There are several signs of color, the main ones are THREE: Color tone, saturation and lightness.
Color tone determines the place of the color in the spectrum ("red-green-yellow-blue", etc.). This main characteristic colors. In a physical sense, the COLOR TONE depends on the wavelength of the light. Long waves are the red part of the spectrum. Short - shift to the blue-violet side. Average length waves are yellow and green colors, they are the most optimal for the eye.
In our minds, the color tone is associated with the color of well-known objects. Many names of colors come directly from objects with a characteristic color: sand, sea wave, emerald, chocolate, coral, raspberry, cherry, cream. It is easy to guess that the color tone is determined by the name of the color (yellow, red, blue) and depends on its place in the spectrum.
It is interesting to know that a trained eye in bright daylight distinguishes up to 180 color tones and up to 10 levels (gradations) of saturation. In general, the developed human eye is able to distinguish about 360 shades of color.
The degree of color chromaticity is determined saturation. This is the degree of distance of a color from gray of the same lightness. Imagine how fresh grass by the road is covered with dust layer by layer. The more layers of dust, the weaker the original pure green color is visible, the less SATURATION of this green. Colors with maximum saturation are spectral colors, minimum saturation gives full achromatic (lack of color tone).
You can change saturation in 3 ways:
§ adding black to the spectral color,
§ adding white to the spectral color,
§ adding its contrasting pair to the spectral color (for example: add blue-green to red-orange)
The third sign of color - LIGHT LIGHT. Any colors and shades, regardless of the color tone, can be compared by lightness, that is, to determine which one is darker and which one is lighter.
Lightness is the color set. Initially (spectral) lightest is yellow. The darkest is blue. is the position of a color on a scale from white to black. It is characterized by the words "red dark" or "red light". For achromatic, white has the maximum LIGHT, black has the minimum.
Lightness is a quality inherent in both chromatic and achromatic colors. Lightness should not be confused with whiteness (as the quality of an object's color).
It is customary for artists to call lightness relations tonal, so one should not confuse the lightness and color tone, the light and shade and color system of the work. When they say that a picture is painted in light colors, they first of all mean light relations, and in color it can be gray-white, pinkish-yellow, light lilac, in a word very different.
You can compare by lightness any colors and shades: pale green with dark green, pink with blue, red with purple.
It is interesting to note that red, pink, green, brown and other colors can be both light and dark colors.
Due to the fact that we remember the colors of the objects around us, we imagine their lightness. For example, a yellow lemon is lighter than a blue tablecloth, and we remember that yellow is lighter than blue.
Achromatic colors, that is, gray, white and black, are characterized only by lightness. Differences in lightness are that some colors are darker, while others are lighter.
Any chromatic color can be compared in lightness with an achromatic color.
You can compare the colors: red and gray, pink and light gray, dark green and dark gray, purple and black. Achromatic colors are matched by lightness equal to chromatic.
Hue (hue of color) is denoted by terms such as "yellow", "green", "blue", etc. Saturation is the degree or strength of expression of a color tone. This color characteristic indicates the amount of dye or the concentration of the dye.
Lightness is a sign that allows you to compare any chromatic color with one of the gray colors, called achromatic.
Qualitative characteristic of chromatic color:
· Color tone
lightness
saturation. (Figure 8)
Color tone defines the name of the color: green, red, yellow, blue, etc. This is the quality of the color, which allows you to compare it with one of the spectral or purple colors (except chromotic) and give it a name.
Lightness is also a color property. Light colors include yellow, pink, blue, light green, etc., and dark colors include blue, purple, dark red, and other colors.
Lightness characterizes how much one or another chromatic color is lighter or darker than another color, or how close this color is to white.
This is the degree to which a given color differs from black. It is measured by the number of difference thresholds from a given color to black. How lighter color, the higher its lightness. In practice, it is customary to replace this concept with the concept of "brightness".
