System for forming color images

Abstract: In a system for selectively enabling a printer to deposit primary color or black dots on a sheet to produce a color image, a color vector is constructed for each pixel. The subvector subcombinations of the color vector are nested in a specified nesting sequence of the color components (K,n1,n2,W) of the pixel. The color vector is compared with a dither value singled out of a dither cell at a position which corresponds to the location of the pixel. The comparison identifies the smallest subvector which is larger than the ditherd value and also identifies the particular color component which is at the highest level in that subvector. This particular color component is selected for printing.

Description: This application is a divisional application of 93303436.5 (EP-A-0,569,206). This invention relates generally to generation of colors on color-reproduction devices - and more particularly to clustered-dither halftoning in dot-on-dot sheet-medium printing systems, including color-halftone systems. 2. PRIOR ART In recent years computer-driven machines have become available for producing color graphics -- diagrams, abstract patterns or pictures -- on a sheet medium such as paper. Such machines are generally controlled in a two-step process. First a user sets up desired colors on a cathode-ray-tube (CRT) display; then the user directs the machine to print the selected colors onto the sheet medium. Both stages of control are found to be very problematic for reasons set forth in the present application 93303436.5 (EP-A-0,569,206) which also introduces a " hue plus gray" (HPG) colour model for resolving such problems. US4924301 describes a dithering system in which each input colour plane is compared separately to a dither matrix. Dependent on the result of the comparison a colour component is selected for printing. a. Dimensionality of color Color is three dimensional. This tridimensionality is first traceable physiologically to the origin of the color experience in at least three different photosensitive pigments (or pigment-filter combinations) that form the operative light-processing equipment of the retina. Moving next to the physiology/physics boundary, arising from the operation of those three sensors there apparently results a corresponding set of three spectral weighting functions -- evidently part of the human viewing apparatus though perhaps partly in the brain rather than the retina. The capability of a human observer to make color distinctions can be emulated by devices using these weighting functions, called "tristimulus" functions (International Commission on Illumination, 1931). Proceeding on to psychophysical terms, the dimensionality of color is seen in Grassmann's First Law (1853): human optical apparatus is capable of exactly three kinds of color distinction. These can be expressed as changes in dominant wavelength, luminance and purity. Next at the purely psychological or perceptual level, we will inevitably encounter again three variables. Quantitatively, however, not one but several competing coordinate systems or so-called "color spaces" have been introduced to describe the three-dimensional character of color perception. The root reasons for this proliferation of divergent perceptual models are at the heart of the present invention and will be discussed at length. First, however, it should be appreciated that there is yet one more level or environment, one more space, in which the tridimensional character of color must be manifested -- machine space. It is interesting to notice that in a sense we here come full circle, because the eye is a color machine; the pigment-based system that drives it is as chemical, as electronic, and as mechanical as any artificial device. Now, however, we refer not to devices for distinguishing color but rather devices or machines for generating, producing, creating or manufacturing color. The color space used in such color devices in fact mimics or tracks the color space of the eye, in certain important ways. The three retinal pigments evidently absorb selectively in (very broadly speaking) the blue, green and red spectral regions, and these are the spectral bands embodied in the tristimulus functions. Evidently those spectral bands have some claim to special status as what might be called "natural" reference points for human color vision. As will be seen this fact sometimes has been a cause of confusion in design of equipment for color generation and control. When we want to design devices that create and manipulate color experience, we aim to stimulate and control each retinal pigment independently. We would like to reach into the retina and excite just certain sensors, and we know just what tools can be used to do so: blue, green and red light respectively. These choices are also desirable from the standpoint of cost-effectiveness. We must pay for each milliwatt of light that we use to create color sensation, or even to create any visual sensation, and we do not wish to do so with light that falls between, or outside, the peaks of spectral sensitivity in the retina. Hence the choice of red, green and blue phosphors in video displays, and pigments of those same colors (or, for reasons to be discussed, their complements) in devices that produce color on paper and other media. The present invention does not undercut these choices of machine colorants. At some level of machine operation it is necessary to communicate in machine language. At that level the machine needs a specification of what colorant to drive, and so the machine language is necessarily colorant language -- for printing devices, pigment language. (In this document, a machine "pigment" means a physical coloring substance.) b. Fundamental color spaces for color manipulation, and criteria for their selection A natural concomitant of these phosphor and pigment choices has been the historical use of a three-dimensional color space in which red, green and blue are the defining dimensions R, G and B. For purposes of comparison only, Fig. 1 shows in an abstract form how such a space might be formulated. For reasons that will shortly appear, color is seldom discussed, and almost never manipulated by people, in such a space. Again, however, for the lowest-level machine color space -- analogous to the stream of ones and zeroes necessarily used at the lowest level in operation of a digital computer -- the RGB-space choice is sensible. Now it might be supposed, since R, G and B signals drive machine colorants, and RGB stimuli drive the retina, that RGB space is an ideal space in which to manage all color transactions. In support of this proposition can further be raised the fact that we not only work with RGB in operating our eyes but we also recognize those same colors. That is, we consciously perceive them as such. Since it is the perceptual level that is of greatest concern for purposes of the present invention, the RGB space may seem perfectly qualified to serve for color manipulation and navigation. We shall digress to discuss why this is not so. Experience shows that when humans need to navigate in color space their intuitions about the directions that will take them to a desired result are totally inadequate -- if that color space is an RGB space. To begin with, that statement is true qualitatively: Suppose we want some part of a color graphic to be "more reddish", or "less reddish", and we adjust a redness control to effectuate that judgment. If we are observant, we are often baffled to find that parts of the image now become more vividly or less-vividly colored, and parts of the image become lighter or darker. Furthermore, the added or diminished redness that was desired -- and, we know, physically provided -- may or may not even be perceptible. The above statement of inadequacy of our intuitions is even more strikingly true quantitatively. Suppose that the person who wants some part of a color graphic to be "more reddish" is a knowledgeable color scientist who understands thoroughly what causes the baffling