Primary color - Knowledge

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trichromacy of vision at high (photopic) light intensities, a fourth photoreceptor type (rods) contributes to vision at low (mesopic and scotopic) light intensities and away from the center of vision (fovea). At very high light intenities, unbleached photopigments deplete and, in aggregate, change their action spectrum. At still higher light intensities, a photopigment molecule can absorb multiple photons but respond as if it absorbed only one photon. All these effects compromise Grassmann's laws, but the successful application of the laws, for example, in photography and television, has led us to believe that the compromises are not serious.

615:). 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. 4081:(if I may so call them) from whose Various Compositions all the rest do as it were Result. For though Painters can imitate the Hues (though not always the Splendor) of those almost Numberless differing Colours that are to be met with in the Works of Nature, and of Art, I have not yet found, that to exhibit this strange Variety they need imploy any more than White, and Black, and Red, and Blew, and Yellow; these five, Variously Compounded, and (if I may so speak) Decompounded, being sufficient to exhibit a Variety and Number of Colours, such, as those that are altogether Strangers to the Painters Pallets, can hardly imagine. 405:

others pass through, resulting in a colored appearance. The resultant spectral power distribution is predicted by the wavelength-by-wavelength product of the spectral reflectance of the illumination and the product of the spectral reflectances of all of the layers. Overlapping layers of ink in printing mix subtractively over reflecting white paper, while the reflected light mixes in a partitive way to generate color images. Importantly, unlike additive mixture, the color of the mixture is not well predicted by the colors of the individual dyes or inks. The typical number of inks in such a printing process is 3 (CMY) or 4 (

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nature. United in pairs, these three primitive colours give birth to three other colours, as distinct and as brilliant as their originals; as thus, the yellow, mixed with red, gives the orange ; the red and blue, violet ; and the green is obtained by mixing blue and yellow, and, according to the preponderance of one or other colour in the mixture, will the tint incline towards that colour ; and as these proportions are graduated, we pass progressively from one colour to another, and from whatever point we begin, we return to it.

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now for the treasures of whole cities. But at the present day, when purple is employed for colouring walls even, and when India sends to us the slime of her rivers, and the corrupt blood of her dragons and her elephants, there is no such thing as a picture of high quality produced. Everything, in fact, was superior at a time when the resources of art were so much fewer than they now are. Yes, so it is; and the reason is, as we have already stated, that it is the material, and not the efforts of genius, that is now the object of research.

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intensities of the three coincident monochromatic primary lights (which are usually red, green and blue hues) on either field until both the test stimulus and match stimulus appear as the exact same color. In this case the participant has added red to the 480 nm test stimulus and has almost matched the match stimulus made of only the green and blue lights of comparable intensities. The specific monochromatic primaries shown here are from the Stiles-Burch 1955 experiment.

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wet. If three inks can be replaced by one, the ink will dry more quickly, the press can be run faster, and the job will be less expensive. Third, if black is printed by combining three inks, and mechanical tolerances cause the three inks to be printed slightly out of register, then black edges will suffer coloured tinges. Vision is most demanding of spatial detail in black and white areas. Printing black with a single ink minimizes the visibility of registration errors.

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engineer. In his mind, the adopted primaries had to be producible with national-standardizing-laboratory accuracy. The first two wavelengths were mercury excitation lines, and the last named wavelength occurred at a location in the human vision system where the hue of spectral lights was unchanging with wavelength. Slight inaccuracy in production of the wavelength of this spectral primary in a visual colorimeter, it was reasoned, would introduce no error at all.

1969: 8590: 6957: 763:. 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. 3930:

time, peacock blue was substituted to a large extent for Prussian blue. ... While process yellow may be considered lemon yellow, process red, carmine lake, three-color process blue, Prussian blue, and four-color process blue, peacock blue, many variations are encountered in practice; ... Bright reds may be mixed from process red and vermilion, chrome greens from process blue and process yellow, and useful purples from process red and reflex blue.

1219: 376: 562:) respectively. Printers traditionally used inks of such colors, known as "process blue" and "process red", before modern color science and the printing industry converged on the process colors (and names) cyan and magenta (this is not to say that RYB is the same as CMY, or that it is exactly subtractive, but that there is a range of ways to conceptualize traditional RYB as a subtractive system in the framework of modern color science). 8601: 384: 6967: 6331: 1365: 2703: 248: 2329: 40: 668: 2357:(later called psychological primaries in some contexts): red, green, yellow and blue. To Hering, the unique hues appeared as pure colors, while all others were "psychological mixes" of two of them. Furthermore, these colors were organized in "opponent" pairs, red vs. green and yellow vs. blue so that mixing could occur across pairs (e.g., a yellowish green or a yellowish red) but not within a pair (i.e., 5211:

The "composite" hues green, orange (gold), and purple (lower curved lines) were mixed from the "noble" triad colors. D'Aguilon's diagram was reprinted by the Jesuit scholar Athanasius Kircher in his optical treatise Ars magna lucis et umbrae (The Great Art of Light and Shadow, 1646). Both sources were widely read in the 17th century, and shaped the explanation of color mixing dominant during the Baroque.

2207:{\displaystyle {\begin{bmatrix}{\overline {l}}(\lambda )\\{\overline {m}}(\lambda )\\{\overline {s}}(\lambda )\end{bmatrix}}={\begin{bmatrix}0.192325269&0.749548882&0.0675726702\\0.0192290085&0.949098496&0.113830196\\0&0.0105107859&0.991427669\\\end{bmatrix}}{\begin{bmatrix}{\overline {r}}(\lambda )\\{\overline {g}}(\lambda )\\{\overline {b}}(\lambda )\end{bmatrix}}.} 256: 961: 1603:{\displaystyle {\begin{bmatrix}{\overline {x}}(\lambda )\\{\overline {y}}(\lambda )\\{\overline {z}}(\lambda )\end{bmatrix}}={\begin{bmatrix}2.768892&1.751748&1.130160\\1.000000&4.590700&0.060100\\0&0.056508&5.594292\\\end{bmatrix}}{\begin{bmatrix}{\overline {r}}(\lambda )\\{\overline {g}}(\lambda )\\{\overline {b}}(\lambda )\end{bmatrix}}.} 5004:

of the psychological primaries must exist somewhere in the brain—in a region that is directly reflected in phenomenal experience, instead of merely conveying signals from the eye. This tenet was long maintained in the absence of neurophysiological evidence, and continues to be maintained even though current neurophysiological evidence does not support it.

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proportions will furnish different shades of orange and orange-yellow; the blue and yellow will give a great variety of greens; the red and blue all the purple and violet hues. There have been instances of painters in water-colours who used only these three pigments, adding lampblack for the purpose of darkening them and obtaining the browns and greys.

153:(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. 3421:

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.

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It was with four colours only, that Apelles, Echion, Melanthius, and Nicomachus, those most illustrous painters, executed their immortal works; melinum for the white, Attic sil for the yellow, Pontic sinopis for the red, and atramentum for the black; and yet a single picture of theirs has sold before

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In summary, the fact that the KM model appears to work so well could actually be considered quite surprising, given the number of basic assumptions of the model violated by watercolor. We suspect that while the results of the model are probably not very physically accurate, they at least provide very

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to mean that two colors are within a just-noticeable difference of each other. In this case, adding two subthreshold differences together could produce a combined difference that is above thresh- old. Proportionality and additivity can also be compromised. Besides the three cone types that herald the

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Color vision is based upon the responses of three classes of cones in the retina, each of which has broadband sensitivity but maximum sensitivity at different wavelengths. A consequence of this is that color reproduction is trichromatic – the use of three primaries allows a wide range of colors to be

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cannot be imagined). An achromatic opponent process along black and white is also part of Hering's explanation of color perception. Hering asserted that we did not know why these color relationships were true but knew that they were. Although there is a great deal of evidence for the opponent process

1214:{\displaystyle =\int _{380{\text{ nm}}}^{780{\text{ nm}}}{\overline {r}}(\lambda )P(\lambda )\,d\lambda \cdot +\int _{380{\text{ nm}}}^{780{\text{ nm}}}{\overline {g}}(\lambda )P(\lambda )\,d\lambda \cdot +\int _{380{\text{ nm}}}^{780{\text{ nm}}}{\overline {b}}(\lambda )P(\lambda )\,d\lambda \cdot .} 657:

Because the 'optimal' pigments in practice produce unsatisfactory mixtures; because the alternative selections are less granulating, more transparent, and mix darker values; and because visual preferences have demanded relatively saturated yellow to red mixtures, obtained at the expense of relatively

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The wide discrepancies of red, yellow, and blue, which have been falsely taught as primary colors, can no more be tuned by a child than the musical novice can tune his instrument. Each of these hues has three variable factors (see page 14, paragraph 14), and scientific tests are necessary to measure

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Many color scientists, acknowledging that the color opponent signals observed in the pathway to cortex have no relation to the psychological primaries, do nevertheless take it for granted that a color opponent neural representation capable of accounting for the phenomenally simple or unitary quality

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For a young student there cannot be a better way of entering upon the study of water colour than by rigorously banishing all but two colours from his palette. It is the best and surest way to the study of full colour. The colours should be a cold and warm one; cobalt blue and warm sienna—or Prussian

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By way of introduction to color design, let us develop the 12-hue color circle from the primaries – yellow, red, and blue. As we know, a person with normal vision can identify a red that is neither bluish, nor yellowish; a yellow that is neither greenish, nor reddish: and a blue that

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mixing model predicts the resultant spectral power distribution of light filtered through overlaid partially absorbing materials, usually in the context of an underlying reflective surface such as white paper. Each layer partially absorbs some wavelengths of light from the illumination while letting

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The experiments with pigments do not indicate what colours are to be considered as primary ; but experiments on the prismatic spectrum shew that all the colours of the spectrum, and therefore all the colours in nature, are equivalent to mixtures of three colours of the spectrum itself, namely,

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But I think I may easily be excus'd (though I do not altogether pass it by) if I restrain my self to the making of a Transient mention of some few of their Practices about this matter; and that only so far forth, as may warrant me to observe to you, that there are but few Simple and Primary Colours

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The expert cannot be bothered with useless pigments. He selects the few that are really essential and throws aside the rest as useless lumber. The distinguished Swedish artist, Zorn, uses but two colors—vermilion and yellow ochre; his two other pigments black and white, being the negation of color.

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Printing black by overlaying cyan, yellow and magenta ink in offset printing has three major problems. First, coloured ink is expensive. Replacing coloured ink by black ink – which is primarily carbon – makes economic sense. Second, printing three ink layers causes the printed paper to become quite

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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

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A cornerstone component of traditional color theory, the RYB conceptual color model underpins the notion that the creation of an exhaustive gamut of color nuances occurs via intermixture of red, yellow, and blue pigments, especially when applied in conjunction with white and black pigment color. In

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process printing. Each row represents the pattern of partially overlapping ink "rosettes" so that the patterns would be perceived as blue, green, and red when viewed on white paper from a typical viewing distance. The overlapping ink layers mix subtractively while additive mixing predicts the color

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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 physics, the three primary colors are typically red, green and blue, after the different types

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How it really was, Time has put it out of our Power to determine : But if we ſuppoſe thoſe four principal Colours in Perfection, then, I think, it can be no longer doubted, but that from them might be made all the various Colours in Nature. For my part, I cannot believe, that the four capital

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The Scottish physicist David Brewster (1781-1868) was an especially pugnacious holdout, arguing as late as the 1840's that all spectral hues could be explained by red, yellow, and blue fundamental colors of light, which Brewster equated with three colored filters or transmittance curves that could

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From a modern perspective, the most peculiar feature of d'Aguilon's theory is that these three "noble" hues were themselves created from the mysterious blending of white and black, or light and dark (upper curved lines in the figure), so that light and dark were the two "simple" or primary colors.

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with red, yellow and blue at the 3 vertices in the same plane, white at the top vertex, and black and the bottom vertex in a public lecture in 1758. There are 11 planes of colors between the white and black vertices inside the triangular bipyramid. Mayer did not seem to distinguish between colored

638:) is large and has changed throughout history. There is no consensus on a specific set of pigments that are considered primary colors – the choice of pigments depends entirely on the artist's subjective preference of subject and style of art, as well as material considerations like 565:

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,

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The reason many digital artists still keep a red, yellow, and blue color wheel handy is because the color schemes and concepts of traditional color theory are based on that model. ... Even though I design mostly for the Web—a medium that's displayed in RGB—I still use red, yellow, and blue as

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One of the most typical problems is that of trying to reproduce Itten's colour circle following his instructions. Students may get frustrated, because it is simply not possible to achieve acceptable results using the RYB 'primaries'. Figure 16 illustrates why it is impossible to reproduce Itten's

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This is based on the fact that most colors can be approximated from a mixture of the primary colors – red, yellow, and blue. However, in process colors, the red is closer to a magenta than a vermilion, the blue is rather pale and greenish, and only the yellow is the bright, clear shade we usually

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The NTSC in 1953 specified a set of primaries that were representative of phosphors used in color CRTs of that era. But phosphors changed over the years, primarily in response to market pressures for brighter receivers, and by the time of the first the videotape recorder the primaries in use were

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It does not matter to the makers of dyes if, as the physicist says, red light and green light in mixture make yellow light, when they find by experiment that red pigment and green pigment in mixture produce gray. No matter what the spectroscope may demonstrate regarding the combination of yellow

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Although painters usually have arranged on their palettes a good many pigments of various deno- minations, yet they do not always seem to know, that three simple colours (yellow, red, and blue) can, by proper combination, be made to produce that great variety of tones and colours that we find in

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While Prussian blue and crimson lake are available in three-color work, a broken yellow like Dutch pink is not, unless green and purple values may be sacrificed to obtain black. So a fourth printing in weak black or gray was added, and the three-color became the four-color process. At the same

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A common misapprehension is that it is possible to define three color primaries that could create any color by mixture. Unfortunately, the range of reproducible colors (or gamut) for a trichromatic additive (or subtractive) system is limited and is always smaller than the gamut of all the colors

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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

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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

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The natural system of colours : wherein is displayed the regular and beautiful order and arrangement, arising from the three premitives, red, blue, and yellow, the manner in which each colour is formed, and its composition, the dependance [sic] they have on each other, and by their

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proposed "a slightly purplish red, a vegetation-green, slightly yellowish, and an ultramarine-blue" as a trio. Newton, Young, Maxwell, and Helmholtz were all prominent contributors to "modern color science" that ultimately described the perception of color in terms of the three types of retinal

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It is well known to painters that approximate representations of all colours can be produced by the use of very few pigments. Three pigments or coloured powders will suffice, a red, yellow, and a blue; for example, crimson lake, gamboge, and Prussian blue. The red and yellow mingled in various

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The first of the resolutions offered to the 1931 meeting defined the color-matching functions of the soon-to-be-adopted standard observer in terms of Guild's spectral primaries centered on wavelengths 435.8, 546.1, and 700nm. Guild approached the problem from the viewpoint of a standardization

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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

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A conceptual visualization of a color matching experiment. A circular foveal bipartite field (about the size one's thumbnail an arm's length away) is presented to the observer in a dark surround. One part of the field is illuminated by a monochromatic test stimulus. The participant adjusts the

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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.

