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RYB color model

March 15, 2024

"RYB" redirects here. For other uses, see RYB (disambiguation).

RYB (an abbreviation of red–yellow–blue) is a subtractive color model used in art and applied design in which red, yellow, and blue pigments are considered primary colors.[1] Under traditional color theory, this set of primary colors was advocated by Moses Harris, Michel Eugène Chevreul, Johannes Itten and Josef Albers, and applied by countless artists and designers. The RYB color model underpinned the color curriculum of the Bauhaus, Ulm School of Design and numerous art and design schools that were influenced by the Bauhaus, including the IIT Institute of Design (founded as the New Bauhaus), Black Mountain College, Design Department Yale University, the Shillito Design School, Sydney, and Parsons School of Design, New York.

An RYB color chart from George Field's 1841 Chromatography; or, A treatise on colours and pigments: and of their powers in painting.
Comparison between CMYK model and RYB model: ideal CMY (a), printed CMY (b), RYB approximation (c)
The 1613 RYB color scheme of Franciscus Aguilonius (Francisci Agvilonii), with primaries yellow (flavus), red (rubeus), and blue (caeruleus) arranged between white (albus) and black (niger), with orange (aureus), green (viridis), and purple (purpureus) as combinations of two primaries.
Le Blon's 1725 description of mixing red, yellow, and blue paints or printing inks
Chromatic Scale (Echelle Chromatique), J. F. L Mérimée (1830, 1839)

In this context, the term primary color refers to three exemplar colors (red, yellow, and blue) as opposed to specific pigments. As illustrated, in the RYB color model, red, yellow, and blue are intermixed to create secondary color segments of orange, green, and purple. This set of primary colors emerged at a time when access to a large range of pigments was limited by availability and cost, and it encouraged artists and designers to explore the many nuances of color through mixing and intermixing a limited range of pigment colors. In art and design education, red, yellow, and blue pigments were usually augmented with white and black pigments, enabling the creation of a larger gamut of color nuances including tints and shades.

Although scientifically obsolete because it does not meet the definition of a complementary color in which a neutral or black color must be mixed, it is still a model used in artistic environments, causing confusion about primary and complementary colors. It can be considered an approximation of the CMY color model.

The RYB color model relates specifically to color in the form of paint and pigment application in art and design.[2] Other common color models include the light model (RGB) and the paint, pigment and ink CMY color model, which is much more accurate in terms of color gamut and intensity compared to the traditional RYB color model, the latter emerging in conjunction with the CMYK color model in the printing industry.

History edit

The first scholars to propose that there are three primary colors for painters were Scarmiglioni (1601), Savot (1609), de Boodt (1609) and Aguilonius (1613).[3] From these, the most influential was the work of Franciscus Aguilonius (1567–1617), although he did not arrange the colors in a wheel.[4]

Jacob Christoph Le Blon was the first to apply the RYB color model to printing, specifically mezzotint printing, and he used separate plates for each color: yellow, red and blue plus black to add shades and contrast. In 'Coloritto', Le Blon asserted that “the art of mixing colours…(in) painting can represent all visible objects with three colours: yellow, red and blue; for all colours can be composed of these three, which I call Primitive”. Le Blon added that red and yellow make orange; red and blue, make purple; and blue and yellow make green (Le Blon, 1725, p6).[5][6]

In the 18th century, Moses Harris advocated that a multitude of colors can be created from three "primitive" colors – red, yellow, and blue.[7]

Mérimée referred to "three simple colours (yellow, red, and blue)" that can produce a large gamut of color nuances. "United in pairs, these three primitive colours give birth to three other colours as distinct and brilliant as their originals; thus, yellow mixed with red, gives orange; red and blue, violet; and green is obtained by mixing blue and yellow" (Mérimée, 1839, p245). Mérimée illustrated these color relationships with a simple diagram located between pages 244 and 245: Chromatic Scale (Echelle Chromatique).De la peinture à l’huile : ou, Des procédés matériels employés dans ce genre de peinture, depuis Hubert et Jean Van-Eyck jusqu’à nos jours was published in 1830 and an English translation by W. B. Sarsfield Taylor was published in London in 1839.[8]

Similar ideas about the creation of color using red, yellow, and blue were discussed in Theory of Colours (1810) by the German poet, color theorist and government minister Johann Wolfgang von Goethe.[9]

In The Law of Simultaneous Color Contrast (1839) by the French industrial chemist Michel Eugène Chevreul discussed the creation of numerous color nuances and his color theories were underpinned by the RYB color model.[10]

