Dictionary
a visual attribute of things that results from the light they emit or transmit or reflect "a white color is made up of many different wavelengths of light" interest and variety and intensity "the Puritan Period was lacking in color" "the characters were delineated with exceptional vividness" the timbre of a musical sound "the recording fails to capture the true color of the original music" a race with skin pigmentation different from the white race (especially Blacks) an outward or token appearance or form that is deliberately misleading "he hoped his claims would have a semblance of authenticity" "he tried to give his falsehood the gloss of moral sanction" "the situation soon took on a different color" any material used for its color "she used a different color for the trim" (physics) the characteristic of quarks that determines their role in the strong interaction "each flavor of quarks comes in three colors" the appearance of objects (or light sources) described in terms of a person's perception of their hue and lightness (or brightness) and saturation add color to "The child colored the drawings" "Fall colored the trees" "colorize black and white film" affect as in thought or feeling "My personal feelings color my judgment in this case" "The sadness tinged his life" modify or bias "His political ideas color his lectures" decorate with colors "color the walls with paint in warm tones" give a deceptive explanation or excuse for "color a lie" change color, often in an undesired manner "The shirts discolored" having or capable of producing colors "color film" "he rented a color television" "marvelous color illustrations"
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Wikipedia
otheruses s.]] Color or colour ref cwe is the perception of the frequency (or wavelength) of light, and can be compared to how Pitch (music)pitch (or a musical note) is the perception of the frequency or wavelength of sound. It is a perception which in humans derives from the ability of the cone cellfine structures of the eye to distinguish (usually three) differently filtered analyses of a view. The perception of color is influenced by biology (some people are born seeing colors differently or not at all; see color blindness), long-term history of the observer, and also by short-term effects such as the colors nearby. (This is the basis of many optical illusions.)The science of color is sometimes called chromatics. It includes the perception of color by the human eye, the origin of color in materials, color theory in art, and the physics of color in the electromagnetic spectrum.
Physics of color - The colors of the visible light spectrum. !| color | wavelength? !interval | f requency? !interval |
|---|
| red | ~ 625-740 nm~ 480-405 !THz | orange? (color)orange | ~ 590-625 nm | ~ 510-480 !THz | yellow~ 565-590 nm | ~ 530-510 !THz | green~ 500-565 nm | ~ 600-530 !THz | cyan | ~ 485-500 nm~ 620-600 !THz | blue | ~ 440-485 nm~ 680-620 !THz | violet? (color)violet | ~ 380-440 nm | ~ 790-680 !THz | Continuous optical spectrum
!
''Desig ned? for monitors with gamma correctiongamma !1.5.''Computer "spectrum"
''The bars below show the relative intensities of the three
colors mixed to make the color immediately !above.'' &l t;/div> Color, frequency, and energy of light.
!| Color | /nm/10? !Hz | \nu_b? !\,\!/10? !cm-1< ;/th>| /eV/kJ !mol-1&l t;/th> | |
|---|
| Infrared | & lt;td? !text-align:right>>1000&l t;/td><3.00&l t;td? !style="text-align:right;& quot;><1.00&l t;td? !style="text-align:right;& quot;><1.24&l t;td? !style="text-align:right;& quot;><120< ;/tr>| Re d | 7004.281.43 | 1.77 | 171 | | Orange | 6204.841.61 | 2.00 | 193 | | Yellow | 5805.171.72 | 2.14 | 206 | | Green& lt;/td>530 | 5.661.89 | 2.34 | 226 | | Blue&l t;/td>470 | 6.382.13 | 2.64 | 254 | | Violet | 4207.142.38 | 2.95 | 285 | | Near? ultraviolet | 300 | 10.03.33 | 4.15 | 400 | | Far? ultraviolet | <200 | < ;td? !style="text-align:right;& quot;>>15.0&l t;td? !style="text-align:right;& quot;>>5.00&l t;td? !style="text-align:right;& quot;>>6.20&l t;td? !style="text-align:right;& quot;>>598< ;/tr>
Important note - The color table should not be interpreted as a definite list – the pure spectral colors form a continuous spectrum, and how it is divided into distinct colors is a matter of taste and culture.Similarly, the ''intensity'' of a spectral color may alter its perception considerably; for example, a low-intensity orange-yellow is brown, and a low-intensity yellow-green is olive-green.
