25:
203:
1547:
82:
171:
1557:
921:
90:
309:. The black ink serves to cover unwanted tints in dark areas of the printed image, which result from the imperfect transparency of commercially practical CMY inks; to improve image sharpness, which tends to be degraded by imperfect registration of the three color elements; and to reduce or eliminate consumption of the more expensive color inks where only black or gray is required.
252:
275:(CMY). Cyan is the complement of red, meaning that the cyan serves as a filter that absorbs red. The amount of cyan ink applied to a white sheet of paper controls how much of the red light in white light will be reflected back from the paper. Ideally, the cyan ink is completely transparent to green and blue light and has no effect on those parts of the
393:
absorption by the surface or filter using a spectrum of reflectivity or transmissivity, respectively, i.e. the percentage of light reflected or transmitted at each wavelength, then the SPD of the outgoing light can be computed by multiplying the two spectra. This multiplication is (misleadingly) called subtractive mixing.
210:
The RYB primary colors became the foundation of 18th-century theories of color vision as the fundamental sensory qualities blended in the perception of all physical colors and equally in the physical mixture of pigments or dyes. These theories were enhanced by 18th-century investigations of a variety
211:
of purely psychological color effects, in particular, the contrast between "complementary" or opposing hues produced by color afterimages and in the contrasting shadows in colored light. These ideas and many personal color observations were summarized in two founding documents in color theory: the
153:
The subtractive model also predicts the color resulting from a mixture of paints, or similar medium such as fabric dye, whether applied in layers or mixed together prior to application. In the case of paint mixed before application, incident light interacts with many different pigment particles at
392:
On the other hand, if you reflect light from a colored surface, or if you place a colored filter in front of a light, then some of the wavelengths present in the light may be partially or fully absorbed by the colored surface or filter. If we characterize the light as an SPD, and we characterize
316:
almost never include a K component, because in all common processes the CMY dyes used are much more perfectly transparent, there are no registration errors to camouflage, and substituting a black dye for a saturated CMY combination, a trivial prospective cost-benefit at best, is technologically
144:
of light filtered through overlaid partially absorbing materials on a reflecting or transparent surface. Each layer partially absorbs some wavelengths of light from the illumination spectrum while letting others pass through, resulting in a colored appearance. The resultant spectral power
232:
In late 19th and early to mid-20th-century commercial printing, use of the traditional RYB terminology persisted even though the more versatile CMY (cyan, magenta, yellow) triad had been adopted, with the cyan sometimes referred to as "process blue" and the magenta as "process red".
199:. The secondary colors, violet (or purple), orange, and green (VOG) make up another triad, conceptually formed by mixing equal amounts of red and blue, red and yellow, and blue and yellow, respectively.
154:
various depths inside the paint layer before emerging. Art supply manufacturers offer colors that successfully fill the roles of the subtractive primary colors magenta and cyan. For example,
421:
Thus subtractive color mixing laws that successfully describe how light is altered by nonspectral filters also describes how light is altered by pigments.
145:
distribution is predicted by sequentially taking the product of the spectral power distributions of the incoming light and transmissivity at each filter.
1173:
162:
magenta, first offered during the 1950s, together with yellow produce more highly-saturated violets and greens than do the traditional red and blue.
481:
184:
RYB (red, yellow, blue) is the traditional set of primary colors used for mixing pigments. It is used in art and art education, particularly in
116:
of light after it passes through successive layers of partially absorbing media. This idealized model is the essential principle of how
1324:
1314:
1178:
543:
101:. The overlapping subtractive yellow, cyan and red (magenta) image elements can be seen clearly along the edges of the image.
128:
is elicited after white light passes through microscopic "stacks" of partially absorbing media allowing some wavelengths of
1390:
498:
465:
446:
414:
132:
to reach the eye and not others, and also in painting, whether the colors are mixed or applied in successive layers.
