Colour Science & Perception
what the eye settles, and what it cannot
Concept

Colourfulness — where it appears

An appearance model's correlate for how much colour a stimulus appears to contain, which rises with the light falling on it. That rise is the Hunt effect, and it is the reason a scene photographed at one light level and shown at another does not look the same.

Named by 13 essays across 5 fields — each of them below, with the objects they name alongside it.

Colourfulness rises with light level; apparent contrast does not. Predicted colourfulness M for one stimulus across four decades of adapting luminance, and the exponent of the lightness curve over the same range. M rises by a factor of 2.24 — the Hunt effect, which the model does predict. The lightness exponent changes by -2.2%, and in the wrong direction — the Stevens effect, which it does not.

Brighter looks more colourful

Colourfulness rises with light level and the model predicts it. Apparent contrast is supposed to rise too, and the model does not — which turns out to be right, because the thing that actually carries contrast is the surround.

brain · Appearance Lightness against colourfulness, in a booth and on a screen. Each arrow is one colour, from what the model predicts under a print in a 2000 lux booth to what it predicts under a display in a dim room. Every arrow points the same way, which is the content: a dimmer surround lowers predicted lightness and colourfulness together, so a proof does not merely differ from the print, it differs in a direction — and that is why proofing standards specify the room and not only the numbers.

The proof is a different object

A soft proof can be made colorimetrically exact and still not match the print, because the print is in a booth at two thousand lux with an average surround and the screen is in a dim room at a fifth of the luminance. The appearance model puts four CAM16-UCS units between them, with no change of stimulus anywhere — larger than the error any rendering intent is arguing about.

applied · Delivery Brightness against chroma, at exactly constant luminance. Seven stimuli of identical luminance and rising chroma at hue 25. The model's brightness moves by 2.2 per cent across the whole sweep, and at some hues it moves the other way. The Helmholtz–Kohlrausch effect — measured repeatedly, by several methods — is that a saturated colour looks as bright as a neutral of 1.3 to 2 times its luminance, shown as the band. The gap is the model's, and nothing here closes it: the term that would is not in CIECAM16 and is not invented for the occasion.

Brightness is not luminance

Photometry is additive because the CIE defined it that way. Brightness is not, and a saturated colour looks as bright as a neutral of one and a half times its luminance — an effect this site's appearance model moves by two per cent, in a direction that depends on the hue.

brain · Appearance One light, seven rooms. The same stimulus — fixed in XYZ, unchanged throughout — shown against whites from 12 to 800 candelas per square metre. Its lightness falls from 152 to 16 and its brightness rises, because one of those is a ratio to the white and the other is not. Brown is the low-lightness end: a colour that exists only when something brighter is present, which is why no lamp is brown and no star is.

There is no brown light

Brown is dark orange, dark is a ratio to a white, and a light in a dark room has no white to be dark against. The same stimulus, unchanged in XYZ, runs from lightness 152 to lightness 16 as the surround is raised — and only the bottom of that range has a name.

brain · Appearance The colourfulness the sRGB cube reaches, against the light in the room. The display is the same display throughout and the signal is the same signal. What moves is the adapting luminance, which enters the appearance model and nothing else. The furthest colourfulness the cube reaches falls from 131 to 57, a factor of 2.29. A gamut in CIELAB cannot show this at all, because CIELAB has no light level in it — which is why every gamut percentage in circulation is quoted without one.

The gamut shrinks in the dark

Every gamut number here is a property of a device and of nothing else, which is why the same display has the same gamut in a studio and in a cinema. It does not. Turn the room down four decades and the solid loses a fifth of its reach and two thirds of its volume, with the signal unchanged.

limits · Limits A corner moves the spectrum and the viewing condition at once. A coloured patch in a corner of coloured walls, against how enclosed the corner is. The top curve is what a colorimeter set up at the door reports: light that has bounced carries the surrounding reflectance again, so the patch is lit by something the room is not. The middle curve is what is left once the patch is read against the corner's own white — most of it goes, because a corner is a change of illuminant and that is what chromatic adaptation is for. The bottom curve is the other thing a corner is: a brighter place, 1.76 times the light, which moves the appearance through the Hunt effect with the white point held still and cannot be adapted away at all.

