https://bottosson.github.io/posts/colorwrong/

Most software around us today are decent at accurately displaying colors. Processing of colors is another story unfortunately, and is often done badly.

To understand what the problem is, let’s start with an example of three ways of blending green and magenta:

• Perceptual blend – A smooth transition using a model designed to mimic human perception of color. The blending is done so that the perceived brightness and color varies smoothly and evenly.
• Linear blend – A model for blending color based on how light behaves physically. This type of blending can occur in many ways naturally, for example when colors are blended together by focus blur in a camera or when viewing a pattern of two colors at a distance.
• sRGB blend – This is how colors would normally be blended in computer software, using sRGB to represent the colors. 

Let’s look at some more examples of blending of colors, to see how these problems surface more practically. The examples use strong colors since then the differences are more pronounced. This is using the same three ways of blending colors as the first example.

Instead of making it as easy as possible to work with color, most software make it unnecessarily hard, by doing image processing with representations not designed for it. Approximating the physical behavior of light with linear RGB models is one easy thing to do, but more work is needed to create image representations tailored for image processing and human perception.

Also see:

https://www.pixelsham.com/2022/04/05/bjorn-ottosson-okhsv-and-okhsl-two-new-color-spaces-for-color-picking/

Björn Ottosson proposed OKlch in 2020 to create a color space that can closely mimic how color is perceived by the human eye, predicting perceived lightness, chroma, and hue.

The OK in OKLCH stands for Optimal Color.

• L: Lightness (the perceived brightness of the color)
• C: Chroma (the intensity or saturation of the color)
• H: Hue (the actual color, such as red, blue, green, etc.)

Also read:

https://www.bbc.com/news/articles/clyq0n3em41o

By stimulating specific cells in the retina, the participants claim to have witnessed a blue-green colour that scientists have called “olo”, but some experts have said the existence of a new colour is “open to argument”.

The findings, published in the journal Science Advances on Friday, have been described by the study’s co-author, Prof Ren Ng from the University of California, as “remarkable”.

(A) System inputs. (i) Retina map of 10³ cone cells preclassified by spectral type (7). (ii) Target visual percept (here, a video of a child, see movie S1 at 1:04). (iii) Infrared cellular-scale imaging of the retina with 60-frames-per-second rolling shutter. Fixational eye movement is visible over the three frames shown.

(B) System outputs. (iv) Real-time per-cone target activation levels to reproduce the target percept, computed by: extracting eye motion from the input video relative to the retina map; identifying the spectral type of every cone in the field of view; computing the per-cone activation the target percept would have produced. (v) Intensities of visible-wavelength 488-nm laser microdoses at each cone required to achieve its target activation level.

(C) Infrared imaging and visible-wavelength stimulation are physically accomplished in a raster scan across the retinal region using AOSLO. By modulating the visible-wavelength beam’s intensity, the laser microdoses shown in (v) are delivered. Drawing adapted with permission [Harmening and Sincich (54)].

(D) Examples of target percepts with corresponding cone activations and laser microdoses, ranging from colored squares to complex imagery. Teal-striped regions represent the color “olo” of stimulating only M cones.

https://www.msn.com/en-us/news/world/secret-of-ancient-maya-blue-pigment-revealed-from-cracks-and-clues-on-a-dozen-bowls-from-chich%C3%A9n-itz%C3%A1/ar-AA1EfJpq

Maya blue is a highly unusual pigment because it is a mix of organic indigo and an inorganic clay mineral called palygorskite.  

Echoing the color of an azure sky, the indelible pigment was used to accentuate everything from ceramics to human sacrifices in the Late Preclassic period (300 B.C. to A.D. 300).

A team of researchers led by Dean Arnold, an adjunct curator of anthropology at the Field Museum in Chicago, determined that the key to Maya blue was actually a sacred incense called copal.
By heating the mixture of indigo, copal and palygorskite over a fire, the Maya produced the unique pigment, he reported at the time.