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Identifying Color Differences Using L*a*b* or L*C*H*

Coordinates

How Closely Does the Sample Match the Standard?

Even if two colors look the same to one person, slight differences may be found when evaluated
with a color measurement instrument. If the color of a sample does not match the standard,
customer satisfaction is compromised and the amount of rework and costs increase. Because of
this, identifying color differences between a sample and the standard as early in the production
process as possible is important.

Color difference can be defined as the numerical comparison of a sample’s color to the standard. It
indicates the differences in absolute color coordinates and is referred to as Delta (Δ). These
formulas calculate the difference between two colors to identify inconsistencies and help users
control the color of their products more effectively.

To begin, the sample color and the standard color should be measured and the values for each
measurement saved. The color differences between the sample and standard are calculated using
the resulting colorimetric values.

Identifying Color Differences Using CIE L*a*b* Coordinates

Defined by the Commission Internationale de l’Eclairage (CIE), the L*a*b* color space was modeled
after a color-opponent theory stating that two colors cannot be red and green at the same time or
yellow and blue at the same time. As shown below, L* indicates lightness, a* is the red/green
coordinate, and b* is the yellow/blue coordinate. Deltas for L* (ΔL*), a* (Δa*) and b* (Δb*) may be
positive (+) or negative ( -). The total difference, Delta E (ΔE*), however, is always positive.

ΔL* (L* sample minus L* standard) = difference in lightness and darkness (+ = lighter, – =
darker)
Δa* (a* sample minus a* standard) = difference in red and green (+ = redder, – = greener)
Δb* (b* sample minus b* standard) = difference in yellow and blue (+ = yellower, – = bluer)
Let’s compare Apple 1 to Apple 2 (see Figure 1).

Figure 1

Looking at the L*a*b* values for each apple in Figure 1, we can objectively determine that the
apples don’t match in color. These values tell us that Apple 2 (sample) is lighter, less red, and more
yellow in color than Apple 1 (standard). If we put the values of ΔL*=+4.03, Δa*=-3.05, and
Δb*=+1.04 into the color difference equation, it can be determined that the total color difference
between the two apples is 5.16.

5.16 = [4.03^2 + -3.05^2 + 1.04^2] ^1/2

Identifying Color Differences Using CIE L*C*H* Coordinates

The L*C*h color space is similar to L*a*b*, but it describes color differently using cylindrical
coordinates instead of rectangular coordinates. In this color space, L* indicates lightness, C*
represents chroma, and h is the hue angle. Chroma and hue are calculated from the a* and b*
coordinates in L*a*b*. Deltas for lightness (ΔL*), chroma (ΔC*), and hue (ΔH*) may be positive (+)
or negative ( -). These are expressed as:

ΔL* (L* sample minus L* standard) = difference in lightness and darkness (+ = lighter, – = darker)
ΔC* (C* sample minus C* standard) = difference in chroma (+ = brighter, – = duller)
ΔH* (H* sample minus H* standard) = difference in hue

Let’s compare Apple 1 to Apple 2 (see Figure 2).

Figure 2

Looking at the L*C*h values for each apple in Figure 2, we can objectively determine that the apples
don’t match in color. Like the L*a*b* values, these values tell us that Apple 2 (sample) is lighter and
duller in appearance than Apple 1 (standard). The positive ΔH* value of +1.92 indicates Apple 2
falls counterclockwise to Apple 1 in the L*C*h color space. This tells us that Apple 2 is less red than
Apple 1.

Color measurement instruments, such as colorimeters and spectrophotometers, can detect

differences indiscernible to the human eye and then instantly display these differences in numerical
terms. After identifying color differences using L*a*b* or L*C*h values, it should be decided whether
the sample is acceptable or not using tolerance limits.
https://www.xrite.com/blog/tips-to-define-tolerances

Tips for Defining a Realistic

Pass/Fail Tolerance
Posted May 02, 2017 by Mike Huda

Did you read our blog: Are You Using The Right Tolerancing Method? If not, check it out.
Today we’re taking the topic one step further to investigate how tolerances are chosen in
different industries.

A pass-fail tolerance is the amount of color variation that is considered commercially

acceptable. In part, tolerances are driven by customer expectations. While color tolerances are
very tight in the automotive, plastics, and paint & coatings worlds, they can be much less strict
in other industries.

For example, if you’re producing a vehicle, everything from the bumper to the door handles to
the steering wheel and dashboard must match unconditionally, regardless of lighting
conditions. That’s why the pass/fail limits for automobiles are very, very stringent… often 0.5 or
less in a CMC calculation. Some automotive industries even use their own proprietary methods
to achieve these tight tolerances.

But tolerances must also reflect the capability of the production processes. A delta E CMC
setting this small makes it much harder to achieve expectations for accurate and consistent
color. In the auto industry, the processes for painted or injection-molded parts are highly
capable. They can make very small iterations of the same part over and over again with the
same precise color control.
Check out this chart for help understanding the differences between CIELAB, CIELCH, and
CMC tolerancing.

Unfortunately, it’s not that easy in other

industries.
Take printing, for example, where the standards may be G7, SWOP, or GRACol. Other master
numbers might come from an OK sheet or an approved press pull. But since a printing press
isn’t capable of achieving a tolerance anywhere near that of a paint process on a consistent
basis, most printing applications don’t even attempt a commercial factor of 0.5. They’d be
throwing away virtually everything they made!

Printing industry standards are usually L*a*b or LCh, Delta E CMC, or often simply delta E. But
the typical observer setting is D50 lighting, 2-degrees, as opposed to D65/10 for auto. The
typical printing pass/fail standard is a delta E CMC of 2.0 or more. In some processes, it may
be as large as 5.0. Print tolerances must be this relaxed because the process simply can’t do
better on a consistent basis.

As you look at other industries, such as textiles, furniture, wall coverings, or retail paint, you’ll
find that those who do color well establish good standards. They know that setting the delta E
CMC too low means they won’t be able to produce sellable products at a good cost.

Visually evaluating the color of painted ceramic plates in the SpectraLight QC light booth.

In the end, it’s a balance between process capability and customer expectations… a buy-sell
agreement between how accurately the customer wants you to make it, and how much they’re
willing to pay.

To set achievable tolerances, you need to do

your homework.
1. Find out what lighting is considered important in your industry.
2. Evaluate your processes and how capable they are.
3. Look for established standards that you should follow, such as ISO, ASTM, SNAP,
GRACol, G7, A2LA and/or AATCC.
4. Find out what your competitors are doing.
5. And talk to your customers. After all, isn’t your primary goal to make them happy?