Colour Science & Perception
what the eye settles, and what it cannot
Concept

Macadam limits — where it appears

The boundary of the set of colours a reflecting surface can have under a stated light, reached by reflectances that switch between zero and one. It is a hard physical bound rather than a device gamut, and its derivation assumes only that a reflectance lies between zero and one.

Named by 8 essays across 4 fields — each of them below, with the objects they name alongside it.

What no surface can be more colourful than. The MacAdam limits at 4 lightnesses under D65, each computed by sweeping two-transition reflectances over the whole band and keeping those that land at the target luminance factor. This is a physical bound rather than a gamut: a reflectance above 1 is a surface that emits, so no pigment anybody invents will ever put an object colour outside these curves. The boundary shrinks steeply as the surface lightens, from 0.310 at Y = 0.1 to 0.028 at Y = 0.9 — a very light surface has almost no room to be colourful, and that is physics rather than pigment chemistry. Drawn against it is sRGB at the same luminance factor rather than as a primary triangle, because a triangle is what a display can reach at some luminance and the bound is what a surface can reach at one; matched properly, sRGB covers 36% at Y = 0.1, 40% at Y = 0.3, 40% at Y = 0.6, 21% at Y = 0.9. The faint triangle is the familiar figure, kept only to show how much it misleads.

No surface can be that colourful

There is a hard bound on object colour that no pigment will ever move, and it follows from a reflectance being at most 1. Its boundary is generated by two numbers, it shrinks by a factor of eleven from dark to light — and measured against it properly, sRGB reaches 40% of what a surface could be at mid lightness while Rec. 2020 reaches 106%.

scene · Scene Outside the set of colours a reflecting surface can be. How far each stock sits from the boundary of the object-colour solid, as a fraction of the bound. The line at zero is the boundary: a perfect diffuser sits exactly on it, and every reflectance ever made sits to its left. The pale marker is the sheet measured with the ultraviolet excluded and the dark one with it included. Two of the six cross the line — they are brighter, in a direction that can be written down, than any reflecting surface of their colour could be. This is a proof rather than a hull: for each sample a direction is found in which the largest value any reflectance can reach is computed exactly, and the sample exceeds it.

A white that is not a reflectance

The object-colour solid is the hardest boundary in colorimetry — the set of tristimulus values any reflecting surface can produce, with no assumption about pigments in it at all. A coated press stock under a measurement standard's own lamp sits 1.5 per cent outside it, and a heavily brightened one 4.0, and with the ultraviolet removed both come back inside.

limits · Gamut What share of the diagram the sRGB triangle covers, in twelve published coordinate systems. Each row is a chromaticity diagram somebody has printed, and each bar is the fraction of the enclosed visible area that the sRGB triangle covers in it. Every row describes exactly the same observer and exactly the same gamut. The answer runs from 8.5% to 38.4%, a factor of 4.52, because area is not preserved by the projective maps that carry one of these diagrams to another. The familiar "about a third" is a fact about CIE xy.

Two thirds is not a property of the eye

It has been said from the beginning here that about two thirds of the chromaticity diagram cannot be shown on a screen. The figure is right, on the diagram it was measured on, and across twelve published diagrams the same triangle covers anything from 8.5 to 38.4 per cent of the same locus. Counting stimuli instead gives an answer that does not move.

matching · Gamut The three worst walls, drawn as the reflectances they are. Three reflectance curves, one per bound: the wall each search settled on. All three are dark over most of the spectrum with a single band near the short-wavelength end — the arithmetic bound's is 10 nanometres wide, the physical one's 40, and a paint somebody sells the same. None of them is a saturated colour: their excitation purities are 0.18, 0.52, 0.52 against a ceiling of 0.6, which is why the purity constraint never bites. What breaks an adapted observer is a wall that takes most of the light away, not one that is a strong colour.

