4 Ways to Make Gray - wikiHow Using Color Theory 1 Mix black and white. Combining black and white will result in a color known as "neutral gray." [1] Neutral gray is the purest type of gray you can create because it has no other tint or hue. Equal parts of black and white should create a mid-tone gray. Vary the shade by adding more of either color. More black creates a darker gray, and more white creates a lighter gray. 2 Combine equal parts of complementary colors. Mixing two complementary colors will result in a color classified as "complementary gray." The basic color complements are: Red and green Making Gray Paint 1 Choose which type of gray to create. Neutral gray, complementary gray, and primary gray are easy to create with paint, but the best option depends on the paint colors you have and the desired application. Neutral gray can be a great way to tone done other colors without altering the actual hue. Overall, it works best when you know you'll need gray in its purest form. Complementary gray works best if you want to give cool or warm tints to the hue of the gray. Primary gray works well when you need to create shadows or pair the gray next to a brighter color.

Since primary gray contains all three primary colors, it can make nearby secondary colors look brighter. 2 Combine equal amounts of the appropriate colors. Pour equal amounts of the involved colors into a paint dish or onto a paint palette. Mix thoroughly using a painter's stick until the colors are equally blended. To review, your color options are: Black and white Making Gray Frosting 1 Pick the type of gray. Neutral gray is the easiest to create when working with icing, but you can still make complementary and primary grays. It's best to stick with neutral gray if you want a pure hue, but you can consider the other two types if you'd prefer a tinted gray. Since readily available packages of liquid food color come with red, yellow, green, and blue, you'll need to create primary (red, yellow, blue) gray or complementary (red and green) gray if you plan to use standard liquid food coloring. If you buy specialty gel or paste food coloring, however, you can create any of the three types since these food colorings have a wider variety of color options. 2 Drop the involved colors into white icing. Spoon the needed amount of white frosting into a glass bowl. Gradually add the involved colors and mix until fully combined.

As a reminder, the color options are: Black and white (note: you do not need to add white food coloring since the icing itself is white) [3] Blue and orange Making Gray Polymer Clay 1 Choose the gray you wish to create. You can make neutral, complementary, or primary gray using polymer clay. Choose whichever option appeals most to you. If you want to create a pure gray without any tint, it's best to create a neutral gray. If you do want to tint the gray, though, primary or complementary grays can simplify the process and reduce your overall number of supplies. 2 Pinch off equal parts of the involved colors. Grab equal amounts of each involved color. Knead the colors separately, then knead them together. Your color options are: Yellow and purple Red, yellow, and green To knead the colors together, simply stick the separate colors together and roll the mashed ball in between your hands, flattening and re-rolling as needed. Continue until no marbling remains. The colors should be evenly mixed into a solid gray. 3 Lighten the color, if desired. If you want to lighten the color without changing its value, knead a pinch of translucent clay into the ball of gray.

[6] Translucent clay has no color, so it won't change the shade or hue of the gray. Instead, it will simply make the gray seem duller and less vibrant. When choosing how much translucent clay to use, the total amount should not exceed one-third the total amount of your gray clay. 4 Lighten the shade, if desired. When you want to lighten the actual shade of the gray, knead a small amount of white into the existing ball. You can add white regardless of the colors used to create the original gray. While you could technically darken the color by adding black, it can be difficult to mix black clay into other colors without ruining them. Darkening neutral gray in this manner is much easier, though, since it already contains a black component. 5 Consider tinting the clay. Once you're satisfied with the saturation of color and shade, determine whether or not you want to add a tint. Tint the clay by mixing in small amounts of one color. You should be able to use nearly any color when tinting neutral gray, but you'll need to stick with one of the original colors when tinting complementary or primary grays. Community Q&A What pencil colors will make gray?

wikiHow Contributor Your pencil as in normal pencil that doesn't have any color. Or you can do add a light texture of black and add white. Test this on a piece of paper so you know what color/shade you like. Color Addition Color Addition Light Waves and Color - Lesson 2 - Color and Vision Color Addition Blue Skies and Red Sunsets Color perception, like sound perception , is a complex subject involving the disciplines of psychology, physiology, biology, chemistry and physics. When you look at an object and perceive a distinct color, you are not necessarily seeing a single frequency of light. Consider for instance that you are looking at a shirt and it appears purple to your eye. In such an instance, there may be several frequencies of light striking your eye with varying degrees of intensity. Yet your eye-brain system interprets the frequencies that strike your eye and the shirt is decoded by your brain as being purple. Primary Colors of Light The subject of color perception can be simplified if we think in terms of primary colors of light. We have already learned that white is not a color at all , but rather the presence of all the frequencies of visible light.

When we speak of white light, we are referring to ROYGBIV - the presence of the entire spectrum of visible light. But combining the range of frequencies in the visible light spectrum is not the only means of producing white light. White light can also be produced by combining only three distinct frequencies of light, provided that they are widely separated on the visible light spectrum. Any three colors (or frequencies) of light that produce white light when combined with the correct intensity are called primary colors of light. There are a variety of sets of primary colors. The most common set of primary colors is red (R), green (G) and blue (B). When red, green and blue light are mixed or added together with the proper intensity, white (W) light is obtained. This is often represented by the equation below: R + G + B = W In fact, the mixing together (or addition) of two or three of these three primary colors of light with varying degrees of intensity can produce a wide range of other colors. For this reason, many television sets and computer monitors produce the range of colors on the monitor by the use of red, green and blue light-emitting phosphors. The addition of the primary colors of light can be demonstrated using a light box.

The light box illuminates a screen with the three primary colors - red (R), green (G) and blue (B). The lights are often the shape of circles. The result of adding two primary colors of light is easily seen by viewing the overlap of the two or more circles of primary light. The different combinations of colors produced by red, green and blue are shown in the graphic below. (CAUTION: Because of the way that different monitors and different web browsers render the colors on the computer monitor, there may be slight variations from the intended colors.) Color Addition Rules These demonstrations with the color box illustrate that red light and green light add together to produce yellow (Y) light. Red light and blue light add together to produce magenta (M) light. Green light and blue light add together to produce cyan (C) light. And finally, red light and green light and blue light add together to produce white light. This is sometimes demonstrated by the following color equations and graphic: R + G = Y Green and Magenta Blue and Yellow The production of various colors of light by the mixing of the three primary colors of light is known as color addition.

