Magenta color in clothes. Modern color theory

Printer base colors

Additional printer colors

Because the base regular and optional light inks have different dye concentrations, it was possible to achieve higher print quality in the highlights—no graininess in the highlights. It became possible to reproduce 4 times (!) large quantity shades. For example, the traditionally wider color gamut for printing on fabrics has been expanded to - CMYK + Blue. Today the accepted scheme in digital inkjet printing for textiles is CMYK + Orange (Red) + Blue.

In 1994, the Pantone Hexachrome (CMYKOG) color model was proposed. Two new colors have been added to the four CMYK colors: green (G) and orange (O). Thanks to this, many Pantone shades became available (up to 90%), while CMYK conveyed about 50%. And the range of reproduced CMYKOG colors exceeds the RGB color gamut.

Today, Epson UltraChrome HDR pigment inks provide 98% of the Pantone color gamut. The set includes 10 ink colors: standard or matte black, grey, light grey, cyan, light cyan, rich magenta, rich light magenta, yellow, green and orange.

White and metallic began to be used as additional colors, making it possible to print bright images with a bright white color and a metallic printing effect on films, vinyl, canvas, photo paper, etc. For example, the second generation eco-solvent ink Epson UltraChrome GSX contains white ink and silver metallic. However, it’s worth mentioning right away that this ink has a special chemical composition and their cost is quite high. The ink is not designed for continuous filling; we are talking about fragmentary use on dark and transparent media.

To get the perfect result various types The paper is specially designed with 2 types of black ink. For printing on matte media - Matte Black, which guarantees the deepest possible black color, and for glossy and semi-gloss media - Photo Black.

It is worth remembering that the color scheme cannot be changed. For example, a user cannot upgrade an 8-color printer to a 10-color model. And vice versa, in the 10-color model you cannot block additional colors.

When you need to mix primary colors and get your favorite purple, green, orange shades, the method of obtaining them depends on many factors. The question is, are you mixing pigments or light? We'll tell you how to work with any materials and share ways to get all the colors of the rainbow!

Steps

Mixing colors: subtractive colors

Take paints. Any kind of paint will do - even those used on furniture or walls - but it is best (and cleanest) to practice with a few small tubes of oil or acrylic paint. First, let's see what happens if we mix just two colors - red and blue.

• Note: Black can be obtained by mixing existing colors. Black pigment, of course, exists, but its use is too conspicuous. It is better to obtain dark colors by mixing transparent primary colors: shadows also have shades, depending on the time of day and other factors.
• Read the "Other Tips" section below for guidance on choosing the best magenta and cyan.

1. Mix red and blue. Everyone knows that red and blue when mixed give purple, is not it? Indeed, but it's not that bright, vibrant purple. Instead they form something like this:

   • Not very pleasing to the eye? This is because red and blue absorb more and reflect less of the spectrum, producing a dark, dirty purple instead of a vibrant and bright one.

2. Now try this: mix magenta with a little cyan and you will see the difference. This time you will get something like this:

   

   • Magenta is a shade of purple, cyan is a blue-green shade, often called royal blue or turquoise. Along with yellow, they are the primary colors in the CMYK model, which is based on a subtractive color scheme (producing color by subtracting individual components from white). This scheme is used in printing, including color printers.
   • You can see that using true primary colors - magenta and cyan - results in a much brighter, more vibrant hue. If you want a deeper purple, add more blue. For a deep purple, add black.

3. Mix pigments to create primary and secondary colors. There are 3 main color pigments: cyan, magenta and yellow. There are also 3 secondary colors obtained by mixing two primary colors:

   • Cyan + yellow = green
   • Cyan + magenta = blue
   • Magenta + yellow = red
   • Cyan + magenta + yellow = black
   • In subtractive color mixing, the combination of all colors produces black.

4. "Read the information below. See the Mixing Paints section for more detailed advice on how to achieve the best results. different shades, including light, dark and grayish. The Tips section provides an extensive list of colors and combinations you can use to get those colors on your palette.