events just described. That person now will realize what compound blendings of color stimulus would result if merely the redness were turned up, and will understand also what overall maneuvers must be made to drive to the desired result. As a general matter such a person will be able to make adjustments -- of R and G and B -- that will move in the right direction in trispace. Even that person, however, will find it extremely difficult to gauge in advance roughly how big the adjustments should be to closely approach the desired result with just one or two sets of adjustments. Therefore it is desirable to drive the RGB machine-language stage of a color system with some other stage in which color can be manipulated in a more intuitive way. It is in recognition of this consideration, for example, that color television sets are provided with color-adjustment controls that are not labelled "red", "green" and "blue" -- but rather with words intended to carry some intuitive connotations for guiding the user more directly toward a desired result. The stage of the system which is inserted to allow for adjustments must produce output signals that are then converted into RGB signals, by an arithmetic transformation. That manipulation or adjustment stage also may be driven by input signals received from a computer-screen control system, or from a broadcast signal, or from a video-playback device -- any of which, in principle, may be in RGB. Now we come to the question of what color space should be employed inside the adjustment or manipulation stage of the system -- the so-called "color compensation" stage mentioned earlier. This space, since navigation is the only or principal reason for its existence, should be one which is navigable as intuitively as possible. Essentially all modernly significant efforts to develop such a space -- including that of the present invention -- lead to some derivation from the parameter set which Fig. 2 presents in a generalized form. In this space, color is characterized by the following three components or parameters. (a) One of these relates to what has been termed "a mode of appearance of the color" -- see Judd, Color in Business, Science and Industry, Second Edition, p. 45 (Wiley 1963) -- and is often called "value". In speaking of self-luminous objects it is also called "brightness" (ranging on a scale from invisible to dazzling); in reference to other objects it is "lightness" (on a scale from black to white). The other two perceptual variables describe the chromaticness of the perception: (b) hue -- commonly used to describe the colors around a color wheel, and (c) chroma, which is the saturation or vividness of a color. This basic or fundamental set of parameters is often identified as the "Munsell HVC" color model. As is well known, this parameter set is popular primarily because -- besides potentially providing a full quantitative, analytical description of the experience of color -- it also corresponds to properties of color that are readily grasped intuitively and that seem to be natural or even fundamental. The parameters correspond closely in intuitive significance to the three variations identified in Grassmann's First Law. As seen in Fig. 2, a familiar implementation of Munsell color space retains some grounding in retinally-referenced. colorants R, G and B. Hue is seen as the angular element of a polar-coordinate system, on a six-unit cyclical scale from zero through five (or six superposed upon the origin angle zero), and those three color reference points are generally identified as related to the points zero, two and four on the hue scale. In this context the RGB points are no longer dimensions or parameters but rather only numbers along a parameter scale; they are called "primary colors" or "primaries". As is known, the R, G and B on a practical scale need not be identically the color reference points that earlier were suggested as "natural". Desired colors can be constructed from colorants that only roughly approximate those "natural" spectral sites -- or indeed from other colorants that provide adequate chromatic gamut. The value or lightness scale passes perpendicularly through the vertex or central origin of the hue plane drawn in Fig. 2. That plane is positioned in the drawing to suggest that the origin of the value scale may be taken as the center of the lightness-darkness range, with numbers L (light) as greatest available positive value and D (dark) the greatest available negative value. The vividness or chroma scale is represented by perpendicular radial or horizontal distance from the central lightness-darkness line LD . As will be seen, this seemingly straightforward representation has led to some of the greatest problems in color-control efforts heretofore. Of course any point in this tridimensional color space can be represented with these three parameters. As a matter of chromatic reality, however, not all points in this space have distinct physical meaning. Some constraints are imposed by theoretical availability of pure colors in the spectral sense. In adapting this color space to generation of colors by use of fixed individual primaries, further constraints are imposed by availability of actual colorants. Accordingly the ranges of permissible points are often said to be enclosed within various forms of color "solid". One such color solid is shown -- again in very generalized form -- in Fig. 3. Both the external contours and internal structure of that solid are characterized and illustrated differently in different color models. Since the present invention proceeds from a way of thinking about color space that is fundamentally different from ways employed earlier, particularly as to color machines or devices, we shall continue slightly further with our summary of portions of the conventional analysis. Fig. 3 may be taken as representing very generally the colors available from a large choice of colorants. The solid has rounded upper and lower surfaces. Those surfaces represent the boundary of the so-called "gamut" of those colorants -- in other words, the extreme boundaries of the range of all available pigment choices, and combinations of those choices. All the colors that are within those gamut boundaries can be formed from those available choices and combinations, and are said to be within the gamut of available colors of the system. The limiting case of pure chromatic or spectral colors defines the extreme equatorial rim, or a vertical tangent along that rim -- which in any vertical-section plane is rounded. The top and bottom apices represent the light and dark extrema available in the particular colorant system. These light and dark extrema, like other points on the surface of the solid, correspond to the light and dark extremes of available pigments -- here specifically the nonchromatic pigments. The color solid of Fig. 3 has been drawn with a section removed. The two faces 11a, 11b of the section represent the gamut of colors available, for the assumed large selection of colorants, in two different hue planes. That is, each section face 11a, 11b respectively represents only colors that are formed by making a great variety of lightness and vividness shadings of one specific hue, exclusively. Fig. 4 is a like generalized representation of colors available from a selection of many primaries of different hues, but just one primary for each hue. The rounded surfaces are replaced by straight lines which connect the light and dark extrema, respectively, to the rim. All these lines considered together form a pair of opposed cones. The rim now represents just one single point for each hue -- corresponding to the physical primary selected for that hue. Thus the rim is now the sharp intersection of upper and lower cones. Further, as a practical example the boundary rim line at each point in Fig. 4 is defined by a color point that has been selected as within the color solid of Fig. 3: real-world colorants usable in machines usually must be selected to accommodate machine constraints on viscosity, physical and