The color addition principles discussed on this page can be used to make predictions of the colors that would result when different colored lights are mixed. In the next part of Lesson 2 , we will learn how to use the principles of color addition to determine why different objects look specific colors when illuminated with various colors of light. We Would Like to Suggest ... Sometimes it isn't enough to just read about it. You have to interact with it! And that's exactly what you do when you use one of The Physics Classroom's Interactives. We would like to suggest that you combine the reading of this page with the use of our RGB Color Addition Interactive . The Interactive is found in the Physics Interactives section of our website and allows a learner to adjust the intensity of red, green, and blue spotlights shining upon a white surface and to observe the appearance. Explore the result of mixing R, G, and B lights in equal and unequal intensities. Additive and Subtractive Color Mixing We cannot live only for ourselves. A thousand fibers connect us with our fellow men. - Herman Melville Home > Additive and Subtractive Color Mixing Additive and Subtractive Color Mixing The world is full of colors.

Some researchers report that humans can distinguish about 16 million different colors. But what's more interesting is that most of the colors we see around us and all the colors we see on a TV or computer monitor can be created from just three different colored lights. How are all the colors made from just three different colors? Simply by combining the light in different ratios. That's it. Adjusting the brightness of three colors in different ways creates all the colors you see in this graphic: An example of the range of colors commonly created on a computer. Additive Colors Colored lights are mixed using additive color properties. Light colors are combining two or more additive colors together which creates a lighter color that is closer to white. Examples of additive color sources include computers and televisions. See how the light colors combine to create other colors. The additive primary colors are red, green and blue (RGB). Combining one of these additive primary colors with equal amounts of another one results in the additive secondary colors of cyan, magenta and yellow. Combining all three additive primary colors in equal amounts will produce the color white. Remember combing additive colors creates lighter colors, so adding all three primary colors results in a color so "light" it's actually seen as white.

Although that may seem strange, if you think of the absence of all light equaling black, it begins to make sense that adding different colors creates white. Additive Colors When White Isn't White Look closely at a white spot on your computer monitor using a strong magnifying glass or eye loop. You should be able to see that the white dot isn't really white, but rather is a combination of red, green and blue dots all located very, very close to one another. Computer Monitors and Televisions Computer monitors and televisions are an application of additive color. These devices use a mosaic of red, green and blue dots. Our eyes do not distinguish the dots. Rather, the dots stimulate the color receptors of our retina (called cones ) by adding or blending the light together creating a composite color. Animated RGB Color Cube See how the light source colors combine to create other colors. Here is an animated RGB color cube. Notice how the colors get lighter as they move toward the closest corner. Another Way to Make Colors Combining lights in different ratios creates additive colors and works great for TVs and computers, but how do you make a color photograph when your only source of light is the white light above your head?

In this case, you'll use something called subtractive or pigment colors. The distinction between additive and subtractive colors is based on whether the image is derived from a light source, like a TV that uses glowing phosphorus, or reflected natural light, as from a book, photograph, wall or any other object. Subtractive Color Mixing Before TVs and computer monitors, printers and publishers wondered if they could print color pictures using just three colors of ink. Yes, it is possible, but you have to work in reverse of the process of mixing light colors! We see light colors by the process of emission from the source. We see pigment colors by the process of reflection (light reflected off an object). The colors which are not reflected are absorbed (subtracted). The subtractive primary colors are cyan, magenta and yellow (CMY). These are the three colors used in printer ink cartridges. See how the subtractive colors combine to create other colors When the source of color is pigment or dye, the result of combining colors is different from when the source of color is light. Subtractive color mixing occurs when light is reflected off a surface or is filtered through a translucent object.

For example, a red pigment or filter only appears red because it absorbs (subtracts) all of the light that is not red and only reflects or allows the red light. A green pigment only reflects green light and a green filter only passes green light. See how the subtractive colors combine to create black We know we can make any color from red, green and blue lights, but what happens if we try to paint with a mix of red, green and blue pigments? It doesn't work. Perhaps the easiest way to think about it is to realize that the red pigment absorbs green and blue, the blue pigment absorbs red and green, and the green pigment absorbs red and blue. In theory, the result should be completely black, but it is a bit more mud colored in reality. However, this problem is easily corrected if we switch our thinking to consider the colors we want absorbed. Let's say, for example, we want to absorb the color blue. From the additive color chart above (Additive Colors Combined in Equal Parts), we know we get a yellow light when we combine the two non-blue light primaries, green and red. Therefore, wherever we paint yellow on the paper, we absorb (subtract) blue.

Combining the other primary light colors results in the following table showing the subtractive primaries: Subtractive Colors Blue Yellow So, when working with color pigments, you'll end up using Cyan, Magenta and Yellow as the primary colors. But how do we print something that's red? Animated Color Cube In order to print something that is red, we need to absorb both blue and green. (Remember, we're working in reverse.) To absorb the blue, we'll print yellow. To absorb green, we'll print magenta. So, by combinging both yellow and magenta pigments, we're left with red! Animated Color Cube If we wanted to print the color yellow, we would need to combine the red and green pigments. This yellow pigment reflects both red and green, and absorbs blue. Likewise, combining green and blue creates cyan, and absorbs red. Combining red and blue creates magenta, and absorbs green. If we wanted to print a blueish green, we again would need to work in reverse. A blueish green color has no red and just a little green.

Therefore, we would need to print a strong pattern of cyan to absorb all of the red, and a lesser amount of magenta to absorb some, but not all of the green. Combining pigment colors creates darker colors. If we mix yellow, cyan and magenta pigments we get the following results. Blackness of Black As you can see, by working with subtractive pigments, combining all three yields black. In practice, however, the combination of all three does not yield nearly as true of a black color as printing with black directly, so most color printing is done with four ink colors, cyan, magenta, yellow and black, or CMYK for short. A "K" is used instead of a "B" to avoid confusion with blue. In the case of ink jet printers, it's also much cheaper to print with black ink. Animated Color Cube Subtractive Color Filters The same process of subtractive color mixing applies to mixing color filters. Instead of various colors being absorbed into the paint, the colors are absorbed into the filter. Combining the Two The following graphic of the color cube shows how the two color systems are related.