Separate to the RYB color model, cyan, magenta, and yellow primary colors are associated with CMYK commonly used in the printing industry. Cyan, magenta, and yellow are often referred to as "process blue", "process red", and "process yellow".[11][12]

Old model of coloration with four primaries edit

The ancient Greeks, under the influence of Aristotle, Democritus and Plato, considered that there were four basic colors that coincided with the four elements: earth (ochre), sky (blue), water (green) and fire (red), while black and white represented the light of day and the darkness of night.[citation needed] The four-color system is formed by the primaries yellow, green, blue and red, and was supported by Alberti in his "De Pictura" (1436), using the rectangle, rhombus, and color wheel to represent them.

 
Color Circle from 1708, based on the primary colors blue, red, and yellow.[13]

Leonardo da Vinci endorsed this model in 1510, although he hesitated to include green, noting that green could be obtained by mixing blue and yellow. Also Richard Waller, in his "Catalogue of Simple and Mixed Colors" (1686), graphed these four colors in a square.[14] These four colors have often been referred to as "the primary psychological colors".[15]

Traditional coloring with three primaries edit

The first known case of trichromacy coloration (of 3 primaries) can be found in a work on optics by the Belgian thinker Franciscus Aguilonius in 1613,[16] who in his "Opticorum libri sex, philosophis iuxtà ac mathematicis utiles" in Latin (Roughly, Six books of optics: useful to philosophers as well as to mathematicians), graphed the colors flavvus, rvbevs and cærvlevs (yellow, red and blue) giving rise to the intermediate colors avrevs, viridis and pvrpvrevs (orange, green and purple) and their relationship with the extremes albvs and niger (white and black).[17] However, the idea of three primary colors is older, as Aguilonius supported the view known since the Middle Ages that the colors yellow, red, and blue were the basic or "noble" colors from which all others are derived.[18]

This model was used for printing by Jacob Christoph Le Blon in 1725 and called it Coloritto or harmony of colouring,[19] stating that the primitive (primary) colors are yellow, red and blue, while the secondary are orange, green and purple or violet.[20]

In 1766, Moses Harris developed an 18-color color wheel based on this model, including a wider range of colors by adding light and dark derivatives.[21] During the 18th and 19th centuries, this color model was endorsed by many authors who have left illustrations that can still be appreciated today, such as Louis-Bertrand Castel (1740), the Tobias's color system Mayer (1758), Moses Harris (1770–76), Ignaz Schiffermuller (1772), Baumgartner and Muller (1803), Sowerby (1809), Runge (1809), the popular "Theory of Colors" (1810) by Goethe, Gregoire (1810–20), Merimee (1815-30-39), Klotz (1816), G. Field (1817-41-50), Hayter (1826 ), the "Law of Simultaneous Contrast of Colours" (1839) by Chevreul and many others.[22]

 
Harris's 'colour wheel' showing how a range of colours can be made from red, yellow and blue

By the 20th century, natural pigments gave way to synthetic ones. The invention of phthalocyanine and derivatives of quinacridone, expanded the range of primary blues and reds, getting closer to the ideal subtractive colors and the CMY and CMYK models.

 
Use in printing of color books in 1902 through the so-called "tricolor process".

