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Munsell color system

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1392: 133: 2637: 121: 1325: 31: 1340: 1348: 1403:, or MassArt), wanted to create a "rational way to describe color" that would use decimal notation instead of color names (which he felt were "foolish" and "misleading"), which he could use to teach his students about color. He first started work on the system in 1898 and published it in full form in 1527:
There are mathematical issues with this depiction: If one calls the concentric rings "chroma" and the horizontal stripes "lightness", then it is not possible to have a color whose "chroma" is 2 (counting from the center outward) and "lightness" is 9 (counting from the bottom to the top). This means
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in 1895. These systems became progressively more sophisticated, with Kirschmann’s even recognizing the difference in value between bright colors of different hues. But all of them remained either purely theoretical or encountered practical problems in accommodating all colors. Furthermore, none was
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A color is fully specified by listing the three numbers for hue, value, and chroma in that order. For instance, a purple of medium lightness and fairly saturated would be 5P 5/10 with 5P meaning the color in the middle of the purple hue band, 5/ meaning medium value (lightness), and a chroma of 10
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and the physics of color stimuli. This led to a wide range of possible chroma levels—up to the high 30s for some hue–value combinations (though it is difficult or impossible to make physical objects in colors of such high chromas, and they cannot be reproduced on current computer displays). Vivid
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Several color solids before Munsell's plotted luminosity from black on the bottom to white on the top, with a gray gradient between them, but these systems neglected to keep perceptual lightness constant across horizontal slices. Instead, they plotted fully saturated yellow (light), and fully
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Desire to fit a chosen contour, such as the pyramid, cone, cylinder or cube, coupled with a lack of proper tests, has led to many distorted statements of color relations, and it becomes evident, when physical measurement of pigment values and chromas is studied, that no regular contour will
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Munsell determined the spacing of colors along these dimensions by taking measurements of human visual responses. In each dimension, Munsell colors are as close to perceptually uniform as he could make them, which makes the resulting shape quite irregular. As Munsell explains:
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In computer processing, the Munsell colors are converted to a set of "HVC" numbers. The V and C are the same as the normal chroma and value. The H (hue) number is converted by mapping the hue rings into numbers between 0 and 100, where both 0 and 100 correspond to 10RP.
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to color, putting it on a firm experimental scientific basis. Because of this basis in human visual perception, Munsell's system has outlasted its contemporary color models, and though it has been superseded for some uses by models such as
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and independent dimensions, and he was the first to illustrate the colors systematically in three-dimensional space. Munsell's system, particularly the later renotations, is based on rigorous measurements of human subjects'
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designed to match that of televisions and computer displays. There are no samples for values 0 (pure black) and 10 (pure white), which are theoretical limits not reachable in pigment, and no printed samples of value 1.
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One of the first books about the Munsell color system, explaining the intuition behind its three dimensions, and suggesting possible uses of the system in picking color combinations. An edited version can be found at
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Munsell’s color sphere, 1900. Later, Munsell discovered that if hue, value, and chroma were to be kept perceptually uniform, achievable surface colors could not be forced into a regular geometric shape.
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A description of color systems leading up to Munsell's, and a biographical explanation of Munsell's changing ideas about color and development of his color solid, leading up to the publication of
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that each color cannot be uniquely identified by a single set of "hue", "lightness" and "chroma" values. Albert Munsell's color sphere was designed in such a way as to avoid this pitfall, however.
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The original embodiment of the system (the 1905 Atlas) had some deficiencies as a physical representation of the theoretical system. These were improved significantly in the 1929
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As the Munsell books, including the 1943 renotation, only contains colors for some points in the Munsell space, it is non-trivial to specify an arbitrary color in Munsell space.
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Three-dimensional representation of the 1943 Munsell renotations (with portion cut away). Notice the irregularity of the shape when compared with Munsell's earlier color sphere.