Additive and Subtractive color spaces in a cube As you can see, the subtractive primary colors (cyan, magenta and yellow) connect at the top with white, the point where you don't add any pigment. Each of the single pigment legs branch out from white. The light color branches are emanating from the black point at the opposite corner of the cube from white. They end in the additive primary colors (red, green and blue). Home > Additive and Subtractive Color Mixing Home Light Speed of Light Additive and Subtractive Colors CIE 1931 Color Space Colorimetry Color Space Color Temperature Spinning Color Top Glossary of Color Terms History of Color Science Metamerism Motion After Image Munsell Color System TriStimulus Refraction Double Slit Polarization Human Eyesight The Retina Color Optical Illusions More Test your Skill Test your skill with a computer mouse by clicking as many boxes as you can in 15 seconds. 4 Ways to Make Orange - wikiHow Using Color Theory 1 Mix red and yellow. [1] Orange is a secondary color, which means that you can make it by combining two primary colors. The two primary colors needed for orange are red and yellow.

"Primary" colors exist naturally and cannot be created by combining other colors. Red, yellow, and blue are the three primary colors, but you'll only need red and yellow to create orange. "Secondary" colors are made by combining two primary colors. Since you need to combine red and yellow to make orange, orange is considered a secondary color. The other two secondary colors are violet and green. 2 Change the hue by altering proportions. Combining equal parts of pure yellow and pure red will create pure orange, but if you'd like a slightly different hue, you can add either more yellow or more red to change it. Yellow-orange and red-orange are the two simplest variations. These colors are also known as "tertiary" colors. Tertiary colors fall evenly between secondary and primary colors on the color wheel. Yellow-orange consists of two parts yellow and one part red, or one part orange and one part yellow. Red-orange consists of two parts red and one part yellow, or one part orange and one part red. 3 Add black or white to change the value. You can lighten or darken orange without changing the hue by adding white or black, respectively. The amount of white or black you add will determine how much lighter or darker the orange hue becomes.

Note that lighter values are typically referred to as "tints," while darker values are commonly referred to as "shades." Method Making Orange Paint 1 Blend red and yellow paint together. Pour small but equal amounts of red and yellow craft paint onto a paint palette, then use a palette knife to completely blend the two together. This should result in orange paint. For this step, try to choose a vibrant red and a vibrant yellow without any obvious cool or warm undertones. In other words, stay away from hues previously altered by other colors. If you don't have a paint palette, you can use a small plastic paint dish or other bowl dedicated for use with arts and crafts. After mixing the paints, use a paint brush to apply a small streak of the orange color to scrap paper. This should give you a more accurate idea of how the orange looks. 2 Try altering the proportions of either color. Now that you know how to create a basic orange paint, practice creating other orange hues by either mixing in more yellow or more red. Adding more red will create a richer hue, similar to what you might need when paining a sunset. Adding more yellow will create a brighter hue, like the color you might need when paining an apricot.

It's best to gradually blend in small additions instead of adding a lot at once. Adding too much will mean that you'll need to add more of the opposite color to even things out, which can create significant amounts of waste. 3 Use different hues of red and yellow. [2] Starting with different yellows and red will produce different hues of orange. Choose a few different variations and mix them together in a clean part of your palette. Combine equal parts of one red and one yellow for each sample. Work through each possible combination in the same manner, and test the results on scrap paper. Experimentation is the best way to determine which starting colors will produce which hues of orange, but there are some guidelines to keep in mind. Golden yellows and warm reds will usually produce more vibrant oranges. On the other hand, using violet-tinted reds or green-tinted yellows will create duller oranges. 4 Experiment by mixing orange hues. If you have two hues of orange that bookend the hue you need, try mixing both of these oranges together. Doing so should bring you closer to the desired hue. Start by mixing equal portions of each orange. You can add more of either paint later if you need to.

Note that you can also add red or yellow paint to an orange paint to change the hue. These changes will usually be more pronounced than those created by combining multiple oranges, however. 5 Mix in a little black or white to change the value. If you like the hue you have but wish to lighten it, add white paint. If you wish to darken the hue instead, add black paint. Also note that black paint tend to make orange look brown and white paint can make orange look peach. Add the white or black paint gradually, working in small amounts, to avoid creating values that are much too light or much too dark. Method Making Orange Frosting 1 Set up a few samples. Prepare at least four custard dishes or small bowls. Spoon about 1/4 cup (60 ml) of prepared white frosting into each dish. There are multiple ways to create orange frosting, but each one requires a base of white frosting. You'll need at least four samples of white frosting, but setting up six to twelve will allow you to experiment with more options. You should obtain at least four different food dyes: one orange, one red, one yellow, and one black. Consider getting additional hues of red and yellow for additional experiments.

Ideally, you should use paste, powder, or gel food dyes that are designed for use with frosting. Avoid liquid food dyes since these tend to have a negative effect on frosting consistency. [3] 2 Mix orange food coloring into one sample. Dunk a clean toothpick into the container of orange food coloring. Transfer the coloring by dunking the newly-coated end into one sample dish of frosting. Stir until the food color is evenly distributed, leaving behind no visible streaks of color. Since you're mixing the food coloring with white icing, the final result won't be as dark as the hue of the dye. You'll always end up with a lighter shade, regardless of how much orange dye you use. Note, however, that adding very small amounts will create a very light orange while adding greater amounts will produce a stronger, brighter value. 3 Combine red and yellow food coloring in another sample. Dunk separate, clean toothpicks into one container of red food coloring and one container of yellow food coloring. Mix both dyes into another sample of white frosting, continuing until no streaks remain. The combination should result in an orange frosting.

This second sample may not look exactly the same as your first, of course, since the red and yellow you use may result in a slightly different hue. 4 Create a darker shade of orange. Create another sample of orange frosting using the orange food dye or the combined red and yellow dyes. Mix a very small dot of black food coloring into the sample, as well. The black should darken the shade of the orange without changing the hue. Only use small amounts of black food coloring at a time, though, since even small amounts can have a dramatic impact on the color of the frosting. 5 Try other combinations as desired. If you prepared any additional samples of white icing, you can use them to experiment with different combinations or food colorings. Take notes so you'll be able to duplicate the same orange hues and values later. Most food coloring manufacturers have recommendations for you to follow, but you can easily experiment on your own. Several ideas include: Making Orange Polymer Clay 1 Obtain several hues of clay. Ideally, you should have at least two red clays, two yellow clays, one white clay, one translucent clay, and one black clay.