See also edit

References edit

  1. ^ Gage, John (1995). Colour and Culture : Practice and Meaning from Antiquity to Abstraction. London: Thames & Hudson. ISBN 978-0500278185.
  2. ^ Gage, John (2000). Color and Meaning: Art, Science, and Symbolism. London: Thames & Hudson. ISBN 978-0520226111.
  3. ^ Shapiro, A.E. (1994). "Artists' colors and Newton's colors". Isis. 85 (4): 600–630. doi:10.1086/356979. S2CID 143026899.
  4. ^ . Colorsystem: Colour order systems in art and science. Archived from the original on 2014-02-13.
  5. ^ Le Blon, Jakob Christophe (1725). Coloritto; or the Harmony of Colouring in Painting: Reduced to Mechanical Practice under Easy Precepts, and Infallible Rules; Together with some Colour'd Figures. Retrieved 4 July 2020.
  6. ^ Mortimer, Cromwell (February 1731). "An Account of Mr. J. C. Le Blon's Principles of Printing, in Imitation of Painting, and of Weaving Tapestry, in the Same Manner as Brocades". Philosophical Transactions of the Royal Society of London. 37 (419): 101–107. doi:10.1098/rstl.1731.0019. S2CID 186212141. Retrieved 4 July 2020.
  7. ^ Harris, Moses (1766). The Natural System of Colours. (Facsimile edition of 1963), New York: Whitney Library of Design.
  8. ^ Mérimée, J.F.L. (1839). The art of painting in oil and in fresco: Being a history of the various processes and materials employed (translated from the French by W. B. Sarsfield Taylor. London: Whittaker & Co.
  9. ^ Goethe, Theory of Colours, trans. Charles Lock Eastlake, Cambridge, MA: MIT Press, 1982. ISBN 0-262-57021-1
  10. ^ Chevreul, Michel Eugène (1861). The Laws of Contrast of Colour. London: Routledge, Warne, and Routledge. p. 25. – English translation by John Spanton
  11. ^ St. John, Eugene (February 1924). "Some Practical Hints on Presswork". Inland Printer, American Lithographer. 72 (5): 805. Retrieved 18 February 2019.
  12. ^ White, Jan (2003). Editing by Design: For Designers, Art Directors, and Editors—the Classic Guide to Winning Readers. Simon and Schuster. p. PT460. ISBN 9781581159387. Retrieved 18 February 2019.
  13. ^ Traité de la peinture en mignature (The Hague, 1708), reproduced at The Creation of Color in Eighteenth-Century Europe
  14. ^ Richard Waller Color System
  15. ^ MS Sharon Ross, Elise Kinkead (2004). Decorative Painting & Faux Finishes. Creative Homeowner. ISBN 1-58011-179-3.
  16. ^ .org/web/20140213041900/http://www.colorsystem.com/?page_id=629&lang=en Franciscus Aguilonius Colorsystem. Farbsysteme in Kunst und Wissenschaft
  17. ^ Francisco de Aguilón, Antwerp 1613: Opticorum book sex, philosophis iuxta ac useful mathematics, p. 40 2015-09-24 at the Wayback Machine San Millán Foundation of the Cogolla p. 84
  18. ^ MacEvoy, Bruce (2005). "Color vision: Do "primary" colors exist?". Handprint.com. Retrieved September 1, 2017.
  19. ^ O. M. Lilien, Jacob Christoph Le Blon, 1667–1741: Inventor of Three- and Four-colour Printing. Stuttgart 1985
  20. ^ v=onepage&q=%22le%20blon%22%20color%20printing&f=false The Science of Color
  21. ^ Paul Zelanski, Mary Pat Fisher 2001. "Colour" London
  22. ^ David Briggs 2013, The Dimensions of Color 7.2 The RYB hu e circle or "artists' color wheel".

