Colorimetric Specification of the Color Harmony Manual from Spectrophotometric Measurements*

Granville, Walter C.; Jacobson, Egbert

doi:10.1364/josa.34.000382

Cited by 27 publications

(6 citation statements)

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“…Wintringham (1 95 I), in a tutorial paper on color television and colorimetry, published a gamut that he had derived using four sets of data. These were the Munsell Color Atlas, the Ostwald Color Atlas (see Granville and Jacobson, 1944), the test colours provided by the Textile Color Card Association (see Reimann, Judd, and Keegan, 1946), and a set of printing inks. The gamut produced is shown in Fig.…”

Section: Comparison With Previous Datamentioning

confidence: 99%

The Gamut of Real Surface Colours

Pointer

1980

Color Research & Application

203

103

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A maximum gamut for real surface colours has been derived from the analysis of the colour coordinates of 4089 samples. The gamut has been derived in both the CIE 1976 L* u* v* colour space and the CIE 1976 L* a* b* colour space. The data are compared with the gamut produced by a typical dye set used in a photographic colour paper, and with the gamut of a typical television‐receiver display tube. Comparison with printing inks is difficult because of the large number available, but a large set of ink colours was used in deriving the maximum real‐colour gamut.

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Section: Comparison With Previous Datamentioning

confidence: 99%

The Gamut of Real Surface Colours

Pointer

1980

Color Research & Application

203

103

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“…The first real colour gamut was derived in 1951 by Wintringham and published in a tutorial paper on colour television and colorimetry. The gamut was derived from four sets of data: the Munsell Book of Color, the Ostwald Color Atlas, the Textile Color Card Association and a set of printing inks. Since Wintringham was not concerned with the lightness dimension, the gamut derived was an overall projection gamut on to CIE x , y chromaticity diagram.…”

Section: Available Real Colour Gamutsmentioning

confidence: 99%

Comparison of real colour gamuts using a new reflectance database

Luo

Pointer

et al. 2013

Color Research & Application

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A large set of data, comprising the spectral reflectances of real surface colours, has been accumulated. The data comprise 16 groups with different materials and include 85,879 measured spectra. From these data, CIELAB colorimetric coordinates were calculated under CIE illuminant D50 and the CIE 1931 standard colorimetric (2°) observer. Several published colour gamuts including those developed by Pointer and ISO reference colour gamut [ISO Graphic Technology Standard 12640‐3:2007] were compared using the present data set. It was found that the Pointer gamut is smaller than the new real data in most of the colour regions. The results also showed that the ISO reference colour gamut is larger than the new real accumulated data in most regions. The present finding indicates that there is a need to derive a new colour gamut based on the newly accumulated data for common applications. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 442–451, 2014

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“…Moon and Spencer [MS44] have introduced a quantitative representation of color harmony based on the Munsell color system. At the same time, Granville and Jacobson [GJ44] have presented another quantitative representation based on the Ostwald color system [OB69]. Itten [Itt97] has introduced a new kind of color wheel to describe color harmony with an emphasis on hue.…”

Section: Related Workmentioning

confidence: 99%

Importance Driven Automatic Color Design for Direct Volume Rendering

Wang

Kaufman

2012

Computer Graphics Forum

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This paper introduces an automatic color design method that is driven by an importance function of the objects within a volumetric dataset. Our method allows the user to intuitively modify the object classification and the importance distribution function in the 2D rendered image. It automatically computes the transfer function, especially the color distribution, to convey the importance of the objects. In our approach, the importance of an object is represented as the attentiveness of a color. In addition, we preserve the color harmony in the rendered image in order to provide a visually pleasing result. In this paper, we propose a set of computational measurements to compute the color attentiveness and color harmony. Our color assignment algorithm supports arbitrary‐dimensional transfer functions and obtains interactive frame rates. Our method involves three color spaces, namely Coloroid system, CIE LChuv, and Adobe RGB color space. It calculates the color attentiveness in CIE LChuv space, and the color harmony in Coloroid system. It, then, assigns the transfer function in a dual space of Adobe RGB space and renders the resulting image in Adobe RGB space. We conducted a detailed user study, which proves that our method successfully conveys the importance distributions. Our contribution in this paper is not only our importance driven approach, but also our computational measurements and our color assignment algorithm.

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Colorimetric Specification of the Color Harmony Manual from Spectrophotometric Measurements*

Cited by 27 publications

References 0 publications

The Gamut of Real Surface Colours

The Gamut of Real Surface Colours

Comparison of real colour gamuts using a new reflectance database

Importance Driven Automatic Color Design for Direct Volume Rendering

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