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It is true that Zorn uses only a very limited palette, especially when he paints indoors, when he considers that black, white, red and yellow should be enough for all ordinary purposes, except when a very decided color is present, as, for instance, a light blue or a positive green in a

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spotlights that are both dimmer than the purple spotlight. If the intensity of the purple spotlight was doubled it could be matched by doubling the intensities of both the red and blue spotlights that matched the original purple. The principles of additive color mixing are embodied in

650:, but even such approaches are not expected to predict the color of paint mixtures precisely due to inherent limitations. Artists typically rely on mixing experience and "recipes" to mix desired colors from a small initial set of primaries and do not use mathematical modeling. 5432:

Colours of the Antients would mix to that ſurpriſing Perfection we ſee in the Works of Titian and Rubens. And if we have no certain Knowlege of their Method of Colouring who lived In the laſt Century, how ſhould we underſtand theirs who lived near Two thouſand Years ago ?

160:, 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. 3223:

Grassmann's laws are known not to be exactly true in human color matching. Symmetry could be called into question by color difference formulas, such as CIE94,3 that are asymmetric between batch and standard. Transitivity can be considered to be violated if we take the term

107:. 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., 292:. Additive mixing is sometimes described as "additive color matching" to emphasize the fact the predictions based on additivity only apply assuming the color matching context. Additivity relies on assumptions of the color matching context such as the match being in the 487:

below). This RYB system, in "traditional color theory", is often used to order and compare colors, and sometimes proposed as a system of mixing pigments to get a wide range of, or "all", colors. O'Connor describes the role of RYB primaries in traditional color theory:

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The so-called pure 'primary red pigment' (more correctly 'magenta') printed onto white paper absorbs the green light (its complementary) and the pure 'blue primary pigment', which is practically a strong cyan or peacock blue, absorbs the bright orange-red light (its

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A wide variety of contemporary educational sources also describe the RYB primaries. These sources range from children's books and art material manufacturers to painting and color guides. Art education materials often suggest that RYB primaries can be mixed to create

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The practice of painting and perspective made easy : in which is contained, the art of painting in oil, with the method of colouring ... and a new, short, and familiar account of the art of perspective, illustrated with copper-plates, engraved by Mr.

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Studio and school-room practice still cling to the discredited theory, claiming that, if it fails to describe our color sensations, yet it may be called practically true of pigments, because a red, yellow, and blue pigment suffice to imitate most natural

2335:'s illustration of the psychological primaries. Red/green and yellow/blue form opponent pairs (top). Each color can be psychologically mixed to make other colors (bottom) with both members of the other pair but not with its opponent according to Hering. 2437:, where the two simple colors of white (albus) and black (niger) are mixed to the "noble" colors of yellow (flavus), red (rubeus), and blue (caeruleus). Orange (aureus), purple (purpureus), and green (viridis) are each combinations of two noble colors. 493:

the literature relating to traditional color theory and RYB color, red, yellow, and blue are often referred to as primary colors and represent exemplar hues rather than specific hues that are more pure, unique, or proprietary variants of these hues.

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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

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primaries. More than three primaries are allowed, for example, to increase the size of the gamut of the color space, but the entire human perceptual gamut can be reproduced with just three primaries (albeit imaginary ones as in the

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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.

2750:(the Romantic German painter) firmly believed in the theory of red, yellow and blue as the primary colors (again without distinguishing light color and colorant). His color sphere was ultimately described in an essay titled 2698:'s "Farbenpyramide" tetrahedron published in 1772. Gamboge (yellow), carmine (red), and Prussian blue pigments are used the corner swatches of each "level" of lightness with mixtures filling the others and white at the top. 3297:

If we now define the primaries in terms of the three colours which together in various ratios produce the largest gamut of colours in the eye–brain complex, then, as reasoned above, the primary colours are red, green and

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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

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possible in the world. However, the gamut is smaller or larger depending upon the choice of primaries. Pragmatically, for additive color mixing the largest gamut is achieved when the primaries are red, green, and blue.

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primaries fall within the gamut of human perception, and so can be easily represented by practical light sources, including CRT and LED displays, hence why sRGB is still the color space of choice for digital displays.

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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

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The optimum primaries of the subtractive color system are cyan, magenta, and yellow. The use of cyan, magenta, and yellow subtractive primaries allows a surprisingly large – albeit limited – gamut of colors to be

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Numerous authors have taught that red, yellow, and blue (RYB) are the primary colors in art education materials since at least the 19th century, following the ideas tabulated above from earlier centuries.

534:, 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 4597:

Stiles, W.S.; Burch, J. M. (December 1955). "Interim Report to the Commission Internationale de l'Eclairage, Zurich, 1955, on the National Physical Laboratory's Investigation of Colour-matching (1955)".

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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.

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Historical perspectives on color order systems ("catalogs" of color) that were proposed in the 18th and 19th centuries describe them as using red, yellow, and blue pigments as chromatic primaries.

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were in common use, these primaries were often known as blue and red, respectively, and their exact color has changed over time with access to new pigments and technologies. Organizations such as

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the basis for my color selection. I believe that color combinations created using the red, yellow, and blue color wheel are more aesthetically pleasing, and that good design is about aesthetics.

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The Primary Colours are such as yield others by being compounded, but are not themselves capable of being produced by composition by other colours. They are three only, yellow, red, and blue...

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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:

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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

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Whiteness and all grey Colours between white and black, may be compounded of Colours, and the whiteness of the Sun's Light is compounded of all the primary Colours mix'd in a due Proportion

2422:'s notion of the five primary colors (white, yellow, red, blue, black) was influenced by Aristotle's idea of the chromatic colors being made of black and white.The 20th century philosopher 431:") is also used in CMYK systems to augment C, M and Y inks or dyes: this is more efficient in terms of time and expense and less likely to introduce visible defects. Before the color names 2746:

as primaries and only white at the top vertex (since Lambert could produce a mixture that was sufficiently black with those pigments). Lambert's work on this system was published in 1772.

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Handbook of Young Artists and Amateurs in Oil Painting: Being Chiefly a Condensed Compilation from the Celebrated Manual of Bouvier ... Appended, A New Explanatory and Critical Vocabulary

2505:). Sil was historically confused as a blue pigment between the 16th and 17th centuries, leading to claims about white, black, red, and blue being the fewest colors required for painting. 1951: 1915: 1879: 1782: 1746: 1710: 1674: 1351: 1315: 1279: 872: 836: 800: 5467:

harmonious connections are produced the teints, or colours, of every object in the creation, and those teints, tho' so numerous as 660, are all comprised in thirty three terms, only

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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

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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.

119:. 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 427:(Y) are good chromatic subtractive primaries in that filters with those colors can be overlaid to yield a surprisingly large chromaticity gamut. A black (K) ink (from the older " 2418:

described a notion in which white and black could be mixed in different ratios to yield chromatic colors; this idea had considerable influence in Western thinking about color.

566:"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. 2758:

in 1810. His spherical model of colors equally spaced red, yellow, and blue longitudinally with orange, green, and violet between them, and white and black at opposite poles.

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Section 2 develops some of the significant differences in additive and subtractive color mixing and discusses the need for different mixing theory for pigmented materials.

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The Original or primary colours are, Red, Yellow, Green, Blew, and a Violet-purple, together with Orange, Indico, and an indefinite variety of Intermediate gradations.

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What are the primary colors? Primary colors include red, blue, and yellow. Primary colors cannot be mixed from other colors. They are the source of all other colors.

5027: 4986: 1836: 2485:'s account of notable Greek painters who used four primaries. Pliny distinguished the pigments (i.e., substances) from their apparent colors: white from Milos ( 506:

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

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Color theorists since the seventeenth century, and many artists and designers since that time, have taken red, yellow, and blue to be the primary colors (see

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Philosophical writing from ancient Greece has described notions of primary colors, but they can be difficult to interpret in terms of modern color science.

3241:

Fairman, Hugh S.; Brill, Michael H.; Hemmendinger, Henry (February 1997). "How the CIE 1931 color-matching functions were derived from Wright-Guild data".

2481:

provides a summary of the history of primary colors as pigments in painting and describes the evolution of the idea as complex. Gage begins by describing

8558: 2312:

Most color spaces in the color-matching context (those defined by their relationship to CIE XYZ) inherit its three-dimensionality. However, more complex

353:. Over decades, market pressures for brighter colors resulted in CRTs using primaries that deviated significantly from the original standard. Currently, 530:

colors can be mixed from RYB primaries is not true, just as it is not true in any system of real primaries. For example, if the blue pigment is a deep

5429:. London : Printed by S. Richardson, for the author, and sold by him ... and by A. Millar ... R. and J. Dodsley ..., and J. and J. Rivington ... 8500: 6583: 5706:

Color mixing guide for artists, painters, decorators, printing pressmen, show card writers, sign painters, color mixers, give color mixtures by parts

2523:

eventually proposed removing white and black from the primaries and that one only needed red, yellow, blue, and green to paint "the whole creation".

2449:

used the term "primary color" to describe the colored spectral components of sunlight. A number of color theorists did not agree with Newton's work.

1961:. The three cone fundamentals are related to the original color matching functions by the following linear transformation (specific to a 10° field): 5422:

Bardwell, Thomas; Richardson, Samuel; Millar, Andrew; Dodsley, Robert; Dodsley, James; Rivington, John; Rivington, James; Vivarès, François (1756).

3828: 4012:

With this palette, simple to the point of poverty, he nevertheless finds it possible to paint an immense variety of landscape and figure subjects.

5794: 5139: 4388:

Lu, Jingwan; DiVerdi, Stephen; Chen, Willa A.; Barnes, Connelly; Finkelstein, Adam (8 August 2014). "RealPigment: paint compositing by example".

704:, where the primaries have been defined, either directly as photometric spectra, or indirectly as a function of other color spaces. For example, 5704: 2527:

Partial list of authors describing red, yellow, and blue as the (chromatic) primary colors before 18th century (adapted from Shamey and Kuehni)

3499: 3185: 2278:

must use real primaries that can be reproduced by practical sources, either lights in additive models, or pigments in subtractive models. Most

149:(that is, all visible colors are described in terms of their primaries weighted by nonnegative primary intensity coefficients) but necessarily 4467:

1,500 Color Mixing Recipes for Oil, Acrylic & Watercolor: Achieve Precise Color when Painting Landscapes, Portraits, Still Lifes, and More

3573: 728:

Color space primaries are derived from canonical colorimetric experiments that represent a standardized model of an observer (i.e., a set of

5836:

Red, blue, and yellow are the primary colors. With paints of just these three colors, artists can mix them to create all the other colors.

8548: 8495: 5347: 607:

Mixing pigments for the purpose of creating realistic paintings with diverse color gamuts is known to have been practiced at least since

497:

Traditional color theory is based on experience with pigments, more than on the science of light. In 1920, Snow and Froehlich explained:

413:). In general, using fewer inks as primaries results in more economical printing but using more may result in better color reproduction. 4826:"Multimedia systems and equipment - Colour measurement and management - Part 2-2: Colour management - Extended RGB colour space - scRGB" 4419:

Curtis, Cassidy J.; Anderson, Sean E.; Seims, Joshua E.; Fleischer, Kurt W.; Salesin, David H. (1997). "Computer-generated watercolor".

3339:

quite different from those "on the books". So although you may see the NTSC primary chromaticities documented, they are of no use today.

8275: 448: 2884: 4821: 3254: 6734: 5670: 3733: 2849: 733: 229:, and therefore requiring four primaries to reproduce their entire gamut, there is only one scholarly report of a functional human 7145: 440: 1245:

The negative tristimulus values made certain types of calculations difficult, so the CIE put forth new color matching functions

6724: 6588: 5953: 5644: 5056: 3127: 502:

rays of light and blue rays of light, the fact remains that yellow pigment mixed with the blue pigment produces green pigment.

7251: 7003: 5859: 5777: 5611: 5484:

The Art of Painting in Oil and in Fresco, Being a History of the Various Processes and Materials Employed, from Its Discovery

5326: 5114: 5066: 4996: 4886: 4749: 4475: 4328: 4224: 4053: 3701: 3522: 3387: 3360: 3283: 3137: 2987: 2909: 2519:

in English in 1664 and claimed that there were five primary colors (white, black, red, yellow, and blue). The German painter

329:. Red, green, and blue light are popular primaries for partitive mixing since primary lights with those hues provide a large 5896:

Hirschler, Robert; Csillag, Paula; Manyé, Pablo; Neder, Mônica (December 2018). "How much colour science is not too much?".

8553: 5687: 5016: 6800: 263:. Additive mixing explains how light from these colored elements can be used for photorealistic color image reproduction. 3659:

is neither greenish, nor reddish. In examining each color, it is important to view it against a neutral-gray background.

8490: 8037: 5820: 5177: 716:. However, the green primary of Adobe RGB is more saturated than the equivalent in sRGB, and therefore yields a larger 321:), and 700 nm (red) were used in this application due to the convenience they afforded to the experimental work. 8246: 5804: 5729: 5385: 4926: 4859: 4677: 4107: 3883: 3838: 3623: 3483: 3216: 3169: 275:(the intensity of each wavelength) of the individual light sources assuming a color matching context. For example, a 5482: 4043: 2797:), referred to the notion of RYB primaries as "mischief", "a widely accepted error", and underspecified in his book 8213: 6745: 2238:

has significant physiological relevance as these three photoreceptors mediate trichromatic color vision in humans.

