Lecture Color
Lecture Color
Sjoerd Stuit
Color vision has been selected for because it offers many evolutionary advantages. For primates the optical assessment of
edibility of fruits is of key importance.
hurlert 2004
Today
❖ Why do we have color vision?
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Today
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Color in light
it wasn’t untill 1000 year ago that someone figured out that ligth entered the eye for vision instead of emitting it. But they were
still not sure about what light was, how it behaved. Straigth lines or wave? Or what it even was.
Color in light
Waves? Whatever
Newton didnt believe the wave theory because of how light is reflected. He also didn't believe that color was a combination of
light (red) and darkness (near blue) as Hooke proposed.
Color in light
Newton ‘corrupted’ the light with a prism and than turned it back to white light using a second prism. This should not work if
light was a wave.
Newton concluded that light is composed of coloured particles which combine to appear white. He introduced the term 'colour
spectrum' and, although the spectrum appears continuous, with no distinct boundaries between the colours, he chose to divide
it into seven; red, orange, yellow, green, blue, indigo, and violet.
Color in light
Newton concluded that light is composed of coloured particles which combine to appear white. He introduced the term 'colour
spectrum' and, although the spectrum appears continuous, with no distinct boundaries between the colours, he chose to divide
it into seven; red, orange, yellow, green, blue, indigo, and violet.
Color in light
Newton wasn’t done. If color was indeed a particle, it should be able to be broken down even further. New experiment
Conclusion: yellow is ‘real’
dafaq?
Color in light
for one…color appears to be in light…and of course this is true. but note that we have wavelengths and reflectance and we have
perception. One is not the other.
So Newton wasn’t completely wrong. We know now about wavelength. But this is surely not the whole story. Newton mixed up
color perception with light physics.
Color in light?
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Color in light?
spectral colors
non-spectral
colors are very
common
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Color in …
❖ Goethe: Color is in the brain
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Color in cones
❖ Helmholtz, Young, Palmer:
Trichromacy
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here the discussion shift to the biological system that responds to light
Philosophical discussion, before the age of experimentation/microscopes
Various facts suggest it ‘must’ be like this.
Such philosophical proposals are often wrong
There was an extensive philosophy of vision, almost all invalidated by the arrival of experimentation
Color in cones
❖ Cones response to different
wave lengths and thus decode
color…but is this color
perception?
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this one again!
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Some more color adaptation…pay attention to the relation between adaptor color and aftereffect color
Opponent colors
❖ Herings opponent colors
❖ He proposed that red and green were opponent colors in that the
sensation of red and the sensation of green never appeared to co-
exist in the same color. Likewise, blue and yellow were mutually
exclusive (as were light and dark).
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Opponent colors
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Opponent colors
❖ Compressed
version
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Black and white do not rely on the blue channel. Red+green is a good measure for ‘lightness’
Presence of blue with no other wavelength is a good blue measure.
Red+blue (lightness) WITHOUT blue means yellow.
Yellow is difficult because we don’t have a receptor, but circuitry deals with that
Opponent colors
❖ Opponent color
schemes in the ganglion
cells of the retina
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Metamers are stimuli that are physically different yet result in the same percept.
We can trick the system by presenting specific color bands, instead of a range
These appear as the same color, and that is how we get intermediate colors from primary colors in a display
Light, cones & opponency
Ratio the same,
so both look yellow
R/G B/Y (light / dark)
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dafaq?
Light, cones & opponency
Gangion cells can’t note the difference between pure yellow (in wavelength) and the combination of red and green
newton was confused/tricked with metamerism
Color constancy
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The first three colours come from the banana under different lights. The next three come from the apple, the last three from the
bowl
Seeing these side-by-side emphasizes the differences, but we are normally very good an determining the actual colour of the
object regardless of lighting conditions
Color constancy
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The first three colours come from the banana under different lights. The next three come from the apple, the last three from the
bowl
Seeing these side-by-side emphasizes the differences, but we are normally very good an determining the actual colour of the
object regardless of lighting conditions
Color constancy
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The first three colours come from the banana under different lights. The next three come from the apple, the last three from the
bowl
Seeing these side-by-side emphasizes the differences, but we are normally very good an determining the actual colour of the
object regardless of lighting conditions
Color constancy
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Color constancy
To determine the color an object will be, we
need to know the spectrum of the lighting
and the spectrum of the object under even,
Average Daylight spectrum
white light
x The color of the object under the current
lighting is the product of these two spectra
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Cues to color constancy
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Each horizontal cell type has characteristic short distance and or long distance connections to particular photoreceptor types. No
need to learn all of these, remember that inhibition interactions are both spatial and spectral
Cues to color constancy
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Cues to color constancy
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Cues to color constancy
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Cues to color constancy
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Cues to color constancy
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Cues to color constancy
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Cues to color constancy
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Cues to color constancy
❖ Local Color Contrast
❖ Color Adaptation
❖ Luminance Highlights ?
