Slide 1

Basic Color Theory and Color

Evaluation

This is an introduction to Color Theory and evaluation, obviously in the

time allowed we cannot go into too much detail but I hope to cover the
major points. A more in depth discussion of color science is held at the
Color Measurement Workshop. Date and Venue details will be sent later.
Slide 2

Introduction
• What is color ?
• What is light ?
• How do we perceive color ?
Slide 3

Color is…
• An aspect of visual perception.
• Dependent upon the viewer
• Caused by spectral energy composition
Slide 4

So what is Color ?
Color is defined as “the sensation
experienced or caused by Light reflected
from or transmitted through Objects.
Objects.”
”
Slide 5

How do we perceive Color ?

Therefore without a light source and an observed color does not exist.
Slide 6

What is Light?
Light is the visual part of the electromagnetic
spectrum (400 to 700 nm). The wavelengths
values can be measured by using a
spectrophotometer
Slide 7

Now let’s look at each component individually. The light source has a
definite affect on the appearance of color. Each light source has a
different wavelength signature as seen by the graphs in this slide.
Daylight (D65) has the most level graph, Tungsten filament lamp shows
higher peaks in the Yellow, Orange and Red areas, while the fluorescent
lamp peaks throughout the visual range. It is important to take the
various light sources into consideration when matching shades.
Slide 8

This sweater is a great example of the problem with matching shades

under a single illuminant. Metamerism is the attribute of two colored
materials, which match under one illuminant and to one observer, but do
not match when exposed to a different illuminant (having a different
spectral power distribution) or when viewed by another observer.
This problem is also demonstrated using our Metamerism Box .
Slide 9

Here is a picture of our metamerism box that shows the effect of different
light sources on one piece of fabric.
Slide 10

It may be presumed that all people see color the same. Of course this is
not true. Everyone sees color differently and each individual may see the
same color differently due to external conditions. There are many
standard tests to evaluate color vision such as the standard color
blindness test, the Farnsworth Munsell 100 Hue test for testing color
discrimination and the HVC Color Skills Test. Age, health, and fatigue
can also affect how you see color.
Slide 11

Simultaneous Contrast points out that the background can influence the
appearance of colors, so it is important that any color assessment be in
an area free of extraneous materials and a neutral grey in appearance.

Looking at a color for a long period of time can affect the way you
perceive the next sample. This is called after image
Slide 12
Slide 13

This image is a good example of the principle of after image. Stare at the
white dot for about 20-30 seconds.
Slide 14

Then looked at a white screen. Do you see the Red, White , and Blue of
the American flag? This is called after image. By looking at the Green,
Black, and Yellow image for a period of time and then looking at a white
screen you see their opposite colors. This can happen when you look at
any thing too long.
Slide 15

Now let’s focus on the object and see how it can affect the way we see
color. Obviously this car is painted one color. But because of its surface,
the color appears differently depending on how the light strikes.
Slide 16

CHROMATIC ATTRIBUTES
Those related to color such as
hue and saturation

GEOMETRIC ATTRIBUTES
Those associated with the distribution
of light from the object; such as gloss
or haze

The car introduces the two attributes of the object that affect how we
perceive color. The chromatic attributes are the hue and saturation which
tell us what color we see. The geometric attributes of the car affect the
way we see the color.
Slide 17

MIXING ADDITIVE
PRIMARIES

There are two methods of looking at color combinations. They both deal
with primary colors which when combined achieve a neutral color. The
first system is additive colors. Imagine spotlights such as these that when
added together show white. This is the principle in your computer
monitor.
Slide 18

MIXING SUBTRACTIVE
PRIMARIES

The second method is subtractive primaries which occurs when colored

substances are combined achieve black or at least a dark grey. This
would apply to most textile coloration methods.
Slide 19

The Influence of the Object

The object determines whether the light is reflected or transmitted

Slide 20

Here are examples of the four types of materials that are of a similar hue
and saturation, the difference is the way the light is distributed by the
object. The liquid in the jar shows regular transmission, the plastic cup
shows diffuse transmission, the candle stick an opaque metal shows
specular reflection, and the container an opaque non-metal shows diffuse
reflection.
Slide 21

For Transparent Materials most of the light goes through the object as
both Regular Transmission and Diffuse Transmission. This is an example
of Dye strength solution measurement as found in AATCC Test Method
182 Relative Color Strength of Dyes in Solution.
Slide 22

When light hits a Translucent Material the Diffuse Reflection and the
Diffuse Transmission are almost equivalent as shown with the plastic cup.
Slide 23