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to represent all colors was developed during the 18th and 19th centuries. Several different shapes for such a solid were proposed, including: a double triangular pyramid by
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A concise introduction to the Munsell color system, on a web page which also discusses several other color systems, putting the Munsell system in its historical context.
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contains more color samples than this chart for both 5PB and 5Y (particularly bright yellows, up to 5Y 8.5/14). However, they are not reproducible in the
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The Munsell color system, showing: a circle of hues at value 5 chroma 6; the neutral values from 0 to 10; and the chromas of purple-blue (5PB) at value 5.
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based on any rigorous scientific measurement of human vision; before Munsell, the relationship between hue, value, and chroma was not understood.
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was published before he had established the irregular shape of a perceptual color solid, so it describes colors positioned in a sphere.
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to the neutral gray of the same value. The diagram below shows 40 evenly spaced Munsell hues, with complements vertically aligned.
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at the site of the Japanese company Dainichiseika Color & Chemicals, including a nice diagram of the Munsell color solid.
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from Loo & Cox, a web application for generating color palettes from images. Munsell color analysis of digital image.
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of the fitted Munsell-to-xyY transform. The ASTM has defined a method in 2008, but Centore 2012 is known to work better.
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ASTM, Standard D 1535-08, "Standard Practice for Specifying Color by the Munsell System," approved January 1, 2008.
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The original Munsell color chart remains useful for comparing computer models of human color vision.
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Munsell's description of his color system, from a lecture to the American Psychological Association.
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Centore, Paul (December 2012). "An open-source inversion algorithm for the Munsell renotation".
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color-picker from web-design firm Triplecode (based on a version originally created at the
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Klink, Galya V.; Prilipova, Elena S.; Sobolev, Nikolay S.; Semenkov, Ivan N. (2023-10-01).
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Albert Munsell, an artist and professor of art at the Massachusetts Normal Art School (now
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must be used to assign meanings to non-book colors such as "2.8Y 6.95/2.3", followed by an
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of one form or another, but Munsell was the first to separate hue, value, and chroma into
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The system consists of three independent properties of color which can be represented
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Twenty hues of the Munsell color system at maximum chroma to stay in the sRGB gamut.
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An introductory explanation of the development and influence of the Munsell system.
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A practical description of the Munsell color system, with suggestions for its use
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Kuehni, Rolf G. (February 2002). "The early development of the Munsell system".
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in 1860, a tilted cube by William Benson in 1868, and a slanted double cone by
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Several earlier color order systems had placed colors into a three-dimensional
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in plain text format (from the 1940s Optical Society of America renotations).
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Two colors of equal value and chroma, on opposite sides of a hue circle, are
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in the 1940s resulting in the notations (sample definitions) for the modern
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color models—the Munsell system is still widely used, by, among others,
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and through an extensive series of experiments carried out by the
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Landa, Edward R.; Fairchild, Mark D. (September–October 2005).
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Each horizontal circle Munsell divided into five principal
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in the first decade of the 20th century and adopted by the
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For the vision capacities of organisms or machines, see
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Albert H. Munsell, “A Pigment Color System and Notation”
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converter; crude linear interpolation in sRGB space.
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The Munsell and Kubelka-Munk Toolbox by Paul Centore
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saturated blue and purple (dark) along the equator.
