Color

<h2 id="physical-properties">Physical properties</h2>

<a href="/facts/Electromagnetic_radiation/Ynx7ujCW">Electromagnetic radiation</a> is characterized by its <a href="/facts/Wavelength/kcJU0ymz">wavelength</a> (or <a href="/facts/Frequency/QUSbPaW8">frequency</a>) and its <a href="/facts/Luminous_intensity/uUSDSAKR">intensity</a>. When the wavelength is within the <a href="/facts/Visible_spectrum/frPBh8o5">visible spectrum</a> (the range of wavelengths humans can perceive, approximately from 390 <a href="/facts/Nanometre/a98sjHyu">nm</a> to 700 nm), it is known as "visible <a href="/facts/Light/jeofpMn4">light</a>".<a class="footnote-ref" id="fnref:1" href="#fn:1">1</a>
Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class, the members are called <a href="/facts/Metamerism_(color)/GoSRGA5p">metamers</a> of the color in question. This effect can be visualized by comparing the light sources' <a href="/facts/Spectral_power_distribution/fuKAFqtu">spectral power distributions</a> and the resulting colors.

<h3>Spectral colors</h3>
Main article: <a href="/facts/Spectral_color/SG0F8xet">Spectral color</a>
The familiar colors of the <a href="/facts/Rainbow/rBvLyu3u">rainbow</a> in the <a href="/facts/Visible_spectrum/frPBh8o5">spectrum</a>—named using the <a href="/facts/Latin/pM3Kge85">Latin</a> word for appearance or apparition by <a href="/facts/Isaac_Newton/4L7gTncN">Isaac Newton</a> in 1671—include all those colors that can be produced by visible <a href="/facts/Light/jeofpMn4">light</a> of a single wavelength only, the <a href="/facts/Spectral_color/SG0F8xet">pure spectral or monochromatic colors</a>. The spectrum above shows approximate wavelengths (in <a href="/facts/Nanometre/a98sjHyu">nm</a>) for spectral colors in the visible range. Spectral colors have 100% <a href="/facts/Colorfulness/WaePy7Ga">purity</a>, and are fully <a href="/facts/Colorfulness/WaePy7Ga">saturated</a>. A complex mixture of spectral colors can be used to describe any color, which is the definition of a light <a href="/facts/Power_spectrum/q3Rfs7b0">power spectrum</a>.
The spectral colors form a continuous spectrum, and how it is divided into <a href="/facts/Color_term/GUGLVf53">distinct colors linguistically</a> is a matter of culture and historical contingency.<a class="footnote-ref" id="fnref:2" href="#fn:2">2</a> Despite the ubiquitous <a href="/facts/ROYGBIV/2dIItoKQ">ROYGBIV</a> mnemonic used to remember the spectral colors in English, the inclusion or exclusion of colors is contentious, with disagreement often focused on <a href="/facts/Indigo/0gteqpM1">indigo</a> and cyan.<a class="footnote-ref" id="fnref:3" href="#fn:3">3</a> Even if the subset of color terms is agreed, their wavelength ranges and borders between them may not be.
The intensity of a spectral color, relative to the context in which it is viewed, may alter its perception considerably. For example, a low-intensity orange-yellow is <a href="/facts/Brown/QQNvjboh">brown</a>, and a low-intensity yellow-green is <a href="/facts/Olive_green/IMkcdPWd">olive green</a>. Additionally, hue shifts towards yellow or blue happen if the intensity of a spectral light is increased; this is called <a href="/facts/Bezold%25E2%2580%2593Br%25C3%25BCcke_shift/pTuxYWxQ">Bezold–Brücke shift</a>. In <a href="/facts/Color_models/PRcgeJE4">color models</a> capable of representing spectral colors,<a class="footnote-ref" id="fnref:4" href="#fn:4">4</a> such as <a href="/facts/CIELUV/E8eGBnBS">CIELUV</a>, a spectral color has the maximal saturation. In <a href="/facts/Helmholtz%25E2%2580%2593Kohlrausch_effect/TMyzNzLR">Helmholtz coordinates</a>, this is described as 100% <a href="/facts/Colorfulness/WaePy7Ga">purity</a>.

<h3>Color of objects</h3>
The physical color of an object depends on how it <a href="/facts/Absorbance/Rnv6VMX1">absorbs</a> and <a href="/facts/Scattering/nMou7lEH">scatters</a> light. Most objects scatter light to some degree and do not reflect or transmit light <a href="/facts/Specular/dwVIqLVb">specularly</a> like <a href="/facts/Glass/hezRsAGf">glasses</a> or <a href="/facts/Mirror/wMu4u6BB">mirrors</a>. A <a href="/facts/Transparency_(optics)/PRryNNW6">transparent</a> object allows almost all light to <a href="/facts/Transmittance/xlyCG7ks">transmit</a> or pass through, thus transparent objects are perceived as colorless. Conversely, an <a href="/facts/Opacity_(optics)/l90q0sAV">opaque</a> object does not allow light to transmit through and instead absorbs or <a href="/facts/Reflection_(physics)/BhcjDs79">reflects</a> the light it receives. Like transparent objects, <a href="/facts/Translucent/PRryNNW6">translucent</a> objects allow light to transmit through, but translucent objects are seen colored because they scatter or absorb certain wavelengths of light via internal scattering. The absorbed light is often dissipated as <a href="/facts/Heat/e9QqQ0B2">heat</a>.<a class="footnote-ref" id="fnref:5" href="#fn:5">5</a>

<h2 id="color-vision">Color vision</h2>
Main article: <a href="/facts/Color_vision/j3ou3Izz">Color vision</a>
<h3>Development of theories of color vision</h3>
Main article: <a href="/facts/Color_theory/bDWrmeqV">Color theory</a>

