Colour Science & Perception
what the eye settles, and what it cannot
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The thread: Computed, not quoted — page 22

Every swatch begins as a spectral power distribution and is carried through the colour-matching functions as it is drawn. None is a hex code recalled from a table.
A triphosphor tube costs a slow pigment what three emitters do; a halophosphate tube what daylight does. For each lamp, the share of the object-colour solid's directions a pigment model cannot reach within one per cent of the ideal — a slope limit, absorption bands no narrower than forty nanometres, and bands whose width is fixed in energy — with the count on each bar. Under the triphosphor tube the band model loses 26 of 154, beside the emitters' 23; under daylight 73 of 154, and under the halophosphate tube 71. The tube's coating alone loses fewer than the tube; its mercury lines, doubled, more. Where the model breaks

A tube spares a pigment through its phosphors

Three models of a real pigment lose two and a half to three and a half times as many directions of the object-colour solid under daylight as under three narrow emitters. A fluorescent tube is both kinds of lamp — narrow mercury lines on phosphor bands — and the prediction was that its bands would light the gaps between its lines and put it two thirds of the way to daylight. A triphosphor tube sits with the emitters instead: 26 directions lost to forty-nanometre bands, against the emitters' 23 and daylight's 73. The credit is its phosphors'. Its coating alone, lines taken out, loses fewer still; its mercury lines cost directions whose edges sit in the gaps between the phosphors, and doubled they cost more. A halophosphate tube, the same lines on two broad bands, costs what daylight costs at the same rendering index.

 How well a matching session places a lens band's centre. A sixty-year-old's lens with a band of a tenth of a density centred from 410 to 460 nm, fitted with the rod weight, lens age, macula, the band's amplitude and its centre all free: the centre's standard error, from one daylight-against-LED session and from designs adding a second session. One session places the centre to 11.5 nm at worst below 430 and within 5.7 above it; adding the LED against the three-emitter lamp brings every centre within 5.5. What the eye does

A second lamp pair finds a lens band's centre

A band of extra absorption in an older lens is found by a colour-matching fit only if the fit has a parameter for it, and a band parameter at a fixed wavelength finds only a band near that wavelength. Freeing the band's centre as a fifth number asks whether the matches can place it. From one daylight-against-LED session they place a band above 430 nm to within six nanometres and one below it only to eight to twelve, where moving the band and ageing the lens change the matches together — and there they barely see the band at all. A second session, the LED against a three-emitter lamp, places every centre within five and a half nanometres. The fluorescent tube's line at 436 nm helps where it sits and nowhere else.

 What each design buys each family of lamps. The camera's colour error under each lamp, estimated with the lamp left out, and each family's held-out error under four designs: the ratio of the 500 and 450 nm channels alone; one line on the ratio and a 640 nm channel for every lamp; two stages with each lamp's family given; and two stages with the family found by the nearest other lamp. The census's halophosphate tube is missed by 0.405 under the ratio and 0.011 under either two-stage design; the LEDs go from ±0.127 to ±0.111 with the family given and ±0.155 with it found. What a camera does

Two stages catch the tube and bill the lamps they misplace

A narrow-channel estimate of a camera's colour error missed the halophosphate tube because the census held nothing like it, and a line that learned the tube's family from four siblings cost every other lamp. The proposed cure was two stages: recognise a lamp's family, then apply that family's own line. Given each lamp's family, it works as predicted and better — the tube missed by 0.011 ΔE₀₀, the fifty-four lamps estimated to ±0.133 against the ratio's ±0.141. Found by the nearest other lamp in the sensor's departures, the family is right for the tube and wrong for five lamps, and those five, missed by ±0.41, take the whole census back to ±0.162. The gain is real; the classifier is where it is lost.