Try to include both one warm red clay (with a hint of orange) and one cool red clay (with a hint of violet). Likewise, grab one warm yellow clay (with a hint of orange) and one cool yellow clay (with a hint of green). Note that you can use more than two hues each of red and yellow, if desired, but using at least two should still allow you to observe the principle and understand how it works. 2 Mix together one red clay with one yellow clay. Using your fingers, pinch off equal portions of warm red and warm yellow. Press the two pieces together and knead them between your fingers until evenly blended. [7] When finished, you should see a solid orange color without streaks. This combination of red and yellow should produce a fairly vibrant orange since both starting clays leaned toward the orange portion of the color wheel. 3 Work through the other red and yellow combinations. Make three more samples by combining equal parts of one red and one yellow clay. Follow the same procedure used to make the first orange sample. Warm red and cool yellow should create a medium-tone apricot color. Cool red and warm yellow should create a medium-tone melon color.

Cool red and cool yellow should create a dull orange with hints of brown in it. 4 Lighten the orange. Pick your favorite created hue of orange and duplicate the color twice more. You can lighten orange clay in two ways, and using two samples of the same hue will make it easier to compare results. Add a small pinch of white clay to one orange sample, blending until no streaks remain. The color should have a lighter tint while also looking less bright. Add a small pinch of translucent clay to the other orange sample, blending until no streaks remain. The color should look less bright but should not change value or tint. Note that adding too much translucent clay will create a semi-transparent wash instead of an opaque orange. 5 Darken the orange. Create another sample of your favorite orange clay color. Pinch off a small piece of black clay and mix it into the sample, blending until no streaks remain. The resulting orange will have the same hue, but the black should give it a darker shade. As a result, the orange may look slightly brown. Black clay can have a dramatic effect on other clay colors, including orange, so you should work in very small amounts to avoid darkening the shade too much.

Community Q&A Color Theory Color Theory A primary color is a color that cannot be made from a combination of any other colors. A secondary color is a color created from a combination of two primary colors. Tertiary color is a combination of three colors (primary or secondary). Printers and artists have different definitions for primary colors. The traditionional primary colors that painters have used are red, yellow, and blue. Modern printing press secondary colors are magenta, yellow, and cyan. These two primary color systems obviously do not agree. Additive and subtractive are the two primary methods for reproducing a range of color. Additive Color Additive color synthesis is the creation of color by mixing colors of light. Human vision relies on light sensitive cells in the retina of the eye. There are two basic kinds of sensors. These are rods and cones. Rods are cells which can work at very low intensity, but cannot resolve sharp images or color. Cones are cells that can resolve sharp images and color, but require much higher light levels to work. The combined information from these sensors is sent to the brain and enables us to see. There are three types of cone.

Red cones are sensitive to red light, green cones are sensitive to green light, and blue cones are sensitive to blue light. The perception of color depends on an imbalance between the stimulation level of the different cell types. Additive color processes, such as television, work by having the capability to generate an image composed of red, green, and blue light. Since the intensity information for each of the three colors is preserved, the image color is preserved as well. The spectral distribution of the image will probably be wrong, but if the degree of intensity for each of the primary colors is correct, the image will appear to be the right color. The three primaries in light are red, blue, and green, because they correspond to the red, green, and blue cones in the eye. Example 1 shows how the light from red, green and blue flashlights would appear if shone on a dark wall.

ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ Red + Blue = Magenta Green + Blue = Cyan Printers' primariesï¿½yellow, cyan, and magentaï¿½are typically used by professional designers and printing presses . When all of the colors of the spectrum are combined, they add up to white light. 2 parts Red + 1 part Green = Orange 2 parts Green + 1 part Red = Lime 4 parts Red + 1 part Blue + 1 part Green = Brown Subtractive Color Subtractive color synthesis is the creation of color by mixing colors of pigment, such as paint or ink in your computerï¿½s printer. This type of color is what is used in the art and design world. When learning basic color theory, art students typically use familiar colors like red, yellow, and blue. Subtractive color processes work by blocking out parts of the spectrum. The idea of subtractive color is to reduce the amount of undesired color reaching the eye.

If, for example, you had a yellow image, you would want to have a dye that would let red and green reach the eye, and block out blue. The additive secondaries become the printersï¿½ subtractive primaries, because each of the additive secondaries will reflect two of the additive primaries, and absorb one of the additive primaries. The three primaries on the artistsï¿½ color wheel are red, blue, and yellow. Example 2 illustrates subtractive color by showing how primary colors mix on a piece of white paper. ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ Hue ï¿½ Is the name of the color itself, the dominant wavelength of light or the choice of pigment. Lightness (brightness) ï¿½ Is the lightness or darkness of the color, the amoung of light reflected or transmitted.

Saturation ï¿½ Is the level of white, black or grey, ranges from neutral to brilliant (pastel to full color). Tint ï¿½ Base color plus white. Tone ï¿½ Base color plus grey. Shade ï¿½ Base color plus black. Value ï¿½ How light or dark a color is. Aggressive - AKA 'Warm'. The yellows, oranges, and reds. These come towards the eye more (spatially) and are generally 'louder' than passive colors. Passive - AKA 'Cool'. The greens, blues, and violets. These recede from the eye more (spatially) and are generally 'quieter' than the aggressive colors. or Schemes Achromatic ï¿½ï¿½ An achromatic color scheme is one that is colorless ï¿½ using blacks, whites and grays. Complementary ï¿½ A complementary color scheme is one that uses colors directly across from each other on the color wheel. This can be accomplished by using two colors or hues that are opposites such as red and green or violet and yellow.

