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Reaper1945 (talk | contribs) Newton's work on color theory. Tags: Visual edit Mobile edit Mobile web edit |
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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, called "key," to make the [[CMYK]] system; in both printing and photography, white is provided by the color of the paper.) These CMY primary colors were reconciled with the RGB primaries, and subtractive color mixing with additive color mixing, by defining the CMY primaries as substances that ''absorbed'' only one of the retinal primary colors: cyan absorbs only red (−R+G+B), magenta only green (+R−G+B), and yellow only blue-violet (+R+G−B). It is important to add that the CMYK, or process, color printing is meant as an economical way of producing a wide range of colors for printing, but is deficient in reproducing certain colors, notably orange and slightly deficient in reproducing purples. A wider range of colors can be obtained with the addition of other colors to the printing process, such as in [[Pantone]]'s [[Hexachrome]] printing ink system (six colors), among others.
[[File:Munsell-system.svg|thumb|right|[[Munsell color system|Munsell]]'s 1905 color system represents colors using three color-making attributes, ''value'' (lightness), ''chroma'' (saturation), and ''hue''.]]
For much of the 19th century artistic color theory either lagged behind scientific understanding or was augmented by science books written for the lay public, in particular ''Modern Chromatics'' (1879) by the American physicist [[Ogden Rood]], and early color atlases developed by [[Albert Munsell]] (''Munsell Book of Color'', 1915, see [[Munsell color system]]) and [[Wilhelm Ostwald]] (Color Atlas, 1919). Major advances were made in the early 20th century by artists teaching or associated with the German [[Bauhaus]], in particular [[Wassily Kandinsky]], [[Johannes Itten]], [[Faber Birren]] and [[Josef Albers]], whose writings mix speculation with an empirical or demonstration-based study of color design principles.
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