limited display range of the physical devices. A number of techniques have been introduced to conquer those problems including construction ...

The Fractal Geometry of Life belongs to the new science known as fractology. It is linked to the ancient Greek understanding that gravity is a non-mechanistic colour conscious element evolving consciousness to infinity. Very few people, including most eminent scientists, realise that Isaac Newton, in his 28th Query Discussions, rejected his earlier conviction that the mass of objects in space caused gravity. The movement of Newton’s biologically visible white-light colour particle forms rotating electromagnetically anticlockwise became associated with gravity evolving consciousness to infinity. This was equal and opposite to Einstein’s gravity particles rotating clockwise. The professor of neuropsychology, Richard Gregory, in his paper, Alchemy of Matter and of Mind, published in the journal, Nature, about the Act of Creation, stated that Newton’s book The Vegetation of Metals "proclaimed Newton’s conviction [that the understanding of gravity] had to be completed by a more profound natural science which probed the active principles behind particles in motion.”

This paper deals with the color theory and the application of this theory in architectural design. Since the modernist architects and modern era in architecture, the colors of the buildings were not in the focus of their authors. On the contrary, the modern movement has taught us that color, and especially an artificial one, is almost a crime to use and in a way, it expresses a lack of a style. Through examining universal color harmony principles in this paper the problem and phenomenon of using colors in contemporary architecture was discussed, which had its roots in the modern movement and evolved through technological advance especially in material technology. Industrial architecture is used as an example, to narrow down the research field, but also for the reasons of extensive and creative use of color in this type of buildings. We have examined several industrial buildings that have been systematized into three categories. All three categories are analyzed for the application of general color harmony principles. Then discussion focuses on refining principles of color usage in architecture that appear in contemporary architecture in order to systematize those principles, particularly important for architectural education and new practitioners of architecture. In conclusion, it is stated that universal color harmony principles are applicable in architecture as well, as in other visual arts.

This book presents the selected full papers by participants of the International Scientific Conference of the Color Society of Russia. They discuss a wide range of issues related to colour theory and its application in various socio-cultural contexts. The relevant psychological, sociological, linguistic, philosophical, pedagogical, art historian, technical and scientific aspects are considered.

The book is published with the support of the Presidential Grant Foundation (Project No. 20-2-000280).

THIS IS REALLY QUITE AMAZING AS TO HOW RIGHT ON, THIS PAINTING BY BEV IS, WITH WHAT ALREADY IS IN THE EUPHORIC PURPLISH GRAY BOUNDARY LAYER.  EVEN THE GOD PARTICLE HAS TO CHANGE SHAPE AS SHE SHOWS US – THENCE, THE GOD PARTICLE FUNCTION HAS TO CHANGE!!!

NOW THERE'S PAINTINGS BY BRIDGET THAT DEPICT A NEW SOUL COALESCING IN THE PURPLISH GRAY BOUNDARY LAYER.  AT THE END OF THE ESSAY

AND THERE IS ONE PHOTO THAT  CONFIRMS THE ESSAY AND THAT WHAT BRIDGET SEES ARE REALITY.

Light source spectrum can be optimized for object reflectance to reduce energy consumption by reducing the amount of light absorbed by surfaces. While the feasibility of this approach to architectural lighting has been demonstrated, this concept has only been tested with objects of highly saturated colors. Here, the color appearance of 24 Macbeth ColorChecker test samples, which includes achromatic surfaces (i.e., gray, black, and white), illuminated by optimized theoretical test spectra and reference illuminants (incandescent and equal-energy radiator) were calculated using a color space based on the International Commission on Illumination's (CIE) color appearance model, CIECAM02-UCS. Results show that energy consumption could be reduced to between 39 % and 90 %, with small shifts in color appearance, when considering all object colors. When lights are optimized for achromatic test samples, energy consumption and light absorption were reduced more than when optimized for colorful surfaces, with imperceptible shifts in color appearance.

Lanthanide ions display intense photoluminescence under UV light. When incorporated in glass they are used not only in technological applications, but in artworks as well. Luminescent soda-lime silicate glasses with compositions similar to those used in utilitarian and decorative applications, doped with small amounts of different lanthanide oxides, namely europium, terbium, cerium, dysprosium, samarium and thulium, have been prepared in our laboratories. A few examples of their application in artworks will be presented.