Term saturation color is determined by its (color) proximity to the spectral. The closer the color is to the spectral, the more saturated it is. For example, the yellow color of a lemon, orange - orange, etc. The color loses its saturation from the admixture of white or black paint.
Color saturation characterizes the degree of difference between a chromatic color and an achromatic color equal to it in lightness.
HUE SATURATION LIGHTNESS
Color tone determines the place of the color in the spectrum ("red-green-yellow-blue") This is the main characteristic of the color. In a physical sense, the COLOR TONE depends on the wavelength of the light. Long waves are the red part of the spectrum. Short - shift to the blue-violet side. The average wavelength is yellow and green colors, they are the most optimal for the eye.
There are ACHROMATIC colors. It's black, white, and all the gray scale in between. They don't have a TONE. Black is the absence of color, white is the mixture of all colors. Grays are usually obtained by mixing two or more colors. All others are CHROMATIC colors.
The degree of color chromaticity is determined saturation. This is the degree of distance of a color from gray of the same lightness. Imagine how fresh grass by the road is covered with dust layer by layer. The more layers of dust, the weaker the original pure green color is visible, the less SATURATION of this green. Colors with maximum saturation are spectral colors, minimum saturation gives full achromatic (lack of color tone).
Lightness (brightness) - is the position of a color on a scale from white to black. It is characterized by the words "dark", "light". Compare the color of coffee and the color of coffee with milk. The maximum LIGHT has white color, the minimum - black. Some colors are initially (spectral) lighter - (yellow). Others are darker (blue).
In photoshop: The next system that is used in computer graphics is the HSB. Raster formats do not use the system HSB for storing images, since it contains only 3 million colors.
In system HSB color is broken down into three components:
- HUE(Hue) - The frequency of the light wave reflected from the object you see.
- SATURATION(Saturation) is the purity of the color. This is the ratio of the main tone and colorless gray equal to it in brightness. The most saturated color contains no gray at all. The lower the color saturation, the more neutral it is, the more difficult it is to uniquely characterize it.
· BRIGHTNESS(Luminance) is the overall brightness of the color. The minimum value of this parameter turns any color into black. . (Figure 9)
(Figure 10)
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Each color has three basic properties: hue, saturation, and lightness.
In addition, it is important to know about such color characteristics as lightness and color contrasts, to get acquainted with the concept of the local color of objects and to feel some of the spatial properties of color.
Color tone
In our minds, the color tone is associated with the color of well-known objects. Many color names come directly from objects with a characteristic color: sand, sea green, emerald, chocolate, coral, raspberry, cherry, cream, etc.
It is easy to guess that the color tone is determined by the name of the color (yellow, red, blue, etc.) and depends on its place in the spectrum.
It is interesting to know that a trained eye in bright daylight distinguishes up to 180 color tones and up to 10 levels (gradations) of saturation. In general, the developed human eye is able to distinguish about 360 shades of color.
67. Children's holiday of color
Color saturation
Color saturation is the difference between a chromatic color and a gray color equal to it in lightness (Fig. 66).
If you add gray paint to any color, the color will fade, its saturation will change.
68. D. MORANDI. Still life. An example of a muted color scheme
69. Change color saturation
70. Change the saturation of warm and cold colors
Lightness
The third sign of color is lightness. Any colors and shades, regardless of the color tone, can be compared by lightness, that is, to determine which one is darker and which one is lighter. You can change the lightness of a color by adding white or water to it, then red will become pink, blue - blue, green - light green, etc.
71. Changing the lightness of a color with white
Lightness is a quality inherent in both chromatic and achromatic colors. Lightness should not be confused with whiteness (as the quality of an object's color).
It is customary for artists to call lightness relations tonal, so one should not confuse the lightness and color tone, the light and shade and color system of the work. When they say that a picture is painted in light colors, they first of all mean light relations, and in color it can be gray-white, pinkish-yellow, light lilac, in a word very different.
