Color Research and Application最新文献

{"title":"Aging variations in Ishihara test plates","authors":"Alice Plutino,&nbsp;Luca Armellin,&nbsp;Andrea Mazzoni,&nbsp;Roberta Marcucci,&nbsp;Alessandro Rizzi","doi":"10.1002/col.22877","DOIUrl":"https://doi.org/10.1002/col.22877","url":null,"abstract":"<p>The Ishihara test plates are designed to offer a rapid and usable instrument to diagnose color deficiency. The original test, as well as other pseudo-isochromatic plates (PIP), is composed of physical charts produced following proprietary and standard printing procedures. In this work, we aim to measure and assess the color shifts that the aging of the plates may introduce. This work aims to raise the scientific and medical community's awareness of the risks that may occur in using an aged or damaged test, which may still appear in good condition but has been subjected to deterioration over time.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"48 6","pages":"721-734"},"PeriodicalIF":1.4,"publicationDate":"2023-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1002/col.22877","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50130871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Improvements to the CIELUV color space","authors":"Ling Wang,&nbsp;Changjun Li,&nbsp;Yang Xu,&nbsp;Manuel Melgosa,&nbsp;Kaida Xiao,&nbsp;Cheng Gao","doi":"10.1002/col.22873","DOIUrl":"https://doi.org/10.1002/col.22873","url":null,"abstract":"<p>Three new approximately uniform color spaces named MLUV, MLUV1, and MLUV2 were developed by modifying CIELUV lightness, <math>\u0000 <mrow>\u0000 <msup>\u0000 <mi>u</mi>\u0000 <mo>′</mo>\u0000 </msup>\u0000 <msup>\u0000 <mi>v</mi>\u0000 <mo>′</mo>\u0000 </msup>\u0000 </mrow></math> chromaticity coordinates, and <math>\u0000 <mrow>\u0000 <msup>\u0000 <mi>u</mi>\u0000 <mo>*</mo>\u0000 </msup>\u0000 <msup>\u0000 <mi>v</mi>\u0000 <mo>*</mo>\u0000 </msup>\u0000 </mrow></math> color coordinates, respectively. Performance tests using the combined and four individual datasets employed at CIEDE2000 development showed that MLUV, MLUV1 and MLUV2 were significantly better than CIELUV. Using values of Standardized Residual Sum of Squares (CIE 217:2016) for predictions of the four individual datasets the ranking (from best to worst) was MLUV, MLUV2 and MLUV1, but for predictions of two ellipses datasets the ranking (from best to worst) was MLUV2, MLUV, and MLUV1. Overall, the MLUV2 space was found to be the best. Hence, it is expected that MLUV2 could be used for color specification and color difference evaluations, especially in industrial applications that depend on additive light mixing, such as color TV sets, video monitors, and lighting.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"48 6","pages":"689-700"},"PeriodicalIF":1.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50119266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Color characterization model for OLED displays with crosstalk effects","authors":"Jialu Wu,&nbsp;Minchen Wei,&nbsp;Yang Yang,&nbsp;Wenjun Wang","doi":"10.1002/col.22875","DOIUrl":"https://doi.org/10.1002/col.22875","url":null,"abstract":"<p>Conventional models (e.g., a Gain-Offset-Gamma model) were developed based on the assumption of channel independence. Modern displays (e.g., organic light-emitting-diode OLED displays), however, sometimes have crosstalk effects among the three channels, making these conventional models have poor performance. In this article, we propose a 3D piecewise model. It divides the display gamma encoded RGB space (i.e., <i>R</i>′<i>G</i>′<i>B</i>′) into 27 subspaces and characterizes the crosstalk effects between two and three channels based on the measurements of the tristimulus values of 64 combinations of digital signal values. The average color difference Δ<i>E</i>₀₀ of the 41 combinations between the model predictions and the measurements was around 0.34, in comparison to the average of 3.61 by the GOG model, across nine uncalibrated OLED displays. In addition, for displays with breakpoints on each channel, a revision is proposed to divide the subspaces for maintaining the accurate predictions. The proposed model was also validated by calibrating 94 uncalibrated OLED displays to the standard P3 RGB specifications, resulting an average color difference Δ<i>E</i>₀₀ reduced from 3.96 to 0.72.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"48 6","pages":"662-672"},"PeriodicalIF":1.