color

(general discussion)

That aspect of visual sensation enabling a human observer to distinguish differences between two structure-free fields of light having the same size, shape, and duration. Although luminance differences alone permit such discriminations to be made, the term color is usually restricted to a class of differences still perceived at equal luminance. These depend upon physical differences in the spectral compositions of the two fields, usually revealed to the observer as differences of hue or saturation.

Color discriminations are possible because the human eye contains three classes of cone photoreceptors that differ in the photopigments they contain and in their neural connections. Two of these, the R and G cones, are sensitive to all wavelengths of the visible spectrum from 380 to 700 nanometers. (Even longer or shorter wavelengths may be effective if sufficient energy is available.) R cones are maximally sensitive at about 570 nm, G cones at about 540 nm. The ratio R/G of cone sensitivities is minimal at 465 nm and increases monotonically for wavelengths both shorter and longer than this. This ratio is independent of intensity, and the red-green dimension of color variation is encoded in terms of it. The B cones, whose sensitivity peaks at about 440 nm, are not appreciably excited by wavelengths longer than 540 nm. The perception of blueness and yellowness depends upon the level of excitation of B cones in relation to that of R and G cones. No two wavelengths of light can produce equal excitations in all three kinds of cones. It follows that, provided they are sufficiently different to be discriminable, no two wavelengths can give rise to identical sensations.

Different complex spectral distributions usually, but not always, look different. Suitable amounts of short-, middle-, and long-wavelength lights, if additively mixed, can for example excite the R, G, and B cones exactly as does a light containing equal energy at all wavelengths. As a result, both stimuli look the same. This is an extreme example of the subjective identity of physically different stimuli known as chromatic metamerism. Additive mixture is achievable by optical superposition, rapid alternation at frequencies too high for the visual system to follow, or (as in color television) by the juxtaposition of very small elements which make up a field structure so fine as to exceed the limits of visual acuity. See also Eye (vertebrate); Light.

Although colors are often defined by appeal to standard samples, the trivariant nature of color vision permits their specification in terms of three values. Ideally these might be the relative excitations of the R, G, and B cones. Because too little was known about cone action spectra in 1931, the International Commission on Illumination (CIE) adopted at that time a different but related system for the prediction of metamers (the CIE system of colorimetry). This widely used system permits the specification of tristimulus values X, Y, and Z, which make almost the same predictions about color matches as do calculations based upon cone action spectra. If, for fields 1 and 2, X₁ = X₂, Y₁ = Y₂, and Z₁ = Z₂, then the two stimuli are said to match (and therefore have the same color) whether they are physically the same (isometric) or different (metameric).

Colors are often specified in a two-dimensional chart known as the CIE chromaticity diagram, which shows the relations among tristimulus values independently of luminance. In this plane, y is by convention plotted as a function of x, where y = Y/(X + Y + Z) and x = x/(x + Y + Z). [The value z = Z/(X + Y + Z) also equals 1 − (x + y) and therefore carries no additional information.] Such a diagram is shown in the illustration, in which the continuous locus of spectrum colors is represented by the outermost contour. All nonspectral colors are contained within an area defined by this boundary and a straight line running from red to violet. The diagram also shows discrimination data for 25 regions, which plot as ellipses represented at 10 times their actual size. A discrimination unit is one-tenth the distance from the ellipse's center to its perimeter. Predictive schemes for interpolation to other regions of the CIE diagram have been worked out.

The 1931 CIE chromaticity diagram showing discrimination ellipses enlarged 10 times.

A chromaticity diagram has some very convenient properties. Chief among them is the fact that additive mixtures of colors plot along straight lines connecting the chromaticities of the colors being mixed. Although it is sometimes convenient to visualize colors in terms of the chromaticity chart, it is important to realize that this is not a psychological color diagram. Rather, the chromaticity diagram makes a statement about the results of metameric color matches, in the sense that a given point on the diagram represents the locus of all possible metamers plotting at chromaticity coordinates x, y. However, this does not specify the appearance of the color, which can be dramatically altered by preexposing the eye to colored lights (chromatic adaptation) or, in the complex scenes of real life, by other colors present in nearby or remote areas (color contrast and assimilation). Nevertheless, within limits, metamers whose color appearance is thereby changed continue to match.