In this color scheme any two complements, all the semi-neutrals and the neutral they produce can be used. Black and white can also be used. Since you can choose from varying colors and hues which can give a bold and dramatic effect, this color scheme isï¿½ best used for dramatic, strong, or bold statements. An example of a complimentary color scheme Monochromatic ï¿½ A monochromatic color scheme is a one-color color scheme. However, the color can be neutralized by adding its complement to lower the intensity of the color. Black and white can also be used to darken and lighten the value of the color. It is achieved by using one color or hue, utilizing that colorsï¿½ various tints, tones and shades. Using a monochromatic scheme with multiple textures creates character and maintains unity. An example of a monochromatic color scheme Analogous ï¿½ An analogous color scheme is any three adjacent primary, secondary, or tertiary colors on the color wheel. These schemes can be warm or cool. Each can be neutralized by use of its complement, and black and white can be used. Analogous colors "harmonize" well and produce a definite mood to a composition.

This can create a very harmonious color scheme. An example of an analogous color scheme Col or Triad ï¿½ A triadic color scheme are colors that are an equal distant from each other on the color wheel. Any three colors equidistant around the color wheel form a triad and can be used in this color scheme (eg., red, yellow and blue). Semi-neutrals are mixed using two of the colors in the triad and the third can be added to further neutralize the pair. Black and white can also be used. This can create a very balanced scheme. An example of a color triad Col or Tetrad ï¿½ A tetradic color scheme is one using four or more colors on the color wheel (eg., green, violet, red and yellow). Col or Diad ï¿½ A diadic color scheme is one using two colors that are two colors apart on the color wheel (eg., red and orange). Split Complementary ï¿½ A split complimentary color scheme is similar to complimentary but instead of just two colors directly opposite on the color wheel, two of the three colors are adjacent to one of the colors that is opposite.

More simply, choose one color and use the color on each side of its complement (eg., blue, yellow-orange and red-orange). Any three adjacent primary, secondary, and tertiary colors can be used, plus the complement of the middle hue. This complement is used subordinately and to produce semi-neutrals of the three colors while maintaining color harmony. Black and white can also be used. iText, Chapter 18, Section 1 Chapter 18, Section 1 Combining Colors Color is used in painting, photography, theater lighting, and printing. People who work with color must learn how to produce a wide range of colors using just a few basic colors. Three colors that can combine to make any other color are called primary colors . Two primary colors combine in equal amounts to produce a secondary color . Figure 4Primary Colors of Light The primary colors of light combine in equal amounts to form white light. Mixing Colors of Light The primary colors of light are red, green, and blue. When combined in equal amounts, the three primary colors of light produce white light. If they are combined in different amounts, the primary colors can produce other colors. For example, red and green combine to form yellow light.

Yellow is a secondary color of light because two primary colors produce it. The secondary colors of light are yellow (red + green), cyan (green + blue), and magenta (red + blue). Figure 4 shows the primary and secondary colors of light. A primary and a secondary color can combine to make white light. Any two colors that combine to form white light are called complementary colors . Yellow and blue are complementary colors, as are cyan and red, and magenta and green. A color television produces many colors using only the primary colors of light—red, green, and blue. Figure 5 shows a magnified view of a color television screen. The picture in the screen is made up of little groups of red, green, and blue light. By varying the brightness of each colored bar, the television can produce thousands of different colors. Figure 5 Colors in Television A television produces many colors using only the primary colors of light. Predicting For a yellow area on a television screen, what color would you expect the bars to be? Mixing Pigments How does a printer produce the many shades of colors you see in this textbook? Inks, paints, and dyes contain pigments , or colored substances that are used to color other materials.

Pigments absorb some colors and reflect others. The color you see is the result of the colors that particular pigment reflects. Mixing colors of pigments is different from mixing colors of light. As pigments are added together, fewer colors of light are reflected and more are absorbed. The more pigments that are combined, the darker the mixture looks. Cyan, yellow, and magenta are the primary colors of pigments. These colors combine in equal amounts to produce black. By combining pigments in varying amounts, you can produce many other colors. If you combine two primary colors of pigments, you get a secondary color, as shown in Figure 6 . The secondary colors of pigments are red, green, and blue. Look at the pictures in this book with a magnifying glass. You can see tiny dots of different colors of ink. The colors used are cyan, yellow, and magenta. Black ink is also used, so the printing process is called four-color printing. Figure 6Primary Colors of Pigments The primary colors of pigments combine in equal amounts to form black. Color Math Color Math Introducing a color-related concept that is highly innovative and exciting yet dangerously controversial and for the moment, unscientifically proven.

It's called Color Math. Using Color Math, we can calculate how to mix colors mathematically. This article explains the basic principles of color math and runs through some simple scenarios. The color system we will be using is subtractive color (such as mixing paint). To download the entire article, simply click on the button below. Download article in MS Word format. Click "Buy Now" to go to order page Other Articles: The Color Math Concept by Ken Davies The human eye is able to decipher patterns of light according to the primary colors of the additive system: red, green and blue (RGB). However, it is the subtractive systems primaries: cyan, magenta and yellow (CMY) that best lend themselves to understanding the COLORCUBE and the concept of Color Math. This chapter unveils the inner workings of the COLORCUBE Model and the tools that are required for navigation in and about it. Within any given subtractive color space, as defined by the three primaries CMY, the use of Color Math will allow us to map the relationships of all the colors encompassed by that cubic area.

Bridging the additive and subtractive systems of color, mixing colors, selecting color complements and converting color media equivalents all become matters of mathematics rather than that of guess work or compromise. Following a brief introduction to basic logic and scientific fundamentals, as they are relevant to color, we will expand upon the Color Math concept. By the conclusion of this chapter, we will be able to apply Color Math to a variety of tasks such as dissecting the COLORCUBE, dispelling critical aspects of traditional color theory, mixing colors, determining color complements and charting print-to-paint media conversions. Principles of Color Math The similarity to commonly applied basics in mathematics and algebra will make these initial color principles appear somewhat elementary. However, their value will become apparent as the problems that we will encounter become increasingly complex. The diagram below illustrates the principle of symmetry that states that the order in which colors are added to one another does not alter the outcome. Figure 1. Color A + Color B = Color B + Color A The addition (or subtraction) of two or more colors will likely cause a visible change in hue but we must also pay particular attention to the cumulative volume of the operation.

