Relations between RGB and CMYK Colors.
Hi all, I am back after a week. I was little busy....Last day someone ask me about the relationship between RGB and CMYK colors (if any??!!). Here we go...
At first I should tell you RGB & CMYK are just the different color space. So some of the color of RGB might not show accurate in CMYK color space. But as the rule of thumb the theory of color just rock.
I think you have read my first post i.e. Understanding RGB and CMYK Color Spaces in short. It will help you to understand. So, RGB color space is consisting of three primary colors. R stands for RED, G stands for Green and B stands for Blue and CMYK color space has four primary colors. C for Cyan, M for Magenta, Y for Yellow and K for Black.
We should leave the K, so we got C-M-Y, so as I have discussed earlier...
C is the inverted color of R C <> R
M is the inverted color of G M <> G
Y is the inverted color of B Y <> B
Now, if we add C, M, Y colors with each other then we will get...
C + M = Blue (B)
C + Y = Green (G)
M + Y = Red (R)
So, reproduced colors are R, G, B.
Again, if we do it with R, G, B colors.
R + G = Yellow (Y)
R + B = Magenta (M)
G + B = Cyan (C)
In that case we are getting C, M, Y, colors.
So, from there we got two theories for all the colors, like...
C <> R, and C = G + B
M <> G, and M = R + B
Y <> B, and Y = R + G
And Oh, any combination of inverse color will produce black.
So, what is the point? If we can remember those relations then it does'nt matter in which color space you are working on, you can always change any color either you are in RGB colors space and you want to adjust the C or in CMYK color space you want to change the Red color.
In CMYK color space we can change the Red color by adjusting both M and Y color, But if we just drop the the curve of Cyan then it will levitate the intensity of Red (direct access to the Red color) also.
What I am trying is to express you the relationship between those different colors space and what I have explained on color corrections, has some pros and cons. But in my experience I got some events when this relationship helped me to command over the colors.
If you have any questions or quarry you can mail me on kamal4webdesign@gmail.com.
Thursday, September 17, 2009
Wednesday, September 9, 2009
Understanding RGB and CMYK Color Spaces in short...
When we are introduced that all colors could be reproduced with the combination of only three colors, then there a lot of color space were developed on the basis of that X-Y-Z colors. It takes some time to evolve from the very first color space to C-M-Y-K color space. As we see it has four primary colors in CMY-K, so it should be the special. We will discuss that in a while.
R-G-B color space is the pre-ancestor of C-M-Y-K color space. RGB is the additive color space so it should be use where we need to add those primary colors (R-G-B) to make another new color and it should be any illuminative source (light source) and obviously we are following this thing, if you put a water drop (not recommended) on the monitor you will see some tiny dots of only R,G,B.
So, as its comes from illuminative source this is the source where all the primary colors add with each other and emits the resultant color as light, those reproduced colors are very bright in RGB color space. Hence it cover a wide range of brightness.
In RGB color space, there are 256 steps for each of the primary color, so it can cover 256 (R) x 256 (G) x 256 (B) colors. And why is the 256 threshold is there? :) Because, our eyes can only perceive 256 (0 to 255) brightness value of any single color. In full intensity this color space produce pure white and in nil value it produce black. It means when all the pigment of RGB were in full intensity it is producing white color and when all RGB pigment were in off state then its produce black obviously.
So, from the last paragraph we found if we want to print black with RGB color we can't be able to do this because in black state the value of R G B is just '0 (Zero)' so none of any color will be printed, what we will see then noly the paper color. So, in this condition we should take Black as paper color. But none of the color will be printed as bright in comprising with printed over a white paper, right!.....So it doesn't help.
Now, what we need is one color space that will act just opposite of RGB color space or we can say just the Inverse of RGB color space. So, developers' come to find this solution and they did as expected. They inverted the R-G-B colors. And after inversion we got Red > Cyan, Green > Magenta, Yellow > Blue i.e. C-M-Y color space.
In that way we found a new color space C-M-Y capable of the same brightness coverage and same number of color coverage. But in full intensity it produce Black and in nil condition white. A it is the inverse color space of RGB so its not additive color space any more, its now reflective or you can say substractive color space, light will come to the printed sheet first and then it will reflect to our eyes, so now we will see the substracted color as a rule of color reflection (CMY is substractive color space). Its clear as its not a illuminative source it couldn't cover that wide range of brightness.
Now the time to answer, where the "K" comes from, here K stand for Black. If full intensity of C,M and Y produce the black so what is the necessary to ad a Black color with that?? In full intensity C, M and Y doesn't produce the rich black at all in real life, what it produce is a dull dark brown tone. That is why black is separately introduced. In CMY color space the highest value of all the element colors are 100 as there is a guest (K) in color space so they had to distribute total color range among all of them. So it cover 100 (C) x 100 (M) x 100 (Y) x 100 (K) total color range.
But, it can't cover the range of RGB as it has a wide brightness coverage that CMYK doesn't.
If you like my posts.....you can contact me on "kamal4webdesign@gmail.com" or if you have any question or request for future issues then please suggest me. Thanks.
When we are introduced that all colors could be reproduced with the combination of only three colors, then there a lot of color space were developed on the basis of that X-Y-Z colors. It takes some time to evolve from the very first color space to C-M-Y-K color space. As we see it has four primary colors in CMY-K, so it should be the special. We will discuss that in a while.
R-G-B color space is the pre-ancestor of C-M-Y-K color space. RGB is the additive color space so it should be use where we need to add those primary colors (R-G-B) to make another new color and it should be any illuminative source (light source) and obviously we are following this thing, if you put a water drop (not recommended) on the monitor you will see some tiny dots of only R,G,B.