 How far below nought the two-matrix model's smallest signal goes, along the locus. For every spectral light from 380 to 700 nm, the smallest of its three Hunt–Pointer–Estévez signals after CIECAM16's adaptation, divided by the light's luminance, adapted to the display white and to illuminant A, drawn down to −2. Adapted to the display white the smallest signal dips below nought only past 560 nm, and by at most 0.0037; adapted to A it is below nought from 380 to 474 nm and reaches −6.7 of its luminance at the violet end. What the brain does

Two matrices fail under a warm white

Compressing in Hunt–Pointer–Estévez after adapting in CIECAM16's own space restores the blue's Abney turn, and the reason CIECAM16 stopped using two spaces was that converting between them sends some colours to negative signals. Where it does depends on the white. Adapted to a daylight display's white, only spectral lights past 560 nm fail, in their short-wave signal, by thousandths of their luminance, and nothing on sRGB's boundary fails at all. Adapted to a tungsten white, every spectral light from 380 to 474 nm fails in its long-wave signal, some by several times their luminance, and so do points on every display's boundary; there the display blue's restored turn becomes a swing of fifty degrees.

 Three weights of one letter, placed by the stem's width in pixels. The four capitals E, H, L and T at three weights — stems six, ten and fourteen cells thick on the same spacing — set in black at 12, 18, 24, 30 and 48 point on a 300-dot page, sharpened on stored values rather than on light and read through the eye at forty centimetres, pooled over four sub-pixel positions: how much of the seen error the junctions of bar and stem hold, over their share of the outline, against the stem's width in pixels. What it takes to deliver it

A junction gathers by the width of its stem

Black type sharpened on its stored values gathers its error at the junctions of bar and stem, and gathers more as the letter grows. The mechanism offered for that was the stem growing past the eye's pool, which predicts that size is only standing in for the stem's width in pixels. Drawn at three weights and five sizes, the junctions' share ranks with the stem's width at 0.97 and with the point size at 0.85, and where two weights have stems within six tenths of a pixel of each other their junctions agree to within a tenth. The width is nearly the whole story. The part it leaves over is small and one-sided: at the same stem width, the heavier letter gathers a little more in five pairs of six.

 Every corner of the press against its own tangent cone, at two samplings of black. For the nine end colours of the margin census, how far each moves per unit of a four-unit margin: as a perfect corner of its own tangent shape would, on the press walked at thirty-three black levels, and on the census's press of nine. At thirty-three every corner sits within seven per cent of its cone; at nine every edge moved a fifth or more further, and the half-black yellow 63 per cent further. Matching and measuring

Nine black levels sharpened the press's corners

Three essays measured how far a safety margin pushes the corners of a coated press inward, and found them sharper than anything a smooth solid would have: the solid yellow moving nearly four times the margin, every corner past a cube's. Read by their ink recipes, three of the nine corners are vertices and six are edges, and each has a shape the press model's own derivatives state exactly. Against that shape the edges moved a quarter to two thirds too far. The reason is not the press. It is how the press was built: as three-ink solids at nine levels of black with nothing between them, so that every face black helps to make was scalloped. Walked at thirty-three levels, every corner moves within seven per cent of its own tangent shape, three of the nine are rounder than a cube's corner, and the solid yellow moves 3.2 times the margin, not 3.8.

 How many neighbours a lamp's family is read from, and what the estimate costs. The two-stage estimate's held-out error over the census's fifty-four lamps when a lamp's family is read from its one to six nearest neighbours, and used only if all of them agree (upper bars) or most of them do (lower), with the halophosphate tube's miss on each bar; otherwise the census-wide ratio line. The ratio alone is ±0.141 and the families given ±0.133. Blue bars catch the tube; orange ones lose it. What a camera does

A classifier that abstains gives up the tube

Found by the nearest other lamp, a lamp's family cost a two-stage estimate of a camera's colour error more than it bought, because five lamps were placed confidently in the wrong family. The proposed repair was a classifier that abstains — falls back on the census-wide line — unless a lamp's three nearest neighbours agree. It abstains on the wrong lamps. The misplaced ones have three agreeing neighbours, all white LEDs; the lamp it gives up is the halophosphate tube the two stages were built to catch, whose third neighbour is a cyan LED, and its miss returns from 0.011 to 0.445. Two agreeing neighbours look better than knowing every family. Chosen without looking at the lamp being estimated, the rule is worth exactly what the ratio alone is worth.