5423: 5144:

From the ALWS Archives: A Selection of Papers from the International Wittgenstein Symposia in Kirchberg Am Wechsel

4094: 2767: 8532: 8510: 7999: 6970: 6924: 5767: 4536: 3322: 31: 8178: 7666: 7453: 6740: 6729: 4436: 4318: 4249: 3681: 3651: 3103: 2414:

identified white, black, red, and, (depending on the interpretation) either yellow or green as primary colors.

1920: 1884: 1848: 1751: 1715: 1679: 1643: 1320: 1284: 1248: 841: 805: 769: 17: 1841:

Derivations use the color matching functions, along with data from other experiments, to ultimately yield the

736:(CIE) standards. The abbreviated account of color space primaries in this section is based on descriptions in 720:. Otherwise, choice of color space is largely arbitrary and depends on the utility to a specific application. 8087: 8019: 7772: 7299: 6805: 514:

developed his ideas on color during his time there in the 1920s, and of his book on color published in 1961.

5402: 5334:

red, green (near the line E), and blue (near the line G). Yellow was found to be a mixture of red and green.

126:

Primary colors can also be conceptual (not necessarily real), either as additive mathematical elements of a

8520: 8515: 3199:

Brill, Michael H.; Robertson, Alan R. (27 July 2007). "Open Problems on the Validity of Grassmann's Laws".

1785: 479:'s color wheel showing his red, yellow, and blue as primary colors within the central equilateral triangle. 3404: 658:

dull green and purple mixtures. Artists jettisoned 'theory' to obtain the best color mixtures in practice.

387:

A magnified representation of small partially overlapping spots of cyan, magenta, yellow, and key (black)

8525: 7797: 7304: 6608: 6268: 6042: 5745: 2509:, an 18th century Norwich portrait painter, was skeptical of the practical relevance of Pliny's account. 747:

standard observer is derived from experiments in which participants observe a foveal secondary bipartite

289: 272: 4652:"Colour matching functions - 2-deg XYZ CMFs transformed from the CIE (2006) 2-deg LMS cone fundamentals" 4421:

Proceedings of the 24th annual conference on Computer graphics and interactive techniques - SIGGRAPH '97

3670:

O'Connor, Zena. "Traditional colour theory: A review." Color Research & Application, 8 January 2021.

2453:

advocated that red, yellow, and blue light could be combined into any spectral hue late into the 1840s.

2362:

in the form of neural mechanisms, there is currently no clear mapping of the psychological primaries to

8251: 7939: 7842: 7140: 6810: 6397: 5946: 3862: 2755: 358: 5147: 3093: 467:

Color Mixing Guide, John L. King 1925, cover and plates describing yellow, red, and blue color mixing.

8218: 8168: 8128: 7981: 7867: 7817: 7514: 7458: 7314: 7071: 6996: 6575: 6468: 6126: 5043:

Hunter L, a, b and CIE 1976 L*a*b* (CIELAB) are both color scales based on the Opponent-Color Theory.

2474: 444: 192:. Most color models are defined by the interaction of multiple primary colors. Since most humans are 5376: 5244: 4711: 2680: 2666:, an entomologist and engraver, also describes red, yellow, and blue as "primitive" colors in 1766. 8424: 8014: 7747: 7539: 6785: 6603: 6253: 5986: 3543: 2454: 2247: 1634:). All colors can be matched by finding the amounts , , and analogously to , , and as defined in 4797: 3916: 2597: 2434: 2419: 8626: 8384: 8188: 8092: 7956: 7807: 7644: 7549: 7192: 7081: 6837: 6790: 6780: 6775: 6770: 5529: 4694:"CVRL functions - 2-deg fundamentals based on the Stiles and Burch 10-deg CMFs adjusted to 2-deg" 4203:

blue and burnt sienna—are two combinations which lend themselves to a great variety of treatment.

4023:

Kuehni, Rolf G. "Development of the idea of simple colors in the 16th and early 17th centuries".

2731: 2695: 2644: 927: 647: 642:

and mixing behavior. A variety of limited palettes have been employed by artists for their work.

309: 2305:

are typically (at least partially) defined in terms of linear transformations from CIE XYZ, and

2270:

shows the gamut of the standard observer. Primaries outside of the colored region are imaginary.

1957:

found in the human retina: long-wavelength (L), medium-wavelength (M), and short-wavelength (S)

874:

that represent the relative intensities of red, green, and blue light to match each wavelength (

267:

The perception elicited by multiple light sources co-stimulating the same area of the retina is

8605: 8444: 8419: 8223: 8208: 8143: 8123: 8029: 7951: 7782: 7706: 7701: 7676: 7604: 7594: 7544: 7534: 7468: 7431: 7359: 7334: 6795: 5371: 3616:

Digital color management : principles and strategies for the standardized print production

2672: 2313: 260: 5316: 2667: 877: 580: 8505: 8295: 8203: 8198: 8183: 8173: 8148: 8133: 7994: 7927: 7897: 7857: 7767: 7757: 7599: 7478: 7441: 7364: 6719: 6474: 6018: 5939: 3975: 3943: 2462: 8052: 6193: 5689:

Primary Object Lessons: For Training the Senses and Developing the Faculties of Children ...

5274: 5224: 4798:

Michael Stokes; Matthew Anderson; Srinivasan Chandrasekar; Ricardo Motta (5 November 1996).

299:

Additive mixing of coincident spot lights was applied in the experiments used to derive the

8594: 8193: 8163: 8158: 8153: 8138: 7792: 7716: 7686: 7639: 7584: 7574: 7499: 7324: 7271: 6989: 6692: 6375: 6363: 5876: 5584: 4607: 4571: 4174: 3446: 2794: 2790: 2718: 2643:

Red, yellow, and blue as primaries became a popular notion in the 18th and 19th centuries.

2520: 2382: 2267: 458: 115:) that reflects the physics of how light interacts with physical media, and ultimately the 3513:

Westland, Stephen; Cheung, Vien (2012). Chen, Janglin; Cranton, Wayne; Fihn, Mark (eds.).

3351:

Westland, Stephen; Cheung, Vien (2016). Chen, Janglin; Cranton, Wayne; Fihn, Mark (eds.).

3275:

Colour Reproduction in Electronic Imaging Systems: Photography, Television, Cinematography

2900:

Westland, Stephen; Cheung, Vien (2012). Chen, Janglin; Cranton, Wayne; Fihn, Mark (eds.).

8: 8290: 8263: 8233: 7887: 7802: 7711: 7589: 7569: 7559: 7554: 7524: 7416: 7329: 7157: 7152: 6507: 6407: 6339: 5226:

Opticks: Or, A Treatise of the Reflections, Refractions, Inflections and Colours of Light

5017:"Application Note AN 1005.00 Measuring color using Hunter L, a, b versus CIE 1976 L*a*b*" 2629: 2458: 2423: 2309:

often uses CIE XYZ as a middle point for transformations between two other color spaces.

623: 210: 131: 5637: 5523: 4611: 4575: 4511: 3450: 2846: 1791: 8439: 8097: 8047: 7872: 7732: 7691: 7671: 7609: 7564: 7529: 7504: 7066: 7031: 6822: 6228: 6136: 6030: 5913: 5505:

Chromatography; Or, A Treatise on Colours and Pigments: And of Their Powers in Painting

5120: 4967: 4942:

Conway, Bevil R. (12 May 2009). "Color Vision, Cones, and Color-Coding in the Cortex".

4442: 4401: 4367: 4151: 3809: 3792:

Raleigh, Henry P. (1968). "Johannes Itten and the Background of Modern Art Education".

3774: 3707: 3493: 3179: 2869: 2747: 2706: 2378: 2320:

require extra dimensions to describe colors appear under different viewing conditions.

2275: 1954: 618:

The set of pigments available to mix diverse gamuts of color (in various media such as

197: 112: 5638:"Philipp Otto Runge's Color Sphere A translation, with related materials and an essay" 4215:

Eastaugh, Nicholas; Walsh, Valentine; Chaplin, Tracey; Siddall, Ruth (30 March 2007).

4096:

Modern chromatics; students' text-book of color, with applications to art and industry

2734:(a Swiss mathematician, physicist, and astronomer) proposed a triangular pyramid with 897: 463: 396:

appearance from the light reflected from the rosettes and white paper in between them.

8404: 8340: 8327: 8258: 7922: 7847: 7837: 7827: 7812: 7681: 7649: 7509: 7344: 7115: 6932: 6885: 6482: 6297: 6236: 6188: 6121: 6116: 6094: 6023: 5917: 5855: 5800: 5773: 5725: 5607: 5381: 5322: 5173: 5124: 5110: 5062: 4992: 4959: 4922: 4882: 4855: 4745: 4673: 4471: 4452:

plausible physical approximations, which appear quite adequate for many applications.

4432: 4324: 4245: 4220: 4103: 4049: 3879: 3834: 3766: 3711: 3697: 3647: 3619: 3518: 3479: 3383: 3356: 3279: 3212: 3165: 3133: 3099: 3067: 3026: 2983: 2952: 2905: 2581: 2429: 2370: 676: 401: 188:

is an abstract model intended to describe the ways that colors behave, especially in

76: 5404:

Pliny the Elder, The Natural History, Book XXXV. An Account of Paintings and Colours

3693: 2282:

have real primaries, though some maintain imaginary primaries. For example, all the

8464: 8409: 8367: 8352: 8335: 8305: 8300: 7944: 7902: 7852: 7619: 7579: 7519: 7374: 6880: 6875: 6855: 6850: 6613: 6380: 6258: 6208: 6203: 6175: 6141: 6131: 6001: 5905: 5102: 4971: 4951: 4778: 4615: 4579: 4446: 4424: 4405: 4393: 4371: 4357: 4143: 3871: 3801: 3689: 3454: 3250: 3204: 3057: 3016: 2975: 2942: 2426:

explored color-related ideas using red, green, blue, and yellow as primary colors.

2407: 2363: 2346: 2306: 2294:

in that it cannot reproduce every color within the gamut of the standard observer.

2279: 370: 350: 56: 44: 8565: 4783: 4766: 3644:

The art of color : the subjective experience and objective rationale of color

3005:"Farbensehen der Tiere: Von farbenblinden Seehunden und tetrachromatischen Vögeln" 8469: 8372: 7989: 7742: 7624: 7319: 7266: 7261: 7229: 7214: 7172: 6910: 6900: 6895: 6860: 6762: 6598: 6545: 6435: 6368: 6183: 6099: 6077: 5849: 5545: 4876: 4813: 4465: 4195: 4004: 3875: 3377: 3273: 2979: 2853: 2818: 2506: 2482: 2235: 2230: 1953:. These functions correspond to the response curves for the three types of color 1748:

based on the specifications that they should be nonnegative for all wavelengths,

713: 689: 600:

The first known use of red, yellow, and blue as "simple" or "primary" colors, by

551: 293: 242: 221: 108: 5245:"A Letter of Mr. Isaac Newton … containing his New Theory about Light and Color" 4292: 4266: 2658:

in 1725 to describe red, yellow, and blue in a very similar sense as Boyle used

130:

or as irreducible phenomenological categories in domains such as psychology and

8631: 8241: 8067: 8009: 7777: 7463: 7369: 7354: 7349: 7244: 7056: 7046: 7036: 6960: 6905: 6890: 6870: 6865: 6648: 6462: 6457: 6285: 6263: 6198: 6070: 6035: 6008: 5293: 5194: 3459: 3434: 3208: 2683:, also a chemist, discussed red, yellow, and blue as "primary" colors in 1839. 2450: 2263: 1838:

for an equienergy (i.e., a uniform spectral power distribution) test stimulus.

608: 511: 476: 330: 314: 268: 64: 5851:

Leonardo's Art Workshop: Invent, Create, and Make STEAM Projects like a Genius

5604:

Color space and its divisions : color order from antiquity to the present

5106: 5061:(1. publ. ed.). Cambridge: Cambridge University Press. pp. 163–192. 4799: 3589: 3021: 3004: 2709:'s sketch showing bl (blue), g (yellow) and r (red) as the fundamental colors. 2691: 653:

MacEvoy explains why artists often chose a palette closer to RYB than to CMY:

8620: 8394: 8347: 8312: 8072: 7917: 7882: 7473: 7446: 7426: 7394: 7339: 6845: 6316: 6241: 6218: 6158: 6082: 6065: 5971: 4955: 3770: 2743: 2654:: yellow, red, and blue, plus black to add shades and contrast. Le Blon used 2358: 2258: 748: 639: 627: 531: 230: 226: 135: 7832: 5275:"The Representation of Color Metrics and Mappings in Perceptual Color Space" 4767:"Impact of Color-Matching Primaries on Observer Matching: Part I – Accuracy" 4492: 4397: 751:

with a dark surround. Half of the field is illuminated with a monochromatic

8570: 8459: 8454: 8449: 8399: 8285: 8280: 7934: 7659: 7629: 7411: 7406: 7389: 7234: 7061: 7051: 7041: 6680: 6643: 6636: 6442: 6425: 6417: 6358: 6350: 6213: 6057: 4963: 4825: 3071: 3030: 2813: 2714: 2663: 2613: 2512: 2446: 2399: 2350: 2332: 589: 575: 539: 189: 169: 142: 5481:

Mérimée, Jean-François-Léonor; Taylor, William Benjamin Sarsfield (1839).

5279:

The Representation of Color Metrics and Mappings in Perceptual Color Space

4428: 4362: 4345: 2956: 8575: 8434: 8429: 8357: 8270: 8107: 8082: 7912: 7907: 7892: 7752: 7634: 7614: 7483: 7384: 7276: 7239: 7209: 7162: 7130: 7125: 7091: 7012: 6817: 6675: 6452: 6447: 6311: 6280: 6246: 6151: 6047: 6013: 4390:

Proceedings of the Workshop on Non-Photorealistic Animation and Rendering

3046:"The dimensionality of color vision in carriers of anomalous trichromacy" 2947: 2930: 2823: 2651: 2565: 2406:' position that the primary colors were white, black, red, and green. In 2354: 2340: 701: 697: 585: 452: 193: 185: 138: 127: 5445: 4693: 4155: 4073: 3778: 3758: 588:

clearly showing a four-pigment palette of what are thought to be white,

459:

Traditional red, yellow, and blue primary colors as a subtractive system

134:. Color space primaries are precisely defined and empirically rooted in 8077: 8057: 7971: 7961: 7822: 7787: 7762: 7696: 7436: 7421: 7401: 7283: 7219: 7135: 7086: 6827: 6670: 6498: 6402: 6390: 6146: 6109: 6104: 6087: 4985:

MacLeod, Donald (21 May 2010). Cohen, Jonathan; Matthen, Mohan (eds.).

