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Fundamentals and Applications of Colour Engineering
Wiley – SID Series in Display Technology
Series Editor: Dr. Ian Sage
Advisory Board: Paul Drzaic, Ioannis (John) Kymissis, Ray
Ma, Ian Underwood, Michael Wittek, Qun (Frank) Yan
Fundamentals and Applications of Colour Engineering
Phil Green
E-Paper Displays
Bo-Ru Yang
Liquid Crystal Displays - Addressing Schemes and Electro-
Optical Effects, Third Edition
Ernst Lueder, Peter Knoll, and Seung Hee Lee
Flexible Flat Panel Displays, Second Edition
Darran R. Cairns, Dirk J. Broer, and Gregory P. Crawford
Amorphous Oxide Semiconductors: IGZO and Related
Materials for Display and Memory
Hideo Hosono, Hideya Kumomi
Introduction to Flat Panel Displays, Second Edition
Jiun-Haw Lee, I-Chun Cheng, Hong Hua, and Shin-Tson Wu
Flat Panel Display Manufacturing
Jun Souk, Shinji Morozumi, Fang-Chen Luo, and Ion Bita
Physics and Technology of Crystalline Oxide Semiconductor
CAAC-IGZO: Application to Displays
Shunpei Yamazaki, Tetsuo Tsutsui
OLED Displays: Fundamentals and Applications, Second
Edition
Takatoshi Tsujimura
Physics and Technology of Crystalline Oxide Semiconductor
CAAC-IGZO: Fundamentals
Noboru Kimizuka, Shunpei Yamazaki
Physics and Technology of Crystalline Oxide Semiconductor
CAAC-IGZO: Application to LSI
Shunpei Yamazaki, Masahiro Fujita
Interactive Displays: Natural Human-Interface Techniques
Achintya K. Bhowmik
Addressing Techniques of Liquid Crystal Displays
Temkar N. Ruckmongathan
Modeling and Optimization of LCD Optical Performance
Dmitry A. Yakovlev, Vladimir G. Chigrinov, and Hoi-Sing
Kwok
Fundamentals of Liquid Crystal Devices, Second Edition
Deng-Ke Yang and Shin-Tson Wu
3D Displays
Ernst Lueder
Illumination, Color and Imaging: Evaluation and
Optimization of Visual Displays
P. Bodrogi, T. Q. Khan
Liquid Crystal Displays: Fundamental Physics and
Technology
Robert H. Chen
Transflective Liquid Crystal Displays
Zhibing Ge and Shin-Tson Wu
LCD Backlights
Shunsuke Kobayashi, Shigeo Mikoshiba, and Sungkyoo
Lim (Eds.)
Mobile Displays: Technology and Applications
Achintya K. Bhowmik, Zili Li, and Philip Bos (Eds.)
Photoalignment of Liquid Crystalline Materials: Physics
and Applications
Vladimir G. Chigrinov, Vladimir M. Kozenkov, and Hoi-
Sing Kwok
Projection Displays, Second Edition
Mathew S. Brennesholtz and Edward H. Stupp
Introduction to Microdisplays
David Armitage, Ian Underwood, and Shin-Tson Wu
Polarization Engineering for LCD Projection
Michael G. Robinson, Jianmin Chen, and Gary D. Sharp
Digital Image Display: Algorithms and Implementation
Gheorghe Berbecel
Color Engineering: Achieving Device Independent Color
Phil Green and Lindsay MacDonald (Eds.)
Display Interfaces: Fundamentals and Standards
Robert L. Myers
Reflective Liquid Crystal Displays
Shin-Tson Wu and Deng-Ke Yang
Display Systems: Design and Applications
Lindsay W. MacDonald and Anthony C. Lowe (Eds.)
Fundamentals and Applications of Colour Engineering

Edited By

Phil Green
This edition first published 2024
© 2024 John Wiley & Sons Ltd

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Set in 10/12pt WarnockPro by Integra Software Services Pvt. Ltd, Pondicherry, India
 v

Contents

Series Editor’s Foreword xvii

Preface xix
Introductory Notes xxi

1 Instruments and Methods for the Colour Measurements Required in Colour Engineering 1
Danny Rich
1.1 Introduction 1
1.1.1 The Need for Colorimetry 1
1.1.2 The Principles of Colorimetry 1
1.1.3 Making the Transition from What We “See” to Quantifying How We “Match” a Colour 2
1.2 Visual Colorimetry 3
1.2.1 A Method to Uniquely Map the Colour of Lights and Objects 3
1.2.2 Development of the CIE Method of Visual Colorimetry 4
1.2.3 Applications of Visual Colorimetry 6
1.2.4 Disadvantages of Visual Colorimetry 7
1.3 Analogue Simulation of Visual Colorimetry 7
1.3.1 Replacing the Human Eye with an Optoelectronic Sensor 7
1.3.2 Substituting Coloured Filters to Approximate the CIE Colour-Matching Functions 8
1.3.3 Assessing the “Goodness of Fit” of a Set of Colorimeter Filters 10
1.3.4 Schematic Description of Analogue Filter Colorimeters 11
1.3.5 Disadvantages of Analogue Filter Colorimeters 11
1.4 Digital Simulation of Visual Colorimetry 12
1.4.1 Replacing the Analogue Filters with an Abridged Spectrometer 12
1.4.2 Assessing the “Goodness of Fit” of Abridged Spectrometers 13
1.4.3 Schematic Description of Digital Spectrocolorimeters 13
1.4.4 Advantages and Disadvantages of Digital Spectrocolorimeters 14
1.5 Selecting and Using Colorimeters and Spectrocolorimeters 15
1.5.1 Reading and Understanding Specifications and Technical Literature 15
1.5.2 Verifying Performance Specifications 17
1.5.3 Standards of Colour and Colour-difference 17
1.5.4 Sources of Error and Uncertainty in the Measurement of Reflectance, Transmittance
and Radiance 18
1.6 Geometric Requirements for Colour Measurements 18
1.6.1 Colour Measurements from Self-Luminous Objects 18
1.6.2 Colour Measurements from Reflecting or Transmitting Objects 19
1.7 Conclusions and Expectations 22
vi Contents