If the object is opaque then the light is reflected back in the color of the
object. If the light strikes a metallic surface, most of the light is reflected
back as Specular Reflectance and is what gives object their glossy
appearance as seen in the candle stick.
Slide 24

When the same concentration of light strikes a non-metal object the

amount of Specular Reflectance is decreased to the point that the Diffuse
Reflectance becomes more significant. Textiles are opaque non-metals.
Slide 25

The idea that machinery could be developed to mimic the human

visualization began in 1928 with the Wright experiments and 1931 with
the Guild experiments. The principle was to show the relative amount of
the three primary lights needed to match the wavelength of the test light.
These experiments resulted the 1931 2° observer that was used for many
years as the standard for instrumental viewing.
Slide 26

Jacobsen pointed out in 1948 that the 2° degree observer was not as
sensitive as the human observer in the shortwave blue responses. This
lead to the development of the 10° observer which was finally accepted in
1964.
Slide 27

RELATIVE FIELDS OF VIEW

1931
2° 1964
10 °

This is a visual comparison of the two observers with their relative size
variations.
Slide 28

Equipment
• Colorimeter
– Tristimulus Values
– Single observer

• Spectrophotometer
– Reflectance Curve
– Multiple observer
Slide 29

Color
• Munsell Color Tree
• Tristimulus Values
• CIE Color Space
– Lab
• CMC
Slide 30

Munsell Color Tree Illustrating Color Solid

We need to try to understand the principle of color space. The Munsell

Color Tree is one example of a surface color system. The tree represents
the three visually perceived dimensions of color appearance as hue
(color), value (brightness), and chroma (saturation)
Slide 31

CIE scales are not uniform in the spacing of

colors as related to visual differences. The
relative size of differences between colors
as plotted in various parts of CIE color
space do not correspond to the size of the
differences as seen by the eye.
Slide 32

Color scientist have worked for years to identify color space. Here is an
artist rendition of the CIE color space
Slide 33

L,a,b Values
A three axis opponent color scale system
based on the theory that color is perceived
by black-white (L), red-green (a), and blue-
yellow (b) sensations.
Slide 34

Here is a visual representation of the Lab Color Solid.

Slide 35

The CIE system combines the spectral energy of the light source with the
percent reflectance of the object and the human response to create the
numeric values that are used in many color programs.
Slide 36

We have discussed various aspects of color, now lets put them together.
In the case of a school bus the yellow is reflected and most of the other
colors are absorbed so that you perceive the bus as being yellow.
Slide 37

The particular shade of yellow as noted in the Munsell color system.

Slide 38

This would be the spectrophotometric curve of the bus very low

reflectance in the blue and green portion of the curve rising up in the
yellow, orange and red portion.
Slide 39

MUNSELL CIE TRISTIMULUS CIE 1976 L*a*b*

10 YR 7/10 X = 43.7 L* = 69.7
Y = 40.3 a* = +12.7
Z = 9.8 b* = +60.5

This is a comparison of the ways that one object can be described in the
various color calculations.
Slide 40

CMC TOLERANCE SYSTEM

• CMC Tolerance
– CMC is not a color space, but a
tolerance system
– Based on CIELCH
– To provide better agreement between
visual assessment and measured color
difference
• CMC tolerancing was developed by
the Color Measurement Committee
of the society of Dyers and Colorists
in Great Britain.
• Became public domain in 1988.
Slide 41

VISUAL TOLERANCE VERSUS

INSTRUMENT VIEW
Tolerance Method Agreement w/ Visual

DE* 10%

DEcmc 75%

DE2000 TBD
Slide 42

CIE DE 2000
• New formula for color measurement
• Blues Orange and Neutrals are still an
issue
• Main problem is with shade sorting
• Study at NCSU
Slide 43

RA 36 Color Measurement
• Instrumental vs. Visual studies
• Color Communication
• UV Calibration

All previous studies to evaluate the correlation of instrument and visual

assessments has had a small population of moderately trained visual
observers. RA 36 has initiated a study that will include a larger population
of trained observers. This will include both colored and white specimens.
The new phrase is color communication, how can my spectro talk to your
spectro? Two groups are working on a file format that can be used by any
spectrophotometer to relay colorimetric and business data.
Slide 44

U.V Calibration Reference Program

• Developed this program in July 2004

• Provides a means for calibrating

spectrophotometers with traceable standards

• Helps ensure proper measurement of white and

colored materials where U.V. is important

• Developing into AATCC and ISO Standards

Slide 45

References
Hunter, Richard S. and Richard W Harold;
The Measurement of Appearance 2nd
Edition, John Wiley and Sons 1987.
Color Technology in the Textile Industry,
AATCC RA 36, 1997.