   Light mixing: additive colors

   1. Take a look at your monitor. Look at the white areas on this page and get as close as possible. Even better if you have a magnifying glass. When you bring your eyes closer to the screen, you will see not white, but red, green and blue dots. Unlike pigments, which work by absorbing color, light is additive, meaning it works by adding up light streams. Cinema screens and displays, whether it's a 60-inch plasma TV or the 3.5-inch Retina display in your iPhone, use an additive method of mixing colors.

      Mix light to create primary and secondary colors. As with subtractive colors, there are 3 primary and 3 secondary colors obtained by mixing the primary colors. The result may surprise you:

      • Mixing red + blue = magenta
      • Mixing blue + green = cyan
      • Mixing green + red = yellow
      • In additive color mixing, the combination of all colors produces white.
      • Please note that primary additive colors are secondary subtractive colors, and vice versa. How can it be? Know that the effect of subtractive color is a combined process: it absorbs some colors, and we perceive what remains, that is, reflected light. Reflected color is the color of the luminous flux that remains when all other colors have been absorbed.

   Modern color theory

   1. Understand the subjective nature of color perception. Human perception and identification of color depend on both objective and subjective factors. While scientists can detect and measure light down to the nanometer, our eyes perceive a complex combination of not only hue, but also color saturation and brightness. This circumstance is further complicated by the way we see the same color on different backgrounds.

      Hue, saturation and lightness are the three dimensions of color. We can say that any color has three dimensions: hue, saturation and lightness.

      • Tone characterizes the position of color on color wheel- red, orange, yellow and so on, including all intermediate colors such as red-orange or orange-yellow. Here are some examples: Pink refers to a magenta or red tone (or anything in between). Brown refers to the orange tone because brown is dark orange.
      • Saturation- This is what produces rich, vibrant color, like on a rainbow or color wheel. Pale, dark and muted colors (shades) are less saturated.
      • Lightness shows how close a color is to white or black, regardless of color. If you take a black and white photograph of flowers, you can tell which ones are lighter and which ones are darker.
        • For example, bright yellow is a relatively light color. You can lighten it up even more by adding white and making it a pale yellow.
        • Bright blue is naturally dark and low on the light scale, while dark blue is even lower.

   Mixing paints

   1. Follow these instructions to get any color you want. Magenta, yellow and cyan are primary subtractive colors, which means that they can be mixed to create any other color, but they themselves cannot be obtained from other colors. Primary subtractive colors are used when mixing pigments such as inks, dyes and paints.

      Low saturation colors (soft colors) come in three main types: light, dark and muted.

      Add white to get lighter colors. Any color can be lightened by adding white to it. To achieve a very light color, it is better to add the base color to the white a little at a time so as not to waste excess paint.

      Add black to get dark colors. Any color can be darkened by adding black to it. Some artists prefer to add a complementary color that is opposite a given color on the exact CMY/RGB color wheel. For example, green can be used to darken magenta and magenta can be used to darken green because they are opposite each other on the color wheel. Add black or complementary color a little at a time so as not to overdo it.

      Add white and black (or white and a complementary color to the original) to create muted, grayish colors. By varying the relative amounts of black and white flowers, you can get any desired level of lightness and saturation. For example: add white and black to yellow to get light olive. Black will darken yellow, turning it into olive green, and white will lighten that olive green. Different shades of olive green can be achieved by adjusting the amount of color added.

      • To achieve a desaturated color such as brown (dark orange), you can adjust the hue in the same way as to achieve bright orange - by adding small amounts of colors nearby on the color wheel: magenta, yellow, red or orange. They will make the brown brighter while changing its shade. But since brown is not a bright color, you can also use colors on the other sides of the triangle, such as green or blue, which will darken the brown while changing its hue.

   2. Get black. This can be done by mixing any two colors that are mutually complementary, as well as three or more colors that are equidistant from each other on the color wheel. Just don't add white or any color containing white unless you want a shade of gray. If the resulting black leans too much toward a particular color, neutralize it by adding a little complementary color to that color.

      Don't try to get white. White cannot be obtained by mixing other colors. Like the three primary colors - magenta, yellow and cyan - you will have to buy them, unless, of course, you are working with materials like watercolor, for which paper itself is used instead of white if necessary.

      Develop an action plan. Think about the hue, lightness, and saturation of the color you have and the color you want, and make adjustments accordingly.

