Last summer I wrote a multi-part series here that looked at how much color gamut displays really need. In those articles I used the gamut of colors found in the natural world, as defined by Pointer, as a possible design goal for an ideal color display. Kid Jansen at TFT Central has followed-up on my piece with a much more detailed look at how several current color gamut standards and devices perform compared to Pointer’s gamut. He’s done some great analysis and it’s well worth reading, check it out here.
Adobe recently released a new iPhone app called Kuler that let’s you extract colors from your surroundings using the phone’s camera. It’s a useful tool that allows designers to capture color inspiration wherever they find it and easily incorporate it into their work via color palettes.
The app also highlights a weakness in current display technology: no display on the market today can actually reproduce all the colors we see in the environment around us. So, even if the camera sensor can capture that color you love, you may not be seeing an accurate representation of it on your device.
The iPhone 5’s LCD display is designed to cover the sRGB/rec.709 color gamut standard used for HDTV broadcasts. And, it looks great but compared to the world we see around us, it’s just not quite as rich. If we plot the iPhone 5’s color gamut against the gamut of colors found in nature, the phone comes up short in important reds, greens and cyans:
If DisplayWeek 2013 was any indication, color has once again become a hot topic in the display industry. Color gamuts are getting larger and it may not be long before we see a display that can match what our eye sees in nature. Over the course of the next year, we will start to see more wide color gamut-capable devices as OLED continues to expand marketshare and new technologies like quantum dot LCD begin to enter the market in volume.
Visceral refers to the gut, rather than the mind. Our brain may try to talk us out of jumping off a cliff, but as soon as we take that first step into the void, our guts take over. We respond with a rush of emotion and we can’t help but scream from terror or euphoria. It’s a purely visceral reaction. […]
So here’s my theory: I believe that introducing visceral elements into an app will take it past the point of just being awesome. It will make your app speak to the subconscious, built-in affinity that humans have for the physical properties I mentioned before.
That’s Rob Foster, co-founder of Mysterious Trousers, defining his theory about the importance of visceral elements in application design. The whole piece is well worth reading, especially if you are interested in design or have ever wondered just why Angry Birds is so unbelievably addictive.
In the quote above Rob is talking about the power of little kinetic events in applications like the bounce you get when scrolling to the bottom of a page on the iPhone or the satisfying little “pop” noise you hear when creating a new task in Clear. His point is well made, getting the details of these visceral elements right can clearly take an app from just useful to a truly engaging and even addictive experience for users.
While Rob’s piece focused on the impact of animation and sound, I wondered how color might factor into visceral application design.
Color choice is not just about beautiful graphics- it can also have a powerful physiological effect on us. We have a measurable response to aggressive colors like red, which may even cause a spike in testosterone levels. In fact, recent studies suggest that that the color of a uniform can affect the outcome of an Olympic wrestling match and onscreen colors can even influence how much you pay for something on eBay.
As mobile display technology improves, with more lifelike color and wider dynamic range, application designers may find that color becomes an even more powerful tool to elicit visceral responses from users.
Apple CEO Tim Cook spoke at Goldman Sachs’ Technology and Internet Conference yesterday. He touched on a wide range of topics from what Apple plans to do with its cash horde to the state of its retail operation. When it came to a question about making lower cost products, Tim used display quality to help make a point about creating great user experiences:
The truth is, customers want a great experience and they want quality and they want that a-ha moment each time that they use the product, and that’s rarely a function of any of those things.
If you look at displays, some people are focused on size. There’s a few other things about the display that are important. Some people use displays, like OLED displays, the color saturation is awful. And so if you ever buy anything online and you want to really know what the color is as many people do, you should really think twice before you depend on the color of the OLED display. The Retina display is twice as bright as an OLED display. I only bring these points up to say there are many attributes to the display, and what Apple does is sweat every detail.
He makes some fair points here. If a display is not bright enough to view in all conditions, not efficient enough to get you through a whole day or accurate enough to display your favorite content, the experience of the whole device suffers. Choosing the right display technology is certainly a critical part of the design process.
OLED technology’s power consumption and saturation issues have been well established already. What I find most interesting in Tim’s comments is the idea that high color saturation is intrinsically a bad experience. It certainly has been that way so far but the difference between a great color experience and the gaudy oversaturation of today’s OLEDs is in exactly the kind of implementation details he’s describing above.
OLED and emerging LCD technologies, like quantum dot displays, can actually show a much wider range of colors than today’s devices– over 40% more of the color that our eyes can detect. This means that, when paired with the right content, high saturation displays can more accurately reflect the world we see around us resulting in a more lifelike, immersive experience.
But how do we get wide color gamut content into consumers hands?