1.7.1 Current CIE and ISO Activities in Colour and Colour-difference Measurements 22
1.7.2 Quality Management Systems and Colour Measurements 22
References 23
2 Colorimetry and Colour Difference 27
Phil Green
2.1 Introduction 27
2.2 Colorimetry 27
2.3 Normalization 28
2.4 Colour Matching Functions 29
2.5 Illuminants 29
2.6 Data for Observers and Illuminants 30
2.7 Range and Interval 30
2.8 Calculation of Chromaticity 31
2.9 Calculation of CIE 1976 Uniform Colour Spaces 31
2.10 Inversion of CIELAB Equations 34
2.11 Colour Difference 34
2.12 Problems with Using UCS Colour Difference 35
2.13 Uniformity of the Components of Colour Difference 35
2.13.1 Chroma 35
2.13.2 Hue 36
2.13.3 Lightness 36
2.14 Viewing Conditions 36
2.15 Surface Characteristics 37
2.16 Acceptability of Colour Differences 37
2.17 Overcoming the Limitations of UCS Colour Difference with Advanced Colour
Difference Metrics 37
2.18 CIE94 37
2.19 CIEDE2000 39
2.20 Progress on Colour Difference Metrics since CIEDE2000 41
2.21 3D Colour Difference 41
2.22 Colour Difference in High Luminance Conditions 41
2.23 Colour Difference Formulas Based on Colour Appearance Models 41
2.24 Limitations in the Use of Advanced Colour Difference Metrics in Colour Imaging 42
2.25 Basis Conditions 42
2.25.1 Illuminant 42
2.25.2 Illuminance 42
2.25.3 Sample Separation 42
2.25.4 Sample Size and Image Structure 43
2.26 Colour Difference in Complex Images 43
2.27 Acceptability and Perceptibility 44
2.28 Large vs Small Differences 44
2.29 Deriving Colour Difference Tolerances 44
2.30 Sample Preparation 45
2.31 Psychophysical Experiments 45
2.31.1 Observer Variability and Experience 45
2.32 Colour Difference Judgements by Observers with a Colour Vision Deficiency 46
2.33 Calculating Colour Tolerances from Experimental Data 46
2.34 Calculation of Discrimination Ellipsoids and Tolerance Distributions 46
2.34.1 Calculation of Parametric Constants in Weightings Functions 47
2.35 Calculation of Acceptability Thresholds 48
 Contents vii

2.36 Evaluating Colour Difference Metrics 48

2.37 Conclusion 48
References 49
3 Fundamentals of Device Characterization 53
Phil Green
3.1 Introduction 53
3.1.1 Objectives 54
3.2 Characterization Methods 54
3.2.1 Test Charts 55
3.2.2 Calibration 55
3.2.2.1 Matching Aim Values 56
3.2.2.2 Optimizing Performance 56
3.2.2.3 Perceptual Uniformity of Device Values 56
3.2.2.4 Optimization for Machine Vision 56
3.2.3 Linearization 56
3.3 Numerical Models 57
3.3.1 Regression Methods Used in Characterization 58
3.3.1.1 First Order Model 58
3.3.1.2 Higher Order Models 59
3.3.1.3 Choosing the Polynomial Order 60
3.3.1.4 Spline Methods 60
3.3.1.5 Weighted Regression 60
3.3.2 Domain 61
3.3.3 Optimization 62
3.3.4 Noisy and Discontinuous Data 62
3.3.5 Machine Learning 62
3.4 Look-Up Tables with Interpolation 63
3.4.1 Packing 63
3.4.2 Extraction 64
3.4.3 Interpolation 64
3.4.4 LUT Implementation 66
3.4.4.1 LUT implementation in ICC profiles 67
3.5 Evaluating Accuracy – Training and Test Data 67
References 68
4 Characterization of Input Devices 71
Phil Green
4.1 Input Channels 71
4.2 Characterization Goals 72
4.3 Transform Encoding 73
4.4 Dynamic Range 73
4.5 Input Characterization Methods 74
4.5.1 Scanners 74
4.6 Targets 74
4.7 Modelling 74
4.7.1 Digital Cameras 75
4.8 Target-Based Characterization 75
4.9 Targets 75
4.10 Modelling 76
4.10.1 Spectral Sensitivity-based Methods 77
4.10.2 Machine Learning Methods 78
viii Contents

4.10.3 Spectral Characterization of Input Devices 78

References 78
5 Color Processing for Digital Cameras 81
Michael S. Brown
5.1 Introduction 81
5.2 Basics of a Camera Sensor 82
5.3 The Camera Pipeline 83
5.3.1 Defective Pixel Correction 83
5.3.2 Black-Level Correction and Normalization 84
5.3.3 Lens Shading Correction 84
5.3.4 Autofocus, Autoexposure, Auto White Balance 85
5.3.4.1 Autoexposure 85
5.3.4.2 Autofocus 86
5.3.5 White Balance and Auto White Balance 87
5.3.5.1 White Balance 87
5.3.5.2 Manual and Auto White Balance 87
5.3.6 Demosaicing 88
5.3.7 Noise Reduction 89
5.3.8 Color Space Transform to Device-Independent Color Space 89
5.3.9 Photo-Finishing/Rendering 90
5.3.9.1 General and Selective Color Manipulation 90
5.3.9.2 Global and Local Tone-Mapping 90
5.3.9.3 Sharpening/Noise and Grain 91
5.3.9.4 Image Resizing/Super-Resolution 91
5.3.10 Color Mapping to Final Image Encoding Color Space 92
5.3.11 Compression and Save to Storage 92
5.3.12 RAW Image Capture 92
5.4 Multi-Frame Processing 93
5.4.1 HDR Imaging 93
5.4.2 Low-Light/Night-Mode Imaging 94
5.5 Towards the Neural ISP 94
5.6 Concluding Remarks 95
Acknowledgment 95
References 95
6 Display Calibration 99
Catherine Meininger, Tom Lianza, and Grace Annese
6.1 Introduction 99
6.2 From CRT to Contemporary Display Technologies 99
6.3 The Display Never Sleeps… Merging Television and Computer Display Standards 102
6.4 The Evolution of Display Calibration Capabilities 103
6.4.1 Gamut Mapping 104
6.4.2 Manual Calibration 105
6.4.3 One Dimensional Lookup 108
6.3.4 The Matrix Shaper Architecture 108
6.4.5 Single 3-Dimensional LUT 109
6.4.5.1 3DLUT Considerations 111
6.4.6 Hybrid Matrix Shaper Utilizing 3DLUT Followed by a 1DLUT 111
6.5 Measurement Set Requirements 111
6.5.1 Pattern Generation 112
6.5.2 How Many Measurements are Needed? 112
 Contents ix