External links edit

    March 15, 2024
    color, model, redirects, here, other, uses, disambiguation, abbreviation, yellow, blue, subtractive, color, model, used, applied, design, which, yellow, blue, pigments, considered, primary, colors, under, traditional, color, theory, this, primary, colors, advo. RYB redirects here For other uses see RYB disambiguation RYB an abbreviation of red yellow blue is a subtractive color model used in art and applied design in which red yellow and blue pigments are considered primary colors 1 Under traditional color theory this set of primary colors was advocated by Moses Harris Michel Eugene Chevreul Johannes Itten and Josef Albers and applied by countless artists and designers The RYB color model underpinned the color curriculum of the Bauhaus Ulm School of Design and numerous art and design schools that were influenced by the Bauhaus including the IIT Institute of Design founded as the New Bauhaus Black Mountain College Design Department Yale University the Shillito Design School Sydney and Parsons School of Design New York An RYB color chart from George Field s 1841 Chromatography or A treatise on colours and pigments and of their powers in painting Comparison between CMYK model and RYB model ideal CMY a printed CMY b RYB approximation c The 1613 RYB color scheme of Franciscus Aguilonius Francisci Agvilonii with primaries yellow flavus red rubeus and blue caeruleus arranged between white albus and black niger with orange aureus green viridis and purple purpureus as combinations of two primaries Le Blon s 1725 description of mixing red yellow and blue paints or printing inksChromatic Scale Echelle Chromatique J F L Merimee 1830 1839 In this context the term primary color refers to three exemplar colors red yellow and blue as opposed to specific pigments As illustrated in the RYB color model red yellow and blue are intermixed to create secondary color segments of orange green and purple This set of primary colors emerged at a time when access to a large range of pigments was limited by availability and cost and it encouraged artists and designers to explore the many nuances of color through mixing and intermixing a limited range of pigment colors In art and design education red yellow and blue pigments were usually augmented with white and black pigments enabling the creation of a larger gamut of color nuances including tints and shades Although scientifically obsolete because it does not meet the definition of a complementary color in which a neutral or black color must be mixed it is still a model used in artistic environments causing confusion about primary and complementary colors It can be considered an approximation of the CMY color model The RYB color model relates specifically to color in the form of paint and pigment application in art and design 2 Other common color models include the light model RGB and the paint pigment and ink CMY color model which is much more accurate in terms of color gamut and intensity compared to the traditional RYB color model the latter emerging in conjunction with the CMYK color model in the printing industry Contents 1 History 1 1 Old model of coloration with four primaries 1 2 Traditional coloring with three primaries 2 See also 3 References 4 External linksHistory editThe first scholars to propose that there are three primary colors for painters were Scarmiglioni 1601 Savot 1609 de Boodt 1609 and Aguilonius 1613 3 From these the most influential was the work of Franciscus Aguilonius 1567 1617 although he did not arrange the colors in a wheel 4 Jacob Christoph Le Blon was the first to apply the RYB color model to printing specifically mezzotint printing and he used separate plates for each color yellow red and blue plus black to add shades and contrast In Coloritto Le Blon asserted that the art of mixing colours in painting can represent all visible objects with three colours yellow red and blue for all colours can be composed of these three which I call Primitive Le Blon added that red and yellow make orange red and blue make purple and blue and yellow make green Le Blon 1725 p6 5 6 In the 18th century Moses Harris advocated that a multitude of colors can be created from three primitive colors red yellow and blue 7 Merimee referred to three simple colours yellow red and blue that can produce a large gamut of color nuances United in pairs these three primitive colours give birth to three other colours as distinct and brilliant as their originals thus yellow mixed with red gives orange red and blue violet and green is obtained by mixing blue and yellow Merimee 1839 p245 Merimee illustrated these color relationships with a simple diagram located between pages 244 and 245 Chromatic Scale Echelle Chromatique De la peinture a l huile ou Des procedes materiels employes dans ce genre de peinture depuis Hubert et Jean Van Eyck jusqu a nos jours was published in 1830 and an English translation by W B Sarsfield Taylor was published in London in 1839 8 Similar ideas about the creation of color using red yellow and blue were discussed in Theory of Colours 1810 by the German poet color theorist and government minister Johann Wolfgang von Goethe 9 In The Law of Simultaneous Color Contrast 1839 by the French industrial chemist Michel Eugene Chevreul discussed the creation of numerous color nuances and his color theories were underpinned by the RYB color model 10 Separate to the RYB color model cyan magenta and yellow primary colors are associated with CMYK commonly used in the printing industry Cyan magenta and yellow are often referred to as process blue process red and process yellow 11 12 Old model of coloration with four primaries edit The ancient Greeks under the influence of Aristotle Democritus and Plato considered that there were four basic colors that coincided with the four elements earth ochre sky blue water green and fire red while black and white represented the light of