Artists and designers often create high volumes of printed media using the CMYK color model to synchronize the digital file with the four corresponding printing plates. The CMYK (cyan, magenta, yellow, and black) color model is another digital spectrum that is specific to the print industry. When the primary colors in the RGB model are mixed together, the result is white. Colored light is mixed to create hue and value with red, green and blue as the primary colors. In the digital spectrum, the RGB (red-green-blue) additive color system is used on television screens and computer monitors.
When the primaries are mixed together in the subtractive system, the resulting product is black. Opposite colors on the wheel are called complementary, while analogous colors sit side-by-side on the wheel. In this subtractive color model, red, yellow, and blue are the primary hues (what we think of as colors), which can be mixed together to create any other color within the color wheel. The traditional (analog) color wheel utilizes the RYB (red-yellow-blue) color model. Students who attend art and design universities typically complete these color studies using pigment and brushes or with Color-Aid paper, however formal color studies are demonstrated in the digital environment with the following four exercises where hue, value, and contrast are exploited to achieve various color relationships. Albers created a course in color theory that inspired the tutorial in this chapter. German Bauhaus school educators Josef Albers and Johannes Itten helped define and expand upon color theory during the years 1919 – 1923. Download and view the completed exercise examples. Color is a whole world.There are no files needed to complete this chapter. We could find many examples of this kind telling us how inadequate the language is for the expression of taste, only one example more: try to describe the taste of sweet or sour-impossible to find the right word.”įurthermore color is “the most relative medium in art” (from: Interaction of Color) depending on the light of the surrounding, on the form and quantity of the color, on the other colors, the background, on our own flexible way of looking. But the psychic reactions are still different. Only the pigment red, the color by itself, is able to get all the different imaginations into the same direction. Even when you explain this red more precisely through other words, dark, light, deep, flat, active, substantial, loose, dense, transparent, opaque-still we will have different reds in our minds. In the lecture Abstract Art (August 1935) Josef Albers says: “Take for instance the word red.
Any form can be described, but trying to catch color in words is impossible. Even knowing that visual language is a totally different language than the language of words, each acting on its own level, color is still a very difficult subject to describe.
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