Spectral versus non-spectral colors - Most light sources are not pure spectral sources; rather they are created from mixtures of various wavelengths and intensities of light. To the human eye, however, there is a wide class of mixed-spectrum light that is perceived the same as a pure spectral color. In the table above, for instance, when your computer screen is displaying the "orange" patch, it is ''not'' emitting pure light at a fixed wavelength of around 600 nm (which is in fact not a thing most computer screens are even able to do). Rather, it is emitting a mixture of about two parts red to one part green light. Were you to print this page on a color printer, the orange patch on the paper, when lit with white light, would reflect yet another, more continuous spectrum. We cannot see those differences (although many animals can), and the reason has to do with the pigments that make up our color vision cells (see below).A useful quantification of this property is the dominant wavelength, which matches a wavelength of spectral light to a non-spectral source that evokes the same color perception. Dominant wavelength is the formal background for the popular concept of hue.In addition to the many light sources that can appear to be pure spectral colors but are actually mixtures, there are many color perceptions that by definition cannot be pure spectral colors due to desaturation or because they are purples (which are a mixture of red and violet light, from either end of the spectrum). Some examples of necessarily non-spectral colors are the achromatic colors (black, gray and white) and other colors such as pink, tan and magenta.See metamerism (color) for a basic introduction as to why color matching challenges exist.
Physical basis of color - A light wave can be Fourier transformanalyzed as a superposition of sine waves, each of which has a specific frequency and wavelength. The eye gives limited information about the relative strengths of these sine waves (but not their phases --- the eye is even more blind to phase than the ear, which can detect phase relationships only in certain very specific contexts). To understand which particular color perception will arise from a particular physical spectrum requires knowledge of the physiology of the retina. The human eye is also blind to polarization, although some fish and mollusks can perceive it.
Color vision - Though the exact status of color is a matter of current philosophical dispute, color is arguably a psychophysical phenomenon that exists only in our minds. (See Qualia, for some of that dispute.) A "red" apple does not give off "red light", and it is misleading to think of things that we see, or of light itself, as objectively colored at all. Rather, the apple simply absorbs light of various wavelengths shining on it to different degrees, in such a way that the unabsorbed light which it reflects is perceived as red. An apple is ''perceived'' to be red only because normal human color vision perceives light with different mixes of wavelengths differently—and we have language to describe that difference. In 1931, an international group of experts called the Commission Internationale d'Eclairage (CIE) developed a mathematical color model. The premise used by the CIE is that color is the combination of three things: a light source, an object, and an observer. The CIE tightly controlled each of these variables in an experiment that produced the measurements for the system. Although Aristotle and other ancient scientists speculated on the nature of light and color vision, it was not until Isaac NewtonNewton that light was correctly identified as the source of the color sensation. Johann Wolfgang von GoetheGoethe studied the theory of colors, and in 1801 Thomas Young (scientist)Thomas Young proposed his trichromatic theory which was later refined by Hermann von Helmholtz. That theory was confirmed in the 1960s and will be described below. The retina of the human eye contains three different types of color receptor cells, or cone cellcones. One type, relatively distinct from the other two, is most responsive to light that we perceive as violet, with wavelengths around 420 nm (cones of this type are sometimes called ''short-wavelength cones'', ''S cones'', or, most commonly but quite misleadingly, ''blue cones'').The other two types are closely related genetically, chemically and in response. Each type is most responsive to light that we perceive as green or greenish. One of these types (sometimes called ''long-wavelength cones'', ''L cones'', or, misleadingly, ''red cones'') is most sensitive to light we perceive as yellowish-green, with wavelengths around 564 nm; the other type (sometimes called ''middle-wavelength cones'', ''M cones'', or misleadingly ''green cones'') is most sensitive to light perceived as green, with wavelengths around 534 nm. The term "red cones" for the long-wavelength cones is deprecated as this type is actually maximally responsive to light we perceive as greenish, albeit longer wavelength light than that which maximally excites the !mid-wavelength/"green&quo t;? cones.The sensitivity curves of the cones are roughly bell-shaped, and overlap considerably. The incoming signal spectrum is thus reduced by the eye to three values, sometimes called ''tristimulus values'', representing the intensity of the response of each of the cone types.Because of the overlap between the sensitivity ranges, some combinations of responses in the three types of cone are impossible no matter what light stimulation is used. For