Primary colors are or colored that can be mixed in varying amounts to produce a gamut of colors. This is the essential method used to create the perception of a broad range of colors in, e.g., electronic displays, color printing, and paintings. Perceptions associated with a given combination of primary colors can be predicted by an appropriate mixing model (e.g., additive mixing, subtractive) that uses the physics of how light interacts with physical media, and ultimately the retina to be able to accurately display the intended colors.
The most common color mixing models are the additive primary colors (red, green, blue) and the subtractive primary colors (cyan, magenta, yellow). Red, yellow and blue are also commonly taught as primary colors (usually in the context of subtractive color mixing as opposed to additive color mixing), despite some criticism due to its lack of scientific basis.
Primary colors can also be conceptual (not necessarily real), either as additive mathematical elements of a color space or as irreducible phenomenological categories in domains such as psychology and philosophy. Color space primaries are precisely defined and empirically rooted in psychophysics colorimetry experiments which are foundational for understanding color vision. Primaries of some color spaces are complete (that is, all visible colors are described in terms of their primaries weighted by nonnegative primary intensity coefficients) but necessarily imaginaryBruce MacEvoy. "Do 'Primary' Colors Exist?" ( imaginary or imperfect primaries section ). Handprint. Accessed 10 August 2007. (that is, there is no plausible way that those primary colors could be represented physically, or perceived). Phenomenological accounts of primary colors, such as the psychological primaries, have been used as the conceptual basis for practical color applications even though they are not a quantitative description in and of themselves.
Sets of color space primaries are generally arbitrary, in the sense that there is no one set of primaries that can be considered the canonical set. Primary pigments or light sources are selected for a given application on the basis of subjective preferences as well as practical factors such as cost, stability, availability etc.
The concept of primary colors has a long, complex history. The choice of primary colors has changed over time in different domains that study color. Descriptions of primary colors come from areas including philosophy, art history, color order systems, and scientific work involving the physics of light and perception of color.
Art education materials commonly use red, yellow, and blue as primary colors, sometimes suggesting that they can mix all colors. No set of real colorants or lights can mix all possible colors, however. In other domains, the three primary colors are typically red, green and blue, which are more closely aligned to the sensitivities of the photopigment in the . Primary Colors Are Red, Yellow and Blue, Right? Well, Not Exactly, HowStuffWorks Introduction to the Primary Colors, Olympus Life Science
Some humans (and most mammals) are dichromacy, corresponding to specific forms of color blindness in which color vision is mediated by only two of the types of color receptors. Dichromats require only two primaries to reproduce their entire gamut and their participation in color matching experiments was essential in the determination of cone fundamentals leading to all modern color spaces.
Additive mixing of coincident spot lights was applied in the experiments used to derive the CIE 1931 colorspace (see color space primaries section). The original monochromatic primaries of the wavelengths of 435.8 nm (violet), 546.1 nm (green), and 700 nm (red) were used in this application due to the convenience they afforded to the experimental work.
Small red, green, and blue elements (with controllable brightness) in electronic displays mix additively from an appropriate viewing distance to synthesize compelling colored images. This specific type of additive mixing is described as partitive mixing. Red, green, and blue light are popular primaries for partitive mixing since primary lights with those hues provide a large color triangle (gamut).
The exact colors chosen for additive primaries are a compromise between the available technology (including considerations such as cost and power usage) and the need for large chromaticity gamut. For example, in 1953 the NTSC specified primaries that were representative of the available in that era for color Cathode-ray tube. Over decades, market pressures for brighter colors resulted in CRTs using primaries that deviated significantly from the original standard. Currently, ITU-R BT.709-5 primaries are typical for high-definition television.
Cyan (C), magenta (M), and yellow (Y) are good chromatic subtractive primaries in that filters with those colors can be overlaid to yield a surprisingly large chromaticity gamut.
