Colour Science & Perception
what the eye settles, and what it cannot
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The thread: Say which colour — page 8

A swatch is a set of coordinates in a space, under an observer, on a display with a gamut. Every colour drawn here carries all four, because a hex code on its own does not identify a colour at all.
What a weight fitted under the wrong reading does across ages. If the retina's rod signal has a fixed absolute size and the weight is fitted with the model's scaled reading, the fitted weight is the true one times the ratio of the two readings' signals: ×0.80 at twenty, ×1 at thirty-two, ×1.62 at seventy-five. The other way about, the reciprocal. A cohort of observers sharing one weight would show it as a trend with age. What the eye does

Age can size the rod signal, if the lens is known

A rod signal leaking into the colour pathways has no natural size in the model: read as a fraction of each cone's own peak it shrinks as the lens yellows, read as a fixed amount it grows relative to the cones, and the two readings differ by a factor of two over a lifetime. An asymmetric match on observers of different ages can tell them apart, because they predict opposite trends: one says a weight fitted at seventy-five will look sixty per cent larger than at thirty-two, the other says it will not move. A handful of observers per age would show it. But a lens mistaken by ten years looks like forty per cent of the weight, and a tenth of an optical density of macular pigment as much again, so the experiment is only as good as what it knows of each eye's lens and macula.

 What each pair of lamps pays to fit the lens and the macula as well. For each pair of lamps, the standard error of the rod signal's S weight fitted from one session — with the observer's lens and macula known (top bar), with the lens fitted too (middle) and with both fitted (bottom). Daylight against the LED is the best pair with everything known, ±0.026, and pays most of its advantage for the macula; tungsten against the LED pays almost nothing for either. What the eye does

The matches carry their own lens

A lens mistaken by ten years moves a colour match as far as half the rod signal being measured, and a tenth of an optical density of macular pigment as far again, so an experiment on the rod signal looked as if it needed a densitometer for every observer. It does not. Across a family of surfaces the three move the matches in different patterns, and one session of forty-two settings fits all three together — the lens to within a year and a quarter, better than a densitometer was asked for. The price is the weight's precision, and a second pair of lamps nearly removes it.

 The table's cast along the grey axis, with and without a toe. A seventeen-node four-ink inverse table filled from a strategy that begins black at L* 60: the mean chroma of the grey it prints, segment by segment. Above the start every strategy is the same three inks and the cast is about 0.0126. Below it the cast falls under a tenth of that 2, 7, 12, 12 units below the start for the kinked start and toes of 10, 20 and 30 — later with a wider toe, but by less than the toe's width, and nowhere near where black takes over. What it takes to deliver it

A little black ends the cast

A four-ink inverse table errs by a warm cast along the grey axis wherever the separation strategy prints only three inks, and almost only in lightness wherever it prints black. Real strategies start black gently, and the gentle start was expected to keep the cast until black carried much of the grey. It does not. The cast falls to a tenth of its three-ink size once black supplies a tenth to a sixth of the grey's darkening, at every toe from nothing to thirty units wide — because inside the toe the table's chord runs along the trade of black against the other three inks, which errs in lightness. What the toe does cost is the segment where black begins, which goes from the table's best to its worst.

 How many of 72 paints make a more colourful room, by where the finish goes. Six room shapes, each with five sets of painted faces and the rest mid grey, and 72 paints. Each cell is the number of paints for which a satin finish makes the room more colourful than matt, with the finish on every face, on the painted faces only, and on the grey faces only. With the finish on the painted faces, 29 of the 30 cells are zero; with it on the grey faces, 28 are not. The low room with its side walls painted — the room where a finish was found to add colour — gains for 21 paints with every face finished, none with only the walls finished, and 51 with only the grey faces finished. What a scene does

A finish adds colour only where it covers grey

One low wide room was found in which a satin finish makes the room more colourful rather than less, and the explanation offered was dilution: the more of a room is grey, the more a finish's glancing return stands out. Painted area turns out not to decide it. Across six room shapes and five ways of painting them, a finish on the painted faces alone never adds colour, and a finish on the grey faces alone almost always does. The low room gains because its grey faces are most of it, and the whole finish is close to the sum of its two halves.