Differences of this type painters call valery.
You can compare by lightness any colors and shades: pale green with dark green, pink with blue, red with purple, etc.
It is interesting to note that red, pink, green, brown and other colors can be both light and dark colors.
72. Difference of colors by lightness
Due to the fact that we remember the colors of the objects around us, we imagine their lightness. For example, a yellow lemon is lighter than a blue tablecloth, and we remember that yellow is lighter than blue.
Achromatic colors, that is, gray, white and black, are characterized only by lightness. Differences in lightness are that some colors are darker, while others are lighter.
Any chromatic color can be compared in lightness with an achromatic color.
Consider the color wheel (Fig. 66), consisting of 24 colors.
You can compare colors: red and gray, pink and light gray, dark green and dark gray, purple and black, etc. Achromatic colors are matched in lightness equal to chromatic ones.
Lightness and color contrast
The color of an object is constantly changing depending on the conditions in which it is located. Lighting plays a huge role in this. See how unrecognizably the same object changes (ill. 71). If the light on an object is cold, its shadow appears warm and vice versa.
The contrast of light and color is most clearly and clearly perceived at the “break” of the form, that is, at the place where the shape of objects turns, as well as at the borders of contact with a contrasting background.
73. Light and color contrasts in still lifes
Light contrast
The contrast in lightness is used by artists, emphasizing the different tonality of objects in the image. Placing light objects next to dark ones, they enhance the contrast and sonority of colors, achieve expressiveness of form.
Compare identical gray squares on black and white backgrounds. They will seem different to you.
Gray appears lighter on black and darker on white. This phenomenon is called lightness contrast or lightness contrast (Fig. 74).
74. Lightness Contrast Example
Colour contrast
We perceive the color of objects depending on the surrounding background. A white tablecloth will appear blue if orange oranges are placed on it, and pink if green apples are placed on it. This is because the background color takes on a tint of a complementary color to the color of the objects. The gray background next to the red object seems cold, and next to the blue and green - warm.
75. Color Contrast Example
Consider ill. 75: all three gray squares are the same, on a blue background gray becomes orange, on yellow - purple, on green - pink, that is, it acquires a shade of a complementary color to the background color. On a light background, the color of the object appears darker; on a dark background, the color appears lighter.
The phenomenon of color contrast lies in the fact that the color changes under the influence of other colors surrounding it, or under the influence of colors previously observed.
76. An example of color contrast
Complementary colors next to each other become brighter and more saturated. The same goes for primary colors. For example, a red tomato will look even redder next to parsley, and a purple eggplant next to a yellow turnip.
The contrast of blue and red is a prototype of the contrast of cold and warm. It underlies the color of many works of European painting and creates dramatic tension in the paintings of Titian, Poussin, Rubens, A. Ivanov.
Contrast as the opposition of colors in a picture is the main method of artistic thinking in general, says N. Volkov, a famous Russian artist and scientist*.
In the reality surrounding us, the effects of one color on another are more complex than in the examples considered, but knowledge of the main contrasts - in lightness and color - helps the painter to better see these color relationships in reality and use the knowledge gained in practical work. The use of lightness and color contrasts increases the possibilities visual means.
77. Umbrellas. An example of using color nuances
78. Balloons. An example of using color contrasts
Tone and color contrasts are of particular importance for achieving expressiveness in decorative work.
Color contrast in nature and decorative art:
a. M. ZVIRBULE. Tapestry "Together with the wind"
b. Peacock feather. Photo
v. Autumn leaves. Photo
g. Field of poppies. Photo
ALMA THOMAS. The blue light of infancy
local color
Examine the objects in your room, look out the window. Everything you see has not only a shape, but also a color. You can easily identify it: the apple is yellow, the cup is red, the tablecloth is blue, the walls are blue, etc.
The local color of an object is those pure, unmixed, unrefracted tones that, in our view, are associated with certain objects as their objective, unchanging properties.