For simple, directly fixated, and unstructured fields presented in an otherwise dark environment, there are consistent relations between the chromaticity coordinates of a color and the color sensations that are elicited. Therefore, regions of the chromaticity diagram are often denoted by color names, as shown in the illustration.

Although the CIE system works rather well in practice, there are important limitations. Normal human observers do not agree exactly about their color matches, chiefly because of the differential absorption of light by inert pigments in front of the photoreceptors. Much larger individual differences exist for differential colorimetry, and the system is overall inappropriate for the 4% of the population (mostly males) whose color vision is abnormal. The system works only for an intermediate range of luminances, below which rods (the receptors of night vision) intrude, and above which the bleaching of visual photopigments significantly alters the absorption spectra of the cones. See also Color vision.

Color (quantum mechanics)

A term used to refer to a hypothetical quantum number carried by the quarks which are thought to make up the strongly interacting elementary particles. It has nothing to do with the ordinary, visual use of the word color.

The quarks which are thought to make up the strongly interacting particles have a spin angular momentum of one-half unit of h (Planck's constant). According to a fundamental theorem of relativity combined with quantum mechanics, they must therefore obey Fermi-Dirac statistics and be subject to the Pauli exclusion principle. No two quarks within a particular system can have exactly the same quantum numbers. See also Exclusion principle; Fermi-Dirac statistics.

However, in making up a baryon, it often seemed necessary to violate this principle. The Ω⁻ particle, for example, is made of three strange quarks, and all three had to be in exactly the same state. O. W. Greenberg is responsible for the essential idea for the solution to this paradox. In 1964 he suggested that each quark type (u, d, and s) comes in three varieties identical in all measurable qualities but different in an additional property, which has come to be known as color. The exclusion principle could then be satisfied and quarks could remain fermions, because the quarks in the baryon would not all have the same quantum numbers. They would differ in color even if they were the same in all other respects. See also Baryon; Elementary particle; Meson; Quarks.

See also light; painting; protective coloration; vision.

The Visible Spectrum

Since the colors that compose sunlight or white light have different wavelengths, the speed at which they travel through a medium such as glass differs; red light, having the longest wavelength, travels more rapidly through glass than blue light, which has a shorter wavelength. Therefore, when white light passes through a glass prism, it is separated into a band of colors called a spectrum. The colors of the visible spectrum, called the elementary colors, are red, orange, yellow, green, blue, indigo, and violet (in that order).

Apparent Color of Objects

Color is a property of light that depends on wavelength. When light falls on an object, some of it is absorbed and some is reflected. The apparent color of an opaque object depends on the wavelength of the light that it reflects; e.g., a red object observed in daylight appears red because it reflects only the waves producing red light. The color of a transparent object is determined by the wavelength of the light transmitted by it. An opaque object that reflects all wavelengths appears white; one that absorbs all wavelengths appears black. Black and white are not generally considered true colors; black is said to result from the absence of color, and white from the presence of all colors mixed together.

Additive Colors

Colors whose beams of light in various combinations can produce any of the color sensations are called primary, or spectral, colors. The process of combining these colors is said to be “additive”; i.e., the sensations produced by different wavelengths of light are added together. The additive primaries are red, green, and blue-violet. White can be produced by combining all three primary colors. Any two colors whose light together produces white are called complementary colors, e.g., yellow and blue-violet, or red and blue-green.

Subtractive Colors

When pigments are mixed, the resulting sensations differ from those of the transmitted primary colors. The process in this case is “subtractive,” since the pigments subtract or absorb some of the wavelengths of light. Magenta (red-violet), yellow, and cyan (blue-green) are called subtractive primaries, or primary pigments. A mixture of blue and yellow pigments yields green, the only color not absorbed by one pigment or the other. A mixture of the three primary pigments produces black.

Properties of Colors

The scientific description of color, or colorimetry, involves the specification of all relevant properties of a color either subjectively or objectively. The subjective description gives the hue, saturation, and lightness or brightness of a color. Hue refers to what is commonly called color, i.e., red, green, blue-green, orange, etc. Saturation refers to the richness of a hue as compared to a gray of the same brightness; in some color notation systems, saturation is also known as chroma. The brightness of a light source or the lightness of an opaque object is measured on a scale ranging from dim to bright for a source or from black to white for an opaque object (or from black to colorless for a transparent object). In some systems, brightness is called value. A subjective color notation system provides comparison samples of colors rated according to these three properties. In an objective system for color description, the corresponding properties are dominant wavelength, purity, and luminance. Much of the research in objective color description has been carried out in cooperation with the Commission Internationale de l'Eclairage (CIE), which has set standards for such measurements. In addition to the description of color according to these physical and psychological standards, a number of color-related physiological and psychological phenomena have been studied. These include color constancy under varying viewing conditions, color contrast, afterimages, and advancing and retreating colors.

