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The Art, Science & History of Colour Quiz. Part 3: Colours of Objects
This quiz consists of 10 multiple choice questions relating to how we perceive and describe the colour appearance of illuminated objects. The main aim of the quiz is to improve general understanding of these topics rather than to statistically document current knowledge, so feel free either to look up sources you consider reliable or to do the quiz entirely from your current understanding, whichever you prefer. If none of the options seems exactly correct, choose the most correct answer. When you have finished all of the questions you can obtain your score and see extensive feedback and links supporting the answers marked correct.

See also:

Part 1: Seeing in colour.
https://drive.google.com/open?id=192nWv5Az5dVTJX1kfznZImCsRq3kG0cW2MlOcf9COhQ

Part 2: Circles of hue
https://drive.google.com/open?id=1_wkjlTkXXTHD51_D726-KUCAulVdsDq8mn3aw9q58CY

Part 4: Paints and paint mixing
In preparation

Part 5: Colour in art history
In preparation

1. The Munsell system (1) classifies colours of objects according to measures of hue, lightness (called value in the Munsell system) and chroma (colour strength, or the difference from a grey of the same lightness), and (2) arranges all colours in a regular sphere in which the highest-chroma colour of each hue lies on the equator. *
2. In graphics programs such as Adobe Photoshop, which colour space(s)* are designed to classify colours according to roughly accurate measures of hue, lightness and chroma? *
3. "While color is typically thought of as three dimensional and color matches can be specified by just three numbers, it turns out that three dimensions are not enough to completely specify color appearance. In fact, five perceptual dimensions are required for a complete specification of color appearance (Fairchild, M., 2013, "Color Appearance Models", p. 94). In current CIE terminology these five attributes of perceived colour are : *
4. "Saturation" is commonly used as a generic term for colour intensity in contexts where colourfulness, chroma and saturation are not distinguished, but technically the term "saturation" refers to the perceived concentration of chromatic as opposed to white light in the light coming from an area (for "chroma" see question 1). Select the best description of these squares: *
Captionless Image
5. Passing from A to B in the scene below, which of the following statements are true?: *
Captionless Image
6. We see the paint stripe depicted in the image with question 5 as having the same intrinsic colour (e.g. the same hue, lightness and chroma) in the shadow as in the light primarily because *
7. In the Scandinavian Natural Colour System, colours are specified according to: *
8. When a middle grey area is seen in contact with light grey areas it will appear *
9. Select the author and date of this important pioneering insight into colour perception: "So the judgments that we hold about the colors of objects seem not to depend uniquely on the absolute nature of the rays of light that paint the picture of the objects on the retina; our judgments can be changed by the surroundings, and it is probable that we are influenced more by the ratio of some of the properties of the light rays than by the properties themselves, considered in an absolute manner". *
10. The discovery that a target that appears grey in daylight can be made to appear white if it is brightly illuminated in dark surroundings was made by
Footnote
* The CIE International Lighting Vocabulary defines a colour space as a "geometric representation of colour in space, usually of 3 dimensions" (http://eilv.cie.co.at/term/226) and a colorimetric colour space as a "colour space defined by 3 colorimetric coordinates" (http://eilv.cie.co.at/term/193). An alternative usage, found for example in publications by Adobe Inc., restricts the term "colour space" to colorimetric colour spaces, and refers to non-colorimetric colour spaces as "colour models".
More about this quiz
This quiz grew out of an invited presentation I gave at the ISCC/AIC Munsell Centennial Symposium in Boston in June 2018 on the topic "Where is Color Education Today?", in which I argued that in several important ways colour education in art and design today presents not a simplified but a fossilized version of our current understanding of colour. The problems involve not only positive disinformation about colour in books and on the internet, but also the failure of important current concepts like hue opponency and the lucid systematics of perceived colour developed by the CIE to widely penetrate art and design teaching. The feedback provided to these quizzes progressively addresses many of the problems I identified in my presentation, peppered with a few interesting historical observations. The presentation is available as a pdf on the ISCC website at http://www.iscc-archive.org/Munsell2018_Presentations/Briggs-Presentation-WhereIsColourEducationNow.pdf

If you'd like to read more about our current understanding of colour, two exceptionally reliable and approachable recent texts are Rolf Kuehni's "Color" (3rd edition, 2012) and the first part of Mark Fairchild's "Color Appearance Models" (3rd edition, 2013). (The second part is excellent too, but covers the various models used to predict the colour appearance of stimuli under different conditions). For more detailed information the Springer "Encyclopedia of Color Science and Technology" (Luo, 2016) is useful alongside Fairchild, Franklin and Elliot's outstanding "Handbook of Color Psychology" (2016), with chapters by preeminent specialists on subjects ranging from cone cells to colour symbolism and associations. Bruce MacEvoy's "Handprint" site (https://www.handprint.com/) provides an individual view of a similarly vast range of topics, as well as detailed information on paints for watercolour painters, while my own site "The Dimensions of Colour" (http://www.huevaluechroma.com/) focuses more narrowly on the attributes/dimensions of perceived and psychophysical colour and their practical application for painters working in traditional and digital media. For a survey of colour classifications Kuehni and Schwarz's "Color Ordered" (2008) is unmatched. By far the largest and most authoritative source for the scientific terminology of colour and light is the CIE ""International Lighting Vocabulary", now online at http://eilv.cie.co.at/.

Dr David Briggs
Lecturer, National Art School, Julian Ashton Art School and University of Technology Sydney
Vice President and NSW Division Chair, Colour Society of Australia
Website: "The Dimensions of Colour", http://www.huevaluechroma.com/

About you
Before you check your answers, please answer three quick questions about yourself!
At what levels have you taken formal classes in colour? (check all that apply) *
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At what levels you worked teaching colour? (check all that apply) *
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What is your country of residence? *
Your answer
Finally, is this your first attempt at this part of "The Art, Science & History of Colour Quiz"? (Please try it as often as you like, but I'm interested to see the statistics for first attempts) *
Thank you!
Thanks very much for completing this section of the quiz. It's no cause for despair if you get a low score; the quiz is intended to highlight some extremely widely held misconceptions about colour, as well as to draw attention to a few important or curious facts that I think ought to be much better known. The questions are ordered so that working through the feedback for each question in turn should yield a cumulative understanding of the topic.

To discuss any of the answers provided here you are very welcome to write a visitor post at https://www.facebook.com/DimensionsOfColour/

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