Local color - the main color of an object without taking into account external influences.
The local color of an object may be monochromatic (ill. 80), but it may also consist of different shades (ill. 81).
You will see that the main color of roses is white or red, but in each flower you can count several shades of the local color.
80. Still life. Photo
81. VAN BEYEREN. Vase with Flowers
When drawing from life, from memory it is necessary to convey the characteristic features of the local color of objects, its changes in the light, in partial shade and shadow.
Under the influence of light, air, association with other colors, the same local color acquires a completely different tone in the shadow and in the light.
In sunlight, the color of the objects themselves is best seen in places where penumbra are located. The local color of objects is seen worse where there is a full shadow on it. It fades and fades in bright light.
Artists, showing us the beauty of objects, accurately determine the changes in local color in the light and in the shadow.
Once you master the theory and practice of using primary, secondary, and secondary colors, you will be able to easily convey the local color of an object, its shades in light and in shadow. In the shadow cast by an object or located on it, there will always be a color that is complementary to the color of the object itself. For example, in the shade of a red apple, there will definitely be a green color, as an additional color to red. In addition, in each shadow there is a tone, slightly darker than the color of the object itself, and a blue tone.
82. Scheme for obtaining the color of the shadow
It should not be forgotten that the local color of an object is affected by its environment. When a green drapery is next to a yellow apple, a color reflex appears on it, that is, the apple's own shadow necessarily acquires a shade of green.
83. Still life with yellow apple and green drapery
I am a programmer by education, but at work I had to deal with image processing. And then an amazing and unknown world of color spaces opened up for me. I do not think that designers and photographers will learn something new for themselves, but perhaps someone will find this knowledge at least useful, and at best interesting.
The main task of color models is to make it possible to specify colors in a unified way. In fact, color models define certain coordinate systems that allow you to uniquely determine the color.
The most popular today are the following color models: RGB (used mainly in monitors and cameras), CMY (K) (used in printing), HSI (widely used in machine vision and design). There are many other models. For example, CIE XYZ ( standard models), YCbCr, etc. The following is a brief overview of these color models.
RGB color cube
From Grassmann's law, the idea of an additive (i.e., based on mixing colors from directly emitting objects) model of color reproduction arises. For the first time, such a model was proposed by James Maxwell in 1861, but it received the greatest distribution much later.In the RGB model (from the English red - red, green - green, blue - cyan) all colors are obtained by mixing three basic (red, green and blue) colors in various proportions. The proportion of each base color in the final can be perceived as a coordinate in the corresponding three-dimensional space, so this model is often called a color cube. On Fig. 1 shows the color cube model.
Most often, the model is built so that the cube is single. The points corresponding to the base colors are located at the cube vertices lying on the axes: red - (1; 0; 0), green - (0; 1; 0), blue - (0; 0; 1). In this case, the secondary colors (obtained by mixing two base ones) are located in other vertices of the cube: blue - (0;1;1), magenta - (1;0;1) and yellow - (1;1;0). Black and white colors are located at the origin (0;0;0) and the point farthest from the origin (1;1;1). Rice. shows only the vertices of the cube.
Color images in the RGB model are built from three separate image channels. In Table. the decomposition of the original image into color channels is shown.
In the RGB model, a certain number of bits are allocated for each color component, for example, if 1 byte is allocated for encoding each component, then using this model, 2 ^ (3 * 8) ≈ 16 million colors can be encoded. In practice, such coding is redundant, because most people are not able to distinguish between so many colors. Often limited to the so-called. mode "High Color" in which 5 bits are allocated for encoding each component. In some applications, a 16-bit mode is used in which 5 bits are allocated for encoding the R and B components, and 6 bits for encoding the G component. This mode, firstly, takes into account the higher sensitivity of a person to green color, and secondly, it allows more efficient use of the features of the computer architecture. The number of bits allocated for encoding one pixel is called the color depth. In Table. examples of encoding the same image with different color depths are given.