4921:. Princeton, New Jersey: Princeton University Press. pp. 130–133. 4634:"Colour matching functions - Stiles & Burch (1955) 2-deg, RGB CMFs" 3973: 3255:

10.1002/(SICI)1520-6378(199702)22:1<11::AID-COL4>3.0.CO;2-7

2549: 2498: 2411: 2403: 2374: 2328: 1354: 601: 593: 543: 471: 410: 217: 5909: 4800:"A Standard Default Color Space for the Internet – sRGB, Version 1.10" 4619: 4583: 3813: 3311: 3044:

Jordan, G.; Deeb, S. S.; Bosten, J. M.; Mollon, J. D. (20 July 2010).

2647:, an engraver, was the first to use separate plates for each color in 8474: 8414: 8042: 8004: 7966: 7862: 7224: 7187: 7182: 7167: 7120: 7108: 6687: 6660: 6655: 6164: 5570:

Beschreibung einer mit Calauischem Wachse ausgeführten Farbenpyramide

5464: 4817: 4651: 4633: 4147: 4045:

Color and Culture: Practice and Meaning from Antiquity to Abstraction

2648: 2415: 1958: 709: 619: 428: 173: 4919:

In the eye's mind : vision and the Helmholtz-Hering controversy

3731: 3062: 3045: 755:(ranging from 380 nm to 780 nm) and the other half is the 259:

A photograph of the red, green, and blue elements (subpixels) of an

8062: 7877: 7379: 7309: 7177: 7103: 7098: 6942: 6665: 6273: 4765:

Li, Jiaye; Hanselaer, Peter; Smet, Kevin A. G. (17 February 2021).

4672:. Vienna, Austria: Commission internationale de l'eclairage. 2006. 3805: 3126:

Reinhard, Erik; Khan, Arif; Akyuz, Ahmet; Johnson, Garrett (2008).

2723: 2702: 2457:

proposed red, green, and violet as the three primary colors, while

2317: 744: 388: 375: 354: 346: 300: 92: 71:) have analogous sets of primaries with different emission spectra. 48: 6330: 383: 59:

color video display. Other electronic color display technologies (

8102: 7256: 7202: 6714: 5996: 4323:. Kansas City, Missouri: Andrews McMeel Publishing. p. 104. 3575:

General Physics and Its Application to Industry and Everyday Life

2870:

Primary Colors Are Red, Yellow and Blue, Right? Well, Not Exactly

2766:"Red, Blue, and Yellow" redirects here. For the video games, see 2739: 2735: 2727: 1631: 760: 685: 681: 631: 559: 555: 507: 420: 255: 5172:(German-English scholar's ed.). Malden, MA: Blackwell Pub. 4670:

Fundamental chromaticity diagram with physiological axes. Part 1

2717:(a German mathematician, physicist, and astronomer) described a 279:

spotlight on a dark background could be matched with coincident

247: 39: 7654: 7076: 7026: 6937: 6540: 6530: 5931: 5421: 3355:(2nd ed.). Cham, Switzerland: Springer. pp. 171–177. 635: 424: 276: 116: 104: 6981: 4244:(1st American ed.). New York: Farrar, Straus and Giroux. 1242:

stimulus instead of the matching stimulus to achieve a match.

123:, despite some criticism due to its lack of scientific basis. 8317: 7737: 7197: 6565: 6560: 6550: 6520: 5991: 5962: 4134:

Nyholm, Arvid (1914). "Anders Zorn: The Artist and the Man".

3686:

Encyclopedia of Color Science and Technology – Living Edition

2302: 717: 667: 604:, ca. AD 300, was possibly based on the art of paint mixing. 517:

In discussing color design for the web, Jason Beaird writes:

334: 318: 201: 100: 96: 5229:. William Innys at the West-End of St. Paul's. p. 135. 4418: 4346:"Modeling pigmented materials for realistic image synthesis" 484: 120: 6555: 6535: 6515: 6385: 6302: 4214: 2298: 2283: 705: 547: 416: 406: 392: 342: 280: 68: 5895: 5884:

and relate their uneven degrees of Hue, Value, and Chroma.

3517:(2nd ed.). Cham, Switzerland: Springer. p. 155. 2904:(2nd ed.). Cham, Switzerland: Springer. p. 155. 2761: 2730:) in partially complete colorings of planes in his solid. 2385:

is also directly inspired by the psychological primaries.

953:, can be matched by , , and units of each primary where: 6631: 6525: 6290: 284: 60: 3240: 3125: 233:, for which trichromatic color models are insufficient. 5521: 4217:

Pigment Compendium: A Dictionary of Historical Pigments

3379:

Billmeyer and Saltzman's Principles of Color Technology

3162:

Billmeyer and Saltzman's principles of color technology

1237:

Each integral term in the above equation is known as a

3043: 2125: 2062: 1978: 1521: 1458: 1374: 569: 5140:"The Essence (?) of Color, According to Wittgenstein" 3945:

Photo-engravers' Hand-book on Etching & Finishing

1972: 1923: 1887: 1851: 1794: 1754: 1718: 1682: 1646: 1368: 1323: 1287: 1251: 964: 930: 900: 880: 844: 808: 772: 141:

experiments which are foundational for understanding

5470:. Laidler's office, Princes-Street, Licester-Fields. 5370:(2nd ed.). Amsterdam: Elsevier. pp. 1–39. 2841: 2839: 692:

cone fundamentals. The curves are all for 2° fields.

345:

