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

Scattering — where it appears

Light redirected rather than absorbed, which is why paper is white and why a printed dot catches more light than its own area. It is also why a printed dot is darker than its area predicts, since light enters the bare sheet and leaves under the ink.

Named by 5 essays across 3 fields — each of them below, with the objects they name alongside it.

Mixing two paints and stacking two filters are different operations. The same two reflectances combined two ways. Stacking them as filters multiplies the transmittances, which is right for gels in front of a lamp and wrong for pigment stirred into pigment: a stirred mixture is one scattering layer, not two in series, and light meets whichever particle is nearest rather than passing through both. Kubelka–Munk handles it by moving to K/S = (1 − R)²/2R, in which absorption and scattering add by concentration, and inverting afterwards. The two answers differ by ΔE00 = 15.0, and the filter model is the darker of the two because it charges every photon for both pigments.

Paint is not a filter

Stacking two filters multiplies their transmittances. Stirring two pigments together does not multiply their reflectances, because a mixture is one scattering layer rather than two in series — light meets whichever particle is nearest. Treating the two as the same operation is a 15-unit error, and which way it errs turns out to depend on whether the comparison holds the amount of pigment fixed.

scene · Scene Two mechanisms, one ramp, and the patch that separates them. A cyan ramp printed by a press with 10 per cent mechanical gain and a Yule–Nielsen exponent of 2.4. Fitting a mechanical gain at n = 1.0 gives 23 per cent and fitting one at n = 2.4 gives 10 per cent; both reproduce the ramp to under 0.66 of a lightness unit, and the curves lie on top of one another. The two-ink overprint below was in neither fit, and there they are ΔE00 = 3.20 apart.

A dot is larger than it was asked to be

Two quite different things make a printed midtone darker than its coverage says — ink spreading under pressure, and light scattering sideways inside the paper. Both bend the tone curve the same way and neither touches its ends, so the measurement every press is characterised by cannot say which happened. A patch that nobody measures can.

applied · Delivery The colour of a beam, against the angle it leaves at. A conformal converter — an even layer laid straight onto the die — makes light leaving at θ cross 1/cos θ times as much of it, so it is more completely converted and the beam is warmer at its edge. From the axis to 75° the correlated colour temperature falls by 556 K and the whole difference is ΔE00 16.4. The flat line is the same emitters under a dome, whose path length is the same in every direction by construction: no angular colour at all, exactly, which is what a remote converter is sold for.

A lamp has a direction

A white LED is a blue die under a converter, and light leaving at an angle has travelled further through the converter than light leaving straight up. So the mixture is different in every direction, the beam is bluer in the middle than at its edge, and the number on the box is one direction's worth of a device that has no single colour.

light · Light How much light comes back at each distance from where it went in. The diffuse reflectance kernel of 3 materials at 550 nanometres, computed from the dipole approximation to the diffusion equation. Both axes are logarithmic. The horizontal axis is the distance from the point the light entered, in millimetres; the vertical is how much comes back out per unit area there. Each curve's own diffusion length is marked with a tick. Coated paper returns almost everything within a fifth of a millimetre; marble is still returning light at ten. The reflectance the model wants is the whole of each curve, integrated over the plane, and what an instrument reads is only the part inside its aperture.

A surface has a kernel

Light that enters a translucent material does not come back where it went in. It scatters some thousands of times and leaves a few millimetres away, so what the surface has is not a reflectance but a function of distance — and the reflectance the model wants is that function's integral over the whole plane, which no instrument ever collects.

scene · Scene Where a sample's colour goes as the aperture closes. The a and b of three translucent materials as the measuring aperture narrows from forty millimetres to one. Each track starts at the open circle, which is the colour the model says the sample has, and ends at the filled one. The axes cross at the neutral point. pale marble passes through neutral at a radius of 5.32 millimetres and comes out on the other side; candle wax passes through neutral at a radius of 7.07 millimetres and comes out on the other side; skin passes through neutral at a radius of 0.76 millimetres and comes out on the other side. Nothing about the sample changed: the aperture is a filter with a colour of its own, and the colour is decided by how the sample scatters rather than by what it absorbs.

The hue the hole decides

A piece of pale marble measured through a wide aperture is faintly yellow. Measured through a narrow one it is faintly blue, and between the two there is an aperture at which it is exactly neutral. Nothing about the stone changes; the aperture is a filter with a colour, and what decides that colour is the size of the particles rather than the pigment between them.

scene · Scene

Named alongside it

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

AbsorptionΔEDiffusion lengthKubelka munkQuality controlReflectanceSubstrateSubsurface scatteringTranslucencyApertureChromaChromaticity

All concepts