6.5.3 Methods to Mitigate Drift in Display Measurements 112

6.6 Calibration Validation Methodologies 113
6.6.1 Numerical Scales 113
6.6.2 Visual Evaluation Targets and Methods 114
6.7 Low Blue Light Developments 114
6.8 Conclusions 117
References 117
7 Characterizing Hard Copy Printers 119
Phil Green
7.1 Introduction 119
7.2 Properties of Hard Copy Printers 120
7.3 Substrates and Inks 120
7.3.1 Fluorescent Whitening Agents 120
7.3.2 Inks 120
7.4 Colour Gamut 120
7.5 Halftoning 121
7.6 Mechanical Printing Systems 122
7.7 Printing Conditions 122
7.8 Digital Systems 122
7.9 RGB Printers 122
7.10 Test Charts 123
7.11 Printer Models 124
7.12 Block Dye Model 125
7.13 Physical Models 126
7.13.1 Density 126
7.13.2 Dot Area Models 126
7.13.2.1 Murray-Davies 127
7.13.2.2 Yule-Nielsen 127
7.13.2.3 Clapper-Yule 128
7.13.2.4 Additivity Failure 128
7.13.3 Neugebauer 128
7.13.3.1 Modified and Extended Neugebauer Equations 130
7.13.3.2 N-Modified Neugebauer Equations 130
7.13.4 Vector-Corrected Neugebauer Equations 130
7.13.4.1 Cellular Extensions 130
7.13.4.2 Spectral Extensions 131
7.13.4.3 Evaluation of Different Forms of the Neugebauer Equations 131
7.13.5 Colorant Models 131
7.13.5.1 Masking Equations 131
7.13.6 Beer-Bouguer 132
7.13.7 Kubelka-Munk 132
7.13.8 Extensions 134
7.14 Numerical Models and Look-up Tables 134
7.14.1 Black Printer 134
7.14.1.1 Spectral Grey-Component Replacement 136
7.14.1.2 Black Generation Algorithm 136
7.15 Inverting the Model 137
7.16 Multi-Colour and Spot Colour Characterization 137
7.17 Spectral Characterization 137
x Contents

7.18 White Ink 138

7.19 Reducing the Frequency of Characterization 138
7.20 Conclusions 138
References 138
8 Colour Encodings 143
Phil Green
8.1 Introduction 143
8.2 Colour Encoding Components 143
8.3 Colour Spaces 144
8.4 Device and Colour Space Encodings 144
8.5 Colorimetric Interpretation 144
8.6 Image State 145
8.7 Standard 3-Component Colour Space Encodings 146
8.8 Colour Gamut 146
8.8.1 Extended Colour Gamut 147
8.9 Precision and Range 147
8.9.1 High Dynamic Range 148
8.9.2 Negative Values 149
8.10 Luminance/Chrominance Encodings 149
8.11 Conversion to Colorimetry 150
8.12 Implementation Issues 150
8.13 File Formats 152
References 152
9 Colour Gamut Communication 155
Kiran Deshpande
9.1 Introduction 155
9.1.1 Device Colour Gamut and the Usable Colour Gamut 155
9.1.2 Colour Space 156
9.1.3 Factors Affecting Colour Gamut 157
9.1.4 Gamut of an Image 157
9.2 How to Describe Colour Gamuts 157
9.2.1 Convex Hull 158
9.2.2 Alpha-Shapes 158
9.2.3 The Segment Maxima Method 159
9.2.4 Gamut Based on a Printer Model 159
9.2.5 Gamulyt Method 160
9.2.6 The Mountain Range Method 161
9.2.7 Defining Gamut Boundaries with a Test Target 161
9.3 How to Obtain a Colour Gamut of a Printing System 162
9.4 How to Obtain a Colour Gamut of a Display 163
9.5 How to Calculate Gamut Volume 163
9.6 How to Analyse Colour Gamuts 164
9.6.1 Metrics for Comparing Colour Gamuts 165
9.6.2 Gamut Analysis of an N-Colour Printing Process 166
9.7 How to Visualize Colour Gamuts 167
9.7.1 Venn Diagram 168
9.7.2 Gamut Rings 169
9.8 How to Communicate Colour Gamuts 171
 Contents xi