❖ Mutual Reflections ?
❖ Range of Reflected ?
Spectrum
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Local colour contrast and adaptation happen in the retina, LGN, and V1
Global colour contrast requires larger receptive fields, so mostly occurs in V4.
By V4, colour constant responses are well established
Some other cues we use depend on higher-level processing, probably in later cortical areas, and are poorly understood.
It seems likely these cue are processed later and then send feedback signals to earlier areas to influence their activity.
Cues to color constancy: incomplete
Kraft and Brainard
(1999) demonstrated that
even with a full set of
cues, color constancy
was not perfect (83%
accuracy), and that the
most powerful cue to
constancy was local
color contrast.
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http://www.pnas.org/content/96/1/307.full.pdf
ms act on a local subjects adjusted the fruits in the direction away from their typical
hereas others act setting. We then normalized the memory color index by dividing
ver larger image through the distance between the control settings and the fruit’s typical
is that they are Cues to color constancy
na.
jects also affects a 90 b
s have a typical
(L + M) – S (% cone contrast)
or. This knowl- 45
the process of ❖ Hansen et al., 2006:
minant. Previous ❖ Make this banana grey!
0
be distinct from
more saturated
2005). However, –45
nd, because the
he colors of the –90
47
–10 –5 0 5 10
e effects were of
L – M (% cone contrast)
uit objects on a Figure 1 The chromatic adjustment method. (a) The distribution of
bjects could be chromaticities in the original photograph of the banana (yellow) in the
bananas of any isoluminant plane of a color space spanned by an L – M axis and an (L + M)
hat does a blue – S axis. Subjects could adjust the color of the stimulus in two dimensions.
This was achieved by rotating and scaling the whole distribution of
which we started chromaticities (for example, toward magenta). The black cross indicates the
ubject to inter- mean of the distribution and how it changes when it is rotated by 901 and its
s in color space amplitude scaled to 70%. (b) Stimuli corresponding to the two chromatic
hod satisfies the distributions shown in a.
sen, Otto-Behaghel-Str. 10F, 35394 Giessen, Germany. Correspondence should be addressed to K.R.G.
(L + M) – S (% cone contrast)
45 9
grayish in the morning, as color constancy
even in realistic situations11. The appearanc
contribute toward color constancy under t
0 0
Our results show a high-level cognitive ef
mechanisms. Our knowledge of the world
–45 –9
much in the way that Bayesian modelin
settings1. Just as we apply prior knowle
–90
–10 –5 0 5 10
–18
–2 –1 0 1 2 comes from above12, we apply prior kno
L – M (% cone contrast) L – M (% cone contrast) color of fruit objects. This knowledge is use
and global information about the scene to d
Figure 2 Color settings. (a) The achromatic
48 (gray) and typical (yellow) This allows the visual system to function
settings for the banana stimulus. Each data point indicates the position of
reduced conditions when only single ob
the mean chromaticity averaged across all pixels within the banana shape, as
adjusted by each observer, averaged over five trials. The large symbols depict unknown illuminant, as in our exper
the average settings for all 14 subjects. The black symbol indicates the that determine color appearance act throu
average setting for the control stimuli. (b) The achromatic settings for the of the visual system, from the retina to vis
seven fruits studied (colored symbols) and for the two control conditions memory. Modulatory feedback is a can
where a uniform disc (indicated by the black circle) or a noise patch underlying the integration of bottom-up
(indicated by the black square) was adjusted. Each data point is the average
down expectations13,14.
for 14 observers.
Note: Supplementary information is available on the N
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Mean proportio
approximately the tested
0.4 data). These account for
hues and is not an accu-
rate reproduction of the of the population varianc
spectrum. sub-populations by sex a
Color preference
0.2 nationality, the fixed com
Current Biology Vol 17 No 16 account for between 64%
R624
0 females) and 72% (British
1 2 3 4 5 6 of the variance.
Hue angle (radians) Each individual hue pre
Figure 1. Mean hue prefer- S–(L+M) (‘blue–yellow’) and L–M curve is thereby reduced
A 1.0 B 1.0
ence curves.
UK Female (n=92)
(‘red–green’) neuronal mechanisms
China Female (n=18) two physiologically mean
(A) British subjects. (B) Chi-
UK Male (n=79) which encode
China Male (n=19)colors. We therefore
weights. While the ‘blue–y
nese subjects (±s.e.m.).
0.8 Hue0.8values are obtained decomposed the hue preference
contrast component acco
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“In this article we articulate an ecological valence theory in which color preferences arise from people’s average affective
responses to color-associated objects. An empirical test provides strong support for this theory: People like colors strongly
associated with objects they like (e.g., blues with clear skies and clean water) and dislike colors strongly associ- ated with objects
they dislike (e.g., browns with feces and rotten food). Relative to alternative theories, the ecological valence theory both fits the
data better (even with fewer free parameters) and provides a more plausible, comprehensive causal explanation of color
preferences.”
