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, color and/or wheel:
“Our frigate takes fire,
The other asks if we demand quarter?
If our colors are struck and the fighting done?
Now I laugh content for I hear the voice of my little captain,
We have not struck, he composedly cries, we have just begun our part of the fighting.”
—Walt Whitman (1819–1892)
“African rights and liberty is a subject that ought to fire the breast of every free man of color in these United States, and excite in his bosom a lively, deep, decided and heart-felt interest.”
—Maria Stewart (1803–1879)
“The word “revolution” itself has become not only a dead relic of Leftism, but a key to the deadendedness of male politics: the “revolution” of a wheel which returns in the end to the same place; the “revolving door” of a politics which has “liberated” women only to use them, and only within the limits of male tolerance.”
—Adrienne Rich (b. 1929)