Light is used to illuminate objects in the built environment. Humans can only observe light reflected from an object. Light absorbed by an object turns into heat and does not contribute to visibility. Since the spectral output of the new lighting technologies can be tuned, it is possible to imagine a lighting system that detects the colours of objects and emits customised light to minimise the absorbed energy. Previous optimisation studies investigated the use of narrowband LEDs to maximise the efficiency and colour quality of a light source. While these studies aimed to tune a white light source for general use, the lighting system proposed here minimises the energy consumed by lighting by detecting colours of objects and emitting customised light onto each coloured part of the object. This thesis investigates the feasibility of absorption-minimising light source spectra and their impact on the colour appearance of objects and energy consumption. Two computational studies were undertaken to form the theoretical basis of the absorption-minimising light source spectra. Computational simulations show that the theoretical single-peak spectra can lower the energy consumption up to around 38 % to 62 %, and double-peak test spectra can result in energy savings up to 71 %, without causing colour shifts. In these studies, standard reference illuminants, theoretical test spectra and coloured test samples were used. These studies are followed by the empirical evidence collected from two psychophysical experiments. Data from the experiments show that observers find the colour appearance of objects equally natural and attractive under spectrally optimised spectra and reference white light sources. An increased colour difference, to a certain extent, is found acceptable, which allows even higher energy savings. However, the translucent nature of some objects may negatively affect the results.

https://pdpseven.wixsite.com/sound-color

CHROMOSCALE presents a novel framework that integrates numerical systems with color representation through a unique chromatic approach based on cyclic orders. The concept revolves around the relationship between different numerical bases and their visual representations, specifically focusing on Base 7. The paper explores the mathematical properties of cyclic numbers, monotonic functions, and their implications for establishing a harmonic system that maps numbers to colors in a structured way, thereby creating a cohesive language for sounds, colors, and numbers.

Traditionally the choices made by color separation are expressed as amounts of each of the available colorants to use for each of the reproducible colors. Halftoning then deals with the spatial distribution of colorants, which also results in the nature of their overprinting. However, having a colorant space as the way for color separation to communicate with halftoning gives access only to some of the possible printed patterns that a given printing system is capable of and therefore only to a reduced range of print attributes. In the present paper a method -HANS -is proposed to gain access to all possible, printable patterns by specifying relative area coverages of a printing system's Neugebauer primaries instead of only colorant amounts. This results in delivering prints with more optimal print attributes than were possible using existing methods, allowing for up to 34% less ink use while delivering a 10% greater color gamut on a test printing system using CMYKcm inks.

This paper deals with the color theory and the application of this theory in architectural design. Since the modernist architects and modern era in architecture, the colors of the buildings were not in the focus of their authors. On the contrary, the modern movement has taught us that color, and especially artificial one, is almost a crime to use and in a way, it expresses a lack of a style. Through examining universal color harmony principles in this paper the problem and phenomenon of using colors in contemporary architecture was discussed, which had its roots in the modern movement and evolved through technological advance especially in material technology. The industrial architecture is used as an example, to narrow down the research field, but also for the reasons of extensive and creative use of color in this type of buildings. We have examined several industrial buildings that have been systematized into three categories. All three categories are analyzed for the application ...

The book presents the abstracts of the International Scientific Conference of the Color Society Russia dedicated to the discussion of a wide range of issues related to colour theory and its practical use in various socio-cultural contexts. The relevant psychological, sociological, linguistic, philosophical, pedagogical, art historical, technical and scientific aspects are considered.

The book is published with the support of the Presidential Grant Foundation (Project No. 20-2-000280).