For example, mixing one measurable unit of color with another yields twice the volume of the resulting color. The following diagram highlights this change in quantity using simple, like colors. Figure 2(a). 1 part Color A + 1 part Color A = 2 parts Color A Also, this principle of cumulative volume applies to those operations involving varying colors as well. Figure 2(b). 1 Color A + 1 Color B = 2 Color C As easy as these fundamentals are to grasp, the visual aids accompanying the upcoming problems shown may be counter-intuitive. The derivations of the Color Math "building blocks" presented in the next section will be the first step in making them fully comprehensible. Primary Colors We have stated that all of the colors captured within a color space are functions of the primaries cyan, magenta and yellow. The vertices or corner points on a COLORCUBE are these three pure hues (labeled A, B and C below), along with their various combinations. Together, these eight colors represent the key elements used in all Color Math calculations. Figure 3. Primary colors in the subtractive system Although considered primary in the additive system of color, red, green and blue are the secondary colors in the subtractive system.

By combining cyan with magenta, cyan with yellow and magenta with yellow, we are able to make blue, green and red respectively. As long as each primary ingredient is at full saturation and in equivalent quantities, the following operations hold true. Figure 4(a). 1 Cyan + 1 Magenta = 2 Blue Figure 4(b). 1 Cyan + 1 Yellow = 2 Green Figure 4(c). 1 Magenta + 1 Yellow = 2 Red When all three primaries are mixed together in equal proportion, the resulting color is black. (editors note: this color mixture is mainly theoretical as we have yet to encounter perfect subtractive primaries that make a perfect black when mixed.) Figure 5. 1 Cyan + 1 Magenta + 1 Yellow = 3 Black Black is also achieved when certain combinations of the primary and secondary elements are mixed. We recall from figure 4 (c), that red is made up of equal parts magenta and yellow. Therefore, we can add cyan to red in order to form black by virtue of the equation below: Figure 6. Color A + SUM Colors BC = Color ABC And so, Figure 7(a).

1 part Cyan + 2 parts Red = 3 parts Black Because each secondary color is merely a combination of two primaries, black is the result in each of the following mixtures. Please note the unequal quantities of the inputs and the constant amount of the sum. Figure 7(b). 1 Magenta + 2 Green = 3 Black Figure 7(c). 1 Yellow + 2 Blue = 3 Black The operations shown above may beg the question: what happens when the secondary colors are added together in equal quantities, as in the diagram below? Figure 8. Red + Green + Blue? Answering this question correctly requires a break down of each of the inputs into its constituent CMY elements in order to investigate the exact quantities being mixed. In order to simplify this task, we will take single units of red, green and blue and discover that they yield the following: Figure 9. Adding Red + Green + Blue (in terms of CMY) Upon analyzing the CMY proportions in the sum, we recognize the color as black! This solution may strike you as odd.

After all, if equal quantities of primary colors cyan, magenta and yellow make black, how can the same amounts of secondary colors red, green and blue possibly produce an identical result? Can the following diagram really be true? Figure 10. 1 Red + 1 Green + 1 Blue = 3 Black The answer is "yes" because we have learned that, by definition; black is CMY in equal amounts at full saturation. (If the saturation or purity of the primary hues is less than full, some form of gray will emerge from the mixture. The value of the gray will depend on the amount of base color present.) So, in deconstructing red, green and blue into their respective CMY elements, we discover that these three colors cumulatively do indeed carry the correct CMY proportions to create black. Color Math will be used later in the chapter to prove the validity of this conclusion. White as "Base" Color In the parentheses above, we alluded briefly to the concept of the base color. This is the color that is perceived when no primary hues are present. For instance, in color media that utilize the additive system of color, black is considered to be the base color.

That is, the eye responds to the absence of red, green and blue (primaries in the additive system) and its perception is the color black. The opposite occurs in the subtractive system where zero values of cyan, magenta and yellow result in the perception of white. While the use of a non-white, non-black base is possible; the result is a truncated colorspace and a somewhat skewed COLORCUBE. Such is the case when looking through tinted eyewear or offset printing onto colored paper. Thus, in order to maximize the set of visible colors within our CMY color space, white will be the assumed base color. To this point in our discussion, all of the colors have been fully saturated containing no white or base color. We now attempt to understand the impact of the base color by infusing white base with increasing amounts of primary hues and observe the changes to the resulting color. Our analysis begins with total white base to which we add rising increments of yellow primary. As long as the overall volume of each color sample is held constant, the progression from 100% white leads to a fully saturated yellow.

As the horizontal bars in the top left diagram show, the reduction of base color, white gives way to an increase of non-base content. The changes in the "base-to-primary" ratio results in graduated versions of a mixed color (known as tints due to the presence of white) as shown in the color circles. The upper right corner of the diagram below maps the same procedure using magenta primary. Figure 11. Adding primaries to a white base. Let us now conduct a similar operation with two primary colors adding them both to the base color, white. We should recognize that the combination of equal parts yellow and magenta creates red but as illustrated above in the bottom left box, this mixture does not affect the proportion of the white base. The base color maintains its percentage value of 100, 75, 50, 25 and 0% of the total color respectively, regardless of the amounts of multiple primaries which make up the remainder. The same effect takes place when all three primaries are added to decreasing amounts of white base. As demonstrated in the bottom right corner above, grays and black are the result of mixing cyan, magenta and yellow with a white base.

It is important to remember from these exercises that the CMY primary mixture occupies only the portion of the color that is non-base. Constructing the COLORCUBE Returning momentarily to the progressions of magenta and yellow tints, we in fact derived two axes of the COLORCUBE. The plane of color, constructed in the figure 12, is what bridges the color space that exists between those two axes. Using a similar strategy to that exhibited earlier, we start with 100% white and incrementally reduce the amount of base color while increasing the primary content. The non-base portions of each color shown in the diagram are mixtures containing magenta and/or yellow. Horizontal bars once again capture the systematic increases in these mixtures within the fixed overall volume of color. Figure 12. White-Yellow/Magenta plane It should seem obvious that moving away from the white square horizontally implies a larger presence of yellow and likewise, a vertical movement downward results in the addition of magenta. What may not be so obvious is that these increases in primaries affect only the portion of color that is non-base.