example, it is not possible to stimulate ''only'' the !mid-wavelength/"green&quo t;? cones: the other cones must be stimulated to some degree at the same time, even if light of some single wavelength is used (including that to which the target cones are maximally sensitive). The set of all possible tristimulus values determines the human ''color space''. It has been estimated that humans can distinguish roughly 10 million different colors, although the identification of a specific color is highly subjective, since even the two eyes of a single individual perceive colors slightly differently. This is discussed in more detail below.The rod system (which vision in very low light relies on exclusively) does not by itself sense differences in wavelength; therefore it is not normally implicated in color vision. But experiments have conclusively shown that in certain marginal conditions a combination of rod stimulation and cone stimulation can result in color discriminations not based on the mechanisms described above.While the mechanisms of color vision at the level of the cones in the retina are well described in terms of tristimulus values (see above), color processing and perception above that base level are organized differently. A dominant theory of the higher neural mechanisms of color vision proposes three opponent processes, or opponent channels, constructed out of the raw input from the cones: a red-green channel, a blue-yellow channel, and a black-white ("luminance") channel. This theory tries to account for the structure of our subjective color experience (see discussion below). Blue and yellow are considered complementary colors, or ''opposites'': you could not experience a bluish yellow (or a greenish red), any more than you could experience a dark brightness or a hot coldness. The four "polar" colors proposed as extremes in the two opponent processes other than black-white have some natural claim to being called ''primary colors''. This is in competition with various sets of ''three'' primary colors proposed as "generators" of all normal human color experience (see below).
Clinical issues - If one or more types of a person's color-sensing cones are missing or less responsive than normal to incoming light, that person has a smaller or skewed color space and is said to be ''color deficient''. Another term frequently used is color blindnesscolor blind, although this can be misleading; only a small fraction of color deficient individuals actually see completely in black and white, and most simply have anomalous color perception. Some kinds of color deficiency are caused by anomalies in the number or nature of cones of the various types, as just described. Others (like ''central'' or ''cortical'' ''achromatopsia'') are caused by neural anomalies in those parts of the brain where visual processing takes place.Some animals may have more than three different types of color receptor (most marsupials, avesbirds, reptiles, and fish; see ''tetrachromat'', below) or fewer (most mammals; these are called ''dichromats'' and ''monochromats''). Humans and other old-world primates are actually rather unusual in possessing three kinds of receptors.An unusual and elusive neurological condition sometimes affecting color perception is synaesthesia.
Tetrachromat - A normal human is a trichromat (from Greek: tri=three, chroma=color). In theory it may be possible for a person to have four, rather than three, distinct types of cone cell. If these four types are sufficiently distinct in spectral sensitivity and the neural processing of the input from the four types is developed, a person may be a tetrachromat (tetra=four). Such a person might have an extra and slightly different copy of either the medium- or long-wave cones. It is not clear whether such people exist or that the human brain could actually process the information from such an extra cone type separately from the standard three.However, strong evidence suggests that such people do exist, they are all female by genetic imperative, and their brains gladly adapt to use the additional information. For many species, tetrachromacy is the normal case, although the cone cells of animal tetrachromats have a very different (more evenly-spaced) spectral sensitivity distribution than those of possible human tetrachromats.
Color perception - There is an interesting phenomenon which occurs when an artist uses a limited color palette: the eye tends to compensate by seeing any grey or neutral color as the color which is missing from the color wheel. E.g.: in a limited palette consisting of red, yellow, black, and white, a mixture of yellow and black will appear as a variety of green, a mixture of red and black will appear as a variety of purple, and pure grey will appear bluish.When the eye shifts attention after viewing a color for some time, then an afterimage of the complementary colorcomplement of that color (the color opposite to it in the color wheel) is perceived by the eye for some time wherever it moves. This effect of color perception was utilised by Vincent van Gogh, a Post-ImpressionismPost-Impressionist painter.
Effect of luminosity - Note that the color experience of a given light mixture may vary with absolute luminosity, because both rods and cones are active at once in the eye, with each having different color curves, and rods taking over gradually from cones as the brightness of the scene is reduced. This effect leads to a change in color rendition with absolute illumination levels that can be summarised in the "Kruithof curve".