The article is a group effort consisting of an introduction and seven compact essays. It is focused on the problem of color from the perspective of current philosophical discussions on the role of the Enlightenment and the relationship between light and dark. The introduction by Michael Kurtov presents a roadmap for navigating through the seven essays by referring to a schema of “color knowledge” which has four dimensions: luminosity, resolution, saturation, and hue. Each of the texts in the article (the introduction and seven essays) deals mostly with one of “color knowledge”, which are formed by combining three color dimensions. Roman Mikhailov explores the plastic-dynamic correlates of colors and the chromaticity of the text understood broadly both as the text of nature and as an abstract symbolic complex. Eugene Kuchinov offers a “haptic criticism of the Enlightenment,” which is an analysis of color phenomena from the point of view of the skin (not the eye): on the basis of the logic of sensation, color is “viewed” beyond the light, beyond the optics. Yoel Regev develops a hermeneutics of color applied to the Torah: color is interpreted as a deception which is opposed to another deception belonging to a “true enlightenment.” Michael Kurtov addresses a revision of Goethe’s theory of color based on new physical experiments and on the logical geometry of color and then arrives at a critique of contemporary chromo-ideology. Nataliya Tyshkevich reveals the modern political meaning of coloring in the context of the recent “renaissance of modernist aesthetics” in which dealing with form is replaced by dealing with surfaces. Gray Violet describes color and darkness as political functions that turn into each other in the middle of a non-place in the “smart city.” The final piece by Nikita Sazonov elaborates the procedure of colorization by examining noncolor — a resource beyond the colored and the uncolored, most readily manifested in the printed character as well as in modern hip-hop culture
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Статья представляет собой коллективный текст, состоящий из введения и семи фрагментов. В центре статьи — проблема цвета, рассмотренная сквозь призму актуальных философских дискуссий о роли Просвещения и отношениях «светлого» и «темного». Во введении Михаила Куртова предлагается общая карта движения по семи фрагментам — модель «цветного знания», имеющая четыре измерения: светлота, разрешение, насыщенность, цветовой тон. Каждый из включенных в статью текстов (введение и семь фрагментов) условно отнесен к одному из восьми возможных типов «цветного знания». Фрагмент Романа Михайлова исследует пластически-динамические корреляты цветов и говорит о цветности текста, понимаемого максимального широко: и как текста природы, и как абстрактного символического комплекса. Фрагмент Евгения Кучинова посвящен «гаптической критике Просвещения» — анализу цвета с точки зрения «кожи», располагающемуся на границе оптического как такового и получающему свой смысл в интенсивном, аффективно-динамическом знании. Фрагмент Йоэля Регева разворачивает герменевтику цвета на материале Торы: цвет истолковывается как обман, которому противостоит другой обман, принадлежащий «подлинному просвещению». Фрагмент Михаила Куртова обращается к пересмотру теории цвета Гёте на базе новых физических экспериментов и с учетом развития логической геометрии цвета, намечая тем самым критику современной хромоидеологии. Фрагмент Натальи Тышкевич раскрывает современный политический смысл раскрашивания в контексте «ренессанса модернистской эстетики» последних лет, в которой работа с формой замещается работой поверхностями. Фрагмент Серого Фиолетового описывает цвет и тьму как политические функции, обращающиеся друг в друга посреди единого не-места «умного города». Заключительный фрагмент Никиты Сазонова разрабатывает процедуру расцвечивания через обращение к нецвету — ресурсу по ту сторону цвета и не-цвета, наиболее отчетливо проявляющемуся в печатном знаке, а также в современной хип-хоп культуре

El manejo novedoso de la Guía Pantone en la disciplina arqueológica ha resultado provechoso para determinar con mayor precisión la gama tonal en artefactos fabricados con hueso y terracota. En este estudio se lleva a cabo una revisión de una investigación previa acerca de la identificación de colores en útiles óseos provenientes de dos sitios preclásicos de la Cuenca de México y se añaden, además, los resultados obtenidos derivados del registro cromático de cerámica prehispánica y colonial rescatada durante excavaciones emprendidas en el Centro Histórico de la Ciudad de México. Se resalta la posibilidad de una consulta de la Guía en informática, de las medidas adoptadas para una mejor utilización e identificación de la tabla y se aportan algunas conclusiones de tipo antropológico donde el análisis del color, en unión con el resto de los datos arqueológicos pertinentes, auxilian en las explicaciones concernientes a los procesos antrópicos y naturales que afectan directamente materias primas y artículos terminados manipulados por las sociedades pretéritas.

Standards play an important role in providing a common set of specifications and allowing interoperability between devices and systems. Until recently, no standard for High Dynamic Range (HDR) image coding had been adopted by the market, and HDR imaging relies on proprietary and vendor specific formats which are unsuitable for storage or exchange of such images. To resolve this situation, the JPEG Committee is developing a new coding standard called JPEG XT that is backwards compatible to the popular JPEG compression, allowing it to be implemented using standard 8-bit JPEG coding hardware or software. In this paper, we present design principles and technical details of JPEG XT. It is based on a two-layers design, a base layer containing a Low Dynamic Range (LDR) image accessible to legacy implementations, and an extension layer providing the full dynamic range. The paper introduces three of currently defined profiles in JPEG XT, each constraining the common decoder architecture to a subset of allowable configurations. We assess the coding efficiency of each profile extensively through subjective assessments, using 24 naïve subjects to evaluate 20 images, and objective evaluations, using 106 images with five different tone-mapping operators and at 100 different bit rates. The objective results (based on benchmarking with subjective scores) demonstrate that JPEG XT can encode HDR images at bit rates varying from 1.1 to 1.9 bit/pixel for estimated mean opinion score (MOS) values above

