It is exacty why I suggest customers approaching a final decision on a color, but are not absolutely certain, to invest in a color sample of the paint to see in the "real world" home environment what it will look like over 24 hours of daylight and artificial light, not to mentioned reflected light from other furnishings in the room. Those warm colors, often thought to be the intent of the masters, suddenly became rather bright and some think garish! It is kind of funny at how many unhappy art connoiseurs there were when hundreds of years of candle schmutz was removed from the ceiling of the Sistene Chapel and from the Rose Window in the Cathedral of Notre Dame in Paris. Isaac Newton knew of it 400 years ago as did the Old Masters mixing their paints by eye and hand. There is an incredible amount of physical and biological science that goes into what influences the perception of a color on the wall, but in essence it all breaks down into the colors of the light spectrum and the tint colors that represent them in the paint mixture. Of course the ambient light in the room can change that perception, etc. Of course, the color of the substrate can influence the perception, especially if the coating is not of sufficient thickness to block the transfer of light. Alone, they certainly do not, but they are the primary determinant of the final perceived color on the wall. Kind of a simplistic statement: "the color of ingredient substances does not determine the color of their mixtures". Often, colorants must be physically mixed in order to find out what their mixture color will be.” ~Bruce MacEvoy ( ) I call these problems substance uncertainty: because of them, the color of ingredient substances does not determine the color of their mixtures. “Unfortunately, the color mixture “predictions” made by subtractive color theory are often inaccurate, because the light absorbing properties of a colorant are affected by its physical state - its particle size, transparency, density, dispersion or medium, the color of the substrate, the other colorants it is mixed with, the thickness of the color layer, and so on. This source simply describes why that's true: While referencing the colorants sounds like it should be a logical approach, fact is Pantone has nothing to do with architectural paints, color mixing or the human perception of color. The three main categories for their collections are: Graphic Design, Fashion and Interior Design, and Industrial Design. The recipes are organized into different categories based on application the recipes could be for ink on paper, or dyes for textiles, or formulations for plastics. Pantone is essentially just a big library of ink and dye recipes.
RGB values have nothing to do with architectural paints, color mixing or the human perception of color. all use the RGB color space and channels of colored light to display color. Your computer monitor, smartphone, tablet, TV, etc. RGB is red, green and blue channels of light that mix together to create a range of colors, RGB is a color space. CMYK has nothing to do with architectural paints, color mixing or the human perception of color. They are colors of ink that blend together to make a range of colors - ink like you buy for your printer at home, as one example. To clarify for all who may not understand what CMYK, RGB and Pantone means.ĬMYK is Cyan, Magenta, Yellow and Black.
Everyone else, I work a lot with color, CMYK, RGB, Pantone in graphic design.
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