Symbolic Uses of Color

Color has long been used to represent affiliations and loyalties (e.g., school or regimental colors) and as a symbol of various moods (e.g., red with rage) and qualities (e.g., worthy of a blue ribbon). A well-known use of the symbolism of color is in the liturgical colors of the Western Church, according to which the color of the vestments varies through the ecclesiastical calendar; e.g., purple (i.e., violet) is the color of Advent and Lent; white, of Easter; and red, of the feasts of the martyrs.

Bibliography

See G. Wyszecki and W. S. Stiles, Color Science (1967); M. W. Levine and J. M. Shefner, Fundamentals of Sensation and Perception (1991).

Color is an important part of the visual arts.

Color or colour^[1] (see spelling differences) is the visual perceptual property corresponding in humans to the categories called red, yellow, blue, black, etc. Color derives from the spectrum of light (distribution of light energy versus wavelength) interacting in the eye with the spectral sensitivities of the light receptors. Color categories and physical specifications of color are also associated with objects, materials, light sources, etc., based on their physical properties such as light absorption, reflection, or emission spectra.

Typically, only features of the composition of light that are detectable by humans (wavelength spectrum from 400 nm to 700 nm, roughly) are included, thereby objectively relating the psychological phenomenon of color to its physical specification. Because perception of color stems from the varying sensitivity of different types of cone cells in the retina to different parts of the spectrum, colors may be defined and quantified by the degree to which they stimulate these cells. These physical or physiological quantifications of color, however, do not fully explain the psychophysical perception of color appearance.

The science of color is sometimes called chromatics. It includes the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range (that is, what we commonly refer to simply as light).

Physics of color

Continuous optical spectrum (designed for monitors with gamma 1.5).

Color, wavelength, frequency and energy of light

Color	/nm	/1014 Hz	/104 cm−1	/eV	/kJ mol−1
Infrared	>1000	<3.00	<1.00	<1.24	<120
Red	700	4.28	1.43	1.77	171
Orange	620	4.84	1.61	2.00	193
Yellow	580	5.17	1.72	2.14	206
Green	530	5.66	1.89	2.34	226
Blue	470	6.38	2.13	2.64	254
Violet	420	7.14	2.38	2.95	285
Near ultraviolet	300	10.0	3.33	4.15	400
Far ultraviolet	<200	>15.0	>5.00	>6.20	>598

Electromagnetic radiation is characterized by its wavelength (or frequency) and its intensity. When the wavelength is within the visible spectrum (the range of wavelengths humans can perceive, approximately from 380 nm to 740 nm), it is known as "visible light."

Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class the members are called metamers of the color in question.

Spectral colors

The familiar colors of the rainbow in the spectrum – named for the Latin word for appearance or apparition by Isaac Newton in 1671 – include all those colors that can be produced by visible light of a single wavelength only, the pure spectral or monochromatic colors. The table at right shows approximate frequencies (in terahertz) and wavelengths (in nanometers) for various pure spectral colors. The wavelengths are measured in vacuum (see refraction).

The color table should not be interpreted as a definitive list – the pure spectral colors form a continuous spectrum, and how it is divided into distinct colors is a matter of culture, taste, and language. A common list identifies six main bands: red, orange, yellow, green, blue, and violet. Newton's conception included a seventh color, indigo, between blue and violet – but most people do not distinguish it, and most color scientists do not recognize it as a separate color; it is sometimes designated as wavelengths of 420–440 nm.

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.

As discussed in the section on color vision, a light source need not actually be of one single wavelength to be perceived as a pure spectral color.

For discussion of non-spectral colors, see below.

Color of objects

The orange disk and the brown disk have exactly the same objective color, and are in identical gray surrounds; based on context differences, humans perceive the squares as having different reflectances, and may interpret the colors as different color categories; see same color illusion.