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50119265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Understanding new colors in urban environments: Deciphering colors as semiotic resources","authors":"Beichen Yu","doi":"10.1002/col.22871","DOIUrl":"https://doi.org/10.1002/col.22871","url":null,"abstract":"<p>Since the start of the new millennium, more diverse color expressions have appeared in the design of urban environments, especially in global cities. In this article, the notion of “new colors” refers to the emergence of saturated colors and new ways of using them in urban environments globally. With the impact of globalization and the disengagement of color from local materials, existing color approaches seem to be insufficient to explain the dynamic changes in color design. To understand the emerging “new colors”, this article proposes viewing environmental color as a social semiotic resource. Adapted from Gunther Kress and Theo van Leeuwen's social semiotic model of color, a model is developed to identify and explain “grammars of color” in environmental color design. With a particular focus on urban and landscape designs completed between 2000 and 2019, five main color practices of saturated colors were identified: branding and communication, urban interventions, sports and recreation, traffic environments, and historical and post-industrial sites. The analysis of these main color practices and semiotic resources suggests that the saturated color's role in social communication is emphasized in the urban space nowadays. Furthermore, the emergence of saturated colors and the growth of new expressions of color in the urban environment may be driven by the needs and interests of different sociocultural groups.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"48 5","pages":"567-577"},"PeriodicalIF":1.4,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1002/col.22871","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50147041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"New method of whiteness calibration of spectrophotometers","authors":"Michael H. Brill,&nbsp;Zhiling Xu","doi":"10.1002/col.22874","DOIUrl":"https://doi.org/10.1002/col.22874","url":null,"abstract":"<p>A method is described for determining and calibrating the CIE Whiteness Index (WI) of an OBA-treated specimen without incorporating into the measurement system a mechanically adjustable UV filter. The method requires spectrophotometric measurement of the specimen under two lights: UV-excluded to infer the reflectance <i>r</i>(<i>λ</i>) and UV to infer the fluorescence profile <i>f</i>(<i>λ</i>). Also required is a stored illuminant spectrum <i>I</i>_in(<i>λ</i>) that covers at least the whole visible wavelengths. Only one scalar value <i>k</i> is then needed to mathematically characterize the total spectral radiance factor (TSRF) of the same specimen under <i>I</i>_in(<i>λ</i>). Calibration uses a reference specimen with known WI, and adjusts <i>k</i> until the computed WI matches the reference WI value. If <i>I</i>_in(<i>λ</i>) is the illuminant chosen from ASTM E313 to define the WI, the <i>k</i> adjustment reduces to solving a single quadratic equation for <i>k</i> that involves the reference WI. In general, relative to directly measuring a specimen's TSRF, it is more instrument-independent to use the current method to characterize TSRF. Therefore, if a fluorescent specimen is measured using UV and UV-excluded illuminants, a complete, instrument-stable characterization of the specimen's TSRF can be derived by adjusting <i>k</i>, which can be done through a closed-form relation of <i>k</i> to the WI.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"48 6","pages":"701-708"},"PeriodicalIF":1.4,"publicationDate":"2023-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50145562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A comparison of basic color terms in Mandarin and Spanish","authors":"Mingshan Xu,&nbsp;Jingtao Zhu,&nbsp;Antonio Benítez-Burraco","doi":"10.1002/col.22863","DOIUrl":"https://doi.org/10.1002/col.22863","url":null,"abstract":"<p>Basic perceptual abilities are universal, and most people can distinguish between millions of distinct shades. However, languages differ in the set of basic color terms (BCTs) they have. Despite numerous prior studies, the exact number of BCTs in Mandarin (Sino-Tibetan) and Spanish (Indo-European) is still debated. In Mandarin, this number varies from 6 to 11, whereas in Spanish there are about 11 or 12 BCTs. Additionally, differences between these two languages can be expected with regard to the differing usage of BCTs in reference to color, as well as the naming strategies used for specifying references. To clarify this, we recruited a group of Mainland Mandarin speakers and a group of Castilian Spanish speakers and assessed them in two related tasks: the list task, in which participants were asked to write down as many color names as they could recall; and the color-naming task, in which they were asked to name color chips from the Munsell color chart that were presented randomly. Our results suggest that Mandarin has nine BCTs, while Spanish has 12 BCTs. Furthermore, we found that Mandarin speakers use more modified terms and compounds to achieve precise color reference, whereas Spanish speakers rely more on monomorphemic non-basic terms. Finally, we observed that Mandarin speakers use some colors (gray, blue, and purple) less consistently; although, the color space is partitioned similarly by these two languages. Our results reinforce the view that there are universal constraints on color naming that are compatible with subtle cross-cultural differences in how colors are used.