B and q colour chart

BUY NOW Magome Flat Matt Furniture Paint, £8

For years the humble skirting board, interior door and window sill have been overlooked, but 2019 is their time to shine. Adding a splash of colour to your woodwork will instantly brighten up a room and is a great way to inject colour if you prefer sticking to a more neutral colour palette on the walls.

This trend looks great on doors. Just remember that it pays to be bold and choose vibrant hues to create an on-trend contrast.

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BUY NOW Walls & Ceilings Milltown Matt Emulsion Paint, £12

Colour blocking is enjoying a renaissance, and 2019 sees the trend get even bigger and bolder. The technique, which enjoyed a 69 per cent increase in searches on Pinterest in the UK over the past year, involves using complementary colours together to striking effect.

The braver you can be, the better when it comes to this trend. Try incorporating shapes such as triangles or hexagons to create dynamic colour pops.

Standout ceilings

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BUY NOW Walls & Ceilings Kensington Matt Emulsion Paint, £12

It's time to make use of forgotten space and embrace the fifth wall – the ceiling.

A statement ceiling can be created using colours or patterns to dramatic effect. This daring trend is set to be huge this year, with searches for ‘statement ceilings’ on Pinterest up 185 per cent. A bold ceiling will pull a room together, and looks great alongside rooms with a more neutral colour palette such as greys, beiges and creams.

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Browse our 2,000 pre-selected paint colours and get your colour chips for free today - just use FREECOLOURCHIPS at the checkout*

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Planet Fever R70F

Reds

From subtle, warm shades to vibrant, energetic reds, we have a wide range to suit any taste.

Fiery Sky X61R133E

Oranges

Orange is bold, warm and sometimes controversial.

Gilded Age X69R140F

Yellows

Paint an entire room or add bursts of colour for a splash of happiness and positivity.

Eagle's Mark R225A

Greens

Add touches of tranquillity and peace to your home with nature inspired shades.

Slice of Heaven X78R148D

Blues

Blue hues are restful and calm but the right shade can be dynamic and add a splash of drama.

Deep Ocean Floor R157A

Purples

Purples stimulate, inspire creativity and are calming

Tempest's Teapot L18DW35B

Blacks

There’s more than one shade of black. It’s a confident colour full of possibility.

Lights at Sea R156B

Teals

Unique and sophisticated, teals are the perfect balance of blue, green and yellow and will instantly transport you to sandy beaches and summer skies.

Gotham City X97R214B

Greys

Greys are the modern classics that won’t ever age.

Petite Pirouette R69A

Pinks

Dusky and romantic or vivid and strong, pinks don’t have to be confined to bedrooms.

Brushed Cotton R82A

Creams

A classic, stable neutral that you can always rely on.

Bridal Veil W31A

Whites

Clean, pure, brilliant and incredibly versatile, white works in any room.

We've organised our pre-selected paint colours into colour groups so that you can easily find the colours you love. simply click on a colour to see hundreds of shades.

Browse our 2,000 paint colours to find the perfect scheme for your home. From fresh white kitchens to inspiring purple workspaces, colour has the power to transform your environment into something more. Discover the perfect colour for you and display it with pride.
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X89R187A

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Color Mixing Technique - Electronic Time

One of the advantages of LEDs is their ability to generate different colors of light, which opens up new possibilities, for example, for decorative lighting applications. Color mixing is a very important feature that generates a complementary color by combining base colors. The article discusses color mixing methods based on the chosen model and how they can be applied in practice. The article is a translation of [1]. nine0003

Color mixing and stimulus color space

Primary colors are not a fundamental property of light, but their choice is determined by the properties of the human eye or the technical parameters of color reproduction systems. The human retina has three types of light receptors responsible for color vision. It is assumed that the primary colors are completely independent of each other, and their combination forms a particular color. Each type of cones in the eye responds to a specific range of the visible spectrum. The response evoked in cones by light of a certain spectrum is called a color stimulus. nine0007 The technique of color reproduction uses different color mixing models. Each of them has its own advantages and disadvantages. When modeling, the complexity of the representation and the number of variables are minimized, and the representation area is maximized.
The color space can be described by three variables: RGB (Red - red, Green - green, Blue - blue), HSB (Hue, Saturation, Brightness - hue, saturation, brightness), HSV (Hue, Saturation, Value - hue, saturation, value) or using other models such as Lab or xyY. nine0007 Color stimuli are designated as Q, R, G, B, and A, where Q is an arbitrary color stimulus and R, G, B, and A (Amber) correspond to the main stimuli selected for color detection experiments.
The color correspondence between the given stimulus Q and the additive mixing of the main stimuli R, G, B and A, presented in appropriate amounts, is determined by the vector equation: B+. . . . +A _Q A. (1)

