Three numbers written into a file say only three numbers. What they look like is left to whatever happens to be showing them, which is why the house blue on the invoice you send is not quite the house blue on the one your customer prints.
The page sets the same six colours twice. The top row is the numbers on their own, left to whatever happens to be showing them. The row under it is those very same numbers, read through a description of the screen they were chosen on, which the file carries with it. On your screen the two rows look alike, and that is the point: the difference is not what they look like here, it is that the second row still names these colours on a press, on somebody else's screen, and decades from now. Below them colour is said a third way, by measurement rather than by mixing, with how light a colour is kept apart from which colour it is — which is why one strip changes only how light, and the sweep beside it only which colour, out of the same kind of description.
Nothing is left out and nothing is simplified: this is the program exactly as it runs, for the developer who uses this library. The third is the description itself: a plain list of what the page has to say, which is what the service is sent.
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The document is lighter than it was, and every page still looks exactly the same. See this document's row in the table of every example.
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.
Two inks the press carries on a plate of their own, each at ten strengths, a piece of work set in both, and the alignment 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 chart, 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.
One drawing on three pages: a press sheet stating where the ink runs, where the blade falls and what is worth keeping, with trim marks; the same sheet cropped to the finished page; and a landscape page that states a quarter turn clockwise on an upright sheet.