Color preference
Fig. 1. (A) The present sample of 32 chromatic colors as defined by eight hues,52
consisting of four approximately unique hues (Red, Green, Yellow, Blue) and
their approximate angle bisectors (Orange, cHartreuse, Cyan, Purple), at four “cuts” (saturation-lightness levels) in color-space: saturated (s, Upper Left), light
(l, Upper Right), dark (d, Lower Right), and muted (m, Lower Left). (B) The projections of these 32 colors onto an isoluminant plane in CIELAB color-space. (C)
Color preferences averaged over all 48 participants. Error bars show SEM. (D) WAVEs for the 32 chromatic colors estimated using data from independent
participants performing three different tasks.
Fig.1.1. (A)
Fig. (A)The
The present
present sample
sample of 32 chromatic
chromaticcolors
colorsas
asdefined
definedby byeight
eighthues,
hues,consisting
consistingofof
four approximately
four approximately unique hues
unique (Red,
hues Green,
(Red, Yellow,
Green, Blue)Blue)
Yellow, and and
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theirapproximate
their approximate angle
angle bisectors
bisectors (Orange,
(Orange, cHartreuse,
cHartreuse,Cyan,
Cyan,Purple),
Purple),atatfour
four“cuts”
“cuts”(saturation-lightness
(saturation-lightness levels) in color-space:
levels) saturated
in color-space: (s, Upper
saturated Left),
(s, Upper lightlight
Left),
(l,(l,Upper
UpperRight),
Right), dark
dark (d,
(d, Lower
Lower Right),
Right), and
and muted
muted(m,(m,Lower
LowerLeft).
Left).(B)
(B)The
Theprojections
projectionsofof
these
these3232
colors onto
colors an an
onto isoluminant plane
isoluminant in CIELAB
plane color-space.
in CIELAB (C) (C)
color-space.
Colorpreferences
Color preferences averaged
averaged over
over all
all 48
48 participants.
participants.Error
Errorbars
barsshow
showSEM. SEM.(D)
(D)WAVEs
WAVEs forfor
the
the3232
chromatic
chromatic colors estimated
colors using
estimated datadata
using from independent
from independent
participants performing
participants performing three
three different
different tasks.
tasks.
adaptations across
adaptations across generations
generations resulting
resulting in in hardwired
hardwired neuralneural Results Resultsand andDiscussion
Discussion
mechanisms), the EVT extends the range of potentially adaptive Each
mechanisms), the EVT extends the range of potentially adaptive Each of 48participants
of 48 participants rated
ratedeach
eachof of
thethe
32 32chromatic
chromatic colors of of
colors
mechanisms to
mechanisms to include
include individual
individual organisms
organisms learning
learningcolorcolorpref-pref- the Berkeley Color Project (BCP) (Fig. 1 A and B) in terms of of
erences on an ontogenetic time scale. An analogy to taste pref-
the Berkeley Color Project (BCP) (Fig. 1 A and B) in terms
erences on an ontogenetic time scale. An analogy to taste pref- how much the participant liked the color using a line-mark rating
erences is apt: Taste preferences have both an evolutionary how much the participant liked the color using a line-mark rating
erences is apt: Taste preferences have both an evolutionary scale that was converted to numbers ranging from −100 to +100
component, because some genetic variations in taste are more scale that was converted to numbers ranging from −100 to +100
component, because some genetic variations in taste are more with a neutral zero-point. Average preference ratings (Fig. 1C)
adaptive than others, and a learned component resulting from with a neutral zero-point. Average preference ratings (Fig. 1C)
adaptive than others, and a learned component resulting from show that the saturated (s), light (l), and muted (m) colors
show that the saturated (s), light (l), and muted (m) colors
experiences that arise from eating various flavored foods that have produced approximately parallel functions with a broad peak at
experiences that arise from eating (17).various flavored foods
of thethatEVThave produced approximately parallel functions
affectively different
affectively
outcomes
different outcomes
The connection
(17).etThe connection of the
to blue and a narrow trough at chartreuse. The swith a broad
colors peak at
were pre-
the emotion-based theory of Ou al. (15, 16) is that theEVTenvi-to ferred blue to andthea lnarrow
and m colors [F(1,47) = 9.20, P < 0.01], which didpre-
trough at chartreuse. The s colors were
the emotion-based
feedbacktheory of Oufor eta al. (15, 16) is that the envi- ferred
ronmental required learning-based heuristic to not differtofrom
the leach
and m colors
other (F <[F(1,47) = 9.20,the
1). Although P< 0.01], of
pattern which
hue did
ronmental feedback required for a learning-based
by the emotionalheuristic
outcomesto preferences not differ from
work for color preferences is provided acrosseachs, m,other
and l(F < †1).