For instance, although magenta and yellow are maximized at a certain point in the "25% base color" diagram, they only contribute 37.5% each to the whole color. (In case this is unclear, the "certain point" that is being referred to is in the bottom left diagram, located in the middle of the color group and is the corner of the colored squares). The next diagram depicts the unified yellow-magenta plane previously constructed. The horizontal bars of color have been attached to their corresponding color to illustrate the proportions of base and non-base content in each. These "Color Bars" also make the pattern that exists between the relative quantities of the primaries themselves visually apparent. Figure 13. Unified Yellow-Magenta plane We will continue to attach these Color Bars to color samples in order to assist our understanding of how the COLORCUBE is built. They are graphic and mathematical representations of the ingredients present in each color and are standardized to a constant length for the purposes of measurement and comparison. The next phase of COLORCUBE construction involves the addition of the remaining primary, in this case, cyan.

The above plane was theoretically conceptualized by taking the white-yellow axis and incrementally increasing magenta content while adjusting base content to maintain its proportion. This resulted in multiple axes containing various combinations of the white and primary colors. The incremental addition of cyan to this entire magenta-yellow plane will yield similar results in the form of multiple planes of color. This third dimension of color, as in the diagram below, is organized in terms of base color percentage (exactly as above) and each plane is separated according to cyan content. The Color Bars once again fix the overall volume of each color to a single value and allow us to see the actual color that each formula represents. Figure 14. Increasing Cyan content incrementally Applying Color Math Having completed our derivation of an entire COLORCUBE, we revisit the color theory basics from the beginning of the chapter and attempt to prove these operations using Color Math. In doing so we will introduce tools and techniques that will assist our understanding of CMY addition and subtraction as well as create a visual grounding to Color Math procedures. Color Bars Horizontal bars of color were used extensively during the construction of the COLORCUBE to graphically depict the base and non-base content of each color they represented.

They were extremely useful in allowing us to detect and map the patterns that exist within a color space. In this section these diagrams become accessories to the addition of color and precursors to actual Color Math. Figure 15. Remembering that each Color Bar is standardized to a single set length, we are able to add these fixed amounts together in order to determine the configuration of their sum. For example, a given quantity of 100% white plus an equal amount of 100% primary yellow would yield a color that is half base, half non-base with a 50% yellow hue. Figure 15 demonstrates this graphically. It shows that once the input colors are combined and the mixture is reset to the size standard of the original Color Bar(s), the resulting color is one that contains equal parts white base and yellow primary. Figure 16. The diagram to the left is another situation that involves base white. However, this example shows the second input to be a color containing unequal multiple primaries. When these Color Bars are added together we can see that the sum contains four parts base white to four parts non-base primary, which is made up of three parts magenta and one part yellow.

Once this result is subsequently resized to the standardized length, we learn that the four white squares are proportionately equal to half of the resulting color. Likewise, the primaries magenta and yellow occupy 1.5 and .5 of the remaining units, respectively. When adding colors using Color Bars, the presence of three primaries adds complexity to the equation but the procedure for solving it is the same. Figure 17 shows the summarization of three mixed colors. Each of the ingredients are gathered and grouped according their CMYW category. After this sorting process, these input values are sized down to the normal Color Bar in order to discover the formula of the resulting color. Grasping the need to calibrate all color combinations to a fixed amount is important because this normalization process allows us to estimate the colors with which we are dealing using the cube diagrams in the previous section. Having become familiar with the patterns inherent to the COLORCUBE, we can navigate within that color space using the Color Bars as guides. Figure 17. Figure 18. Let us take for our next equation the sums of the last two operations and use them as inputs.

After adding the Color Bars together, we can sort and recalibrate the sum to a fixed amount with all of the constituent elements intact. It should be clear by now that the usefulness of this "Color Bar" addition is severely compromised by the increasing complexity of the operations and a general inability to distinguish minute proportions with any degree of precision. Alleviating this requires a Color Math process that relies strictly on the objectivity of percentage values and quantities of color rather than that of a guessing science. Color Boxes A method that addresses our need for exact numbers while retaining the benefits granted us by the Color Bars must begin with the information on hand being organized in a practical manner. The tables introduced here place the CMY formula of a color in a usable format that allows any color to be added and/or subtracted. It also takes into consideration the volume of color as well. Suppose we have three units of color gold (C20 M40 Y60) which is one of our inputs in a Color Math operation. Our first step is to determine its percentage base content by subtracting the CMY quantity that is greatest from 100. In this instance, yellow is most dominant with a value of 60.

Consequently, this color contains 40% base white. The remaining 60% consists of primary colors cyan, magenta and yellow in relative proportion to the colors CMY formula. Thus, we divide each of the primary quantities (20, 40, and 60) by the sum of those primaries (120) and multiply each by 60%. This yields adjusted weights of 10, 20 and 30% for CMY respectively. We find that this shade of gold is 10% cyan, 20% magenta, 30% yellow and 40% white. The table below summarizes this information as well as provides the volume calculation. Figure 19. Table for CMY breakdown The next diagram displays the above information in a graphical format that actually maps the relative strength of each of the CMY element and places the overall proportion of the base color in the forefront. This Color Box format adds a visual dimension to the CMY formula and offers insight to the color itself. Figure 20. Color Box This Color Math documentation also makes use of tables and diagrams that isolate the current operation.

These are fairly self-explanatory in that they summarize the actual quantities and volumes of color that are being added or subtracted in columnar form. In figure 21, "A" and "B" represent the input colors and "C" symbolizes the resultant color. Figure 21. Table of operation and accompanying graphic. Introduction Complete At this point, the basics of Color Math have been fully explained. We pause here to welcome comments from you that either accept or reject the theories explored here. Please contact Spittin Image Software for more information on Color Math and look for future developments on this fascinating subject on this website. Molecular Expressions: Science, Optics, and You: Light and Color - Primary Colors Home Primary Colors The human eye is sensitive to a narrow band of electromagnetic radiation that lies in the wavelength range between 400 and 700 nanometers, commonly known as the visible light spectrum. This small span of electromagnetic radiation is the sole source of color. All of the wavelengths present in visible light form colorless white light when they are combined, but can be refracted and dispersed into their individual colors by means of a prism.

