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Τα τρ\u03afα συστ\u03aeματα μ\u03afξης χρωμ\u03acτων<\/span><\/u><\/span><\/p>\n <\/p>\n Ε\u03acν αναπτ\u03cdσσαμε το θ\u03adμα της μ\u03afξης των χρωμ\u03acτων πριν μερικ\u03adς δεκαετ\u03afες, τα πρ\u03acγματα θα \u03aeταν πολ\u03cd πιο απλ\u03ac.<\/span><\/span><\/p>\n Ο \u03acνθρωπος, αν\u03ac τους αι\u03ceνες και μ\u03adχρι τα μ\u03adσα του 20ου<\/sup>, γν\u03ceριζε μ\u03ccνο τον \u03adνα τρ\u03ccπο μ\u03afξης χρωμ\u03acτων, αυτ\u03ccν των χρωστικ\u03ceν ουσι\u03ceν, που σ\u03aeμερα ονομ\u03acζουμε αφαιρετικ\u03ae πρ\u03ccσμιξη. <\/span><\/span><\/p>\n \u0388ως τ\u03ccτε παραδεκτ\u03ae \u03aeταν μια μοναδικ\u03ae τρι\u03acδα βασικ\u03ceν χρωμ\u03acτων (μπλε<\/span> – κ\u03afτρινο<\/span> – κ\u03ccκκινο<\/span><\/span>) απ\u03cc την αν\u03acμιξη των οπο\u03afων μπορο\u03cdσαν να προκ\u03cdψουν \u03ccλες οι απειρ\u03acριθμες αποχρ\u03ceσεις.<\/span><\/span><\/p>\n Με την τεχνολογικ\u03ae εξ\u03adλιξη, ιδια\u03afτερα της τηλε\u03ccρασης, αλλ\u03ac και της τυπογραφ\u03afας και \u03acλλων τομ\u03adων, \u03aeλθε στην καθημεριν\u03ae ζω\u03ae μας –κυρ\u03afως απ\u03cc τη δεκαετ\u03afα του 1980 και \u03cdστερα- η δε\u03cdτερη αν\u03acμιξη χρωμ\u03acτων, αυτ\u03ae των μονοχρωματικ\u03ceν ακτινοβολι\u03ceν, η περ\u03afφημη <\/span>R<\/span>G<\/span>B<\/span> (προσθετικ\u03ae αν\u03acμιξη). \u038cχι πως \u03aeταν \u03acγνωστη παλαι\u03ccτερα. Περισσ\u03ccτερο θεωρητικ\u03ae, ενδι\u03adφερε ορισμ\u03adνους τομε\u03afς και δεν ε\u03afχε καθημεριν\u03adς εφαρμογ\u03adς, \u03ccπως σ\u03aeμερα.<\/span><\/span><\/p>\n Η διδασκαλ\u03afα και η πρακτικ\u03ae εξ\u03acσκηση στις καλλιτεχνικ\u03adς σχολ\u03adς γιν\u03ccταν μ\u03ccνο επ\u03af του πρ\u03ceτου τρ\u03ccπου αν\u03acμιξης, του αφαιρετικο\u03cd \u03ae χρωστικ\u03ceν (\u03ccπως καλε\u03afται πλ\u03adον).<\/span><\/span><\/p>\n Σ\u03aeμερα, πολλο\u03af σπουδαστ\u03adς και επαγγελματ\u03afες που ασχολο\u03cdνται με χρ\u03ceματα, συγχ\u03adουν τις δυο μεθ\u03ccδους, \u03afσως γιατ\u03af δεν γνωρ\u03afζουν τη β\u03acση καθεμι\u03acς. Επιπλ\u03adον μπερδε\u03cdονται απ\u03cc τη μ\u03adθοδο <\/span>C<\/span>M<\/span>Y<\/span>K<\/span> <\/span>που προ\u03adκυψε απ\u03cc τη σχ\u03adση των δυο συστημ\u03acτων. Η βασικ\u03ae τρι\u03acδα της μεθ\u03ccδου αυτ\u03aeς αποτελε\u03afται απ\u03cc τα παρ\u03acγωγα χρ\u03ceματα των βασικ\u03ceν ακτινοβολι\u03ceν (τα οπο\u03afα μεταβ\u03acλλονται σε βασικ\u03ac) και χρησιμοποιε\u03afται αφαιρετικ\u03ac στην αν\u03acμιξη χρωστικ\u03ceν ουσι\u03ceν και προσθετικ\u03ac (σαν παρ\u03acγωγα) στην αν\u03acμιξη χρωματικ\u03ceν ακτινοβολι\u03ceν.<\/span><\/span><\/p>\n \u0388τσι, στις ημ\u03adρες μας, οι καλλιτ\u03adχνες και \u03ccσοι ασχολο\u03cdνται με βαφ\u03adς αναφ\u03adρονται στην κλασικ\u03ae τρι\u03acδα βασικ\u03ceν χρωμ\u03acτων μπλε<\/span> – κ\u03afτρινο<\/span> – κ\u03ccκκινο<\/span>,<\/span> εν\u03ce \u03ccσοι ασχολο\u03cdνται τεχνοκρατικ\u03ac με χρωματικ\u03adς προσμ\u03afξεις, αναφ\u03adρονται στα συστ\u03aeματα <\/span>C<\/span>M<\/span>Y<\/span>K<\/span> <\/span>και <\/span>R<\/span>G<\/span>B<\/span>.<\/span><\/span><\/p>\n Εμε\u03afς εδ\u03ce, στο “<\/span><\/span><\/em>xromata<\/span><\/span><\/em>.<\/span><\/span><\/em>com<\/span><\/span><\/em>” \u03ccταν μιλ\u03acμε γενικ\u03ac για χρ\u03ceματα, αναφερ\u03ccμαστε στο κλασικ\u03cc παραδοσιακ\u03cc σ\u03cdστημα μπλε<\/span> – κ\u03afτρινο<\/span> – κ\u03ccκκινο<\/span><\/span>.<\/span><\/span><\/span><\/em> \u038cταν το θ\u03adμα μας θα ειδικε\u03cdεται σε κ\u03acποιο απ\u03cc τα \u03acλλα δυο συστ\u03aeματα, θα προσδιορ\u03afζεται το αν\u03acλογο σ\u03cdστημα.<\/span><\/span><\/p>\n Θα επαν\u03adλθουμε, αρκετ\u03adς φορ\u03adς, αναλυτικ\u03ccτερα στις μ\u03afξεις των χρωμ\u03acτων.<\/span><\/span><\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/span><\/p>\n The three<\/span><\/u><\/span> <\/span><\/u><\/span>systems of color mixing<\/span><\/u><\/span><\/span><\/span><\/p>\n <\/p>\n If we developed the theme of mixing colors a few decades ago, things would be much simpler.