It’s a lot like the chicken and egg/content and technology dilemma facing 4K TV makers with two key differences- wide color gamut can be delivered with no change in file size and there’s plenty content out there already. As an example, movies have been shot for decades on media, both film and digital, that has a much wider color gamut than your TV does today. Much in the same way that 4K TV’s can upscale HD video, it’s also relatively easy to manage the color on a device to make it backwards compatible with today’s content.
OLED implementers have thus far been content to take advantage of the extra pop that added color saturation provides when comparing devices on a store shelf. They’ve left a tremendous amount of overall ecosystem value on the table. It’s possible to deliver video in cinema-level color quality to mobile devices, to offer developers the tools to take full advantage of a wider color palette and to implement accurate color management for existing content. Wide color gamut is ready now, it’s just waiting for the right device maker to come along and put all these pieces together to perfect the experience.
Finally getting around to posting a follow-up to a follow-up to John The Math Guy’s recent series on color gamut size, colorblindness and tablet displays. I thought I might be able to at least shed a little more light on his question about the differences in color accuracy between some of these devices.
In his testing, John found no statistically significant difference in scores among different people taking the EnChroma colorblindness test on different devices. I found this somewhat surprising since, in my experience, even tablets with similar color gamuts tend to show colors with very different levels of accuracy.
To show what I mean by that, I measured how two different tablets show the colors found in the Gretag Macbeth color checker chart.
As you can see, the iPad mini and Nexus 7 each produce very different colors, even for those colors that are actually inside their gamuts.
For example, even though the iPad mini has enough gamut coverage to accurately display the Gretag chart’s deepest blue, it cannot do so without distorting the image in another way. This is because of data in the underlying image standard- most content today is encoded in the sRGB standard. If the iPad were to show that Gretag blue correctly, it would not have enough color saturation headroom left over to show you a different color if a deeper blue, say right at the bottom of the sRGB triangle, were called for.
A good real world example of this can be found in the picture below of my bloodhound, Louisa, racing down the beach at Carmel, CA. The middle of the sky in this image is right on the edge of the iPad’s color gamut, very similar to the Gretag blue in the charts above, while the deepest blues found in the ocean fall outside the iPad’s gamut.
If the iPad were striving for accuracy at all costs, it might map both colors right on top of each other at the edge of the gamut. There’d be no visible difference between the two in this case and the quality of the image would suffer but at least the sky would be accurate. In order to avoid this scenario, the designers of these devices have decided to compromise on accuracy so they can show a full range of color differences to the user.
They do this by remapping colors inward, away from the edges of the gamut, effectively compressing the gamut even further so that otherwise out-of-gamut colors can be seen. This is a good solution given the gamut limitations of the device since it results in more pleasing, if less accurate images.
As newer devices trend towards wider color gamuts this kind of compromise should become a thing of the past. In fact, tablet designers may be working on the reverse issue- how to avoid oversaturating images that were encoded for smaller gamuts.
Great, how does this relate to colorblindness again?
Taking another look at the Gretag results from the two devices plotted on top of each other, there clearly are major differences. But, in the reds and greens, two colors associated with a common form of color blindness, the devices are relatively close. So, the simple answer may just be that colorblindness tests do not require pinpoint accuracy to be effective, at least as basic screening tools.
App developer FiftyThree recently updated one of my favorite creativity apps for iOS, Paper, with an impressive new color-related feature. If you are not familiar with Paper, it’s a sketchbook app capable of making the work of even non-artists like me look gallery worthy with an intuitive and responsive interface.
The new feature, which FiftyThree calls “the biggest leap forward in color controls in the past 40 years,” is a color mixer that allows you to create a wide array of colors within the app just as you would in real life. They say they put a lot of time and effort into making the new mixer feel natural. The Paper color mixer works just like finger painting as a kid, mixing yellow and blue in the Paper app mixer produces green.
This is a great feature that expands the content creation capabilities of an already exceptional app. But, as great as this app is, it’s still limited by the color capability of the device it’s installed on. Even the latest iPad, which can produce 100% of the sRGB color gamut, still only shows about 1/3 of the visible color spectrum.
The experience you will have mixing and creating colors on today’s tablets just will not be nearly as dynamic or visceral as making a physical painting. Not until better, wide color gamut technology is adopted in displays will the digital color experience match the stunning world of color we live in.
We typically focus on color as it relates to displays here at dot-color, but I came across a fascinating post about color in the print industry from John the Math Guy that I had to share. In this post, John takes a close look at how ink looks at different thicknesses and uncovers the reasons for some seemingly unconventional color-naming habits in the print industry.
What happens when we double the amount of ink on the paper? …it would seem that the thick layer of magenta is a lot closer to red. The plot below shows the actual spectra of two magenta patches, one at a larger ink film thickness than the other. The plot leads one to the same impression – that a thick layer of magenta is closer to red in hue than a thin layer.
