Speaking of digital media and the use of screens and projectors, the colorsystem is of additive nature. Every screen is set up with a specific amount of pixels, each containing three segments or phosphores \u2013 red, green and blue, which make the primary colors. So for red color on the screen only the red segment is actively emitting (red) light, while for blue color only the blue one and for green light only the green segment is actively lit via cathode rays. Combining two light emitting segments results in secondary colors \u2013 cyan, yellow and magenta \u2013 and combining all three segments results in the tertiary, achromatic color white. The second achromatic color black however appears on screen where no pixels are emitting light.
<\/p>\n\n\n\n
![\"\"](\"http:\/\/desres20.netornot.at\/wp-content\/uploads\/2021\/01\/additive_colormixing-1024x975.png\")
<\/figure>\n\n\n\nCombining the three primary colors at various levels of intensity or luminance makes it possible to display almost every color of the spectrum of light.
However, according to K\u00fcppel, the phosphores cannot fulfill the exact theoretic requirements and thus the secondary colors, especially yellow and cyan, appear slightly dull and \u201ewhiteish\u201c on screen.<\/p>\n\n\n\n
Subtractive color mixing<\/strong> In subtractive mixing the secondary colors originate from the overlapping of primary colors. Thus magenta and yellow make red, magenta and cyan make blue, yellow and cyan make green and all the primary colors combined resolve into the tertiary color black, also referred to as \u201ekey\u201c. Integrated color mixing<\/strong> When mixing opaque colors, according to K\u00fcppers, the neighbouring colors in the spectrum can be mixed and resolve into new colors. Adding grey tones between the achromatic colors black and white makes it possible to create a wide range of hues and colors.<\/p>\n\n\n\n Sources All over history numerous personalities in arts and science have dealt with the science of colors. This science on the one hand deals with the colors of the spectrum of light as well as with the (human) ability to perceive colours in combination with charecteristics of light under specific circumstances and surrounding factors. Besides controversial<\/p>\n
For analog media such as print and (printed) photography we speak of subtractive color mixing using transparent colors. Here the primary colors are cyan, magenta and yelllow. Applied and combined on white (!) backgrounds these colors absorb specific wave-lenghts of light rays and result in a color stimulus we perceive after the light is reflected by the background that’s capable of reflecting the whole spectrum of color. In addition, to create the perception of the right color, not only the background has to be white, but also the light source itself has to be white. If the color spectrum of light is shifted, or the background has a (slight) colorful hue, the appearance of mixed colors will not satisfy demands.
As cyan absorbs long-wave rays (= red), it fully stimulates the receptors for green and blue on the retina. Magenta absorbs middle-wave rays (=green) stimulating red and blue receptors, while yellow absorbs short-wave rays (=blue) stimulating green and red receptors.<\/p>\n\n\n\n![\"\"](\"http:\/\/desres20.netornot.at\/wp-content\/uploads\/2021\/01\/subtractive_colormixing-1024x975.png\")
<\/figure>\n\n\n\n
While the primary colors used for printing appear brillant and luminous, due to misabsorbtions the secondary colors are not as satisfying and appear rather dull and tainted.<\/p>\n\n\n\n
In addition to the use of transparent colors for print, K\u00fcppers states that for other analog techniques like painting on colored, not white backgrounds, opaque colors are needed. These colors contain specific pigments that directly reflect the light at specific wave-lengths. To mix these opaque colors we need the eight basic colors \u2013 red, green, blue, cyan, magenta, yellow, white and black \u2013 as due to the lack of transparence overlapping basic colors will not result into a mixed color.<\/p>\n\n\n\n![\"\"](\"http:\/\/desres20.netornot.at\/wp-content\/uploads\/2021\/01\/Farbenkreis_kuppers_integrated_mixing.jpg\")
<\/figure>\n\n\n\n
Farbe verstehen und beherrschen \u2013 Harald K\u00fcppers, 2004.
https:\/\/www.leifiphysik.de\/optik\/farben\/grundwissen\/additive-farbmischung
https:\/\/www.itp.uni-hannover.de\/fileadmin\/arbeitsgruppen\/zawischa\/static_html\/farbeinf.html<\/a>
https:\/\/www.itp.uni-hannover.de\/473.html<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"