The colors red, green, and blue are classically considered the primary colors because they are fundamental to human vision. All other colors of the visible light spectrum can be produced by properly adding different combinations of these three colors. Moreover, adding equal amounts of red, green, and blue light produces white light and, therefore, these colors are also often described as the primary additive colors. Interactive Java Tutorial Explore how the primary additive colors interact with one another to form new colors. As illustrated by means of the overlapping color circles in Figure 1, if equal portions of green and blue light are added together, the resultant color is cyan. Similarly, equal portions of green and red light produce the color yellow, and equal portions of red and blue light yield the color magenta. The colors cyan, magenta, and yellow are commonly termed the complementary colors because each complements one of the primary colors, meaning that the two colors can combine to create white light. For instance, yellow (red plus green) is the complement of blue because when the two colors are added together white light is produced. In the same way cyan (green plus blue) is the complement of red, and magenta (red plus blue) is the complement of green light.

Interactive Java Tutorial Primary Subtractive Colors Examine how the primary subtractive colors combine to form the primary additives, as well as black, the absence of all color. The complementary colors (cyan, yellow, and magenta) are sometimes alternatively referred to as the subtractive primaries. This is because each one can be formed by subtracting one of the primary additives (red, green, and blue) from white light. For example, yellow light is seen when all blue light is removed from white light, magenta when green is removed, and cyan when red is removed. Consequently, when all three of the subtractive primary colors are combined, all of the additive primary colors are subtracted from white light, which results in black, the absence of all color. Thus far this discussion has centered on the properties of visible light with respect to the addition and subtraction of transmitted visible light, which is often visualized on the screen of a computer or television. Most of what is actually seen in the real world, however, is light that is reflected from surrounding objects, such as people, buildings, automobiles, and landscapes.

These objects do not produce light themselves, but emit color through a process known as color subtraction in which certain wavelengths of light are subtracted, or absorbed, and others are reflected. For instance, a cherry appears red in natural sunlight because it is reflecting red wavelengths and absorbing all other colors. The series of photographs presented below in Figure 2 helps further illustrate this concept. In the first photograph on the left, a playing card, a green bell pepper, and a cluster of purple grapes are illuminated with white light and appear as one would expect to see them under natural lighting. In the second photograph, however, the objects are illuminated with red light. Note that the playing card reflects all of the light that strikes it, while only the grape stem and highlights on the grapes and pepper reflect the red light. The majority of the red light is being absorbed by the grapes and pepper. The third photograph shows the objects under green illumination. The different radiation wavelength causes the symbols on the playing card to appear black and the body of the card to reflect green light. The grapes reflect some green light, while the pepper appears normal, but with green highlights. The fourth photograph illustrates the objects under blue illumination.

In this situation, the grape cluster appears normal with blue highlights, but the stem is invisible because it blends into the black background. The body of the playing card reflects blue light and the symbols appear black, while the pepper only reflects blue light as highlights. Interactive Java Tutorial Color Filters Investigate how color filters operate to alter the apparent color of objects visualized under white light and monochromatic illumination. The human eye can perceive very slight differences in color and is believed to be capable of distinguishing between 8 to 12 million individual shades. Yet, most colors contain some proportion of all wavelengths in the visible spectrum. What really varies from color to color is the distribution of those wavelengths. The predominant wavelengths of a color determine its basic hue, which can be, for example, purple or orange. It is the ratio of the dominant wavelengths to other wavelengths, however, that determines the color saturation of the sample and whether it appears pale or deeply saturated. The intensity of the color and reflectivity of the object being imaged, on the other hand, determine the brightness of the color, which controls, for instance, whether something appears dark or light blue. Over the years, various classification systems have been devised to systematically express color in terms of these concepts.

One of the most widely accepted has been the Munsell Color Tree, which appears below in Figure 3. As illustrated, each color in this system is represented by a distinct position on the tree. Hue color value is represented by placement on the circumference, saturation by the horizontal distance of the color from the central axis, and brightness by the vertical position on the trunk. When learning about color, it is also important to consider pigments and dyes, which are responsible for much of the color that appears on Earth. For instance, the natural protein pigments that are contained in eyes, skin, and hair reflect and absorb light in such a way that creates a beautiful diversity of appearances in the human race. In order to achieve a similar diversity of color in inanimate objects, such as automobiles, airplanes, and houses, they are frequently coated with pigment-containing paints and portray different shades through the process of color subtraction. Printed items, such as books, magazines, signs and billboards, create colors in the same fundamental way, but through the help of dyes or inks, rather than pigments.

All color photographs, and other images that are printed or painted, are produced using just four colored inks or dyes--magenta, cyan, yellow (the subtractive primaries) and black. Mixing inks or dyes of these colors in differing proportions can produce the colors necessary to reproduce almost any image or color. The three subtractive primaries could, in theory, be used alone. However, the limitations of most dyes and inks make it necessary to add black to achieve true color tones. When an image is being prepared for printing in a book or magazine, it is first separated into the component subtractive primaries, either photographically or with a computer as illustrated above in Figure 4. Each separated component is then made into a film that is used to prepare a printing plate for that color. The final image is created by sequentially printing each color plate, one on top of another, using the appropriate ink to form a composite that recreates the appearance of the original. Paint is produced in a somewhat similar manner. Again, only the subtractive primaries and black are required. Base pigments containing these colors are mixed together to form the various colors used in final paint preparations.

Interactive Java Tutorial Color Separation Discover how the subtractive primaries are separated from an image and are made into color plates that can be used to produce realistically colored prints. A clear understanding of the color concepts previously discussed is extremely important when using a microscope to view and capture color images. Microscope light sources are usually tungsten-halogen bulbs that can emit a bright light with a color temperature around 3200 Kelvin. To the observer, this appears as white light that can be absorbed, refracted, reflected, polarized, and/or transmitted by a specimen on the microscope stage. The rules of primary colors apply to how the specimen interacts with microscope light and what colors are displayed as the sample is visualized in the eyepieces. The same rules also apply to the film used to capture photomicrographs. Contributing Authors Mortimer Abramowitz - Olympus America, Inc., Two Corporate Center Drive., Melville, New York, 11747. Shannon H. Neaves and Michael W. Davidson - National High Magnetic Field Laboratory, 1800 East Paul Dirac Dr., The Florida State University, Tallahassee, Florida, 32310.

Question: Combining equal parts of yellow and blue produce what color?
Answer: Green