There has recently been a resurgence in interest in skin characteristics, driven by a number of different technologies and application areas where accurate skin measurement and reproduction are key factors. Application areas include the diagnosis of cutaneous diseases, segmentation for face detection and recognition, reproduction for the graphic arts, and matching for body and maxillofacial soft tissue prostheses. For such applications, a comprehensive knowledge of the range of skin shades that represent individuals, an understanding of how skin characteristics varies, and how people perceive these differences in a wide range of viewing conditions are strongly desired. The goal of this workshop is to bring together practitioners and academics from a range of disciplines to explore the outstanding issues in the measurement, reproduction, and perception of skin, with a particular emphasis on skin imaging.

Color is fundamental across sciences, theology, languages, and technology, and for many centuries, has been inextricably bound to art and design. As symbolic, therapeutic, synaesthetic or surreal, it has the power to give pleasure or discomfort. As a sensation, Josef Albers described the properties and relationship of color in art, that 'deceives continually'.

Color has drawn artists and scientists into fierce debates. Newton's experiments on the phenomena of light and exploration on pigments were not without adversaries. William Blake regarded Newton as lacking in imagination. The poet John Keats decried Newton had 'destroyed the poetry of the rainbow by reducing it to a prism'.

Artists for centuries explored and captured the appearance of materials through pigments and drawing. Sometimes creating the most lifelike images that one could ask, is this is a photo or a painting? Color is reflected and transmitted by its medium - as pigments, textiles, light and film, as structural color that appears in glass and pottery, iridescent surfaces such as feathers and beetles, or inter-reflections between colored objects and surfaces.

This workshop calls upon artists, designers, and historians to discuss the complexities of color in the arts.

Now You See It, and Now You Don't: Illusive Colour, Susanne Klein
Colour, as beauty, lies in the eye of the beholder. In 1861, based on the RGB model of colour perception, James Clerk Maxwell produced the first colour photographs by exposing black and white film through red, green and blue filters, thus recording intensity patterns, but not colour itself. Going back to Maxwell's recording method and printing the result as lithography or Woodburytype in cyan, magenta and yellow or with red, green, blue speciality pigments allows to explore 'true' colour and empowers the artist to intervene at all stages of the process. Knowing that three black and white negatives are being created rather than a colour one changes the approach as well as the result. The recording process is slow. The filters have to be changed between each image. Control, direction and choices made in advance of taking the picture change the dynamic between the photographer the scene or the sitter. Time is traced by coloured ghosts in the final print. Striving for a defined set of process colours at the printing stage rather than manipulating colours in film processing allows the photographer to consciously engage with the subject and visualise other senses, such as smell, noise and mood.
Dr. Susanne Klein is EPSRC Manufacturing Fellow and associate professor at the CFPR. She is a physicist by training and has worked in the UK for the last 25 years. During her last two years with Hewlett Packard, she worked in optical cryptography. She joined CFPR in 2018, and is exploring how photographic and photomechanical processes invented in the 19th century can be transformed into 21st century technologies, for both artists and industry.

Colour in the History of the Eye, Abigail Trujillo
Colour cannot be separated from the human experience, neither the significance of colours can be understood without the framework of a cultural worldview. Early uses and representations of colours in the arts manifest the technological development of an era, as well as an approach to the nature of vision, human values, perception and consciousness. In this presentation, I will review ancient polychromy and some of the great moments of colour in the history of painting. I will address historical examples where colours became the kernel of cultural order, the symbols of life, death, power, virtue and we will seek for an insight on the mysteries of the aura drawing upon our modern understanding of light.

Abigail Trujillo is a research associate at the Centre for Fine Print Research and member of the EU ApPEARS Network. Abigail has a background in Physics and Art history, specialising in optics, spectroscopy and ceramics. She is investigating hybrid analogue-digital printing applications in the fields of art and heritage.