Although <a href="/facts/Aristotle/U2bDlBFW">Aristotle</a> and other ancient scientists had already written on the nature of light and <a href="/facts/Color_vision/j3ou3Izz">color vision</a>, it was not until <a href="/facts/Isaac_Newton/4L7gTncN">Newton</a> that light was identified as the source of the color sensation. In 1810, <a href="/facts/Goethe/k5hW4Tw5">Goethe</a> published his comprehensive <a href="/facts/Theory_of_Colors/wB2lHoey">Theory of Colors</a> in which he provided a rational description of color experience, which 'tells us how it originates, not what it is'. (Schopenhauer)
In 1801 <a href="/facts/Thomas_Young_(scientist)/X4RtR47L">Thomas Young</a> proposed his <a href="/facts/Trichromacy/C7I3Ywds">trichromatic theory</a>, based on the observation that any color could be matched with a combination of three lights. This theory was later refined by <a href="/facts/James_Clerk_Maxwell/jtYyze61">James Clerk Maxwell</a> and <a href="/facts/Hermann_von_Helmholtz/oFISedae">Hermann von Helmholtz</a>. As Helmholtz puts it, "the principles of Newton's law of mixture were experimentally confirmed by Maxwell in 1856. Young's theory of color sensations, like so much else that this marvelous investigator achieved in advance of his time, remained unnoticed until Maxwell directed attention to it."<a class="footnote-ref" id="fnref:6" href="#fn:6">6</a>
At the same time as Helmholtz, <a href="/facts/Ewald_Hering/zSvDV8HY">Ewald Hering</a> developed the <a href="/facts/Opponent_process/gMv5MSsJ">opponent process</a> theory of color, noting that <a href="/facts/Color_blindness/02Taxf5C">color blindness</a> and afterimages typically come in opponent pairs (red-green, blue-orange, yellow-violet, and black-white). Ultimately these two theories were synthesized in 1957 by Hurvich and Jameson, who showed that retinal processing corresponds to the trichromatic theory, while processing at the level of the <a href="/facts/Lateral_geniculate_nucleus/DcRMnj1J">lateral geniculate nucleus</a> corresponds to the opponent theory.<a class="footnote-ref" id="fnref:7" href="#fn:7">7</a>
In 1931, an international group of experts known as the Commission internationale de l'éclairage (<a href="/facts/International_Commission_on_Illumination/46q6W1zk">CIE</a>) developed a mathematical color model, which mapped out the space of observable colors and assigned a set of three numbers to each.

<h3>Color in the eye</h3>
Main article: <a href="/facts/Color_vision/j3ou3Izz">Color vision § Cone cells in the human eye</a>

The ability of the <a href="/facts/Human_eye/a24ua4fy">human eye</a> to distinguish colors is based upon the varying sensitivity of different cells in the <a href="/facts/Retina/v0ISNX2S">retina</a> to light of different <a href="/facts/Wavelength/kcJU0ymz">wavelengths</a>. Humans are <a href="/facts/Trichromatic/C7I3Ywds">trichromatic</a>—the retina contains three types of color receptor cells, or <a href="/facts/Cone_cell/JoQeEzoF">cones</a>. One type, relatively distinct from the other two, is most responsive to light that is perceived as blue or blue-violet, with wavelengths around 450 <a href="/facts/Nanometre/a98sjHyu">nm</a>; cones of this type are sometimes called short-wavelength cones or S cones (or misleadingly, blue cones). The other two types are closely related genetically and chemically: middle-wavelength cones, M cones, or green cones are most sensitive to light perceived as green, with wavelengths around 540 nm, while the long-wavelength cones, L cones, or red cones, are most sensitive to light that is perceived as greenish yellow, with wavelengths around 570 nm.
Light, no matter how complex its composition of wavelengths, is reduced to three color components by the eye. Each cone type adheres to the <a href="/facts/Principle_of_univariance/8J2A3Jpt">principle of univariance</a>, which is that each cone's output is determined by the amount of light that falls on it over all wavelengths. For each location in the visual field, the three types of cones yield three signals based on the extent to which each is stimulated. These amounts of stimulation are sometimes called tristimulus values.<a class="footnote-ref" id="fnref:8" href="#fn:8">8</a>
The response curve as a function of wavelength varies for each type of cone. Because the curves overlap, some tristimulus values do not occur for any incoming light combination. For example, it is not possible to stimulate only the mid-wavelength (so-called "green") cones; the other cones will inevitably be stimulated to some degree at the same time. The set of all possible tristimulus values determines the human color space. It has been estimated that humans can distinguish roughly 10 million different colors.<a class="footnote-ref" id="fnref:9" href="#fn:9">9</a>
The other type of light-sensitive cell in the eye, the <a href="/facts/Rod_cell/mNd9Sf1E">rod</a>, has a different response curve. In normal situations, when light is bright enough to strongly stimulate the cones, rods play virtually no role in vision at all.<a class="footnote-ref" id="fnref:10" href="#fn:10">10</a> On the other hand, in dim light, the cones are understimulated leaving only the signal from the rods, resulting in a <a href="/facts/Black-and-white/CXPjISFh">colorless</a> response (furthermore, the rods are barely sensitive to light in the "red" range). In certain conditions of intermediate illumination, the rod response and a weak cone response can together result in color discriminations not accounted for by cone responses alone. These effects, combined, are summarized also in the <a href="/facts/Kruithof_curve/W4S6zc1n">Kruithof curve</a>, which describes the change of color perception and pleasingness of light as a function of temperature and intensity.

<h3>Color in the brain</h3>
Main article: <a href="/facts/Color_vision/j3ou3Izz">Color vision § Color in the primate brain</a>
While the mechanisms of <a href="/facts/Color_vision/j3ou3Izz">color vision</a> at the level of the <a href="/facts/Retina/v0ISNX2S">retina</a> are well-described in terms of tristimulus values, color processing after that point is organized differently. A dominant theory of color vision proposes that color information is transmitted out of the eye by three <a href="/facts/Opponent_process/gMv5MSsJ">opponent processes</a>, or opponent channels, each constructed from the raw output of the cones: a red–green channel, a blue–yellow channel, and a black–white "luminance" channel. This theory has been supported by neurobiology, and accounts for the structure of our subjective color experience. Specifically, it explains why humans cannot perceive a "reddish green" or "yellowish blue", and it predicts the <a href="/facts/Color_wheel/RxVBIr7g">color wheel</a>: it is the collection of colors for which at least one of the two color channels measures a value at one of its extremes.
The exact nature of color perception beyond the processing already described, and indeed the status of color as a feature of the perceived world or rather as a feature of our perception of the world—a type of <a href="/facts/Qualia/YnwIAg5v">qualia</a>—is a matter of complex and continuing philosophical dispute.