specified primaries that were representative of the

5528:. London: Routledge, Warne, and Routledge. p. 4387: 4102:. New York: Van Nostrand Reinhold Co. p. 108. 5923:colour circle following strictly his instructions. 5746:"Crayola Support FAQ-What are the primary colors?" 5092: 5090: 5088: 5086: 5084: 5082: 5080: 5078: 4744:. : CIE/Commission internationale de l'eclairage. 4242:Bright earth : art and the invention of color 3870:. Springer International Publishing. p. 162. 3571: 3132:. Wellesley, Mass: A.K. Peters. pp. 364–365. 3129:Color imaging : fundamentals and applications 2206: 1945: 1909: 1873: 1830: 1776: 1740: 1704: 1668: 1602: 1345: 1309: 1273: 1213: 945: 912: 886: 866: 830: 794: 99:that can be mixed in varying amounts to produce a 30:This article is about colors. For other uses, see 6584:Linguistic relativity and the color naming debate 4344:Haase, Chet S.; Meyer, Gary W. (1 October 1992). 2836: 1626:These new color matching functions correspond to 296:field of view, under appropriate luminance, etc. 8618: 4320:Color and Light: A Guide for the Realist Painter 4267:"handprint : learning color through paints" 3974:United States Bureau of Naval Personnel (1967). 3646:. New York: Reinhold Pub. Corp. pp. 34–37. 3164:(Fourth ed.). Hoboken, NJ. pp. 54–64. 3087: 3085: 3083: 3081: 3002: 2266:with vertices that represent the primaries. The 5792: 5249:Philosophical Transactions of the Royal Society 5075: 4764: 4742:Colorimetry : understanding the CIE system 4075:Experiments and Considerations touching Colours 4037: 4035: 4033: 313:primaries of the wavelengths of 435.8 nm ( 5563: 5561: 5559: 5345: 4812: 4735: 4733: 4731: 4729: 4727: 4725: 4704: 3544:"Color FAQ - Frequently Asked Questions Color" 3512: 3350: 3198: 2970:Stockman, Andrew (2016). "Cone Fundamentals". 2899: 2845:Bruce MacEvoy. "Do 'Primary' Colors Exist?" ( 6997: 5947: 5480: 5361: 5359: 4854:(3rd ed.). Hoboken: Wiley. p. 287. 4537:"What is Meant by the Term "Observer Angle"?" 3732:Bonnie E. Snow and Hugo B. Froehlich (1920). 3679: 3078: 2722:light and colorant though he used vermilion, 200:a meaningful portion of a human's perceptual 5631: 5629: 5627: 5625: 5623: 5318:The Scientific Papers of James Clerk Maxwell 5167: 5096: 4806: 4600:Optica Acta: International Journal of Optics 4564:Optica Acta: International Journal of Optics 4067: 4065: 4030: 3969: 3967: 3664: 3637: 3635: 3003:Scholtyßek, C.; Kelber, A. (November 2017). 2972:Encyclopedia of Color Science and Technology 2369:The psychological primaries were applied by 2262:various RGB color spaces are represented as 156:Sets of color space primaries are generally 8549:Conservation and restoration of photographs 5556: 5446:"The Dimensions of Colour, primary colours" 4722: 4596: 4560: 3382:. John Wiley & Sons. pp. 195–209. 2931:"Evolution of colour vision in vertebrates" 2679:to describe red, yellow, and blue in 1835. 8276:Comparison of digital and film photography 7004: 6990: 6966: 5954: 5940: 5724:(1st ed.). New York: Abbeville Kids. 5356: 4343: 3498:: CS1 maint: location missing publisher ( 3478:(2nd ed.). Hoboken, NJ. p. 235. 3405:"Additive versus subtractive color mixing" 3184:: CS1 maint: location missing publisher ( 3091: 2793:, an American painter (and creator of the 2323: 738:Colorimetry - Understanding The CIE System 455:CMYK standards for the printing industry. 304: 8501:Photographs considered the most important 5620: 5585:"handprint : colormaking attributes" 5546:"handprint : colormaking attributes" 5375: 5294:"handprint : colormaking attributes" 5055:Maffi, Luisa (1997). Hardin, C.L. (ed.). 4881:(in German). Springer Berlin Heidelberg. 4849: 4791: 4782: 4361: 4062: 3964: 3910: 3908: 3906: 3632: 3458: 3061: 3020: 2946: 2515:, the Irish chemist, introduced the term 2441: 1946:{\displaystyle {\overline {s}}(\lambda )} 1910:{\displaystyle {\overline {m}}(\lambda )} 1874:{\displaystyle {\overline {l}}(\lambda )} 1777:{\displaystyle {\overline {y}}(\lambda )} 1741:{\displaystyle {\overline {z}}(\lambda )} 1705:{\displaystyle {\overline {y}}(\lambda )} 1669:{\displaystyle {\overline {x}}(\lambda )} 1346:{\displaystyle {\overline {z}}(\lambda )} 1310:{\displaystyle {\overline {y}}(\lambda )} 1274:{\displaystyle {\overline {x}}(\lambda )} 1189: 1111: 1033: 867:{\displaystyle {\overline {b}}(\lambda )} 831:{\displaystyle {\overline {g}}(\lambda )} 795:{\displaystyle {\overline {r}}(\lambda )} 6735:International Commission on Illumination 5349:A text book of the principles of physics 5058:Color categories in thought and language 4002: 3914: 3860: 3312:"Frequently Asked Questions about Color" 2969: 2928: 2847:imaginary or imperfect primaries section 2701: 2690: 2428: 2327: 2257: 734:Commission Internationale de l'Eclairage 675: 666: 662: 579: 470: 462: 382: 374: 254: 246: 179: 38: 5874: 5847: 5765: 5685: 5567: 5314: 5199:handprint : colormaking attributes 5097:Shamey, Renzo; Kuehni, Rolf G. (2020). 4984: 4904:Outlines of a theory of the light sense 4739: 4193: 4172: 3791: 2762:Red, yellow, and blue as primary colors 2377:colorspace that led to the creation of 14: 8619: 6725:Color Association of the United States 5668: 5601: 5462: 5365: 5242: 5222: 4941: 4916: 4901: 4874: 4493:"handprint : basic mixing method" 4463: 4316: 4133: 3941: 3935: 3903: 3830:The Principles of Beautiful Web Design 3826: 3613: 3473: 3432: 2686: 723: 409:), but can commonly range to 6 (e.g., 6985: 5935: 5719: 5606:. Hoboken, N.J.: Wiley-Interscience. 5534:– English translation by John Spanton 5501: 5137: 5054: 4071: 3864:Handbook of Visual Display Technology 3641: 3515:Handbook of visual display technology 3375: 3353:Handbook of visual display technology 3278:. John Wiley & Sons. p. 22. 3272:Tooms, Michael S. (26 January 2016). 3271: 3159: 2902:Handbook of visual display technology 364: 220:, corresponding to specific forms of 145:. Primaries of some color spaces are 5702: 5026:. Hunter Associates Laboratory Inc. 4239: 4092: 4041: 3756: 1963: 1359: 955: 8496:Museums devoted to one photographer 5582: 5543: 5487:. Whittaker & co. p. 245. 5321:. Courier Corporation. p. 49. 5291: 5192: 4509: 4490: 4290: 4264: 3917:"Some Practical Hints on Presswork" 3541: 3309: 712:are both color spaces based on the 570:Mixing pigments in limited palettes 216:Some humans (and most mammals) are 24: 8038:Timeline of photography technology 6589:Blue–green distinction in language 5766:Pitcher, Colette (16 March 2011). 5635: 5443: 5243:Newton, Isaac (19 February 1671). 4512:"imaginary or imperfect primaries" 4464:Powell, William F. (August 2012). 4200:. C. Scribner's Sons. p. 25. 4048:. University of California Press. 3948:. Effingham Republican. p. 52 3915:St. John, Eugene (February 1924). 2885:Introduction to the Primary Colors 2241:Both XYZ and LMS color spaces are 271:, i.e., predicted via summing the 236: 121:commonly taught as primary colours 25: 8643: 5848:Leidtke, Amy (20 November 2018). 5272: 4878:Grundzüge der Lehre vom Lichtsinn 4119:from the original on 2017-01-18. 4078:. Henry Herringman. p. 220. 3402: 3095:Light and color in nature and art 2461:favored changing violet to blue. 2253: 538:in the image are often closer to 27:Fundamental color in color mixing 8599: 8589: 8588: 6965: 6956: 6955: 6746:International Colour Association 6329: 5961: 5898:Color Research & Application 5889: 5868: 5841: 5813: 5786: 5759: 5738: 5713: 5696: 5686:Calkins, Norman Allison (1888). 5679: 5522:Chevreul, Michel Eugène (1861). 5352:. Macmillan and Co. p. 575. 5303:reproduce the entire spectrum... 4988:Color Ontology and Color Science 4197:The Art of Water Colour Painting 4025:Color Research & Application 3735:The Theory and Practice of Color 3243:Color Research & Application 920:units of the test stimulus with 349:available in that era for color 8600: 7011: 5769:Watercolor Painting For Dummies 5692:Harper & Bros. p. 195. 5662: 5650:from the original on 2019-01-20 5595: 5576: 5537: 5515: 5495: 5474: 5456: 5437: 5415: 5394: 5339: 5308: 5285: 5266: 5236: 5216: 5186: 5161: 5131: 5048: 5033:from the original on 2021-08-29 5009: 4991:. MIT Press. pp. 159–162. 4978: 4935: 4910: 4895: 4868: 4843: 4758: 4686: 4662: 4644: 4626: 4590: 4554: 4529: 4503: 4484: 4457: 4412: 4381: 4337: 4310: 4284: 4258: 4233: 4208: 4187: 4166: 4127: 4086: 4017: 3996: 3977:Illustrator Draftsman 1 & C 3854: 3820: 3785: 3750: 3725: 3694:10.1007/978-3-642-27851-8_453-1 3673: 3607: 3582: 3565: 3535: 3506: 3467: 3426: 3396: 3369: 3344: 3328:from the original on 2018-02-19 3303: 3265: 3234: 3192: 3153: 3119: 2726:(King’s yellow), and Bergblau ( 2353:in which he described the four 2297:Practical color spaces such as 2220: 1636: 1616: 1227: 379:Subtractive primary color model 225:Despite most vertebrates being 164:light and perception of color. 6741:International Color Consortium 6730:International Colour Authority 5525:The Laws of Contrast of Colour 4824:(23 January 2003). IEC (ed.). 3594:International Color Consortium 3476:Understanding color management 3376:Berns, Roy S. (9 April 2019). 3092:Williamson, Samuel J. (1983). 3037: 2996: 2963: 2929:Bowmaker, James K (May 1998). 2922: 2893: 2878: 2863: 2190: 2184: 2167: 2161: 2144: 2138: 2043: 2037: 2020: 2014: 1997: 1991: 1940: 1934: 1904: 1898: 1868: 1862: 1825: 1819: 1813: 1807: 1801: 1795: 1771: 1765: 1735: 1729: 1699: 1693: 1663: 1657: 1586: 1580: 1563: 1557: 1540: 1534: 1439: 1433: 1416: 1410: 1393: 1387: 1340: 1334: 1304: 1298: 1268: 1262: 1205: 1199: 1186: 1180: 1174: 1168: 1127: 1121: 1108: 1102: 1096: 1090: 1049: 1043: 1030: 1024: 1018: 1012: 971: 965: 940: 934: 907: 901: 894:). These functions imply that 861: 855: 825: 819: 789: 783: 13: 1: 8088:Painted photography backdrops 8020:Golden triangle (composition) 7300:35 mm equivalent focal length 6806:List of Crayola crayon colors 5315:Maxwell, James Clerk (2013). 5168:Wittgenstein, Ludwig (2005). 4784:10.1080/15502724.2020.1864395 3590:"FOGRA characterization data" 2829: 2768:Pokémon Red, Blue, and Yellow 2393: 2268:1931 CIE chromaticity diagram 924:spectral power distribution, 688:color matching functions and 305:color space primaries section 5195:"do "primary" colors exist?" 4740:Schanda, János, ed. (2007). 4470:. Walter Foster Publishing. 4350:ACM Transactions on Graphics 4194:Lintott, E. Barnard (1926). 3991:think of as a primary color. 3876:10.1007/978-3-319-14346-0_11 2980:10.1007/978-1-4419-8071-7_85 2785: 2469: 2179: 2156: 2133: 2032: 2009: 1986: 1929: 1893: 1857: 1760: 1724: 1688: 1652: 1630:primary lights X, Y, and Z ( 1575: 1552: 1529: 1428: 1405: 1382: 1329: 1293: 1257: 1163: 1085: 1007: 850: 814: 778: 612: 273:spectral power distributions 251:Additive primary color model 196:, color models that want to 7: 7798:Intentional camera movement 6609:Traditional colors of Japan 6386:Achromatic colors (Neutral) 6269:Multi-primary color display 6043:Spectral power distribution 5572:. Berlin: Haude und Spener. 5170:The Big Typescript, TS. 213 4850:Fairchild, Mark D. (2013). 4173:Munsell, Albert H. (1907). 3572:Ervin Sidney Ferry (1921). 2860:. Accessed 10 August 2007. 2807: 2801:, first published in 1905. 2675:, a chemist, used the word 2402:(c. 371–287 BCE) described 946:{\displaystyle P(\lambda )} 526:Of course, the notion that 10: 8648: 8491:Most expensive photographs 7843:Multi-exposure HDR capture 5722:Red, yellow, blue, and you 4917:Turner, R. Steven (1994). 4009:. Scribbner. p. 118. 3861:Westland, Stephen (2016). 3688:. Springer. pp. 1–4. 3614:Homann, Jan-Peter (2009). 