color stability, and cost. For the same reason the apical points are chosen within the lightness range defined by the apices of Fig. 3. Fig. 4 thus represents one major step from the relative abstraction of Fig. 3 toward practical machine systems. Implicit in Fig. 4, however, remains an assumption of an essentially infinitesimal spacing of an infinite number of primaries about the rim. The next step toward a practical system is to replace these by some small number -- such as three to seven -- of colorants spaced somewhat evenly about the rim. Only colors within the boundary formed by a straight line between each primary can be formed from those colorants; hence the gamut of the system at its equator becomes a polygon. Above and below that polygonal equator, the gamut is defined by planes extending from the sides of the polygon to the top and bottom apices; such planes form a gamut solid (not illustrated) composed of two opposed polygonal pyramids. Fig. 5 shows four fine leaves 11R, 11PB, 11PG, 11Y sectioned from a large-colorant-selection solid very generally like that of Fig. 3. Such sections are called "hue pages". Near top and bottom on each hue leaf or page 11R, 11PB, 11PG, 11Y there is drawn a set of diagonal straight lines such as would be found from a single-colorant-per-hue color solid very generally like that of Fig. 4. Superimposed for reference is a cylinder of constant vividness. The hue pages here are merely for representative hues, but are far more realistic than in Figs. 3 and 4. They illustrate very clearly that the equatorial rim sweeps about neither a constant-lightness height nor along a constant-vividness radius -- but rather varies strongly, as a three-dimensional contour, with hue. Thus both blue-green 11BG and red 11R gamuts are available with maximum vividness that is positioned at midlightness values along the vertical "value" scale. Blue-green vividness is distinctly truncated, whereas available vividness for red is emphatically greater than for other colors. Purple-blue 11PB and yellow 11Y, on the other hand, both have very generally midrange vividness extrema; the purple-blue vividness comes to a peak at a very low point along the value scale -- producing available colors often described as "deep". The yellow vividness, however, peaks very high on the value scale, to offer colors sometimes called "brilliant". From Fig. 5, and particularly by reference to only the straight lines on each hue page showing the available gamut on that page for some practical colorant of that hue, it is possible to visualize a color solid in which the straight lines in the four different hue pages are connected together by triangular planes. At the outer edge, these planes form an irregular rim, not a regular equator as previously suggested. That rim rather is a highly irregular one that pokes radially in and out to the different vividnesses of the several colorants, while riding up and down to the corresponding different lightness values at those vividness points. The solid so described would represent the gamut of colors that could be formed by direct combination of the four practically usable primaries selected just inside the radially outermost point of each hue page in Fig. 5 -- under the constraint of using each of those primaries only directly as a primary. As can be appreciated from visualizing such an irregular pyramidal solid, with four (or more typically just three) colorants, very large peripheral ( i. e. , vivid) regions would be cut off by the outer pyramidal edges -- and so would be outside the solid. Those regions would represent colors excluded from the gamut, leaving distinctly limited treatments of vivid colors situated between the colorant primaries. Actually the gamut is not that severely constrained, even with only three colorants. Each pair of those colorants can be blended to construct a complementary color at a generally diametrical point of the solid. These complements can then be treated as if physically present, and the polygonal equator thus puffed out (angularly) in the regions between the primaries that are physically present. Accompanying that equatorial restoration is a corresponding expansion of the pyramidal upper and lower surfaces. Now when color is analyzed for the purpose of systematizing its generation or manufacture -- and especially in allowing users and automatic-machine designers to adjust or control the resulting colors -- it has been natural to attempt to adapt these same three color dimensions to the analysis. Device users would like to be offered controls or adjustments which they understand in intuitive terms: for example, a knob labeled "brightness" or a computer-screen menu choice (for color to be printed on paper) marked "vividness". To draw an example from an analogous (phosphor-based) field, however, it is a commonplace observation that twisting the brightness control on a television set is likely to change not only the brightness but the saturation and even the hue as well. Chroma adjustments often are equally frustrating because the desired fine retouching of color saturation is often accompanied by gross changes in brightness -- or, again, hue. This example merely serves to couch the problem in familiar terms. Analogous difficulties are seen in all kinds of paper or so-called "hardcopy" color images: we all encounter marginal color rendition everywhere in everyday life. Behind the scenes, in many of such cases, were efforts to correct what seemed to be just a small error in, for example, hue -- but which efforts almost inevitably resulted in unacceptable accompanying shifts in chroma or brightness. Such results are a direct result of the unfavorable economics in iterative efforts to bring the finished colors into a reasonable approximation of what is desired. When iterative efforts fail (as is often the case) to converge but rather seem to circulate endlessly around the desired accurate or natural appearance, terms such as "uneconomic" hardly suffice. Two conclusions may be drawn about the present state of the color-compensation art: (1) color adjustments, identified by parameters that are readily comprehended as intuitive, suffer from a lack of mutual independence; (2) apart from that seemingly basic property under control, color adjustments also fail to be reasonably well-behaved in perceptual color space. Although our earlier discussion of RGB color space emphasized difficulties of independence of available adjustment parameters in RGB space, we also mentioned the problem of quantitation of adjustment. Unfortunately, prior efforts to develop a formulation for intuitive management of color have seized with excessive vigor upon this second criterion -- quantitative regularity. It is true that in discussing color as perceived, it is helpful to employ a color space that is perceptually linear -- in other words, a space in which equal steps along any dimension correspond to increments of color perception that also appear substantially equal. Adoption of that criterion as the major objective, however, has been to the considerable detriment of the more fundamental criterion, parametric independence. It is at this point, as will now be shown, that the prior art veers sharply away from satisfactory solutions to the problem of providing good adjustability. This detour taken by the prior art is not a fault inherent in the fundamental HVC color space of Figs. 2 through 5. Rather it arises in unfortunate choices for specific definitions of the parameters -- particularly chroma C . True independence (or in mathematical terms "orthogonality") of parameters may be unnecessary, but at least very low mutual sensitivity or crosstalk is highly desirable. Similarly, precise perceptual linearity may be unnecessary, but it is sensible to pursue at least a fair degree of consistency in response to like adjustments of chroma, for example, in different portions of a hue plane. The same is true of uniformity in response to like adjustments of brightness in the presence of various chroma numbers; and so on. In response to