Six colours and a grey ramp painted three times over with the very same numbers: first left to the device, then said in two ways that state the white they are measured against, the curve applied to them, and how far the base colours reach. All of that travels in a handful of numbers, with no profile to carry.
Three numbers laid down as they stand are three numbers and a hope. A calibrated colour says instead what white those numbers are measured against, what curve is applied to them, and — for colour — how far the three base colours actually reach, so the same numbers are the same colour wherever the file is opened.
The page paints one row of colours and one grey ramp three times over, changing nothing but the way they are said. All of it travels in a handful of numbers, with no profile to carry, which is the cheap way to make colour mean something in a file that has to stay small.
The same document is written twice, once in each language. Both files are shown in full, with the code coloured on the server, and can be copied in one click.
The same document is written in each of these languages. Open the one you want to look at.
| Before | 111,666 bytes |
|---|---|
| Now | 41,191 bytes |
| Saved | 63.1 % |
Not one mark on the page changed. See every document measured.
Swatches in each of the three ways to say a colour — a grey as one number, a screen colour as three, a printing colour as four inks — each captioned with the instruction actually written into the file, and one mid-grey said three ways.
The same six colours said as bare numbers and then read through the sRGB profile the file carries, plus a ramp from light to dark and a sweep of hues in CIE L*a*b*: colour that still means the same thing on another screen and on a press.
Two inks the press carries on a plate of their own, each at ten strengths, a piece of work set in both, and the crosses used to line the plates up — drawn in an ink every plate answers to.
Eight choices of plate among the four usual inks, each with the small program that shows it printed underneath, and two inks the press carries itself used together, every strength of one against every strength of the other.
A chart of house colours the file carries, and a drawing whose sixteen numbers are places in that chart rather than colours. The same drawing is shown twice through two charts: repainting a whole brand is one table, not every drawing.
One pattern that states no colour of its own, laid down in five colours and in five strengths of one press ink: the fill says what colour to lay it down in. Beside them, the same hatch made of patterns that carry their own colours, which is one pattern per colour.