I think you’re just mapping/recreating the CIELAB system in RGB then.
For apparent color, the Lab* coordinates are a lot easier to work with, and they already do exactly what you’re attempting to do with the polar coordinates (since LCh is essentially the same coordinate system but with polar coordinates).
Oh, I’ve got my reasons that I didn’t pursue this all that much beyond 2014, I came up with a whole new color model altogether. Not a color space, an entire color model with its own processing system, using function mappers to map entire regions of images into full luminance scale photographic color gradients.
In my new system, every single gradient, the entire gradient is considered and treated as an individual color ‘object’, and any one pinpoint RGB is considered a solid color. My newer software is called Color Painter, and I call the process itself NICE ART (Natural Interface for Computers and Electronics Abstract Rendering Technology).
Let’s say I wanna take a photo of an iceberg, and render it in fire colors instead. All I gotta do is load the photo, type ‘orange fire’ into the color search box, it loads a photographically correct gradient colorspace of real world fire, then I paint some of that loaded fire color over some areas of the iceberg, then hit Adjust, and tada, it’s done.
I’ve since also put that project aside due to the rapid advances in AI managing to more or less make my Color Painter obsolete by today’s expected standards, but since I loathe AI, I still use my prototype software occasionally.
This is a Winamp AVS Visualization I made in 2011 apparently, but ended up just as one of my study projects that led to Color Painter, before the AI boom gave me a programmer’s crash…
I think you’re just mapping/recreating the CIELAB system in RGB then.
For apparent color, the Lab* coordinates are a lot easier to work with, and they already do exactly what you’re attempting to do with the polar coordinates (since LCh is essentially the same coordinate system but with polar coordinates).
Oh, I’ve got my reasons that I didn’t pursue this all that much beyond 2014, I came up with a whole new color model altogether. Not a color space, an entire color model with its own processing system, using function mappers to map entire regions of images into full luminance scale photographic color gradients.
In my new system, every single gradient, the entire gradient is considered and treated as an individual color ‘object’, and any one pinpoint RGB is considered a solid color. My newer software is called Color Painter, and I call the process itself NICE ART (Natural Interface for Computers and Electronics Abstract Rendering Technology).
Let’s say I wanna take a photo of an iceberg, and render it in fire colors instead. All I gotta do is load the photo, type ‘orange fire’ into the color search box, it loads a photographically correct gradient colorspace of real world fire, then I paint some of that loaded fire color over some areas of the iceberg, then hit Adjust, and tada, it’s done.
I’ve since also put that project aside due to the rapid advances in AI managing to more or less make my Color Painter obsolete by today’s expected standards, but since I loathe AI, I still use my prototype software occasionally.
For 2014 that sounds pretty cool, but I agree, technology has continued its march onward. For better or worse we’ll see.
I just found this from my other NICE ART account, I figured Google would have deleted that account by now given how long I haven’t logged in…
https://www.youtube.com/watch?v=7HWUtNXpUFU
This is a Winamp AVS Visualization I made in 2011 apparently, but ended up just as one of my study projects that led to Color Painter, before the AI boom gave me a programmer’s crash…