68:
46:
39:
1335:
1560:
1514:
1330:
1319:
1395:
376:
1198:
858:
632:
141:
113:
1400:
987:
536:
218:
515:
1165:
1058:
716:
340:
288:
226:
1375:
1193:
843:
576:
287:. Combinations of different amounts of the three inks can produce a wide range of colors with good
33:
1427:
1380:
1370:
1365:
1360:
1385:
50:
455:
1309:
1064:
608:
529:
155:
94:
783:
1581:
1282:
965:
953:
8:
1097:
997:
929:
1412:
818:
726:
620:
475:
318:
1522:
1475:
1072:
826:
778:
711:
706:
684:
613:
494:
461:
442:
410:
313:
213:
98:
1470:
1465:
1445:
1440:
1203:
970:
848:
798:
793:
765:
731:
721:
591:
306:
276:
246:
202:
1500:
1490:
1485:
1450:
1352:
1188:
1135:
1025:
958:
773:
689:
667:
299:
295:
242:
179:
1586:
1550:
1495:
1480:
1460:
1455:
1238:
1052:
1047:
875:
853:
788:
660:
625:
598:
330:
260:
1575:
1435:
1020:
906:
831:
808:
748:
672:
655:
561:
355:
1270:
1233:
1226:
1032:
1015:
1007:
948:
940:
803:
647:
350:
335:
189:
159:
1407:
1265:
1042:
1037:
901:
870:
836:
741:
637:
603:
345:
302:
196:
1417:
1260:
1088:
992:
980:
736:
699:
694:
677:
456:
Stroebel, Leslie, John
Compton, Ira Current, and Richard Zakia (2000).
1277:
1250:
1245:
754:
439:
Billmeyer and
Saltzman's Principles of Color Technology, 3rd edition
124:
are used in color printing and photography, where the perception of
1532:
1255:
863:
491:
Colour
Science: Concept and Methods, Quantitative Data and Formulae
236:
185:
81:
920:
170:
1304:
586:
268:
121:
1527:
1130:
1120:
521:
272:
89:
305:, a black ink K (Key) component is included, resulting in the
1155:
1150:
1140:
1110:
581:
552:
488:
280:
129:
125:
1145:
1125:
1105:
975:
892:
284:
264:
140:
The subtractive color mixing model predicts the resultant
1221:
1115:
880:
117:
409:. New York: John Wiley & Sons, Inc. pp. 28–30.
195:
Red, yellow, and blue are the primary colors of the RYB
458:
251:
217:(1810) by the German poet and government minister
1174:Linguistic relativity and the color naming debate
404:
1573:
518:comparing additive and subtractive color mixing.
405:Williamson, Samuel J; Cummins, Herman Z (1983).
237:CMY and CMYK color models and printing processes
158:, which became available during the 1930s, and
537:
489:Wyszecki, Günther & W. S. Stiles (1982).
436:
480:: CS1 maint: multiple names: authors list (
1556:
544:
530:
377:"Additive versus subtractive color mixing"
69:Learn how and when to remove this message
1325:International Commission on Illumination
250:
225:(1839) by the French industrial chemist
201:
169:
88:
80:
32:This article includes a list of general
16:Light passing through successive filters
1574:
1315:Color Association of the United States
255:Cyan, magenta and yellow color filters
223:The Law of Simultaneous Color Contrast
525:
18:
13:
1179:Blue–green distinction in language
430:
303:photomechanical printing processes
38:it lacks sufficient corresponding
14:
1598:
508:
407:Light and Color in Nature and Art
374:
1555:
1546:
1545:
1336:International Colour Association
919:
551:
206:Classification of pigment colors
188:. It predated modern scientific
23:
283:, and yellow the complement of
279:. Magenta is the complement of
263:, the usual primary colors are
1331:International Color Consortium
1320:International Colour Authority
398:
368:
317:impractical in non-electronic
1:
1396:List of Crayola crayon colors
361:
314:photographic color processes
7:
1199:Traditional colors of Japan
976:Achromatic colors (Neutral)
859:Multi-primary color display
633:Spectral power distribution
514:Stanford University CS 178
324:
148:
142:spectral power distribution
114:spectral power distribution
10:
1603:
240:
219:Johann Wolfgang von Goethe
177:
135:
1541:
1513:
1426:
1351:
1344:
1295:
1214:
1164:
1096:
1087:
1059:Color realism (art style)
1006:
939:
928:
917:
817:
764:
717:Evolution of color vision
646:
569:
560:
341:Color motion picture film
1376:List of colors (compact)
1194:Color in Chinese culture
844:Digital image processing
577:Electromagnetic spectrum
156:the phthalocyanine blues
110:subtractive color mixing
85:Subtractive color mixing
1381:List of colors by shade
460:. Focal Press, Boston.
93:An 1877 color photo by
53:more precise citations.
