|
 


 Wh

 


‡ Colour Rendering Property: (For light source) - The

characteristics of source to reproduce the colour observed
under reference light source. E.g. The fluorescent tube and
mercury lamp have poor colour rendering properties.

‡ Color inconstancy is the change in color of a single sample

under different lights.
‡ The magnitude of color inconstancy can be defined by DE
CMC of the sample between two lights.

‡ The ISO standard for shade (in)constancy is called

CMCCON and it refers to the DE CMC for a sample
between D65 and a second light source.

‡ Given the CIE L*a*b* values for a sample in D65 and in a

second light source it is possible to calculate the
CMCCON for a shade.
 ˜A color named POPPY viewed in 3
different lights (Ultralume, D65, CWF)

‡ As shown in Figure 1, product color can change

significantly in going from store light to daylight.

‡ This change can be unexpected and could leave the

consumer less than satisfied with their purchasing
decision.

‡ Therefore, color inconstancy is a problem that needs a

more complete analysis.
 s    


‡ Shade inconstancy is the change in color of a single

sample.

‡ Metamerism, on the other hand, is the change in color

difference between a pair of samples.

‡ Normally, luminant metamerism is of greatest interest

although factors such as observer and geometry can also
play a role.
‡ The magnitude of metamerism can be measured by the
change in DE CMC for a sample pair between any two
luminants. So there are two DE CMC values involved. A
metameric pair could have a DE CMC=0 in one light and
a high DE CMC in the second light.

‡ Creating shades with a low inconstancy in itself does not

improve the chances of getting matches with a low
metamerism.

‡ It is entirely possible to get high metamerism matches for

color constant shades and it is also possible to get
nonmetameric matches for color inconstant shades.
‡ Metamerism can only be controlled by using the similar
colorants in the color standard and the sample.

‡ Attempting to reduce the color inconstancy of a color

standard does not in any way reduce the possibility of
metamerism.
Wh
 h   
 


‡ By analyzing 2300+ colors in a textile palette covering a

wide gamut it was found that 10 to 20% of the colors
have a very high color inconstancy in going from D65 to
incandescent light with color shifts of DE CMC greater
than 6 units. Most colors showed a color shift of more
than 2 color units.

‡ Calculations with other color palettes and light sources

showed similar results.
 Whh
h  hhh  


‡ Upon taking a closer look at the shades with high color

inconstancy between D65 and incandescent light it was
seen that red-oranges and bright blues particularly those
of medium depth show the most pronounced color
inconstancy.

˜shows the top 100 colors with the highest values

for CMCCON.
‡ The exact set of colors that show the highest color
inconstancy depends on the pair of light sources being
used.

‡ ˜shows the results for D65 and TL84. Here also

we see that colors covering a certain region of the color
space show the highest inconstancy although this region
is somewhat different from what we saw for D65 and
incandescent lights.
‡ Further insight is gained by considering the reflectance curves for
the colors with a high inconstancy. If we normalize their reflectance
curves (divide by maximum reflectance for each curve), these
curves fall into two broad families as shown in ˜.
These are colors that
show a large
proportional change in
reflectance between the
low and high
wavelength limits of the
visible range. The
spectral energy
distribution for
incandescent light
shows a monotonic
increase over the
visible range.

Therefore, colors with the highest change in reflectance are the most
inconstant between D65 and incandescent light.
‡ The results obtained here are not a characteristic of the
particular color palette used in this study.

‡ Calculations with other color palettes showed

qualitatively similar results.

‡ Color inconstancy therefore depends primarily on the

type of color and the luminant pair.

‡ Metamerism, on the other hand, depends on the type of

colorants used and the luminant pair.

‡ Color constancy depends on the broad shape of the

reflectance curve for a color whereas metamerism
depends on smaller differences in reflectance curves.
 |
h
 
  



 
‡ Modest changes in shade inconstancy can be made by
altering the recipe used to make a color. Inconstancy is
primarily determined by the color itself and only
secondarily by the colorants used. Some colors with
certain characteristic curve shapes will ALWAYS be
color inconstant regardless of the recipe used.

‡ In attempts at reducing shade inconstancy for the top

100 inconstant colors it was found that only modest
gains were possible by altering the recipe.
‡ There is some room to maneuver by recipe changes but
for the most part it is true to say that shade constancy is
mostly determined by the shade at hand not so much by
the recipe itself.

‡ Further, a less shade inconstant recipe does not in any

way reduce the chances of metameric matches.
Thanks«