Adventures in Colour and Appearance, Carinna Parraman
This presentation seeks to explore how artists have observed the illumination and colour appearance of objects and scenes, and by using pigments to reproduce the appearance. One of the first paintings to draw me into an investigation of colour phenomena was a painting of Henri Matisse by André Derain (1905) in the Tate Gallery, London. Matisse’s portrait is rendered as a full polychromic painting, one side of his face is painted blue, and the other side of his face is yellow. I was interested in this painting because it represented to me a range of open issues around the subject of colour and illumination; how appearance is captured and reproduced, and our capacity as humans to see and process the world differently. This presentation will draw upon artists who have used colour in art in different ways.

Dr. Carinna Parraman is professor of Colour, Design and Print, and Director of the CFPR. She leads a cross-disciplinary research team comprising scientists and technologists, designers, artists, and researchers. She is leader of Expanding Excellence in England (E3), exploring the future of printing and fabrication, alongside traditional methods of making. She is a member of the technical committee for Color Imaging.

The Material is the Colour, Angela Thwaites
Like the screens we use every day, we are steeped in colour. Even black and white as seen through a screen is made up of a multitude of colours from violet to burnt yellow passing through grey, blue, sepia brown, resulting in an overall impression that we accept as a black and white image. The medium that enables us to see this and to carry out our 21st-century lives is glass. Long before we were all working and living through screens, I began to explore glass as an expressive sculptural material. Glass drew my interest away from ceramics in the way screens capture and hold our attention now. Light, transparency/translucency, abstraction of mass and scale and of course colour are qualities which stole my imagination as an artist and fascinate me still: colour for embodying form and space, symbolism and language, for storytelling and humour, for sensitivity and for power. Whereas other materials take on a patina or a surface layer of colour, glass is the colour.

Dr Angela Thwaites is an authority on glass craft practice and has written one of the leading books on the subject of mould making for glass casting. Angela was awarded her PhD from the University of Sunderland researching the combination of 3D printing with glass casting.

Colour and Textiles, Becky Gooby
The British Interwar period was a time of significant textile technological modernisation, change and innovation, with the advent of cheap, chemical colourants, synthetic fabrics and the emergence of silk screen textile printing. Britain's housebuilding boom meant that homeownership and interior decoration were available to the masses. The colour palettes selected from my archival research, incorporating smoky, dark colours, neutrals and earth colours, have proven to be the hardest to reproduce in digital textile printing (DTP) accurately. These palettes provide a challenge to test, document and trail DTP methods, which aim to aid colour assurance and accuracy for this emerging technology. This presentation offers a comparative case study and asks what lessons can be learned and incorporated into best practice for developing DTP technology today.

Becky Gooby is a researcher at the Centre for Fine Print Research (CFPR), University of the West of England (UWE). Her research considers how designers can ensure colour assurance when digitally printing on a range of fabrics. Her research interests include digital textile printing, practice-as-research, color management, digital color and interwar design history.

Color imaging received a lot of attention during the rise of the smartphone era—especially due to its associated cameras—and this is still the case, as different manufacturers use the quality of the photos obtained to publicize a new phone. The fight between these companies has garnered lots of attention in some specific research areas, such as image quality and image fusion. Currently, it seems we are again at a turning point with the advent of new technologies such as AR/VR, 3D printing, wide color gamut, and HDR, to name just a few. During this round table, world-leading color scientists will debate on these topics, looking specifically at where we have come from in color imaging research and where we are heading.

With the development of various new imaging technologies, virtual reality (VR), augmented reality (AR), and mixed reality (MR) are becoming more and more popular for use in various industries for different purposes. Little research, however, has been carried out to investigate issues related to appearance and perception when using these new technologies. To facilitate the development and to improve the user experience, a comprehensive understanding about how the human visual system responds to stimuli and scenes produced by VR/AR/MR is important. In this workshop, speakers present the latest research and have an open discussion about outstanding issues that need scientific research.