Story
The emergence of the concept of primary colors is associated with the need to reproduce colors for which there was no exact color equivalent in the artist's palette. The development of color reproduction technology required the minimization of the number of such colors, in connection with which conceptually complementary methods were developed for obtaining mixed colors: mixing of colored rays (from light sources with a certain spectral composition), and mixing of colors (reflecting light, and having their own characteristic reflection spectra).
Various options for choosing "primary colors"
Color mixing depends on the color model. There are additive and subtractive mixing models.
additive model
In the additive blending model, colors are obtained as ray blending. In the absence of rays, there is no color - black white. An example of an additive color model is RGB.
Subtractive color synthesis
A method using light reflection and appropriate dyes. In the subtractive mixing model, colors are obtained as mixing paints. In the absence of paint, there is no color - white, the maximum mixing gives black. An example of a subtractive color model is CMYK.
According to Johannes Itten, there are only 3 primary colors: red, yellow and blue. The remaining colors of the color wheel are formed by mixing these three in various proportions.
Biophysical background
Primary colors are not a property of light, their choice is determined by the properties human eye and technical properties of color reproduction systems.
Four "pure" colors
Psychophysiological studies have led to the assumption of the existence of some "pure" and unique colors: - red, yellow, green and blue, with red and green forming one color-contrast axis, and yellow and blue - another.
Technical options for implementing the “primary colors” model
Notes
Links
- Handprint: do "primary" colors exist? - a comprehensive site on color primaries, color perception, color psychology, color theory and color mixing.
- Color mixing online - Web service for color modeling when mixing original colors in any proportions.
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- The main suffixes of the Russian language
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See what "Primary colors" are in other dictionaries:
PRIMARY COLORS- three colors, optical addition (mixing) to ryh in def. counting, you can get a color that is completely indistinguishable to the eye from any given color. The limiting condition for O. of c. yavl. their linear independence, that is, none of them can be ... ... Physical Encyclopedia
primary colors- Primary colors on which they are based color models. In the additive RGB model, these are red, green, and blue, and in the subtractive CMY model, they are cyan, magenta, and yellow. Primary colors Primary colors in ... ... Technical Translator's Handbook
Primary colors- cyan, magenta and yellow colors, with which you can synthesize all the colors of a multi-color original. See tricolor reproduction... Publishing Dictionary
PRIMARY COLORS Modern Encyclopedia
PRIMARY COLORS- three colors, by mixing them in different proportions you can get any color. The number of possible primary color systems is infinite. Often the primary colors are red, green and blue… Big Encyclopedic Dictionary
Primary colors- BASIC COLORS, three independent colors, which can be mixed in different proportions to get any color. The number of possible primary color systems is very large, but usually in colorimetry they use a primary color system consisting of red, ... ... Illustrated Encyclopedic Dictionary
Test work Grade 6I quarter(option 1)
What color does not apply to compound colors?
Coloring is:
8. What is the color?
9. Red, blue, yellow are colors ...
10. Line, stroke, tone - the main means artistic expressiveness:
11. Preliminary drawing for the work, reflecting the search the best composition:
.12. quick drawing in order to study nature:
13.
15. What is another name for spatial arts?
Test work Grade 6I quarter(option 2)
1. Line, stroke, tone - the main means of artistic expression:
a) painting; b) sculptures; c) graphics
2. Preliminary drawing for the work, reflecting the search for the best composition:
a) sketch; b) sketch; c) study
.3. A quick drawing to study nature:
a) study; b) sketch; c) sketch
4. Works of which type of art have a three-dimensional volume:
a) architecture, b) graphics, c) sculpture, d) painting
a) architecture, b) graphics, c) sculpture, d) painting
5..Which of the following applies to temporary art forms?
a) painting b) literature c) sculpture d) design
6. What is another name for spatial arts?
a) constructive b) decorative c) pictorial d) plastic
7. Which art materials include pencils, crayons, ink, charcoal, sanguine, pastels?
a) architectural b) graphic c) sculptural d) picturesque
What types of plastic arts are fine arts?
Graphic arts; b) architecture; c) design; d) painting; e) sculpture
Write down the sequence of colors in the spectrum.
Which color is not a primary color?
a) red; b) yellow; c) green; d) blue
What color does not apply to compound colors?