9.8.1 How to Encode a Colour Gamut Description 172

9.8.1.1 Encoding Based on CxF 173
9.8.1.2 Encoding Based on an ICC Profile 173
9.8.1.3 Encoding Based on Tab-Delimited Text Files 173
9.9 Summary 173
References 174
10 The ICC Colour Management Architecture 177
Phil Green
10.1 Origins of the ICC 177
10.2 Fundamentals of the ICC Architecture: The PCS, the ICC Profile, Transforms and the
CMM 178
10.2.1 Range and Precision 179
10.2.2 Tags and Types 180
10.2.3 Media-Relative Colorimetry 180
10.2.4 Image State 181
10.2.5 Rendering Intents 181
10.2.6 Profile Classes 183
10.2.7 Features of ICC v4 183
10.2.8 Making Profiles 184
10.2.9 Embedding Profiles 184
10.2.10 CMMs 184
10.3 Other CMM Operations 185
10.3.1 Function Inversion 185
10.3.2 Black Point Compensation 185
10.3.3 Channel Preservation 186
10.3.4 Gamut Mapping 186
10.3.5 Copyright and Security 187
10.4 Workflows 187
10.5 Current Status of ICC.1 188
10.5.1 Limitations of ICC.1 188
10.6 ICC.2 189
10.6.1 PCS 189
10.6.2 Data Types 189
10.6.3 Multiprocess Elements 189
10.6.4 Calculator 189
10.6.5 Workflows 190
References 190
11 iccMAX Color Management – Philosophy, Overview, and Basics 193
Max Derhak
11.1 Background and Philosophy Leading to iccMAX 193
11.2 Overview 194
11.2.1 Making Connections 194
11.2.2 Transform Connection and Application 199
11.2.3 Encoding Transforms 200
11.2.4 MultiProcessing Element Transforms 202
11.2.4.1 Matrix Elements 202
11.2.4.2 Curve Elements 203
11.2.4.3 Tint Array Elements 203
xii Contents

11.2.4.4 CLUT Elements 203

11.2.4.5 Tone Mapping Element 203
11.2.4.6 Calculator Element 204
11.2.4.7 Emissive Elements 204
11.2.4.8 Emission Observer Element 205
11.2.4.9 Reflectance CLUT Element 205
11.2.4.10 Reflectance Observer Element 205
11.2.4.11 CAM Elements 205
11.2.5 Profile Structure Generalization 206
11.3 Creating Transforms 207
11.4 Specification Subsets via ICSs 209
11.5 Domain Specific Examples 210
11.5.1 Photography 210
11.5.2 Packaging 210
11.5.3 Medical Imaging 211
11.5.4 Fine Art 211
11.5.5 Critical Color on Wide Gamut Displays 211
11.6 Getting Started with iccMAX (Where Color Engineering Comes to Play) 212
11.7 Conclusion 213
References 213
12 Sensor Adjustment 215
Phil Green
12.1 Introduction 215
12.2 Aims of Sensor Adjustment 215
12.3 Luminance Adjustment 216
12.4 Chromatic Adaptation 218
12.4.1 Chromatic Adaptation in Colour Management 219
12.4.2 Chromatic Adaptation in ICC.2 220
12.5 Material-Equivalent Adjustment 220
12.6 Local Adaptation 221
12.7 Incomplete Adaptation 222
References 223
13 Evaluating Colour Transforms 227
Phil Green
13.1 Introduction 227
13.2 Accuracy 227
13.2.1 Metamerism 228
13.2.2 Smoothness 229
13.2.3 Spatial Artefacts 229
13.2.4 Spectral Accuracy 229
13.2.5 Acceptability 230
13.2.6 Sources of Error in Colour Transforms 230
13.2.7 Procedures for Colorimetric Transform Evaluation 231
13.2.8 Media-Relative Colour Transforms 232
13.3 Cost 232
13.4 Subjective Preference 233
13.4.1 Test Data 234
13.4.2 Reporting Evaluation Results 234
 Contents xiii

13.4.2.1 Visualisation of Results 235

References 236
14 Appearance Beyond Colour: Gloss and Translucency Perception 239
Davit Gigilashvili and Jean-Baptiste Thomas
14.1 Introduction 239
14.2 Gloss Perception 240
14.2.1 Perceptual Dimensions of Gloss 241
14.2.2 Image Cues and Partial Models 241
14.2.3 Factors Impacting Perceived Gloss 242
14.2.3.1 Shape 242
14.2.3.2 Illumination 243
14.2.3.3 Motion 243
14.2.3.4 Observer 243
14.2.4 Summary and Open Questions 244
14.3 Translucency Perception 244
14.3.1 Transparency and Translucency 245
14.3.2 Image Cues and Partial Models 246
14.3.3 Factors Impacting Perceived Translucency 247
14.3.4 Summary and Open Questions 248
14.4 Interaction among Appearance Attributes 248
14.4.1 Impact of Colour on Gloss and Translucency 248
14.4.2 Interaction between Gloss and Translucency 249
14.5 Impact on Colour Technologies 250
14.6 Conclusion 252
References 253
15 Colour Management of Material Appearance 259
Tanzima Habib
15.1 Introduction 259
15.2 Material Appearance Modelling 260
15.2.1 Blinn‒Phong Model 262
15.2.2 Ward Model 262
15.2.3 Cook‒Torrance Model 262
15.3 Appearance Support in Colour Management 263
15.4 A Colour Management Workflow for Material Appearance 264
15.5 Conclusion 269
References 270
16 Color on the Web 271
Chris Lilley
16.1 Early History 271
16.2 Color on the Legacy Web 272
16.2.1 RGB Representations 272
16.2.2 Color Names 273
16.2.3 Color with Alpha 274
16.2.4 Hue-Wheel Systems 274
16.2.5 Gradients 276
16.3 Wide Color Gamut (WCG) Comes to the Web 277
16.3.1 The Importance of Display P3 277
16.3.2 WCG Raster Images, with ICC Profiles 279
16.3.3 Development of WCG Upgrades to Web Specifications 279
xiv Contents

