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Subsequently, German and English scientists established in the late 19th century that color perception is best described in terms of a different set of primary colors—red, green and blue-violet ([[RGB color model|RGB]])—modeled through the additive mixture of three monochromatic lights. Subsequent research anchored these primary colors in the differing responses to light by three types of [[Cone cell|color receptors]] or ''cones'' in the [[retina]] ([[trichromacy]]). On this basis the quantitative description of the color mixture or colorimetry developed in the early 20th century, along with a series of increasingly sophisticated models of [[color space]] and color perception, such as the [[opponent process]] theory.
Across the same period, industrial chemistry radically expanded the color range of lightfast synthetic pigments, allowing for substantially improved saturation in color mixtures of dyes, paints, and inks. It also created the dyes and chemical processes necessary for color photography. As a result, three-color printing became aesthetically and economically feasible in mass printed media, and the artists' color theory was adapted to primary colors most effective in inks or photographic dyes: cyan, magenta, and yellow (CMY). (In printing, dark colors are supplemented by black ink,
[[File:Munsell-system.svg|thumb|right|[[Munsell color system|Munsell]]'s 1905 color system represents colors using three color-making attributes, ''value'' (lightness), ''chroma'', and ''hue''.]]
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