From the V1 blobs, color information is sent to cells in the second visual area, V2. The cells in V2 that are most strongly color tuned are clustered in the "thin stripes" that, like the blobs in V1, stain for the enzyme cytochrome oxidase (separating the thin stripes are interstripes and thick stripes, which seem to be concerned with other visual information like motion and high-resolution form). Neurons in V2 then synapse onto cells in the extended V4. This area includes not only V4, but two other areas in the posterior inferior temporal cortex, anterior to area V3, the dorsal posterior inferior temporal cortex, and posterior TEO.<a class="footnote-ref" id="fnref:11" href="#fn:11">11</a><a class="footnote-ref" id="fnref:12" href="#fn:12">12</a> Area V4 was initially suggested by <a href="/facts/Semir_Zeki/ulWBouN8">Semir Zeki</a> to be exclusively dedicated to color,<a class="footnote-ref" id="fnref:13" href="#fn:13">13</a> and he later showed that V4 can be subdivided into subregions with very high concentrations of color cells separated from each other by zones with lower concentration of such cells though even the latter cells respond better to some wavelengths than to others,<a class="footnote-ref" id="fnref:14" href="#fn:14">14</a> a finding confirmed by subsequent studies.<a class="footnote-ref" id="fnref:15" href="#fn:15">15</a><a class="footnote-ref" id="fnref:16" href="#fn:16">16</a><a class="footnote-ref" id="fnref:17" href="#fn:17">17</a> The presence in V4 of orientation-selective cells led to the view that V4 is involved in processing both color and form associated with color<a class="footnote-ref" id="fnref:18" href="#fn:18">18</a> but it is worth noting that the orientation selective cells within V4 are more broadly tuned than their counterparts in V1, V2, and V3.<a class="footnote-ref" id="fnref:19" href="#fn:19">19</a> Color processing in the extended V4 occurs in millimeter-sized color modules called <a href="/facts/Glob_(visual_system)/BJfTUSvV">globs</a>.<a class="footnote-ref" id="fnref:20" href="#fn:20">20</a><a class="footnote-ref" id="fnref:21" href="#fn:21">21</a> This is the part of the brain in which color is first processed into the full range of <a href="/facts/Hue/9qufc1ap">hues</a> found in <a href="/facts/Color_space/zFvEyfHv">color space</a>.<a class="footnote-ref" id="fnref:22" href="#fn:22">22</a><a class="footnote-ref" id="fnref:23" href="#fn:23">23</a><a class="footnote-ref" id="fnref:24" href="#fn:24">24</a>

<h3>Nonstandard color perception</h3>
<h4>Color vision deficiency</h4>
Main article: <a href="/facts/Color_blindness/02Taxf5C">Color blindness</a>
A color vision deficiency causes an individual to perceive a smaller <a href="/facts/Gamut/bRQc2fCr">gamut</a> of colors than the standard observer with normal color vision. The effect can be mild, having lower "color resolution" (i.e. <a href="/facts/Anomalous_trichromacy/02Taxf5C">anomalous trichromacy</a>), moderate, lacking an entire dimension or channel of color (e.g. <a href="/facts/Dichromacy/19kYX4mk">dichromacy</a>), or complete, lacking all color perception (i.e. <a href="/facts/Monochromacy/RfXPTKoD">monochromacy</a>). Most forms of color blindness derive from one or more of the three classes of cone cells either being missing, having a shifted <a href="/facts/Spectral_sensitivity/F4V3Kkww">spectral sensitivity</a> or having lower responsiveness to incoming light. In addition, <a href="/facts/Cerebral_achromatopsia/WbI2kyql">cerebral achromatopsia</a> is caused by neural anomalies in those parts of the brain where visual processing takes place.
Some colors that appear distinct to an individual with normal color vision will appear <a href="/facts/Metamerism_(color)/GoSRGA5p">metameric</a> to the color blind. The most common form of color blindness is <a href="/facts/Congenital_red%25E2%2580%2593green_color_blindness/fmeTr5EJ">congenital red–green color blindness</a>, affecting ~8% of males. Individuals with the strongest form of this condition (<a href="/facts/Dichromacy/19kYX4mk">dichromacy</a>) will experience blue and purple, green and yellow, teal, and gray as colors of confusion, i.e. metamers.<a class="footnote-ref" id="fnref:25" href="#fn:25">25</a>

<h4>Tetrachromacy</h4>
Main article: <a href="/facts/Tetrachromacy/nACblPXq">Tetrachromacy</a>
Outside of humans, which are mostly trichromatic (having three types of cones), most mammals are dichromatic, possessing only two cones. However, outside of mammals, most vertebrates are <a href="/facts/Tetrachromatic/nACblPXq">tetrachromatic</a>, having four types of cones. This includes most <a href="/facts/Bird/RJF6zwLP">birds</a>,<a class="footnote-ref" id="fnref:26" href="#fn:26">26</a><a class="footnote-ref" id="fnref:27" href="#fn:27">27</a><a class="footnote-ref" id="fnref:28" href="#fn:28">28</a> <a href="/facts/Reptile/04n1uKf1">reptiles</a>, <a href="/facts/Amphibian/r2BleD2W">amphibians</a>, and <a href="/facts/Teleost/1YULPGW5">bony fish</a>.<a class="footnote-ref" id="fnref:29" href="#fn:29">29</a><a class="footnote-ref" id="fnref:30" href="#fn:30">30</a> An extra dimension of color vision means these vertebrates can see two distinct colors that a normal human would view as <a href="/facts/Metamerism_(color)/GoSRGA5p">metamers</a>. Some invertebrates, such as the <a href="/facts/Mantis_shrimp/bf4ANszS">mantis shrimp</a>, have an even higher number of cones (12) that could lead to a richer color <a href="/facts/Gamut/bRQc2fCr">gamut</a> than even imaginable by humans.
The existence of human tetrachromats is a contentious notion. As many as <a href="/facts/Tetrachromacy/nACblPXq">half of all human females have 4 distinct cone classes</a>, which could enable tetrachromacy.<a class="footnote-ref" id="fnref:31" href="#fn:31">31</a> However, a distinction must be made between retinal (or weak) tetrachromats, which express four cone classes in the retina, and functional (or strong) tetrachromats, which are able to make the enhanced color discriminations expected of tetrachromats. In fact, there is only one peer-reviewed report of a functional tetrachromat.<a class="footnote-ref" id="fnref:32" href="#fn:32">32</a> It is estimated that while the average person is able to see one million colors, someone with functional tetrachromacy could see a hundred million colors.<a class="footnote-ref" id="fnref:33" href="#fn:33">33</a>