1386:List of color palettes
516:interactive Flash demo
437:Berns, Roy S. (2000).
256:
227:Michel Eugène Chevreul
207:
175:
165:
102:
97:, a French pioneer of
86:
1310:Color Marketing Group
1065:On Vision and Colours
998:Tinctures in heraldry
609:Structural coloration
381:graphics.stanford.edu
296:inkjet color printing
254:
205:
173:
95:Louis Ducos du Hauron
92:
84:
1391:List of color spaces
1283:Tint, shade and tone
1166:Cultural differences
981:Polychromatic colors
966:Complementary colors
954:Monochromatic colors
1371:List of colors: N–Z
1366:List of colors: G–M
1361:List of colors: A–F
493:. Wiley, New York.
441:. Wiley, New York.
1418:List of web colors
1413:List of RAL colors
819:Color reproduction
784:Lüscher color test
621:Color of chemicals
319:analog photography
257:
208:
176:
174:An RYB color wheel
103:
87:
1569:
1568:
1509:
1508:
1291:
1290:
1083:
1082:
1073:Theory of Colours
915:
914:
827:Color photography
779:Color preferences
722:Impossible colors
712:Color vision test
707:Color temperature
685:Color calibration
614:Animal coloration
214:Theory of Colours
106:Subtractive color
99:color photography
79:
78:
71:
1594:
1559:
1558:
1549:
1548:
1349:
1348:
1215:Color dimensions
1204:Human skin color
1094:
1093:
971:Analogous colors
937:
936:
923:
849:Color management
766:Color psychology
732:Opponent process
648:Color perception
567:
566:
546:
539:
532:
523:
522:
504:
485:
479:
471:
452:
424:
423:
402:
396:
395:
389:
387:
372:
307:CMYK color model
247:CMYK color model
74:
67:
63:
60:
54:
49:this article by
40:inline citations
27:
26:
19:
1602:
1601:
1597:
1596:
1595:
1593:
1592:
1591:
1572:
1571:
1570:
1565:
1537:
1505:
1422:
1340:
1297:
1287:
1210:
1189:Blue in culture
1160:
1079:
1026:Secondary color
1002:
959:black-and-white
931:
924:
911:
813:
799:National colors
794:Political color
774:Color symbolism
760:
690:Color constancy
668:Color blindness
642:
599:Spectral colors
556:
550:
511:
501:
473:
472:
468:
449:
433:
431:Further reading
428:
427:
417:
403:
399:
385:
383:
373:
369:
364:
327:
300:mass production
249:
243:CMY color model
241:Main articles:
239:
182:
180:RYB color model
168:
151:
138:
75:
64:
58:
55:
45:Please help to
44:
28:
24:
17:
12:
11:
5:
1600:
1590:
1589:
1584:
1567:
1566:
1564:
1563:
1553:
1542:
1539:
1538:
1536:
1535:
1530:
1525:
1519:
1517:
1511:
1510:
1507:
1506:
1504:
1503:
1498:
1493:
1488:
1483:
1478:
1473:
1468:
1463:
1458:
1453:
1448:
1443:
1438:
1432:
1430:
1424:
1423:
1421:
1420:
1415:
1410:
1405:
1404:
1403:
1393:
1388:
1383:
1378:
1373:
1368:
1363:
1357:
1355:
1346:
1342:
1341:
1339:
1338:
1333:
1328:
1322:
1317:
1312:
1307:
1301:
1299:
1293:
1292:
1289:
1288:
1286:
1285:
1280:
1275:
1274:
1273:
1268:
1263:
1258:
1253:
1243:
1242:
1241:
1231:
1230:
1229:
1218:
1216:
1212:
1211:
1209:
1208:
1207:
1206:
1201:
1196:
1191:
1185:Color history
1183:
1182:
1181:
1170:
1168:
1162:
1161:
1159:
1158:
1153:
1148:
1143:
1138:
1133:
1128:
1123:
1118:
1113:
1108:
1102:
1100:
1091:
1085:
1084:
1081:
1080:
1078:
1077:
1069:
1068:(Schopenhauer)
1061:
1056:
1053:Color analysis
1050:
1048:Color triangle
1045:
1040:
1035:
1030:
1029:
1028:
1023:
1012:
1010:
1004:
1003:
1001:
1000:
995:
990:
985:
984:
983:
978:
973:
968:
963:
962:
961:
945:
943:
934:
926:
925:
918:
916:
913:
912:
910:
909:
904:
899:
898:
897:
896:
895:
885:
884:
883:
868:
867:
866:
861:
854:Color printing
851:
846:
841:
840:
839:
834:
823:
821:
815:
814:
812:
811:
806:
801:
796:
791:
789:Kruithof curve
786:
781:
776:
770:
768:
762:
761:
759:
758:
751:
746:
745:
744:
739:
729:
724:
719:
714:
709:
704:
703:
702:
692:
687:
682:
681:
680:
675:
665:
664:
663:
661:Sonochromatism
652:
650:
644:
643:
641:
640:
635:
630:
629:
628:
618:
617:
616:
611:
601:
596:
595:
594:
589:
584:
573:
571:
564:
558:
557:
549:
548:
541:
534:
526:
520:
519:
510:
509:External links
507:
506:
505:
499:
486:
466:
453:
447:
432:
429:
426:
425:
415:
397:
366:
365:
363:
360:
359:
358:
353:
348:
343:
338:
333:
331:Additive color
326:
323:
261:color printing
238:
235:
178:Main article:
167:
164:
150:
147:
137:
134:
77:
76:
31:
29:
22:
15:
9:
6:
4:
3:
2:
1599:
1588:
1585:
1583:
1580:
1579:
1577:
1562:
1554:
1552:
1544:
1543:
1540:
1534:
1531:
1529:
1526:
1524:
1521:
1520:
1518:
1516:
1512:
1502:
1499:
1497:
1494:
1492:
1489:
1487:
1484:
1482:
1479:
1477:
1474:
1472:
1469:
1467:
1464:
1462:
1459:
1457:
1454:
1452:
1449:
1447:
1444:
1442:
1439:
1437:
1434:
1433:
1431:
1429:
1425:
1419:
1416:
1414:
1411:
1409:
1406:
1402:
1399:
1398:
1397:
1394:
1392:
1389:
1387:
1384:
1382:
1379:
1377:
1374:
1372:
1369:
1367:
1364:
1362:
1359:
1358:
1356:
1354:
1350:
1347:
1343:
1337:
1334:
1332:
1329:
1326:
1323:
1321:
1318:
1316:
1313:
1311:
1308:
1306:
1303:
1302:
1300:
1298:organizations
1294:
1284:
1281:
1279:
1276:
1272:
1269:
1267:
1264:
1262:
1259:
1257:
1254:
1252:
1249:
1248:
1247:
1244:
1240:
1239:Pastel colors
1237:
1236:
1235:
1232:
1228:
1225:
1224:
1223:
1220:
1219:
1217:
1213:
1205:
1202:
1200:
1197:
1195:
1192:
1190:
1187:
1186:
1184:
1180:
1177:
1176:
1175:
1172:
1171:
1169:
1167:
1163:
1157:
1154:
1152:
1149:
1147:
1144:
1142:
1139:
1137:
1134:
1132:
1129:
1127:
1124:
1122:
1119:
1117:
1114:
1112:
1109:
1107:
1104:
1103:
1101:
1099:
1095:
1092:
1090:
1086:
1075:
1074:
1070:
1067:
1066:
1062:
1060:
1057:
1054:
1051:
1049:
1046:
1044:
1041:
1039:
1036:
1034:
1031:
1027:
1024:
1022:
1021:Primary color
1019:
1018:
1017:
1014:
1013:
1011:
1009:
1005:
999:
996:
994:
991:
989:
988:Light-on-dark
986:
982:
979:
977:
974:
972:
969:
967:
964:
960:
957:
956:
955:
952:
951:
950:
947:
946:
944:
942:
938:
935:
933:
927:
922:
908:
907:Color mapping
905:
903:
900:
894:
891:
890:
889:
886:
882:
879:
878:
877:
874:
873:
872:
869:
865:
862:
860:
857:
856:
855:
852:
850:
847:
845:
842:
838:
835:
833:
832:Color balance
830:
829:
828:
825:
824:
822:
820:
816:
810:
809:Chromotherapy
807:
805:
802:
800:
797:
795:
792:
790:
787:
785:
782:
780:
777:
775:
772:
771:
769:
767:
763:
757:
756:
752:
750:
749:Tetrachromacy
747:
743:
740:
738:
735:
734:
733:
730:
728:
725:
723:
720:
718:
715:
713:
710:
708:
705:
701:
698:
697:
696:
693:
691:
688:
686:
683:
679:
676:
674:
673:Achromatopsia
671:
670:
669:
666:
662:
659:
658:
657:
656:Chromesthesia
654:
653:
651:
649:
645:
639:
636:
634:
631:
627:
624:
623:
622:
619:
615:
612:
610:
607:
606:
605:
602:
600:
597:
593:
590:
588:
585:
583:
580:
579:
578:
575:
574:
572:
570:Color physics
568:
565:
563:
562:Color science
559:
554:
547:
542:
540:
535:
533:
528:
527:
524:
517:
513:
512:
502:
500:0-471-02106-7
496:
492:
487:
483:
477:
469:
467:0-240-80405-8
463:
459:
454:
450:
448:0-471-19459-X
444:
440:
435:
434:
422:
418:
416:0-471-08374-7
412:
408:
401:
394:
382:
378:
375:Levoy, Marc.