 Where each display's boundary and the spectrum fail, as the adapting white warms. For radiators from 6500 K down to 2700 K, the temperatures at which the two-matrix front end sends some point of each display's boundary, or some spectral light, negative: shaded where it fails. sRGB and Display P3 first fail at 2871 K, just above illuminant A; BT.2020 at 3626 K. P3 and BT.2020 also fail at their red corners under whites cooler than 5700 K, and no spectral light fails between 5700 and 4700 K. The dashed line is the 3500 K the prediction named. What the brain does

Two matrices hold to almost tungsten, and the blue turns long before

An appearance model that adapts in CIECAM16's space and compresses in Hunt–Pointer–Estévez gets the blue's hue turn right under daylight and sends the display's blue to a negative signal under illuminant A. The prediction was that the failure reaches sRGB's blue near 3500 K, a warm-white LED, and that the blue's turn holds its daylight value down to about 4000 K. Walked down the radiator and daylight loci, sRGB's boundary holds to 2872 K — fifteen kelvin short of illuminant A — while BT.2020's fails at 3626. There is a neutral window, 4700 to 5700 K, where no colour at all goes negative. But the blue's turn does not wait for the failure: it is five degrees above its daylight value by 4500 K and nearly three times it before anything breaks, because it follows the blue's long-wave signal down towards nought.

 From which starts a fit finds a lens band, two sessions. For a band of a tenth of a density at 415, 430 and 445 nm in a sixty-year-old's lens, the number of twenty simulated experiments of two sessions each in which a fit of all five numbers, started with the band's centre at each of 400 to 470 nm, finds the centre within twice its standard error. The ticks at the left edge are the same count for a fit started at the true observer: 18, 18, 18 for the three bands. What the eye does

A lost lens band goes to age or the macula

Two colour-matching sessions determine the centre of a band of extra absorption in an older lens to about five nanometres, if a fit can find it. Fitted in full from eight starts across 400 to 470 nm on twenty simulated experiments, two sessions find a band at 415, 430 or 445 nm from every start in fifteen to eighteen experiments of twenty, against eighteen for a fit started at the truth. The prediction was that a low band would be lost from high starts to the macula's flank. The start barely matters with two sessions, and a lost band does go somewhere — but a band at 415 or 430 goes to lens age, three to five years of it, and only a band at 445 goes to the macula. Every loss is a worse fit than the session's best, so eight starts find the band as often as the truth does. With one session the start decides.

 Where the ceiling on a self-absorbed line holds, and where it does not. In the windows within four nanometres of the 546 nm line, the smallest ratio of the ceiling the tables put on a window's peak to the absorbed line's true peak, built on the narrowest width the table admits for the line and on the emitted 1.2 nm, through each slit. On the admitted width the ceiling holds to a depth of three and falls below the peak at 3.5 (×0.981) and 4 (×0.885) through two nanometres. On 1.2 nm it holds through two nanometres at every depth. What light is

A reversed line is read as one line

A strong mercury line in a dense discharge absorbs its own centre on the way out: at an optical depth of one its top is flat, and beyond that it dips, until at four the line is two humps with a trough eighty per cent deep between them. The prediction was that a one-nanometre table refuses such a line from a depth of about one and a two-nanometre table reads it as a Gaussian about the width of its flat top, safely. Both hold, and the second only up to a point. A two-nanometre table admits the line at every depth to four, and from three and a half the width it admits is too wide for the humps: the ceiling built on it falls eleven per cent below the line's true peak. The only line that could make a declared width unsafe was one narrower at its peak than its entries suggest — and a reversed line is exactly that.

