Colors of The Color Wheel
A typical artists' paint or pigment color wheel includes the blue, red, and yellow primary colors. The corresponding secondary colors are green, orange, and violet. The tertiary colors are red–orange, red–violet, yellow–orange, yellow–green, blue–violet and blue–green.
A color wheel based on RGB (red, green, blue) or RGV (red, green, violet) additive primaries has cyan, magenta, and yellow secondaries (cyan was previously known as cyan blue). Alternatively, the same arrangement of colors around a circle can be described as based on cyan, magenta, and yellow subtractive primaries, with red, green, and blue (or violet) being secondaries.
Most color wheels are based on three primary colors, three secondary colors, and the six intermediates formed by mixing a primary with a secondary, known as tertiary colors, for a total of 12 main divisions; some add more intermediates, for 24 named colors. Other color wheels, however, are based on the four opponent colors, and may have four or eight main colors.
Goethe's Theory of Colours provided the first systematic study of the physiological effects of color (1810). His observations on the effect of opposed colors led him to a symmetric arrangement of his color wheel, "for the colours diametrically opposed to each other… are those that reciprocally evoke each other in the eye." (Goethe, Theory of Colours, 1810 ). In this, he anticipated Ewald Hering's opponent color theory (1872).
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Famous quotes containing the words colors of, colors, color and/or wheel:
“Then, bringing me the joy we feel when wee see a work by our favorite painter which differs from any other that we know, or if we are led before a painting of which we have until then only seen a pencil sketch, if a musical piece heard only on the piano appears before us clothed in the colors of the orchestra, my grandfather called me the [hawthorn] hedge at Tansonville, saying, “You who are so fond of hawthorns, look at this pink thorn, isn’t it lovely?””
—Marcel Proust (1871–1922)
“We may say that feelings have two kinds of intensity. One is the intensity of the feeling itself, by which loud sounds are distinguished from faint ones, luminous colors from dark ones, highly chromatic colors from almost neutral tints, etc. The other is the intensity of consciousness that lays hold of the feeling, which makes the ticking of a watch actually heard infinitely more vivid than a cannon shot remembered to have been heard a few minutes ago.”
—Charles Sanders Peirce (1839–1914)
“Actors work and slave—and it is the color of your hair that can determine your fate in the end.”
—Helen Hayes (1900–1993)
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
—Viola Spolin (b. 1911)