cuts did Although
not differ the pattern
[F(14, 658) of=hue
work for color preferences is provided by the emotional outcomes preferences across
it dids, vary
m, and for lthe
cutsdarkdid(d)
notcut differ [F(14,
to 658)
the =
†
of color-relevant experiences during a person’s lifetime. The more 1.66, P > 0.05], relative
ofenjoyment
color-relevant experiences
and positive affectduring a person’s
an individual lifetime.
receives Theexpe-
from more 1.66, P > 0.05], it did vary for the dark (d) cut relative to the
other three [F(7,329) = 17.87, P < 0.001]. In particular, dark
enjoyment
riences withand positive
objects affectcolor,
of a given an individual
the more the receives
personfrom expe- orange
will tend other (brown)
three [F(7,329)
and dark= yellow 17.87, (olive)
P < 0.001]. In particular,
were significantly lessdark
riences
to like with objects of a given color, the more the person will tend preferred
that color. orange (brown)than other and oranges
dark yellow and (olive)
yellows were[F(1,47) significantly
= 11.74,less
to like thatarticle
In this color.we test the EVT by determining how well it can 41.06, preferred than respectively],
P < 0.001, other oranges and dark
whereas yellowsred [F(1,47)
and dark = green11.74,
In this on
modelaccount
based article we test
for different
average the EVT by
ppl.
preferences determining
across individuals howforwell it can were
a wide 41.06, P < preferred
more 0.001, respectively],
than otherwhereas reds and dark red and
greens dark green
[F(1,47) =
account
gamut offor average
colors. preferences
The EVT implies thatacross individuals
the average for a wide
preference for were 6.37,
15.41, moreP preferred
< 0.001, 0.05, thanrespectively].
other reds and greens [F(1,47) =
Different
gamut groups,
of colors.
any given different
color overThe aEVT models
implies thatsample
representative the average
of peoplepreference
should be for 15.41, The central
6.37, Passumption
< 0.001, 0.05, of the EVT is that color preferences,
respectively].
any
The model given
determined color
(right) overby
shows
largely awhat
representative
their the
average sample responses
preferences
affective of people
(left) should
should
to look
corre- be like based
averaged on object
The central
across associations.
assumption
people, of the EVT
are determined Fit by
the data
isthe
that verypreferences,
color
average well!
affective
spondingly largely
determined coloredbyobjects.
their averageAccordingly,
affectivepeople
responses should
to corre-be valence
averaged of people’s responses
across people, areto objects thatbyare
determined thestrongly
averageassoci-
affective
attracted to colored
spondingly colors associated
objects. with salient objects
Accordingly, peoplethat should
generallybe ated valencewith ofeach color.responses
people’s We tested to this claim
objects thatbyaremeasuring
strongly theassoci-
elicit positive
attracted affective
to colors reactions
associated (e.g.,
with bluesobjects
salient and cyansthatwith posi-
generally weighted affective valenceWe estimate
ated with each color. tested(WAVE)
this claim for byeach of the 32 the
measuring
tivelypositive
elicit valued affective
clear sky reactions
and clean(e.g., water) andand
blues repulsed
cyans bywithcolors
posi- chromatic
weightedBCP colorsvalence
affective (Fig. 1D) and correlating
estimate (WAVE) theforresult
eachwith
of the
the 32
associated
tively valued with salient
clear sky objects
and clean thatwater)
generallyandelicit negative
repulsed by reac-
colors corresponding average
chromatic BCP colorscolor preferences
(Fig. 1D) (Fig. 1C).
and correlating theCalculating
result with the
tions (e.g.,with
associated browns withobjects
salient negativelythatvalued feceselicit
generally and rotting
negative food).
reac- the WAVEs of theaverage 32 BCP colors required collecting and analyzing
As reported here, with
we tested this central corresponding color preferences (Fig. 1C). Calculating
tions (e.g., browns negatively valued prediction of the EVT
feces and rotting food). the WAVEs of the 32 BCP colors required collecting and analyzing
and compared its fit with those of three other
As reported here, we tested this central prediction of the EVT theories: the cone-
opponent
and compared contrast model,
its fit a color-appearance
with those of three othertheory based
theories: theoncone-
our †
We use the term “cut” (through color space) to refer to the four combinations of
observers’contrast
opponent ratings, model,
and theacolor-emotion
color-appearance theory.
theory based on our lightness and saturation levels we used (Fig. 1 A and B).
†
We use the term “cut” (through color space) to refer to the four combinations of
observers’ ratings, and the color-emotion theory. lightness and saturation levels we used (Fig. 1 A and B).
8878 | www.pnas.org/cgi/doi/10.1073/pnas.0906172107 Palmer and Schloss
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