day and the darkness of night citation needed The four color system is formed by the primaries yellow green blue and red and was supported by Alberti in his De Pictura 1436 using the rectangle rhombus and color wheel to represent them nbsp Color Circle from 1708 based on the primary colors blue red and yellow 13 Leonardo da Vinci endorsed this model in 1510 although he hesitated to include green noting that green could be obtained by mixing blue and yellow Also Richard Waller in his Catalogue of Simple and Mixed Colors 1686 graphed these four colors in a square 14 These four colors have often been referred to as the primary psychological colors 15 Traditional coloring with three primaries edit The first known case of trichromacy coloration of 3 primaries can be found in a work on optics by the Belgian thinker Franciscus Aguilonius in 1613 16 who in his Opticorum libri sex philosophis iuxta ac mathematicis utiles in Latin Roughly Six books of optics useful to philosophers as well as to mathematicians graphed the colors flavvus rvbevs and caervlevs yellow red and blue giving rise to the intermediate colors avrevs viridis and pvrpvrevs orange green and purple and their relationship with the extremes albvs and niger white and black 17 However the idea of three primary colors is older as Aguilonius supported the view known since the Middle Ages that the colors yellow red and blue were the basic or noble colors from which all others are derived 18 This model was used for printing by Jacob Christoph Le Blon in 1725 and called it Coloritto or harmony of colouring 19 stating that the primitive primary colors are yellow red and blue while the secondary are orange green and purple or violet 20 In 1766 Moses Harris developed an 18 color color wheel based on this model including a wider range of colors by adding light and dark derivatives 21 During the 18th and 19th centuries this color model was endorsed by many authors who have left illustrations that can still be appreciated today such as Louis Bertrand Castel 1740 the Tobias s color system Mayer 1758 Moses Harris 1770 76 Ignaz Schiffermuller 1772 Baumgartner and Muller 1803 Sowerby 1809 Runge 1809 the popular Theory of Colors 1810 by Goethe Gregoire 1810 20 Merimee 1815 30 39 Klotz 1816 G Field 1817 41 50 Hayter 1826 the Law of Simultaneous Contrast of Colours 1839 by Chevreul and many others 22 nbsp Harris s colour wheel showing how a range of colours can be made from red yellow and blueBy the 20th century natural pigments gave way to synthetic ones The invention of phthalocyanine and derivatives of quinacridone expanded the range of primary blues and reds getting closer to the ideal subtractive colors and the CMY and CMYK models nbsp Use in printing of color books in 1902 through the so called tricolor process See also editColor Color solid Color theory List of colors Primary colorsReferences edit Gage John 1995 Colour and Culture Practice and Meaning from Antiquity to Abstraction London Thames amp Hudson ISBN 978 0500278185 Gage John 2000 Color and Meaning Art Science and Symbolism London Thames amp Hudson ISBN 978 0520226111 Shapiro A E 1994 Artists colors and Newton s colors Isis 85 4 600 630 doi 10 1086 356979 S2CID 143026899 Franciscus Aguilonius Colorsystem Colour order systems in art and science Archived from the original on 2014 02 13 Le Blon Jakob Christophe 1725 Coloritto or the Harmony of Colouring in Painting Reduced to Mechanical Practice under Easy Precepts and Infallible Rules Together with some Colour d Figures Retrieved 4 July 2020 Mortimer Cromwell February 1731 An Account of Mr J C Le Blon s Principles of Printing in Imitation of Painting and of Weaving Tapestry in the Same Manner as Brocades Philosophical Transactions of the Royal Society of London 37 419 101 107 doi 10 1098 rstl 1731 0019 S2CID 186212141 Retrieved 4 July 2020 Harris Moses 1766 The Natural System of Colours Facsimile edition of 1963 New York Whitney Library of Design Merimee J F L 1839 The art of painting in oil and in fresco Being a history of the various processes and materials employed translated from the French by W B Sarsfield Taylor London Whittaker amp Co Goethe Theory of Colours trans Charles Lock Eastlake Cambridge MA MIT Press 1982 ISBN 0 262 57021 1 Chevreul Michel Eugene 1861 The Laws of Contrast of Colour London Routledge Warne and Routledge p 25 English translation by John Spanton St John Eugene February 1924 Some Practical Hints on Presswork Inland Printer American Lithographer 72 5 805 Retrieved 18 February 2019 White Jan 2003 Editing by Design For Designers Art Directors and Editors the Classic Guide to Winning Readers Simon and Schuster p PT460 ISBN 9781581159387 Retrieved 18 February 2019 Traite de la peinture en mignature The Hague 1708 reproduced at The Creation of Color in Eighteenth Century Europe Richard Waller Color System MS Sharon Ross Elise Kinkead 2004 Decorative Painting amp Faux Finishes Creative Homeowner ISBN 1 58011 179 3 org web 20140213041900 http www colorsystem com page id 629 amp lang en Franciscus Aguilonius Colorsystem Farbsysteme in Kunst und Wissenschaft Francisco de Aguilon Antwerp 1613 Opticorum book sex philosophis iuxta ac useful mathematics p 40 Archived 2015 09 24 at the Wayback Machine San Millan Foundation of the Cogolla p 84 MacEvoy Bruce 2005 Color vision Do primary colors exist Handprint com Retrieved September 1 2017 O M Lilien Jacob Christoph Le Blon 1667 1741 Inventor of Three and Four colour Printing Stuttgart 1985 v onepage amp q 22le 20blon 22 20color 20printing amp f false The Science of Color Paul Zelanski Mary Pat Fisher 2001 Colour London David Briggs 2013 The Dimensions of Color 7 2 The RYB hu e circle or artists color wheel External links edita web RYB to RGB converter Retrieved from https en wikipedia org w index php title RYB color model amp oldid 1211275278, wikipedia, wiki, book, books, library,

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