Subtractive CMY and CMYK models
The subtractive CMY model (from the English cyan - cyan, magenta - magenta, yellow - yellow) is used to obtain hard copies (printing) of images, and in some way is the antipode of the RGB color cube. If in the RGB model the base colors are the colors of the light sources, then the CMY model is the color absorption model.For example, paper coated with yellow dye does not reflect blue light; we can say that the yellow dye subtracts blue from the reflected white light. Similarly, cyan dye subtracts red from reflected light, and magenta dye subtracts green. That is why this model is called subtractive. The conversion algorithm from the RGB model to the CMY model is very simple:
This assumes that the RGB colors are in the interval . It is easy to see that in order to obtain black in the CMY model, it is necessary to mix cyan, magenta and yellow in equal proportions. This method has two serious drawbacks: firstly, the black color obtained as a result of mixing will look lighter than “real” black, and secondly, this leads to significant dye costs. Therefore, in practice, the CMY model is extended to the CMYK model, adding black to the three colors.
Color space hue, saturation, intensity (HSI)
The RGB and CMY(K) color models discussed earlier are very simple in terms of hardware implementation, but they have one significant drawback. It is very difficult for a person to operate with colors given in these models, because a person, describing colors, uses not the content of the basic components in the described color, but somewhat different categories.Most often, people operate with the following concepts: hue, saturation and lightness. At the same time, when talking about the color tone, they usually mean exactly the color. Saturation indicates how much the described color is diluted with white (pink, for example, is a mixture of red and white). The concept of lightness is the most difficult to describe, and with some assumptions, lightness can be understood as the intensity of light.
If we consider the projection of the RGB cube in the direction of the white-black diagonal, we get a hexagon:
All gray colors (lying on the diagonal of the cube) are projected to the central point. In order to be able to encode all the colors available in the RGB model using this model, you need to add a vertical lightness (or intensity) axis (I). The result is a hexagonal cone:
In this case, the tone (H) is set by the angle relative to the red axis, the saturation (S) characterizes the purity of the color (1 means a completely pure color, and 0 corresponds to a shade of gray). It is important to understand that hue and saturation are not defined at zero intensity.
The conversion algorithm from RGB to HSI can be performed using the following formulas:
The HSI color model is very popular among designers and artists because this system provides direct control of hue, saturation and brightness. These same properties make this model very popular in machine vision systems. In Table. shows how the image changes with increasing and decreasing intensity, hue (rotated by ±50°), and saturation.
Model CIE XYZ
For the purpose of unification, an international standard color model was developed. As a result of a series of experiments, the International Commission on Illumination (CIE) determined the addition curves for the primary (red, green and blue) colors. In this system, each visible color corresponds to a certain ratio of primary colors. At the same time, in order for the developed model to reflect all the colors visible to a person, a negative number of basic colors had to be introduced. To get away from negative CIE values, introduced the so-called. unreal or imaginary primary colors: X (imaginary red), Y (imaginary green), Z (imaginary blue).When describing color X,Y,Z values are called standard fundamental excitations, and the coordinates obtained on their basis are called standard color coordinates. The standard addition curves X(λ),Y(λ),Z(λ) (see Fig.) describe the sensitivity of the average observer to standard excitations:
In addition to standard color coordinates, the concept of relative color coordinates is often used, which can be calculated using the following formulas:
It is easy to see that x+y+z=1, which means that any pair of values is sufficient to uniquely set relative coordinates, and the corresponding color space can be represented as a two-dimensional graph:
The set of colors defined in this way is called the CIE triangle.
It is easy to see that the CIE triangle describes only the hue, but does not describe the brightness in any way. To describe the brightness, an additional axis is introduced, passing through a point with coordinates (1/3; 1/3) (the so-called white point). The result is a CIE color body (see Fig.):
This solid contains all the colors visible to the average observer. The main disadvantage of this system is that using it, we can only state the coincidence or difference of two colors, but the distance between two points of this color space does not correspond to the visual perception of the color difference.
