ryb color model


  • [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, in Latin, 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).

  • In this context, the term primary color refers to three exemplar colors (red, yellow, and blue) as opposed to specific pigments.

  • [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.

  • [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.

  • [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.

  • 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”.

  • [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).

  • 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.

  • [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.

  • [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.

  • 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.

  • 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.

  • [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.

  • Color Circle from 1708, based on the primary colors blue, red, and yellow.

  • [14] These four colors have often been referred to as “the primary psychological colors”.


Works Cited

[‘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. ^ “Franciscus Aguilonius”. 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
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 Archived 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”.
Photo credit: https://www.flickr.com/photos/brillianthues/9423755543/’]