<h4>Synesthesia</h4>
Main article: <a href="/facts/Synesthesia/dgENETlp">Synesthesia</a>
In certain forms of <a href="/facts/Synesthesia/dgENETlp">synesthesia</a>, perceiving letters and numbers (<a href="/facts/Grapheme%25E2%2580%2593color_synesthesia/hb22nvjw">grapheme–color synesthesia</a>) or hearing sounds (<a href="/facts/Chromesthesia/ujPLzgga">chromesthesia</a>) will evoke a perception of color. Behavioral and <a href="/facts/Functional_neuroimaging/r0k8tKGR">functional neuroimaging</a> experiments have demonstrated that these color experiences lead to changes in behavioral tasks and lead to increased activation of brain regions involved in color perception, thus demonstrating their reality, and similarity to real color percepts, albeit evoked through a non-standard route. Synesthesia can occur genetically, with 4% of the population having variants associated with the condition. Synesthesia has also been known to occur with brain damage, drugs, and sensory deprivation.<a class="footnote-ref" id="fnref:34" href="#fn:34">34</a>
The philosopher Pythagoras experienced synesthesia and provided one of the first written accounts of the condition in approximately 550 BCE. He created mathematical equations for musical notes that could form part of a scale, such as an octave.<a class="footnote-ref" id="fnref:35" href="#fn:35">35</a>

<h3>Afterimages</h3>
Main article: <a href="/facts/Afterimage/C93egAYk">Afterimage</a>
After exposure to strong light in their sensitivity range, <a href="/facts/Photoreceptor_cell/Ap0DcW5N">photoreceptors</a> of a given type become desensitized.<a class="footnote-ref" id="fnref:36" href="#fn:36">36</a><a class="footnote-ref" id="fnref:37" href="#fn:37">37</a> For a few seconds after the light ceases, they will continue to signal less strongly than they otherwise would. Colors observed during that period will appear to lack the color component detected by the desensitized photoreceptors. This effect is responsible for the phenomenon of <a href="/facts/Afterimage/C93egAYk">afterimages</a>, in which the eye may continue to see a bright figure after looking away from it, but in a <a href="/facts/Complementary_color/XDAx27pR">complementary color</a>. Afterimage effects have also been used by artists, including <a href="/facts/Vincent_van_Gogh/q9aWnV4l">Vincent van Gogh</a>.

<h3>Color constancy</h3>
Main article: <a href="/facts/Color_constancy/QAI244Xf">Color constancy</a>
When an artist uses a limited <a href="/facts/Color_palette/EM9QV3L1">color palette</a>, the human <a href="/facts/Visual_system/QVcuA27K">visual system</a> tends to compensate by seeing any gray or neutral color as the color which is missing from the color wheel. For example, in a limited palette consisting of red, yellow, black, and white, a mixture of yellow and black will appear as a variety of green, a mixture of red and black will appear as a variety of purple, and pure gray will appear bluish.<a class="footnote-ref" id="fnref:38" href="#fn:38">38</a>
The trichromatic theory is strictly true when the visual system is in a fixed state of adaptation.<a class="footnote-ref" id="fnref:39" href="#fn:39">39</a> In reality, the visual system is constantly adapting to changes in the environment and compares the various colors in a scene to reduce the effects of the illumination. If a scene is illuminated with one light, and then with another, as long as the difference between the light sources stays within a reasonable range, the colors in the scene appear relatively constant to us. This was studied by <a href="/facts/Edwin_H._Land/NH0g5T7o">Edwin H. Land</a> in the 1970s and led to his retinex theory of <a href="/facts/Color_constancy/QAI244Xf">color constancy</a>.<a class="footnote-ref" id="fnref:40" href="#fn:40">40</a><a class="footnote-ref" id="fnref:41" href="#fn:41">41</a>
Both phenomena are readily explained and mathematically modeled with modern theories of chromatic adaptation and color appearance (e.g. <a href="/facts/CIECAM02/sT38xh4m">CIECAM02</a>, iCAM).<a class="footnote-ref" id="fnref:42" href="#fn:42">42</a> There is no need to dismiss the trichromatic theory of vision, but rather it can be enhanced with an understanding of how the visual system adapts to changes in the viewing environment.

<h2 id="reproduction">Reproduction</h2>
Main article: <a href="/facts/Color_reproduction/xcvGneVA">Color reproduction</a>

