I’m a bit confused here; is ‘subtractive’ (decreasing the light wavelength) for inks and dyes (on white background) – RYB, different from ‘subractive’ for printing (CMY)? And if I print your picture (with inkjet printer or photo-chemical printing) CMY + Key (black) = CMYK?
Are you saying that now you are trying to convert the colours to additative to represent the aspect of radiated light (increasing the wavelength to make darkness light) - even though it is ‘theoretically impossible’ and if so would not that be CMY like in stage production lighting?
Or is there some process with inkjet and photo-chemical production where you start with the basic primaries of RBG (I guess there must be as that’s what you said) for additive?
I’m not really up on these new-fangled computer contraptions
that use 'light' (?do they) to illuminate a white background with color
Sorry if I am totally confused I just didn’t get the link between.
“I've been working on this for several months. The original descriptions of the color scales were for pigments or inks (subtractive red-yellow-blue primaries). Light (additive red-green-blue primaries) combines colors very differently, and there is no consistent, exact way to convert from subtractive RYB to additive RGB (actually it's theoretically impossible).”
This bit and the next and I (improperly ?) added an
Ravenest said:
And that is what I am trying to do
to you next bit;
I'm almost where I want to be, trying to keep the chroma as high as possible consistent with the color scales. There's a little more tweaking to be done here and there, but this is where I am right now.
Some of those colors seem the same (to me ) on your chart. Are those the ones that haven't been worked on yet?
Its an interesting idea though and I am curious to see how it works out as I have encountered a similar (note 'similar') quandry when working the Rites of Eleusis on stage and attempting to project the appropriate colors.