So, as its comes from illuminative source this is the source where all the primary colors add with each other and emits the resultant color as light, those reproduced colors are very bright in RGB color space. Hence it cover a wide range of brightness.
In RGB color space, there are 256 steps for each of the primary color, so it can cover 256 (R) x 256 (G) x 256 (B) colors. And why is the 256 threshold is there? :) Because, our eyes can only perceive 256 (0 to 255) brightness value of any single color. In full intensity this color space produce pure white and in nil value it produce black. It means when all the pigment of RGB were in full intensity it is producing white color and when all RGB pigment were in off state then its produce black obviously.
So, from the last paragraph we found if we want to print black with RGB color we can't be able to do this because in black state the value of R G B is just '0 (Zero)' so none of any color will be printed, what we will see then noly the paper color. So, in this condition we should take Black as paper color. But none of the color will be printed as bright in comprising with printed over a white paper, right!.....So it doesn't help.
Now, what we need is one color space that will act just opposite of RGB color space or we can say just the Inverse of RGB color space. So, developers' come to find this solution and they did as expected. They inverted the R-G-B colors. And after inversion we got Red > Cyan, Green > Magenta, Yellow > Blue i.e. C-M-Y color space.
In that way we found a new color space C-M-Y capable of the same brightness coverage and same number of color coverage. But in full intensity it produce Black and in nil condition white. A it is the inverse color space of RGB so its not additive color space any more, its now reflective or you can say substractive color space, light will come to the printed sheet first and then it will reflect to our eyes, so now we will see the substracted color as a rule of color reflection (CMY is substractive color space). Its clear as its not a illuminative source it couldn't cover that wide range of brightness.
Now the time to answer, where the "K" comes from, here K stand for Black. If full intensity of C,M and Y produce the black so what is the necessary to ad a Black color with that?? In full intensity C, M and Y doesn't produce the rich black at all in real life, what it produce is a dull dark brown tone. That is why black is separately introduced. In CMY color space the highest value of all the element colors are 100 as there is a guest (K) in color space so they had to distribute total color range among all of them. So it cover 100 (C) x 100 (M) x 100 (Y) x 100 (K) total color range.
But, it can't cover the range of RGB as it has a wide brightness coverage that CMYK doesn't.
If you like my posts.....you can contact me on "kamal4webdesign@gmail.com" or if you have any question or request for future issues then please suggest me. Thanks.
Tuesday, September 8, 2009
Hi All,
I am a Graphic Designer, having eight years of experience. I will discuss some of the least understanding issues regarding design and print and thus we will try to reduce the gap of Good Design and Technically Good Design. Obviously we should discuss on graphic software as well as it relates.
Let start with one of the least understand issue.
We print something with C (Cyan) M (Magenta) Y (Yellow) K (Black) colors. Every time printers' use C M Y K colors in full intensity. So the question is how they printout those midtones like 30% cyan 50% Magenta or any combination of those in light intensity??
So, here we are. As we use those primary colors in full intensity (100%), in that way its seems to be impossible to print those light tone. But hey, think again the color of paper is white if we can use it wisely then it could be a nice way to solve this problem.
We have an idea that if we add white with any color then that color will fade. Now you should wondering how you add that white paper color with those primary colors. LPI (Line Per Inch) is the culprit here. When we set some design to send to the printer then usually we mention like "this should print with #150 dot", actually we mention here that LPI.
LPI doesn't mean that in every where dot percentage will be same but it means the highest density of dot will be 150. So, where the light colors area reside that percentage will reduce dramatically. And one thing I should mention here that, you couldn't find any dot over the color of full intensity. Because the technology for printing midtone is LPI.
So, that mean, if you need to print 30 percent of cyan then on that particular area it will take only 30 percent of area and it will print some dots of 100 percent cyan. As we can't figure those tiny dots with naked eye we will sea combine effect of 30 percent of pure cyan with 70 percent of white i.e. 30 percent of cyan.
I am a Graphic Designer, having eight years of experience. I will discuss some of the least understanding issues regarding design and print and thus we will try to reduce the gap of Good Design and Technically Good Design. Obviously we should discuss on graphic software as well as it relates.
Let start with one of the least understand issue.
We print something with C (Cyan) M (Magenta) Y (Yellow) K (Black) colors. Every time printers' use C M Y K colors in full intensity. So the question is how they printout those midtones like 30% cyan 50% Magenta or any combination of those in light intensity??
So, here we are. As we use those primary colors in full intensity (100%), in that way its seems to be impossible to print those light tone. But hey, think again the color of paper is white if we can use it wisely then it could be a nice way to solve this problem.
We have an idea that if we add white with any color then that color will fade. Now you should wondering how you add that white paper color with those primary colors. LPI (Line Per Inch) is the culprit here. When we set some design to send to the printer then usually we mention like "this should print with #150 dot", actually we mention here that LPI.
LPI doesn't mean that in every where dot percentage will be same but it means the highest density of dot will be 150. So, where the light colors area reside that percentage will reduce dramatically. And one thing I should mention here that, you couldn't find any dot over the color of full intensity. Because the technology for printing midtone is LPI.
So, that mean, if you need to print 30 percent of cyan then on that particular area it will take only 30 percent of area and it will print some dots of 100 percent cyan. As we can't figure those tiny dots with naked eye we will sea combine effect of 30 percent of pure cyan with 70 percent of white i.e. 30 percent of cyan.
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