all colours at a similar level of perceived lightness to avoid unintentional bias or emphasis. no colour appearing too bright relative to the near-black unhighlighted textĤ. all colours maintaining good contrast with a white backgroundģ. In particular, producing a useful and/or aesthetically pleasing result still isn’t necessarily as simple as varying one axis in isolation, because you can quickly fall outside the available gamut that way.Īs a practical example of this, I recently needed a scheme for a variation of syntax highlighting in a structured document. I like using perceptual spaces because they are self-evidently a “neater” starting point for colour work than something artificially distorted like HSL or (horror!) RGB, but it’s important to recognise that they offer an incremental improvement and don’t magically solve all problems. My biggest complaint about perceptual colour spaces has been that they make working with colours near gamut boundaries really hard. Thank you Björn, I continue to enjoy your work! So I’m really glad to see this, because it’s just what I’ve been grumbling about the absence of. (To be sure, you do need to use such colours with care, but to remove them altogether is distressing.) For colour pickers especially, perceptual colour spaces have just been no good, because of their weird shapes and because you’re more likely to want to pick interesting colours nearer gamut bounds. Colour palettes often just don’t have any decent yellows at all. Yet such colours have plenty of practical value, and it’s a shame that many things eschew them because they’ve drunk too much perceptual uniformity kool-aid. For example, with #ff0 (yellow) in LCH, you can’t tweak any of the three parameters in either direction without going out of gamut (play with it at to get a vague idea of what I mean, though it doesn’t handle going out of gamut well). , with some analysis of various colour spaces of different types, focusing especially on their behaviour in gradients, to do with interpolation.
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