      • For example, the shade of green can be brought closer to cyan or yellow - its neighbors on the color wheel. It can be lightened by adding white. Or darken it by adding black or a complementary color, namely purple, magenta or red, depending on the shade of green. You can tone it down by adding black and white, or make the desaturated green a little brighter by adding (bright) green.
      • One more example. You mixed red and white to make pink, but the pink came out too bright and warm (yellowish). To correct the warm shade, you will have to add a little magenta. To tone down hot pink, add white, a complementary color (or black), or both. Decide if you want a darker pink (add only the complementary color), a grayish pink (add white and the complementary color), or just a lighter pink (add only the white). If you plan to adjust the hue with magenta and tone down the pink with green or cyan (complementary to magenta and red), you can try combining the two by using a color between magenta and cyan, such as blue.

   3. Mix paints and start creating a masterpiece! If all of this seems overwhelming, you just need a little practice. Creating a color guide for your own needs - good way Practice using the principles of color theory. Even by printing it from your computer, you will provide yourself useful information for a time when you do not yet have practice and cannot work on an intuitive level.

   Samples of colors and methods for obtaining them

   • Select the color you want and follow the instructions below. Each sample provides a range of possibilities; you can adjust the amount of paint you use to get exactly the color you want. For example, any light color can be lightened or darkened by adding more or less white. Complementary, or complementary, colors are colors that are opposite each other on the RGB/CMY color wheel.
   • Red: Add a little yellow or orange to the magenta.
     • Light red (salmon pink, coral): Add white to red. Use less white and more red to get coral.
     • Dark red: Add a little black (or cyan) to the red. Cyan is complementary to red.
     • Muted red: Add white and black (or cyan) to red.
   • Yellow: Yellow cannot be obtained by mixing other colors. You'll have to buy it.
     • Light yellow: Add white to yellow.
     • Dark yellow (olive green): Add a little black (or purple-blue) to the yellow. Violet-blue is complementary to yellow.
     • Muted yellow (light olive): Add white or black (or violet-blue) to yellow.
   • Green: Mix cyan and yellow.
     • Light green: Add white to green.
     • Dark green: Add a little black (or magenta) to the green. Magenta is complementary to green.
     • Grey-green: Add white and black (or magenta) to green.
   • Cyan (turquoise blue): Cyan cannot be obtained by mixing other colors. You'll have to buy it.
     • Light cyan: Add white to cyan.
     • Dark cyan: Add a little black (or red) to the cyan. Red is complementary to cyan.
     • Grey-blue: Add white and black (or red) to the cyan.
   • Purple Blue: Mix magenta with cyan or blue.
     • Light violet blue (lavender): Add white to the purple-blue.
     • Dark violet blue: Add a little black (or yellow) to the purple-blue. Yellow is complementary to violet.
     • Grayish-violet-blue: Add white and black (or yellow) to the purple-blue.
   • Violet: Mix magenta with a little cyan, blue or violet blue.
     • Light purple: Add white to purple.
     • Dark purple: Add some black (or lime green) to the purple. Lime green is complementary to purple.
     • Muted purple: Add white and black (or lime green) to the purple.
   • Black: Black can be created by mixing any two complementary colors or three equidistant colors on the precise CMY/RGB color wheel, such as red, green and blue. If instead of pure black you got dark color, correct it by adding a color that is complementary to it.
   • White: White cannot be obtained by mixing other colors. You'll have to buy it. To get white warm shade(such as cream), add a little yellow. To get a cool white, add a little cyan.
   • Grey: Gray is a mixture of black and white.
   • When mixing paints, add a little at a time to adjust the color. You can always add more. This is especially true when working with black and blue, which tend to dominate other colors. Add a little at a time until you achieve the desired result.
   • To find out if a color is complementary, use your own eyes. It's an old trick: look closely at a color, then look away at a white surface. Due to “color fatigue” in the eyes, you will see the opposite color.
   • Choosing primary colors when purchasing can be difficult. Look for magenta that does not contain white or blue pigments (PW and PB). The best pigments are violet and red pigments such as PV19 and PR122. Good cyan PB15:3. PB15 and PG7 are also good. If you need artist paints or glazes, you can try using a printer to match the colors. Print a sample from your computer to take with you to the store, or look for primary colors on the sides of a cereal or cookie package.
   • You need one color triangle of colors that provide visual balance to the painting, and another color triangle to identify pairs of colors that neutralize each other, since the complementary colors for these tasks are slightly different. So, ultramarine goes well with lemon yellow and other beautiful yellows, but to darken those yellows, use purple. More information on this subject can be found online.
   • How many tubes of different paints do you actually need to paint a picture? Jean-Louis Morell's book on watercolor painting shows how, using the cyan-yellow-magenta color triangle, you can get almost any color you want from just four or five, but it can also be done using these three plus white (as white in watercolor painting is paper)!
     • The best range of shades can be obtained by mixing colors close to the CMY primary colors, but to get a darker shade, one - or better yet, two - must be darker than these primary colors, for example, Persian blue or cobalt blue, alizarin crimson.
   • What are you writing? The colors you need depend entirely on what you're writing. For example, ultramarine, Neapolitan yellow, burnt sienna and whitewash are useful for distant landscapes if bright greens and yellows are not needed.