 Every corner's own shape, carried into ΔE₀₀, against the ΔE₀₀ census. For the nine end colours, the move per unit of margin a perfect corner of each one's tangent shape makes in CIELAB; the same shape carried into ΔE₀₀'s local metric at the end colour; and the move a margin of two ΔE₀₀ makes on the press walked at thirty-three black levels. The second and third agree at every corner, the edges to within a tenth of the margin and the vertices within a seventh; only the solid yellow is still sharper than a cube's corner. Matching and measuring

The tolerance unit opens every edge

On a finely sampled press every corner moves under a CIELAB margin as a perfect corner of its own shape would, the shape read off the press model's derivatives. A print buyer states the margin in ΔE₀₀, and the census in that unit had been explained one corner at a time. Carried into ΔE₀₀'s local metric, the same shapes explain all nine at once: each of the six edges' predicted move lies within a tenth of the margin of the census's, and each vertex's within a seventh. ΔE₀₀ opens the edges from 67–141 degrees to 123–157, nearly faces, because a unit along chroma is three to five CIELAB units at these colours. The solid yellow's cone opens only to 59 degrees and stays the one corner sharper than a cube's. Without its chroma term, ΔE₀₀ would leave every corner as sharp as CIELAB does, or sharper.

 How much of the halo the eye's own glare hides. For three pictures behind three diffusers, the share of a local-dimming panel's zones in which declaring each cluster's own floor misreads a five-per-cent grey step by more than ten per cent — as the panel delivers the steps, and with the veil the eye's own scattered light adds from every bright zone. The eye hides the whole misreading in six cases of nine, all three behind the window; what it leaves is behind the widest diffuser for the small highlight, and behind the two wider ones for the subtitles. Difference and uniformity

The eye's own glare hides most of the halo

A local-dimming panel's black can be declared as two floors, and the pair misreads only the diffuser's halo round the bright content — by up to a factor of 2.7. The halo sits next to the light, and light scattered inside the viewer's eye puts a floor of its own there. Added under every grey step, the eye's veil hides the whole misreading in six of nine cases: every window, and the highlight and subtitles behind the narrowest diffuser. It leaves a sixth of the misreading's share for a small highlight behind the widest diffuser, and a quarter for subtitles, all of it in the halo's inner half — not its outer edge, as predicted. The panel dims by a zone's brightest pixel and the eye veils by its average, so a line of text lights the backlight fully and the eye a quarter. The viewing distance cancels.

 How many directions each lamp costs a slow pigment, counted at three depths. For nine lamps, the share of the object-colour solid's directions in which a slope-limited pigment falls short of the ideal pigment's reach by more than one, three and five per cent. The broadband lamps' counts fall three- to eightfold from one per cent to five, and the emitters' and the triphosphor tubes' as much or more; the clear mercury lamp's falls least, from 14 per cent to 7, and at five per cent it costs more than the emitters' 3 and the tube's 2. Where the model breaks

A mercury lamp's few losses are deep

Every census of what a slow pigment can reach has counted the directions of the object-colour solid it misses by more than one per cent, and by that count a clear mercury lamp — four visible lines and nothing else — spares a pigment as well as three narrow emitters do. Read for depth, it is the one lamp of nine whose losses do not fall away: half of what a slope-limited pigment loses under it, it loses by more than five per cent, and its mean shortfall is half as large again as under the emitters or a triphosphor tube. Every one of those losses is the same kind of colour: one that reflects the mercury's green line at 546 nm and absorbs its yellow line at 578, or the reverse, 32 nm apart. The dark-share rule that ordered the counts orders the depths less well.

 What closing the counters adds, stem width by stem width. At each stem width, how much larger a share of the seen error the closed spacing's junctions and stroke ends hold than the open spacing's. The junctions gain on average 0.043 and the stroke ends 0.011; width by width the junctions' gain runs from -0.046 to 0.115. What it takes to deliver it

A closed counter adds a little to a junction

Sharpened on its stored values, black type's junctions — the inside angles where a bar meets a stem — gather error by the stem's width in pixels, and at equal widths a heavier letter gathers slightly more. A heavier letter differs in two ways: it is smaller around its stem, and its counters are narrower. Holding the stem and moving the spacing separates them. At equal stem widths, closing the counters adds about four hundredths of their share to the junctions and one hundredth to the stroke ends, and twice as much to E and H, whose bars face each other across a counter, as to L and T. The prediction was the counter, and the counter it is — by an amount no larger than a sub-pixel position moves it. Drawing the letters apart found the stem census's light H with its crossbar floating.