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"48 6","pages":"709-720"},"PeriodicalIF":1.4,"publicationDate":"2023-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1002/col.22863","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50145565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Traditional and modern pigments in Gino Severini's Swiss murals","authors":"Patrizia Moretti,&nbsp;Stefan Zumbühl,&nbsp;Nadim Scherrer,&nbsp;Francesca Piqué","doi":"10.1002/col.22870","DOIUrl":"10.1002/col.22870","url":null,"abstract":"<p>Between 1924 and 1947, Gino Severini decorated five churches in the Romand region of Switzerland with monumental religious wall paintings. This mural art played an important role in the Italian artist's career despite being mostly unknown and not easily found. The painting methods and materials of these modern Swiss murals were characterized by combining historical and archival research with onsite visual and scientific examination. Most pigments were identified with noninvasive methods integrating mapping techniques (i.e., technical photography and digital microscopy) with point analysis (x-ray fluorescence and reflection FT-IR spectroscopy). The results of these portable techniques were completed with SEM-EDS, μFT-IR FPA imaging, and μRaman analyses on micro-samples which provided stratigraphic and compositional information to complement the noninvasive results. Overall, the data obtained show that Severini used both traditional pigments (e.g., <i>Sangiovanni</i> white and ochres/earths of various color) and modern ones, such as cadmium-based pigments, with different painting techniques (e.g., zinc white was applied exclusively <i>a secco</i>). Apart from cerulean blue (cobalt stannate) and Naples yellow (lead antimonate) found only in two locations, the same set of pigments was documented in all of Severini's Swiss murals. The characterization of the artist's palette is important to understand the technical painting process followed by Severini, his interest on new painting materials available on the market and, at the same time, loyalty towards traditional painting methods, such as painting <i>a fresco</i>.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"49 1","pages":"124-143"},"PeriodicalIF":1.4,"publicationDate":"2023-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1002/col.22870","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124394188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In-situ technical study of contemporary painting from the heritage collection of the Universitat de València, Spain. Canvases and colorful landscapes by Manuel Moreno Gimeno","authors":"Ma. Luisa Vázquez de Ágredos Pascual,&nbsp;Álvaro Solbes García,&nbsp;Mirco Ramacciotti,&nbsp;Gianni Gallello,&nbsp;Susana Herreras Sala,&nbsp;Lucía Rojo Iranzo,&nbsp;María Andrieux Nuno,&nbsp;Juan Carlos Izquierdo Garay,&nbsp;Alejandra Nieto Villena","doi":"10.1002/col.22860","DOIUrl":"https://doi.org/10.1002/col.22860","url":null,"abstract":"<p>The Universitat de València brings together artistic collections of great value that embrace more than five centuries of history (1499–2022). Among them, the collection of contemporary painting stands out for its diversity of artists, artistic techniques and themes. One of the aims of the Vice-rectorate for Culture and Society of the Universitat de València is the study, conservation and dissemination of its art collection, implementing innovative methodologies that will place these artworks at the research and transfer frontline. To achieve this, the Laboratory for Analysis and Diagnosis of Works of Art of the Universitat de València: Conservation, Legacy, InnOvation has recently optimized a multi-analytical artistic diagnosis approach that combines the use of multiband technical photography (MTP) with digital radiography, infrared reflectography (IRR) and hyperspectral camera. The noninvasive methodology developed for the studied paintings, belonging to different historical periods, is completed by using a portable X-ray fluorescence. The final goal is to obtain useful information on the composition and execution technique, issues of great interest for developing preventive conservation plans for the collections and for the design of innovative exhibition proposals of an immersive and accessible nature. This article presents the results obtained for three paintings that were made by one of the most unknown Valencian painters of the early 20th century, despite the great quality of his work: Manuel Moreno Gimeno (1900–1982). These paintings are part of the aforementioned art collection of the Universitat de València, and are housed at the Faculty of Medicine. In this study, the use of MTP, IRR and hyperspectral imaging techniques were combined with the analysis of the pictorial surface using a portable optical microscope and a portable X-ray fluorescence. The results obtained indicate that Manuel Moreno Gimeno developed a landscape painting technique that was very close to that of other Valencian painters of the early 20th century. The handling of light and color was achieved using a rich color palette that included numerous contemporary innovative pigment such as chrome or cadmium.