First, we have to calibrate the hue (keeping saturation and lightness at 100%), which will affect the colour itself. Since the hue values range from 0 to 360, we painstakingly calibrated the respective paint ratios of each colour at hue intervals of 30. We varied the ratio of the base paints used: including red, yellow, cyan and white, to obtain a colour that most closely resembles the screen. We included white for this calibration as we realised that some colours, especially those of the blue to purple range, were really dark. Eventually, we managed to form a set of values that best represent our intended colours and we plotted a graph from it. The graph tells us the respective ratio of base paints needed at each hue value.

 

As seen from the graph, we can identify the exact proportion of red, yellow, cyan and white to be added for each particular hue. The same was done for saturation and value, where the amount of white and black paint was plotted, respectively. A mathematical combination of these equations gives the ratio of each base paint needed. We then fine-tuned these equations by manually mixing randomly chosen colours and checking for differences between the ratios given by the equations and the actual ratios used. This difference will be plotted in another graph and then added to the affected range of hues.