 The cast segment by segment under three toes of width 20. The seventeen-node table's cast from where black begins to the floor, for the three toes and the kinked start. Above the toe's end at L 40 the shapes differ; below it the parabola and the smoothstep draw one line. Between the toe's end and L 20 the returned cast averages 1.94, 0.94, 1.94 thousandths for the parabola, the eased cubic and the smoothstep. What it takes to deliver it

The cast returns where black is steep

Below a black-generation toe a four-ink table's grey picks up a small cast again, up to a third of the three-ink cast at the widest toe, and the explanation offered was the jump in black's curvature where the toe ends. It is not. A toe whose curvature is nothing at its end returns exactly the same cast, segment for segment, and a kink put into straight black casts in its own segment once in twelve tries. What the returned cast follows is how steep black has to be once the toe is done — how far the chromatic inks climbed while black was held back, and how fast they then have to come down.

 A pale orange tint's turn on a brightened sheet, against the reader's adaptation. The hue turn of a fifth-coverage orange tint against its solid on brightened office paper in daylight, as the reader's adaptation moves from daylight's white to the sheet's, beside a sheet of the same colour that does not fluoresce, a white sheet with the same dot gain, a heavily brightened sheet, newsprint and a coated sheet. Unadapted the brightened sheet turns it -41.5 degrees, the coated sheet -8.0 and newsprint 12.7. Fully adapted, the non-glowing sheet of the same colour comes down to -3.2, beside the white sheet's -3.4; the brightened sheet stops at -10.0. What the brain does

Adapting to a brightened sheet leaves the glow

A pale tint on newsprint turns its hue one way and on coated paper the other, and a reader fully adapted to the paper sees newsprint's reversal vanish, because it was only the paper's colour. On a sheet with an optical brightener the tint turns the coated way and five times as far — 41.5 degrees for a fifth-coverage orange. A reader adapted to the sheet removes most of that, as expected, but not all: ten degrees stay. The sheet's colour adapts away like newsprint's. The brightener's glow does not, because the ink puts it out under the solid and leaves it under the tint, and an added light is not something adapting to a white can divide out.

 How far white turns each display colour's hue, in CIECAM16 and with its cone space changed. The twenty-four most saturated sRGB colours, each mixed with white of the same luminance down to a fifth of its purity, and the turn of its hue angle in Oklab, in CIECAM16, in CIECAM16 with its compression done in the Hunt–Pointer–Estévez space rather than CAT16's, and in CIECAM02's front end. At the display's blue Oklab turns 16.3 degrees and CIECAM16 3.6; compressed in Hunt–Pointer–Estévez it turns 15.6, and CIECAM02 16.1. Over all twenty-four the two lie 3.2 and 3.2 degrees from Oklab, root mean square, against CIECAM16's 5.3. What the brain does

The blue's hue turn was lost with a matrix

Add white to a saturated blue and its hue turns — sixteen degrees by the constant-hue data Oklab was fitted to, four by CIECAM16. The obvious suspect was the model's compressive response, acting on a very large blue signal. It is not: removing the compression's saturation moves no hue by half a degree, and a cube root instead of its exponent moves the blue by one. What decides it is the cone space the compression happens in. Computed in Hunt–Pointer–Estévez, the space CIECAM02 compressed in, the same model turns the blue 15.6 degrees; CIECAM02's own front end turns it 16.1. CIECAM16 merged CIECAM02's two spaces into one sharpened for adaptation, and that one gives a display's blue almost as much long-wave signal as white has.

 How far each unit moves a colour's balance, at the most saturated colour BT.2020 allows. For every fifteen degrees of hue at lightness 25, 50 and 75, the most saturated base colour whose one-unit lightness and chroma pairs stay inside a BT.2020 display, and the factor by which each unit's ratio of the two pairs changes from a 1.5 to a 10,000 candela display. CAM16-UCS moves every one by ×0.76 to ×0.89. ΔEITP moves them from ×0.54, a yellow-green at hue 90, to ×1.64, a red at hue 30 — with the red-purples beside it and the dark blues well below. Difference and uniformity

At the gamut's edge the reds move as far as the violets

As a display brightens, ΔEITP shifts a saturated colour's balance between lightness and chroma by an amount set by its three quantised signals, and CAM16-UCS shifts every colour alike. The largest shifts found so far were a yellow-green at ×0.63 and a dark blue at ×1.62, both at the census's edge — and the blue turns out to be a colour no BT.2020 display can show. Walked out to the display's real boundary, the yellow-greens go lower, to ×0.54, and the dark blues never pass ×1.35, because BT.2020's blue edge is at low chroma. The top of the range goes to the reds and red-purples at ×1.6: at the edge the L-minus-M term grows to two thirds of the S term. Pairing the two extremes still needs a third of the observers the violet experiment needs.

