(PPT) Color Spaces | Raghav Kunnawalkam Elayavalli

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Colour SpacesDavid J . C . Briggs

Routledge Handbook of Philosophy of Colour, Chapter 9, 2020

The CIE terminology of colour reflects a scientific orthodoxy that regards the attributes of colour as psychological, but regards the particular colours that we see as intrinsic in lights and objects as neither purely psychological nor purely physical, but as ways of seeing a physical property in terms of the psychological attributes of colour. Specified by tristimulus values as a psychophysical colour, the physical property that a “standard observer” sees as the intrinsic colour of a light/ object is a spectral power distribution/spectral reflectance belonging to an objective, measurable but species-specific class united by the response evoked in the human visual system. (On a very fine-grained level these classes are likely to be individual-specific.) Colours seen as belonging to objects can be described in terms of hue, lightness, and chroma, or various alternative sets of three attributes. Colours seen as belonging to lights, including the light reflected to the eye by an object at any given point, can be described in terms of hue, brightness, and either colourfulness or saturation. Three dimensions suffice to describe any colour, but most appearances can be seen as involving more than one colour and thus more than three colour attributes. Spaces of psychophysical colours can be of the “recipe” type, classifying colours according to physical, imaginary, or theoretical components, or of the psychometric type, classifying colours using dimensions intended as measures of various psychological attributes of colour. The variety of alternative attributes and the variety of measures available to quantify these attributes together contribute to the great diversity of psychometric colour spaces.

downloadDownload free PDFView PDFchevron_rightBasic concepts of colour measurementAsim Kumar Roy Choudhury

Colour is also an integral part of our daily life, be it textiles, paints, plastics or printing. We can’t even imagine a colourless world around us. Despite being so important and so close to everyone’s day-to-day life, it is not possible to express colour in unique or in specific language. We remember colour till we look at it. The moment we take away our sight from it, it gets erased from our memory. The colour scientists attempted to specify colour in explicit universal language so that it could be understood by everyone involved with colour and colour reproduction. This led to express colour numerically which is unique and unambiguous specification of colour.

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Colour Design, 2012

downloadDownload free PDFView PDFchevron_rightColours: A Scientific Approachvenkatesh bharadwaj

Colour is visual identification or perception of a property derived from spectrum of light by human eyes. When a beam of light from sun or light source passes through a glass prism, it dispersed in to seven colours of rainbow. Sunlight has a high color temperature, a fairly uniform spectrum and is considered a standard for white light. A rainbow is an optical and meteorological phenomenon caused by reflection and refraction of light in water droplets present in the atmosphere. The rainbow colours are violet, indigo, blue, green, yellow, orange and red (vibgyor). Electromagnetic radiation in the visible range is generally called as light.

downloadDownload free PDFView PDFchevron_rightThe Elements of Colour I: Colour Perceptions, Colour Stimuli, and Colour MeasurementDavid J . C . Briggs

Journal of the International Colour Association, 2023

This paper presents an extended consideration of the question of what colours are from a scientific perspective by reviewing the connections between colour perceptions, colour stimuli, and colour measurement. The colour of an isolated light can be understood to be the way in which we perceive the overall balance of its spectral composition relative to that of daylight; "overall" here meaning at the level of its long-, middle-and short-wavelength components, as detected by the human visual system. Our ability to detect variations in this overall balance, first demonstrated by Newton, is now understood to rely on comparison of the responses of three receptor types by the process of cone opponency. The colour perceived as belonging to an object when it is freely examined in daylight, which we tend to think of as the (seemingly) intrinsic colour of the object, can similarly be understood to be the way in which we perceive its overall spectral reflectance, again at the level of its long-, middle-and short-wavelength components, as detected by the human visual system. Colorimetric measures are designed to quantify for practical purposes precisely these human-perceiver-dependent "overall" properties of spectral distributions and spectral reflectances, by ignoring physical differences that we do not perceive as colour differences. In defining two senses of word colour, "perceived colour" and "psychophysical colour", the CIE International Lighting Vocabulary in effect expresses a pluralist ontology of colour that acknowledges that we may wish to use the word "colour" either for our perceptions of colour, or for the measurable, human-perceiver-dependent properties that dispose physically different lights or objects to appear the same colour in the same context.

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Proceedings of the 2022 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage, 2023

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Journal of Linguistics.

downloadDownload free PDFView PDFchevron_rightThe Elements of Colour II: The Attributes of Perceived ColourDavid J . C . Briggs

Journal of the International Colour Association, 2023

In most educational contexts, colour is presented as having a single set of three attributes or dimensions. Just three attributes suffice to describe colour as long as we consider only a single mode of colour appearance, such as colours perceived as belonging to light-reflecting objects, where the CIEdefined attributes of hue, lightness and chroma are sufficient, as are the three attributes used in the Natural Colour System (NCS), hue, blackness and chromaticness. But other attributes come into play when we consider colours perceived as belonging to light itself, including (1) light perceived to be falling on objects, or (2) light reaching the eye, whether directly from a primary light source, or by specular reflection, diffuse reflection or transmission by objects. More than three attributes are therefore required to fully describe the appearance of illuminated objects, which involves colours in multiple modes of colour appearance. This paper provides a discussion of the main modes of colour appearance followed by illustrated explanations of the six attributes of perceived colour currently defined in the CIE International Lighting Vocabulary, hue, brightness, lightness, colourfulness, chroma and saturation, along with the NCS-defined attribute of blackness and the related attribute of brilliance. Special consideration is given to the distinctions between brightness and lightness, and between colourfulness, saturation and chroma, and to the relevance of these concepts for understanding, describing and depicting the appearance of illuminated objects. Also of special interest is the influence of chromatic intensity on brightness and lightness perception (the Helmholtz-Kohlrausch effect), which I argue is connected with blackness perception, and which must be contended with in order to determine lightness in the Munsell system and CIE L*a*b*. A second issue relating to colour attributes in colour education is that, with some exceptions, hue is usually presented using just a single hue circle or "colour wheel", very often in a form embodying historical beliefs about three "primary colours". To address this issue, the section on hue discusses different kinds of simple hue circle that emphasise different relationships among hues and provide alternative hue frameworks.

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