Read the whole thing here: http://johnthemathguy.blogspot.com/2012/09/why-does-my-cyan-have-blues.html
One of the most important pieces of equipment on the Curiosity rover is not a spectrometer or a laser but a color calibration chart. Nothing is simple when you’re sending a robot on a 354 million mile journey into space, but NASA and Bill Nye (yes, the “science guy”) came up with an ingenious solution to calibrate the colors of the onboard cameras.
In order for NASA scientists to be sure that we are seeing “The Red Planet“ in the correct shade of red, they attached red, green and blue color chips to a sundial on the surface of the rover. These reference colors will guarantee the amazing photos we are seeing of the Martian landscape are accurate.
Here is an animated gif of the sundial on the surface of Mars and a close-up shot of it before it left Earth:
Since the debut of the iPad in 2010, tablets have become the ultimate content consumption device, but many still to wonder if they’ll ever be capable of replacing notebooks for portable content creation.
While tablets may never truly replace notebooks for all of our content creation needs, especially typing intensive ones, a new crop of apps for iOS and Android are certainly making a case for it.
Recent creative apps like Paper by fiftythree, Adobe’s Photoshop Touch and Apple’s iPhoto for iOS have just started to scratch the surface of the creative capabilities of powerful mobile devices. These apps show us that mobile creativity, when done right, can harness the unique properties of a touchscreen handheld device to offer new capabilities that a laptop cannot duplicate. Drawing with a stylus in Paper, for example, feels remarkably precise and expressive because of a neat gesture trick- the speed of your pen controls the thickness of the line. Similarly, in Photoshop Touch and iPhoto, editing your photos by actually putting your hands on them, while less precise than a keyboard and mouse, can be a revelation for broad stroke tasks like blending two images.
Tablets clearly have the processing power, the battery life and display resolution necessary to become serious creative tools, but there’s one thing missing: color. Creative professionals normally work on displays capable of showing a range of colors that is as much as 60% wider than even the latest “high color saturation” iPad. Artists need to see the content they are creating in the same vibrant colors they see in the real world. Improving the color performance on mobile devices will make tablets truly worthy of a place in any creative professional’s regular workflow.
Back to share more of our display measurement results from the new iPad. Side note before we jump in: this is a somewhat technical post, if you aren’t familiar with the general workings of an LCD, this great live teardown by Bill Hammack is worth watching: http://youtu.be/jiejNAUwcQ8
There are two ways to improve the color gamut performance of an LCD display: you can either make the backlight better or the color filters better. In both approaches, the goal is the same: to make red, green and blue light as pure as possible. The LCD display mixes these three primary colors to make all the other colors you see on screen, thus, the more pure the individual pimary colors are, the better all colors on screen are. Based on our measurements, it looks like Apple focused on the color filters for this new display, let’s take a closer look.
In the color spectrum chart below, you can see the result of some of the color filter changes that Apple made. Notice how the red peak (on the right, in the 600 nm range) has moved to a longer wavelength. This change in wavelength means reds on the new iPad will have a deeper hue, will be less orange and more distinctly red.
Another interesting thing to look at here is the blue peak at about 450 nanometers. In our last post, we noted that blue got the biggest boost with the new display. However, the blue peak did not change in wavelength or in shape, only amplitude (or brightness), which does not affect color. So what explains the dramatic improvement in blue seen on the new display?
The above spectrum isn’t telling the whole story. It was measured from a white screen, in other words a screen with all three primary colors turned on. We see very different results when looking at a screen with a blue image, where only the blue sub pixel filters are open.
This chart shows us only the light that is allowed to pass through the blue color filters. We can see the same blue peaks that we know from the white spectrum, but there’s also some extra light getting through – notice the two small tails to the right of the blue peak? That’s green light from the backlight leaking through the blue filter.
This means that when the iPad display needs blue light to make an image, some of that green comes along with the blue whether you want it or not. You will notice that the green blip is smaller on the new iPad, meaning less green is leaking through and a purer blue is displayed. Take a look at the comparison shot here and you can see how just a hint of that green leakage is making the iPad 2’s blue (on left) appear slightly aqua by comparison.
Leakage like this happens because its very difficult to make a truly perfect color filter and even harder to make one that is efficient enough for a mobile display. The reason is basic physics – a better color filter is narrower, allowing only the desired color through. However, the narrower you make the filter, the less light it lets through, and less light through means the display has to be driven harder to maintain brightness. This directly affects battery life, partially explaining the new iPad’s need for a larger battery. Based on our experience, we estimate that the color improvements alone in the new display probably cause it to consume about 20-30% more power than the iPad 2’s screen.
Perfecting the color performance of a display is a critical engineering challenge and worth highlighting because its one of those tiny details that Apple is so great at. Just making this small improvement in light leakage from iPad 2 to the new iPad accounts for a stunning amount of improvement in color performance and, most importantly, it makes for a richer user experience.