WSE Unit - 7

UNIT – 7
•Color Models: RGB, CMY, HSV,

•Color and light,
•color and objects-
•color and the eye-
•color consistency-
•color terms
•reactions to color
•and color continuation-
•color on engineering equipments. 06 Hours
Color models
• Color models
 RGB
 YCbCr (YPbPr)
 YUV
 YIQ
 CMYK
• A comparison of them
3
Color Space
• What is color space?
 A 3D model used to define a specified color
• The difference between color spaces:
 The choice of axes
4
Color Space – RGB
• RGB:
 The simplest color space
 Axes: Red, green, blue
 Advantages: simple
5
Color Space – YCbCr &YPbPr
• YCbCr & YPbPr
 Used for: digital video encoding, digital
camera
• Axes:
 Y: luma
 Cb: blue chroma
 Cr: red chroma
6
• Conversion from RGB:
 Y=0.299(R-G) + G + 0.114(B-G)
 Cb=0.564(B-Y)
 Cr=0.713(R-Y)
• The Matrix form:
 Y   0.299 0.587 0.114  R 

    
Cb
     0.168636 0.232932 0.064296 G
 
 Cr   0.499813 0.418531 0.081282  B 
    
7
• Why do we use the luma & chroma channel?
• Advantage:
 Bandwidth efficiency
8
Color Space – YUV
• YUV
 Used for: video encoding for some standard
such as NTSC, PAL, SECAM
• Axes:
 Y: luma
 U: blue chroma
 V: red chroma
9
Color Space – YUV
 Y=0.299R+0.587G+0.114B
 U=0.436(B-Y)/(1-0.114)
 V=0.615(R-Y)/(1-0.299)
• The Matrix form:
 Y   0.299 0.587 0.114  R 

    
 U    0.14713 0.28886 0.436  G 
 V   0.615 0.51499 0.10001 B 
    
10
Color Space – YIQ
• YIQ
 Used for: video encoding for some standard such as
NTSC
• Axes:
 Y: luma
 I: blue chroma
 Q: red chroma
• I-Q channels are rotated from the U-V channels in
YUV
11
Color Space – YIQ
 Y   0.299 0.587 0.114  R 

    
I
   0.595716 0.274453  0.321263 G
 
 Q   0.211456 0.522591 0.311135  B 
    
12
Color Space – CMYK
• Used for: printer printing
• Use the subtractive color mixing
• Axes:
Cyan
Magenta
Yellow
K: black
13
Color Space – CMYK
 C = 255 -Y - 1.4021(Cr-128)
 M = 255 - Y + 0.3441(Cb-128) + 0.7142(Cr-128)
 Y = 255 - Y - 1.7718(Cb -128)
 K = min (C, M, Y)
14
Color Space – Comparison
Color Color Primary Used for Pros and

space mixing parameters cons
RGB Additive Red, Easy but wasting
Green, Blue bandwidth
CMYK Subtractive Cyan, Magenta, Printer Works in pigment

Yellow, Black mixing
YCbCr additive Y(luminance), Video encoding, Bandwidth efficient
YPbPr Cb(blue chroma), digital camera
Cr(red chroma)
YUV additive Y(luminance), Video encoding Bandwidth efficient
U(blue chroma), for NTSC, PAL,
V(red chroma) SECAM
YIQ additive Y(luminance), Video encoding Bandwidth efficient

I(rotated from U), for NTSC
Q(rotated from V)
15
HSV: Hue, Saturation and Value
• Hue: spectral hues + mixed colours like purple
• Saturation: purity of colour
• Value: brightness or intensity
purple!
2002/02/05 PSYC202-005, Term 2, Copyright Jas 16

on Harrison, 2002
HSV: Hue, Saturation and Value
Hue Saturation Value
high high
low low

on Harrison, 2002
HSV: a psychological colour space
hue

on Harrison, 2002
saturation

on Harrison, 2002
brightness
high
medium
low

on Harrison, 2002
HSV: a psychological colour
white space
2002/02/05 PSYC202-005, Term 2, Copyright Jas black 21

on Harrison, 2002
Colour Terms
Colours
•Colours are one of the important sensation factor in industrial design and
ergonomics
•Colours describes those sensation produced in brain as rays of differing

wavelength impinge upon eyes retina
•Light is necessary to detect colours
• Eye is sensitive to visual light which lies between 380 to 760 nanometer
Electromagnetic Spectrum
Colour terms
Colour terms are the System which is specify to understand any specific
colour.
Colour terms are useful to identify two types of colours.
•Chromatic colour
•Achromatic colour
Chromatic colour - any colour which lies between the spectrum

i e – VIBGOYR
Achromatic colour – colour that is white through all shades of grey to black
History of Identifying Colors
Newton – discovered spectrum and devised color circle