3460:10.4249/scholarpedia.10686 3209:10.1002/9780470175637.ch10 2765: 2754:(color ball) published by 2570:Glaucus, rubeus, viriditas 2388: 2338: 573: 368: 359:high-definition television 357:primaries are typical for 240: 29: 8584: 8541: 8483: 8383: 8326: 8232: 8116: 8028: 7980: 7725: 7492: 7292: 7019: 6951: 6923: 6836: 6761: 6754: 6705: 6624: 6574: 6506: 6497: 6469:Color realism (art style) 6416: 6349: 6338: 6327: 6227: 6174: 6127:Evolution of color vision 6056: 5979: 5970: 5772:. John Wiley & Sons. 5669:Osborn, Laughton (1856). 5107:10.1007/978-3-319-30811-1 5099:Pioneers of Color Science 4712:"sRGB vs. Adobe RGB 1998" 3942:Raymer, Percy C. (1921). 3833:. SitePoint. p. 55. 3022:10.1007/s00347-017-0543-6 2602:Flavus, rubeus, caeruleus 2554:Pallidus, rubeus, cyaneus 1353:defined by the following 584:An 1896 self-portrait by 445:European Color Initiative 8425:Digital image processing 6786:List of colors (compact) 6604:Color in Chinese culture 6254:Digital image processing 5987:Electromagnetic spectrum 5793:Stephen Quiller (2002). 5602:Kuehni, Rolf G. (2003). 4956:10.1177/1073858408331369 4003:Harrison, Birge (1909). 3642:Itten, Johannes (1961). 3578:. John Wiley & Sons. 2586:Flavus, ruber, caeruleus 2248:ProPhoto RGB color space 887:{\displaystyle \lambda } 730:color matching functions 646:approaches based on the 8533:Photography periodicals 8093:Photography and the law 6791:List of colors by shade 5854:. Rockport Publishers. 5720:Vance, Cynthia (2008). 5709:. Fine Arts Publishing. 5346:Alfred Daniell (1904). 4852:Color Appearance Models 4398:10.1145/2630397.2630401 2732:Johann Heinrich Lambert 2696:Johann Heinrich Lambert 2645:Jacob Christoph Le Blon 2479:The Fortunes Of Apelles 2324:Psychological primaries 2314:color appearance models 53:additive primary colors 8445:Gelatin silver process 7469:Science of photography 7454:Photographic processes 7432:Perspective distortion 6796:List of color palettes 5875:Munsell, A.H. (1907). 5703:King, John L. (1923). 5568:Lambert, J.H. (1772). 5502:Field, George (1835). 5463:Harris, Moses (1766). 5450:www.huevaluechroma.com 5223:Newton, Isaac (1730). 5138:Beran, Ondrej (2014). 4906:. Harvard Univ. Press. 4902:Hering, Ewald (1964). 4875:Hering, Ewald (1920). 4317:Gurney, James (2010). 4240:Ball, Philip (2002) . 4072:Boyle, Robert (1664). 3980:. U.S. GPO. p. 82 3827:Beaird, Jason (2010). 3759:"Colour at the Bahaus" 3680:Zena O’Connor (2021). 3474:Sharma, Abhay (2018). 3160:Berns, Roy S. (2019). 2710: 2699: 2681:Michel Eugène Chevreul 2442:Light and color vision 2438: 2336: 2271: 2208: 1947: 1911: 1875: 1832: 1778: 1742: 1706: 1670: 1604: 1347: 1311: 1275: 1215: 947: 914: 888: 868: 832: 796: 693: 673: 660: 648:Kubelka–Munk equations 597: 524: 504: 495: 480: 468: 397: 380: 264: 252: 170:photoreceptor pigments 72: 7898:Schlieren photography 7442:Photographic printing 7365:Exposure compensation 6720:Color Marketing Group 6475:On Vision and Colours 6408:Tinctures in heraldry 6019:Structural coloration 5675:. J. Wiley & son. 5366:Mollon, J.D. (2003). 4429:10.1145/258734.258896 4363:10.1145/146443.146452 3433:Kuehni, Rolf (2011). 3409:graphics.stanford.edu 2705: 2694: 2637:Principal, primitive 2463:Hermann von Helmholtz 2432: 2373:as the primaries for 2331: 2274:Color spaces used in 2261: 2209: 1948: 1912: 1876: 1833: 1786:photometric luminance 1779: 1743: 1707: 1671: 1605: 1355:linear transformation 1348: 1312: 1276: 1216: 948: 915: 889: 869: 833: 797: 679: 670: 663:Color space primaries 655: 596:, and black pigments. 583: 519: 499: 490: 474: 466: 386: 378: 258: 250: 180:Color model primaries 42: 7687:Straight photography 7325:Chromatic aberration 6801:List of color spaces 6693:Tint, shade and tone 6576:Cultural differences 6391:Polychromatic colors 6376:Complementary colors 6364:Monochromatic colors 5368:The science of color 4423:. pp. 421–430. 4093:Rood, Ogden (1973). 3618:. Berlin: Springer. 3319:Charles Poynton, PhD 2974:. pp. 541–546. 2948:10.1038/eye.1998.143 2889:Olympus Life Science 2852:17 July 2008 at the 2795:Munsell color system 2719:triangular bipyramid 2521:Joachim von Sandrart 2489:), red from Sinope ( 2433:The color scheme of 2383:Natural Color System 1970: 1921: 1885: 1849: 1792: 1752: 1716: 1680: 1644: 1366: 1321: 1285: 1249: 962: 928: 898: 878: 842: 806: 770: 475:A representation of 89:spelling differences 8559:photographic plates 8234:Digital photography 7417:Hyperfocal distance 7330:Circle of confusion 6781:List of colors: N–Z 6776:List of colors: G–M 6771:List of colors: A–F 4716:Cambridge in Colour 4612:1955AcOpt...2..168S 4576:1955AcOpt...2..168S 4293:"palette paintings" 4042:Gage, John (1999). 4027:32.2 (2007): 92–99. 3757:Gage, John (1982). 3738:. Prang. p. 14 3451:2011SchpJ...610686K 3098:. New York: Wiley. 2687:Color order systems 2528: 2459:James Clerk Maxwell 2424:Ludwig Wittgenstein 1632:CIE XYZ color space 1157: 1079: 1001: 761:CIE RGB color space 724:Imaginary primaries 211:CIE XYZ color space 8053:Autochrome Lumière 8048:Analog photography 7873:Pigeon photography 7667:Social documentary 7146:discontinued films 6828:List of web colors 6823:List of RAL colors 6229:Color reproduction 6194:Lüscher color test 6031:Color of chemicals 5799:. Watson–Guptill. 5508:. Tilt and Bogue. 4944:The Neuroscientist 4656:cvrl.ioo.ucl.ac.uk 4638:cvrl.ioo.ucl.ac.uk 4006:Landscape Painting 3921:The Inland Printer 3542:Poynton, Charles. 3310:Poynton, Charles. 2748:Philipp Otto Runge 2711: 2707:Philipp Otto Runge 2700: 2634:Jaune, rouge, bleu 2598:François d'Aguilon 2573:Principal species 2526: 2439: 2435:François d'Aguilon 2420:François d'Aguilon 2337: 2276:color reproduction 2272: 2204: 2195: 2114: 2048: 1943: 1907: 1871: 1831:{\displaystyle ==} 1828: 1774: 1738: 1702: 1666: 1600: 1591: 1510: 1444: 1343: 1307: 1271: 1211: 1133: 1055: 977: 943: 910: 884: 864: 828: 792: 694: 674: 598: 536:Color Mixing Guide 481: 469: 411:Pantone hexachrome 398: 381: 365:Subtractive models 317:), 546.1 nm ( 265: 253: 204:must use at least 73: 8614: 8613: 8405:Collodion process 8341:Chromogenic print 8328:Color photography 7838:Multiple exposure 7813:Lo-fi photography 7345:Color temperature 6979: 6978: 6919: 6918: 6701: 6700: 6493: 6492: 6483:Theory of Colours 6325: 6324: 6237:Color photography 6189:Color preferences 6132:Impossible colors 6122:Color vision test 6117:Color temperature 6095:Color calibration 6024:Animal coloration 5910:10.1002/col.22275 5861:978-1-63159-522-6 5779:978-1-118-05200-6 5613:978-0-471-43226-5 5589:www.handprint.com 5550:www.handprint.com 5328:978-0-486-78322-2 5298:www.handprint.com 5273:Boker, Steven M. 5116:978-3-319-30809-8 5068:978-0-521-49800-5 4998:978-0-262-01385-7 4888:978-3-662-42174-1 4751:978-0-470-04904-4 4620:10.1080/713821039 4584:10.1080/713821039 4497:www.handprint.com 4477:978-1-60058-283-7 4330:978-0-7407-9771-2 4297:www.handprint.com 4271:www.handprint.com 4226:978-1-136-37386-2 4136:Fine Arts Journal 4055:978-0-520-22225-0 3703:978-3-642-27851-8 3524:978-3-540-79567-4 3389:978-1-119-36722-2 3362:978-3-319-14347-7 3285:978-1-119-02176-6 3139:978-1-56881-344-8 3050:Journal of Vision 3009:Der Ophthalmologe 2989:978-1-4419-8070-0 2911:978-3-540-79567-4 2641: 2640: 2618:Yellow, red, blue 2589:Principal colors 2582:Anselmus de Boodt 2541:Descriptive term 2493:), Attic yellow ( 2371:Richard S. Hunter 2364:neural correlates 2228: 2227: 2182: 2159: 2136: 2035: 2012: 1989: 1932: 1896: 1860: 1843:cone fundamentals 1763: 1727: 1691: 1655: 1624: 1623: 1578: 1555: 1532: 1431: 1408: 1385: 1332: 1296: 1260: 1239:tristimulus value 1235: 1234: 1166: 1154: 1144: 1088: 1076: 1066: 1010: 998: 988: 853: 817: 781: 757:matching stimulus 700:is a subset of a 402:subtractive color 16:(Redirected from 8639: 8603: 8602: 8592: 8591: 8465:Print permanence 8410:Cross processing 8368:CMYK color model 8353:Color management 8306:Foveon X3 sensor 8301:Three-CCD camera 7945:Miniature faking 7903:Sabattier effect 7520:Astrophotography 7375:Zebra patterning 7006: 6999: 6992: 6983: 6982: 6969: 6968: 6959: 6958: 6759: 6758: 6625:Color dimensions 6614:Human skin color 6504: 6503: 6381:Analogous colors 6347: 6346: 6333: 6259:Color management 6176:Color psychology 6142:Opponent process 6058:Color perception 5977: 5976: 5956: 5949: 5942: 5933: 5932: 5926: 5925: 5893: 5887: 5886: 5878:A Color Notation 5872: 5866: 5865: 5845: 5839: 5838: 5833: 5831: 5817: 5811: 5810: 5790: 5784: 5783: 5763: 5757: 5756: 5742: 5736: 5735: 5717: 5711: 5710: 5700: 5694: 5693: 5683: 5677: 5676: 5666: 5660: 5659: 5657: 5655: 5649: 5642: 5636:Kuehni, Rolf G. 5633: 5618: 5617: 5599: 5593: 5592: 5583:MacEvoy, Bruce. 5580: 5574: 5573: 5565: 5554: 5553: 5544:MacEvoy, Bruce. 5541: 5535: 5533: 5519: 5513: 5512: 5499: 5493: 5492: 5478: 5472: 5471: 5460: 5454: 5453: 5441: 5435: 5434: 5419: 5413: 5412: 5398: 5392: 5391: 5379: 5363: 5354: 5353: 5343: 5337: 5336: 5312: 5306: 5305: 5292:MacEvoy, Bruce. 5289: 5283: 5282: 5270: 5264: 5263: 5258: 5256: 5240: 5234: 5233: 5220: 5214: 5213: 5207: 5205: 5193:MacEvoy, Bruce. 5190: 5184: 5183: 5165: 5159: 5158: 5156: 5155: 5146:. Archived from 5135: 5129: 5128: 5094: 5073: 5072: 5052: 5046: 5045: 5040: 5038: 5032: 5021: 5013: 5007: 5006: 4982: 4976: 4975: 4939: 4933: 4932: 4914: 4908: 4907: 4899: 4893: 4892: 4872: 4866: 4865: 4847: 4841: 4840: 4838: 4836: 4810: 4804: 4803: 4795: 4789: 4788: 4786: 4762: 4756: 4755: 4737: 4720: 4719: 4708: 4702: 4701: 4690: 4684: 4683: 4666: 4660: 4659: 4648: 4642: 4641: 4630: 4624: 4623: 4594: 4588: 4587: 4558: 4552: 4551: 4549: 4547: 4533: 4527: 4526: 4524: 4522: 4510:MacEvoy, Bruce. 4507: 4501: 4500: 4491:MacEvoy, Bruce. 4488: 4482: 4481: 4461: 4455: 4454: 4416: 4410: 4409: 4385: 4379: 4378: 4365: 4341: 4335: 4334: 4314: 4308: 4307: 4305: 4303: 4291:MacEvoy, Bruce. 4288: 4282: 4281: 4279: 4277: 4265:MacEvoy, Bruce. 4262: 4256: 4255: 4237: 4231: 4230: 4212: 4206: 4205: 4191: 4185: 4184: 4176:A Color Notation 4170: 4164: 4163: 4148:10.2307/25587278 4131: 4125: 4124: 4118: 4101: 4090: 4084: 4083: 4069: 4060: 4059: 4039: 4028: 4021: 4015: 4014: 4000: 3994: 3993: 3987: 3985: 3971: 3962: 3961: 3955: 3953: 3939: 3933: 3932: 3912: 3901: 3900: 3894: 3892: 3869: 3858: 3852: 3851: 3849: 3847: 3824: 3818: 3817: 3789: 3783: 3782: 3754: 3748: 3747: 3745: 3743: 3729: 3723: 3722: 3720: 3718: 3677: 3671: 3668: 3662: 3661: 3639: 3630: 3629: 3611: 3605: 3604: 3602: 3600: 3586: 3580: 3579: 3569: 3563: 3562: 3556: 3554: 3539: 3533: 3532: 3510: 3504: 3503: 3497: 3489: 3471: 3465: 3464: 3462: 3430: 3424: 3423: 3417: 3415: 3400: 3394: 3393: 3373: 3367: 3366: 3348: 3342: 3341: 3335: 3333: 3327: 3316: 3307: 3301: 3300: 3294: 3292: 3269: 3263: 3262: 3238: 3232: 3231: 3196: 3190: 3189: 3183: 3175: 3157: 3151: 3150: 3148: 3146: 3123: 3117: 3116: 3114: 3112: 3089: 3076: 3075: 3065: 3041: 3035: 3034: 3024: 3000: 2994: 2993: 2967: 2961: 2960: 2950: 2926: 2920: 2919: 2897: 2891: 2882: 2876: 2867: 2861: 2843: 2799:A Color Notation 2621:Simple, primary 2529: 2525: 2466:photoreceptors. 