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"48 4","pages":"339-354"},"PeriodicalIF":1.4,"publicationDate":"2023-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50155616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Spectral reflectance estimation from non-raw color images with nonlinearity correction","authors":"Peng Xu,&nbsp;Jila Hosseinkhani,&nbsp;Sreeraman Rajan,&nbsp;Hangjun Wang,&nbsp;Jie Yang","doi":"10.1002/col.22862","DOIUrl":"https://doi.org/10.1002/col.22862","url":null,"abstract":"<p>The spectral reflectance is recognized as the fingerprint of an object surface and has been used to achieve accurate color measurement in textile and other fields. Spectral reflectance can be recovered from color images to preserve high spectral and spatial resolutions simultaneously. However, a color camera commonly supplies a non-raw color image, which is non-linear with respect to the scene radiance, and is inappropriate for quantitative analysis. In this study, for non-raw color images, different nonlinearity correction models are designed and evaluated with respect to different spectral estimation algorithms. The colorimetric and spectral accuracy of spectral estimation after the nonlinearity correction is assessed through both simulation and practical experiments. In the simulation, a large number of spectral images from several datasets are employed to directly verify the effectiveness of the nonlinearity correction. In the practical experiments, the spectral estimation accuracy following the nonlinearity correction is verified directly and indirectly based on actual color images. The resulting linear color image data after the nonlinearity correction can provide better spectral estimation accuracy especially for the PI algorithm with one power-function based model. Besides, the combination of the simple PI algorithm with the power-function based model can exceed other combinations comprising complex algorithms and models in both accuracy and efficiency. For the linear color image data, the PI algorithm even surpasses the deep learning-based methods in certain metric, thus indicating a shallow relationship exists between the linear color image data and the spectral reflectance.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"48 4","pages":"393-407"},"PeriodicalIF":1.4,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50154040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Acrylic colors for peace: Non-invasive study of an outdoor mural painting","authors":"Nathael Cano,&nbsp;Oscar G. de Lucio,&nbsp;Miguel Pérez,&nbsp;Alejandro Mitrani,&nbsp;Alan Nagaya,&nbsp;José Luis Ruvalcaba Sil,&nbsp;Ricardo Medina","doi":"10.1002/col.22861","DOIUrl":"https://doi.org/10.1002/col.22861","url":null,"abstract":"<p>In 1952, contemporary artist Federico Silva (Mexico City, 1923–2022) carried out the first outdoor mural painting: <i>The technique at the service of peace</i>. At the end of 2021, the project for the study and conservation of this mural began with a diagnosis of its conservation, which was done through a multi-technique study based on the experience acquired in research projects from other contemporary mural paintings. This included the proposal of an adequate conservation strategy to resolve the stability of the painting, since the behavior of the synthetic paints exposed to the different effects of the outdoor environment has altered the perception, form and meaning of the mural. Main results from this approach by documentation and global examination with Visible Imaging and Digital Microscopy, allowed us to describe the color palette and its alterations. Additional examination of cross sections acquired from this mural, allowed a material characterization by means of optical microscopy (OM), micro-hyperspectral imaging, Fourier transformed infrared spectroscopy and X-ray fluorescence spectroscopies.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"48 4","pages":"381-392"},"PeriodicalIF":1.4,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1002/col.22861","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50154039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}