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Lightness
Lightness is a visual perception of the luminance (L) of an object. It is often judged relative to a similarly lit object. In colorimetry and color appearance models, lightness is a prediction of how an illuminated color will appear to a standard observer. While luminance is a linear measurement of light, lightness is a linear prediction of the human perception of that light. This is because human vision's lightness perception is non-linear relative to light. Doubling the quantity of light does not result in a doubling in perceived lightness, only a modest increase. The symbol for perceptual lightness is usually either J as used in CIECAM02 or L^* as used in CIELAB and CIELUV. L^* ("Lstar") is not to be confused with L as used for luminance. In some color ordering systems such as Munsell, Lightness is referenced as value. Chiaroscuro and Tenebrism both take advantage of dramatic contrasts of value to heighten drama in art. Artists may also employ shading, subtle manipulatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lightness Approximations
Lightness is a visual perception of the luminance (L) of an object. It is often judged relative to a similarly lit object. In colorimetry and color appearance models, lightness is a prediction of how an illuminated color will appear to a standard observer. While luminance is a linear measurement of light, lightness is a linear prediction of the human perception of that light. This is because human vision's lightness perception is non-linear relative to light. Doubling the quantity of light does not result in a doubling in perceived lightness, only a modest increase. The symbol for perceptual lightness is usually either J as used in CIECAM02 or L^* as used in CIELAB and CIELUV. L^* ("Lstar") is not to be confused with L as used for luminance. In some color ordering systems such as Munsell, Lightness is referenced as value. Chiaroscuro and Tenebrism both take advantage of dramatic contrasts of value to heighten drama in art. Artists may also employ shading, subtle manipulatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
CIELUV
In colorimetry, the CIE 1976 ''L''*, ''u''*, ''v''* color space, commonly known by its abbreviation CIELUV, is a color space adopted by the International Commission on Illumination (CIE) in 1976, as a simple-to-compute transformation of the 1931 CIE XYZ color space, but which attempted perceptual uniformity. It is extensively used for applications such as computer graphics which deal with colored lights. Although additive mixtures of different colored lights will fall on a line in CIELUV's uniform chromaticity diagram (called the ''CIE 1976 UCS''), such additive mixtures will not, contrary to popular belief, fall along a line in the CIELUV color space unless the mixtures are constant in lightness. Historical background CIELUV is an Adams chromatic valence color space and is an update of the CIE 1964 (''U''*, ''V''*, ''W''*) color space (CIEUVW). The differences include a slightly modified lightness scale and a modified uniform chromaticity scale, in which one of the coordinate ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stevens's Power Law
Stevens' power law is an empirical relationship in psychophysics between an increased intensity or strength in a physical stimulus and the perceived magnitude increase in the sensation created by the stimulus. It is often considered to supersede the Weber–Fechner law, which is based on a logarithmic relationship between stimulus and sensation, because the power law describes a wider range of sensory comparisons, down to zero intensity. The theory is named after psychophysicist Stanley Smith Stevens (1906–1973). Although the idea of a power law had been suggested by 19th-century researchers, Stevens is credited with reviving the law and publishing a body of psychophysical data to support it in 1957. The general form of the law is :\psi(I) = k I ^a, where ''I'' is the intensity or strength of the stimulus in physical units (energy, weight, pressure, mixture proportions, etc.), ψ(''I'') is the magnitude of the sensation evoked by the stimulus, ''a'' is an exponent that depend ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luminance
Luminance is a photometric measure of the luminous intensity per unit area of light travelling in a given direction. It describes the amount of light that passes through, is emitted from, or is reflected from a particular area, and falls within a given solid angle. Brightness is the term for the ''subjective'' impression of the ''objective'' luminance measurement standard (see for the importance of this contrast). The SI unit for luminance is candela per square metre (cd/m2). A non-SI term for the same unit is the nit. The unit in the Centimetre–gram–second system of units (CGS) (which predated the SI system) is the stilb, which is equal to one candela per square centimetre or 10 kcd/m2. Description Luminance is often used to characterize emission or reflection from flat, diffuse surfaces. Luminance levels indicate how much luminous power could be detected by the human eye looking at a particular surface from a particular angle of view. Luminance is thus an i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Color
Color (American English) or colour (British English) is the visual perceptual property deriving from the spectrum of light interacting with the photoreceptor cells of the eyes. Color categories and physical specifications of color are associated with objects or materials based on their physical properties such as light absorption, reflection, or emission spectra. By defining a color space, colors can be identified numerically by their coordinates. Because perception of color stems from the varying spectral sensitivity of different types of cone cells in the retina to different parts of the spectrum, colors may be defined and quantified by the degree to which they stimulate these cells. These physical or physiological quantifications of color, however, do not fully explain the psychophysical perception of color appearance. Color science includes the perception of color by the eye and brain, the origin of color in materials, color theory in art, and the physics of electr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