Color reproduction is the science of creating colors for the human eye that faithfully represent the desired color. It focuses on how to construct a spectrum of wavelengths that will best evoke a certain color in an observer. Most colors are not spectral colors, meaning they are mixtures of various wavelengths of light. However, these non-spectral colors are often described by their <a href="/facts/Dominant_wavelength/R06y0zwf">dominant wavelength</a>, which identifies the single wavelength of light that produces a sensation most similar to the non-spectral color. Dominant wavelength is roughly akin to <a href="/facts/Hue/9qufc1ap">hue</a>.
There are many color perceptions that by definition cannot be pure spectral colors due to <a href="/facts/Colorfulness/WaePy7Ga">desaturation</a> or because they are <a href="/facts/Purple/PVL40QPo">purples</a> (mixtures of red and violet light, from opposite ends of the spectrum). Some examples of necessarily non-spectral colors are the achromatic colors (<a href="/facts/Black/Sl9vnhcG">black</a>, <a href="/facts/Gray/wGvycLY0">gray</a>, and <a href="/facts/White/L2qjm4G0">white</a>) and colors such as <a href="/facts/Pink/fHod9nJE">pink</a>, <a href="/facts/Tan_(color)/mYwBAohf">tan</a>, and <a href="/facts/Magenta/dk2zD4hq">magenta</a>.
Two different light spectra that have the same effect on the three color receptors in the human eye will be perceived as the same color. They are <a href="/facts/Metamerism_(color)/GoSRGA5p">metamers</a> of that color. This is exemplified by the white light emitted by fluorescent lamps, which typically has a spectrum of a few narrow bands, while daylight has a continuous spectrum. The human eye cannot tell the difference between such light spectra just by looking into the light source, although the <a href="/facts/Color_rendering_index/aaIJkcRn">color rendering index</a> of each light source may affect the color of objects illuminated by these metameric light sources.
Similarly, most human color perceptions can be generated by a mixture of three colors called primaries. This is used to reproduce color scenes in photography, printing, television, and other media. There are a number of methods or <a href="/facts/Color_space/zFvEyfHv">color spaces</a> for specifying a color in terms of three particular <a href="/facts/Primary_color/F4wNk0TC">primary colors</a>. Each method has its advantages and disadvantages depending on the particular application.
No mixture of colors, however, can produce a response truly identical to that of a spectral color, although one can get close, especially for the longer wavelengths, where the <a href="/facts/CIE_1931_color_space/fzgwzV8V">CIE 1931 color space</a> chromaticity diagram has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green.
Because of this, and because the primaries in <a href="/facts/Color_printing/yfQ8Vn2G">color printing</a> systems generally are not pure themselves, the colors reproduced are never perfectly saturated spectral colors, and so spectral colors cannot be matched exactly. However, natural scenes rarely contain fully saturated colors, thus such scenes can usually be approximated well by these systems. The range of colors that can be reproduced with a given color reproduction system is called the <a href="/facts/Gamut/bRQc2fCr">gamut</a>. The <a href="/facts/International_Commission_on_Illumination/46q6W1zk">CIE</a> chromaticity diagram can be used to describe the gamut.
Another problem with color reproduction systems is connected with the initial measurement of color, or <a href="/facts/Colorimetry/CuchJjFL">colorimetry</a>. The characteristics of the color sensors in measurement devices (e.g. cameras, scanners) are often very far from the characteristics of the receptors in the human eye.
A color reproduction system "tuned" to a human with normal color vision may give very inaccurate results for other observers, according to color vision deviations to the standard observer.
The different color response of different devices can be problematic if not properly managed. For color information stored and transferred in digital form, <a href="/facts/Color_management/4PtNuCee">color management</a> techniques, such as those based on <a href="/facts/ICC_profile/B9w9h83G">ICC profiles</a>, can help to avoid distortions of the reproduced colors. Color management does not circumvent the gamut limitations of particular output devices, but can assist in finding good mapping of input colors into the gamut that can be reproduced.

<h3>Additive coloring</h3>

<a href="/facts/Additive_color/RXEDm1hb">Additive color</a> is light created by mixing together <a href="/facts/Light/jeofpMn4">light</a> of two or more different colors.<a class="footnote-ref" id="fnref:43" href="#fn:43">43</a><a class="footnote-ref" id="fnref:44" href="#fn:44">44</a> <a href="/facts/Red/ETkA7QeX">Red</a>, <a href="/facts/Green/gFTac7St">green</a>, and <a href="/facts/Blue/DHWb8MUa">blue</a> are the additive <a href="/facts/Primary_color/F4wNk0TC">primary colors</a> normally used in additive color systems such as projectors, televisions, and computer terminals.

<h3>Subtractive coloring</h3>

<a href="/facts/Subtractive_color/lY5JqRgT">Subtractive coloring</a> uses dyes, inks, pigments, or filters to absorb some wavelengths of light and not others.<a class="footnote-ref" id="fnref:45" href="#fn:45">45</a> The color that a surface displays comes from the parts of the visible spectrum that are not absorbed and therefore remain visible. Without pigments or dye, fabric fibers, paint base and paper are usually made of particles that scatter white light (all colors) well in all directions. When a pigment or ink is added, wavelengths are absorbed or "subtracted" from white light, so light of another color reaches the eye.
If the light is not a pure white source (the case of nearly all forms of artificial lighting), the resulting spectrum will appear a slightly different color. <a href="/facts/Red/ETkA7QeX">Red</a> paint, viewed under <a href="/facts/Blue/DHWb8MUa">blue</a> light, may appear <a href="/facts/Black/Sl9vnhcG">black</a>. Red paint is red because it scatters only the red components of the spectrum. If red paint is illuminated by blue light, it will be absorbed by the red paint, creating the appearance of a black object.
The subtractive model also predicts the color resulting from a mixture of paints, or similar medium such as fabric dye, whether applied in layers or mixed together prior to application. In the case of paint mixed before application, incident light interacts with many different pigment particles at various depths inside the paint layer before emerging.<a class="footnote-ref" id="fnref:46" href="#fn:46">46</a>

<h3>Structural color</h3>
Further information: <a href="/facts/Structural_coloration/vg3zYCd9">Structural coloration</a> and <a href="/facts/Animal_coloration/ULNm6v70">Animal coloration</a>