16.3.4 Limitations of CIELAB: Introducing OK Lab 280

16.4 Color on the Wide Gamut Web 281
16.4.1 Predefined RGB Color Spaces 281
16.4.2 Device-independent Color Spaces 283
16.4.3 WCG Gradients 284
16.4.4 Manipulating and Mixing Colors 285
16.5 HDR Comes to the Web 286
16.5.1 Introducing HDR 286
16.5.2 HDR in Canvas 287
16.5.3 HDR in WebGL and WebGPU 287
16.5.4 HDR in CSS 287
References 287
17 High Dynamic Range Imaging 293
Mekides Assefa Abebe
17.1 Introduction and Background 293
17.1.1 The Human Visual System 293
17.1.2 Color Imaging 294
17.2 High Dynamic Range Imaging 296
17.2.1 HDR Acquisition 296
17.2.1.1 Single Exposure HDR Acquisition 296
17.2.1.2 Multi-Exposure HDR Acquisition
17.2.1.3 HDR Image Synthesis 299
17.2.2 HDR Image Storage 299
17.2.2.1 HDR Image Formats and Encoding 300
17.2.3 HDR Rendering 302
17.2.3.1 Tone Mapping 303
17.2.3.2 Reverse Tone Mapping 303
17.3 Conclusion 308
References 308
18 HDR and Wide Color Gamut Display Technologies and Considerations 311
Timo Kunkel and Ajit Ninan
18.1 Introduction 311
18.2 Early HDR Display Systems 312
18.3 Transmissive Displays 313
18.3.1 Liquid Crystal Display Technology 313
18.3.2 Global Modulation 314
18.3.3 Dual Modulation 314
18.3.4 Dual LCD Displays 316
18.4 Emissive Displays 317
18.4.1 Organic Light Emitting Diodes 317
18.4.2 Direct LED Displays 318
18.5 Projection Systems 319
18.5.1 Projection-LCD Dual Modulation 319
18.5.2 Screen Projection 320
18.6 Reflective Displays 320
18.7 Achieving Wide Color Gamuts 321
18.7.1 Designing Narrow Primaries 323
18.7.2 Multi Spectral or Multi-Primary Displays 325
18.7.3 Metameric Error 325
 Contents xv

18.8 Spatial Display Properties 326

18.9 Temporal Display Properties 327
18.10 Signaling 328
18.10.1 Signal, Display and Content Properties 328
18.10.2 Signal Reference vs. Display Preference Modes 329
18.10.3 Professional vs. Consumer Displays 329
18.11 Characterization and Calibration 330
18.12 Ambient Effects 330
18.13 Conclusion 332
References 332
19 Colour in AR and VR 335
Michael J. Murdoch
19.1 Introduction 335
19.2 Colour Synthesis in AR and VR Displays 337
19.2.1 GOG Display Model 337
19.2.2 Idealized Display Models 338
19.2.3 Spatial and Temporal Independence 338
19.2.4 HMD Optics 339
19.2.5 Measuring AR and VR Displays 339
19.2.6 Example: Measuring and Characterizing an AR Display 340
19.3 Colour Appearance in AR and VR 342
19.3.1 Limitations of CAMs for AR and VR 342
19.3.2 Chromatic Adaptation 343
19.3.2.1 Chromatic Adaptation in VR 343
19.3.2.2 Chromatic Adaptation in AR 344
19.3.3 Scission and Transparency in AR 344
19.3.3.1 Experimental Evidence for Scission in OST-AR 344
19.3.3.2 Interpretation of Transparency and Related Visual Effects 346
19.3.4 Example: Modelling an OST-AR Display and Colour Matching Results 347
19.4 Colour Imaging and Graphics in AR and VR 350
19.4.1 Colour Reproduction 350
19.4.2 Virtual Colour Reproduction 350
19.5 Conclusion 351
19.5.1 Open Questions in AR and VR 351
Acknowledgements 352
References 352
20 Colour Engineering Toolbox and Other Open Source Tools 355
Phil Green
20.1 Colour Engineering Toolbox 2.0 355
20.1.1 Colorimetry 357
20.2 Polar Calculations 357
20.3 Media-Relative and PCS Scaling 357
20.3.1 Adaptation 357
20.3.2 Difference 358
20.3.3 Characterization 358
20.3.4 Gamut 359
20.3.5 Utility Functions 359
20.3.6 Psychophysics 359
xvi Contents

20.3.7 Documentation 360

20.3.8 Licensing and Use 360
20.4 DemoIccMax 360
20.5 Color.js 360
20.6 Little CMS 360
20.7 Argyll 361
20.8 Colour 361
References 361
Index 363
 xvii

Series Editor’s Foreword

The central questions of colour engineering: “Are these two objects the same colour?” and “If not, are they
close enough to be acceptable?” have an apparent beguiling simplicity based on the familiarity with colour
that most of us share in everyday life. Display scientists and engineers know different. Comparison of refer-
ence objects with those made using different colourants, or with their representations rendered through dif-
ferent imaging devices, data pipelines, display technologies and hard copy devices, under different conditions
of illumination and view becomes challenging, and compensating for the different behaviour of each device
can be exquisitely complex. Fortunately, we do not have to walk this difficult path alone. International bodies
such as CIE, ISO, ICC and SID have produced a multitude of standards and recommendations to guide best
practice.
Against this background, Professor Green has provided an authoritative guide since the publication of his
first book on the subject, Colour Engineering: Achieving Device-independent Colour almost 20 years ago. In
this new book, Professor Green, aided by expert authors on specialist topics, brings us a thoroughly updated
account of his subject, which covers the latest developments in the field. Here the reader will find guidance,
formulae and best practice relating to all aspects of the colour recording, manipulation and reproduction
pipeline with specialist chapters on such diverse topics as HDR rendering, AR and VR applications, web col-
our management and the impact of surface texture on colour perception and rendering. The text is logically
and progressively presented, with sections covering the fundamentals of colorimetry, characterization and
calibration of input and output devices, colour transformation and management protocols, followed by spe-
cialist topics. Explicit formulae and guidance are provided throughout the text, with copious references to the
underlying adopted standards and recommendation documents in addition to research papers.
Colour reproduction is a topic of supreme importance, not only in display technology but also in manufac-
turing, graphic arts, publishing, broadcast and software development. This book will provide an invaluable
reference to practitioners in all these disciplines and also serve as a guide to advanced students and those
beginning their journey in colour engineering and deserves a place on the bookshelf of all whose concern is a
faithful – or enhanced – rendering of colour.