   What you will need

   • Palette - a disposable paper palette works well.
   • Palette knife (any size)
   • Watercolor paper or primed canvas (you can buy these from your local art store; ready-made primed canvas works well)
   • Containers with water or solvent for washing brushes
   • Synthetic brush of your choice (#8 round or #6 flat works well)
   • Spray bottle to keep water-based paints from drying out
   • Paper towels for removing dirt and cleaning brushes
   • Color circle
   • Paints
   • A robe or an old shirt that you don’t mind getting dirty
   • Gloves

Colors in clothes refresh a woman's complexion. In addition, the tonic effect of pink improves blood circulation and accelerates cell metabolism.

We will focus on the most popular shades of pink - raspberry, magenta, fuchsia and lavender (lavender pink).

Raspberry is an explosive mixture of fiery and extravagant hot pink and cold and calculating. For all its brightness, the clothing is not perceived as overly feminine - sensual, naive or setting up a romantic mood, which means it can be worn by an 18-year-old girl, and (and especially in combination with dark colors).

Raspberry goes well with neutral black and white. Clothes like this color scheme It is appropriate both during the day - for a business style look, and in the evening. In addition to black and white, raspberry can be combined with green, light green, yellow-light green or orange.

An outfit in raspberry-green and raspberry-orange tones is most appropriate for evening outings or weekends.

Magenta color in clothes

In fact, magenta is a whole group of colors, which are obtained by mixing in certain proportions and blue colors. Due to the fact that magenta color consists of two waves different lengths, magenta cannot be called either cold or warm color. As a result, magenta suits almost all girls and women, plump and thin, and young and not so young.

The dye used as a color standard is magenta, which was first obtained in 1859 in Italy shortly after the battle near the Italian town of Magenta. Initially, the Italians called this color magenta, but a year later, in 1860, they renamed it mangenta in order to perpetuate the memory of the soldiers who fought for Magenta.

The magenta color group includes 3 colors:

Original magenta color

This is the color of 1860 (also called deep magenta), see swatch:

Typographic color magenta

This color appeared in 1980 and was widely used in printing and looked like this:

Electronic magenta (fuchsia)

Electronic magenta is the popular fuchsia color that almost never leaves the catwalks. This color has a characteristic shade, making fuchsia in clothes look more noble, elegant and sophisticated compared to pink.

One of the fuchsia shades - ultra- or shocking pink - first appeared on the catwalks with light hand designer and one of the main fashion reformers Elsa Schiaparelli in 1936.

In fuchsia (or electronic magenta) color There are many shades: this is pale magenta, or light pink:

Pale magenta or pink:

Ultra pink:

And finally shocking pink color in clothing or, as it is sometimes called, neon pink, the appearance of which we owe to the Italian Schiaparelli.

It may seem that getting purple dye is almost impossible. We've all been taught that we can create purple by mixing red and blue, but we often find it difficult to achieve the desired result: instead of a bright purple hue, we end up with a gray-violet or dark burgundy color. In this article, we'll show you how to achieve purple and violet shades.

