Quantitative assessment of properties of make-up products by video imaging: application to lipsticks.
BACKGROUND/AIMS: The different properties and visual effects of lipstick have been studied by image analysis directly on volunteers. METHODS: After controlling the volunteer's position mechanically using an ophthalmic table and visually using an acquirement mask, which is an indicator of luminance and guide marks, we carried out video colour images of the make-up area. From these images, we quantified the colour, gloss, covering power, long-lasting effect and streakiness, using computer science programs. RESULTS/CONCLUSION: Quantitative colorimetric assessment requires the transformation of the RGB components obtained by a video colour camera into CIELAB colorimetric space. The expression of each coordinate of the L*a*b* space according to R,G,B was carried out by a statistical method of polynomial approximations. A study, using 24 colour images extracted from a Pantone(R) palette, showed a very good correlation with a Minolta Colorimeter(R) CR 300. The colour assessment on volunteers required a segmentation method by maximizing the entropy. The aim was to separate the colour information sent back by the skin to the make-up area. It was very useful to precisely delimit the contour between the skin and the product in the case of almost identical colours and to evaluate the streakiness. From this colour segmentation, an algorithm was studied to search for the shades most represented in the overall colour of the make-up area. The capacity to replicate what the consumer perceives of the make-up product, to carry out studies without having any contact with the skin surface, and the constant improvement of software and video acquirement systems all make video imaging a very useful tool in the quantitative assessment of the properties and visual effects of a make-up product.
Korichi
Rodolphe
R
LVMH Lab R&D Branche Parfums et Cosmétiques, Saint Jean de Braye, France.
Provost
Robin
R
Heusèle
Catherine
C
Schnebert
Sylvianne
S