The system for colour identification was established in 1931 by
the commission of international eclairage (CIE)
Later others came up with thier colour notation systems (colour

circles)
•Newton colour circle

•Maxwell colour triangle
•Ives colour circle
•Ostwald Colour circles
•Munsell Colour System
Colour circles – Newtons colour circle
Maxwell colour triangle
Ives colour system
Ostwald's color wheel
•Ostwald’s double-cone:
• Ostwald's color wheel or double cone in its simplest diagrammatic form. The
colors are at their most saturated on the equator; from this point they become
lighter toward white or darker toward black in the direction of the poles of the
neutral axis. The inside of the solid contains all the colors it is possible to mix with
their relative gradations of lightness and darkness.
Munsell Colour
System
•Hue
•chroma
(describing
satuartion)
•value (describing
lightness)
chroma
Value
Hue
Munsell systems are interpreted as follows-
• Hue
• Munsell value (describing lightness)
• chroma (describing satuartion)
Hue - Shows all variations of colors/hues, which distinguishes one

chromatic colour from another on the munsell system
Notation: 5.0 + letter

5.0 R = red
5.0 RP = red purple
Value Scale
• Vertical arrangement: the “trunk” of the color tree

• The lightness-darkness of a particular hue
• Related to brightness
Nine levels of values

1 = black
9 = white
Eg
Notation: 5.0 R +5/ ; 5.0+ BG 7/
• Chroma: (describing saturation) – Describes the purity of colour
Eg
notation of color is 5+RP 5/26 indicates a red purple hue.
5+RP(Hue) ,value 5 and chroma 26.
Other colour terms
One of the difficulty with munsell system is that the expression Hue, value,
chroma may not familiar to users
•Hue is equivalent to colour

•Saturation is equivalent to chroma
•Tone is equivalent to value
&
•Tint is equivalent to any colour of high value
•Shade is equivalent to any colour of low value
PSYCHOLOGICAL EFFECTS
• Red
BLUE
• YELLOW
COLOUR AND MACHINE FORM:
 Colour has a strong influence

upon the apparent form of an
object. Dark colours giving
the effect of weight may be
used on foundation or main
supporting structures in order
to underline their character,
while light colours may be
used to minimise the effect of
masses which might otherwise
create a top-heavy effect.
Which of these boxes do you think is bigger/heavier?
 In many cases a two-colour or three-colour
treatment can produce all that is needed.
Variations need to be made by changing hue.
• Despite the different ways in which colour can
be applied ,the number of colours used should
be kept to a minimum on the practical
grounds of cost. Too many colours are likely to
make a machinery appear garish.
COLOUR AND STYLE
Colour styles in industrial equipment depend

upon choosing colours which identify the
manufacturer.
• Use of chromium plating and high gloss
finishes to create an impression of fine
workmanship is unnecessary.
• The result is usually lowering in apparent
worth while creating distraction to the
machine operator.
CONCLUSION
• Colour should be regarded as a tool to help
operator first then, as means for other aspects.
• Any intellectual approach will not lead to
particular colours but it will determine ranges
of colours from which particular colours can
be chosen .
Recovery of World Structure:
Art and Image
PSYC202, Term 2, Copyright Jason Harrison

2002/02/12 62
2002
Task of visual perception
• Stay alive, reproduce, make art
• Estimate properties of world
using light falling on retina
• Information:
– originates from light reflected from objects
– internal knowledge (evolutionary/experience)
• Combined to recover “true” object properties
2002/02/12 PSYC202, Term 2, Copyright Jason H 63

arrison 2002
Complications, complications…
1. Illumination (intensity, hue, motion)
2. Projection (3D world to 2D images)
3. Fragmentation (occlusion)

arrison 2002
1. Illumination
• intensity, hue, motion
• varies from spot to spot, moment to moment
• recover “true” surface properties
What material is this?
2002/02/12 From http://www.discount-line.com/bath.htm