The darkest wall anybody sells

Asked which property of a paint decides the worst change of light a room can produce, anybody would answer how saturated it is allowed to be. A ceiling on saturation never comes near binding, because the worst wall is dark rather than colourful — and the constraint that does bind is one nobody would nominate.

scene · Scene Which appearances a surface can have, lightness by lightness. The same lattice of lightness, chroma and hue a specification is written in, 10488 points, inverted under daylight with the observer adapted to it. Each row is one lightness, split into three shares: appearances a reflecting surface can have, appearances that are a light but that no surface can return, and appearances with no light under them at all. Over the whole lattice the first is 66 per cent, the second 23 and the third 11. At J 90 a surface can have 38 per cent of the row.

A third of the appearance box is no surface

An appearance specification is written as a lightness, a chroma and a hue, and the model's inverse turns any such triple into three numbers. A tenth of the space turns into something that is not a light at all. A further quarter turns into a light no reflecting surface can return, because a surface cannot give back more than all the light at any wavelength. So a third of the space a paint, a print or a dye is specified in cannot be made from paint, print or dye, and at lightness 90 nearly two thirds cannot.

brain · Appearance What a slope limit costs the object-colour solid, direction by direction. For each transition width, how much of its ideal reach the solid keeps: the median direction, the tenth percentile, and the worst. At twenty nanometres the median keeps 0.997 and the tenth percentile 0.985; at eighty they keep 0.946 and 0.766, and at 160 0.826 and 0.417. The worst direction falls from 1.00 at five nanometres to 0.20 at 160, with directions reaching under five units beyond black set aside. The cost is in a corner only at widths sharper than an ordinary pigment's.

The limits assume a pigment that switches instantly

The hardest boundary in colorimetry is reached by reflectances that jump between nought and one at a wavelength, and no material does that. Constrain the jump to take twenty nanometres — a sharp dye — and the median direction of the object-colour solid loses under half a per cent of its reach. Constrain it to eighty, an ordinary pigment, and the median loses five per cent, the tenth percentile nearly a quarter, and seven directions in ten lose more than one. The cost is in a corner only for chemistry sharper than paint.

limits · Limits How many directions a slope limit costs, under four lamps. For each transition width and each lamp, the share of the solid's directions that lose more than one per cent of their reach — each lamp's solid against its own ideal. Daylight, a tungsten lamp and a phosphor LED run close together. The three-emitter LED, whose power sits in lines at 455, 530, 625 nanometres, costs 62 directions at forty nanometres where daylight costs 183, and by eighty — about the spacing of its lines — it costs 214 against 218.

Three lines spare a slow pigment

A pigment that cannot switch faster than forty nanometres loses more than a per cent of its reach in 183 of the object-colour solid's 305 directions under daylight. Under an LED whose light sits in three narrow lines, it loses that much in 62. Between the lines almost nothing is measured, so a slow reflectance can do its changing there — until its transitions are as wide as the lines are far apart, at which point the lamp stops helping and the count jumps to daylight's.

limits · Limits A 40-nanometre limit written in nanometres and written in energy. The transition width a reflectance is allowed, across the spectrum, for two ways of stating the same sharpness. Written in nanometres it is 40 everywhere. Written as a fixed spread of photon energy, which is how an absorption band's width is set, it is 40 at 550 nanometres and grows as the square of the wavelength: 21 at 400 and 67 at 700. The steps are the quantisation the calculation actually imposes.

A limit written in energy charges the reds

A slope limit on reflectance is usually written in nanometres and applied the same way across the spectrum. An absorption band's width is closer to a fixed spread of photon energy, which is nearly twice as many nanometres at 700 as at 500. Written that way, a limit that is forty nanometres at 550 is kinder to the object-colour solid overall — 489 of 913 directions lose a per cent rather than 544 — and it charges the reds more. Which directions pay is decided by one thing: whether their optimal edges fall above or below the reference wavelength.

limits · Limits

Named alongside it

The objects these essays reach for when they reach for this one.

Object-colour solidOptimal coloursReflectanceGamutPigmentSpectral power distributionBoundDisplay gamutModelling assumptionWavelength gridAbsorptionAssertion

All concepts