Traditional color theory is based on experience with pigments, more than on the science of light. In 1920, Snow and Froehlich explained:
The widespread adoption of teaching of RYB as primary colors in post-secondary art schools in the twentieth century has been attributed to the influence of the Bauhaus, where Johannes Itten developed his ideas on color during his time there in the 1920s, and of his book on color
In discussing color design for the web, Jason Beaird writes:
As with any system of real primaries, not all colors can be mixed from RYB primaries.
For example, if the blue pigment is a deep Prussian blue, then a muddy desaturated green may be the best that can be had by mixing with yellow. To achieve a larger gamut of colors via mixing, the blue and red pigments used in illustrative materials such as the Color Mixing Guide in the image are often closer to peacock blue (a blue-green or cyan) and carmine (or crimson or magenta) respectively.
Faber-Castell identifies the following three colors: "Cadmium yellow" (number 107) for yellow, "Phthalo blue" (number 110) for blue and "Deep scarlet red" (number 219) for red, as the closest to primary colors for its Art & Graphic color pencils range. "Cadmium yellow" (number 107) for yellow, "Phthalo blue" (number 110) for blue and "Pale geranium lake" (number 121) for red, are provided as primary colors in its basic 5 color "Albrecht Dürer" watercolor marker set.
Mixing pigments for the purpose of creating realistic paintings with diverse color gamuts is known to have been practiced at least since Ancient Greece (see history section). The identity of a/the set of minimal pigments to mix diverse gamuts has long been the subject of speculation by theorists whose claims have changed over time, for example, Pliny's white, black, one or another red, and "sil", which might have been yellow or blue; Robert Boyle's white, black, red, yellow, and blue; and variations with more or fewer "primary" color or pigments. Some writers and artists have found these schemes difficult to reconcile with the actual practice of painting. Nonetheless, it has long been known that limited palettes consisting of a small set of pigments are sufficient to mix a diverse gamut of colors.
The set of pigments available to mix diverse gamuts of color (in various media such as oil paint, watercolor, acrylic paint, gouache, and pastel) is large and has changed throughout history.
The color of light (i.e., the spectral power distribution) reflected from illuminated surfaces coated in paint mixes is not well approximated by a subtractive or additive mixing model. Color predictions that incorporate light scattering effects of pigment particles and paint layer thickness require approaches based on the Kubelka–Munk equations,
MacEvoy explains why artists often chose a palette closer to RYB than to CMY:
The CIE 1931 standard observer is derived from experiments in which participants observe a foveal secondary bipartite field with a dark surround. Half of the field is illuminated with a monochromatic test stimulus (ranging from 380 nm to 780 nm) and the other half is the matching stimulus illuminated with three coincident monochromatic primary lights: 700 nm for red (R), 546.1 nm for green (G), and 435.8 nm for blue (B). These primaries correspond to CIE RGB. The intensities of the primary lights could be adjusted by the participant observer until the matching stimulus matched the test stimulus, as predicted by Grassman's laws of additive mixing. Different standard observers from other color matching experiments have been derived since 1931. The variations in experiments include choices of primary lights, field of view, number of participants etc. but the presentation below is representative of those results.
Matching was performed across many participants in incremental steps along the range of test stimulus wavelengths (380 nm to 780 nm) to ultimately yield the color matching functions: , and that represent the relative intensities of red, green, and blue light to match each wavelength (). These functions imply that units of the test stimulus with any spectral power distribution, , can be matched by , , and units of each primary where:
^{780\text{ nm}} \overline{r}(\lambda) P(\lambda)\,d\lambda \cdot R +
\int_{380\text{ nm}}^{780\text{ nm}} \overline{g}(\lambda) P(\lambda)\,d\lambda \cdot G +
\int_{380\text{ nm}}^{780\text{ nm}} \overline{b}(\lambda) P(\lambda)\,d\lambda \cdot B.