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A practical description of the Munsell color system
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Retrieved 13 August 2003 1541:, a metric based on the Munsell system 1359:The idea of using a three-dimensional 1915:"A Pigment Color System and Notation" 66:(color intensity). It was created by 7: 715: 149:in three dimensions as an irregular 54:based on three properties of color: 1913:Munsell, Albert H. (January 1912). 1234: 1200: 1157: 1108: 1053: 992: 928: 861: 800: 752: 2084:LOGitEASY Munsell Color Calculator 1919:The American Journal of Psychology 25: 2033:Rochester Institute of Technology 2009:explanation of the Munsell system 107:, it is still in wide use today. 2636: 2635: 2029:Munsell Color Science Laboratory 1801:. Boston: Munsell Color Company. 1649:Color Research & Application 239: 131: 119: 1953:Color Research and Application 1814:Color Research and Application 1729:10.1016/j.geoderma.2023.116645 1: 1877:MacEvoy, Bruce (2005-08-01). 1806:http://www.applepainter.com/ 651:(horizontal); hue 5Y and 5PB 1992:page at the X-Rite website. 1947:Nickerson, Dorothy (1976). 1897:Munsell, Albert H. (1905). 1797:Cleland, Thomas M. (1921). 1297:is specified by the syntax 2683: 2548:Colour Index International 1537:Beer color is measured in 1416:Optical Society of America 2632: 2140: 1903:. Boston: G. H. Ellis Co. 1375:in 1810, a hemisphere by 1213: 1184: 467: 458: 449: 440: 431: 422: 296: 287: 278: 269: 260: 251: 1982:, current owners of the 1676:Kuenhi (2002), pp. 20–21 1470:during the selection of 1351:Several editions of the 2039:Munsell renotation data 1369:Johann Heinrich Lambert 78:research in the 1930s. 1396: 1377:Michel Eugène Chevreul 1356: 1344: 1336: 1268:, which has a limited 190: 58:(basic color), value ( 35: 2063:Munsell Color Palette 1984:Munsell Color Company 1420:Munsell Book of Color 1412:Munsell Book of Color 1394: 1381:Hermann von Helmholtz 1371:in 1772, a sphere by 1353:Munsell Book of Color 1350: 1342: 1327: 1320:History and influence 1262:Munsell Book of Color 33: 2565:Federal Standard 595 2145:List of color spaces 1560:Kuehni (2002), p. 21 1509:Natural Color System 1424:Uniform Color Scales 1335:(Color Sphere), 1810 246:; value 6 / chroma 6 230:complementary colors 87:perceptually uniform 44:Munsell color system 2023:Data and conversion 1970:General information 1783:. 23 December 2020. 1720:2023Geode.438k6645K 1476:dental restorations 1379:in 1839, a cone by 653: 248: 2667:1905 introductions 1869:10.1511/2005.5.436 1847:American Scientist 1766:2017-04-22 at the 1576:2017-04-30 at the 1456:forensic pathology 1397: 1373:Philipp Otto Runge 1357: 1345: 1337: 1288:Specifying a color 641: 240: 36: 2649: 2648: 2016:brief explanation 1826:10.1002/col.10002 1661:10.1002/col.20715 1385:August Kirschmann 1343:Albert H. Munsell 1293:(see swatch). An 1284: 1283: 1277: 1276: 1252: 1251: 589: 588: 68:Albert H. 