Orange; b) green; c) purple; d) yellow
To get lightness you need to add:
a) yellow; b) white color; c) gray color
Coloring is:
a) light waves of a certain length; b) polar opposition
c) the relationship of all color elements
Does not apply to achromatic colors:
the black; b) white; c) brown
15. What is the color?
a) local, b) full, c) hazy, d) saturated, e) light,
16. Red, blue, yellow are colors ...
a) cold; b) warm; in) additional colors; d) primary colors.
Primary colors are tones with which you can get all other shades.
This is RED YELLOW BLUE (for printing it is MAGENTA, YELLOW, CYAN, BLACK see below)
If you mix red, blue and yellow light waves together, you get White light. However, such a fusion will not work with paints. For artists, there is a separate mixing table that intersects with the combination of waves, but follows its own rules.
Yellow, red, blue - different, in which at its peak. If you translate them into black and white format, you will clearly see.
It is difficult to imagine a bright dark yellow tone, as well as a bright light red. Due to the brightness in different ranges of lightness, a huge range of intermediate saturated colors is created: orange, red-orange, light green, emerald green, blue-green, lilac, red-violet, violet, etc. These three colors form almost the entire palette, with the exception of black, white, grey. Taking them as the primary basis of color construction, it is worth imagining that the secondary colors are still less bright than their parents, and the shades formed from the second circle using black, white or shades produced from the primary circle are even duller.
Building Hues from Primary Colors
Pairs from the "team" of primary colors form the following paints second round:
ORANGE_____________PURPLE_______________GREEN____
YELLOW + RED = ORANGE(cm. )
RED + BLUE = PURPLE
BLUE + YELLOW = GREEN(cm. ?)
If you mix the secondary colors, that is, orange, purple and green, with the primary ones (which are already present in the composition of the color), then their order will not change, they will also remain in the second circle, since we are currently changing the amount of content, not quality:
YELLOW ORANGE _____ RED ORANGE _____ RED VIOLET ___
YELLOW + ORANGE = YELLOW ORANGE
RED + ORANGE = RED-ORANGE
RED + PURPLE = RED VIOLET
PURPLE BLUE ___________ BLUE GREEN ___________ LIME ___
BLUE + PURPLE = BLUE-PURPLE
BLUE + GREEN = BLUE-GREEN
YELLOW + GREEN = LIME
Adding primary tones to secondary tones, but which are not already present in it, lead to a mixture of all three primary colors. The result is brown. Such pairs are called complementary.
YELLOW+ PURPLE ( RED + BLUE) = BROWN
RED+ GREEN ( YELLOW + BLUE) = BROWN
BLUE+ ORANGE ( RED + YELLOW) = BROWN
Mixing additional shades such as purple + yellow, red + green, blue + orange gives a medium dark reddish brown. If you mix not paint, but light rays, you should get the effect of gray light. But since the paint only reflects the wave, there will be no 100% replacement.
Primary ink colors for printing
It is very important to get the maximum tones from the minimum ink set for color printing. Today there are 4 necessary paints to implement the entire spectrum:
MAGENTA, YELLOW, CYAN, BLACK
Where magenta is a shade of fuchsia, cyan is a bright blue color, and white is the tone of the printed material.
So, briefly for reference: initially light, as electromagnetic radiation with a certain wavelength, is white. But when passing it through a prism, it decomposes into the following components of it visible colors (visible spectrum): to red, about range, and yellow, h green, G blue, With blue, f purple ( to every about hotnik and does h nat G de With goes f azan).
Why did I single out visible"? The structural features of the human eye allow us to distinguish only these colors, leaving ultraviolet and infrared radiation out of our field of vision. The ability of the human eye to perceive color directly depends on the ability of the matter of the world around us to absorb some light waves and reflect others. Why is a red apple red? Because that the surface of an apple, having a certain bio-chemical composition, absorbs all waves of the visible spectrum, with the exception of red, which is reflected from the surface and, entering our eye in the form of electromagnetic radiation of a certain frequency, is perceived by receptors and is recognized by the brain as red. or orange orange the situation is similar, as with all the matter that surrounds us.