Model CIELAB
The main goal in the development of CIELAB was to eliminate the non-linearity of the CIE XYZ system from the point of view of human perception. The abbreviation LAB usually refers to the CIE L*a*b* color space, which is currently the international standard.In the CIE L*a*b system, the L coordinate means lightness (in the range from 0 to 100), and a,b coordinates- indicate a position between green-magenta, and blue-yellow colors. Formulas for converting coordinates from CIE XYZ to CIE L*a*b* are given below:
where (Xn,Yn,Zn) are the coordinates of the white point in CIE XYZ space, and
On Fig. slices of the CIE L*a*b* color body are presented for two lightness values:
Compared to CIE XYZ system Euclidean distance (√((L1-L2)^2+(a1^*-a2^*)^2+(b1^*-b2^*)^2)) in CIE L*a system *b* matches the human perceived color difference much better, however the standard color difference formula is the extremely complex CIEDE2000.
Television color difference color systems
In the YIQ and YUV color systems, color information is represented as a luminance signal (Y) and two color difference signals (IQ and UV, respectively).The popularity of these color systems is due primarily to the advent of color television. Because Since the Y component essentially contains the original image in grayscale, the signal in the YIQ system could be received and correctly displayed both on old black-and-white TVs and on new color ones.
The second, perhaps more important, advantage of these spaces is the separation of information about the color and brightness of the image. The fact is that the human eye is very sensitive to changes in brightness, and much less sensitive to changes in color. This allows the transmission and storage of chrominance information with reduced depth. It is on this feature of the human eye that the most popular image compression algorithms (including jpeg) are built today. To convert from RGB space to YIQ, you can use the following formulas:
So, briefly for reference: initially light, as electromagnetic radiation with a certain wavelength, is white. But when passing it through a prism, it decomposes into the following components of it visible colors (visible spectrum): To red, O range, well yellow, h green, G blue, With blue, f purple ( To every O hotnik well does h nat G de With goes f azan).
Why did I single out visible"? The structural features of the human eye allow us to distinguish only these colors, leaving ultraviolet and infrared radiation outside our field of vision. The ability of the human eye to perceive color directly depends on the ability of the matter of the world around us to absorb some light waves and reflect others. Why is a red apple red? Because that the surface of an apple, having a certain bio-chemical composition, absorbs all waves of the visible spectrum, with the exception of red, which is reflected from the surface and, entering our eye in the form of electromagnetic radiation of a certain frequency, is perceived by receptors and is recognized by the brain as red. green apple or orange orange the situation is similar, as with all the matter that surrounds us.
The receptors of the human eye are most sensitive to the blue, green and red colors of the visible spectrum. Today there are about 150,000 color tones and shades. At the same time, a person can distinguish about 100 shades by color tone, about 500 shades of gray. Naturally, artists, designers, etc. have a wider range of color perception. All colors located in the visible spectrum are called chromatic.
visible spectrum of chromatic colors
Along with this, it is also obvious that in addition to "color" colors, we also recognize "non-color", "black and white" colors. So, shades of gray in the range "white - black" are called achromatic (colorless) due to the lack of a specific color tone (tint of the visible spectrum) in them. The brightest achromatic color is white, the darkest is black.
achromatic colors
Further, for a correct understanding of the terminology and the competent use of theoretical knowledge in practice, it is necessary to find differences in the concepts of "tone" and "shade". So here it is Color tone- a characteristic of a color that determines its position in the spectrum. Blue is a tone, red is also a tone. A shade- this is a variety of one color, which differs from it both in brightness, lightness and saturation, and in the presence of an additional color that appears against the background of the main one. Light blue and dark blue are shades of blue in terms of saturation, and bluish-green (turquoise) is due to the presence of an additional green color in blue.