this line of thinking it might be objected that a clear design goal for the most modern equipment should be to substantially eliminate the real need for adjustment, and simply drive the color devices to a color presentation that is both "correct" or "accurate" and "natural". For two reasons, the requirement for independent and well-behaved parameters in an adjacent color space cannot be so easily dismissed. First, consumers will continue to want fine adjustments for use as a matter of taste or preference. Second, in modern apparatus intended to produce correct or natural color the same problems of parametric independence and regularity resurface before the color device reaches the consumer: here it is the apparatus designers who struggle with the same problems. The reasons for the importance of independent parameters are the same in supposedly automatic color-control systems as in an earlier generation of systems nominally dependent upon operator adjustments. The colorants used to produce color -- pen-discharged ink dots, for instance -- simply do not come with inherent, independent adjustments for chroma, brightness, or hue. None of these physical substances is an ideal Munsell color machine. Neither are the devices -- e. g. , pens -- used to actuate the colorants. This momentary reversion to thinking about machine space and colorant language does invoke a third conclusion: (3) the so-called perceptual primaries and variables employed for color adjustment fail to correspond well to "device primaries" and "device variables". Here is a summary of the conclusions reached so far. Industrial color science has failed to develop a model of color space that is both parametrically independent and perceptually uniform, and even more emphatically has failed to develop a model that is also reasonably compatible with device parameters. The prior art has not reached a main objective: an ability to take the input desired-color information into such a space. Therefore it is not generally possible for perceptually meaningful and independent adjustments, compensations and rendering decisions to be made easily and straightforwardly -- in particular, without need for iteration. The prior art has also fallen short of another main objective: an ability to move on into machine space with minimal distortion of the perceptual adjustments, compensations and decisions. While EP-A-0,569,206 introduced a new colour space addressed sweepingly to these problems, the present divisional application focuses upon details of colour-halftoning by a clustered-dither method. Although described in terms of this new colour space, the clustered-dither method is not limited to this new colour space. c . Operation of color-creating devices Typical color output devices use a combination of -- for example -- red, green, blue, cyan, magenta, yellow and black colorants to generate color. These colorants conventionally are abbreviated R, G, B, C, M, Y and K respectively; or in a usual condensed notation "RGBCMYK". These systems are only capable of printing these distinct colors, limited in number, at each addressable location. In this document these distinct colors will be called the system colorants. They include device primaries ( i. e. , chromatic colors RGBCMY that have hue) plus black K. Typically the system colorants also include white ("W") -- commonly for example the white of a sheet medium such as paper. In some cases white is instead constructed by blending chromatic colors -- but when such blends are used in trying to produce white on an already-white sheet of paper or the like, the result is to waste pigment. Analogously, overprinting two or more pigments to approximate gray always wastes pigment and also usually produces a poor gray ( i. e. , one that is impure, in the sense that it includes a chromatic component). Usually the number of actual system colorants -- that is, those represented on a one-to-one basis by physical pigment substances -- is small. In particular, instead of all eight colorants listed above, as mentioned in the preceding section it is common to form or construct some ( e. g. , red, green and blue, RGB) as combinations of others (the complements cyan, magenta and yellow, CMY). Nevertheless these constructed (as distinguished from actual) colorants RGB usually are treated as device primaries available in their combinable form. This latter part (combinability) of the assumption results in very helpful analytical simplifications to the process of producing other colors generally -- i. e. , other than the full set of assumed system colorants RGB-CMY-KW. In particular, in a system that has the six chromatic colorants CMY-RGB, plus black and white, it can be shown that in order to generate any color (within the saturation envelope of these colorants) using the device, it is necessary to apply only two colorants plus black and white. As will shortly be seen this technique for operating a CMYK device is important and valuable -- but for a reasonably complete hue/saturation gamut does rest upon the assumption that the constructed colorants RGB do stand in some reasonable semblance of complementarity to the actual colorants CMY. In order to create colors other than the actual system colorants CMYK, as is well known, the latter are positioned on the medium ( e. g. , white) in close adjacence. The viewer integrates perceptually the spectral bands physically emanating from the actual colorants. The viewer thus perceives some color not present as a single pigment, and perhaps perceives a desired color or something near it. Of course, close inspection as under a magnifier reveals that that desired blend is not represented as an individual colorant. An important special case of this is halftoning, in which dots of different colorants are distributed over some area or region of the medium. Various degrees of freedom are available in such systems, depending upon the type of color device in use: dot size, for example, can be made variable. In printing machines driven directly by digital computers, generally more straightforward and rapid operation results from controlling only presence or absence of dots, but the dots and their spacing can be made quite small to yield reasonable overall resolution. With such machines, often halftone technique is called "digital halftoning" and the dots are called "pixels" -- from the familiar convention of video display. Many digital halftoning methods are extensions of the gray-scale halftoning case, in which gray information is generated by combinations of black and white pixels. These methods, when extended to the color case, typically assume that the colorants obey a subtractive color law. It is for this reason that -- as mentioned above -- all six chromatic device primaries RGB-CMY are treated as available in combinable form even though actually only three CMY (as well as nonchromatic K) are physically present. When the printer or other device fails to obey the subtractive color law, however, color errors result because it generates device primaries R'G'B' which are treated as if they were complements RGB to the actual pigments CMY, but are not those complements. A better way to control the resulting color is to treat such a CMYK device as having six chromatic device primaries, and to construct three R'G'B' of those as crosscombinations of the three actually present, as before -- but to drop the assumption that the constructed ones R'G'B' or pseudoRGB are accurately complementary red, green and blue RGB. This releases the need to depend on the subtractive color law, for establishment of primaries. Color combinations now can be calculated using actual properties of the constructed primaries and indeed of all the primaries. Such a system -- with six known chromatic colorants corresponding at least roughly to CMY and pseudoRGB or R'G'B', plus black and white -- retains the capability to generate any color (within the available saturation envelope) using only two of the colorants CMY-R'G'B' plus black and white, taking into account the known departures of