The receptors of the human eye are most sensitive to the blue, green and red colors of the visible spectrum. Today there are about 150,000 color tones and shades. At the same time, a person can distinguish about 100 shades by color tone, about 500 shades of gray. Naturally, artists, designers, etc. have a wider range of color perception. All colors located in the visible spectrum are called chromatic.
visible spectrum of chromatic colors
Along with this, it is also obvious that in addition to "color" colors, we also recognize "non-color", "black and white" colors. So here are the shades. gray color in the range "white - black" are called achromatic (colorless) due to the absence of a specific color tone (shade of the visible spectrum) in them. The brightest achromatic color is white, the darkest is black.
Further, for a correct understanding of the terminology and the competent use of theoretical knowledge in practice, it is necessary to find differences in the concepts of "tone" and "shade". So here it is Color tone- a characteristic of a color that determines its position in the spectrum. Blue colour is a tone, red is also a tone. BUT shade- this is a variety of one color, which differs from it both in brightness, lightness and saturation, and in the presence of an additional color that appears against the background of the main one. Light blue and dark blue are shades of blue in terms of saturation, and bluish-green (turquoise) is due to the presence of an additional green color in blue.
What color brightness? This is a color characteristic that directly depends on the degree of illumination of the object and characterizes the density of the light flux directed towards the observer. Simply put, if, under all other conditions being equal, the same object is successively illuminated by light sources of different powers, the light reflected from the object will also be of different powers in proportion to the incoming light. As a result, the same red apple in bright light will look bright red, and in the absence of light we will not see it at all. The peculiarity of the brightness of the color is that when it is reduced, any color tends to black.
And one more thing: under the same lighting conditions, the same color can differ in brightness due to the ability to reflect (or absorb) incoming light. Glossy black will be brighter than matte black precisely because gloss reflects incoming light more, while matte black absorbs more.
Lightness, lightness ... As a characteristic of color - it exists. How precise definition- probably not. According to one source, lightness- the degree of closeness of color to white. According to other sources - the subjective brightness of an area of the image, related to the subjective brightness of the surface, perceived by a person as white. Third sources refer the concepts of brightness and lightness of color to synonyms, which is not devoid of logic: if the color tends to black (becomes darker) when the brightness decreases, then when the brightness increases, the color will tend to white (becomes lighter).
In practice, this is what happens. During photo or video shooting, underexposed (not enough light) objects in the frame become a black spot, and overexposed (too much light) - white.
A similar situation applies to the terms "saturation" and "intensity" of color, when some sources say that "color saturation is intensity .... etc. etc." In fact it is absolutely different characteristics. Saturation- "depth" of color, expressed in the degree of difference between a chromatic color and a gray color that is identical with it in lightness. As saturation decreases, each chromatic color approaches gray.
Intensity- the predominance of any tone in comparison with others (in the landscape autumn forest orange tone will be predominant).
Such a "substitution" of concepts occurs, most likely, for one reason: the line between brightness and lightness, saturation and intensity of color is as thin as the concept of color itself is subjective.
From the definitions of the main characteristics of color, the following pattern can be distinguished: the color rendering (and, accordingly, color perception) of chromatic colors is greatly influenced by achromatic colors. They not only help to form shades, but also make the color light or dark, saturated or faded.
How can this knowledge help a photographer or videographer? Well, firstly, no camera or video camera is capable of conveying color in the way a person perceives it. And in order to achieve harmony in the image or bring the image closer to reality during post-processing of photo or video material, it is necessary to skillfully manipulate the brightness, lightness and color saturation so that the result satisfies either you, as an artist, or those around you, as viewers. It is not for nothing that the profession of colorist exists in film production (in photography, this function is usually performed by the photographer himself). A person with knowledge of color, through color correction, brings the filmed and edited material to such a state when color scheme The film simply makes the viewer wonder and admire at the same time. Secondly, in coloristics, all these color features are intertwined quite thinly and in various sequences, allowing not only to expand the possibilities of color rendering, but also to achieve some individual results. If these tools are used illiterately, it will be difficult to find fans of your work.
And on this positive note, we finally approached the color scheme.
Coloristics, as the science of color, in its laws relies precisely on the spectrum of visible radiation, which, by the works of researchers of the 17th-20th centuries. from a linear representation (illustration above) was transformed into a chromatic circle shape.
What allows us to understand the chromatic circle?