Thus, in multidimensional space, the color stimulus Q is represented by the sum of elementary stimuli R, G, B, and A, and the scalar factors R _Q , G _Q , B _Q and A _Q , measured in the corresponding data units of the main stimuli R, G, B, A, determine the values ​​(weight coefficients) of the total vector Q.
The geometric representation of equation (1) in a linear multidimensional space is shown in Figure 1. Unit vectors R , G, B, A represent elementary stimuli that define space. They have a common origin and are oriented in four different directions. nine0003

Fig. 1. Multidimensional color space

The origin of vector Q is the same as R, G, B, A. These four components are located along the axes R, G, B and A, and their length is determined by the values ​​R _Q , G _Q , B _Q and A _Q . The direction and length of the total vector Q is given by equation (1). The color mixing algorithm calculates these values ​​to determine the Q value.0003

Color mixing

Figure 2 shows the CIE 1931 chromaticity chart. It shows the three primary colors of LEDs, red, green and blue. When two primary colors, such as red and blue, are mixed in a certain ratio, all intermediate colors are displayed as points of a segment connecting these primary colors.

Fig. 2. CIE chromaticity chart

Any color obtained by mixing these three sources of primary colors is inside the triangle (see Fig. 2) that defines the entire color gamut. However, in the CIE 1931 standard, the color distribution is not uniform. For this reason, linear transformation does not allow you to determine the proportion of the primary colors involved in creating the required secondary color.

Color mixing algorithm

In color mixing applications, the values ​​used are defined as CIE chromaticity coordinates. The software converts them to the appropriate values ​​for each LED channel. These coefficients represent the fraction of the LED's luminous flux by which it is attenuated. The luminous flux of the LED is controlled by a current adjustment circuit. In this way, the colors of the LEDs are mixed in a set proportion, allowing you to get the desired color. nine0003

Multi-channel color mixing

In the CIE 1931 three-channel color mixing model, all possible color combinations are displayed as values ​​in a triangular region (see Figure 2). This color representation model provides a wide range of unique colors and high resolution.
The four-channel color representation is based on the superposition principle and on the three-channel color mixing model. In this model, the color points of the four LEDs displayed on the color space diagram form four triangular regions (see Figure 3). nine0003

Fig. 3. The principle of superposition in the four-channel color mixing model

This method can easily be extended to a system with more than four LEDs. Figure 3 shows the following four triangles: (R, G, B), (R, A, B), (R, G, A) and (G, A, B).
Each of them determines the dimming factor using three-channel color mixing functions. Two of these four triangles define non-negative coefficients, and the other two define one or all of the negative coefficients. These two triangles define invalid values ​​and are therefore not considered. The application only uses data arrays with all positive coefficient values. nine0007 Negative flux coefficients correspond to points that are outside the triangle formed by the three primary colors. For example, in Figure 4, the RGB triangle displays all non-negative P1 values. In the case of P2, at least one value is negative.

Fig. 4. Positive and negative luminous flux coefficients

To obtain the desired color, add two positive values, taking into account weighting factors. If the value is negative, this means that the desired color is not in the gamut and cannot be obtained using the primary colors. nine0003

Implementation of the color mixing algorithm

The software uses the CIE 1931 color space for color input. Each specific point in this model is represented by three values ​​- (x, y, Y). The x and y coordinates represent hue and saturation, respectively. Hue values ​​are plotted on one of the coordinate axes of the CIE 1931 color space. Saturation values ​​form the second coordinate axis. The third value of the vector (x, y, Y) determines the luminous flux, expressed in lumens. The program must have data in the form of vectors (x, y, Y) that determine the color and luminous flux at a given rated current and junction temperature. nine0007 Figure 5 shows a block diagram of an implementation of a color mixing algorithm based on Cypress' 8-bit PowerPSoC microcontroller family. It provides up to four independent channels of hysteresis controlled DC drivers. It includes 7-32V analog and digital peripheral modules and a 1-A built-in power MOSFET.