<\/span><\/span><\/span><\/p>\n Man, throughout the centuries until the mid 20th century, knew only one color mixing mode, the one called now subtractive mixing.<\/span><\/span><\/span><\/p>\n Until then admissible was a single basic color triad (blue – yellow – red) by mixing all of which could arise innumerable shades.<\/span><\/span><\/span><\/p>\n With technological development, especially that of television, printing and other fields, mainly from the 1980s and after- a second mixing colors process, that of monochromatic radiation, the famous RGB (additive mixing), came to our daily life<\/span><\/span><\/span><\/p>\n Not that was previously unknown, but was more theoretical, interested in certain areas and had not everyday applications, such as today.<\/span><\/span><\/span><\/p>\n The teaching and practice in art schools was based only on the first mode of mixing, the subtractive color mixing (as now is called).<\/span><\/span><\/span><\/p>\n Today, many students and professionals working with colors, confuse the two methods, perhaps because they do not know the basis of each. Furthermore confused by the CMYK system, a color process resulting from the connection of the two other systems. The basic triad of this method consists of the secondary colors of the RGB basic radiation mixing (which become basic in CMYK system).<\/span><\/span><\/span><\/p>\n So nowadays, artists and those involved with dyes mention the classic triad of basic colors blue – yellow – red, while those dealing with technocratic color mixing referred to CMYK and RGB systems.<\/span><\/span><\/span><\/p>\n We, here at "xromata.com", generally when talking about colors, refer to the classic traditional system blue – yellow – red. When our theme will be specialized in one of the other two systems, the respective system will be determined.<\/span><\/span><\/span><\/p>\n <\/p>\n <\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Τα τρ\u03afα συστ\u03aeματα μ\u03afξης χρωμ\u03acτων Ε\u03acν αναπτ\u03cdσσαμε το θ\u03adμα της μ\u03afξης των χρωμ\u03acτων πριν μερικ\u03adς δεκαετ\u03afες, τα πρ\u03acγματα θα \u03aeταν πολ\u03cd πιο απλ\u03ac. Ο \u03acνθρωπος, αν\u03ac τους αι\u03ceνες και μ\u03adχρι τα μ\u03adσα του 20ου, γν\u03ceριζε μ\u03ccνο τον \u03adνα τρ\u03ccπο μ\u03afξης χρωμ\u03acτων, αυτ\u03ccν των χρωστικ\u03ceν ουσι\u03ceν, που σ\u03aeμερα ονομ\u03acζουμε αφαιρετικ\u03ae πρ\u03ccσμιξη. \u0388ως […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[52,456,8,457,7],"tags":[463,51,144,198,28],"class_list":["post-148","post","type-post","status-publish","format-standard","hentry","category-cmyk","category-subtractive-mixing","category-mixeis-xromaton","category-additive-mixing","category-sympantikoi-nomoi-kai-xromata","tag-cmyk","tag-rgb","tag-144","tag-198","tag-triadikotita"],"_links":{"self":[{"href":"https:\/\/xromata.com\/index.php?rest_route=\/wp\/v2\/posts\/148","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/xromata.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/xromata.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/xromata.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/xromata.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=148"}],"version-history":[{"count":13,"href":"https:\/\/xromata.com\/index.php?rest_route=\/wp\/v2\/posts\/148\/revisions"}],"predecessor-version":[{"id":8901,"href":"https:\/\/xromata.com\/index.php?rest_route=\/wp\/v2\/posts\/148\/revisions\/8901"}],"wp:attachment":[{"href":"https:\/\/xromata.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=148"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/xromata.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=148"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/xromata.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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