Glossiness of colored papers and its application to specular glossiness measuring instruments

Aida, Takuzo

doi:10.1002/(sici)1520-684x(199701)28:1<95::aid-scj10>3.0.co;2-n

Cited by 10 publications

(3 citation statements)

References 2 publications

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“…4, the average gloss estimates ␣ i are plotted against log C, and a good linear correlation is obtained. The results are in accordance with the results obtained by Aida on paper samples [38], although Aida adopted another definition of contrast, i.e., C = L i / L b . However, for large values of the image luminance L i , calculated values from the two contrast definitions become almost identical.…”

Section: Resultssupporting

confidence: 90%

Geometry of illumination, luminance contrast, and gloss perception

Leloup¹,

Pointer

Dutré

et al. 2010

J. Opt. Soc. Am. A

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The influence of both the geometry of illumination and luminance contrast on gloss perception has been examined using the method of paired comparison. Six achromatic glass samples having different lightness were illuminated by two light sources. Only one of these light sources was visible in reflection by the observer. By separate adjustment of the intensity of both light sources, the luminance of both the reflected image and the adjacent off-specular surroundings could be individually varied. It was found that visual gloss appraisal did not correlate with instrumentally measured specular gloss; however, psychometric contrast seemed to be a much better correlate. It has become clear that not only the sample surface characteristics determine gloss perception: the illumination geometry could be an even more important factor.

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Section: Resultssupporting

confidence: 90%

Geometry of illumination, luminance contrast, and gloss perception

Leloup¹,

Pointer

Dutré

et al. 2010

J. Opt. Soc. Am. A

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“…To demonstrate how the model might be used, Figure 13 shows a prototype of a perceptually-based color/gloss picker for painted surfaces that could be incorporated into an application. We add color to the model by assuming (as suggested in [Astm89] and [Aida97]), that surface chromaticity and apparent gloss are relatively independent. For consistency with the lightness parameter (L) we use CIELAB chroma (a,b) to specify color.…”

Section: A New Tool For Modeling Surface Appearance In Computer Graphicsmentioning

confidence: 99%

Toward a psychophysically-based light reflection model for image synthesis

Pellacini

Ferwerda

Greenberg

2000

Proceedings of the 27th Annual Conference on Computer Graphics and Interactive Techniques - SIGGRAPH '00

219

244

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In this paper we introduce a new light reflection model for image synthesis based on experimental studies of surface gloss perception. To develop the model, we've conducted two experiments that explore the relationships between the physical parameters used to describe the reflectance properties of glossy surfaces and the perceptual dimensions of glossy appearance. In the first experiment we use multidimensional scaling techniques to reveal the dimensionality of gloss perception for simulated painted surfaces. In the second experiment we use magnitude estimation methods to place metrics on these dimensions that relate changes in apparent gloss to variations in surface reflectance properties. We use the results of these experiments to rewrite the parameters of a physically-based light reflection model in perceptual terms. The result is a new psychophysically-based light reflection model where the dimensions of the model are perceptually meaningful, and variations along the dimensions are perceptually uniform. We demonstrate that the model can facilitate describing surface gloss in graphics rendering applications. This work represents a new methodology for developing light reflection models for image synthesis.

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“…The coating materials are usually acrylic or photo-curable varnish [8,9], PET, PE or PP laminates [10]. On an optical point of view, the coating material has not much importance, except its refractive index, absorption coefficient and surface topology which can however have a strong impact on the print appearance, especially on the color gamut [11][12][13] and the glossiness [14][15][16][17]. These changes of appearance can first be explained by a change of surface topology of the material, since adding a coating layer can smoothen the surface of the material and reduce light scattering on it [18,19], or, on the contrary, increase the surface scattering [20].…”

Section: Introductionmentioning

confidence: 99%

Impact of a Transparent Coating on the Reflectance of a Line Halftone Pattern

et al. 2021

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Many prints are coated to increase their resistance or to enhance their appearance. Applying a smooth transparent layer on a print darkens and saturates its color, an easily observable effect which can be predicted in order to obtain better color management of coated surfaces and ink saving. A model was thus developed which describes the reflectance of a single-ink line halftone in optical contact with a transparent smooth coating. It is based on the peculiar way light diffuses inside the coating layer, a phenomenon called the “halo effect”. The model was compared to two experiments conducted at different scales where line halftones were coated with different coating thicknesses. The experiments enabled us to identify and measure the darkening effect caused by a coating layer, and validated the model.

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Glossiness of colored papers and its application to specular glossiness measuring instruments

Cited by 10 publications

References 2 publications

Geometry of illumination, luminance contrast, and gloss perception

Geometry of illumination, luminance contrast, and gloss perception

Toward a psychophysically-based light reflection model for image synthesis

Impact of a Transparent Coating on the Reflectance of a Line Halftone Pattern

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