Structural colors are colors caused by interference effects rather than by pigments. Color effects are produced when a material is scored with fine parallel lines, formed of one or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's <a href="/facts/Wavelength/kcJU0ymz">wavelength</a>. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce <a href="/facts/Tyndall_effect/QJ9I8yeI">Tyndall effect</a> colors: the blue of the sky (Rayleigh scattering, caused by structures much smaller than the wavelength of light, in this case, air molecules), the luster of <a href="/facts/Opal/LF7Xa7nK">opals</a>, and the blue of human irises. If the microstructures are aligned in arrays, for example, the array of pits in a CD, they behave as a <a href="/facts/Diffraction_grating/TUcyt7Do">diffraction grating</a>: the grating reflects different wavelengths in different directions due to <a href="/facts/Wave_interference/lI5f78I4">interference</a> phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness.
Structural color is studied in the field of <a href="/facts/Thin-film_optics/lwgIJUwc">thin-film optics</a>. The most ordered or the most changeable structural colors are <a href="/facts/Iridescent/ykc1opK8">iridescent</a>. Structural color is responsible for the blues and greens of the feathers of many birds (the blue jay, for example), as well as certain butterfly wings and beetle shells. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in <a href="/facts/Peacock/mfhnT3h8">peacock</a> feathers, <a href="/facts/Soap_bubble/eq1CIYkW">soap bubbles</a>, films of oil, and <a href="/facts/Mother_of_pearl/a5ek6xm4">mother of pearl</a>, because the reflected color depends upon the viewing angle. Numerous scientists have carried out research in butterfly wings and beetle shells, including Isaac Newton and Robert Hooke. Since 1942, <a href="/facts/Electron_microscope/XtaBktwF">electron micrography</a> has been used, advancing the development of products that exploit structural color, such as "<a href="/facts/Photonic/6UHcPXbq">photonic</a>" cosmetics.<a class="footnote-ref" id="fnref:47" href="#fn:47">47</a>

<h2 id="optimal-colors">Optimal colors</h2>
Main article: <a href="/facts/Gamut/bRQc2fCr">Gamut § Surfaces (optimal colors)</a>
Optimal colors are the most chromatic colors that surfaces can have. That is, optimal colors are the theoretical limit for the color of objects*.<a class="footnote-ref" id="fnref:48" href="#fn:48">48</a> For now, we are unable to produce objects with such colors, at least not without recurring to more complex physical phenomena.
*(with classical reflection. Phenomena like <a href="/facts/Fluorescence/qsJVT2qP">fluorescence</a> or <a href="/facts/Structural_coloration/vg3zYCd9">structural coloration</a> may cause the color of objects to lie outside the optimal color solid)
The plot of the gamut bounded by optimal colors in a color space is called the optimal <a href="/facts/Color_solid/23KjR5e1">color solid</a> or Rösch–<a href="/facts/David_MacAdam/SHouuvAc">MacAdam</a> color solid.
The <a href="/facts/Reflectance/TT4sBwIw">reflectance spectrum</a> of a color is the amount of light of each wavelength that it reflects, in proportion to a given maximum, which is total reflection of light of that wavelength, and has the value of 1 (100%). If the reflectance spectrum of a color is 0 (0%) or 1 (100%) across the entire visible spectrum, and it has no more than two transitions between 0 and 1, or 1 and 0, then it is an optimal color. With the current state of technology, we are unable to produce any material or pigment with these properties.<a class="footnote-ref" id="fnref:49" href="#fn:49">49</a>

Thus four types of "optimal color" spectra are possible: 

<ul><li>The transition goes from zero at both ends of the spectrum to one in the middle, as shown in the image at right.</li>
<li>It goes from one at the ends to zero in the middle.</li>
<li>It goes from 1 at the start of the visible spectrum to 0 in some point in the middle until its end.</li>
<li>It goes from 0 at the start of the visible spectrum to 1 at some point in the middle until its end.</li></ul>
The first type produces colors that are similar to the <a href="/facts/Spectral_colors/SG0F8xet">spectral colors</a> and follow roughly the horseshoe-shaped portion of the <a href="/facts/Chromaticity_diagram/eMDuJLsk">CIE xy chromaticity diagram</a> (the <a href="/facts/Spectral_locus/SG0F8xet">spectral locus</a>), but are, in surfaces, more <a href="/facts/Colorfulness/WaePy7Ga">chromatic</a>, although less <a href="/facts/Visible_spectrum/frPBh8o5">spectrally</a> pure. The second type produces colors that are similar to (but, in surfaces, more chromatic and less spectrally pure than) the colors on the straight line in the CIE xy chromaticity diagram (the <a href="/facts/Line_of_purples/Jp41krdQ">line of purples</a>), leading to <a href="/facts/Magenta/dk2zD4hq">magenta</a> or purple-like colors. The third type produces the colors located in the "warm" sharp edge of the optimal color solid (this will be explained later in the article). The fourth type produces the colors located in the "cold" sharp edge of the optimal color solid.
In optimal color solids, the colors of the visible spectrum are theoretically black, because their reflectance spectrum is 1 (100%) in only one wavelength, and 0 in all of the other infinite visible wavelengths that there are, meaning that they have a lightness of 0 with respect to white, and will also have 0 chroma, but, of course, 100% of spectral purity. In short: In optimal color solids, spectral colors are equivalent to black (0 lightness, 0 chroma), but have full spectral purity (they are located in the horseshoe-shaped spectral locus of the chromaticity diagram).<a class="footnote-ref" id="fnref:50" href="#fn:50">50</a>
In linear color spaces, such as <a href="/facts/LMS_color_space/b6GW3kXe">LMS</a> or <a href="/facts/CIE_1931_color_space/fzgwzV8V">CIE 1931 XYZ</a>, the set of <a href="/facts/Ray_(geometry)/gJqsr4Gj">rays</a> that start at the origin (black, (0, 0, 0)) and pass through all the points that represent the colors of the visible spectrum, and the portion of a plane that passes through the violet half-line and the red half-line (both ends of the visible spectrum), generate the "spectrum cone". The black point (coordinates (0, 0, 0)) of the optimal color solid (and only the black point) is tangent to the "spectrum cone", and the white point ((1, 1, 1)) (only the white point) is tangent to the "inverted spectrum cone", with the "inverted spectrum cone" being <a href="/facts/Symmetry/hpu7DK8p">symmetrical</a> to the "spectrum cone" with respect to the middle gray point ((0.5, 0.5, 0.5)). This means that, in linear color spaces, the optimal color solid is centrally symmetric.<a class="footnote-ref" id="fnref:51" href="#fn:51">51</a>

