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FRS 123: Technology in FRS 123: Technology in Art and Cultural Heritage Art and Cultural Heritage Color Color

FRS 123: Technology in Art and Cultural Heritage

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FRS 123: Technology in Art and Cultural Heritage. Color. Color. Two types of receptors: rods and cones. Rods and cones. Cones in fovea. Rods and Cones. Rods More sensitive in low light: “scotopic” vision More dense near periphery Cones - PowerPoint PPT Presentation

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Page 1: FRS 123: Technology in Art and Cultural Heritage

FRS 123: Technology inFRS 123: Technology inArt and Cultural HeritageArt and Cultural Heritage

ColorColor

Page 2: FRS 123: Technology in Art and Cultural Heritage

ColorColor

• Two types of receptors: rods and Two types of receptors: rods and conescones

Rods and conesRods and cones Cones in foveaCones in fovea

Page 3: FRS 123: Technology in Art and Cultural Heritage

Rods and ConesRods and Cones

• RodsRods– More sensitive in low light: “scotopic” visionMore sensitive in low light: “scotopic” vision

– More dense near peripheryMore dense near periphery

• ConesCones– Only function with higher light levels:Only function with higher light levels:

“photopic” vision“photopic” vision

– Densely packed at center of eye: foveaDensely packed at center of eye: fovea

– Different types of cones Different types of cones color vision color vision

Page 4: FRS 123: Technology in Art and Cultural Heritage

Color PerceptionColor Perception

• 3 types of cones: L, M, S3 types of cones: L, M, S

Tristimulus theory of color

S

LM

Page 5: FRS 123: Technology in Art and Cultural Heritage

Tristimulus ColorTristimulus Color

• Any distribution of light can be summarized Any distribution of light can be summarized by its effect on 3 types of conesby its effect on 3 types of cones

• Therefore, human perception of color is aTherefore, human perception of color is a3-dimensional space3-dimensional space

• MetamerismMetamerism: different spectra, same : different spectra, same responseresponse

• Color blindness: fewer than 3 types of conesColor blindness: fewer than 3 types of cones– Most commonly L cone = M coneMost commonly L cone = M cone

Page 6: FRS 123: Technology in Art and Cultural Heritage

Color ModelsColor Models

• RGBRGB

• CMYCMY

• HSVHSV

• XYZXYZ

• ……etcetc

Page 7: FRS 123: Technology in Art and Cultural Heritage

Color ModelsColor Models

• Different ways of parameterizing 3D Different ways of parameterizing 3D spacespace

• RGBRGB– Official standard: Official standard:

R = 645.16 nm, G = 526.32 nm, B = 444.44 R = 645.16 nm, G = 526.32 nm, B = 444.44 nmnm

– Most monitors are some approximation to Most monitors are some approximation to thisthis

Page 8: FRS 123: Technology in Art and Cultural Heritage

RGB Color ModelRGB Color Model

R G B R G B Color Color 0.00.0 0.00.0 0.00.0 BlackBlack1.01.0 0.00.0 0.00.0 RedRed0.00.0 1.01.0 0.00.0 GreenGreen0.00.0 0.00.0 1.01.0 BlueBlue1.01.0 1.01.0 0.00.0 YellowYellow1.01.0 0.00.0 1.01.0 MagentaMagenta0.00.0 1.01.0 1.01.0 CyanCyan1.01.0 1.01.0 1.01.0 WhiteWhite0.50.5 0.00.0 0.00.0 ??1.01.0 0.50.5 0.50.5 ??1.01.0 0.50.5 0.00.0 ??0.50.5 0.30.3 0.10.1 ??

Colors are additiveColors are additive

Page 9: FRS 123: Technology in Art and Cultural Heritage

CMY Color ModelCMY Color Model

C C M Y M Y Color Color 0.00.0 0.00.0 0.00.0 WhiteWhite1.01.0 0.00.0 0.00.0 CyanCyan0.00.0 1.01.0 0.00.0 MagentaMagenta0.00.0 0.00.0 1.01.0 YellowYellow1.01.0 1.01.0 0.00.0 BlueBlue1.01.0 0.00.0 1.01.0 GreenGreen0.00.0 1.01.0 1.01.0 RedRed1.01.0 1.01.0 1.01.0 BlackBlack0.50.5 0.00.0 0.00.0 ??1.01.0 0.50.5 0.50.5 ??1.01.0 0.50.5 0.00.0 ??