 Counting the paint's light instead of the lamp's orders the rooms not at all. The thirty rooms of the painted census on divided faces, each placed twice: by the send number weighted by the paint's own light arriving at the grey faces, and by the send number weighted by the lamp's light, against how many of 72 paints a grey finish colours. The lamp-lit number ranks the wall and floor rooms at 0.63; the paint-lit one at -0.07, and over all thirty at -0.02. What a scene does

The paint's own light does not order the rooms

A satin finish on a room's grey faces colours some paint in 28 of the painted census's 30 rooms, and the number meant to say which rooms gain most — how much of the lamp's light the finish sends to the paint — orders the rooms solved on divided faces at only 0.63. The rooms it misplaced return mostly the paint's own light, so the proposal was to count that instead. Counted, the paint's light orders the rooms at −0.07. In every room with its floor painted the finish sends the floor's light away from the floor, and every paint gains; with the ceiling painted the paint is the lamp and the two numbers are the same number. Even the room's own response, read off the solve with the paint in place, orders the counts only at 0.71. The census has to be solved room by room.

 The blue corner and its edges, in both units. For six colours between the press's cyan and magenta — the blue corner, four edges beside it and the blue corner with half black — the move per unit of margin a perfect corner of each one's tangent shape makes in CIELAB, the move a four-unit margin makes on the finely sampled press, the same shape carried into ΔE₀₀, and the move a two-ΔE₀₀ margin makes. In CIELAB every one is already blunt, under 1.3; in ΔE₀₀ every one is within a tenth of a flat face. Matching and measuring

The blue corner has nothing to twist

A safety margin's cost at each corner of a coated press is predicted by the corner's own shape, read off its ink recipe and carried into whatever unit the margin is stated in — for nine corners, none of them blue. At a hue near 275 degrees ΔE₀₀ has a rotation term that couples chroma and hue, and the prediction was that leaving it out would miss the press's blue corner by more than a tenth of the margin. At the blue corner the term is strong: ΔE₀₀'s local matrix correlates a chroma step with a hue step by three quarters. And it changes the prediction by three hundredths. The blue corner and its edges are already blunt in CIELAB — none moves more than 1.3 times a margin — and a corner that is nearly a face has nothing for a shear to twist.

 The census read on the whole room and on the painted faces. For the thirty rooms on divided faces, how many of 72 paints a satin finish on the grey faces makes more colourful, read as the census reads it — every face's light together — and read on the painted faces alone. Read on the room, 11 rooms sit part-way; read on the paint, 28 rooms gain for all 72 and 2 for none, and no room sits between. What a scene does

The paint itself gains all or nothing

The painted census counts how many of seventy-two paints a satin finish on a room's grey faces makes more colourful, reading the room's colour as all of its light, and eleven of its thirty rooms sit part-way. Read on the painted faces alone — the light a viewer looking at the paint receives — no room sits part-way: twenty-eight gain for every paint and two for none. The change on the paint is never more than a per cent and a half, where the room's reading swings from −18 to +57 per cent, so the census's middle ground was the grey faces all along. A box with its floor painted and the same box with its ceiling painted gain the same colour to a hundredth of a point while the light they gain differs by up to eighty-two points; neither send number orders the size of the gain, and the paint's own brightness does.

 Where a two-nanometre table's ceiling on a notched line fails. In the windows within four nanometres of the 546 nm line, the ceiling built on the narrowest width a two-nanometre table admits for the line, as a multiple of the absorbed line's true peak, behind columns a whole, a half and a third as wide as the line. The uniform column's ceiling crosses below one at a depth of 3.42 and ends where the table refuses the line; the half and third columns' cross at 2.34 and 2.35 and are never refused, falling to ×0.73 and ×0.80 at a depth of five. What light is

A notch in a line is never refused

A dense discharge's green mercury line loses its centre to the atoms between the glow and the tube wall, and those atoms are cooler than the glow, so their absorption is narrower than the line it cuts. With the absorbing layer half or a third as wide as the line, a one-nanometre table still refuses the line from an optical depth of one, exactly where it refused the broad dip. A two-nanometre table never refuses it at all: to a depth of five, with ninety-eight per cent of the centre gone, one Gaussian fits its entries within a seventh of a per cent. And the ceiling built on the width it reads fails from a depth of about two and a third — a whole unit sooner than behind a column as wide as the line — and never recovers, falling to three quarters of the true peak.

