Red grey, possibly the highest chroma of the five, a pinkish grey with blueish undertones.
Orange grey, a muted flesh/terracotta hue absolutely in tune with it's siblings in both value and subtlety. Yellow grey, a rich warm grey with gentle yellow undertones. Green grey, cooler, greener version of the blue grey again displays a vibrancy impossible to mix. The swatch images don't do them justice, it would be hard to capture the shifting feel of these paints, I am very impressed.īlue grey, it is quite luminous which would be very hard to achieve by mixing on the palette, however at the same time it has the wonderful muted appearance of these colours. These would be very useful in plein aire painting when the environmental conditions make it tricky to mix colours with such subtleties. When capturing light in painting it is these low chroma, mid to high value greys which really create the illusion of light. They look beautiful together and are very harmonious or analogous and would obviously work very well when used together, however they are also highly functional individually. The images show them with more chroma than the reality. The set of best adapted colors in each condition were common to a majority of subjects and were dependent on the chromaticity of the illuminant and the chromatic background considered.This is a set of five 40ml tubes of coloured or chromatic greys, they come in our presentation boxes and would make a very good gift. Our eyes and brains need to rest from them to compensate for them by optically creating a less intense color. They can be exciting for short periods of time, but their intensity is not for everyone. Bright, saturated colors that are not grayed at all can be almost jarring to see. Our results show that for some colors the constancy index was better than for grey. Chromatic grays are more comfortable to look at. The colors adjusted by the subjects in each adaptation condition were compared to the reference colors under the corresponding illuminant and a “constancy index” was obtained for each of them. A set of basic colors were measured for each subject under neutral conditions (achromatic background and D65 illuminant) and used as “reference” for the rest of the experiment. These include achromatic and colored Mondrian backgrounds, under a simulated D65 illuminant and several colored illuminants. All subjects were trained to “recall” their most exemplary colors reliably from memory and asked to always produce the same basic colors when required under several adaptation conditions.
CHROMATIC GREY PATCH
The test patch is embedded inside a Mondrian image and presented on a calibrated CRT screen inside a dark cabin. To this end we have developed a new psychophysical paradigm in which subjects adjust the color of a test patch (in CIELab space) to match their memory of the best example of a given color chosen from the universal terms list (grey, red, green, blue, yellow, purple, pink, orange and brown). In this work, we hypothesize whether chromatic adaptation (without a reference white or grey) could be driven by certain colors, specifically those corresponding to the universal color terms proposed by Berlin and Kay (1969). It is usually measured by estimating the perceived color of a grey patch under an illuminant change. Color constancy (the ability to perceive colors relatively stable under different illuminants) is the result of several mechanisms spread across different neural levels and responding to several visual scene cues.