The document discusses color theory, specifically color mixing and the RGB and CMYK color systems. It explains that RGB is the additive color system used for light-based displays like computer monitors, and involves mixing red, green, and blue light. CMYK is the subtractive color system used for printing, and involves mixing cyan, magenta, yellow, and black pigments. Secondary and tertiary colors are produced by mixing primary colors in both systems. The document provides examples of mixing specific color combinations to produce other hues.
5. RGB
Red Green Blue
ADDITIVE COLOR
Color created from beams of light.
This system applies only to devices employing light
– computer monitors
– television sets
– theater stage lighting
6. RGB
Red Green Blue
ADDITIVE COLOR
Color created from beams of light.
This system applies only to devices employing light
– computer monitors
– television sets
– theater stage lighting
7. RGB
Red Green Blue
ADDITIVE COLOR
Color created from beams of light.
This system applies only to devices employing light
– computer monitors
– television sets
– theater stage lighting
8. RGB
Red Green Blue
ADDITIVE COLOR
Color created from beams of light.
This system applies only to devices employing light
– computer monitors
– television sets
– theater stage lighting
9. RGB
Red Green Blue
ADDITIVE COLOR
WE ADD COLORS IN ORDER TO GET WHITE
Color created from beams of light.
This system applies only to devices employing light
– computer monitors
– television sets
– theater stage lighting
35. CMYK
Cyan Magenta Yellow Black
SUBTRACTIVE COLOR
Used in printing.
CYAN + MAGENTA = BLUE
MAGENTA + YELLOW = RED
CYAN + YELLOW = GREEN
36. CMYK
Cyan Magenta Yellow Black
SUBTRACTIVE COLOR
Used in printing.
FINAL QUESTIONS:
How do we get BLACK?
37. CMYK
Cyan Magenta Yellow Black
SUBTRACTIVE COLOR
Used in printing.
FINAL QUESTIONS:
How do we get BLACK?
BLACK IS THE PRESNENCE OF ALL COLORS
How do we get WHITE?
38. CMYK
Cyan Magenta Yellow Black
SUBTRACTIVE COLOR
Used in printing.
FINAL QUESTIONS:
How do we get BLACK?
BLACK IS THE PRESNENCE OF ALL COLORS
How do we get WHITE?
39. CMYK
Cyan Magenta Yellow Black
SUBTRACTIVE COLOR
Used in printing.
FINAL QUESTIONS:
How do we get BLACK?
BLACK IS THE PRESNENCE OF ALL COLORS
How do we get WHITE?
WHITE IS THE ABSENCE OF ALL COLORS
40. The CMYK Color System
If you look at a printed page with a magnifying
glass you might see something like the
illustration. Our eye mixes the colors
44. PRIMARY COLOR
Colors that all other colors can be made from.
SUBTRACTIVE COLOR
We subtract colors from black to get white
This is what we do in the art room on a regular basis!
45. PRIMARY COLOR
Colors that all other colors can be made from.
RYB
Red Yellow Blue
SUBTRACTIVE COLOR
We subtract colors from black to get white
This is what we do in the art room on a regular basis!
46. Primary Color –
SUBTRACTIVE RYB
Paint, crayons, colored pencils, pastels etc.
This is how we mix colors with pigments and dyes.
47. SECONDARY COLOR
Colors made by mixing two primaries.
VGO
Violet Green Orange
SUBTRACTIVE COLOR
We subtract colors from black to get white
This is what we do in the art room on a regular basis!
51. How many colors are there?
Older computer systems may be limited to 216
A high quality printer is only capable of producing thousands
A monitor can display millions
How many colors could you make in paint?
56. Color Wheel
Hue – Is the name of a specific color.
Value – The lightness or darkness of a hue.
Intensity – The brightness or dullness of a color.
57. Q: WHERE DO SECONDARY, TERTIARY, AND ALL
OTHER HUES COME FROM?
58. A: COLOR MIXING & EXPERIMENTATION
Value
1.We add black and white to a color to get tints and
shades.
Tone and Intensity
1.We add compliments to each other to get muddy colors
2. e can mix more and less of other colors to get millions of color
variations.
59. Color Wheel
Hue – Is the name of a specific color.
Value – The lightness or darkness of a hue.
Intensity – The brightness or dullness of a color.
60. Color Wheel
Hue – Is the name of a specific color.
Value – The lightness or darkness of a hue.
Intensity – The brightness or dullness of a color.
61. A: COLOR MIXING & EXPERIMENTATION
Value
1.We add black and white to a color to get tints and
shades.
Tone and Intensity
1.We add compliments to each other to get muddy colors
2. e can mix more and less of other colors to get millions of color
variations.
62. There are two ways to lower the value
of a color.
Value - The relative lightness or
darkness of a color. Which creates…
63. Tint – A hue that has been mixed with white.
Shade – A hue that has been mixed with black.
64. A: COLOR MIXING & EXPERIMENTATION
Value
1.We add black and white to a color to get tints and
shades.
Tone and Intensity
1.We add compliments to each other to get muddy colors
2. e can mix more and less of other colors to get millions of color
variations.
65. Color Wheel
Hue – Is the name of a specific color.
Value – The lightness or darkness of a hue.
Intensity – The brightness or dullness of a color.
66. A: COLOR MIXING & EXPERIMENTATION
Value
1.We add black and white to a color to get tints and
shades.
Tone and Intensity
1.We add compliments to each other to get muddy colors
2. e can mix more and less of other colors to get millions of color
variations.
67. From color mixing experimentation.
Value
1.We add black and white to a color to get tints and
shades.
Tone and Intensity
1.We add compliments to each other to get muddy colors
2. We can mix more and less of other colors to get millions of
color variations.
68. Mixing a color with it’s compliment to
creates different tones.
69. 1.From color mixing experimentation.
Value
1.We add black and white to a color to get tints and
shades.
Tone and Intensity
•We add compliments to each other to get muddy colors
•We can mix more and less of other colors to get millions of
color variations.
74. Complimentary – Hues that oppose one another on
the color wheel. When paired in a composition,
complimentary colors create contrast; when mixed,
complimentary colors produce a wide range of browns.