Fig. Fig. 5. Structural diagram of the implementation of the color mixing algorithm using the PowerPSoC microcontroller from Cypress

The 4-channel color mixing implementation is based on the 3-channel model. At the first stage of this algorithm, a matrix is ​​created. Then the inverse matrix is ​​determined, which is multiplied by Ymix - the value of the total luminous flux. The steps in this process are illustrated in Figure 6.

Fig. 6. Sequence of operations in the three-channel color mixing algorithm

The Y values ​​resulting from the multiplication operation are the lumen output of each respective LED, which is used to obtain the desired color and lumen output.
If some Y product has a negative value, it means that the requested color coordinate is not valid. In other words, the desired color is not included in the color gamut.
In addition, it is determined whether any product of Y does not exceed the maximum value of the luminous flux of each of the three LEDs, i.e. Is Ymix too large? In this case, the application reduces the values ​​in such a way that the maximum possible light output is generated for the requested coordinate (x, y). nine0007 Figure 7 shows the calculation steps using the four-channel color mixing algorithm.

Fig. 7. Sequence of operations in the four-channel model of color mixing. The designations TRI1–TRI4 correspond to the four triplets (R, G, B), (R, A, B), (R, G, A) and (G, A, B

A three-channel representation algorithm is implemented to determine the dimming ratios for each of the triangles. Triangles are defined to calculate TRx. If any one of the three calculated coefficients is negative, the decision is considered invalid. If it is valid, the three obtained coefficients are stored in the application memory. Once two of the three sets of real coefficients have been calculated, there is no need to work with other triangles. nine0007 The six memorized luminous flux dimming factors are added to give four values ​​for the four LEDs in the system. These values ​​are scaled according to the required resolution, after which the algorithm process stops.
Finally, these four coefficient values ​​are used as input to external and internal drivers that control the brightness of the LEDs with current, per channel. If three of the four solutions are invalid, then the desired color is not in the color scheme. nine0007 To correct this error, you can keep the previous color, turn off the LED, etc. Three-channel and four-channel algorithms are used in systems with a large number of LEDs, as well as in a wide range of lighting applications.

Literature

1. Anshul Gulati. Understand the Science Behind Color Mixing//www.eetimes.com.

What is the color range | BenQ Russia

Color gamut definition

Color gamut is the range of colors that a device can reproduce or record. Typically, a closed area of ​​the primary colors of the device on the color chart is used to visually represent the color gamut. For example, the primary colors of monitors are red, green, and blue. Therefore, the monitor's color gamut is displayed as a triangular area enclosed by the color coordinates of red, green, and blue. A chromaticity diagram with different color gamuts is shown in Figure 1.

CIE 1931


xy color gamut When we describe color, it usually consists of three components: hue, saturation, and lightness. Because a color gamut is a collection of colors, it can also be described in terms of hue, saturation, and lightness. When we build a color scale, it should be a 3D graph (Fig. 2), but a 2D graph is more commonly used (Fig. 1), since building a 3D graph is quite a difficult task. The missing parameter is the gray scale, which is perpendicular to the screen or sheet of paper. nine0003


Figure 2 : 3D representation of the color gamut

Common color gamut standards

The best-known color gamut is “NTSC” (created in 1953 by the US FCC). The standard for monitors is “sRGB”, a color gamut developed by the IEC in 1999. The purpose of color gamut standardization was to promote an easier way to determine the correctness of a color rendition. As long as digital devices such as cameras, scanners, monitors, printers, and projectors correctly reproduce the sRGB color gamut, the image will be identical across devices. All devices have the same ability to record (when properly calibrated), or print in the same range of colors. Therefore, for the same image, differences in color reproduced on different devices will be minimal. In this way, color fidelity, known as full gamut color reproduction, can be achieved. nine0003