In most color spaces, the surface of the optimal color solid is smooth, except for two points (black and white); and two sharp edges: the "<a href="/facts/Heat/e9QqQ0B2">warm</a>" edge, which goes from black, to red, to orange, to yellow, to white; and the "cold" edge, which goes from black, to deep <a href="/facts/Violet_(color)/zcNJGApt">violet</a>, to blue, to <a href="/facts/Cyan/AXtegEzm">cyan</a>, to white. This is due to the following: If the portion of the reflectance spectrum of a color is spectral red (which is located at one end of the spectrum), it will be seen as black. If the size of the portion of total reflectance is increased, now covering from the red end of the spectrum to the yellow wavelengths, it will be seen as red or orange. If the portion is expanded even more, covering some green wavelengths, it will be seen as yellow. If it is expanded even more, it will cover more wavelengths than the yellow <a href="/facts/Color_solid/23KjR5e1">semichrome</a> does, approaching white, until it is reached when the full spectrum is reflected. The described process is called "cumulation". Cumulation can be started at either end of the visible spectrum (we just described cumulation starting from the red end of the spectrum, generating the "warm" sharp edge), cumulation starting at the violet end of the spectrum will generate the "cold" sharp edge.<a class="footnote-ref" id="fnref:52" href="#fn:52">52</a>

On modern computers, it is possible to calculate an optimal color solid with great precision in seconds. Usually, only the MacAdam limits (the optimal colors, the boundary of the Optimal color solid) are computed, because all the other (non-optimal) possible surface colors exist inside the boundary.

<h3>Maximum chroma colors, semichromes, or full colors</h3>
Each hue has a maximum chroma point, semichrome, or full color; objects cannot have a color of that hue with a higher chroma. They are the most chromatic, vibrant colors that objects can have. They were called semichromes or full colors by the German chemist and philosopher <a href="/facts/Wilhelm_Ostwald/Abr7Rppg">Wilhelm Ostwald</a> in the early 20th century.<a class="footnote-ref" id="fnref:53" href="#fn:53">53</a><a class="footnote-ref" id="fnref:54" href="#fn:54">54</a>
If B is the complementary wavelength of wavelength A, then the straight line that connects A and B passes through the achromatic axis in a linear color space, such as LMS or CIE 1931 XYZ. If the reflectance spectrum of a color is 1 (100%) for all the wavelengths between A and B, and 0 for all the wavelengths of the other <a href="/facts/Half/wKqmu9HK">half</a> of the color space, then that color is a maximum chroma color, semichrome, or full color (this is the explanation to why they were called semichromes). Thus, maximum chroma colors are a type of optimal color.<a class="footnote-ref" id="fnref:55" href="#fn:55">55</a><a class="footnote-ref" id="fnref:56" href="#fn:56">56</a>
As explained, full colors are far from being monochromatic (physically, not perceptually). If the spectral purity of a semichrome is increased, its <a href="/facts/Colorfulness/WaePy7Ga">chroma</a> decreases, because it will approach the visible spectrum, ergo, it will approach black.<a class="footnote-ref" id="fnref:57" href="#fn:57">57</a>
In perceptually uniform color spaces, the lightness of the full colors varies from around 30% in the violetish blue hues, to around 90% in the <a href="/facts/Yellow/KrLNgk4v">yellowish</a> hues. The chroma of each maximum chroma point also varies depending on the hue; in optimal color solids plotted in perceptually uniform color spaces, semichromes like red, green, violet, and <a href="/facts/Magenta/dk2zD4hq">magenta</a> have a high chroma, while semichromes like yellow, orange, and <a href="/facts/Cyan/AXtegEzm">cyan</a> have a slightly lower chroma.

<h2 id="cultural-perspective">Cultural perspective</h2>
The meanings and associations of colors can play a major role in works of art, including literature.<a class="footnote-ref" id="fnref:58" href="#fn:58">58</a>

<h3>Associations</h3>
Individual colors have a variety of cultural associations such as <a href="/facts/National_colors/sDUgUl4G">national colors</a> (in general described in individual color articles and <a href="/facts/Color_symbolism/QMEKBWBV">color symbolism</a>). The field of <a href="/facts/Color_psychology/ToQ9PHDU">color psychology</a> attempts to identify the effects of color on human emotion and activity. <a href="/facts/Chromotherapy/FQ9AIXSv">Chromotherapy</a> is a pseudoscientific therapy attributed to various Eastern traditions. Colors have different associations in different countries and cultures.<a class="footnote-ref" id="fnref:59" href="#fn:59">59</a>
Different colors have been demonstrated to have effects on cognition. For example, researchers at the University of Linz in Austria demonstrated that the color red significantly decreases cognitive functioning in men.<a class="footnote-ref" id="fnref:60" href="#fn:60">60</a> The combination of the colors red and yellow together can induce hunger, which has been capitalized on by a number of chain restaurants.<a class="footnote-ref" id="fnref:61" href="#fn:61">61</a>
Color plays a role in memory development too. A photograph that is in black and white is slightly less memorable than one in color.<a class="footnote-ref" id="fnref:62" href="#fn:62">62</a> Studies also show that wearing bright colors makes one more memorable to people they meet.