Humans’ transition from a foraging economy to agriculture in the Neolithic of the Levant brought with it the first use of stone beads. These came in many colours and shapes, with a variety of green minerals dominating. Beads in white, red, yellow, brown, and black colours had been used previously, thus the occurrence of green beads was related to the onset of agriculture. Subsequently they were used as amulets to ward off the evil eye and as fertility charms. A synthesis of personal ornaments of the Chalcolithic period provides insight into the possible ways in which the society of agro-pastoralists used to decorate itself. The study of ornaments, their raw materials, and colours informs us on possible belief systems, at the time of religion formation. Their spatial distribution testified for economic ties of the period.

In the early Byzantine mosaics in the Rotunda at Thessaloniki, some tesserae are arranged so that the colours blend optically. This method, which has its scientific origin in Greco-Roman optics, is related to the principles of nineteenth-century pointillist and divisionist painting. Based on observations in situ and subsequent studies of digital photographs, I discuss two instances of optical blending, namely its use in the interwoven decoration (tablia) of the soldier saints' cloaks, and in the wings of angels. In order to explain the colouristic effects, I bring into the discussion the phenomena of contrast and assimilation and recent neurobiological research on luminance. It is concluded that by means of the colour blending technique, the artists achieved astounding results with respect to hue, luminance, texture, three-dimensionality and variety.

The dynamic range limitations of current image output devices such as monitors and printers, do not allow to visualize High Dynamic Range images correctly. Tone mapping helps to solve this problem, but real-time performances are not yet achieved. In this thesis we analyse the acceleration question about tone mapping in the context of monitors and printers. Two different solutions are presented. For monitors, we describe a framework that accelerates any complex pre-existing global tone mapping operator and its implementation on the hardware.

Fruit peel coloring is one of the most important measures of commercial values in various citrus fruits. It is well documented that a gaseous plant hormone, ethylene, regulates the peel color changes associated with fruit ripening. To handle the peel color quality, it is necessary to develop a universal measure of ethylene-directed color changes. Here, we proposed a novel colorimetric formula: y* = [ (L* n • max-L* t) 2 + (a* n • max-a* t) 2 + (b* n • max-b* t) 2 ] 1/2 (y* > 0), based the CIE 1976 L*a*b* colour space units, which reflect the wholistic changes in fruit color. Since all known colorimetric values are specialized for estimation of the changes in certain single pigment, our formula may be useful for assessing the total fruit color development in a controlled atmosphere.

Inkjet print attributes like color gamut, grain and cost are a consequence of the materials and printing technology used and of choices made during color management, color separation and halftoning operations. Traditionally color separation determines what amounts of the available inks to use for each reproducible color and halftoning deals with the spatial distribution of inks that also results in the nature of their overprinting. However, using an ink space as a means of communication between color separation and halftoning gives access only to some of the printed patterns that a printing system is capable of and therefore only to a reduced range of print attributes. Here a method -HANS -is proposed to gain access to all possible, printable patterns by specifying relative area coverages of a printing system's Neugebauer primaries instead of only ink amounts. This results in delivering prints with more optimal attributes (e.g., using less ink and giving rise to a larger color gamut) than is possible using current methods.

The aim of this study was twofold, first to determine the effect of field view size and second of illumination conditions on the selection of unique hue samples (UHs: R, Y, G and B) from two rotatable trays, each containing forty highly chromatic Natural Color System (NCS) samples, on one tray corresponding to 1.4°a nd on the other to 5.7°field of view size. UH selections were made by 25 color-normal observers who repeated assessments three times with a gap of at least 24 h between trials. Observers separately assessed UHs under four illumination conditions simulating illuminants D65, A, F2 and F11. An apparent hue shift (statistically significant for UR) was noted for UH selections at 5.7°field of view compared to those at 1.4°. Observers' overall variability was found to be higher for UH stimuli selections at the larger field of view. Intra-observer variability was found to be approximately 18.7% of inter-observer variability in selection of samples for both sample sizes. The highest intra-observer variability was under simulated illuminant D65, followed by A, F11, and F2.

