Color models
The color model is an image of the color spectrum in the form of a three-dimensional figure. Since most modern color models have three dimensions (such as the RGB model), they can be depicted as three-dimensional shapes.
According to the principle of operation, color models are subtractive and additive, they describe the behavior of color in different environments. Additive (RGB) models are based on the addition of colors and are characterized by the fact that by combining different shades of light, the result is white light. Subtractive (CMYK) models are based on the principle of subtraction, characteristic of pigments, when mixed, which forms black. For example, printers use three colors of ink — cyan, magenta, and yellow — from which an acceptable number of colors are mixed. Black is often used for reasons of economy, as it cannot be efficiently obtained from three colors. On the other hand, digital devices that reproduce an image using light use three primary colors per pixel - red, green and blue. Although both of these models are based on different colors, the complementary colors are the same.
It is important to use the correct color model for correct color reproduction. When preparing a layout for printing, the CMYK model will be preferable, which will reduce color distortion and the final result will be as close as possible to the original image
Subtractive and additive models
RGB is a color model that has three dimensions: red, green, and blue. It is often depicted as a cube with red, green and blue colors on the x, y and z axes. By defining a specific color, we set its coordinates in RGB 3D space, where 0% of each color will give black, and 100% of each of the primary colors will give white.
RGB model
HSV (HSB) is a color model that redistributes the primary colors of the RGB model in the form of a cylinder. This model has the same dimensions as the Munsell color tree:
- Hue is a circumferential measurement where 0 ° is red, 120 ° is green, and 240 ° is blue.
- Saturation - is responsible for the amount of color, while 100% saturation will give the purest color, and 0% will go to the gray scale.
- Brightness (value or brightness) - is responsible for the presence of white in the color. In this case, 0% brightness will give black color, and at 100% brightness, the color will be as bright as possible.
Note that the measurements in the HSV model are interdependent. That is, if, for example, the brightness is set to 0%, then the saturation and hue will not matter, since 0% brightness gives black.
HSV Model (HSB)
HSL is a cylindrical color model, similar to HSV, but instead of brightness, the third dimension is responsible for the lightness of the color (the amount of white).
- Hue - as in the HSV model, determines the position of the color around the circle.
- Saturation - also responsible for the purity of the color
- Lightness - is responsible for the amount of white in a color. 100% lightness is white, 0% is black, and 50% is the purest saturated color.
HSL model
LAB - has the widest color gamut (gamut) due to the fact that, although not explicitly, it uses not three, but four basic colors. This model consists of three channels:
- L (lightness) - lightness, sets the coordinates of light (100) and shadow (0)
- a - spectrum from green through gray to magenta
- b - spectrum from blue through gray to yellow.
Parameters a and b each have 256 values from -128 to 127. At the same time, their negative values correspond to cold colors, and positive ones - to warm ones. Zero values of channels a and b give achromatic scale
LAB model
CMYK is a four-dimensional color model used in printing. Only four colors are used in printing to produce other colors: cyan, magenta, yellow, and black. Each of the numbers that define the CMYK color represents the percentage of each ink in that particular color.
CMYK Model
In graphic editors, you can often find color settings for several color models. For example, in Adobe Photoshop, you can adjust the color by RGB, HSB, CMYK and LAB models. Changing parameters in one of them leads to changes in indicators in other models.
Adjusting color in Adobe Photoshop
The Colorizer application allows you to adjust the color for all the above described models and several additional ones. At the same time, just like in Photoshop, it is easy to trace the interconnection of all color models. In addition, the Colorizer provides a whole range of harmonious combinations with the selected color: complementary colors, process colors, similar and other color combinations.
Color selection approach
Algorithm
The choice of colors must be approached sequentially:
- Choosing a base color. White or gray - easy and correct. they are suitable for standard finishing materials. Brown, peach, black, or whatever if you want to suffer.
- We think about the things that will appear in the rooms in the process of life. We make a list of ALL things and colors that they may have.
- Considering the previous point, choose your favorite main accent (adequate to the chosen design style).
- We select additional ones according to the color wheel.
- Thinking about the share of accent. The permissible saturation depends on this. The more area a color occupies, the less catchy it should be.
- We distribute our bright spots to different points in the room. The workload should be uniform.
- We understand the main principle. White, gray, black and wood are enough for a stylish design. We add brightness to make it even cooler. And in this it is always better to overdo it than overdo it.
- Let's simplify our accent color plan by 2 times.
The most important point is the seventh. The interior is not a painting with paints or an advertising poster. The combination of colors in the interior is about choosing one or two correct accent colors and carefully dosed adding them to the overall neutral range.