Each integral term in the above equation is known as a tristimulus value and measures amounts in the adopted units. No set of real primary lights can match another monochromatic light under additive mixing so at least one of the color matching functions is negative for each wavelength. A negative tristimulus value corresponds to that primary being added to the test stimulus instead of the matching stimulus to achieve a match.
The negative tristimulus values made certain types of calculations difficult, so the CIE put forth new color matching functions , , and defined by the following linear map:
These new color matching functions correspond to imaginary primary lights X, Y, and Z (CIE XYZ). All colors can be matched by finding the amounts , , and analogously to , , and as defined in . The functions , , and based on the specifications that they should be nonnegative for all wavelengths, be equal to photometric luminance, and that for an equienergy (i.e., a uniform spectral power distribution) test stimulus.
Derivations use the color matching functions, along with data from other experiments, to ultimately yield the cone fundamentals: , and . These functions correspond to the response curves for the three types of color photoreceptors found in the human retina: long-wavelength (L), medium-wavelength (M), and short-wavelength (S) cone cell. The three cone fundamentals are related to the original color matching functions by the following linear transformation (specific to a 10° field):
LMS color space comprises three primary lights (L, M, and S) that stimulate only the L-, M-, and S-cones respectively. A real primary that stimulates only the M-cone is impossible, and therefore these primaries are imaginary. The LMS color space has significant physiological relevance as these three photoreceptors mediate trichromatic color vision in humans.
Both XYZ and LMS color spaces are complete since all colors in the gamut of the standard observer are contained within their color spaces. Complete color spaces must have imaginary primaries, but color spaces with imaginary primaries are not necessarily complete (e.g. ProPhoto RGB color space).
A color in a color space is defined as a combination of its primaries, where each primary must give a non-negative contribution. Any color space based on a finite number of real primaries is incomplete in that it cannot reproduce every color within the gamut of the standard observer.
Practical color spaces such as sRGB and scRGB are typically (at least partially) defined in terms of linear transformations from CIE XYZ, and color management often uses CIE XYZ as a middle point for transformations between two other color spaces.
Most color spaces in the color-matching context (those defined by their relationship to CIE XYZ) inherit its three-dimensionality. However, more complex color appearance models like CIECAM02 require extra dimensions to describe colors appear under different viewing conditions.
The psychological primaries were applied by Richard S. Hunter as the primaries for Hunter Lab colorspace that led to the creation of CIELAB. The Natural Color System is also directly inspired by the psychological primaries.
Robert Boyle, the Irish chemist, introduced the term primary color in English in 1664 and claimed that there were five primary colors (white, black, red, yellow, and blue). The German painter Joachim von Sandrart eventually proposed removing white and black from the primaries and that one only needed red, yellow, blue, and green to paint "the whole creation".
Red, yellow, and blue as primaries became a popular notion in the 18th and 19th centuries. Jacob Christoph Le Blon, an engraver, was the first to use separate plates for each color in mezzotint printmaking: yellow, red, and blue, plus black to add shades and contrast. Le Blon used primitive in 1725 to describe red, yellow, and blue in a very similar sense as Boyle used primary. Moses Harris, an entomologist and engraver, also describes red, yellow, and blue as "primitive" colors in 1766. Léonor Mérimée described red, yellow, and blue in his book on painting (originally published in French in 1830) as the three simple/primitive colors that can make a "great variety" of tones and colors found in nature. George Field, a chemist, used the word primary to describe red, yellow, and blue in 1835. Michel Eugène Chevreul, also a chemist, discussed red, yellow, and blue as "primary" colors in 1839. – English translation by John Spanton
A wide variety of contemporary educational sources also describe the RYB primaries. These sources range from children's books
Itten's ideas about RYB primaries have been criticized as ignoring modern color science with demonstrations that some of Itten's claims about mixing RYB primaries are impossible.
Mixing pigments in limited palettes
Color space primaries
Imaginary primaries
Real primaries
Psychological primaries
History
Philosophy
Light and color vision
Colorants
Color order systems
Red, yellow, and blue as primary colors
Criticism
See also
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