R'G'B' from the complements RGB. This capability in turn enables generation of any such color using just the four actual pigments CMYK and the white background. In the remainder of this document we shall drop the notation R'G'B' and substitute the simpler RGB, with the understanding that typically one or more of these is a constructed primary. Some known machines, particularly some using CMYK devices, are controlled by isolating black information K for separate processing in the color-compensation stage. Those systems then retain the separate black information channel in the halftoning or rendition-driving stage. d . Conventional operation of color-rendition drivers As already mentioned in section c , computer-driven color devices for printing color images on sheet media generally produce colors as blends of just a few physically present colorants -- and do so by taking advantage of the observer's ability to perceptually blend physically adjacent color dots. In a sense this technique could be said to exploit a weakness rather than an ability of the observer, who is simply unable to resolve closely adjacent fine details and instead substitutes a perception as to their composite meaning. In any event the adjacency-blend technique for constructing a color pattern, diagram, picture or other graphic is well established. Generally a separate computational stage -- sometimes even embodied in a separate apparatus -- is employed to determine the assignment of different colorants to the various available dot positions in a color-halftone graphic. This colorant-to-dot-position assignment stage is sometimes called "digital halftoning" or "rendition" of the desired color. Since this rendition driver must make decisions about actual machine colorants, naturally it operates in machine-colorant space. Commonly therefore the earlier color-compensation or adjustment stage includes at its output a conversion step in which its perceptual-space decisions are translated (often translated back) to machine language -- i. e. , colorant space such as RGB or CMYK -- for use in the rendition. After such a system has done its work, it is natural for a user to compare the printed results with the desired-color input on the CRT screen. Such comparison generally reveals. that the rendition driver has selected, for individual dot positions, colors that do not appear at all in the on-screen definition of desired color. It might be thought that such distortions would affect only a few isolated dots, virtually invisible in large fields of color. Even in the interiors of large fields, however, that is not reliably so. At abrupt color-field boundaries and particularly in relatively small regions of distinctive color, especially serious problems can arise. In those contexts, conventional digital-halftoning schemes allow accumulated errors to propagate as quite visible and even conspicuous sprinklings of chromatically anomalous dots. Critical customers find such renditions unacceptable. The system workings that produce these questionable results will now be described. Conventional digital color halftoning has evolved from a technique developed in monochrome by Floyd and Steinberg, "An Adaptive Algorithm for Spatial Gray Scale", Intl. Symp. Dig. Tech. Papers at 36 (SID 1975). The original technique, for use in devices using only two colorants -- black and white -- attempts to make statistical decisions about pixel-printing locations in such a way as to yield a smooth rendering of desired gray-scale information. At each printer pixel location ( x , y ), the decision whether or not to print a black dot is made by comparing the total desired gray information D k -- in terms of white W ≡ 0, and black K ≡ 1 -- to a fifty-percent threshold. The subscript "k" identifies the processing as relating to grayness or in other words a quantity of black colorant. If the quantity of the total desired monochrome level D k is greater than that fifty-percent threshold, D k > 1 / 2, then the pixel is printed black. Otherwise it is printed white -- which ordinarily, with a white medium, simply means left unprinted. In either case, in general an error ( E k ) is generated which represents gray information that is not yet taken into account in terms of what actually appears on the printed medium. Subsequent pixels must account for this residual E k . When a total desired grayness level D k is less than fifty percent, D k < 1 / 2, and a dot is therefore not printed, the error E k from that pixel position is equal to the entire amount of the unrelieved quantity D k -- that is, the total desired quantity D k minus the actual quantity 0, for a deficiency of E k = D k - 0 = + D k . When the total desired grayness D k exceeds fifty percent D k > 1 / 2 and a dot is printed, the error from that position equals the total desired quantity D k minus the printed quantity 1, which comes to an overshoot of E k = D k - 1, a negative number. The error information E k , whether positive or negative, is weighted and accumulated in future pixel locations -- typically several different nearby locations -- for use when those pixel decisions are made. Fig. 12 illustrates a conventional pattern for distribution of error from an active pixel ( x , y ), in other words the pixel for which a print decision is being made. As can be seen, this diffusion pattern moves various fractions of the error from the active pixel into one not-yet-reached pixel in the same row -- in other words, the next pixel in line for decision -- and into three pixels in the following row. Errors propagated to unused pixel positions (past the edge of the frame, for instance) simply are discarded. More specifically, the distribution typically assigns to the adjacent pixel ( x +1, y ) in the same row 7/16 of the error. To the centrally adjacent pixel ( x , y +1) in the following row is assigned 5/16 of the error, and to the two pixels ( x -1, y +1) and ( x +1, y +1) adjoining that pixel 1/16 and 3/16 of the error respectively. (Various other allocation patterns have been proposed, and some have been used, in attempts to obtain visually more satisfying results.) Later the digital-halftoning system receives or takes up each subsequent pixel for processing of the desired grayness at its location. Before making the threshold decision for that subsequent, then-current pixel, the previously accumulated grayness error E k is added to the desired grayness K at the then-current pixel. The sum represents the "total" desired grayness level D k used in the algorithm discussed in the second preceding paragraph. In that "then current" pixel, grayness error E k in general will have been accumulated from several different nearby prior pixels. These same procedures are described below in terms of formulae: D k ( x , y ) = K ( x , y ) + P k ( x , y ) A k ( x , y ) = Round( D k [ x , y ]) E k ( x , y ) = A k ( x , y ) - D k ( x , y ) P k ( x +1, y ) = E k ( x , y )·7/16 + P ' k ( x +1, y ) P k ( x +1, y +1) = E k ( x , y )·3/16 + P ' k ( x +1, y +1) P k ( x , y +1) = E k ( x , y )·5/16 + P ' k ( x , y +1) P k ( x -1, y +1) = E k ( x , y )·1/16 + P ' k ( x -1, y +1), where K ≡ desired grayness level, amount of black pigment D ≡ decision to print pigment (computational); or "total" desired colorant quantity E ≡ error propagated from the active pixel A ≡ actual decision to print pigment P ≡ total previous error P ' ≡ partial accumulation of previous error x ≡ column number of the active pixel y ≡ row number of the active pixel. For reasons that will become clear, the decision and error variables D , E , A , P and P ' as well as the position coordinates x and y are here defined in general terms for any pigment. The process continues until all pixel decisions have been made. Statistically all the desired grayness information elements K then have been used to provide the best rendering of the image. The error E generated in each pixel is typically spread out over several adjacent pixels, and a contribution from that error often can be regarded as redistributed or respread from those into further adjacent