The color of an object depends both on physics and on perception. Physically, surfaces can be said to have the color of the light reflecting off them, which depends on the spectrum of the incident illumination and on the reflectance spectrum of the surface, as well as potentially on the lighting and viewing angles. However, a viewer's perception of the object color depends not only on the reflected light spectrum, but also on a host of contextual cues, such that an object's color tends to be perceived as relatively constant, that is, relatively independent of the lighting spectrum, viewing angle, etc. This effect is known as color constancy.

Some generalizations of the physics can be drawn, neglecting perceptual effects for now:

• Light arriving at an opaque surface is either reflected "specularly" (that is, in the manner of a mirror), scattered (that is, reflected with diffuse scattering), or absorbed – or some combination of these.

• Opaque objects that do not reflect specularly (which tend to have rough surfaces) have their color determined by which wavelengths of light they scatter more and which they scatter less (with the light that is not scattered being absorbed). If objects scatter all wavelengths, they appear white. If they absorb all wavelengths, they appear black.

• Opaque objects that specularly reflect light of different wavelengths with different efficiencies look like mirrors tinted with colors determined by those differences. An object that reflects some fraction of impinging light and absorbs the rest may look black but also be faintly reflective; examples are black objects coated with layers of enamel or lacquer.

• Objects that transmit light are either translucent (scattering the transmitted light) or transparent (not scattering the transmitted light). If they also absorb (or reflect) light of varying wavelengths differentially, they appear tinted with a color determined by the nature of that absorption (or that reflectance).

• Objects may emit light that they generate themselves, rather than merely reflecting or transmitting light. They may do so because of their elevated temperature (they are then said to be incandescent), as a result of certain chemical reactions (a phenomenon called chemoluminescence), or for other reasons (see the articles Phosphorescence and List of light sources).

• Objects may absorb light and then as a consequence emit light that has different properties. They are then called fluorescent (if light is emitted only while light is absorbed) or phosphorescent (if light is emitted even after light ceases to be absorbed; this term is also sometimes loosely applied to light emitted due to chemical reactions).

For further treatment of the color of objects, see structural color, below.

To summarize, the color of an object is a complex result of its surface properties, its transmission properties, and its emission properties, all of which factors contribute to the mix of wavelengths in the light leaving the surface of the object. The perceived color is then further conditioned by the nature of the ambient illumination, and by the color properties of other objects nearby, via the effect known as color constancy and via other characteristics of the perceiving eye and brain.

Color perception

Normalized typical human cone cell responses (S, M, and L types) to monochromatic spectral stimuli

Development of theories of color vision

Main article: Color theory

Although Aristotle and other ancient scientists had already written on the nature of light and color vision, it was not until Newton that light was identified as the source of the color sensation. In 1810, Goethe published his comprehensive Theory of Colors. In 1801 Thomas Young proposed his trichromatic theory, based on the observation that any color could be matched with a combination of three lights. This theory was later refined by James Clerk Maxwell and Hermann von Helmholtz. As Helmholtz puts it, "the principles of Newton's law of mixture were experimentally confirmed by Maxwell in 1856. Young's theory of color sensations, like so much else that this marvellous investigator achieved in advance of his time, remained unnoticed until Maxwell directed attention to it."^[3]

At the same time as Helmholtz, Ewald Hering developed the opponent process theory of color, noting that color blindness and afterimages typically come in opponent pairs (red-green, blue-yellow, and black-white). Ultimately these two theories were synthesized in 1957 by Hurvich and Jameson, who showed that retinal processing corresponds to the trichromatic theory, while processing at the level of the lateral geniculate nucleus corresponds to the opponent theory.^[4]

In 1931, an international group of experts known as the Commission Internationale d'Eclairage (CIE) developed a mathematical color model, which mapped out the space of observable colors and assigned a set of three numbers to each.

Color in the eye

Main article: Color vision

The ability of the human eye to distinguish colors is based upon the varying sensitivity of different cells in the retina to light of different wavelengths. The retina contains three types of color receptor cells, or cones. 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, misleadingly, blue cones.) The other two types are closely related genetically and chemically. One of them (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.

Light, no matter how complex its composition of wavelengths, is reduced to three color components by the eye. For each location in the visual field, the three types of cones yield three signals based on the extent to which each is stimulated. These values are sometimes called tristimulus values.