Ian Sage
Malvern, Worcestershire
 xix

Preface

Colour engineering, as presented in this book, represents the totality of disciplines involved in the acquisi-
tion, processing, synthesis and reproduction of colour images, using a wide range of devices. These colour
imaging systems have become ubiquitous both in everyday life and in specialist, highly technical and high-
volume applications.
Since the early days of digital colour imaging there has been a close collaboration between academics and
industry-based scientists and engineers, who meet regularly in international scientific conferences and tech-
nical committees. This text aims to support the colour engineers of tomorrow, who are likely to be working in
colour in web-based applications, in phones and in HDR displays, perhaps more so than in the more estab-
lished industries of cameras, printers and SDR displays. The understanding of the relationship between device
signals and the human vision system, and the colour gamut of an imaging device, are fundamental building
blocks to all these application areas. Expectations of colour fidelity are no longer limited to 2D, planar diffuse
colorimetry but are extending to spectral reproduction and total material appearance in 3D. International
standards, developed by technical committees in ISO, IEC and CIE, play an important role in the interoper-
ability of these technologies and their applications. The science and engineering of matching colour across
different devices and platforms is defined in the well-established ICC.1 colour management architecture,
while a key development in support of the colour engineering of tomorrow is the more flexible and more
advanced ICC.2 (iccMAX) architecture, which has a chapter to itself.
I have been extremely fortunate that leading figures in all these cutting-edge areas of research and develop-
ment agreed to contribute chapters to this volume. I have also added a few chapters myself to round out the
range of subjects covered. No claim is made to be comprehensive, as it would take many volumes to do full
justice to the state of the art in this field. A small number of the chapters include material that was previously
published in Colour Engineering: Achieving Device-Independent Colour (2002) but have been comprehen-
sively updated.
Series Editor Ian Sage provided valuable insights which helped to structure the content in some of the early
chapters, and Wiley staff Sandra Grayson, Becky Cowan, Katherine Wong, Martin Tribe, Dilip Varma and
Durgadevi Shanmugasundram all made important contributions at different stages in the development of the
book.
I should very much like to thank all those who contributed to my own journey in the field of colour, although
I fear that to do so would not leave much room in this book for the content. Instead, I will mention just a few
and hope not to give too much offence to everyone else. Ronnier Luo and Tony Johnson supervised my PhD,
and, with others at University of Leeds and the London College of Communication, provided much colourful
inspiration; my friends and colleagues at the Norwegian University of Science and Technology provide a won-
derful collegiate environment dedicated to colour and imaging; the members of the International Color
Another random document with
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 ATHENS.
She sits in glory on her eyrie high,
Far seen, the Pharos of antiquity;
And, through the dusky-woven veil of time,
She vents her sun-bright shafts, that pierce and shine
Like lightning, from the golden quivers drawn
Of high philosophy and Sophoclean song.
Around her feet in lucid currents wind
Two streams, through marble-paven channels, lined
By temples pillar-propt, whose snowy sheen
Glistens like silver through the olive’s green.
 ACHILLES’ SONG.
I.
Glory is in the balance laid,
An early doom and endless praise;
’Gainst these in adverse scale are weighed
The joys of peace and length of days.
Give me the grave—the glory give,
The field of honor, and the tomb!
What boots it like a hind to live,
And sink at last in lampless gloom?

II.
The soft embrace of love I yield,
The pleasures of the Sybarite;
And, rushing to the gory field,
With battle’s carnage feast my sight.
Though meteor-like my course may be,
Through blood and slaughter quickly run;
A growing fame remains to me,
While rivers flow, and shines the sun.
 ANASTASIUS.
Lands of the burning East, adieu!
I bid your Sun farewell!
To colder climates, strange and new,
My bark the winds impel.
From olives of the Grecian vale
To northern firs I go;
To darkness, snow, and rain, and hail,
From skies that ever glow.

There memories gloomy as the clime,

Like vulture-beaks will gnaw;
The ruined maid, the plundered shrine,
The violated law—
The life-blood, which my gory hand
From friendship’s bosom drew—
These drive me from my native land,
To regions cold and new.

Isle of my birth, I never more

Will seek thee o’er the wave;
For fast beside thy lovely shore
Is Helen’s early grave.
The billows of the ocean roll,
And murmur softly there;
To Mary Mother for her soul
Is uttered many a prayer.

Old Stamboul’s halls I ne’er again

In pleasure’s train shall tread,
Nor sauntering view, with slackened rein,
Her City of the dead;
Nor o’er the yellow desert far
 The dome of Ali spy,
Which in the distance, like a star,
Salutes the pilgrim’s eye.

Sole solace of my dark career,

A lovely boy is left;
My ruthless lust his mother dear
Of home and joy bereft.
Her phantom hovers ever nigh,
In sunshine and in shade,
Forevermore her gentle sigh
My bosom doth upbraid.

She loved me long, she loved me true,

I trampled on her heart,
My cold neglect the sweet one slew,
Like Asrael’s venomed dart.
Ah! white-robed saint, bend down on me
Thy features sad and mild;
My life a flowerless desert see,
All save thy gentle child.

The haughty Scian’s heart is riven,

His buoyant spirits flown;
For him there is no hope in heaven,
Below, no rest nor home.
Forgive me, O my slighted love!
Wert thou on earth again,
Believe me, thou shouldst not reprove—
My heart would own thy reign.

Already in my breast I feel

The immedicable ill,
The fell disease no art can heal,
Beyond the leech’s skill.
Sapped by its power my frame shall lie,
Mixed with its parent mould;
Once with those statues it could vie,
 Which Hellas loved of old.

Its day of splendor and of power

Even in my youth is past;
Its Phidian symmetry no more
Shall beauty’s promise blast.
Apostate to my father’s creed,
I from their heaven am banned;
How o’er Jehennan shall I speed,
By light Al Serat spanned?