Few  tone  mapping  operators  (TMOs)  take  color
management  into  consideration,  limiting  compression  to  luminance  values  only.  This  may  lead  to  changes  in  image  chroma and  hues  which  are  typically  managed  with  a  post-processing step.  However,  current  post-processing  techniques  for  tone  reproduction  do  not  explicitly  consider  the  target  display  gamut.
Gamut mapping on the other hand, deals with mapping images from  one  color  gamut  to  another,  usually  smaller,  gamut  but has traditionally focused on smaller scale, chromatic changes. In this  context,  we  present  a  novel  gamut  and  tone  management framework  for  color-accurate  reproduction  of  high  dynamic
range (HDR) images, which is conceptually and computationally simple,  parameter-free,  and  compatible  with  existing  TMOs.  In the CIE LCh color space, we compress chroma to fit the gamut of  the  output  color  space.  This  prevents  hue  and  luminance shifts  while  taking  gamut  boundaries  into  consideration.  We also  propose  a  compatible  lightness  compression  scheme  that minimizes  the  number  of  color  space  conversions.  Our  results show that our gamut management method effectively compresses the chroma of tone mapped images, respecting the target gamut and  without  reducing  image  quality.
The pre-printed version  is available here:
https://www.artusi.org/Publications/PDF-VIDEO/IEEECG&A/2015/main.pdf
The published version can be found here:
http://ieeexplore.ieee.org/document/7325187/

Spectral printing is a well-established part of imaging that can boast of a rich body of literature. Nonetheless there has been limited commercial uptake of this approach to visual content reproduction, in spite of its clear benefits. The aim of the present paper is therefore to explore what may lie behind this apparent mismatch by looking at how colorimetric (metameric) and spectral reproduction compare on an 11-ink printing system. To aid the above exploration, the paper proposes a new metric for evaluating spectral reproduction in a visually meaningful way and presents an analysis of the spectral properties of colorimetric and spectral reproductions of a variety of original content including spot colors and fine art.

This article introduces a novel solution to improve image enhancement in terms of color appearance. Our approach, called Color Channel Compensation (3C), overcomes artifacts resulting from the severely non-uniform color spectrum distribution encountered in images captured under hazy night-time conditions, underwater, or under non-uniform artificial illumination. Our solution is founded on the observation that, under such adverse conditions, the information contained in at least one color channel is close to completely lost, making the traditional enhancing techniques subject to noise and color shifting. In those cases, our pre-processing method proposes to reconstruct the lost channel based on the opponent color channel. Our algorithm subtracts a local mean from each opponent color pixel. Thereby, it partly recovers the lost color from the two colors (red-green or blue-yellow) involved in the opponent color channel. The proposed approach, whilst simple, is shown to consistently improve the outcome of conventional restoration methods. To prove the utility of our 3C operator, we provide an extensive qualitative and quantitative evaluation for white balancing, image dehazing, and underwater enhancement applications.

There have been many attempts to answer the question of how many distinct colors there are, with widely varying answers. Here we present an analysis of what it would take to arrive at a reliable answer and show how currently available models fail to make predictions under the wide range of conditions that needs to be considered. Gamut volumes are reported for a number of light sources and viewing modes and the conclusion is drawn that the only reliable data we have comes from psychophysical work. The color gamut of the LUTCHI data in CIECAM02 is therefore shown as an alternative to the gamut of all possible colors.

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

High dynamic range images require tone reproduction to
match the range of values to the capabilities of the display. For
computational reasons as well as absence of fully calibrated imagery,
rudimentary color reproduction is often added as a postprocessing
step rather than integrated into the tone reproduction
algorithm. However, in the general case this currently requires
manual parameter tuning, although for some global tone reproduction
operators, parameter settings can be inferred from the
tone curve. We present a novel and fully automatic saturation
correction technique, suitable for any tone reproduction operator,
which exhibits better color reproduction than the state-of-the-
art and we validate its comparative effectiveness through psychophysical experimentation.