Bright accent colors should be added with anything but trim. It is not necessary to make the walls themselves or, even worse, the ceiling aggressive, this is not how the design is done. Furniture, carpets, paintings, all sorts of pillows, curtains and accessories - they make accents. They are easy to add and remove. Leave the finish in natural colors.
Natural
So, the basic palette is white, gray, black and wood.
Their combination is enough to create a stylish interior. They fit together perfectly and seamlessly. This is a safe color scheme where the worst option is a slightly boring interior. Ideal is also quite possible. Adding accent bold colors can make a design both better and worse.
Let's break down some real photos of interiors into palettes:
Stop.
They seemed almost monochrome, and there is a bunch of flowers!
This is the whole trick! The point is in the uneven texture, the play of light and shadow, reflections, the color temperature of the selected lamps. That is why it is absolutely not necessary to always add bright colors.
But still, let's figure out how to do it.
The best colors for the interior
For interiors, we are interested in 2 inner rings (pastel colors), 3 outer (dark) ones, and they are the same but with a different saturation.
In the highlighted areas, colors that I do not recommend using in the interior. This does not mean that they are bad. Rather risky. It is difficult to combine them in the interior. I warned.
The inner and outer parts of the color chart are of primary interest to us. Pastels from the middle of the diagram can be used in decoration, but without fanaticism. Dirty dark ones are good for textiles: curtains, carpet, bedding, upholstered furniture.
I recommend skipping some of the spectrum. it does not match with natural materials and natural finishes. The most standard jamb of amateurs - the color of the floor breaks everything.Choose an accent from the middle of a circle or even from dangerous areas, without thinking that most floor materials imitate wood, which is not combined with aggressive colors in terms of luminosity or saturation:
By the way:
Therefore, in nurseries, I recommend white furniture. This is the only way to use bright colors that children like so much.
Red, green, blue - 3 primary colors, the rest are obtained by mixing them with each other, as well as with white and black (luminosity) and gray (saturation). Clean them categorically should not be used in interiors.
They are too aggressive, they put pressure on the psyche and pull all the attention.
And no, dirty colors look cool and not depressing. In the last paragraph of the article about an interesting kitchen interior, I collected options with just such color combinations.
In total, we exclude from our interior:
- Pure red, blue, green.
- Bright deep pink colors.
- Dark and dirty greens (keep natural herbal greens, pale pastel greens and all mixtures like pistachio).
- Pale peach from the finish (in textiles it is possible). The reason is that the peach has become boring in the European-style renovations of the beginning of the 2000s.
What is light and color
Since color is the ability of objects to reflect or emit light waves from a specific part of the spectrum, let's start by defining what light is.
Since ancient times, people have tried to understand the nature of light. For example, the ancient Greek philosopher Pythagoras formulated the theory of light, in which he argued that straight rays of visible light are emitted directly from the eyes, which, falling on an object and touching it, give people the opportunity to see. According to Empedocles, the goddess of love Aphrodite placed four elements in our eyes - fire, water, air and earth. It is the light of the inner fire, the philosopher believed, that helps people see objects of the material world. Plato assumed that there are two forms of light - internal (fire in the eyes) and external (light of the outside world) - and their mixing gives people vision.
With the invention and development of various optical devices, the concept of light has evolved and transformed. So at the end of the 17th century, two main theories of light arose - the corpuscular theory of Newton and the wave theory of Huygens.
According to the corpuscular theory, light was represented as a stream of particles (corpuscles) emitted by a luminous object. Newton believed that the movement of light particles is subject to the laws of mechanics, that is, for example, the reflection of light was understood as the reflection of an elastic ball from a surface. The scientist explained the refraction of light by a change in the speed of light particles during the transition between different media.
In the wave theory, in contrast to the corpuscular theory, light was considered as a wave process, like mechanical waves. The theory is based on the Huygens principle, according to which each point to which a light wave reaches becomes the center of secondary waves. Huygens' theory made it possible to explain such light phenomena as reflection and refraction.
Thus, the entire 18th century became the century of the struggle between the two theories of light. In the first third of the 19th century, however, Newton's corpuscular theory was rejected and the wave theory triumphed.
An important discovery of the 19th century was the electromagnetic theory of light put forward by the English scientist Maxwell. Research led him to the conclusion that electromagnetic waves must exist in nature, the speed of which reaches the speed of light in airless space. The scientist believed that light waves have the same nature as the waves that arise around a wire with an alternating electric current, and differ from each other only in length.
In 1900, Max Planck put forward a new quantum theory of light, according to which light is a stream of definite and indivisible portions of energy (quanta, photons). Developed by Einstein, the quantum theory was able to explain not only the photoelectric effect, but also the laws governing the chemical action of light and a number of other phenomena.