A corner moves both terms

The interreflection essays compute what a corner does to a spectrum, which is one of the two things a corner does. It is also a brighter place with a differently coloured background — a viewing condition, not a stimulus — and adaptation removes most of the first and none of the second. At an enclosure of six tenths that is 63 per cent of seven units gone and a further unit arriving from the extra light alone.

scene · Scene What six of this collection's published numbers do when the unit changes. Six quantities, from six calculations that share nothing: a change of light after an observer has adapted, a camera profile's error, the gap between the two standard observers, a metameric pair under the lamp that breaks it, the same image on two papers, and an observer two seconds into a new room. Each is recomputed under all six units and every unit is calibrated onto ΔE2000's scale first, so the bar is not a change of units in the ordinary sense. The bar is the ratio of the largest reading to the smallest, and it runs from 1.71 to 2.30. Five of the six are printed in ΔE2000 by the essays that report them; the sixth is printed in CAM16-UCS, because the model it comes out of defines that unit.

A model judged in another model's unit

An appearance shift is a change in what an observer would report, not a change in a stimulus, so measuring one with a matching difference means first asking what stimulus a settled observer would need to be shown to give the same report. That step is not bookkeeping — it is the whole distinction the field rests on, and it costs a factor of 1.7 across the menu.

brain · Appearance How far the answer for the average is from the average answer, over eight spreads. For each spread of inputs, the distance between the mean of the model's answers and its answer for the mean input, as a share of the spread of the answers. Over a population of observers it is 1.4 per cent. Over surfaces it is 21 on smooth natural reflectances, 27 on a banded family with lightness in it, and 9 on a set of pale surfaces. Over the light one room sees in a day it is 59.

The average surface does not look average

Over a population of observers the appearance model is so nearly linear that the mean of its answers is its answer for the mean, to 1.4 per cent of the spread. Over the surfaces in a scene it is not. On 240 smooth reflectances the gap is 21 per cent of the spread, and the mean surface looks 4.2 units lighter than the surfaces look on average. The grey that matches the average light is a 47 per cent reflectance; the grey that matches the average look is a 43 per cent one.

brain · Appearance A gloss finish's loss of colour, read by the light and by a viewer in the room. Four changes against the matt room as the coloured walls are made glossier, from roughness 0.8 to 0.15: the chroma of the room's reflected light as a colorimeter reads it; the mean chroma of the six faces as CIECAM16 sees them adapted to the lamp and adapted to the room's own average light; and how far the faces sit from that average in the model's uniform space. At roughness 0.2 the light loses 8.3 per cent, the faces 8.6 per cent to the lamp-adapted viewer and 13.9 to the room-adapted one, and the spread 11.0 per cent against 11.2 read against the lamp.

A gloss room looks less colourful than it measures

A gloss finish takes 8.3 per cent of the chroma out of a green room's reflected light, and a viewer adapted to the room should discount a loss that affects everything alike. The appearance model says the opposite. Adaptation removes the colour the whole room shares, leaves the colour that differs from face to face, and the finish takes as large a share of that as of anything — so to a viewer standing in the room the faces lose 13.9 per cent of their chroma, not 8.6.

scene · Scene The pairs that change places in chroma are a wedge with two straight edges. Every pair of samples, plotted by the log ratio of the two samples' background-free responses across and the log ratio of their chroma at a background of 2 up. A pair changes places between that background and one of 80 exactly when its chroma ratio and its response ratio point in opposite directions and the chroma ratio is the smaller — which is the wedge between the horizontal axis and a line of slope -0.2598, half the change in the lightness exponent. 754 of 14028 pairs are inside it, and the condition names every one of them and nothing else: 0 disagreements between the line and the model. The pale dots are one pair in eleven of those outside; the filled ones are every pair inside.