Colors are subtractiveColors are subtractive

Page 10: FRS 123: Technology in Art and Cultural Heritage

HSV Color ModelHSV Color Model

H S V Color 0 1.0 1.0 Red120 1.0 1.0 Green240 1.0 1.0 Blue * 0.0 1.0 White * 0.0 0.5 Gray * * 0.0 Black 60 1.0 1.0 ?270 0.5 1.0 ?270 0.0 0.7 ?

Page 11: FRS 123: Technology in Art and Cultural Heritage

XYZ ColorspaceXYZ Colorspace

• RGB can’t represent all pure RGB can’t represent all pure wavelengths with positive valueswavelengths with positive values– Saturated greens would require negative Saturated greens would require negative

redred

• XYZ colorspace is a linear transform of XYZ colorspace is a linear transform of RGB so that all pure wavelengths have RGB so that all pure wavelengths have positive valuespositive values

Page 12: FRS 123: Technology in Art and Cultural Heritage

CIE Chromaticity DiagramCIE Chromaticity Diagram

Page 13: FRS 123: Technology in Art and Cultural Heritage

CIE Chromaticity DiagramCIE Chromaticity Diagram

(White)

Page 14: FRS 123: Technology in Art and Cultural Heritage

CIE Chromaticity DiagramCIE Chromaticity Diagram

CompareCompareColor Color

GamutsGamuts

IdentifyIdentifyComplementaryComplementary

ColorsColors

DetermineDetermineDominant WavelengthDominant Wavelength

and Purityand Purity

Page 15: FRS 123: Technology in Art and Cultural Heritage

RGB Color Gamut for Typical RGB Color Gamut for Typical MonitorMonitor

Page 16: FRS 123: Technology in Art and Cultural Heritage

Colorspaces for TelevisionColorspaces for Television

• Differences in brightness more Differences in brightness more important than differences in colorimportant than differences in color

• YCYCrrCCbb, YUV, YIQ colorspaces = linear , YUV, YIQ colorspaces = linear

transforms of RGBtransforms of RGB– Lightness: Y=0.299R+0.587G+0.114BLightness: Y=0.299R+0.587G+0.114B

– Other color components typically allocated Other color components typically allocated less bandwidth than Yless bandwidth than Y

Page 17: FRS 123: Technology in Art and Cultural Heritage

Perceptually-Uniform ColorspacesPerceptually-Uniform Colorspaces

• Most colorspaces not Most colorspaces not perceptually uniformperceptually uniform

• MacAdam ellipses: MacAdam ellipses: color within each color within each ellipse appears ellipse appears constant (shown constant (shown here 10X size)here 10X size)

Page 18: FRS 123: Technology in Art and Cultural Heritage

Perceptually-Uniform ColorspacesPerceptually-Uniform Colorspaces

• u’v’ spaceu’v’ space

• Not perfect, but better than XYZNot perfect, but better than XYZ

ZYX

Yv

ZYX

Xu

315

9'

315

4'

Page 19: FRS 123: Technology in Art and Cultural Heritage

L*a*b* Color SpaceL*a*b* Color Space

• Another choice: L*a*b*Another choice: L*a*b*

3/13/1

3/13/1

3/1

200*

500*

16116*

nn

nn

n

Z

Z

Y

Yb

Y

Y

X

Xa

Y

YL

Page 20: FRS 123: Technology in Art and Cultural Heritage

L*a*b* Color SpaceL*a*b* Color Space

• Often used for color comparison when Often used for color comparison when “perceptual” differences matter“perceptual” differences matter

Page 21: FRS 123: Technology in Art and Cultural Heritage

SummarySummary

• Perception and representation of Perception and representation of – Intensity, frequency, colorIntensity, frequency, color

• ColorColor– Tristimulus theory of colorTristimulus theory of color

– CIE Chromaticity DiagramCIE Chromaticity Diagram

– Different color modelsDifferent color models