What's happened color brightness? This is a color characteristic that directly depends on the degree of illumination of the object and characterizes the density of the light flux directed towards the observer. Simply put, if, under all other conditions being equal, the same object is successively illuminated by light sources of different powers, the light reflected from the object will also be of different powers in proportion to the incoming light. As a result, the same red apple in bright light will look bright red, and in the absence of light we will not see it at all. The peculiarity of the brightness of the color is that when it is reduced, any color tends to black.
And one more thing: under the same lighting conditions, the same color can differ in brightness due to the ability to reflect (or absorb) incoming light. Glossy black will be brighter than matte black precisely because gloss reflects incoming light more, while matte black absorbs more.
Lightness, lightness ... As a characteristic of color - it exists. As an accurate definition - probably not. According to one source, lightness- the degree of closeness of color to white. According to other sources - the subjective brightness of an area of the image, related to the subjective brightness of the surface, perceived by a person as white. Third sources refer the concepts of brightness and lightness of color to synonyms, which is not devoid of logic: if the color tends to black (becomes darker) when the brightness decreases, then when the brightness increases, the color will tend to white (becomes lighter).
In practice, this is what happens. During photo or video shooting, underexposed (not enough light) objects in the frame become a black spot, and overexposed (too much light) - white.
A similar situation applies to the terms "saturation" and "intensity" of color, when some sources say that "color saturation is intensity .... etc. etc." In fact, these are completely different characteristics. Saturation- "depth" of color, expressed in the degree of difference between a chromatic color and a gray color that is identical with it in lightness. As saturation decreases, each chromatic color approaches gray.
Intensity- the predominance of any tone in comparison with others (in the landscape of the autumn forest, the orange tone will be predominant).
Such a "substitution" of concepts occurs, most likely, for one reason: the line between brightness and lightness, saturation and intensity of color is as thin as the concept of color itself is subjective.
From the definitions of the main characteristics of color, the following pattern can be distinguished: the color rendering (and, accordingly, color perception) of chromatic colors is greatly influenced by achromatic colors. They not only help to form shades, but also make the color light or dark, saturated or faded.
How can this knowledge help a photographer or videographer? Well, firstly, no camera or video camera is capable of conveying color in the way a person perceives it. And in order to achieve harmony in the image or bring the image closer to reality during post-processing of photo or video material, it is necessary to skillfully manipulate the brightness, lightness and color saturation so that the result satisfies either you, as an artist, or those around you, as viewers. It is not for nothing that the profession of colorist exists in film production (in photography, this function is usually performed by the photographer himself). A person with knowledge of color, through color correction, brings the filmed and edited material to such a state when color solution The film simply makes the viewer wonder and admire at the same time. Secondly, in coloristics, all these color features are intertwined quite subtly and in various sequences, allowing not only to expand the possibilities of color reproduction, but also to achieve some individual results. If these tools are used illiterately, it will be difficult to find fans of your work.
And on this positive note, we finally approached the color scheme.
Coloristics, as the science of color, in its laws relies precisely on the spectrum of visible radiation, which, by the works of researchers of the 17th-20th centuries. from a linear representation (illustration above) was transformed into a chromatic circle shape.
What allows us to understand the chromatic circle?
1. There are only 3 primary (basic, primary, pure) colors:
Red
Yellow
Blue
2. Composite colors of the second order (secondary) are also 3:
Green
Orange
Violet
Not only are they located opposite the primary colors in the chromatic circle, but they are also obtained by mixing the primary colors with each other (green = blue + yellow, orange = yellow + red, violet = red + blue).
3. Composite colors of the third order (tertiary) 6:
yellow-orange
red-orange
Red purple
blue purple
blue green
yellow green
Composite colors of the third order are obtained by mixing primary colors with secondary colors of the second order.
It is the location of the color in the twelve-part color wheel that allows you to understand which colors and how can be combined with each other.
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