To achieve color accuracy, it is necessary to match the accuracy of the RGB color coordinates on the color chart. Each pair of color coordinates specifies a unique color. For example, (x, y) = (0.64, 0.30) is not equal to (x, y) = (0.63, 0.29). Another fact that may mislead you. Some monitor manufacturers list "72% NTSC" color coverage, claiming it is "sRGB compatible". But it's not. If we take the color coordinates of the color gamut from Table 1 and calculate the area, we find that the area ratio of sRGB to NTSC is 0.72 to 1. Therefore, we cannot say that 72% of the NTSC color gamut is equal to the sRGB color gamut. Correct interpretation: “the number of colors that sRGB can reproduce is the same as 72% NTSC, but the colors reproduced are not necessarily identical.” This only makes sense when we're talking about "coverage" when comparing two color gamuts. An example can be seen in Figure 3. On the left side, both color gamuts have the same area ratio, but they do not overlap each other 100%. On the right side, only part of the monitor's color gamut covers sRGB. Obviously this monitor cannot reproduce 100% of the sRGB color gamut. nine0003

Color gamuts and their associated R, G, and B color coordinates.

1931 x-coordinate

1931 y-coordinate

Color Gamut

NTSC

R31 x-coordinate

0. 67

1931 y-coordinate

0.33

Color Gamut

G

 

0.21

1931 x -coordinate

0.71

Color Gamut

B

0.14

9000

1931 x-coordinate

0.08

Color Gamut

sRGB

 

R

1931 x-coordinate

0.64

1931 Y-Coordinate

0.33

Color Gamut

G

0.3000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000

043

1931 x-coordinate

0. 60

Color Gamut

B

 

0.15

1931 x-coordinate

0.06

Color Gamut

Adobergb

R

1931 X-COORDINATE

9000 9000

002 0.64

1931 y-coordinate

0.33

Color Gamut

G

 

0.21

1931 x-coordinate

0.71

Color Gamut

B

0.15

1931 X-COORDINATE

0.06

Color Gamut

DCI-P3

 

R

1931 x-coordinate

0. 680

1931 y-coordinate

0.320

Color Gamut

G

0.265

1931 x-coordinate

0.690

Color Gamut

B

 

0.150

1931 x-coordinate

0.060

Color Gamut

Rec. 2020

R

1931 x-coordinate

0.708

1931 y-coordinate

0.292

Color Gamut

G

 

0.170

1931 x-coordinate

0. 797

Color Gamut

b

0.131

1931 X-Coordinate

0.0.0003




Figure 3: Two color gamuts with the same area ratio, not overlapping

There are many color gamut standards. For example, AdobeRGB, DCI-P3, EBU and AppleRGB. They have different RGB color coordinates, white points, brightness characteristics, and applications. For example, AdobeRGB is intended for use in graphic design, primarily for print. DCI-P3 is widely used in digital cinema and the European broadcast industry prefers EBU. Color range Rec. 2020 is the latest standard for all devices in the future, reflecting the full range of colors perceived by humans. nine0003

How to choose a color scheme?

Color choice depends on your workflow. If you print a lot, then AdobeRGB is the best choice. If you're creating designs for web publishing, we recommend that you edit your photos in AdobeRGB to preserve as many colors as possible, and then convert to sRGB before publishing. Currently, Internet browsers only support the sRGB color gamut, and any color gamut that exceeds sRGB is considered a “wide color gamut” and will not be rendered correctly. If your photos have been processed in the AdobeRGB color gamut, your photo may appear faded when published online. So the best way to avoid this is to convert your photos to sRGB before posting. nine0003

If you work with video, the best solution would be to move from Rec. 709 to DCI-P3 or Display P3. DCI stands for Digital Cinema Initiative and P3 refers to viewing conditions. Modern cinemas reproduce the vibrant color gamut used by digital cinema projection systems. However, the white point of the DCI-P3 color gamut is greenish white due to projection system configurations. Apple, YouTube, Netflix and other video content providers adopted the same color gamut as DCI-P3 but used D65 as their white point and renamed the display gamut to P3. Neutral white is used in most monitors and televisions and is gaining popularity among video editing professionals.

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