The response curve as a function of wavelength for each type of cone is illustrated above. Because the curves overlap, some tristimulus values do not occur for any incoming light combination. For example, it is not possible to stimulate only the mid-wavelength/"green" cones; the other cones will inevitably be stimulated to some degree at the same time. 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.^[5]

The other type of light-sensitive cell in the eye, the rod, has a different response curve. In normal situations, when light is bright enough to strongly stimulate the cones, rods play virtually no role in vision at all.^[6] On the other hand, in dim light, the cones are understimulated leaving only the signal from the rods, resulting in a monochromatic response. (Furthermore, the rods are barely sensitive to light in the "red" range.) In certain conditions of intermediate illumination, the rod response and a weak cone response can together result in color discriminations not accounted for by cone responses alone.

Color in the brain

Main article: Color vision

The visual dorsal stream (green) and ventral stream (purple) are shown. The ventral stream is responsible for color perception.

While the mechanisms of color vision at the level of the retina are well-described in terms of tristimulus values (see above), color processing after that point is organized differently. A dominant theory of color vision proposes that color information is transmitted out of the eye by three opponent processes, or opponent channels, each constructed from the raw output of the cones: a red-green channel, a blue-yellow channel and a black-white "luminance" channel. This theory has been supported by neurobiology, and accounts for the structure of our subjective color experience. Specifically, it explains why we cannot perceive a "reddish green" or "yellowish blue," and it predicts the color wheel: it is the collection of colors for which at least one of the two color channels measures a value at one of its extremes.

The exact nature of color perception beyond the processing already described, and indeed the status of color as a feature of the perceived world or rather as a feature of our perception of the world, is a matter of complex and continuing philosophical dispute (see qualia).

Nonstandard color perception

Color deficiency

Main article: Color blindness

If one or more types of a person's color-sensing cones are missing or less responsive than normal to incoming light, that person can distinguish fewer colors and is said to be color deficient or color blind (though this latter term can be misleading; almost all color deficient individuals can distinguish at least some colors). Some kinds of color deficiency are caused by anomalies in the number or nature of cones in the retina. Others (like central or cortical achromatopsia) are caused by neural anomalies in those parts of the brain where visual processing takes place.

Tetrachromacy

Main article: Tetrachromacy

While most humans are trichromatic (having three types of color receptors), many animals, known as tetrachromats, have four types. These include some species of spiders, most marsupials, birds, reptiles, and many species of fish. Other species are sensitive to only two axes of color or do not perceive color at all; these are called dichromats and monochromats respectively. A distinction is made between retinal tetrachromacy (having four pigments in cone cells in the retina, compared to three in trichromats) and functional tetrachromacy (having the ability to make enhanced color discriminations based on that retinal difference). As many as half of all women, but only a small percentage of men, are retinal tetrachromats.^[7] The phenomenon arises when an individual receives two slightly different copies of the gene for either the medium- or long-wavelength cones, which are carried on the x-chromosome, accounting for the differences between genders.^[7] For some of these retinal tetrachromats, color discriminations are enhanced, making them functional tetrachromats.^[7]

Synesthesia

In certain forms of synesthesia, perceiving letters and numbers (grapheme → color synesthesia) or hearing musical sounds (music → color synesthesia) will lead to the unusual additional experiences of seeing colors. Behavioral and functional neuroimaging experiments have demonstrated that these color experiences lead to changes in behavioral tasks and lead to increased activation of brain regions involved in color perception, thus demonstrating their reality, and similarity to real color percepts, albeit evoked through a non-standard route.

Afterimages

After exposure to strong light in their sensitivity range, photoreceptors of a given type become desensitized. For a few seconds after the light ceases, they will continue to signal less strongly than they otherwise would. Colors observed during that period will appear to lack the color component detected by the desensitized photoreceptors. This effect is responsible for the phenomenon of afterimages, in which the eye may continue to see a bright figure after looking away from it, but in a complementary color.

Afterimage effects have also been utilized by artists, including Vincent van Gogh.

Color constancy

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.^{[citation needed]}

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 studied by Edwin Land in the 1970s and led to his retinex theory of color constancy.

Color naming

Main article: Color naming

Colors vary in several different ways, including hue (red vs. orange vs. blue), saturation, brightness, and gloss. Some color words are derived from the name of an object of that color, such as "orange" or "salmon", while others are abstract, like "red".