CIECAM02
In colorimetry, CIECAM02 is the color appearance model published in 2002 by the International Commission on Illumination (CIE) Technical Committee 8-01 (''Color Appearance Modelling for Color Management Systems'') and the successor of CIECAM97s. The two major parts of the model are its chromatic adaptation transform, CIECAT02, and its equations for calculating mathematical correlates for the six technically defined dimensions of color appearance: brightness (luminance), lightness, colorfulness, chroma, saturation, and hue. Brightness is the subjective appearance of how bright an object appears given its surroundings and how it is illuminated. Lightness is the subjective appearance of how light a color appears to be. Colorfulness is the degree of difference between a color and gray. Chroma is the colorfulness relative to the brightness of another color that appears white under similar viewing conditions. This allows for the fact that a surface of a given chroma displays increas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
CIELAB
The CIELAB color space, also referred to as ''L*a*b*'' , is a color space defined by the International Commission on Illumination (abbreviated CIE) in 1976. (Referring to CIELAB as "Lab" without asterisks should be avoided to prevent confusion with Hunter Lab). It expresses color as three values: ''L*'' for perceptual lightness and ''a*'' and ''b*'' for the four unique colors of human vision: red, green, blue and yellow. CIELAB was intended as a perceptually uniform space, where a given numerical change corresponds to a similar perceived change in color. While the LAB space is not truly perceptually uniform, it nevertheless is useful in industry for detecting small differences in color. Like the CIEXYZ space it derives from, CIELAB color space is a device-independent, "standard observer" model. The colors it defines are not relative to any particular device such as a computer monitor or a printer, but instead relate to the CIE standard observer which is an averaging of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Munsell Color System
In colorimetry, the Munsell color system is a color space that specifies colors based on three properties of color: hue (basic color), chroma (color intensity), and value ( lightness). It was created by Professor Albert H. Munsell in the first decade of the 20th century and adopted by the United States Department of Agriculture (USDA) as the official color system for soil research in the 1930s. Several earlier color order systems had placed colors into a three-dimensional color solid of one form or another, but Munsell was the first to separate hue, value, and chroma into perceptually uniform and independent dimensions, and he was the first to illustrate the colors systematically in three-dimensional space. Munsell's system, particularly the later renotations, is based on rigorous measurements of human subjects' visual responses to color, putting it on a firm experimental scientific basis. Because of this basis in human visual perception, Munsell's system has outlasted its c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Munsell Color System
In colorimetry, the Munsell color system is a color space that specifies colors based on three properties of color: hue (basic color), chroma (color intensity), and value ( lightness). It was created by Professor Albert H. Munsell in the first decade of the 20th century and adopted by the United States Department of Agriculture (USDA) as the official color system for soil research in the 1930s. Several earlier color order systems had placed colors into a three-dimensional color solid of one form or another, but Munsell was the first to separate hue, value, and chroma into perceptually uniform and independent dimensions, and he was the first to illustrate the colors systematically in three-dimensional space. Munsell's system, particularly the later renotations, is based on rigorous measurements of human subjects' visual responses to color, putting it on a firm experimental scientific basis. Because of this basis in human visual perception, Munsell's system has outlasted its c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tint, Shade And Tone
In color theory, a tint is a mixture of a color with white, which increases lightness, while a shade is a mixture with black, which increases darkness. Both processes affect the resulting color mixture's relative saturation. A tone is produced either by mixing a color with gray, or by both tinting and shading. Mixing a color with any neutral color (including black, gray, and white) reduces the chroma, or colorfulness, while the hue (the relative mixture of red, green, blue, etc. depending on the colorspace) remains unchanged. In the graphic arts, especially printmaking and drawing, "tone" has a different meaning, referring to areas of continuous color, produced by various means, as opposed to the linear marks made by an engraved or drawn line. In common language, the term ''shade'' can be generalized to encompass any varieties of a particular color, whether technically they are shades, tints, tones, or slightly different hues. Meanwhile, the term ''tint'' can be generali ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Weber–Fechner Law
The Weber–Fechner laws are two related hypotheses in the field of psychophysics, known as Weber's law and Fechner's law. Both laws relate to human perception, more specifically the relation between the actual change in a physical stimulus and the perceived change. This includes stimuli to all senses: vision, hearing, taste, touch, and smell. Weber states that, "the minimum increase of stimulus which will produce a perceptible increase of sensation is proportional to the pre-existent stimulus," while Fechner's law is an inference from Weber's law (with additional assumptions) which states that the intensity of our sensation increases as the logarithm of an increase in energy rather than as rapidly as the increase. History and formulation of the laws Both Weber's law and Fechner's law were formulated by Gustav Theodor Fechner (1801–1887). They were first published in 1860 in the work ''Elemente der Psychophysik'' (''Elements of Psychophysics''). This publication was th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