The reversals have a straight edge

Twenty-one of 276 pairs change places in chroma between a dark background and a light one, and the reason given was that chroma is a product of a term carrying the exponent and a term that does not. That is true and it is not a description of which pairs. Chroma at one background is a single common factor times a power of lightness at another, so a pair reverses exactly when its chroma ratio and its lightness ratio point opposite ways and the first is the smaller — a wedge with two straight edges, which names every reversal and nothing else.

brain · Appearance The share of its colour each display hue loses to a quarter of its luminance in white. The twenty-four most saturated colours of an sRGB display, one every fifteen degrees of HSV hue, each scaled to a luminance of 20 and given white of a quarter that luminance: the share of its colourfulness lost, in CIECAM16, CIELAB and Oklab. All three put the fastest loss at an orange and the slowest at a blue. At the orange end they are close — CIECAM16 27 per cent, CIELAB 28 per cent, Oklab 21 per cent — and at the blue end CIECAM16's 1.7 per cent is a quarter of the others'.

White drains the blue last in every model

CIECAM16 says a dab of white costs a deep red wall four times the colour it costs a dark blue one, and the experiment proposed to test it asked whether observers lose colour in that hue order. Held at equal luminance and given equal doses of white, twenty-four display hues are ordered alike by CIECAM16, CIELAB and Oklab — an orange loses fastest and a blue slowest in all three. So the order cannot tell the models apart. What does is how much slower the blue is: CIECAM16 has it losing a sixteenth of what the orange loses, CIELAB and Oklab about a quarter. That ratio is the number an observer study has to measure.

brain · Appearance CIECAM16's colourfulness loss by hue, with each suspect removed. The share of colourfulness each of the twenty-four most saturated sRGB colours loses when white of 25 per cent of its luminance is added, all at the same luminance, in CIECAM16 as published, with its eccentricity factor held at one, and with its cone-signal denominator replaced by its achromatic signal; CIELAB chroma for reference. The blue at 240 degrees loses 1.7 per cent as published and 1.6 with the hue factor removed, and 5.4 with the denominator replaced — the curve then lies close to CIELAB's.

The blue resists through the model's denominator

CIECAM16 says a saturated blue is nearly impervious to added white: at equal luminance and an equal dose it loses a sixteenth of what an orange loses, where CIELAB and Oklab say a quarter. The model has two obvious places for that to come from — a hue factor fitted to make colourfulness equal across hues, and the sum of cone signals it divides its opponent signals by. Setting the hue factor to one changes nothing. Replacing the sum with the model's own achromatic signal makes the blue lose 0.233 of the orange's loss, beside CIELAB's 0.221 and Oklab's 0.223. The disagreement is one denominator.

brain · Appearance What a viewer adapting to the warm room sees of the tint. The largest tint anywhere on the screen as a viewer sees it in CIECAM16 — the CAM16-UCS colour distance between a grey on the declared grey floor and on the true warm one — for the three pictures in a 2,700 K room putting a tenth of a candela on the screen, as the viewer adapts from the display's white to the room's. In the moon picture it grows, 2.75, 3.35, 3.92, 4.42; in the bright window picture it shrinks.

Adapting to a warm room deepens the shadows' tint

A warm room's light reflected off a local-dimming screen tints the shadows of every dark picture when the screen's black is declared in grey — by up to 17.7 ΔEITP — and ΔEITP has no viewer in it. A viewer who has sat in a 2,700 K room all evening is adapted partly to the room, and adaptation to a warm white discounts warm light. The prediction was that a viewer adapted a third of the way to the room would see under half the tint, and one adapted two thirds of the way would see the darkest greys turn blue. Read through CIECAM16, the opposite happens in a dark picture. The tint the viewer sees grows at every step of adaptation: in the moon picture's darkest grey from 2.7 CAM16-UCS units for a viewer adapted to the display to 3.3, 3.9 and 4.4. The darkest greys never turn blue; they stay orange and fade. What turns blue is the mid-greys, whose light is the display's own and now looks cool. In the bright window picture the tint shrinks, and declaring the floor in the room's colour still removes it for every viewer.

difference · Metric

Named alongside it

The objects these essays reach for when they reach for this one.

CIECAM16Viewing conditionColour appearanceLightnessChromatic adaptationSurroundColour constancyChromaSpecificationAdaptationAppearance modelBrightness

All concepts