Colour correction has introduced a new idea of colour image in the contemporary mediascape. What kind of relation is established, therefore, between the visible colour and the one reproduced by digital images? In order to investigate the mimetic status of digital colours, this essay provides a preliminary survey on colour correction practices adopted by some recent films. | | | Nello scenario mediale contemporaneo, le possibilità manipolatorie introdotte dalla color correction pongono in modo nuovo il rapporto tra dimensione produttiva e riproduttiva dell’immagine a colori. Che tipo di rapporto si instaura dunque tra il colore visibile e il colore riprodotto dall'immagine digitale? Per indagare lo statuto mimetico del colore digitale, il saggio propone una riflessione preliminare sulle pratiche di color correction adottate in alcuni film recenti.

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'E´clairage (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.

A black band painted on the circumference of the walls of the church and on which appear the seigniorial coat of arms, called litre, reveals a funeral custom. This rite was abolished with the Revolution, erased and forgotten, it is today a crucial issue for restoration, historical monuments and our memory. We analyze the history of the right of litre in relation to the sacred space in its political, social and anthropological dimension. Black as a mourning color refers to the irrepresentable; as an ultimate line, it announces the space of abstraction. Entrées d'index Mots-clés : anthropologie des image, art et histoire, représenter le deuil, enjeux des restaurateurs, vie et mort des images, trait ultime de l'abstraction Keywords : anthropology of images, art and history, representing mourning, aim of restorers, life and death of images, ultimate line of abstraction Dédicace Hommage à Solange Fouilleul Texte intégral Ce document sera publié en ligne en texte intégral en juillet 2020. « La mort,-si nous voulons nommer ainsi cette irréalité-est ce qu'il y a de plus terrible et maintenir l'oeuvre de la mort est ce qui demande la plus grande force […] Qu'il vive ou qu'il meure, l'homme ne peut connaître immédiatement la mort. La connaissance de la mort ne peut se passer d'un subterfuge : le spectacle ». (Hegel 29) Fig. 1. Un exemple significatif est cette litre funéraire de l'église de Courteuil (Oise) avec les armoiries du Grand Condé, probablement du XVIII ème siècle. Interfaces De la crainte de la mort naît l'art. La force de la peinture et surtout du portrait depuis l'époque de Fayoum réside dans son pouvoir de présentifier le défunt qui reprend vie dans le regard du spectateur. La personne survit grâce à son portrait qui a une valeur de substitution. La coutume de la ceinture funéraire, par contre, inverse cette logique en faisant porter le deuil à l'espace sacré et parfois aux images qu'elle traverse.

Studies handling the lights and the colors as key components of computation attracted the scientists and engineers since these studies are potentially applicable to the signal processing through optical interconnections between electronic devices. Here, a novel optical computing model is proposed by modifying the known optical parallel logic gates, after employing the printed colors as the input/output data, instead of shadowgram images projected on a screen. The proposed approach allows spontaneous and parallel Boolean operations by simply overlaying the colors printed on films or duplicating the prints on papers. By setting a limited number of color prototypes with known CIELAB color coordinates, prediction of color changes due to duplicated color printing and/or film-on-paper overlaying of the printed colors was performed through Boolean “AND” operation and their experimental confirmation after actual color reading was also performed. Furthermore, possible applications of this CIELAB-coded printable logic gate system in natural computing and development of novel color barcodes were discussed.

In recent years, various color difference formulas were developed for the CIELAB space, such as CMC, CIE94 and CIEDE2000. Although these formulas have achieved greater accuracy in perceptual measurement between colors, many applications cannot take advantage of this greater precision, because the Euclidean distances in CIELAB are not isometric in accordance with these new formulas. Thus, applications such as gamut mapping and color interpolation need a color space that is isometric in relation to the latest color difference formulas. This paper studies the mapping of the CIELAB space, particularly the ab plane of this space according to the metrics of the CIEDE2000 formula, through multidimensional scaling (MDS) techniques, more specifically ISOMAP and an optimization based on Sammon Mapping.

The reproduction of image appearance in cross media is a challenging task due to theinherently different nature of different media. When it comes to medical microscopythis image matching becomes critical since an inaccurate reproduction might lead to anerroneous interpretation. In this paper, a new color management solution is proposed for displaying microscope images preserving the image appearance observed through theeyepiece of the microscope and via the display. For this purpose, the 24 samples of theMacbeth ColorChecker were measured through the eyepiece of the microscope and their appearance was reproduced to an LCD display. A basic calibration procedure was testedand compared with more complex solutions implementing different chromatic adaptationtransforms or color appearance models. For the evaluation, a psychophysical experimentand different advanced colorimetry metrics were used. The results yield that there is a clear improvement in the image appearance when advanced colorimetry methods are included inthe workflow.