PSYC202, Term 2, Copyright Jason H 65
arrison 2002
Projection (3D world to 2D images)
• recover depth and spatial organization
• depth enables two abilities:
a. shape constancy
true 3D shape of object
b. size constancy
true 3D size of object

arrison 2002
Fragmentation (occlusion)
• objects not always connected in image
2002/02/12 FromPSYC202,
http://www.heavenforcars.com/products/gifts/index7.htm
Term 2, Copyright Jason H 67
arrison 2002

arrison 2002
Projection
a. shape constancy
• Perceived shape
of object does
not change as
orientation
changes
• Shape of image
on retina
changes
2002/02/12 From http://zeus.rutgers.edu/~ikovacs/SandP/prepIII_1.html

arrison 2002
Projection
a. shape constancy
Same image could be due
to:
- different shapes
- different orientations
- different depths

arrison 2002
Projection
a. shape constancy
• if shape known
– depth and
orientation can be
“guessed”

arrison 2002
Projection
a. shape constancy
• if depth known
– shape and
orientation can
be “guessed”
distance 1
distance 2

arrison 2002
Projection
b. size constancy
• known object size
• retinal size determines
depth
• depth cues determine size
2002/02/12From http://psychlab1.hanover.edu/classes/Sensation/SizeConstancy/index.html
arrison 2002
Projection
b. size constancy
depth

arrison 2002
Projection
b. size constancy
depth

arrison 2002
Projection
b. size constancy
pupil
retinal
image

arrison 2002
Projection
b. size constancy
pupil
retinal
image s
(size = r)
distance d

arrison 2002
Projection
b. size constancy
pupil
retinal
image  s
(size = r)
visual
angle 
distance d

arrison 2002
Projection
b. size constancy
pupil
retinal
image  s
(size = r)
visual
angle 
tan s/d
or
arctan(s/d)
distance d
-angle q depends only on ratio s/d

arrison 2002
Projection
b. size constancy
pupil
retinal
image  s1
(size = r)
visual
angle 
tan s/d
or
arctan(s/d)
distance d1

arrison 2002
Projection
b. size constancy
• Angle q the same
as long as s/d the
pupil
same
retinal
• larger or smaller image  s1 s2
(size = r)
objects can have visual
angle 
same q
- 1 = s2 tan s/d
or
d1 d2 arctan(s/d)
distance d1
distance d2

arrison 2002
• Projection
b. size constancy
• q is known
(from retinal pupil
size) -> tan

q retinal
image  s1
(size = r)
• if size is known, visual
angle 
distance follows
• if distance is tan s/d
or
known, size arctan(s/d)
follows distance d1

arrison 2002
Size and Shape Constancy
• depend on experience
• depend on expectations
• “top down” processes
• how else can we recover depth from images?

• what depth cues are available?

arrison 2002
Depth cues
1. Pictorial cues (single image)
– art techniques (perspective, shading, occlusion)
2. Multi-point cues (multiple images)

– motion cues (kinetic depth, motion parallax)
– binocular cues
3. Physiological cues (real stimuli)

– accommodation of lens
– vergence movements
arrison 2002
Pictorial cues
• occlusion/interposition
• shading
• shadows
• perspective
• texture gradient
• height in plan
• aerial perspective
• familiar size

arrison 2002
Occlusion/Interposition
• nearer object occludes further one

arrison 2002
Occlusion/Interposition
• nearer object occludes further one
• critical feature “T-junction”
crossbar belongs to
object in front
T-junction

arrison 2002
Shading
• lightness constancy: shading determines
shape
• uniform reflectance: 3D shape from shading
• lighting from above
– bumps are light on top
– dents are light on bottom

arrison 2002
Countershading
confuse interpretation of shape

arrison 2002
Countershading on the
BB-55 USS North Carolina (1937-1961)
• more difficult to see or determine barrel diameter
2002/02/12 PSYC202,From
Term 2,http://www.navsource.org/archives/01/55.htm
Copyright Jason H 90
arrison 2002
Shadows
• dark patches interpreted as shadows
with shadows perceived as
standing (3D)
Ball and shadow demo

arrison 2002
Shadows
• dark patches interpreted as shadows
without shadows perceived as
flat (2D)
(applications to computer interfaces)
Ball and shadow demo

arrison 2002
Perspective
• parallel lines in world converge to a vanishing
point in image
• lines that converge are parallel in world
VP 1 VP 2

arrison 2002
Texture gradient
• perspective: location of texture items and
• changes in size/shape of texture items

arrison 2002
Change in texture gradient:
change in shape and depth
From http://psych.hanover.edu/Krantz/art/texture.html
arrison 2002
Height in plane (distance from horizon)
• objects closer to horizon appear further away
Same object, one closer to horizon: smaller or further away?

