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Description
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First of a series of posters I´m working on. Orginal size is A3.

The Color Theory

The foundations of pre-20th-century color theory were built around “ pure” or ideal colors, characterized by sensory experiences rather than attributes of the physical world. This has led to a number of inaccuracies in traditional color theory principles that are not always remedied in modern formulations.

he most important problem has been a confusion between the behavior of light mixtures, called additive color, and the behavior of paint or ink or dye or pigment mixtures, called subtractive color. This problem arises because the absorption of light by material substances follows different rules from the perception of light by the eye.

Many historical “ color theorists” have assumed that three “ pure” primary colors can mix all possible colors, and that any failure of specific paints or inks to match this ideal performance is due to the impurity or imperfection of the colorants. In reality, only imaginary “ primary colors” used in colorimetry can " mix" or quantify all visible (perceptually possible) colors; but to do this the colors are defined as lying outside the range of visible colors: they cannot be seen.

Any three real “ primary” colors of light, paint or ink can mix only a limited range of colors, called a gamut, which is always smaller (contains fewer colors) than the full range of colors humans can perceive.

© 2009 Roberto Abril Hidalgo | bobbyperux.deviantart.com | teskostudio.com

Description
|About:

First of a series of posters I´m working on. Orginal size is A3.

The Color Theory

The foundations of pre-20th-century color theory were built around “ pure” or ideal colors, characterized by sensory experiences rather than attributes of the physical world. This has led to a number of inaccuracies in traditional color theory principles that are not always remedied in modern formulations.

he most important problem has been a confusion between the behavior of light mixtures, called additive color, and the behavior of paint or ink or dye or pigment mixtures, called subtractive color. This problem arises because the absorption of light by material substances follows different rules from the perception of light by the eye.

Many historical “ color theorists” have assumed that three “ pure” primary colors can mix all possible colors, and that any failure of specific paints or inks to match this ideal performance is due to the impurity or imperfection of the colorants. In reality, only imaginary “ primary colors” used in colorimetry can " mix" or quantify all visible (perceptually possible) colors; but to do this the colors are defined as lying outside the range of visible colors: they cannot be seen.

Any three real “ primary” colors of light, paint or ink can mix only a limited range of colors, called a gamut, which is always smaller (contains fewer colors) than the full range of colors humans can perceive.

© 2009 Roberto Abril Hidalgo | bobbyperux.deviantart.com | teskostudio.com