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-as of [20 DECEMBER 2024]–
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*ADDITIVE PRIMARY COLORS* —>
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-a set of primary colors is a (‘small’ – ‘arbitrary’ set) of [‘pigmented physical media’ / ‘lights’ / ‘purely abstract elements’] of a ‘mathematical color-space model’-
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(distinct ‘colors’ from a larger ‘gamut’ can be specified in terms of a mixture of ‘primary colors’ which facilitates ‘technological applications’ such as ‘painting’, ‘electronic displays’, and ‘printing’)
(any small set of ‘pigments’ or ‘lights’ are “imperfect” physical primary colors in that they cannot be mixed to yield all possible colors that can be perceived by the ‘human color vision system’)
(the ‘abstract’ (or “imaginary”) primaries X, Y, and Z of the “CIEXYZ colorspace” can be mathematically summed to specify essentially all colors that can be perceived but these ‘primaries’ cannot be physically realized due to the ‘underlying structure’ and ‘overlapping spectral sensitivities’ of each of the ‘human cone photoreceptors’)
(the precise set of ‘primary colors’ that are used in a specific ‘color application’ depend on ‘gamut requirements’ as well as ‘application-specific constraints’ such as ‘cost’, ‘power consumption’, ‘lightfastness’, ‘mixing behavior’ etc)
(in an additive set of ‘colors’, as in ‘coincident projected lights’ or in ‘electronic visual displays’, the ‘primary colors’ normally used are ‘red’, ‘green’, and ‘blue’ (but the precise visible light spectra for each color can vary significantly))
(in a subtractive set of ‘colors’, as in ‘mixing’ of ‘pigments’ or ‘dyes’ for ‘printing’, the colors ‘magenta’, ‘yellow’, and ‘cyan’ are normally used)
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“ADDITIVE PRIMARY COLORS”
The perception elicited by multiple light sources co-stimulating the same area of the retina is additive, i.e., predicted via summing the spectral power distributions or tristimulus values of the individual light sources (assuming a color matching context).
For example, a purple spotlight on a dark background could be matched with coincident blue and red spotlights that are both dimmer than the purple spotlight.
If the intensity of the purple spotlight was doubled it could be matched by doubling the intensities of both the red and blue spotlights that matched the original purple.
The principles of additive color mixing are embodied in Grassmann’s laws
Additive mixing of coincident spot lights was applied in the experiments used to derive the CIE 1931 colorspace.
The original monochromatic primaries of the (arbitrary) wavelengths of 435.8 nm (violet), 546.1 nm (green), and 700 nm (red) were used in this application due to the convenience they afforded to the experimental work
Red, green, and blue light are popular primaries for additive color mixing since primary lights with those hues provide a large triangular chromaticity gamut
Small red, green, and blue elements in electronic displays mix additively from an appropriate viewing distance to synthesize compelling colored images
The exact colors chosen for additive primaries are a technological compromise between the available phosphors (including considerations such as cost and power usage) and the need for large chromaticity gamut. The ITU-R BT.709-5/sRGB primaries are typical.
It is important to note that additive mixing provides very poor predictions of color perception outside the color matching context. Well known demonstrations such as The dress and other examples[14] show how the additive mixing model alone is not sufficient for predicting perceived color in many instances of real images. In general, we cannot completely predict all possible perceived colors from combinations of primary lights in the context of real-world images and viewing conditions. The cited examples suggest just how remarkably poor such predictions can be.
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“SUBTRACTIVE PRIMARY COLORS”
The subtractive color mixing model predicts the spectral power distributions of light filtered through overlaid partially absorbing materials on a reflecting or transparent surface.
Each layer partially absorbs some wavelengths of light from the illumination spectrum while letting others pass through multiplicatively, resulting in a colored appearance.
Overlapping layers of ink in printing mix subtractively over reflecting white paper in this way to generate photorealistic color images.
The typical number of inks in such a printing process ranges from 3 to 6 (e.g., CMYK process, Pantone hexachrome).
In general, using fewer inks as primaries results in more economical printing but using more may result in better color reproduction.
Cyan, magenta, and yellow are good subtractive primaries in that idealized filters with those hues can be overlaid to yield the largest chromaticity gamuts of reflected light.
An additional key ink (shorthand for the key printing plate that impressed the artistic detail of an image, usually black[16]) is also usually used since it is difficult to mix a dark enough black ink using the other three inks.
Before the color names cyan and magenta were in common use, these primaries were often known as blue and red, respectively, and their exact color has changed over time with access to new pigments and technologies.
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(see ‘RGB color model’ / ‘CMYK color model’ for more on these popular sets of “primary colors”)
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*👨🔬🕵️♀️🙇♀️*SKETCHES*🙇♂️👩🔬🕵️♂️*
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*🌈✨ *TABLE OF CONTENTS* ✨🌷*
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🔥🔥🔥🔥🔥🔥*we won the war* 🔥🔥🔥🔥🔥🔥