The infernal surge, which moans below

Its gossamer arches frail,
Me, plunging to the gulfs of woe,
Will whelm in endless bale.
Would that my soul might share a part
Of perfect bliss with thee!
O, dark-eyed Smyrniote of my heart,
My wronged Euphrosynè!
 CYMINDIS.
Ορνιθι λιγυρη εναλιγκιος, ην τ’ εν ορεσσι
Χαλκιδα κικλησκουσι Θεοι, ανδρες δε Κυμινδιν.—Homer.

Beside my lattice cool at dead of night,

As I sat musing on unnumbered things,
With startled glance I saw a figure bright,

No larger than a star, on luminous wings

Borne towards me with a swift continuous flight,
From some green island in the Occident.

At first, methought that Hesper from his throne

Upon the forehead of the firmament
Had parted, and was gliding o’er the foam

Of ocean towards me; but my error soon

Became apparent—for a gorgeous bird,
Apparelled in full many a splendid plume

Of green, and gold, and purple, came and stirred

An olive’s foliage with its flutterings;
Where, perching on a slender flexile bough,

It stayed its flight and furled its weary wings.

Voiceless awhile, against a dark green spray
It leaned its breast; then making prelude low,

From its dim throat poured out a lengthened flow

Of moist Memnonian melody—a lay
More soft and sweet than ancient Pan could play

Through all the wild Circean realm of sound,

Did range this feathered minstrel’s dulcet tongue;
So that no note, or high or low is found,

That by its tuneful throat was left unsung.

Sometimes I heard a flute’s low silvery plaining,
And then anon a shepherd’s reed was blown;

And then a far-off clarion’s exclaiming

Aroused my spirit with its martial tone;
Which died ere long into a tender moan—

The wail of Indian lover, languishing

Beneath a guarded princess’ lattice high.
This ceased; and next a music rivalling

The spheral chime that fills the starry sky,

An intervolved Æolian harmony,
Stole through the porch of sound into the hall

Where my delighted spirit sat enthroned,

And from their cells the loftiest thoughts, that woned
Therein, rapt into ecstasy, did call—

A sudden shriek of keenest anguish broke

My breathless rapture, and the silver chain
Of that wild song, alas! Cymindis’ note

(Such was that Iris-feathered warbler’s name)

Was stilled forever. Him within the beak
Of a relentless vulture dead I saw,

That, swooping from the clouds, his descant sweet

Had hushed to silence, to appease the maw
Of famine in his eyrie on the steep.
 THE CEMETERY IN SUMMER.
The west wind in the piny bough
A low eternal threne
Weaves o’er the dead that sleep below
The sleep without a dream.
The night-leaved cypress’ shadow glooms,
The flexile willow sighs,
While gorgeous summer glows and blooms
In florid earth and skies.

On marble shaft and urnal stone

Glimmers the sunny beam,
And squirrels chirp and wild bees drone
About the alleys green.
Through leafy vistas, long and dim,
Where slanting sunlights fall,
I see a troop of spectres thin,
In cerement, shroud, and pall.

Shades insubstantial gliding slow,

The harvest of the years,
Above whose narrow dwellings flow
Bereaved affection’s tears.
The din of life from yonder towers
Is but a murmur here;
A bee-like hum amid the flowers,
It falls upon mine ear.

Ye tranquil sleepers, stretched below,

How pleasant is your rest!
Your pulseless hearts no longer know
The cares which life infest.
The silent Hours no longer bring
 Or good or ill to you;
And slander’s shaft no more can sting
The slumberer ’neath the yew.

In cool seclusion dark and deep,

Beneath the teeming mould,
Ye reck not of the summer’s heat,
The sleety winter’s cold.
The constellated stars at night
Through waving branches gleam,
And Titan’s arrows, swift and bright,
Across your couches stream.

Sepulchral Eros, mourning here

Forgetful of thy bow,
With torch reversed and falling tear,
And pinion-shaded brow!
The eyes are dim beneath your tread,
That sunned you with their light;
The lips, where you on kisses fed,
Are cold and lily-white.
All hail, my gentle household Lar!
My silent mansion ’mid the trees!
My devious steps have wandered far,
O’er lands of Eld beyond the seas.

Amid thine autumn fields I hear,

Prophet of rain, the whistling quail;
While from its sheaf the wheaten ear
Is beaten by the sounding flail.

In other climes this quiet home

Has risen star-like to my view,
When tired, dejected, and alone,
No friendly heart my sorrows knew.

’Twas years ago the passion came,

A vague desire, a longing wild
To visit lands, whose wondrous fame
Had charmed my fancy when a child.

When dreamy south winds softly blew

In spring time o’er the misty glebe,
And birds of passage wedge-like flew
To distant lake and arctic mead,

I felt the longing uncontrolled,

The yearning wish to be away,
Where splendid cities rich and old
In happier climates glittering lay.

Their towers have filled my sated eyes,

Their sins and follies all are known,
With quickened step the pilgrim hies
To greet once more his long-left home.

O silent house! O breezy shade!

Haven of rest and refuge sweet!
The great world’s din can ne’er invade
Thy lonely courts, my green retreat!

Like Sirmio’s minstrel travel-worn,

My own soft couch at length I press,
And thinking o’er the toils I’ve borne,
Forget in sleep my weariness.
 The singing masons
Building roofs of gold.—Shakespeare.

