Categorical color constancy for real surfaces

In everyday experience, perceived colors of objects remain approximately constant under changes in illumination. This constancy is helpful for identifying objects across viewing conditions. Studies on color constancy often employ monitor simulations of illumination and reflectance changes. Real scenes, however, have features that might be important for color constancy but that are in general not captured by monitor displays. Here, we investigate categorical color constancy employing real surfaces and real illuminants in a rich viewing context. Observers sorted 450 Munsell samples into the 11 basic color categories under a daylight and four filtered daylight illuminants. We additionally manipulated illuminant cues from the local surround. Color constancy as quantified both with a classification consistency index and a standard color constancy index was high in both cue conditions. Observers generally classified colors with the same precision across different illuminants as across repetitions for the daylight illuminant. Moreover, the pattern of classification consistency in terms of stimulus hue, value, and chroma was similar when comparing different observers for the daylight illuminant and when comparing individual observers across different illuminants. We conclude that color categorization is robust under illuminant changes as well as across observers, thus potentially serving both object identification and communication

Perception of Lighting and Reflectance in Real and Synthetic Stimuli

The human visual system estimates the proportion of light reflected off of a surface despite variable lighting in a scene, a phenomenon known as lightness constancy. Classically, lightness constancy has been explained as a 'discounting' of the lighting intensity (Helmholtz, 1866), and this continues to be a common view today (e.g., Brainard & Maloney, 2011). However, Logvinenko and Maloney (2006) have made a radically different claim that the human visual system does not have any perceptual access to an estimation of lightness. The experiments described in Chapter 2 use a novel experimental paradigm to test this new theory proposed by Logvinenko and Maloney. We provide evidence against Logvinenko and Maloney's theory of lightness perception while adding to existing evidence that the visual system has good lightness constancy. In Chapter 3, we manipulate screen colour and texture cues to test the realism of computer-generated stimuli. We find that by matching the chromaticity of an LCD screen to the surrounding lighting and using a realistic texture, LCD screens can be made to appear similar to physical paper. Finally, Chapter 4 is an extension of the ideas from Chapter 3, in which the knowledge about how to adjust color and texture cues on an LCD monitor is applied to a lightness matching task. Here, the LCD screen is a small part of a larger physical setup. Additionally, levels of lightness constancy are compared across physical and simulated surfaces in the same novel experimental paradigm in Chapters 2 and 4. We find that physical and simulated surfaced elicit different levels of lightness constancy on the same task

Modelling Colour Appearance: Applications in Skin Image Perception

Humans are trichromatic, and yet their perception of colours is rich and complex. The research presented in this thesis explores the process of colour appearance of uniform patches and natural polychromatic stimuli. This is done through the measurement and analysis of the achromatic locus (Chapter 2), modelling of chromatic adaptation in a large dataset of unique hues settings (Chapter 3), and measurement of thresholds for uniform and polychromatic stimuli derived from simulated skin images (Chapter 4). Chapter 2 proposes a novel navigation scheme based on unique hues for traversing colour space. The results show that when colour adjustments are made using this novel scheme, the variability of achromatic settings made by observers is reduced compared to the classical method of making colour adjustments along the cardinal axes of the CIELUV colour space. This result holds across the tested luminance levels (5,20,50 cd/m^2) in each of the three tested ambient illumination conditions – dark, simulated daylight and cool white fluorescent lighting. The analysis also shows that the direction of maximum variance of the achromatic settings lies along the daylight locus. Chapter 3 evaluates models of chromatic adaptation by using unique hues settings measured under different ambient illumination conditions. It is shown that a simple diagonal model in cone excitation space is the most efficient in terms of the trade-off between accuracy and degrees of freedom. It is also found that diagonal and linear models show similar performances, reiterating their theoretical equivalence. Performances of these diagonalisable models are found to be worse for UR and UG unique hue planes compared to UY and UB planes. Chapter 4 presents a set of three experiments reporting estimations of perceptual thresholds for polychromatic and uniform stimuli in a 3-D chromaticity-luminance colour space. The first experiment reports thresholds for simulated skin images and uniform stimuli of the corresponding mean CIELAB colour. The second and third experiments investigate the effect of ambient illumination and the location of the stimuli in colour space. The thresholds for the polychromatic stimuli are found to be consistently higher than those for the uniform patches, for both the chromatic, and the luminance projections. The area of the chromaticity ellipses shows a gradual increase with distance from the illuminant chromaticity. The orientations of these ellipses for simulated skin are found to align with the vector joining the mean patch chromaticity and the illuminant chromaticity

Defining Acceptable Colour Tolerances for Identity Branding in Natural Viewing Conditions

Graphic arts provide the channel for the reproduction of most brand communications. The reproduction tolerances in the graphic arts industry are based on standards that aim to produce visually acceptable outcomes. To communicate with their target audience brands, use a set of visual cues that may include the definition of a single or combinations of them to represent themselves. The outcomes are often defined entirely by their colour specification without an associating it to target parameters or suitable colour thresholds. This paper researches into the feasibility of defining colour tolerances for brand graphical representations. The National Health Service branding was used as a test case borne out of a need to resolve differences between contracted suppliers of brand graphics. Psychophysical evaluation of colour coded navigation used to facilitate wayfinding in hospitals under the varying illuminances across the estate was found to have a maximum acceptable colour difference threshold of 5ΔE00. The simulation of defined illumination levels in hospitals, between 25-3000 lux, resulted in an acceptable colour tolerance estimation for colour coded navigation of 3.6ΔE00. Using ICC media relative correction an experiment was designed to test the extent to which substrate white points could be corrected for colour differences between brand proofs and reproductions. Branded stationery and publications substrate corrections to achieve visual matches had acceptable colour difference thresholds of 9.5ΔE*ab for solid colours but only 2.5ΔE*ab. Substrate white point corrections on displays were found to be approximately 12ΔE*ab for solids and 5ΔE*ab for tints. Where display media were concerned the use of non-medical grade to view medical images and branded content was determined to be inefficient, unless suitable greyscale functions were employed. A STRESS test was carried out, for TC 1-93 Greyscale Calculation for Self-Luminous Devices, to compare DICOM GSDF with Whittle’s log brightness. Whittle’s function was found to outperform DICOM GSDF. The colour difference formulas used in this research were tested, using near neutral samples 2 judged by observers using estimated magnitude differences. The CIEDE2000 formula was found to outperform CIELAB despite unexpected outcomes when tested using displays. CIELAB was outperformed in ΔL* by CIEDE2000 for displays. Overall it was found that identity branding colour reproduction was mostly suited to graphic arts tolerances however, to address specific communications, approved tolerances reflecting viewing environments would be the most efficient approach. The findings in this research highlights the need for brand visualisation to consider the adoption of a strategy that includes graphic arts approaches. This is the first time that the subject of defining how brands achieve tolerances for their targeted visual communications has been researched