<h3>Terminology</h3>
Main article: <a href="/facts/Color_term/GUGLVf53">Color term</a>
See also: <a href="/facts/Lists_of_colors/mFdEBmgQ">Lists of colors</a> and <a href="/facts/Web_colors/bvUDhlfX">Web colors</a>
Colors vary in several different ways, including <a href="/facts/Hue/9qufc1ap">hue</a> (shades of <a href="/facts/Red/ETkA7QeX">red</a>, <a href="/facts/Orange_(colour)/FNScAQvv">orange</a>, <a href="/facts/Yellow/KrLNgk4v">yellow</a>, <a href="/facts/Green/gFTac7St">green</a>, <a href="/facts/Blue/DHWb8MUa">blue</a>, and <a href="/facts/Violet_(color)/zcNJGApt">violet</a>, etc.), <a href="/facts/Colorfulness/WaePy7Ga">saturation</a>, <a href="/facts/Brightness/e93R5I4b">brightness</a>. Some color words are derived from the name of an object of that color, such as "<a href="/facts/Orange_(colour)/FNScAQvv">orange</a>" or "<a href="/facts/Salmon_(color)/jPGVd8nC">salmon</a>", while others are abstract, like "red".
In the 1969 study <a href="/facts/Basic_Color_Terms/GUGLVf53">Basic Color Terms</a>: Their Universality and Evolution, <a href="/facts/Brent_Berlin/RorzFnHm">Brent Berlin</a> and <a href="/facts/Paul_Kay/Ex8JS1rJ">Paul Kay</a> describe a pattern in naming "basic" colors (like "red" but not "red-orange" or "dark red" or "blood red", which are "shades" of red). All languages that have two "basic" color names distinguish dark/cool colors from bright/warm colors. The next colors to be distinguished are usually red and then yellow or green. All languages with six "basic" colors include black, white, red, green, blue, and yellow. The pattern holds up to a set of twelve: black, gray, white, pink, red, orange, yellow, green, blue, purple, brown, and <a href="/facts/Azure_(color)/SRYwa2Er">azure</a> (distinct from blue in <a href="/facts/Russian_language/ETXrTgHV">Russian</a> and <a href="/facts/Italian_language/YXsmvlQG">Italian</a>, but not English).

<h2 id="see-also">See also</h2>
<ul><li><a href="/facts/Chromophore/9RykVkek">Chromophore</a></li>
<li><a href="/facts/Color_analysis/BKC8WxaR">Color analysis</a></li>
<li><a href="/facts/Color_in_Chinese_culture/2QadaDfq">Color in Chinese culture</a></li>
<li><a href="/facts/Color_mapping/sPgHLPKY">Color mapping</a></li>
<li><a href="/facts/Complementary_colors/XDAx27pR">Complementary colors</a></li>
<li><a href="/facts/Impossible_color/Jm6jPWK0">Impossible color</a></li>
<li><a href="/facts/International_Color_Consortium/qDXbNwTo">International Color Consortium</a></li>
<li><a href="/facts/International_Commission_on_Illumination/46q6W1zk">International Commission on Illumination</a></li>
<li><a href="/facts/Lists_of_colors/mFdEBmgQ">Lists of colors</a> <a href="/facts/List_of_colors_(compact)/gk3vuRxA">(compact version)</a></li>
<li><a href="/facts/Neutral_color/wGvycLY0">Neutral color</a></li>
<li><a href="/facts/Pearlescent_coating/NIU53RNc">Pearlescent coating</a> including Metal effect pigments</li>
<li><a href="/facts/Pseudocolor/vb0F6J0e">Pseudocolor</a></li>
<li><a href="/facts/Primary_color/F4wNk0TC">Primary</a>, <a href="/facts/Secondary_color/FPsy6xtj">secondary</a> and <a href="/facts/Tertiary_color/HeQmGXjJ">tertiary colors</a></li></ul>

<h2 id="external-links">External links</h2>
<ul><li><a href="https://www.britannica.com/EBchecked/topic/126658">Color</a> at the <a href="/facts/Encyclop%25C3%25A6dia_Britannica/CEyVsjlN">Encyclopædia Britannica</a></li>
<li>Maund, Barry. <a href="https://plato.stanford.edu/entries/color/">"Color"</a>. In <a href="/facts/Edward_N._Zalta/U8JxHaaA">Zalta, Edward N.</a> (ed.). <a href="/facts/Stanford_Encyclopedia_of_Philosophy/LDuL5HW4">Stanford Encyclopedia of Philosophy</a>.</li>
<li><a href="https://iep.utm.edu/color">"Color"</a>. <a href="/facts/Internet_Encyclopedia_of_Philosophy/tmS0Sylv">Internet Encyclopedia of Philosophy</a>.</li></ul>

<h2 id="references">References</h2>

<ol>
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<li id="fn:2">Berlin, B. and Kay, P., Basic Color Terms: Their Universality and Evolution, Berkeley: University of California Press, 1969. <a href="/wiki/Brent_Berlin" target="_blank">/wiki/Brent_Berlin</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></li>
<li id="fn:3">Waldman, Gary (2002). Introduction to light: the physics of light, vision, and color. Mineola: Dover Publications. p. 193. ISBN 978-0486421186. <a href="978-0486421186" target="_blank">978-0486421186</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></li>
<li id="fn:4">"Perceiving Color" (PDF). courses.washington.edu. <a href="http://courses.washington.edu/psy333/lecture_pdfs/chapter7_Color.pdf#page=72" target="_blank">http://courses.washington.edu/psy333/lecture_pdfs/chapter7_Color.pdf#page=72</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></li>
<li id="fn:5">Berns, Roy S. (2019). Billmeyer and Saltzman's Principles of Color Technology. Fred W. Billmeyer, Max Saltzman (4th ed.). Hoboken, NJ: Wiley. pp. 5–9, 12. ISBN 978-1119366683. OCLC 1080250734. <a href="978-1119366683" target="_blank">978-1119366683</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></li>
<li id="fn:6">Hermann von Helmholtz, Physiological Optics: The Sensations of Vision, 1866, as translated in Sources of Color Science, David L. MacAdam, ed., Cambridge: MIT Press, 1970. <a href="/wiki/MIT_Press" target="_blank">/wiki/MIT_Press</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></li>
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<li id="fn:8">Magazine, Nicola Jones, Knowable. "Color Is in the Eye, and Brain, of the Beholder". Scientific American. Retrieved 2022-11-08.{{cite web}}: CS1 maint: multiple names: authors list (link) <a href="https://www.scientificamerican.com/article/color-is-in-the-eye-and-brain-of-the-beholder/" target="_blank">https://www.scientificamerican.com/article/color-is-in-the-eye-and-brain-of-the-beholder/</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></li>
<li id="fn:9">Judd, Deane B.; Wyszecki, Günter (1975). Color in Business, Science and Industry. Wiley Series in Pure and Applied Optics (3rd ed.). New York: Wiley-Interscience. p. 388. ISBN 978-0471452126. <a href="978-0471452126" target="_blank">978-0471452126</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></li>
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</ol>

Color open-in-new

Color