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J. Saunderson (1942)
Calculation of the Color of Pigmented PlasticsJournal of the Optical Society of America, 32
Billmeyer Billmeyer, Abrams Abrams (1973)
Predicting reflectance and color of paint films by Kubelka‐Munk analysis, I. Turbid‐medium theoryJ Paint Technol, 45
R. Berns (1997)
A generic approach to color modelingColor Research and Application, 22
Billmeyer Billmeyer, Abrams Abrams (1973)
Predicting reflectance and color of paint films by Kubelka‐Munk analysis, II. Performance testsJ Paint Technol, 45
J. Ryde, B. Cooper (1931)
The Scattering of Light by Turbid Media. Part IIProceedings of The Royal Society A: Mathematical, Physical and Engineering Sciences, 131
Y. Okumura (2005)
Developing a Spectral and Colorimetric Database of Artist Paint Materials
Phillips Phillips, Billmeyer Billmeyer (1976)
Predicting reflectance and color of paint films by Kubelka‐Munk analysis, IV. Kubelka‐Munk scattering coefficientJ Coat Technol, 48
D. Rich (2001)
Billmeyer and Saltzman's principles of color technology, 3rd editionColor Research and Application, 26
Duncan Duncan (1949)
The color of pigment mixturesJ Oil Color Chem Assoc, 32
Billmeyer Billmeyer, Phillips Phillips (1974)
Predicting reflectance and color of paint films by Kubelka‐Munk analysis, III. Effect of concentration errors on color for mixtures of one chromatic pigment with whiteJ Paint Technol, 46
Mohammadi Mohammadi, Berns Berns (2006)
Verification of the Kubelka‐Munk turbid media theory for artist acrylic paintArtwork spectral imaging technical report, 2004
For opaque coloration systems, Kubelka‐Munk turbid media theory is used commonly to model optical mixing behavior. Most educational publications on the subject use opaque paint systems when describing the two‐constant approach and textile systems when describing the single‐constant simplification. Because of the differences in defining concentration for these systems and the corresponding degrees of freedom, the single‐constant simplification for paint and textile systems are not identical. The second edition of “Principles of Color Technology” showed a numerical example for an opaque paint system modeled using the textile equations. The third edition used the same example but modified the degrees of freedom, a hybrid of the paint and textile approaches. Recent research by Berns and Mohammadi has evaluated the single‐constant simplification for modeling artist paints; they have used both the hybrid and paint approaches. Thus, it was of interest to review these different approaches and determine whether these differences have practical importance and whether future printings and editions of Principles of Color Technology should be modified. The three approaches were tested for tints made from a mixture of cobalt blue and titanium white acrylic emulsion artist paints. The differences between the textile and hybrid approaches were inconsequential. The paint approach was superior and its use is recommended for opaque paint systems. The differences in the numerical example from Principles of Color Technology were very small. For future printings of the third edition, the example will remain unchanged. For future editions, including the numerical example remains an open question. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 201–207, 2007
Color Research & Application – Wiley
Published: Jun 1, 2007
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