At present, wave-particle dualism prevails in science, that is, a dual nature is attributed to light. So, when light propagates, its wave properties are manifested, while when it is emitted and absorbed, they are quantum.
But how does color come from light? In 1676, Isaac Newton, using a triangular prism, decomposed white sunlight into a color spectrum that contained all colors except magenta. The scientist conducted his experiment as follows: white sunlight passed through a narrow slit and passed through a prism, after which it was directed to a screen, where an image of the spectrum appeared. The continuous color bar started in red and through orange, yellow, green and blue ended in purple. If this image was passed through a collecting lens, then the output was again white light. Thus, Newton discovered that white light is a combination of all colors.
The following observation was also curious: if one of the colors, for example, green, is removed from the color spectrum, and the rest are passed through a collecting lens, then the resulting color will turn out to be red - complementary to the removed color.
Basically, each color is created by electromagnetic waves of a certain length. The human eye is able to see colors with wavelengths ranging from 400 to 700 nanometers, where the shortest wavelength is violet and the largest is red. Since each color of the spectrum is characterized by its own wavelength, it can be precisely defined by the wavelength or vibration frequency. By themselves, light waves are colorless, color arises only when the waves are perceived by the human eye and brain. However, the mechanism by which we recognize these waves is still unknown.
LAB
The LAB color model (CIELAB, "CIE 1976 L * a * b *") is calculated from the CIE XYZ space. When developing Lab, the goal was to create a color space in which the color change will be more linear from the point of view of human perception (compared to XYZ), that is, so that the same change in color coordinate values in different regions of the color space produces the same color change sensation.
HEX to RGB
HEX to RGBA
HEX to RGB (%)
HEX to RGBA (%)
HEX to HSL
HEX to HSLA
HEX to CMYK
HEX to HSB / HSV
HEX to XYZ
HEX to LAB
RGB to HEX
RGB to RGBA
RGB to RGB (%)
RGB to RGBA (%)
RGB to HSL
RGB to HSLA
RGB to CMYK
RGB to HSB / HSV
RGB to XYZ
RGB to LAB
RGBA to HEX
RGBA to RGB
RGBA to RGB (%)
RGBA to RGBA (%)
RGBA to HSL
RGBA to HSLA
RGBA to CMYK
RGBA to HSB / HSV
RGBA to XYZ
RGBA to LAB
RGB (%) to HEX
RGB (%) to RGB
RGB (%) to RGBA
RGB (%) to RGBA (%)
RGB (%) to HSL
RGB (%) in HSLA
RGB (%) to CMYK
RGB (%) to HSB / HSV
RGB (%) in XYZ
RGB (%) in LAB
RGBA (%) to HEX
RGBA (%) to RGB
RGBA (%) to RGBA
RGBA (%) to RGB (%)
RGBA (%) to HSL
RGBA (%) to HSLA
RGBA (%) to CMYK
RGBA (%) to HSB / HSV
RGBA (%) in XYZ
RGBA (%) to LAB
HSL to HEX
HSL to RGB
HSL to RGBA
HSL to RGB (%)
HSL to RGBA (%)
HSL to HSLA
HSL to CMYK
HSL to HSB / HSV
HSL to XYZ
HSL to LAB
HSLA to HEX
HSLA to RGB
HSLA to RGBA
HSLA to RGB (%)
HSLA to RGBA (%)
HSLA to HSL
HSLA to CMYK
HSLA to HSB / HSV
HSLA to XYZ
HSLA to LAB
CMYK to HEX
CMYK to RGB
CMYK to RGBA
CMYK to RGB (%)
CMYK to RGBA (%)
CMYK to HSL
CMYK to HSLA
CMYK to HSB / HSV
CMYK to XYZ
CMYK to LAB
HSB / HSV to HEX
HSB / HSV to RGB
HSB / HSV in RGBA
HSB / HSV in RGB (%)
HSB / HSV to RGBA (%)
HSB / HSV to HSL
HSB / HSV to HSLA
HSB / HSV in CMYK
HSB / HSV to XYZ
HSB / HSV to LAB
XYZ to HEX
XYZ to RGB
XYZ to RGBA
XYZ to RGB (%)
XYZ to RGBA (%)
XYZ to HSL
XYZ to HSLA
XYZ to CMYK
XYZ to HSB / HSV
XYZ to LAB
LAB to HEX
LAB to RGB
LAB to RGBA
LAB to RGB (%)
LAB to RGBA (%)
LAB to HSL
LAB to HSLA
LAB to CMYK
LAB to HSB / HSV
LAB to XYZ