Cultural influences - Different cultures have different terms for colors, and may also assign some color names to slightly different parts of the spectrum, or have a different color ontology: for instance, the Han character 青 (pronounced ''qīng'' in Standard MandarinMandarin and ''aoi'' in Japanese languageJapanese) has a meaning that covers both blue and green; blue and green are traditionally considered shades of 青; In more contemperary terms, they are 藍 (lán) and 綠 (lǜ) respectively.Similarly, languages are selective when deciding which hues are split into different colors on the basis of how light or dark they are. Apart from the black-grey-white continuum, English splits some hues into several distinct colors according to lightness: such as red and pink or orange and brown. To English speakers, these pairs of colors, which are objectively no more different that light green and dark green, are conceived as totally different. An Italian will make the same red-pink and orange-brown distinctions, but will also make a further distinction between ''blu'' and ''azzurro'', which English speakers would simply call dark and light blue. To Italian speakers, ''blu'' and ''azzurro'' are as separate as red and pink or orange and brown.Color terms evolve. It is argued that there are a limited number of universal "basic color terms" which begin to be used by individual cultures in a relatively fixed order. For example, a culture would start with only two terms, meaning roughly 'dark' (covering black, dark colors and cold colors such as blue ) and 'bright' (covering white, light colors and warm colors such as red), before adding more specific color names, in the order of red; green and/or yellow; blue; brown; and orange, pink, purple, and/or gray. Older arguments for this theory also stipulated that the acquisition and use of basic color terms further along the evolutionary order indicated a more complex culture with more highly developed technology.A somewhat dated example of a universal color categories theory is ''Basic Color Terms: Their Universality and Evolution'' (1969) by Brent Berlin and Paul Kay. A more recent example of a linguistic determinism theory might be ''Is color categorisation universal? New evidence from a stone-age culture'' (1999) by Jules Davidoff et al. The idea of linguistically determined color categories is often used as evidence for the Sapir-Whorf hypothesis (''Language, Thought, and Reality'' (1956) by Benjamin Lee Whorf).Additionally, different colors are often associated with different emotional states, values, or groups, but these associations can vary between cultures. In one system, red is considered to motivate action; orange and purple are related to spirituality; yellow cheers; green creates cosiness and warmth; blue relaxes; and white is associated with either purity or death. These associations are described more fully in the individual color pages, and under color psychology.See also: National colors
Color constancy - The trichromatric theory discussed above is strictly true only if the whole scene seen by the eye is of one and the same color, which of course is unrealistic. In reality, the brain compares the various colors in a scene, in order to eliminate the effects of the illumination. If a scene is illuminated with one light, and then with another, as long as the difference between the light sources stays within a reasonable range, the colors of the scene will nevertheless appear constant to us. This was discovered by Edwin Land in the 1970s and led to his retinex theory of color constancy.
Contrast - Note: the following comparison requires an all-digital display setup (commonly, a laptop or Digital Visual InterfaceDVI-connected LCD) to avoid errors caused by an unfortunate interaction between frequency response and Gamma_correctiongamma curves.Compare the visibility of the RGB primary and secondary colors against a white background:redgreen< ;/td>blue< /td>red+gree ngreen+bl uered+blue red+gree n+bluezero !light < ;/table>Again,? compare variations on gray backgrounds—#7f7f7f, #5f5f5f & #9f9f9f—the eight RGB primaries are equidistant from #7f7f7f in a 3-d geometrical representation of RGB color space—a reminder of the importance of background color for color perception.Background = #7f7f7fredgreen< ;/td>blue< /td>red+gree ngreen+bl uered+blue red+gree n+bluezero !light < ;/table>And? let's look at black again, for completeness. (Note that your computer displaymonitor background probably is not perfectly black, as you can see by switching off the monitor.)Background = #000000redgreen< ;/td>blue< /td>red+gree ngreen+bl uered+blue red+gree n+bluezero !light < ;/table>
Measurement and reproduction of color - Two different light spectra which have the same effect on the three color receptors in the human eye will be perceived as the same color. This is exemplified by the white light that is emitted by fluorescent lamps, which typically has a spectrum consisting of a few narrow bands, while daylight has a continuous spectrum. The human eye cannot tell the difference between such light spectra just by looking into the light source, although reflected colors from objects can look different. (This is often exploited e.g. to make fruit or tomatoes look more brightly red in shops.)Similarly, most human color perceptions can be generated by a mixture of three colors called ''primaries''. This is used to reproduce color scenes in photography, printing, television, and other media. There are a number of methods or color spaces for specifying a color in terms of three particular primary colors. Each method has its advantages and disadvantages depending on the particular application.No mixture of colors, though, can produce a fully pure color perceived as completely identical to a spectral color, although one can get very close for the longer wavelengths, where the CIE XYZ color spacechromaticity diagram above has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green.Because of this, and because the ''primaries'' in color printing systems generally are not pure themselves, the colors reproduced are never perfectly saturated colors, and so spectral colors cannot be matched exactly. However, natural scenes rarely contain fully saturated colors, thus such scenes can usually be approximated well by these systems. The range of colors that can be reproduced with a given color reproduction system is called the gamut. The International Commission on IlluminationCIE chromaticity diagram can be used to describe the gamut.Another problem with color reproduction systems is connected with the acquisition devices, like cameras or scanners. The characteristics of the color sensors in the devices are often very far from the characteristics of the receptors in the human eye. In effect, acquisition of colors that have some special, often very "jagged", spectra caused for example by unusual lighting of the photographed scene can be relatively poor.Species that have color receptors different from humans, e. g. birds that may have four receptors, can differentiate some colors that look the same to a human. In such cases, a color reproduction system `tuned' to a human with normal color vision may give very inaccurate results for the other observers.The next problem is different color response of different devices. For color information stored and transferred in a digital form, color management technique based on color managementcolor profiles attached to color data and to devices with different color response helps to avoid deformations of the reproduced colors. The technique works only for colors in gamut of the particular devices, e.g. it can still happen that your monitor is not able to show you real color of your goldfish even if your camera can receive and store the color information properly and vice versa.
