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Fig. 1. HSL (a–d) and HSV (e–h). Above (a, e): cut-away 3D models of each. Below: two-dimensional plots showing two of a model's three parameters at once, holding the other constant: cylindrical shells (b, f) of constant saturation, in this case the outside surface of each cylinder; horizontal cross-sections (c, g) of constant HSL lightness or HSV value, in this case the slices halfway ...
Saturation, or the lack of it, produces tones of the reference hue that converge on the zero-saturation shade of gray, which is determined by the lightness. The following examples uses the hues red, orange, and yellow at midpoint lightness with decreasing saturation.
The concept of a color system with a hue was explored as early as 1830 with Philipp Otto Runge's color sphere. The Munsell color system from the 1930s was a great step forward, as it was realized that perceptual uniformity means the color space can no longer be a sphere. As a convention, the hue for red is set to 0° for most color spaces with ...
HSL (hue, saturation, lightness or luminance), also known as HSI (hue, saturation, intensity) or HSD (hue, saturation, darkness), is quite similar to HSV, with "lightness" replacing "brightness". The difference is that a perfectly light color in HSL is pure white; but a perfectly bright color in HSV is analogous to shining a white light on a ...
Chromaticity consists of two independent parameters, often specified as hue (h) and colorfulness (s), where the latter is alternatively called saturation, chroma, intensity, [1] or excitation purity. [2] [3] This number of parameters follows from trichromacy of vision of most humans, which is assumed by most models in color science.
Photoshop's hue, saturation, color, and luminosity blend modes are based on a color space with hue, chroma and luma dimensions. Note: this space is different from both HSL and HSV, and only the hue dimension is shared between the three. See the article HSL and HSV for details.
Saturation is the "colorfulness of an area judged in proportion to its brightness", [6] [2] which in effect is the perceived freedom from whitishness of the light coming from the area. An object with a given spectral reflectance exhibits approximately constant saturation for all levels of illumination, unless the brightness is very high. [7]
When lightening a color this hue shift can be corrected with the addition of a small amount of an adjacent color to bring the hue of the mixture back in line with the parent color (e.g. adding a small amount of orange to a mixture of red and white will correct the tendency of this mixture to shift slightly towards the blue end of the spectrum).