1. There are only 3 primary (basic, primary, pure) colors:
Red
Yellow
Blue
2. Composite colors of the second order (secondary) are also 3:
Green
Orange
Violet
Not only are they located opposite the primary colors in the chromatic circle, but they are also obtained by mixing the primary colors with each other (green = blue + yellow, orange = yellow + red, violet = red + blue).
3. Composite colors of the third order (tertiary) 6:
yellow-orange
red-orange
Red purple
blue purple
blue green
yellow green
Composite colors of the third order are obtained by mixing primary colors with secondary colors of the second order.
It is the location of the color in the twelve-part color wheel allows you to understand which colors and how they can be combined with each other.
CONTINUATION -
The purpose of the lesson: introduce students to primary and secondary colors.
Lesson plan:
1. Basic three colors.
2. Additional colors.
The student must:
know: primary and secondary colors.
Answers to the lesson plan questions:
1 . The practice of artists clearly showed that many colors and shades can be obtained by mixing a small amount of colors. The desire of natural philosophers to find the "fundamentals" of everything in the world, analyzing the phenomena of nature, to decompose everything "into elements", led to the selection "primary colors", which were not immediately chosen as red, green and blue. In England, red, yellow and blue were considered the main colors for a long time, only in 1860 Maxwell introduced the additive system RGB (red, green, blue). This system currently dominates color reproduction systems for cathode ray tubes(CRT) monitors and TVs. The color wheel can be divided into three broad sectors: red, green and blue. These colors are called primary, mixing them in different proportions get any other color. Between the primary colors there are three more sectors formed by additional colors: purple (blue-red), yellow and cyan (green-blue). Primary and secondary colors are opposite each other on the color wheel. For example, magenta is opposite green and is its complementary color. Each complementary color is a mixture of two primary colors, and when two complementary colors are combined, they form a common primary color. For example, cyan (blue and green) and magenta (blue and red) produce blue. This relationship between primary and secondary colors is called "subtractive" and is the basis for processing and printing color photographic materials.
2. concept "complementary color" was introduced by analogy with the "primary color". It has been found that optical mixing of certain pairs of colors can give the impression white color. So, to the triad of primary colors Red-Green-Blue, additional colors are Cyan-Purple-Yellow - colors. On the color wheel, these colors are placed in opposition, so that the colors of both triads alternate. In printing practice, different sets are used as primary colors. We call two colors complementary if their pigments, when mixed, give a neutral grey-black color. In physics, two chromatic lights that when mixed produce white light are also considered complementary. The two complementary colors form an odd pair. They are opposite to each other, but they need each other. Placed side by side, they excite each other to maximum brightness and mutually destroy when mixed, forming a gray-black tone, like fire and water. Each color has only one single color, which is complementary to it. In the color wheel, complementary colors are located diametrically to one another. They form the following pairs of complementary colors:
yellow - purple; yellow-orange - blue-violet; orange - blue; red-orange - blue-green; Red Green; red-violet - yellow-green.
If we analyze these pairs of complementary colors, we find that they always contain all three primary colors: yellow, red and blue:
yellow - purple = yellow, red + blue;
blue - orange \u003d blue, yellow + red;
red - green = red, yellow + blue.
Just as a mixture of yellow, red and blue produces gray, so a mixture of two complementary colors also becomes a variant of gray. One can also recall the experience from the "Physics of Color" section, when, with the exclusion of one of the colors of the spectrum, all other colors, being mixed, gave its additional color. For each of the colors of the spectrum, the sum of all the others forms its complementary color. It has been physiologically proven that both the afterimage phenomenon and the simultaneous contrast illustrate the amazing and still inexplicable fact the appearance in our eyes when perceiving one or another color at the same time and another, balancing it with an additional color, which, in the event of its real absence, is spontaneously generated in our minds. This phenomenon is very important for everyone who practically works with color. In the "color harmony" section, it was found that the law of complementary colors is the basis for the harmony of the composition, because when it is observed, a feeling of complete balance is created in the eyes.
Review questions:
1. What are the primary colors?
2. Give the concept of "additional" colors?
3. How are complementary colors formed?
Literature:
1. Yashchukhin A.P. Painting. M.: Enlightenment. 1979.
2. Vinner A. V. How masters of painting work, M., 1965.
3. Grenberg Yu. I. Technology easel painting, M., 1982.