arrison 2002
Aerial perspective (da Vinci)
• smog, haze, etc. scatter light
– objects father away: more scattering
– if object surrounded by haze, appears farther
away

arrison 2002
Aerial perspective (da Vinci)
• smog, haze, etc. scatter light
– objects father away: more scattering
– if object surrounded by haze, appears farther
away Without haze, objects
appear equally distant

arrison 2002
Aerial perspective
• Why do mountains look closer on a clear day?
“Whoa, look at the mountains!”
• Visual system assumes average amount of
haze
– more haze, more distance object must be
– less haze, less distant object must be
– on a clear day, less haze than usual

• mountains appear closer than normal

arrison 2002
Familiar size
• if size of object is known
– perceived size = true size
– depth is inferred

arrison 2002
1. Pictorial cues
• occlusion/interposition
• shading
• shadows
• perspective
• texture gradient
• height in plan
• aerial perspective
• familiar size

arrison 2002
2. Multi-point cues
• kinetic depth (motion of object)
• motion parallax (motion of observer)
• binocular stereopsis
• (see lecture from January 29 for kinetic depth

and motion parallax)

arrison 2002
Binocular Stereopsis
• recovery of 3D depth via 3D displacement of eyes
• each eye sees slightly different image
Position 1 (Overhead view) Position 2 (Overhead view)
Observer sees Observer sees

cube to the cube to the
rig ht o f s p he re : le ft o f s p he re :

arrison 2002
• recovery of 3D depth via 3D displacement of eyes
• each eye sees slightly different image
Position 1 (Overhead view) Position 2 (Overhead view)
Left eye sees Right eye sees

cube to the cube to the
rig ht o f s p he re : le ft o f s p he re :
Left eye Right eye

arrison 2002
Binocular
• amount of difference Stereopsis
between image depends on depth
– depth can be calculated exactly from differences
– as if angles between eyes were used
• limitation: depth less than 3 meters
• limitation: requires matching images (escalator)

arrison 2002
Binocular Stereopsis: stereoscope
• use two static images one for each eye
– coloured glasses, polarized lenses, lenses
– divergence of eyes: practice, practice, practice
Image for left eye
Image for right eye

arrison 2002
• there are always two slightly different images
entering visual system
• double vision rarely occurs
• to avoid double vision (binocular rivalry)
– suppress input from one eye
– dominant eye is “attended”
– non-dominant eye is “unattended”
– if two completely different images are presented
• attention (and cortex activity) switches back and forth
arrison 2002
Binocular rivalry
Tong et al 1998
• two different images
– face and house
• presented either
– simultaneously
– sequentially
• same fMRI responses
• rivalry resolved below high-
level areas
From http://www.princeton.edu/~ftong/
arrison 2002
2. Multi-point cues
• kinetic depth (motion of object)
• motion parallax (motion of observer)
• binocular stereopsis
• (see lecture from January 29 for kinetic depth

and motion parallax)

arrison 2002
3. Physiological cues - real stimuli
• accommodation
– focusing of an eye
• vergence
– angle between two eyes

arrison 2002
Accommodation
• lens changes (one eye)
shape to focus on objects
– rounder for near object
– flatter for far objects
• limitation: depth between 20cm and 2m

arrison 2002
Vergence (two eyes)
Eyes fixate on object - rotate inwards if near by
Eyes fixate on object - less rotation if far away

arrison 2002
Vergence
• difference from binocular stereopsis
– angle of eyes rather than different images
• limitation: depth less than 3m

arrison 2002

arrison 2002
Fragmentation
• objects connected in world
– not always connected in image on retinas
• determine which patches in image belong
together
• Visual completion
B
A

arrison 2002
Visual completion (fragmentation)
• Two abilities
– modal completion: completion of pieces
fragmented by occluders in world
– blindspot completion: completion of visual image
fragmented by existence of blindspot

arrison 2002
Modal completion
• handle fragmentation due to external occluder

arrison 2002
Modal completion

arrison 2002
Modal completion
120°

arrison 2002
Modal completion

arrison 2002
Modal completion
• handles fragmentation due to external occluder
• Result: - pieces are linked when