2408:Classical Greece 2349:was proposed by 2347:opponent process 2307:color management 2280:RGB color spaces 2222: 2213: 2211: 2210: 2205: 2200: 2199: 2183: 2175: 2160: 2152: 2137: 2129: 2119: 2118: 2053: 2052: 2036: 2028: 2013: 2005: 1990: 1982: 1964: 1952: 1950: 1949: 1944: 1933: 1925: 1916: 1914: 1913: 1908: 1897: 1889: 1880: 1878: 1877: 1872: 1861: 1853: 1837: 1835: 1834: 1829: 1783: 1781: 1780: 1775: 1764: 1756: 1747: 1745: 1744: 1739: 1728: 1720: 1711: 1709: 1708: 1703: 1692: 1684: 1675: 1673: 1672: 1667: 1656: 1648: 1640:. The functions 1618: 1609: 1607: 1606: 1601: 1596: 1595: 1579: 1571: 1556: 1548: 1533: 1525: 1515: 1514: 1449: 1448: 1432: 1424: 1409: 1401: 1386: 1378: 1360: 1352: 1350: 1349: 1344: 1333: 1325: 1316: 1314: 1313: 1308: 1297: 1289: 1280: 1278: 1277: 1272: 1261: 1253: 1229: 1220: 1218: 1217: 1212: 1167: 1159: 1156: 1155: 1152: 1146: 1145: 1142: 1089: 1081: 1078: 1077: 1074: 1068: 1067: 1064: 1011: 1003: 1000: 999: 996: 990: 989: 986: 956: 952: 950: 949: 944: 919: 917: 916: 913:{\displaystyle } 911: 893: 891: 890: 885: 873: 871: 870: 865: 854: 846: 837: 835: 834: 829: 818: 810: 801: 799: 798: 793: 782: 774: 371:CMYK color model 327:partitive mixing 307:). The original 303:colorspace (see 290:Grassmann's laws 51:that define the 45:emission spectra 21: 8647: 8646: 8642: 8641: 8640: 8638: 8637: 8636: 8617: 8616: 8615: 8610: 8580: 8537: 8479: 8470:Push processing 8386: 8379: 8373:RGB color model 8322: 8228: 8112: 8024: 7990:Diagonal method 7976: 7721: 7625:Photojournalism 7488: 7320:Black-and-white 7288: 7267:Slide projector 7262:Movie projector 7141:available films 7015: 7010: 6980: 6975: 6947: 6915: 6832: 6750: 6707: 6697: 6620: 6599:Blue in culture 6570: 6489: 6436:Secondary color 6412: 6369:black-and-white 6341: 6334: 6321: 6223: 6209:National colors 6204:Political color 6184:Color symbolism 6170: 6100:Color constancy 6078:Color blindness 6052: 6009:Spectral colors 5966: 5960: 5930: 5929: 5894: 5890: 5873: 5869: 5862: 5846: 5842: 5829: 5827: 5819: 5818: 5814: 5807: 5791: 5787: 5780: 5764: 5760: 5750:www.crayola.com 5744: 5743: 5739: 5732: 5718: 5714: 5701: 5697: 5684: 5680: 5667: 5663: 5653: 5651: 5647: 5640: 5634: 5621: 5614: 5600: 5596: 5581: 5577: 5566: 5557: 5542: 5538: 5520: 5516: 5500: 5496: 5479: 5475: 5461: 5457: 5444:Briggs, David. 5442: 5438: 5420: 5416: 5400: 5399: 5395: 5388: 5377:10.1.1.583.1688 5364: 5357: 5344: 5340: 5329: 5313: 5309: 5290: 5286: 5271: 5267: 5254: 5252: 5251:(80): 3075–3087 5241: 5237: 5221: 5217: 5203: 5201: 5191: 5187: 5180: 5166: 5162: 5153: 5151: 5136: 5132: 5117: 5095: 5076: 5069: 5053: 5049: 5036: 5034: 5030: 5019: 5015: 5014: 5010: 4999: 4983: 4979: 4940: 4936: 4929: 4915: 4911: 4900: 4896: 4889: 4873: 4869: 4862: 4848: 4844: 4834: 4832: 4811: 4807: 4796: 4792: 4763: 4759: 4752: 4738: 4723: 4710: 4709: 4705: 4692: 4691: 4687: 4680: 4668: 4667: 4663: 4650: 4649: 4645: 4632: 4631: 4627: 4595: 4591: 4559: 4555: 4545: 4543: 4535: 4534: 4530: 4520: 4518: 4508: 4504: 4489: 4485: 4478: 4462: 4458: 4439: 4417: 4413: 4386: 4382: 4342: 4338: 4331: 4315: 4311: 4301: 4299: 4289: 4285: 4275: 4273: 4263: 4259: 4252: 4238: 4234: 4227: 4213: 4209: 4192: 4188: 4171: 4167: 4132: 4128: 4116: 4110: 4099: 4091: 4087: 4070: 4063: 4056: 4040: 4031: 4022: 4018: 4001: 3997: 3983: 3981: 3972: 3965: 3959:complementary). 3951: 3949: 3940: 3936: 3913: 3904: 3890: 3888: 3886: 3867: 3859: 3855: 3845: 3843: 3841: 3825: 3821: 3790: 3786: 3755: 3751: 3741: 3739: 3730: 3726: 3716: 3714: 3704: 3678: 3674: 3669: 3665: 3654: 3640: 3633: 3626: 3612: 3608: 3598: 3596: 3588: 3587: 3583: 3570: 3566: 3552: 3550: 3540: 3536: 3525: 3511: 3507: 3491: 3490: 3486: 3472: 3468: 3435:"Color mixture" 3431: 3427: 3413: 3411: 3401: 3397: 3390: 3374: 3370: 3363: 3349: 3345: 3331: 3329: 3325: 3314: 3308: 3304: 3290: 3288: 3286: 3270: 3266: 3239: 3235: 3219: 3197: 3193: 3177: 3176: 3172: 3158: 3154: 3144: 3142: 3140: 3124: 3120: 3110: 3108: 3106: 3090: 3079: 3063:10.1167/10.8.12 3042: 3038: 3015:(11): 978–985. 3001: 2997: 2990: 2968: 2964: 2927: 2923: 2912: 2898: 2894: 2883: 2879: 2868: 2864: 2854:Wayback Machine 2844: 2837: 2832: 2819:RGB color model 2810: 2788: 2771: 2764: 2689: 2557:Generic colors 2507:Thomas Bardwell 2483:Pliny the Elder 2472: 2444: 2396: 2391: 2343: 2326: 2264:color triangles 2256: 2236:LMS color space 2231:LMS color space 2194: 2193: 2174: 2171: 2170: 2151: 2148: 2147: 2128: 2121: 2120: 2113: 2112: 2107: 2102: 2096: 2095: 2090: 2085: 2079: 2078: 2073: 2068: 2058: 2057: 2047: 2046: 2027: 2024: 2023: 2004: 2001: 2000: 1981: 1974: 1973: 1971: 1968: 1967: 1924: 1922: 1919: 1918: 1888: 1886: 1883: 1882: 1852: 1850: 1847: 1846: 1793: 1790: 1789: 1755: 1753: 1750: 1749: 1719: 1717: 1714: 1713: 1683: 1681: 1678: 1677: 1647: 1645: 1642: 1641: 1590: 1589: 1570: 1567: 1566: 1547: 1544: 1543: 1524: 1517: 1516: 1509: 1508: 1503: 1498: 1492: 1491: 1486: 1481: 1475: 1474: 1469: 1464: 1454: 1453: 1443: 1442: 1423: 1420: 1419: 1400: 1397: 1396: 1377: 1370: 1369: 1367: 1364: 1363: 1324: 1322: 1319: 1318: 1288: 1286: 1283: 1282: 1252: 1250: 1247: 1246: 1158: 1151: 1147: 1141: 1137: 1080: 1073: 1069: 1063: 1059: 1002: 995: 991: 985: 981: 963: 960: 959: 929: 926: 925: 899: 896: 895: 879: 876: 875: 845: 843: 840: 839: 809: 807: 804: 803: 773: 771: 768: 767: 726: 714:RGB color model 665: 613:history section 578: 572: 461: 373: 367: 245: 243:RGB color model 239: 237:Additive models 222:color blindness 182: 85:primary colours 35: 28: 23: 22: 15: 12: 11: 5: 8645: 8635: 8634: 8629: 8627:Primary colors 8612: 8611: 8609: 8608: 8597: 8585: 8582: 8581: 8579: 8578: 8573: 8568: 8563: 8562: 8561: 8556: 8545: 8543: 8539: 8538: 8536: 8535: 8530: 8529: 8528: 8523: 8518: 8513: 8503: 8498: 8493: 8487: 8485: 8481: 8480: 8478: 8477: 8472: 8467: 8462: 8457: 8452: 8447: 8442: 8437: 8432: 8427: 8422: 8417: 8412: 8407: 8402: 8397: 8391: 8389: 8381: 8380: 8378: 8377: 8376: 8375: 8370: 8365: 8360: 8350: 8345: 8344: 8343: 8332: 8330: 8324: 8323: 8321: 8320: 8315: 8310: 8309: 8308: 8303: 8298: 8293: 8283: 8278: 8273: 8268: 8267: 8266: 8261: 8256: 8255: 8254: 8242:Digital camera 8238: 8236: 8230: 8229: 8227: 8226: 8221: 8216: 8211: 8206: 8201: 8196: 8191: 8186: 8181: 8176: 8171: 8166: 8161: 8156: 8151: 8146: 8141: 8136: 8131: 8126: 8120: 8118: 8114: 8113: 8111: 8110: 8105: 8100: 8095: 8090: 8085: 8080: 8075: 8070: 8068:Camera obscura 8065: 8060: 8055: 8050: 8045: 8040: 8034: 8032: 8026: 8025: 8023: 8022: 8017: 8012: 8010:Rule of thirds 8007: 8002: 7997: 7992: 7986: 7984: 7978: 7977: 7975: 7974: 7969: 7964: 7959: 7954: 7949: 7948: 7947: 7937: 7932: 7931: 7930: 7920: 7915: 7910: 7905: 7900: 7895: 7890: 7885: 7880: 7875: 7870: 7865: 7860: 7855: 7850: 7845: 7840: 7835: 7830: 7825: 7820: 7815: 7810: 7805: 7800: 7795: 7790: 7785: 7780: 7778:Harris shutter 7775: 7773:Hand-colouring 7770: 7765: 7760: 7755: 7750: 7745: 7740: 7735: 7729: 7727: 7723: 7722: 7720: 7719: 7714: 7709: 7704: 7699: 7694: 7689: 7684: 7679: 7674: 7669: 7664: 7663: 7662: 7652: 7647: 7642: 7637: 7632: 7627: 7622: 7617: 7612: 7607: 7602: 7597: 7592: 7587: 7582: 7577: 7572: 7567: 7562: 7557: 7552: 7547: 7542: 7537: 7532: 7527: 7522: 7517: 7512: 7507: 7502: 7496: 7494: 7490: 7489: 7487: 7486: 7481: 7476: 7471: 7466: 7464:Red-eye effect 7461: 7456: 7451: 7450: 7449: 7439: 7434: 7429: 7424: 7419: 7414: 7409: 7404: 7399: 7398: 7397: 7392: 7382: 7377: 7372: 7370:Exposure value 7367: 7362: 7357: 7355:Depth of focus 7352: 7350:Depth of field 7347: 7342: 7337: 7332: 7327: 7322: 7317: 7312: 7307: 7302: 7296: 7294: 7290: 7289: 7287: 7286: 7281: 7280: 7279: 7269: 7264: 7259: 7254: 7249: 7248: 7247: 7242: 7237: 7232: 7227: 7222: 7217: 7207: 7206: 7205: 7200: 7195: 7190: 7185: 7180: 7175: 7170: 7165: 7155: 7150: 7149: 7148: 7143: 7138: 7133: 7128: 7123: 7113: 7112: 7111: 7106: 7096: 7095: 7094: 7089: 7084: 7079: 7074: 7069: 7064: 7059: 7054: 7049: 7044: 7039: 7034: 7023: 7021: 7017: 7016: 7009: 7008: 7001: 6994: 6986: 6977: 6976: 6974: 6973: 6963: 6952: 6949: 6948: 6946: 6945: 6940: 6935: 6929: 6927: 6921: 6920: 6917: 6916: 6914: 6913: 6908: 6903: 6898: 6893: 6888: 6883: 6878: 6873: 6868: 6863: 6858: 6853: 6848: 6842: 6840: 6834: 6833: 6831: 6830: 6825: 6820: 6815: 6814: 6813: 6803: 6798: 6793: 6788: 6783: 6778: 6773: 6767: 6765: 6756: 6752: 6751: 6749: 6748: 6743: 6738: 6732: 6727: 6722: 6717: 6711: 6709: 6703: 6702: 6699: 6698: 6696: 6695: 6690: 6685: 6684: 6683: 6678: 6673: 6668: 6663: 6653: 6652: 6651: 6641: 6640: 6639: 6628: 6626: 6622: 6621: 6619: 6618: 6617: 6616: 6611: 6606: 6601: 6595:Color history 6593: 6592: 6591: 6580: 6578: 6572: 6571: 6569: 6568: 6563: 6558: 6553: 6548: 6543: 6538: 6533: 6528: 6523: 6518: 6512: 6510: 6501: 6495: 6494: 6491: 6490: 6488: 6487: 6479: 6478:(Schopenhauer) 6471: 6466: 6463:Color analysis 6460: 6458:Color triangle 6455: 6450: 6445: 6440: 6439: 6438: 6433: 6422: 6420: 6414: 6413: 6411: 6410: 6405: 6400: 6395: 6394: 6393: 6388: 6383: 6378: 6373: 6372: 6371: 6355: 6353: 6344: 6336: 6335: 6328: 6326: 6323: 6322: 6320: 6319: 6314: 6309: 6308: 6307: 6306: 6305: 6295: 6294: 6293: 6278: 6277: 6276: 6271: 6264:Color printing 6261: 6256: 6251: 6250: 6249: 6244: 6233: 6231: 6225: 6224: 6222: 6221: 6216: 6211: 6206: 6201: 6199:Kruithof curve 6196: 6191: 6186: 6180: 6178: 6172: 6171: 6169: 6168: 6161: 6156: 6155: 6154: 6149: 6139: 6134: 6129: 6124: 6119: 6114: 6113: 6112: 6102: 6097: 6092: 6091: 6090: 6085: 6075: 6074: 6073: 6071:Sonochromatism 6062: 6060: 6054: 6053: 6051: 6050: 6045: 6040: 6039: 6038: 6028: 6027: 6026: 6021: 6011: 6006: 6005: 6004: 5999: 5994: 5983: 5981: 5974: 5968: 5967: 5959: 5958: 5951: 5944: 5936: 5928: 5927: 5888: 5867: 5860: 5840: 5812: 5805: 5785: 5778: 5758: 5737: 5730: 5712: 5695: 5678: 5661: 5619: 5612: 5594: 5575: 5555: 5536: 5514: 5494: 5473: 5455: 5436: 5414: 5393: 5386: 5355: 5338: 5327: 5307: 5284: 5265: 5235: 5215: 5185: 5179:978-1405106993 5178: 5160: 5130: 5115: 5074: 5067: 5047: 5008: 4997: 4977: 4950:(3): 274–290. 4934: 4927: 4909: 4894: 4887: 4867: 4860: 4842: 4805: 4790: 4777:(2): 104–126. 4757: 4750: 4721: 4703: 4685: 4678: 4661: 4643: 4625: 4606:(4): 168–181. 4589: 4570:(4): 168–181. 4553: 4528: 4502: 4483: 4476: 4456: 4437: 4411: 4380: 4356:(4): 305–335. 4336: 4329: 4309: 4283: 4257: 4250: 4232: 4225: 4207: 4186: 4165: 4142:(4): 469–481. 4126: 4108: 4085: 4061: 4054: 4029: 4016: 3995: 3963: 3934: 3902: 3884: 3853: 3839: 3819: 3806:10.2307/775089 3800:(3): 284–302. 3784: 3749: 3724: 3702: 3672: 3663: 3652: 3631: 3624: 3606: 3581: 3564: 3534: 3523: 3505: 3484: 3466: 3425: 3395: 3388: 3368: 3361: 3343: 3302: 3284: 3264: 3233: 3217: 3191: 3170: 3152: 3138: 3118: 3104: 3077: 3036: 2995: 2988: 2962: 2921: 2910: 2892: 2877: 2862: 2834: 2833: 2831: 2828: 2827: 2826: 2821: 2816: 2809: 2806: 2791:Albert Munsell 2787: 2784: 2782:other colors. 