 Where a red window's veil leaves the halo tinted: σ 2. The 32 by 18 zones behind a window filling a fifth of a dark room drawn in red, with a diffuser of spread 2: the zones where the cluster declaration's misread floor, seen through the eye's red veil, tints a grey by more than one ΔEITP — 18.9 per cent of the screen, at worst 4.5 — and those still misread in lightness by more than ten per cent, 4.3 per cent. Difference and uniformity

A coloured highlight tints the halo it cannot hide

A local-dimming panel lights a zone for its brightest channel, so a pure red or blue highlight drives the backlight as hard as a white one and sends a fifth or a fourteenth of the light into the viewer's eye. The prediction was that a saturated highlight's veil would hide the halo's misread greys as a white one does, and add a colour. It hides far less. Behind the middle diffuser a white highlight hides the whole misreading; drawn red, blue, green or even yellow — nine tenths of white's luminance — it hides none of it. The yellow fails because a veil hides a grey step only in the cone signals it reaches, and yellow light reaches a fifth of the short-wave one. And where the veil does fall on a misread floor, it colours the error: the darkest greys are tinted by up to fifteen ΔEITP, and behind a red window, where the veil hides the lightness almost entirely, a fifth of the screen is tinted by more than a unit.

 Three family lines through the departures, and whom they claim. Every lamp of the census and the halophosphate tube's four siblings by its 450 and 640 nm departures, coloured by family, with the principal line of each family that has three or more members — the radiators, the white LEDs and the halophosphate tubes — solid over the stretch its members span and dashed beyond. Circled are the 29 lamps whose nearest line is another family's. The radiators' short line runs along the LEDs' long one and, extended, through the violet-pumped LEDs. What a camera does

A family's line runs through its neighbours

The halophosphate tubes differ from one another by one number — where their main phosphor band sits — and so lie along a line in the three departures an ambient-light sensor reads. The proposal was to classify a lamp by the family whose line passes nearest, which would keep the tube a vote of neighbours gives up. It keeps the tube, under every version that does not rescale the distances. It also places eighteen white LEDs on the radiators' line, because that line — fitted to six radiators close together — runs along the LEDs' own and, extended, straight through the violet-pumped ones; and the radiators' estimate, extrapolated to them, misses the triphosphor tube by 7.6. Clamped to the stretch each family spans, the lines still cost ±0.285; given to the halophosphate family alone, its line claims a cyan LED and costs ±0.179. The one line classifier that comes in under the ratio line's ±0.141 does so by two thousandths, having placed the tube with the LEDs.

 How sharp each corner of two displays is, in CIELAB and in ΔE₀₀. For the three primaries and three secondaries of sRGB and BT.2020, the move per unit of margin that a perfect corner of each one's tangent shape makes in CIELAB and carried into ΔE₀₀ by its full local matrix. The blue is ×3.35 and ×3.17 in CIELAB, against the press's blue at ×1.25; in ΔE₀₀ it is ×1.42 and ×1.26. ΔE₀₀ brings every corner of both displays under ×1.9. Matching and measuring

A display's blue is sharp where the rotation is not

ΔE₀₀'s rotation term shears chroma into hue near a CIELAB hue of 275 degrees, and at a press's blue corner it had nothing to act on because the corner was blunt. The prediction was that a display's blue — an additive primary — would be a sharp corner, and that there the rotation would change how far a safety margin moves it by more than a tenth. The first half holds: sRGB's blue moves 3.35 times a CIELAB margin and BT.2020's 3.17, against the press's 1.25, and insetting the curved gamut directly confirms it to the second decimal. The second half fails, twice. A display's blue sits at 306 degrees, thirty past the rotation's centre, where the term grips a quarter as hard; and ΔE₀₀ blunts the corner to 1.42 by compressing its chroma sevenfold. Along the edge from blue to cyan the hue does pass through 275 and the grip reaches −0.87 — where the edge is nearly a face. Nowhere near either display's blue does the rotation move a prediction by four hundredths.

