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221:, and black primaries. For all subtractive color models, the absence of all color primaries results in white. For ideal subtractive color models, an equal superposition of all primaries results in a neutral (dark gray or black). The CMYK model adds a black primary to improve the darkness of blacks, where the CMY model can only mix to dark gray or only achieves black inefficiently, i.e. by using lots of the primary pigments. In the CMY model, an equal mixture of cyan and magenta is
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allowing light to penetrate into the mixed paint, where the two colors together absorb light except wavelengths in the green range. Alternately, if the pigments are highly opaque, a combination of blue and yellow paint appears more grayish. In this case, pigment particles simply reflect whatever light hits the outer paint surface, where both blue and yellow light gets reflected and averaged together.
257:, where the spatial acuity of the human eye is not sufficient to spatially differentiate the colors, and they combine to a mixture with the average brightness. There are no common color models that explicitly use the average model, though many additive or subtractive models can be described in part by the average model.
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of the pigments. Ideally transparent pigments transmit and absorb light, but do not reflect or scatter it and mix according to the subtractive model. Ideally opaque pigments reflect or absorb light, but do not transmit it and mix according to the average model. Most real paints reflect, transmit and
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printing uses non-opaque inks, such that the light transmits once through the ink, reflects off the white substrate (e.g. paper) and transmits a second time through the ink. Increasing the ink printed on the page decreases the brightness of light, and halftone printing follows the subtractive model
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For example, mixing red and yellow can result in a shade of orange, generally with a lower chroma or reduced saturation than at least one of the component colors. In some combinations, a mix of blue and yellow paint produces green. This occurs when there is sufficient transparency in the pigments,
160:
A simulated example of (idealized) subtractive color mixing in the CMY model. The primaries cyan, magenta and yellow combine pairwise to produce subtractive secondaries red, green, and blue. Combining all three primaries (center) absorbs all light and produces black. In practical CMY color models,
249:, where a wheel comprising several color wedges along the circumference is rotated at high speed, such that the human eye cannot temporally differentiate the colors, and they combine to a color with the average brightness (weighted to the angle each color takes up). Another physical model mimics
94:
of the components' brightnesses. An ideal physical model to demonstrate the additive model comprises two superimposed colored lights aimed at the observer. The additive model is usually demonstrated by reflecting two beams of colored light off a white, matte surface (e.g.
130:. For all additive color models, the absence of all primaries results in black. For practical additive color models, an equal superposition of all primaries results in neutral (gray or white). In the RGB model, an equal mixture of red and green is
274:
is also affected by the media used as wetting, deagglomeration, and dispersing agents for the pigments. These agents all have their own transparency/opacity and color properties and can also alter the transparency and color of pigments.
169:
than either of the two components' brightnesses. An ideal physical model to demonstrate the subtractive model comprises a white light transmitting through two colored filters, each of which subtract a portion of the white light,
85:
A simulated example of additive color mixing in the RGB model. The primaries red, green, and blue combine pairwise to produce the additive secondaries cyan, magenta, and yellow. Combining all three primaries (center) produces
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In the practical mixing of pigments, the subtractive model is usually not closely followed. How the pigment mixing behaves depends strongly on the
46:. In these models, mixing black and white will yield white, black and gray, respectively. Physical mixing processes, e.g. mixing light beams or
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Average mixing (sometimes additive-average) combines two colors into a mixture with brightness equal to the
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the center is usually dark gray and a separate black pigment is required to produce black (CMYK model).
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scatter light, so mix according to a hybrid between the subtractive and average models. Paint
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a light of the combined color. However, the subtractive model is usually demonstrated with
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Additive mixing combines two or more colors into a mixture with brightness equal to the
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Producing colors by combining the primary or secondary colors in different amounts
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Subtractive mixing combines two or more colors into a mixture with brightness
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of the two components' brightnesses. This model is often demonstrated with a
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122:. This model is the basis of most color displays. Some modern displays are
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models, depending on the relative brightness of the resultant mixture:
142:. Yellow, cyan and magenta are the secondary colors of the RGB model.
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used. The most common color models are optimized to human
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103:, both of which follow the additive model closely.
1032:Linguistic relativity and the color naming debate
197:The most common subtractive color models are the
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282:Red and yellow paints being mixed on a palette
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209:. The CMYK model used in color printing uses
62:, therefore comprising three primary colors.
225:, an equal mixture of magenta and yellow is
106:The most common additive color model is the
229:and an equal mixture of yellow and cyan is
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138:and an equal mixture of blue and red is
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1173:Color Association of the United States
99:) or by analyzing the sub-pixels of a
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110:, which uses three primary colors:
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1037:Blue–green distinction in language
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1194:International Colour Association
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54:, depending on the approximate
1189:International Color Consortium
1178:International Colour Authority
13:
1:
1254:List of Crayola crayon colors
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124:Multi-primary color displays
7:
1057:Traditional colors of Japan
834:Achromatic colors (Neutral)
717:Multi-primary color display
491:Spectral power distribution
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10:
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363:"The Dimensions of Colour"
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917:Color realism (art style)
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575:Evolution of color vision
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427:
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60:trichromatic color vision
30:There are three types of
1234:List of colors (compact)
1052:Color in Chinese culture
702:Digital image processing
435:Electromagnetic spectrum
1239:List of colors by shade
194:of the pigment or dye.