Method 1. Magenta and blue, blue shades

1. First of all, we need magenta paint. Often when we mix red and blue, we fail to achieve a vibrant purple hue. And the reason is that the red paint absorbs the green and blue shades. Since blue paint in turn absorbs red and green shades, our vision perceives only specific colors in the range “red, blue, green”. Here our vision practically does not perceive red and blue shades, and therefore our brain interprets the combination of these colors as dark purple shade. Paint in the magenta color spectrum absorbs only the green tone, so visually we can distinguish many blue and red shades. Mix magenta paint with a small amount of blue paint (which absorbs red and green tones) or cyan paint (which only absorbs red tones). As a result, our brain will perceive a strong signal with the color blue and a weak signal with the color red, and you end up with a bright purple color!

Magenta is one of the subtractive primary colors used by graphic designers. These colors also include yellow and blue.

Look for paint with PR122 or PV19 pigment, while avoiding paint with PB (blue) and PW (white) pigments.

If you are looking for magenta poster ink, you can compare it to the ink you use in your printer. Just print out a page with that color and go get some paint.

Since magenta is a primary color, it cannot be created by mixing other shades. By mixing magenta with yellow in different proportions, you can create many shades of red and orange. When mixing magenta with blue in different proportions you can get a whole range of blue and purple shades.

2. Mix magenta paint with royal blue or turquoise. Use a small amount of blue color, otherwise you may end up with a greenish tone. Add a little blue to the magenta and then gradually increase the amount until you get the shade you want.

Method 2: Purple from Red and Green

1. Here you will need red and blue paint. Often, when mixing blue and red, we fail to achieve the desired purple hue. This happens because often other shades are mixed with blue and red paint. A can of red paint may contain orange and yellow pigments, while a can of blue paint may contain red and yellow pigments. yellow shades. If you mix red and blue, which contain other pigments, you will get a brown tint.

Find real red paint without yellow or orange contaminants; these colors, when mixed with blue, produce a brown tint.

You'll also want to look for true blue paint that doesn't have any yellow or green undertones.
If you're not sure if your paint is real, you can always check. Take some paint (blue or red) and mix it with white. What shade did you get? The white color helps determine whether there are excess pigments in the paint. If you have paint without impurities, then when mixing red and white you should get a pink, not a peach tint. When mixing blue with white, the result should be a sky blue shade, not a sea green color.

2. Mix blue and red. Take the colors in equal proportions and mix them on the palette with a brush: you should get a rich purple hue.

If you want your purple to have a purple tint, add a little blue.

If you want your purple to have a warmer, pinkish tint, then add red.

Method 3. White and black

1. Add white color. Whether you created purple by mixing blue and red or magenta and cyan, white will make the resulting shade lighter and brighter. First add a little white paint, then gradually increase the amount of paint until you get the desired shade. The white color will give your purple a pastel tint.

2. Add black paint. Mixing your purple with black paint will create a rich, dark hue. But add black little by little so your color doesn't turn out too dark.

3. Mix white and black with purple. The result is a grayish lavender shade that can be darker or lighter as you wish. You can add red or magenta to the resulting shade and then get more pink tone. If you want purple to turn purple, mix it with blue or cyan.

In contact with

Magenta color is one of the primary colors, an integral part of the basic palette for painting.. Magenta dye was synthesized in 1856 and owes its name to the bloody battle of the Italian city of Magenta. Magenta dye has a very low level of light fastness, so similar red-pink colors are now produced on the basis of quinacridone pigments.

Story

The battle, after which the color magenta was named, took place in 1859 in Italy near the city of Magenta between Franco-Sardinian troops and Austrian ones. France, despite the numerical superiority of its opponent, was able to win at the cost of impressive losses (4,000 killed and wounded on the French side and 5,700 on the Austrian side). Contemporaries of the events said that the battlefield was red with blood. The dye obtained three years earlier was named in honor of this fight.

Dye or pigment, what's the difference?

One of the most important properties for professional artists is light fastness. Dyes gradually fade when exposed to light. While pigments retain their original color for a long time.

Magenta color (quinacridone) with the maximum level of light fastness is presented in the following series of Royal Talens artistic paints:

Oil paints Royal Talens Rembrandt, color 366 ()

Watercolor paints Royal Talens Rembrandt, color 366 ( )

Oil paints Royal Talens Van Gogh, color 366 (

Watercolor paints Royal Talens Van Gogh, color 366 (