Different cultures have different terms for colors, and may also assign some color names to slightly different parts of the spectrum: for instance, the Chinese character 青 (rendered as qīng in Mandarin and ao in Japanese) has a meaning that covers both blue and green; blue and green are traditionally considered shades of "青."

In the 1969 study Basic Color Terms: Their Universality and Evolution, Brent Berlin and Paul Kay describe a pattern in naming "basic" colors (like "red" but not "red-orange" or "dark red" or "blood red", which are "shades" of red). All languages that have two "basic" color names distinguish dark/cool colors from bright/warm colors. The next colors to be distinguished are usually red and then blue or green. All languages with six "basic" colors include black, white, red, green, blue and yellow. The pattern holds up to a set of twelve: black, grey, white, pink, red, orange, yellow, green, blue, purple, brown, and azure (distinct from blue in Russian and Italian but not English).

Associations

Individual colors have a variety of cultural associations such as national colors (in general described in individual color articles and color symbolism). The field of color psychology attempts to identify the effects of color on human emotion and activity. Chromotherapy is a form of alternative medicine attributed to various Eastern traditions.

Health effects

When the color spectrum of artificial lighting is mismatched to that of sunlight, material health effects may arise including increased incidence of headache. This phenomenon is often coupled with adverse effects of over-illumination, since many of the same interior spaces that have color mismatch also have higher light intensity than desirable for the task being conducted in that space.

Measurement and reproduction of color

Relation to spectral colors

The CIE 1931 color space chromaticity diagram. The outer curved boundary is the spectral (or monochromatic) locus, with wavelengths shown in nanometers. Note that the colors depicted depend on the color space of the device on which you are viewing the image, and therefore may not be a strictly accurate representation of the color at a particular position, and especially not for monochromatic colors.

Most light sources are mixtures of various wavelengths of light. However, many such sources can still have a spectral color insofar as the eye cannot distinguish them from monochromatic sources. For example, most computer displays reproduce the spectral color orange as a combination of red and green light; it appears orange because the red and green are mixed in the right proportions to allow the eye's red and green cones to respond the way they do to orange.

A useful concept in understanding the perceived color of a non-monochromatic light source is the dominant wavelength, which identifies the single wavelength of light which produces a sensation most similar to the light source. Dominant wavelength is roughly akin to hue.

Of course, there are many color perceptions that by definition cannot be pure spectral colors due to desaturation or because they are purples (mixtures of red and violet light, from opposite ends of the spectrum). Some examples of necessarily non-spectral colors are the achromatic colors (black, gray and white) and colors such as pink, tan, and magenta.

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 chromaticity 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 CIE 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 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

Main article: Pigment

Pigments are chemicals that selectively absorb and reflect different spectra of light. When a surface is painted with a pigment, light hitting the surface is reflected, minus some wavelengths. This subtraction of wavelengths produces the appearance of different colors. Most paints are a blend of several chemical pigments, intended to produce a reflection of a given color.

Pigment manufacturers assume the source light will be white, or of roughly equal intensity across the spectrum. If the light is not a pure white source (as in the case of nearly all forms of artificial lighting), the resulting spectrum will appear a slightly different color. Red paint, viewed under blue light, may appear black. Red paint is red because it reflects only the red components of the spectrum. Blue light, containing none of these, will create no reflection from red paint, creating the appearance of black.

Structural color

Structural colors are colors caused by interference effects rather than by pigments. Color effects are produced when a material is scored with fine parallel lines, formed of a thin layer or of two or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's wavelength. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce Tyndall effect colors: the blue of the sky, the aerogel of opals, and the blue of human irises. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a diffraction grating: the grating reflects different wavelengths in different directions due to interference phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness.

Structural color is responsible for the blues and greens of the feathers of many birds (the blue jay, for example), as well as certain butterfly wings and beetle shells. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in peacock feathers, soap bubbles, films of oil, and mother of pearl, because the reflected color depends upon the viewing angle. Peter Vukusic has carried out research in butterfly wings and beetle shells using electron micrography, and has since helped develop a range of "photonic" cosmetics using structural color.^[8]

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.

Additional terms

• Hue: the color's direction from white, for example in the CIE chromaticity diagram.
• Saturation: how "intense" or "concentrated" a color is; also known as chroma or purity.
• Value: how light or dark a color is.
• Tint: a color made lighter by adding white.
• Shade: a color made darker by adding black.

See also