- edges intersect at >= 90°
- there is a visible occluder
• but no “filling in” behind occluder
arrison 2002
Blindspotdue
• handles fragmentation completion
to blindspot in eye
"Hole"
where
optic
nerve
leaves
retina
= blindspot Optic
Retina nerve

arrison 2002
Blindspot completion
Pattern of light
on retina
Blind spot
Information actually
picked up
?
What kind of completion
occurs?
arrison 2002
• Result - areaBlindspot completion
is filled in (limited)
• filling in includes
– texture, complex patterns (but not text)
– smooth transitions between colours, alignment,
intensity, etc.
123456
AB
891012
345678 CD

arrison 2002
Recovery of World Structure:
Art and Image
1.Illumination (intensity, hue, motion)

2.Projection (3D world to 2D images)
3.Fragmentation (occlusion)

arrison 2002

WSE Unit - 7

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UNIT – 7

•Color Models: RGB, CMY, HSV,

 Y   0.299 0.587 0.114  R 

 Y   0.299 0.587 0.114  R 

 Y   0.299 0.587 0.114  R 

Color Color Primary Used for Pros and

CMYK Subtractive Cyan, Magenta, Printer Works in pigment

YIQ additive Y(luminance), Video encoding Bandwidth efficient

2002/02/05 PSYC202-005, Term 2, Copyright Jas 16

2002/02/05 PSYC202-005, Term 2, Copyright Jas 17

2002/02/05 PSYC202-005, Term 2, Copyright Jas 18

2002/02/05 PSYC202-005, Term 2, Copyright Jas 19

2002/02/05 PSYC202-005, Term 2, Copyright Jas 20

2002/02/05 PSYC202-005, Term 2, Copyright Jas black 21

•Colours describes those sensation produced in brain as rays of differing

•Light is necessary to detect colours

Colour terms are useful to identify two types of colours.

Chromatic colour - any colour which lies between the spectrum

Newton – discovered spectrum and devised color circle

Later others came up with thier colour notation systems (colour

•Newton colour circle

Hue - Shows all variations of colors/hues, which distinguishes one

Notation: 5.0 + letter

• Vertical arrangement: the “trunk” of the color tree

Nine levels of values

•Hue is equivalent to colour

 Colour has a strong influence

Colour styles in industrial equipment depend

PSYC202, Term 2, Copyright Jason Harrison

2002/02/12 PSYC202, Term 2, Copyright Jason H 63

2002/02/12 PSYC202, Term 2, Copyright Jason H 64

What material is this?

2002/02/12 From http://www.discount-line.com/bath.htm

2002/02/12 PSYC202, Term 2, Copyright Jason H 66

2002/02/12 PSYC202, Term 2, Copyright Jason H 68

2002/02/12 From http://zeus.rutgers.edu/~ikovacs/SandP/prepIII_1.html

2002/02/12 PSYC202, Term 2, Copyright Jason H 70

2002/02/12 PSYC202, Term 2, Copyright Jason H 71

2002/02/12 PSYC202, Term 2, Copyright Jason H 72

2002/02/12 PSYC202, Term 2, Copyright Jason H 74

2002/02/12 PSYC202, Term 2, Copyright Jason H 75

2002/02/12 PSYC202, Term 2, Copyright Jason H 76

2002/02/12 PSYC202, Term 2, Copyright Jason H 77

2002/02/12 PSYC202, Term 2, Copyright Jason H 78

-angle q depends only on ratio s/d

2002/02/12 PSYC202, Term 2, Copyright Jason H 80

2002/02/12 PSYC202, Term 2, Copyright Jason H 81

size) -> tan

2002/02/12 PSYC202, Term 2, Copyright Jason H 82

• how else can we recover depth from images?

2002/02/12 PSYC202, Term 2, Copyright Jason H 83

2. Multi-point cues (multiple images)

3. Physiological cues (real stimuli)

2002/02/12 PSYC202, Term 2, Copyright Jason H 85

2002/02/12 PSYC202, Term 2, Copyright Jason H 86

2002/02/12 PSYC202, Term 2, Copyright Jason H 87

2002/02/12 PSYC202, Term 2, Copyright Jason H 88

2002/02/12 PSYC202, Term 2, Copyright Jason H 89

Ball and shadow demo

(applications to computer interfaces)

Ball and shadow demo

2002/02/12 PSYC202, Term 2, Copyright Jason H 93

2002/02/12 PSYC202, Term 2, Copyright Jason H 94

Same object, one closer to horizon: smaller or further away?