371:
367:
357:
356:Primary color
354:
352:
349:
347:
344:
342:
339:
337:
334:
332:
329:
328:
322:
320:
315:
310:
308:
304:
301:
297:
292:
290:
286:
282:
278:
274:
270:
266:
262:
253:
248:
244:
234:
230:
228:
224:
220:
216:
215:
204:
200:
198:
197:color "wheel"
193:
191:
187:
181:
172:
163:
161:
157:
146:
143:
133:
131:
127:
123:
119:
115:
112:predicts the
111:
107:
100:
96:
91:
83:
73:
70:
62:
52:
48:
42:
41:
35:
30:
21:
20:
1271:Fluorescence
1234:Colorfulness
1227:Dichromatism
1071:
1063:
1033:Chromaticity
1016:Color mixing
1008:Color theory
941:Color scheme
887:
804:Chromophobia
753:
490:
457:
438:
420:
406:
400:
391:
384:. Retrieved
380:
370:
351:Color theory
336:Color mixing
311:
298:and typical
293:
258:
231:
222:
212:
209:
194:
190:color theory
183:
160:quinacridone
152:
139:
109:
105:
104:
65:
59:January 2012
56:
37:
1582:Color space
1408:Color chart
1266:Iridescence
1098:Basic terms
1089:Color terms
1043:Color wheel
1038:Color solid
902:Color space
888:subtractive
871:Color model
742:Unique hues
638:Colorimetry
604:Chromophore
346:Color space
51:introducing
1576:Categories
1428:Shades of:
1261:Brightness
993:Web colors
949:Color tool
932:philosophy
837:Color cast
737:Afterimage
727:Metamerism
700:Color code
695:Color task
678:Dichromacy
386:4 November
362:References
289:saturation
34:references
1278:Grayscale
1251:Lightness
1246:Luminance
1055:(fashion)
755:The dress
476:cite book
1551:Category
1533:Lighting
1256:Darkness
1076:(Goethe)
876:additive
864:Quattron
325:See also
277:spectrum
186:painting
149:Painting
122:pigments
1515:Related
1476:Magenta
1401:history
1305:Pantone
592:Visible
587:Rainbow
312:Purely
269:magenta
136:Process
47:improve
1528:Qualia
1523:Vision
1471:Purple
1466:Violet
1446:Yellow
1441:Orange
1136:Orange
1131:Purple
1121:Yellow
555:topics
497:
464:
445:
413:
273:yellow
221:, and
36:, but
1587:Color
1561:Index
1501:Black
1491:White
1486:Brown
1451:Green
1353:Lists
1345:Names
1327:(CIE)
1296:Color
1156:Brown
1151:White
1141:Black
1111:Green
930:Color
626:Water
582:Light
553:Color
281:green
130:light
126:color
1496:Gray
1481:Pink
1461:Blue
1456:Cyan
1146:Gray
1126:Pink
1106:Blue
893:CMYK
495:ISBN
482:link
462:ISBN
443:ISBN
411:ISBN
388:2020
285:blue
271:and
265:cyan
245:and
120:and
118:dyes
1436:Red
1222:Hue
1116:Red
881:RGB
294:In
259:In
166:RYB
108:or
1578::
478:}}
474:{{
419:.
390:.
379:.
321:.
291:.
267:,
229:.
192:.
545:e
538:t
531:v
503:.
484:)
470:.
451:.
72:)
66:(
61:)
57:(
43:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