2763: 2760: 2688: 2685: 2668:Léonor Mérimée 2639: 2638: 2635: 2632: 2630:André Félibien 2627: 2623: 2622: 2619: 2616: 2611: 2607: 2606: 2605:Simple colors 2603: 2600: 2595: 2591: 2590: 2587: 2584: 2579: 2575: 2574: 2571: 2568: 2563: 2559: 2558: 2555: 2552: 2547: 2543: 2542: 2539: 2536: 2533: 2471: 2468: 2451:David Brewster 2443: 2440: 2395: 2392: 2390: 2387: 2339:Main article: 2325: 2322: 2255: 2254:Real primaries 2252: 2226: 2225: 2216: 2214: 2203: 2198: 2192: 2189: 2186: 2181: 2178: 2173: 2172: 2169: 2166: 2163: 2158: 2155: 2150: 2149: 2146: 2143: 2140: 2135: 2132: 2127: 2126: 2124: 2117: 2111: 2108: 2106: 2103: 2101: 2098: 2097: 2094: 2091: 2089: 2086: 2084: 2081: 2080: 2077: 2074: 2072: 2069: 2067: 2064: 2063: 2061: 2056: 2051: 2045: 2042: 2039: 2034: 2031: 2026: 2025: 2022: 2019: 2016: 2011: 2008: 2003: 2002: 1999: 1996: 1993: 1988: 1985: 1980: 1979: 1977: 1955:photoreceptors 1942: 1939: 1936: 1931: 1928: 1906: 1903: 1900: 1895: 1892: 1870: 1867: 1864: 1859: 1856: 1827: 1824: 1821: 1818: 1815: 1812: 1809: 1806: 1803: 1800: 1797: 1773: 1770: 1767: 1762: 1759: 1737: 1734: 1731: 1726: 1723: 1701: 1698: 1695: 1690: 1687: 1665: 1662: 1659: 1654: 1651: 1622: 1621: 1612: 1610: 1599: 1594: 1588: 1585: 1582: 1577: 1574: 1569: 1568: 1565: 1562: 1559: 1554: 1551: 1546: 1545: 1542: 1539: 1536: 1531: 1528: 1523: 1522: 1520: 1513: 1507: 1504: 1502: 1499: 1497: 1494: 1493: 1490: 1487: 1485: 1482: 1480: 1477: 1476: 1473: 1470: 1468: 1465: 1463: 1460: 1459: 1457: 1452: 1447: 1441: 1438: 1435: 1430: 1427: 1422: 1421: 1418: 1415: 1412: 1407: 1404: 1399: 1398: 1395: 1392: 1389: 1384: 1381: 1376: 1375: 1373: 1342: 1339: 1336: 1331: 1328: 1306: 1303: 1300: 1295: 1292: 1270: 1267: 1264: 1259: 1256: 1233: 1232: 1223: 1221: 1210: 1207: 1204: 1201: 1198: 1195: 1192: 1188: 1185: 1182: 1179: 1176: 1173: 1170: 1165: 1162: 1150: 1140: 1136: 1132: 1129: 1126: 1123: 1120: 1117: 1114: 1110: 1107: 1104: 1101: 1098: 1095: 1092: 1087: 1084: 1072: 1062: 1058: 1054: 1051: 1048: 1045: 1042: 1039: 1036: 1032: 1029: 1026: 1023: 1020: 1017: 1014: 1009: 1006: 994: 984: 980: 976: 973: 970: 967: 942: 939: 936: 933: 909: 906: 903: 883: 863: 860: 857: 852: 849: 827: 824: 821: 816: 813: 791: 788: 785: 780: 777: 725: 722: 664: 661: 609:Ancient Greece 574:Main article: 571: 568: 512:Johannes Itten 477:Johannes Itten 460: 457: 366: 363: 355:ITU-R BT.709-5 331:color triangle 238: 235: 227:tetrachromatic 181: 178: 136:psychophysical 91:) consists of 81:primary colors 65:Plasma display 32:Primary Colors 26: 18:Primary colors 9: 6: 4: 3: 2: 8644: 8633: 8630: 8628: 8625: 8624: 8622: 8607: 8598: 8596: 8587: 8586: 8583: 8577: 8574: 8572: 8569: 8567: 8564: 8560: 8557: 8555: 8552: 8551: 8550: 8547: 8546: 8544: 8540: 8534: 8531: 8527: 8524: 8522: 8519: 8517: 8514: 8512: 8509: 8508: 8507: 8506:Photographers 8504: 8502: 8499: 8497: 8494: 8492: 8489: 8488: 8486: 8482: 8476: 8473: 8471: 8468: 8466: 8463: 8461: 8458: 8456: 8453: 8451: 8448: 8446: 8443: 8441: 8438: 8436: 8433: 8431: 8428: 8426: 8423: 8421: 8418: 8416: 8413: 8411: 8408: 8406: 8403: 8401: 8398: 8396: 8395:Bleach bypass 8393: 8392: 8390: 8388: 8382: 8374: 8371: 8369: 8366: 8364: 8363:primary color 8361: 8359: 8356: 8355: 8354: 8351: 8349: 8348:Reversal film 8346: 8342: 8339: 8338: 8337: 8334: 8333: 8331: 8329: 8325: 8319: 8316: 8314: 8313:Image sharing 8311: 8307: 8304: 8302: 8299: 8297: 8294: 8292: 8289: 8288: 8287: 8284: 8282: 8279: 8277: 8274: 8272: 8269: 8265: 8262: 8260: 8257: 8253: 8250: 8249: 8248: 8245: 8244: 8243: 8240: 8239: 8237: 8235: 8231: 8225: 8222: 8220: 8217: 8215: 8214:United States 8212: 8210: 8207: 8205: 8202: 8200: 8197: 8195: 8192: 8190: 8187: 8185: 8182: 8180: 8177: 8175: 8172: 8170: 8167: 8165: 8162: 8160: 8157: 8155: 8152: 8150: 8147: 8145: 8142: 8140: 8137: 8135: 8132: 8130: 8127: 8125: 8122: 8121: 8119: 8115: 8109: 8106: 8104: 8101: 8099: 8096: 8094: 8091: 8089: 8086: 8084: 8081: 8079: 8076: 8074: 8073:Daguerreotype 8071: 8069: 8066: 8064: 8061: 8059: 8056: 8054: 8051: 8049: 8046: 8044: 8041: 8039: 8036: 8035: 8033: 8031: 8027: 8021: 8018: 8016: 8013: 8011: 8008: 8006: 8003: 8001: 7998: 7996: 7993: 7991: 7988: 7987: 7985: 7983: 7979: 7973: 7970: 7968: 7965: 7963: 7960: 7958: 7955: 7953: 7950: 7946: 7943: 7942: 7941: 7938: 7936: 7933: 7929: 7926: 7925: 7924: 7921: 7919: 7918:Stopping down 7916: 7914: 7911: 7909: 7906: 7904: 7901: 7899: 7896: 7894: 7891: 7889: 7886: 7884: 7883:Rephotography 7881: 7879: 7876: 7874: 7871: 7869: 7866: 7864: 7861: 7859: 7856: 7854: 7851: 7849: 7846: 7844: 7841: 7839: 7836: 7834: 7831: 7829: 7826: 7824: 7821: 7819: 7818:Long-exposure 7816: 7814: 7811: 7809: 7806: 7804: 7801: 7799: 7796: 7794: 7791: 7789: 7786: 7784: 7781: 7779: 7776: 7774: 7771: 7769: 7766: 7764: 7761: 7759: 7756: 7754: 7751: 7749: 7746: 7744: 7741: 7739: 7736: 7734: 7731: 7730: 7728: 7724: 7718: 7715: 7713: 7710: 7708: 7705: 7703: 7700: 7698: 7695: 7693: 7690: 7688: 7685: 7683: 7680: 7678: 7675: 7673: 7670: 7668: 7665: 7661: 7658: 7657: 7656: 7653: 7651: 7648: 7646: 7643: 7641: 7638: 7636: 7633: 7631: 7628: 7626: 7623: 7621: 7618: 7616: 7613: 7611: 7608: 7606: 7603: 7601: 7598: 7596: 7593: 7591: 7588: 7586: 7583: 7581: 7578: 7576: 7573: 7571: 7568: 7566: 7563: 7561: 7558: 7556: 7553: 7551: 7548: 7546: 7543: 7541: 7538: 7536: 7533: 7531: 7528: 7526: 7523: 7521: 7518: 7516: 7515:Architectural 7513: 7511: 7508: 7506: 7503: 7501: 7498: 7497: 7495: 7491: 7485: 7482: 7480: 7477: 7475: 7474:Shutter speed 7472: 7470: 7467: 7465: 7462: 7460: 7457: 7455: 7452: 7448: 7445: 7444: 7443: 7440: 7438: 7435: 7433: 7430: 7428: 7427:Metering mode 7425: 7423: 7420: 7418: 7415: 7413: 7410: 7408: 7405: 7403: 7400: 7396: 7393: 7391: 7388: 7387: 7386: 7383: 7381: 7378: 7376: 7373: 7371: 7368: 7366: 7363: 7361: 7358: 7356: 7353: 7351: 7348: 7346: 7343: 7341: 7340:Color balance 7338: 7336: 7333: 7331: 7328: 7326: 7323: 7321: 7318: 7316: 7313: 7311: 7308: 7306: 7305:Angle of view 7303: 7301: 7298: 7297: 7295: 7291: 7285: 7282: 7278: 7275: 7274: 7273: 7270: 7268: 7265: 7263: 7260: 7258: 7255: 7253: 7252:Manufacturers 7250: 7246: 7243: 7241: 7238: 7236: 7233: 7231: 7228: 7226: 7223: 7221: 7218: 7216: 7213: 7212: 7211: 7208: 7204: 7201: 7199: 7196: 7194: 7191: 7189: 7186: 7184: 7181: 7179: 7176: 7174: 7171: 7169: 7166: 7164: 7161: 7160: 7159: 7156: 7154: 7151: 7147: 7144: 7142: 7139: 7137: 7134: 7132: 7129: 7127: 7124: 7122: 7119: 7118: 7117: 7114: 7110: 7107: 7105: 7102: 7101: 7100: 7097: 7093: 7090: 7088: 7085: 7083: 7080: 7078: 7075: 7073: 7070: 7068: 7065: 7063: 7060: 7058: 7055: 7053: 7050: 7048: 7045: 7043: 7040: 7038: 7035: 7033: 7030: 7029: 7028: 7025: 7024: 7022: 7018: 7014: 7007: 7002: 7000: 6995: 6993: 6988: 6987: 6984: 6972: 6964: 6962: 6954: 6953: 6950: 6944: 6941: 6939: 6936: 6934: 6931: 6930: 6928: 6926: 6922: 6912: 6909: 6907: 6904: 6902: 6899: 6897: 6894: 6892: 6889: 6887: 6884: 6882: 6879: 6877: 6874: 6872: 6869: 6867: 6864: 6862: 6859: 6857: 6854: 6852: 6849: 6847: 6844: 6843: 6841: 6839: 6835: 6829: 6826: 6824: 6821: 6819: 6816: 6812: 6809: 6808: 6807: 6804: 6802: 6799: 6797: 6794: 6792: 6789: 6787: 6784: 6782: 6779: 6777: 6774: 6772: 6769: 6768: 6766: 6764: 6760: 6757: 6753: 6747: 6744: 6742: 6739: 6736: 6733: 6731: 6728: 6726: 6723: 6721: 6718: 6716: 6713: 6712: 6710: 6708:organizations 6704: 6694: 6691: 6689: 6686: 6682: 6679: 6677: 6674: 6672: 6669: 6667: 6664: 6662: 6659: 6658: 6657: 6654: 6650: 6649:Pastel colors 6647: 6646: 6645: 6642: 6638: 6635: 6634: 6633: 6630: 6629: 6627: 6623: 6615: 6612: 6610: 6607: 6605: 6602: 6600: 6597: 6596: 6594: 6590: 6587: 6586: 6585: 6582: 6581: 6579: 6577: 6573: 6567: 6564: 6562: 6559: 6557: 6554: 6552: 6549: 6547: 6544: 6542: 6539: 6537: 6534: 6532: 6529: 6527: 6524: 6522: 6519: 6517: 6514: 6513: 6511: 6509: 6505: 6502: 6500: 6496: 6485: 6484: 6480: 6477: 6476: 6472: 6470: 6467: 6464: 6461: 6459: 6456: 6454: 6451: 6449: 6446: 6444: 6441: 6437: 6434: 6432: 6431:Primary color 6429: 6428: 6427: 6424: 6423: 6421: 6419: 6415: 6409: 6406: 6404: 6401: 6399: 6398:Light-on-dark 6396: 6392: 6389: 6387: 6384: 6382: 6379: 6377: 6374: 6370: 6367: 6366: 6365: 6362: 6361: 6360: 6357: 6356: 6354: 6352: 6348: 6345: 6343: 6337: 6332: 6318: 6317:Color mapping 6315: 6313: 6310: 6304: 6301: 6300: 6299: 6296: 6292: 6289: 6288: 6287: 6284: 6283: 6282: 6279: 6275: 6272: 6270: 6267: 6266: 6265: 6262: 6260: 6257: 6255: 6252: 6248: 6245: 6243: 6242:Color balance 6240: 6239: 6238: 6235: 6234: 6232: 6230: 6226: 6220: 6219:Chromotherapy 6217: 6215: 6212: 6210: 6207: 6205: 6202: 6200: 6197: 6195: 6192: 6190: 6187: 6185: 6182: 6181: 6179: 6177: 6173: 6167: 6166: 6162: 6160: 6159:Tetrachromacy 6157: 6153: 6150: 6148: 6145: 6144: 6143: 6140: 6138: 6135: 6133: 6130: 6128: 6125: 6123: 6120: 6118: 6115: 6111: 6108: 6107: 6106: 6103: 6101: 6098: 6096: 6093: 6089: 6086: 6084: 6083:Achromatopsia 6081: 6080: 6079: 6076: 6072: 6069: 6068: 6067: 6066:Chromesthesia 6064: 6063: 6061: 6059: 6055: 6049: 6046: 6044: 6041: 6037: 6034: 6033: 6032: 6029: 6025: 6022: 6020: 6017: 6016: 6015: 6012: 6010: 6007: 6003: 6000: 5998: 5995: 5993: 5990: 5989: 5988: 5985: 5984: 5982: 5980:Color physics 5978: 5975: 5973: 5972:Color science 5969: 5964: 5957: 5952: 5950: 5945: 5943: 5938: 5937: 5934: 5924: 5919: 5915: 5911: 5907: 5903: 5899: 5892: 5885: 5880: 5879: 5871: 5863: 5857: 5853: 5852: 5844: 5837: 5826: 5822: 5816: 5808: 5806:0-8230-0697-2 5802: 5798: 5797: 5796:Color Choices 5789: 5781: 5775: 5771: 5770: 5762: 5755: 5751: 5747: 5741: 5733: 5731:9780789209696 5727: 5723: 5716: 5708: 5707: 5699: 5691: 5690: 5682: 5674: 5673: 5665: 5646: 5639: 5632: 5630: 5628: 5626: 5624: 5615: 5609: 5605: 5598: 5590: 5586: 5579: 5571: 5564: 5562: 5560: 5551: 5547: 5540: 5531: 5527: 5526: 5518: 5511: 5507: 5506: 5498: 5491: 5486: 5485: 5477: 5469: 5468: 5459: 5451: 5447: 5440: 5433: 5428: 5427: 5418: 5411: 5406: 5405: 5397: 5389: 5387:0-444-51251-9 5383: 5378: 5373: 5369: 5362: 5360: 5351: 5350: 5342: 5335: 5330: 5324: 5320: 5319: 5311: 5304: 5299: 5295: 5288: 5280: 5276: 5269: 5262: 5250: 5246: 5239: 5232: 5228: 5227: 5219: 5212: 5200: 5196: 5189: 5181: 5175: 5171: 5164: 5150:on 2017-12-11 5149: 5145: 5141: 5134: 5126: 5122: 5118: 5112: 5108: 5104: 5100: 5093: 5091: 5089: 5087: 5085: 5083: 5081: 5079: 5070: 5064: 5060: 5059: 5051: 5044: 5029: 5025: 5018: 5012: 5005: 5000: 4994: 4990: 4989: 4981: 4973: 4969: 4965: 4961: 4957: 4953: 4949: 4945: 4938: 4930: 4928:9781400863815 4924: 4920: 4913: 4905: 4898: 4890: 4884: 4880: 4879: 4871: 4863: 4861:9781119967033 4857: 4853: 4846: 4831: 4827: 4823: 4819: 4815: 4809: 4801: 4794: 4785: 4780: 4776: 4772: 4768: 4761: 4753: 4747: 4743: 4736: 4734: 4732: 4730: 4728: 4726: 4717: 4713: 4707: 4699: 4695: 4689: 4681: 4679:9783901906466 4675: 4671: 4665: 4657: 4653: 4647: 4639: 4635: 4629: 4621: 4617: 4613: 4609: 4605: 4601: 4593: 4585: 4581: 4577: 4573: 4569: 4565: 4557: 4542: 4538: 4532: 4517: 4516:handprint.com 4513: 4506: 4498: 4494: 4487: 4479: 4473: 4469: 4468: 4460: 4453: 4448: 4444: 4440: 4434: 4430: 4426: 4422: 4415: 4407: 4403: 4399: 4395: 4391: 4384: 4377: 4373: 4369: 4364: 4359: 4355: 4351: 4347: 4340: 4332: 4326: 4322: 4321: 4313: 4298: 4294: 4287: 4272: 4268: 4261: 4253: 4247: 4243: 4236: 4228: 4222: 4219:. Routledge. 4218: 4211: 4204: 4199: 4198: 4190: 4183: 4178: 4177: 4169: 4162: 4157: 4153: 4149: 4145: 4141: 4137: 4130: 4123: 4115: 4111: 4109:0-442-27028-3 4105: 4098: 4097: 4089: 4082: 4077: 4076: 4068: 4066: 4057: 4051: 4047: 4046: 4038: 4036: 4034: 4026: 4020: 4013: 4008: 4007: 3999: 3992: 3979: 3978: 3970: 3968: 3960: 3947: 3946: 3938: 3931: 3926: 3922: 3918: 3911: 3909: 3907: 3899: 3887: 3885:9783319143460 3881: 3877: 3873: 3866: 3865: 3857: 3842: 3840:9781457192449 3836: 3832: 3831: 3823: 3815: 3811: 3807: 3803: 3799: 3795: 3788: 3780: 3776: 3772: 3768: 3764: 3760: 3753: 3737: 3736: 3728: 3713: 3709: 3705: 3699: 3695: 3691: 3687: 3683: 3676: 3667: 3660: 3655: 3649: 3645: 3638: 3636: 3627: 3625:9783540693772 3621: 3617: 3610: 3595: 3591: 3585: 3577: 3576: 3568: 3561: 3549: 3545: 3538: 3531: 3526: 3520: 3516: 3509: 3501: 3495: 3487: 3485:9781119223634 3481: 3477: 3470: 3461: 3456: 3452: 3448: 3444: 3440: 3436: 3429: 3422: 3410: 3406: 3403:Levoy, Marc. 3399: 3391: 3385: 3381: 3380: 3372: 3364: 3358: 3354: 3347: 3340: 3324: 3320: 3313: 3306: 3299: 3287: 3281: 3277: 3276: 3268: 3261: 3256: 3252: 3248: 3244: 3237: 3230: 3227: 3220: 3218:9780470175637 3214: 3210: 3206: 3202: 3195: 3187: 3181: 3173: 3171:9781119367192 3167: 3163: 3156: 3141: 3135: 3131: 3130: 3122: 3107: 3101: 3097: 3096: 3088: 3086: 3084: 3082: 3073: 3069: 3064: 3059: 3055: 3051: 3047: 3040: 3032: 3028: 3023: 3018: 3014: 3010: 3006: 2999: 2991: 2985: 2981: 2977: 2973: 2966: 2958: 2954: 2949: 2944: 2940: 2936: 2932: 2925: 2918: 2913: 2907: 2903: 2896: 2890: 2886: 2881: 2875: 2874:HowStuffWorks 2871: 2866: 2859: 2855: 2851: 2848: 2842: 2840: 2835: 2825: 2822: 2820: 2817: 2815: 2812: 2811: 2805: 2802: 2800: 2796: 2792: 2783: 2781: 2775: 2769: 2759: 2757: 2753: 2749: 2745: 2744:Prussian blue 2741: 2737: 2733: 2729: 2725: 2720: 2716: 2708: 2704: 2697: 2693: 2684: 2682: 2678: 2674: 2669: 2665: 2661: 2657: 2653: 2650: 2646: 2636: 2633: 2631: 2628: 2625: 2624: 2620: 2617: 2615: 2612: 2609: 2608: 2604: 2601: 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