1244:List of color palettes
283:
162:
87:
1168:Color Marketing Group
923:On Vision and Colours
856:Tinctures in heraldry
467:Structural coloration
281:
159:
84:
1249:List of color spaces
1141:Tint, shade and tone
1024:Cultural differences
839:Polychromatic colors
824:Complementary colors
812:Monochromatic colors
1229:List of colors: N–Z
1224:List of colors: G–M
1219:List of colors: A–F
1276:List of web colors
1271:List of RAL colors
677:Color reproduction
642:Lüscher color test
479:Color of chemicals
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88:
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931:Theory of Colours
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685:Color photography
637:Color preferences
580:Impossible colors
570:Color vision test
565:Color temperature
543:Color calibration
472:Animal coloration
319:Subtractive color
314:Impossible colors
255:halftone printing
152:Subtractive color
146:Subtractive model
16:(Redirected from
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1417:
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1073:Color dimensions
1062:Human skin color
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829:Analogous colors
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707:Color management
624:Color psychology
590:Opponent process
506:Color perception
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199:CMYK color model
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1047:Blue in culture
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884:Secondary color
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817:black-and-white
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657:National colors
652:Political color
632:Color symbolism
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548:Color constancy
526:Color blindness
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457:Spectral colors
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361:Briggs, David.
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207:RYB color model
203:CMY color model
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108:RGB color model
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1043:Color history
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926:(Schopenhauer)
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911:Color analysis
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906:Color triangle
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304:Additive color
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261:Pigment mixing
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150:Main article:
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77:Additive color
75:Main article:
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71:Additive model
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56:primary colors
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1156:organizations
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1097:Pastel colors
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879:Primary color
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846:Light-on-dark
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765:Color mapping
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690:Color balance
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667:Chromotherapy
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607:Tetrachromacy
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531:Achromatopsia
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514:Chromesthesia
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420:Color science
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237:Average model
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101:color display
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66:Mixing models
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45:
41:
37:
33:
19:
18:Colour mixing
1129:Fluorescence
1092:Colorfulness
1085:Dichromatism
929:
921:
891:Chromaticity
874:Color mixing
873:
866:Color theory
799:Color scheme
662:Chromophobia
611:
366:. Retrieved
309:Color theory
289:
285:
264:
242:
240:
196:
172:transmitting
166:
164:
105:
91:
89:
52:color models
43:
39:
35:
32:color mixing
31:
29:
1266:Color chart
1124:Iridescence
956:Basic terms
947:Color terms
901:Color wheel
896:Color solid
760:Color space
746:subtractive
729:Color model
600:Unique hues
496:Colorimetry
462:Chromophore
272:color mixer
251:pointillism
247:Newton disc
128:color gamut
40:subtractive
1434:Categories
1286:Shades of:
1119:Brightness
851:Web colors
807:Color tool
790:philosophy
695:Color cast
595:Afterimage
585:Metamerism
558:Color code
553:Color task
536:Dichromacy
325:References
182:, such as
97:projectors
48:oil paints
1136:Grayscale
1109:Lightness
1104:Luminance
913:(fashion)
613:The dress
368:2 January
1409:Category
1391:Lighting
1114:Darkness
934:(Goethe)
734:additive
722:Quattron
298:See also
291:Halftone
180:pigments
36:additive
1373:Related
1334:Magenta
1259:history
1163:Pantone
450:Visible
445:Rainbow
267:opacity
243:average
215:magenta
192:opacity
140:magenta
44:average
1386:Qualia
1381:Vision
1329:Purple
1324:Violet
1304:Yellow
1299:Orange
994:Orange
989:Purple
979:Yellow
413:topics
294:well.
219:yellow
132:yellow
118:, and
86:white.
42:, and
1445:Light
1440:Color
1419:Index
1359:Black
1349:White
1344:Brown
1309:Green
1211:Lists
1203:Names
1185:(CIE)
1154:Color
1014:Brown
1009:White
999:Black
969:Green
788:Color
484:Water
440:Light
411:Color
231:green
184:paint
167:lower
116:green
1354:Gray
1339:Pink
1319:Blue
1314:Cyan
1004:Gray
984:Pink
964:Blue
751:CMYK
370:2024
223:blue
211:cyan
205:and
176:dyes
136:cyan
120:blue
1294:Red
1080:Hue
974:Red
739:RGB
253:or
227:red
188:ink
186:or
178:or
112:red
92:sum
1436::
333:^
217:,
213:,
201:,
114:,
38:,
403:e
396:t
389:v
372:.
20:)
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