pixels -- and yet further ones, and so on. This behavior of the error is analogized to diffusion of a fluid; hence the term "error diffusion". To effectuate this plan, an error-accumulation buffer or memory is established for each pixel location x , y as the progressive rendition process approaches that pixel. Errors allocated to that pixel from others previously processed are simply added into the corresponding buffer. In color applications, the Floyd-Steinberg method is applied to each of the components or primaries of the RGB or CMYK machine space independently. That is, the pixel decisions for each device-primary color are independent. Precisely the same formulae shown above for black are used for each of the machine colorants, except that for each chromatic primary of course the subscript "k" identifying black pigment is replaced by a suitable designation of that primary. Thus e. g. , in the case of red, representative lines of the above formulae may read ( F ≡ desired input fraction) : D r ( x , y ) = F r ( x , y ) + P r ( x ,y) E r ( x , y ) = A r ( x , y ) - D r ( x , y ) P r ( x , y +1) = E r ( x , y )·5/16 + P ' r ( x , y +1). For color machines that can print black K independently, an effort is made to extract black information from the RGB or CMY pixels, and isolate that information to drive the black-printing device. This objective is salutary, since color-black is in principle produced far more efficiently and accurately by black ink than by combinations of others. In general, however, such systems are able to extract only a rather poor approximation to the desired black information, thereby introducing another source of dissatisfaction with final printed colors. To effectuate this plan in a color regime, the procedure establishes not just one buffer but three or four -- in any event, one buffer or memory location for each machine pigment in use -- for each pixel being approached. Error contributions can now be separately added (taking account of their algebraic sign of course) for each primary colorant RGB or CMYK. The procedure leads to three or four actual print decisions A r , A g and A b -- or A c , A m , A y and A k as the case may be -- one for each colorant. In every way the decision for each pigment proceeds independently, to either print one or more color dots (or white W -- i. e. , no dot) in each pixel position. In event the system decides to print more than one colorant in a single pixel, that is exactly what occurs: the pigments mix and the resulting color is formed by the combined influences of the colorants. As suggested already, it is often assumed that they will operate in linear superposition to produce the results predicted by a subtractive color law. As indicated at the outset, the rendition system just described allows dots of all colors to propagate in areas where the desired color is a shaded device primary -- which is to say, a combination of a pure chromatic colorant with gray. As a particularly flagrant special case of such situations, the machine output frequently contains color information where the input color is only gray information. These effects are readily seen in some flesh tones of scanned images, in gray-scale images, and most interestingly even in large solid fields of shaded color -- for instance, those used as backgrounds in business graphics. Another manifestation appears at relatively abrupt color transitions -- sharp divisions between regions of distinctly different desired color. Often the colorants of one region diffuse into the other, blurring the demarcation. Such performance results in color effects often perceived as incongruous. Lemons, for example, that are tinted with green dots, and lawns sprinkled with pixels of blue, call particular attention to the inability of the rendition system to track basic decisions laid down firmly at the earlier color-compensation stage. It should be emphasized that a rendition driver produces such effects while functioning correctly as designed. That is to say, as long as operation of the halftoning driver is evaluated only in, say, RGB space, that operation may be found flawless: the colors just described as "anomalous" are perfectly valid representations of the RGB input colors to the driver. Ironically the very characteristic that would be particularly prized in operation of a perceptual color space employed for color-compensation or -adjustment purposes -- namely, independence of parameters -- is here seen to be associated with major problems in operation of a machine space employed for color-rendition or -halftoning purposes. The foregoing explanation of anomalous pixel colours is given in terms of error diffusion for convenience. Substantially the same outcome is observed when the halftone method is employed instead of a " dither" . Conventional dithering is described in sections e. and f. below. e. General halftoning concepts The area of an image to be rendered is organized as a collection of pixels oriented in both horizontal and vertical directions. Halftoning is required where the data representing each pixel contain more information than the device pixel is capable of reproducing. Halftoning reduces the quantity of information to the level required by the device at each pixel in such a way that the aggregate of reproduced pixels appears to contain substantially the same amount of information as found in the original pixel data representation before halftoning. Halftoning requires a rendering decision-making process used to achieve these objectives, coupled with a pattern-placement process suited to the image area that is being rendered. Error diffusion, discussed in section d above, usually provides better results at sharp transitions or small image features. It is often problematic, however, in rendering more-gradual transitions and larger fields. Problems in such environments are due to interference effects between the mathematics of error diffusion and the geometry of an image -- as well as snowplow-like tracks of a diffusion pattern. Here dithering, such as the improved method described below, is distinctly favorable. Clustered dither cells -- The pattern created by a clustered dither cell is designed to create the impression when viewing the results, that dots are formed at specific locations which grow in size as the amount of colorant or black is increased. The method of designing the dither requires generally that each new dot which is placed near a prior dot be positioned in such a way that it overlaps with the prior dot. Dispersed dither cells -- Dispersed dither cells, another type of ordered dither, are designed to create the opposite effect, that of placing dots in unoccupied areas of the dither cell, preventing overlapping with other dots as much as possible, until the whole of the dither cell is filled with dots. f. Dither-cell placement during rendering Dither cells are customarily placed initially in a position where the upper left corner of the cell corresponds to the upper left corner of the image being rendered. This placement causes each dither cell location to now correspond to specific pixels in the image area covered by the dither cell. The color printed by the halftoning process is determined by the combination of the color of the pixel, and the values of the dither cell that corresponds to that pixel. Rendering of that area of the image is therefore possible. The dither cell is now re-placed upon the image by shifting the cell to the right by the amount which corresponds to the width of the cell. This new placement of the cell covers new image area, but is immediately adjacent to the area of the image previously covered. This part of the image may then be rendered. The dither cell is moved again and again until the right hand side of the image is reached. The process continues by returning the dither cell to the left side of the image and shifting it downward by the amount which corresponds to the height of the cell. The process of the prior five paragraphs is then repeated. When the entire area of the image has been covered