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1852: 1848: 1841: 1836: 1833: 1827: 1823: 1819: 1815: 1810: 1807: 1800: 1795: 1794: 1790: 1782: 1776: 1773: 1769: 1765: 1762: 1756: 1753: 1747: 1744: 1739: 1735: 1730: 1725: 1721: 1717: 1713: 1709: 1705: 1698: 1695: 1692: 1688: 1682: 1679: 1673: 1671: 1667: 1662: 1658: 1654: 1650: 1643: 1640: 1634: 1631: 1628: 1622: 1619: 1616: 1610: 1607: 1604: 1598: 1595: 1592: 1586: 1583: 1579: 1575: 1572: 1566: 1563: 1557: 1554: 1548: 1540: 1534: 1531: 1524: 1521: 1514: 1510: 1507: 1505: 1502: 1500: 1497: 1496: 1492: 1490: 1487: 1485: 1482:for matching 1481: 1477: 1473: 1469: 1465: 1462:for matching 1461: 1457: 1453: 1449: 1445: 1441: 1437: 1433: 1429: 1425: 1421: 1417: 1413: 1408: 1406: 1402: 1393: 1389: 1386: 1382: 1378: 1374: 1370: 1366: 1362: 1354: 1349: 1341: 1334: 1330: 1326: 1319: 1317: 1315: 1311: 1310:Interpolation 1306: 1302: 1296: 1287: 1280: 1271: 1267: 1263: 1259: 1258: 1255: 1248: 1246: 1244: 1242: 1240: 1238: 1233: 1231: 1229: 1227: 1225: 1223: 1221: 1218: 1217: 1211: 1209: 1204: 1199: 1194: 1189: 1187: 1181: 1180: 1177: 1175: 1173: 1171: 1166: 1161: 1156: 1151: 1146: 1141: 1139: 1137: 1135: 1132: 1131: 1128: 1126: 1124: 1122: 1117: 1112: 1107: 1102: 1097: 1092: 1087: 1085: 1083: 1080: 1079: 1076: 1074: 1072: 1067: 1062: 1057: 1052: 1047: 1042: 1037: 1032: 1027: 1025: 1022: 1021: 1018: 1016: 1011: 1006: 1001: 996: 991: 986: 981: 976: 971: 966: 961: 958: 957: 954: 952: 947: 942: 937: 932: 927: 922: 917: 912: 907: 902: 897: 894: 893: 890: 885: 880: 875: 870: 865: 860: 855: 850: 845: 840: 838: 836: 833: 832: 829: 824: 819: 814: 809: 804: 799: 794: 789: 787: 785: 783: 781: 778: 777: 774: 772: 770: 768: 766: 761: 756: 751: 746: 744: 742: 740: 738: 736: 733: 732: 729: 727: 725: 723: 721: 719: 714: 712: 710: 708: 706: 704: 702: 699: 698: 694: 691: 688: 685: 682: 679: 676: 673: 670: 667: 664: 661: 658: 656: 655: 652: 650: 646: 638: 637: 633: 630: 626: 622: 618: 611: 609: 605: 603: 599: 592: 585: 580: 575: 570: 565: 560: 555: 550: 545: 540: 535: 530: 525: 520: 515: 510: 505: 500: 495: 490: 485: 480: 478: 477: 474: 465: 456: 447: 438: 429: 421: 418: 417: 414: 409: 404: 399: 394: 389: 384: 379: 374: 369: 364: 359: 354: 349: 344: 339: 334: 329: 324: 319: 314: 309: 307: 306: 303: 294: 285: 276: 267: 258: 250: 247: 245: 237: 235: 231: 226: 224: 220: 216: 212: 208: 204: 200: 192: 183: 178: 171: 168: 165: 162: 159: 156: 155: 154: 152: 148: 147:cylindrically 134: 122: 110: 108: 106: 102: 98: 93: 88: 84: 79: 77: 73: 69: 65: 61: 57: 53: 49: 45: 41: 32: 19: 18:Munsell color 2642:Color vision 2584: 2150:Color models 2090: 2089: 2022: 2021: 2001: 1969: 1968: 1956: 1952: 1922: 1918: 1906: 1899: 1886:. Retrieved 1883:Color Vision 1882: 1850: 1846: 1831: 1820:(1): 20–27. 