Pigments and reflective media - When producing a color print or painting a surface, the applied paint changes the surface; if the surface is then illuminated with white light (which consists of equal intensities of all visible wavelengths), the reflected light will have a spectrum corresponding to the desired color. If a dab of paint looks red in white light, that is because the reflection of all non-red wavelengths is interrupted by the pigment, such that only red light is reflected into one's eye.
Structural color - Structural color is a property of some surfaces that are scored with fine parallel lines, formed of many thin parallel layers, or otherwise composed of periodic microstructures on the scale of the color's wavelength, to make a diffraction grating. The grating reflects some wavelengths more than others due to interference phenomena, causing white light tobe reflected as colored light. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in peacock feathers, films of oil, and mother of pearl, because the reflected color depends upon the viewing angle.Structural color is studied in the field of thin-film optics. A layman's term that describes particularly the most ordered structural colors is iridescence.
Footnotes - # notecwe The spelling ''color'' is predominant in American English, while ''colour'' is used in Commonwealth English. See American and British English !spelling_differences#-our_.2F_ -orour/or.
See also - Metamerism (color)Metamerism Chromophore List of colors Qualia Color temperature Color theory*Color scheme !Political_party#Colors_and_emb lems_for_partiesColors and emblems for parties Political color Color psychology Synaesthesia (the mental connection, almost always arbitrary, between senses, usually involving color) Goethe's ''Theory of Colors'' Web colors; Since HTML 3.2 was released—in early 1996—the W3C HTML standards have provided for the use of #rrggbb to identify text / foreground & background colors, where rr, gg & bb are 2-digit hexadecimal numbers (in decimal these would be in the range 0—255) representing the intensity of the red, green and blue light respectively. In earlier years of the Internet browser card computer screens, web designers were encouraged to limit use of screen colors to the 216 colors defined by the Netscape color cube (see Web colors#Web-safe colorsWeb-safe colors). The International Commission on Illumination defines colors and color spaces Thermochromics Tincture (heraldry). The colors in heraldry.
External links and sources - physicstoday.org - Comparative Article examining Goethean and Newtonian Color palimpsest.stanford.edu - Kruithof curve citation soluxtli.com - Article by technical lighting manufacturer on rod/cone vision, with cites to literature angelfire.com - The Psychology of Colour plato.stanford.edu - Stanford Encyclopedia of Philosophy entry webexhibits.org - Why are things colored? research.ibm.com - Why Should Engineers and Scientists Be Worried About !Color?Category:ColorCategory:I mage? !processingCategory:Visionaf:Kl eurar:لونast:Colorbg:Цвя тbn:বর্ণ? !(রঙ)ca:Colorcs:Barvada:Far vede:Farbees:Coloreo:Kolorofa: رنگfr:Couleurko:색io:Kolor oid:Warnait:Colorehe:צבעlt: Spalvahu:Színnah:Pallinl:Kleu rnds:Klöörja:色no:Fargenn:F argepl:Barwapt:Corru:Цветs cn:Culurisimple:Colorsl:Barvaf i:Värisv:Färgvi:Màu? !sắctr:Renkwa:Coleurzh:颜色
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