and rendered, the dither placement process is complete, and so is the rendering process. g. Summary Prior color generation systems suffer from two distinct failings - first at the compensation stage and then later at the rendition stage. The first places difficult hurdles in the path of an operator or system designer attempting to obtain color effects that are natural or accurate - or simply preferred. The apparatus interprets perceptually straightforward instructions in counterintuitive baffling ways, which require the user to struggle through multiple iterations in setting up the target color effects (typically displayed on a CRT). The rendition-stage failings defeat expectations of the user who has patiently surmounted those operating hurdles at the compensation stage and has succeeded in creating a satisfactory color scheme. The user then anticipates a printed output color rendition closely tracking the satisfactory scheme, but finds instead a rendition containing blurred image-element edges, bleeding colors, and perceptually irrelevant pigments even within broad fields. The literature of the prior art in this field has failed to identify either of these problems in terms of basic color principles or otherwise. The prior art fails to find underlying relationships between the two problems, and fails to resolve either one. A system according to the invention is set out in claim 1. All of the foregoing operational principles and advantages of the present invention will be more fully appreciated upon consideration of the following detailed description, with reference to the appended drawings, of which: BRIEF DESCRIPTION OF THE DRAWINGS Fig. 1 is an abstract representation of rectangular RGB color space; Fig. 2 is a like representation of a mixed polar/altitude color space corresponding generally to HVC or hue-value-chroma space; Fig. 3 is a like representation of an ideal color solid assuming an infinite selection of ideal colorants, after Judd, op. cit. at 206; Fig. 4 is a like representation of a generalized color solid for an infinite selection of real primaries -- just one per hue -- id. at 214; Fig. 5 is a like representation of four hue pages interrelating Figs. 3 and 4, and showing superimposed a constant-chroma cylinder, id. at 226; Fig. 6 represents a clustered-dither color vector; Figs. 7 and 8 show the printing-machine carriage and pens in perspective and plan respectively; and Fig. 9 is a schematic showing, in plan, of pen stagger. 1. A NOVEL CLUSTERED-DITHER METHOD The preferred embodiment includes offering users an alternative method of halftoning, known as clustered dither. The concept of clustered dither is not new in itself. Use of this technique with the HPG color model, however, has been improved and refined as still another aspect of the invention. Following is a description of a novel halftoning using the clustered-dither cell. Described here is the method of halftoning color data using a specific ordered dither called a clustered dither pattern. The pattern of the dither is shown in the Table below and is comprised of a collection of numbers ranging from 0 to 255. HPG color conversion to fractional components - the HPG color triplet consists of hue, fraction color and fraction black. As described elsewhere in this document, this triplet is converted into a form consisting of Fraction-Colorant 1 or F c1 , Fraction-Colorant 2 F c2 , Fraction-Black K and Fraction-White W such that the sum of these values is unity. Each of these values is multiplied by 255 to scale HPG to the scale of the clustered-dither pattern of the accompanying table. 16x16 Clustered Dither Cell 1 17 81 223 255 239 111 52 4 20 84 222 254 238 110 49 33 161 193 149 69 133 181 116 36 164 196 152 72 136 184 113 241 225 97 53 5 21 85 212 244 228 100 56 8 24 88 209 73 137 185 117 37 165 197 156 76 140 188 120 40 168 200 153 9 25 89 213 245 229 101 60 12 28 92 216 248 232 104 57 41 169 201 157 77 141 189 124 44 172 204 160 80 144 192 121 249 233 105 61 13 29 93 220 252 236 108 64 16 32 96 217 67 131 179 125 45 173 205 146 66 130 178 128 48 176 208 147 3 19 83 221 253 237 109 50 2 18 82 224 256 240 112 51 35 163 195 151 71 135 183 114 34 162 194 150 70 134 182 115 243 227 99 55 7 23 87 210 242 226 98 54 6 22 86 211 75 139 187 119 39 167 199 154 74 138 186 118 38 166 198 155 11 27 91 215 247 231 103 58 10 26 90 214 246 230 102 59 43 171 203 159 79 143 191 122 42 170 202 158 78 142 190 123 251 235 107 63 15 31 95 218 250 234 106 62 14 30 94 219 65 129 177 127 47 175 207 148 68 132 180 126 46 174 206 145 HPG color-vector generation -- The next step is to construct an HPG Color Vector. The four fractional components are arranged in the following order: first is Fraction-Black, second is the Fraction-Colorant which is the darker of the two, third is the Fraction-Colorant that is the lighter, and ; fourth is Fraction-White. This reordered collection of components is identified by the notations K , F cD , F cL and W respectively, where the numerical values were determined by the multiplication step in the paragraph above. Next, several threshold values are calculated thus: V 1 = K V 2 = V 1 + N cD V 3 = V 2 + N cL . Figure 6 is a diagram of the resulting HPG Color Vector. The rendering decision -- When the dither cell is placed upon a portion of the image, the rendering of each image pixel is achieved by comparing the dither cell's value with the threshold values in the HPG Color Vector for that pixel. The decision process is achieved by testing the relationships indicated below, in the order shown. If the decision specifies printing, the remaining relationships are disregarded, and the next pixel is then considered. The decision steps, for each pixel in turn, are: If the dither cell value is less than or equal to: 1. V 1 , print black; 2. V 2 , print the color of N cD ; 3. V 3 , print the color of N cL ; otherwise, 4. print white. 2. COLOR-DELIVERY HARDWARE In the embodiments of the invention that are now most highly preferred, the color-generating machine, or the device for causing the medium to appear colored, is an ink-dispensing document printer. It is most preferably of the thermal-inkjet type. In these embodiments the visible medium is sheet medium that passes through the printer, receiving color inks and black ink that the printer deposits onto the sheet medium to form substantially stable images. The visible-light projection comprises reflection from the color inks and from the medium; but in the case of transparent plastic sheet medium the projection further comprises transmission through the medium, and in a case where fluorescent inks are employed the projection also comprises optical emissions from the inks. The separate physical coloring means comprise a first-primary-color ink of a first composition and a second-primary-color ink of a second composition -- both inside the printer. The first device-primary means comprise: the first-primary-color ink, a first electronically operated pen for discharging the ink, means for controlling the position of the first pen relative to the medium, and first circuits for actuating the first pen in coordination with the position-controlling means to discharge the first ink to selectively reflect light, from the region, in a first spectral distribution. Correspondingly the second device-primary means comprise the second-primary-color ink of a second composition, a second electronically operated pen for discharging the ink, and means for controlling the position of the second pen relative to the medium. The second device-primary means also comprise second circuits for actuating the second pen in coordination with the position-controlling means to discharge the second ink to selectively reflect light, from the region, in a second spectral distribution. As pointed out earlier, when the complements or subordinate primaries are needed an alternative definition is invoked allowing one or the other of the device-primary means to be constituted to provide the desired visual effect by inks, pens etc. operating in pairs . The gray-scale means