1817: 1813: 1798: 1791:Bibliography 1775: 1755: 1746: 1711: 1707: 1697: 1687:Munsell 1905 1681: 1652: 1648: 1642: 1633: 1621: 1609: 1597: 1585: 1565: 1556: 1533: 1523: 1488: 1435: 1419: 1411: 1409: 1404: 1398: 1365:Tobias Mayer 1358: 1352: 1332: 1313: 1307: 1303: 1291: 1278: 1261: 648: 644: 642: 616: 615: 606: 597: 596: 243: 241: 227: 222: 218: 214: 210: 206: 202: 198: 196: 180: 175: 169: 163: 157: 144: 100: 80: 43: 37: 2662:Color space 2620: [ 2575:ICC profile 2134:Color space 2091:Other tools 1976:Munsell.com 1761:pp. 442–443 1691:ch.1, pg. 7 1571:pp. 437–438 1504:HSL and HSV 1472:tooth color 1361:color solid 1333:Farbenkugel 1270:color gamut 998:134 121 103 993:124 124 124 988:120 122 142 983:111 122 156 978:101 123 171 939:167 147 103 934:161 147 129 929:150 150 150 924:146 148 168 919:138 148 182 914:128 149 198 909:116 149 213 904:101 150 227 877:200 173 101 872:194 173 128 867:188 173 155 862:179 179 179 857:173 174 195 852:164 175 210 847:154 175 225 842:142 176 241 816:227 200 126 811:221 200 154 806:215 200 181 801:203 203 203 796:200 200 222 791:190 201 239 763:250 227 178 758:243 227 207 753:232 232 232 748:228 228 250 716:255 255 255 582:201 130 134 577:200 130 140 572:198 130 146 567:196 130 153 562:193 131 160 557:188 132 169 552:183 134 176 547:177 135 182 542:168 138 189 537:160 140 193 532:152 142 196 527:141 145 198 522:128 149 198 517:117 151 197 512:104 154 195 386:101 162 124 381:115 160 110 331:197 135 100 326:200 133 109 321:201 131 118 316:201 130 127 311:201 130 134 151:color solid 111:Explanation 83:color solid 48:color space 40:colorimetry 27:Color space 2656:Categories 2465:Hexachrome 2274:Wide-gamut 2216:UVW (1964) 2211:YUV (1960) 2206:RGB (1931) 2201:XYZ (1931) 2097:ToyPalette 1959:(1): 7–10. 1888:2007-04-16 1714:: 116645. 1549:References 1484:beer color 1464:soil color 1452:hair color 1448:skin color 1446:to define 1426:, and the 1008:146 120 48 1003:141 121 77 973:89 123 185 968:72 123 199 963:46 124 214 949:178 146 42 944:173 146 75 899:79 150 244 887:210 172 29 882:205 172 72 826:237 199 63 821:233 199 97 621:saturation 507:93 156 193 502:82 158 189 497:73 160 184 492:70 161 177 487:70 162 170 482:73 163 162 411:73 163 162 406:78 163 154 401:82 163 148 396:87 163 141 391:92 163 134 376:127 159 98 371:141 156 85 366:151 154 78 361:160 151 73 356:167 149 72 351:173 146 75 346:181 143 79 341:187 140 86 336:193 137 94 234:additively 232:, and mix 2617:JIS Z8102 2400:Rec. 2100 2388:Rec. 2100 2383:Rec. 2020 2314:Rec. 2100 2309:Rec. 2020 1855:CiteSeerX 1738:0016-7061 1480:breweries 1407:in 1905. 1314:inversion 1099:58 72 106 1094:45 72 120 1089:26 72 133 1069:119 94 25 1064:114 95 52 1059:108 96 77 1049:93 96 116 1044:85 96 130 1039:74 97 144 1034:59 97 158 1029:38 97 172 1013:150 119 9 602:lightness 217:lue, and 60:lightness 2580:ISCC–NBS 2470:HSL, HSV 2455:Coloroid 2450:ColorADD 2378:Rec. 709 2373:Rec. 601 2304:Rec. 709 2294:Rec. 601 2279:ProPhoto 2236:CIECAM16 2231:CIECAM02 2183:CIECAM16 2168:CIECAM02 1834:in 1905. 