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Lightness (color)
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 distinction is meaningful 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 s ... [...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. A tone is produced either by mixing a color with gray, or by both tinting and shading. Mixing a color with any neutral color (black, gray, and white) reduces the chroma, or colorfulness, while the perceived hue can be affected slightly (see Abney effect and Bezold-Brücke shift). 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 generalized to refer to any lighter or darker variation of a color (e.g. " tinted windows"). When mixi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diffuser (optics)
In optics, a diffuser (also called a light diffuser or optical diffuser) is any material that diffuses or scatters light in some manner to transmit soft light. Diffused light can be easily obtained by reflecting light from a white surface, while more compact diffusers may use translucent material, including ground glass, teflon, opal glass, and greyed glass. Types Perfect reflecting diffuser A perfect (reflecting) diffuser (PRD) is a theoretical perfectly white surface with Lambertian reflectance (its brightness appears the same from any angle of view). It does not absorb light, giving back 100% of the light it receives. Reflective diffusers can be easily characterised by scatterometers.{{cite web, url=http://www.zebraoptical.com/roughnessviascatterometry.html, title=Page Title, website=www.zebraoptical.com Diffractive diffuser/homogenizer A diffractive diffuser is a kind of diffractive optical element (DOE) that exploits the principles of diffraction and refraction. It ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magnesium Oxide
Magnesium oxide (MgO), or magnesia, is a white hygroscopic solid mineral that occurs naturally as periclase and is a source of magnesium (see also oxide). It has an empirical formula of MgO and consists of a lattice of Mg2+ ions and O2− ions held together by ionic bonding. Magnesium hydroxide forms in the presence of water (MgO + H2O → Mg(OH)2), but it can be reversed by heating it to remove moisture. Magnesium oxide was historically known as magnesia alba (literally, the white mineral from Magnesia), to differentiate it from '' magnesia nigra'', a black mineral containing what is now known as manganese. Related oxides While "magnesium oxide" normally refers to MgO, the compound magnesium peroxide MgO2 is also known. According to evolutionary crystal structure prediction, MgO2 is thermodynamically stable at pressures above 116 GPa (gigapascals), and a semiconducting suboxide Mg3O2 is thermodynamically stable above 500 GPa. Because of its stability, MgO is used as a mod ... [...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 depen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Albert Henry Munsell
Albert Henry Munsell (January 6, 1858 – June 28, 1918) was an American painter, teacher of art, and the inventor of the Munsell color system. He was born in Boston, Massachusetts, attended and served on the faculty of Massachusetts Normal Art School, and died in nearby Brookline. As a painter, he was noted for seascapes and portraits. Munsell is famous for inventing the Munsell color system, an early attempt at creating an accurate system for numerically describing colors. He wrote three books about it: ''A Color Notation'' (1905), ''Atlas of the Munsell Color System'' (1915) and one published posthumously, ''A Grammar of Color: Arrangements of Strathmore Papers in a Variety of Printed Color Combinations According to The Munsell Color System'' (1921). The Munsell color order system has gained international acceptance and has served as the foundation for many color order systems, including CIELAB. In 1917, he founded the Munsell Color Company. Biography Albert Henry Munsell ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Weber–Fechner Law
The Weber–Fechner laws are two related scientific law, scientific laws in the field of psychophysics, known as Weber's law and Fechner's law. Both relate to human perception, more specifically the relation between the actual change in a physical Stimulus (physiology), stimulus and the perceived change. This includes stimuli to all senses: vision, hearing, taste, touch, and smell. Ernst Heinrich Weber states that "the minimum increase of stimulus which will produce a perceptible increase of sensation is proportionality (mathematics), proportional to the pre-existent stimulus," while Gustav 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 Fechner, Gustav Theodor Fechner (1801–1887). They were first published in 18 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Relative Luminance
Relative luminance Y follows the Luminance, photometric definition of luminance L including spectral weighting for human vision, but while luminance L is a measure of light in units such as cd/m^2, relative luminance Y values are normalized as 0.0 to 1.0 (or 1 to 100), with 1.0 (or 100) being a theoretical perfect reflector of 100% White point, reference white. Like the photometric definition, it is related to the luminous flux density in a particular direction, which is radiant flux density weighted by the luminous efficiency function \overline(\lambda) of the CIE Standard Observer. The use of relative values is useful in color or appearance models that describe perception relative to the eye's adaptation state and a reference white. For example, in prepress for print media, the absolute luminance of light reflecting off the print depends on the specific illumination, but a color appearance model using relative luminance can predict the appearance by referencing the given light ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Color Difference
In color science, color difference or color distance is the separation between two colors. This metric allows quantified examination of a notion that formerly could only be described with adjectives. Quantification of these properties is of great importance to those whose work is color-critical. Common definitions make use of the Euclidean distance in a device-independent color space. Euclidean sRGB As most definitions of color difference are distances within a color space, the standard means of determining distances is the Euclidean distance. If one presently has an RGB (red, green, blue) tuple and wishes to find the color difference, computationally one of the easiest is to consider ''R'', ''G'', ''B'' linear dimensions defining the color space. A very simple example can be given between the two colors with RGB values (0, 64, 0) () and (255, 64, 0) (): their distance is 255. Going from there to (255, 64, 128) () is a distance of 128. When we wish to calculate distance from ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Munsell Color System
The Munsell color system is a color space that specifies colors based on three properties of color: hue (basic color), value (lightness), and colorfulness, chroma (color intensity). It was created by Albert Henry Munsell, 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 in the field of colorimetry 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 Color difference#Tolerance, 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' color vision, visual responses to color, putting it on a firm experimental scientific basis. Because of th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
CIE 1931 Color Space
In 1931, the International Commission on Illumination (CIE) published the CIE 1931 color spaces which define the relationship between the visible spectrum and human color vision. The CIE color spaces are mathematical models that comprise a "standard observer", which is a static idealization of the color vision of a normal human. A useful application of the CIEXYZ colorspace is that a mixture of two colors in some proportion lies on the straight line between those two colors. One disadvantage is that it is not perceptually uniform. This disadvantage is remedied in subsequent color models such as CIELUV and CIELAB, but these and modern color models still use the CIE 1931 color spaces as a foundation. The CIE (from the French name " Commission Internationale de l'éclairage" - International Commission on Illumination) developed and maintains many of the standards in use today relating to colorimetry. The CIE color spaces were created using data from a series of experiments, where ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Color Space
A color space is a specific organization of colors. In combination with color profiling supported by various physical devices, it supports reproducible representations of colorwhether such representation entails an analog or a digital representation. A color space may be arbitrary, i.e. with physically realized colors assigned to a set of physical color swatches with corresponding assigned color names (including discrete numbers infor examplethe Pantone collection), or structured with mathematical rigor (as with the NCS System, Adobe RGB and sRGB). A "color space" is a useful conceptual tool for understanding the color capabilities of a particular device or digital file. When trying to reproduce color on another device, color spaces can show whether shadow/highlight detail and color saturation can be retained, and by how much either will be compromised. A "color model" is an abstract mathematical model describing the way colors can be represented as tuples of numbers (e. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