 Where a lens edge 10 nanometres off goes in a one-session fit. A sixty-year-old observer whose lens edge sits 10 nanometres longer (upper bars) or shorter (lower bars) than the model's, fitted by the model from one daylight-against-LED session: the shift in each fitted parameter, in that parameter's standard errors. The macula takes the most, 2.4 of its standard errors; the weight moves by 0.59 of its own, 0.035 in absolute terms, against a prediction of under a tenth for an edge ten nanometres off. What the eye does

A lens of the wrong shape lands in the macula

One session of colour matches can fit an observer's rod signal, lens and macular pigment together — but it fits a lens of the model's shape, one exponential in wavelength scaled by age, and a real lens need not be that shape. Give a sixty-year-old a lens with the right density at 400 nm and its edge ten nanometres off, and the fit puts the error mostly in the macula, moves the rod signal's weight by six tenths of its standard error — six times the predicted tenth — and leaves a misfit the session cannot see. A second lamp pair makes it worse: 3.5 standard errors. Fitting the edge as a fourth number removes the bias, costs the weight three to fourteen per cent, and finds the edge.

 Where one session puts a band in the lens, by the band's wavelength. A band of a tenth of an optical density in a sixty-year-old's lens, centred from 410 to 460 nm, fitted from one daylight-against-LED session by the model with weight, lens age, macula and the lens edge free: each parameter's shift in its own standard errors. Near 410 to 430 nm the band is read as lens; from 440 it is read as macula; the edge takes little of it anywhere; and the rod weight moves at every centre, by 0.37 to 1.39 of its standard errors. What the eye does

A band in the lens reads as age or as macula

A lens whose absorption edge is steeper or shallower than the model's biases a matching session's fit, and fitting the edge's position repairs it. An ageing lens also grows bands: yellow pigments that add a shoulder of absorption just past 400 nanometres. The edge parameter takes none of one. A tenth of an optical density centred at 410 to 430 nm is read as four to six years of extra lens age; centred at 440 to 460, as three to ten hundredths of macular pigment. Either way the rod signal's fitted weight moves, by up to 1.4 of its standard errors in one session and 1.8 in two, and the session's misfit stays within its noise. The lens model has to carry the band, or the experiment has to state what it does not know.

 What keeps the solid yellow sharp in ΔE₀₀, and what rounds it. The solid yellow's corner read as a cone: the opening a margin of two ΔE₀₀ found, the opening a cone about the tongue's measured axis would have once rescaled by ΔE₀₀'s local lengths, and the same with each of three reasons changed — the axis along chroma, the lightness weight as at mid-lightness, the hue function at one. The tilt narrows the corner from 71 to 49 degrees; the two weights both widen it. Matching and measuring

The yellow stays sharp because it leans

A safety margin stated in ΔE₀₀ rounds almost every corner of a coated press, and leaves the solid yellow nearly as sharp as a cube's corner. The explanation offered was that the yellow's tongue points up towards lightness as well as out in chroma, so ΔE₀₀ — which shortens chroma at yellow five times and lightness one and a half — shortens it less than a pure chroma spike. Measured from the press's own cells, the tongue leans 23 degrees, less than predicted, and a cone about that axis rescaled by ΔE₀₀ accounts for the yellow's opening to within ten degrees; about a chroma axis it would open twenty-two degrees wider. ΔE₀₀'s own low hue weight at yellow, offered as the alternative, works the other way: it rounds the yellow. And the same account fails at every other corner.

 Where a grey finish sends the lamp's light orders which rooms it colours. The thirty rooms of the census, each placed by one number computed from its box and lamp alone — how much more of the lamp's light a satin finish on the grey faces sends to the painted faces than their matt return did — and by how many of 72 paints a finish on the grey faces makes more colourful. Over the twenty-four rooms with a wall or the floor painted the rank correlation is 0.92, and the vertical line at zero sorts them: right of it every room gains for 29 paints or more, left of it for 22 or fewer. The six rooms with the ceiling painted, drawn hollow, all sit left of the line and five of them gain at every paint. What a scene does

A grey finish mirrors the lamp onto the paint

A satin finish on a room's grey faces makes the room more colourful in almost every arrangement, and the explanation offered was that it re-weights each grey face towards the paint it sees at a slant. That number, computed from the geometry alone, orders the rooms at a rank correlation of 0.24. The number that orders them is the same slant pointed the other way and lit: how much of the lamp's light the finish sends to the paint. It orders the rooms with a wall or floor painted at 0.92, and its sign sorts them without an exception.

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