1764:Archived 1708:Geoderma 1574:Archived 1499:Coloroid 1493:See also 1440:CIECAM02 1201:28 28 28 1196:23 28 45 1191:13 28 56 1163:57 48 34 1158:48 48 48 1153:44 49 66 1148:35 49 79 1143:20 49 93 1119:87 70 33 1114:81 71 55 1109:70 70 70 1104:67 72 92 1054:97 97 97 643:Munsell 242:Munsell 185:—  105:CIECAM02 2600:Pantone 2595:Ostwald 2585:Munsell 2490:OSA-UCS 2043:CIE xyY 2031:at the 1990:Munsell 1939:1412843 1716:Bibcode 1206:37 27 9 1168:63 47 6 625:pastels 209:ellow, 62:), and 2640:  2440:CcMmYK 2289:DCI-P3 1980:X-Rite 1937:  1857:  1736:  1591:p. 239 1478:, and 1458:, the 1438:) and 1436:L*a*b* 1432:CIELAB 1279: 649:chroma 617:Chroma 612:Chroma 213:reen, 182:serve. 164:chroma 103:) and 101:L*a*b* 97:CIELAB 64:chroma 52:colors 42:, the 2624:] 2485:Oklab 2433:Other 2424:YCoCg 2419:xvYCC 2407:YPbPr 2395:ICtCp 2368:YCbCr 2349:SECAM 2344:YDbDr 2284:scRGB 2269:Adobe 2178:CAM16 1935:JSTOR 1843:(PDF) 1627:Ch. 3 1615:Ch. 2 1603:Ch. 1 1515:Notes 1466:, in 1329:Runge 1235:0 0 0 645:value 600:, or 598:Value 593:Value 170:value 46:is a 2610:list 2543:ANPA 2538:ACES 2495:PCCS 2445:CMYK 2361:NTSC 2324:Y′UV 2259:sRGB 2173:iCAM 2067:sRGB 1734:ISSN 1474:for 1460:USGS 1454:for 1450:and 1444:ANSI 1299:N V/ 1185:5PB 244:hues 205:ed, 199:hues 76:soil 2605:RAL 2590:NCS 2570:HKS 2560:DIC 2520:TSL 2515:YJK 2510:HWB 2505:RYB 2475:HCL 2460:LMS 2412:MAC 2356:YIQ 2337:PAL 2332:YUV 2246:RGB 2193:CIE 2160:CAM 2007:An 1927:doi 1865:doi 1822:doi 1724:doi 1712:438 1689:), 1657:doi 1430:’s 1331:'s 1214:5Y 700:10 695:12 629:eye 459:5RP 441:5PB 423:5BG 297:5BG 279:5GY 261:5YR 193:Hue 158:hue 56:hue 38:In 2658:: 2622:ja 2500:RG 2080:). 2014:A 1986:. 1955:. 1951:. 1933:. 1923:23 1921:. 1917:. 1881:. 1863:. 1851:93 1849:. 1845:. 1818:27 1816:. 1732:. 1722:. 1710:. 1706:. 1669:^ 1653:37 1651:. 1486:. 1219:0 1182:1 1133:2 1081:3 1023:4 959:5 895:6 834:7 779:8 734:9 692:10 662:10 659:12 468:5R 450:5P 432:5B 288:5G 270:5Y 252:5R 223:YR 201:: 153:: 2644:. 2126:e 2119:t 2112:v 2004:. 1957:1 1941:. 1929:: 1891:. 1871:. 1867:: 1828:. 1824:: 1808:. 1770:. 1740:. 1726:: 1718:: 1685:( 1663:. 1659:: 1580:, 1434:( 689:8 686:6 683:4 680:2 677:0 674:2 671:4 668:6 665:8 471:| 462:| 453:| 444:| 435:| 426:| 300:| 291:| 282:| 273:| 264:| 255:| 219:P 215:B 211:G 207:Y 203:R 99:( 20:)

Index

Munsell color

colorimetry
color space
colors
hue
lightness
chroma
Albert H. Munsell
United States Department of Agriculture
soil
color solid
perceptually uniform
visual responses
CIELAB
CIECAM02


cylindrically
color solid
complementary colors
additively
lightness
saturation
pastels
eye
sRGB color space
color gamut
achromatic color
Interpolation

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