comprise black ink of a third composition inside the printer, a third electronically operated pen for discharging the ink, and means for controlling the position of the third pen relative to the medium. The gray-scale means also include third circuits for actuating the third pen in coordination with the position-controlling means to discharge the black ink to absorb light substantially equally at substantially all visible-light wavelengths. It will be understood that the elements of the invention as enumerated above related to only the active primaries for expressing a particular desired color. The actual device has at least one other device-primary means to complete its capability for general color production. a. Pen carriage Figs. 7 and 8 show how the pen carriage 85 with its individual pen holders or bays 91 and pens 96K, 96Y, 96M, 96C is mounted to a pair of support-and-guide rods 94 for extremely precise lateral positioning in scanning across the medium. To propel the carriage 85 very swiftly along those rods 94, a metallic carriage-drive cable or strip 95 is secured near the center 93 of the carriage floor. The carriage-drive cable 95 is an endless metal loop, mounted about capstans (not shown) at the edges of the printer bed (not shown). Forcibly spun about a motor-driven one of the capstans, the carriage-drive cable 95 shuttles the carriage 85 back and forth across the bed. A trailing electrical-cable assembly (not shown) attaches at the right rear corner 86 of the carriage 85. Its electrical wires bring control signals to and from all the pens and onboard portions 87 of their color-discharge drive circuitry. Flex circuits 87 interconnect a pen interface 92 at each pen bay 91 with the trailing cable, and thereby with other control circuitry mounted stationarily elsewhere in the printer case. That control circuitry in turn is actuated by the rendition and compensation systems discussed earlier. Just out of sight near the right-front corner of the carriage is a printed-circuit assembly 88 for a sensor that detects the edge of the sheet medium. That printed-circuit assembly is hidden by a small outboard projection 89 which (for reasons clear to those acquainted with San Francisco) is sometimes familiarly called the "cliffhouse". Through the cliffhouse 89 extends a so-called "codestrip" (not shown), which bears a pattern of extremely fine optical orifices. The codestrip, stationary relative to the printer bed, serves as a positional reference for the moving carriage: sensors in the cliffhouse detect and count off each orifice that the carriage passes, to continuously monitor carriage-position very precisely. b. Pen disposition on the carriage These drawings also suggest that the pens are staggered in the direction perpendicular to the scan. Fig. 9 bears out the suggestion, showing in exaggerated form the relative positions of the CMYK pens. This staggering helps to avoid laying down too much ink on the medium in a short time. The excessive undried liquid would otherwise produce aggravated cockle of absorbent media, and bleed of the colorants.

Claims: A system for selectively enabling a printer to deposit primary color or black dots at each of a plurality of pixel locations on a sheet to produce a color image, comprising: receiving means for receiving desired-color information from a color image source and, if the desired-color information is not expressed in perceptual parameters, then resolving the desired-color information into perceptual parameters represented by a color vector; first memory means for holding the color vector for each pixel, respectively, in the color image source; second memory means for storing parameters of a dither cell; and processor means coupled to said memory means and operative to generate rendition-decision information from the desired-color information expressed in perceptual parameters to represent a specific colorant at each pixel location by comparing said dither cell with each color vector and to select a color component to print at the corresponding pixel location based on said comparison. A system according to claim 1, wherein the perceptual parameters are in hue plus gray (HPG) space dimensions. A system according to claim 2, wherein the components of the color vector in HPG space dimension comprise: fraction black, a dominant fraction colorant, a subordinate fraction colorant and fraction white. A system according to claim 3, wherein the dominant fraction colorant is chosen as the strongest of three input color components and which has a signal strength being equal to the difference between that of the strongest and the medium input color component, and the subordinate fraction component has a hue that is the average of the hues of the strongest and the medium input colour component and which has a signal strength being equal to the difference between that of the medium and the weakest input color component. A system according to claim 4, wherein the system includes determining means for determining threshold values for the components of the color vector comprising scaling the color vector fractions to the dither pattern, determining a first threshold value equal to the scaled black component, a second threshold value equal to the first threshold value plus the scaled dominant colorant component, a third threshold value equal to the second threshold value plus the scaled subordinate colorant component. A system according to claim 5, wherein the rendition-decision is achieved by comparing the dither cell's value with the threshold values of the color vector for each pixel. A system according to claim 6, wherein the rendition-decision is: if the dither cell's value is less than the first threshold value, black is printed; if the dither cell's value is less than the second threshold value, the scaled dominant colorant is printed; and if the dither cell's value is less than the second threshold value, the scaled subordinate colorant is printed. A system according to claim 1, comprising comparator means for comparing the dither cell with nested subvectors, respectively made up of nested subcombinations of the color components in each color vector. A system according to claim 8, wherein the comparator means is operative to identify the smallest subvector which is larger than a corresponding dither-cell value, and a particular color component which is in that subvector but not in the next smaller subvector; and the processor means is operative to select the particular color component for printing. A system according to claim 9, wherein the subvector subcombinations are nested in a specified nesting sequence of the color components. A system according to any preceding claim, wherein the second memory means comprises mask generating means for generating a mask value for each pixel position in the dither cell; the processor means comprising means for establishing which pixel position in the dither cell corresponds for the purposes of comparison with each color vector; the first memory means and/or the processor means comprising means for comparing the mask value in each pixel position in the dither cell with nested subvectors, respectively made up of components of the corresponding color vector. A system according to claim 11, wherein the establishing means comprises means operative in effect to position the dither cell in a corner of the plurality of pixel locations and subsequently to shift the dither cell along a first direction until there are no more pixel locations in that direction and then to shift the dither cell along a second direction, substantially orthogonal to the first direction, and then along the first direction in cylindrical manner until there are no more pixel locations along the second direction. A system according to any preceding claim, comprising means for translating said selected color at each pixel location into a printer usable form.

Inventors: DILLINGER PAUL H, DILLINGER, PAUL H.
Applicants: HEWLETT PACKARD CO, HEWLETT-PACKARD COMPANY
Application year: 1993
Main classification: H04N1
IPC codes: H04N1