Pilgrim! within the hollow of this oak

Once hummed and toiled a commonwealth of bees.
And in all honeydom there were no folk,
Of swifter wing or sharper sting than these.
The waxen fragments, round the fountain strown,
With more than dædal artifice ywrought,
Once formed the structures of their fragrant town,
Which hung embosomed in this oaken grot.
Its name was Crocusburg. ’Twas built, they say,
By queen Iophile, whose early home
Was in a mountain cleft of Attica.
She with her bees was often wont to roam
The Ægean isles, in quest of flowery prey;
And so it fell one summer afternoon,
As she led thence her train, each wing and thigh
Clogged with the sweets of many an island-bloom,
Just off Mount Sunium’s marble forehead high,
A sudden rain-gust blew them all awry
A thousand leagues into the western sky.
Beneath their flight, a waste of surges wild,
Shoreless and gray the vast Atlantic rolled;
And o’er its waves no Tyrian galley toiled,
Whereon they might their gauzy pinions fold.
But they escaped, a saffron-scented wind,
Which blew from meads below the horizon’s rim,
Into this blossom-tessellated vale
They swiftly traced, a thin aerial clue
By their keen muzzles in the trackless blue
Of heaven detected, and they builded here
A honey mart, that grew without a peer.
Its cells and waxen magazines ran o’er
With brimful floods of lucent yellow dew,
The choicest sweets of every gold-eyed flower,
That on the earth’s green bosom ever grew.
Whether its leaves and scented buds expand,
At morn and eve by spicy breezes fanned,
Above the tropics’ hot volcanic mould,
O’er sunless magazines of gems and gold;
Or nature weaves it with less gaudy dyes,
In moister looms, upon a colder shore—
Each flower-clad vale beneath the purple skies
Its tribute yielded to their fragrant store.
 AGIMUR FATIS.
We are as wrecks upon a stormy sea,
The winds and currents bear us where they will;
Or dry leaves, that before the tempest flee,
Borne on to good or unevaded ill.

Ere weeping through the gates of life we came,

Our lots were fixed, each act and thought decreed:
In vain we strive—we stem the tide in vain;—
Alike the idiot’s brain, the sage’s rede.

Powerless before the unimpassioned Doom

The form of beauty and the lofty mind;
The shuttle speeds athwart the fatal loom—
Our lots are woven as the threads unwind.

Sorrow and gladness intertwined are ours,

Or woe unmixed, or pleasure undefiled;
Exult not, though thy path be strewn with flowers,
Oft mid their bloom the venomed asp lies coiled.

On the dark billows of the sea of fate

Full many a glorious shape floats wrecked and pale;
While meaner beings, haughty and elate,
A festal throng before the zephyrs sail.

And star-like eyes and lovely cheeks are dewed

With ceaseless tears, an unextinguished rain;
And youth and strength, and kingly fortitude
With dotard weakness struggle oft in vain.
 A HERMITAGE.
A Saxon eremite of old did rear
My mossy walls beneath this pine-clad slope;
From learned Iona, armed with clerkly lere,
He went in youth, and dealt a deadly stroke
Through all the lonely Arctic Cyclades
On Pagan creeds; and o’er the misty seas
In Suevia with Odin’s might did cope,
The chief of blue Valhalla’s deities;
Nor ceased, till from his forest temple dark
Had fled each white-stoled oaken hierarch.
His mission done, beneath my lowly roof
His days he passed, from all the world aloof.
I saw a snake-girt embryon, crowned and dumb,
Its rigid finger, pointed towards the sky;
From whence the fiery breath of life must come,
That kindles unborn lip and rayless eye.

I saw a demon beagle dark as night,

A shadowy maiden, hounding through the air;
And as she fled she shrieked with wild affright,
And, Mœnad-like, behind her streamed her hair.

The bridal couch of sad Proserpina

In grim Hephæstus’ realm mine eyes beheld;
The ravished bride bewailed her home afar—
Her temples bound with Stygian asphodel.

I saw the vast Plutonian gardens, where

That cursed pomegranate shed its deadly bloom,
Whose fatal fruitage, banned from upper air
Sad Ceres’ daughter till the seventh moon.

I saw the Pleiads, in their skyey tent,

Bemoan their starry sister, dead and cold;
His bow against her fierce Orion bent—
Orion zoned with belt of fretted gold.

I saw the Avengers with viperean hair

Above the palace roofs at Argos fly;
The matricide Orestes shuddered there,
Obscene with matted locks and haggard eye.

I saw the loaded tables of the Sun,

By ancient Nilus’ orbëd fountains spread;
Where wont of old the happy gods to come,
Twelve days by long-lived Ethiops richly fed.

Phantoms of air exhaled by dark madjoon,

And visionary fabrics dim and vast;
Like vapors gliding o’er the autumnal moon,
Before imagination’s eye they passed.
 LUCIFER REDUX.
Prince of the fallen stars,
Thy front shall lose its scars!
The fires shall cease to burn,
Thy legions shall return!

A ray shall pierce the gloom,

A voice dissolve the doom;
The victor shall relent,
The brazen chains be rent!

The demon’s crown of woe

No more shall gird thy brow;
The fires shall cease to burn.
Thy legions shall return.

The dark pavilions spread

Within thy kingdom dread;
The palaces of pain,
Like dreams, shall melt and wane.

And Eden’s flag unrolled,

Again thy helm enfold;
The fires shall cease to burn,
Thy legions shall return!

The mystic feud shall end,

Thy willing knees shall bend;
Once more the central throne
Thy homage bright shall own.

In heaven thy starred domain

Shall greet its chief again;
The fires shall cease to burn,
Thy legions shall return!

Thine ancient halls of state,

So long left desolate,
Shall ring with joy once more,
Shall bloom with wreath and flower.

The constellations bright,

The torches of the night,
Around thy steps shall chant
A pæan jubilant.

The wheels that o’er thee drove,

The sword thy mail that clove,
Shall lead thy glad return,
Before thy march shall burn!
 ANSALDO’S GARDEN.
Beautiful the hearts that keep
’Neath the frosts of age
Something of their youthful heat,
Tempered in its rage.

Teian-like, they laugh and sing,

Though the shadows gather;
For they feel the warmth of spring
In the wintry weather.

Minstrels ’neath the snows of time

Feel their bosoms glowing,
With a fervor as sublime
As when flowers were blowing.

Like to tomb-lamps’ beams, that spread

Lustre round decay,
To the last their hearts will shed
Sunlike haloes, fancies gay.

Thus Ansaldo’s garden bloomed,

June in January set,
While the frosty stars illumed
Orange leaf and mignonette.