 Condensing and shortening each carry half of what closing the counters added. At equal stem widths, the mean gain in the junctions' share of the seen error from the extended letter to the condensed one at one height, from the tall letter to the short one at one width, and from the open spacing to the closed one, which changed both together. The first two are +0.023 and +0.023; together +0.047, against +0.043 for both at once. Each half is within one and a half standard errors of nought. What it takes to deliver it

Width and height each carry half the counter's gain

Closing a sharpened letter's spacing at a fixed stem width raised its junctions' share of the error the eye sees by about four hundredths, and the spacing moved the letter's width and height together. A type family's condensed and extended faces separate them: the counters across the letter narrow while its height and stem stay put. The prediction was that the condensed letters' junctions would carry the whole four hundredths. They carry half — 0.023 — with the stroke ends moving by four thousandths. Shortening the letter at one width carries the other half, also 0.023, and the two add to within four thousandths of what closing both did. Each half is found where its own counter lies — condensing gains most in the H, shortening in the E — and the T, which has no counter across it, gains nothing when condensed. Neither half, on its own, is larger than one and a half times the scatter a sub-pixel position produces.

 What adaptation cannot remove from an orange tint, with and without a thin dot edge. For a reader fully adapted to brightened office paper, the orange tint's hue turn against its solid beyond what a non-fluorescent sheet of the same colour leaves, at coverages from five to sixty per cent, with a uniform ink film and with rims of three, six and twelve micrometres. The residue is largest at the palest tint for every rim, and every wider rim raises it: at a fifth coverage from 6.8° to 7.9°. What the brain does

A thin dot edge lets the glow back in

A pale tint printed on brightened paper keeps part of its hue turn however fully a reader adapts to the sheet — ten degrees for a fifth-coverage orange where a non-fluorescent sheet of the same colour leaves three — because the ink's vehicle puts out the brightener's glow under the solid and the tint's bare paper keeps it. That census gave every dot a uniform film. A real dot thins at its edge, a thin film lets ultraviolet through, and at the pale end of a ramp most of a dot is edge. The prediction was that the edge would restore the glow under the tint's dots, shrink the residue by a third at a fifth coverage and move the worst of it to the mid-tones. The edge does restore the glow — nine times as much under a small dot with a twelve-micrometre rim. And the residue grows: 6.8 degrees to 7.9 at a fifth coverage, 7.2 to 9.0 at a twentieth. The residue is the tint glowing where the solid does not, and more glow under the tint's dots is more of the difference. The palest tint keeps the most, with or without an edge.

 The best band pigment for a direction that splits the green from the yellow. Under the clear mercury lamp, the direction of the object-colour solid with the pattern −−+− over the 405, 436, 546 and 578 nm lines that the three-band pigment reaches least well, searched from 680 starts: its reflectance, 5.4 per cent short of the ideal, with bands at 607 nm, 427 nm, 607 nm; and with a fourth band, 4.3 per cent short. The fall between the green line and the yellow is made by stacking bands on one side of it, never by a narrow peak between two. Where the model breaks

A pair of lines asks for a cliff, not a gap

Under a clear mercury lamp, every direction of colour a slow pigment loses by more than five per cent asks it to reflect one of the lamp's green and yellow lines, 32 nanometres apart, and absorb the other. The prediction was that a pigment of two absorption bands with a narrow gap between them — a peak no single transition can make — would recover those deep losses. No direction asks for a peak. The lamp's four lines leave only one transition within a hundred nanometres of another, so what a splitting direction needs is a cliff: one flank falling from reflecting to absorbing in the twenty-five nanometres between the green line's last strong sample and the yellow's first. One band at the census's depth takes 27.8 to fall that far; two stacked at one centre take 24.9. Searched from 680 starts, the census's own band model does exactly that — stacks its bands on one side of the pair — and reaches further than the census found in seventeen directions of twenty-five. What stays deep spends a band on the blue.

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