Quadratic form — where it appears
Named by 13 essays across 4 fields — each of them below, with the objects they name alongside it.
An extremum is not a sample
Three separate measurements in this collection took a maximum or a minimum over a sample of a set — forty-eight points round an ellipse, twenty-four directions out of an optimum, fourteen changes of light off a list. All three are wrong, all three are wrong in the same direction, and the error in each grows with the very quantity being measured.
An ellipse is not a ring of points
For eleven rounds of argument the distortion a colour space does to MacAdam's ellipses by mapping forty-eight points round each one and dividing the longest radius by the shortest. The minimum sits in a notch whose width is the reciprocal of the answer, so the method was accurate wherever the answer was small and short by a factor of two where it was large.
How wrong would the data have to be
Twenty-five ellipses measured on one observer in 1942 are the ruler every colour space here is judged against, and they have never been given an error. Rather than invent one, the question is turned round, and asks how large an error would have to be before the ranking changed.
Twenty-five is a sample of the diagram
A colour space's uniformity score is the mean of twenty-five numbers, and a mean of twenty-five numbers has a standard error those twenty-five numbers determine. Nothing has to be quoted to compute it, and three of the seven adjacent pairs in this collection's ranking survive it.
How far a quadratic can be believed
A second-order model has a radius inside which it describes a surface and outside which it does not, and that radius can be measured. Measured at eight places on one objective, it is smallest at the optimum — the one place anybody ever takes a Hessian.
Only the flat directions keep their names
Three of the nine numbers a colour match leaves free do nothing, and they do nothing everywhere — exactly, at every basis in this collection's table. They are the objective's own principal directions at one point only, and everywhere else the directions carrying the curvature have turned by tens of degrees.
The slope arrives before the bowl
The adaptation transforms colour management actually uses are not optima of anything. At every one of them the objective has a slope, and the slope is the larger term over almost the whole distance to the best matrix — so a table of curvatures taken there describes a bowl nobody meets on the way anywhere.
Downhill from a published matrix
Walking steepest descent from each adaptation transform in use closes between a quarter and nine tenths of its distance to the best one, and most of that in the first step. The direction it sets off in is eighty to eighty-seven degrees away from the answer, and that turns out not to be an artefact of the three directions nothing can see.
A size is not a direction
An audit that reports magnitudes cannot say what two of them cost together. Over two and a half thousand pairs of observer departures the angle between them in the local metric runs from one degree to a hundred and seventy-nine, and on forty-three per cent of them the two together cost less than the larger of the two alone. Adding the angle predicts the composition to one and a quarter per cent; Pythagoras is out by twenty-eight.
What one number accepts
A delivery tolerance is written as a single colour difference and it acts on three tristimulus values, so what it actually accepts is a closed surface. Measured over sixty-four colours in the sRGB cube, the volume inside that surface varies by a factor of a hundred thousand and its longest axis is between three and thirty times its shortest. The same contract, applied to a dark colour and a light one, is two different requirements.
A press is charged for the direction it barely moves
A press run varies almost entirely along the direction a colour tolerance forgives. Split along the tolerance's own axes under four stated mixes of press variation, its tightest axis holds about one per cent of the sheet-to-sheet variation and pays a quarter to a third of the price — and on a blue overprint four fifths, for the balance between two inking units rather than the level of either.
The straight line is not the shortest gradient
A colour difference formula says what a small step costs at every colour, and that is enough to ask which path between two colours is shortest. It is not the straight line: between red and green the shortest path bows thirteen CIELAB units away, saves four per cent — and stays inside sRGB on every step where the straight line leaves it. The formula's own answer for the two endpoints, meanwhile, is neither length.
Two uniform spaces disagree about between
ΔE₀₀'s own local behaviour says which colours lie between two colours, and so does CAM16-UCS's. They do not agree. On cyan to magenta the two shortest paths run fifteen CIELAB units apart — more than either runs from the straight line — and on that gradient ΔE₀₀ would rather have the straight line than CAM16-UCS's answer. Getting the comparison at all takes noticing that one of the two has no local metric: its published difference is a Euclidean distance raised to the power 0.63, and a power below one has an infinite derivative at zero.
Named alongside it
The objects these essays reach for when they reach for this one.
AnisotropyColour differenceChromatic adaptationCIEDE2000CIELABCondition numberDegrees of freedomEigenvalueMacAdam's ellipsesConvergenceDeclared inputSampling