You really thrive in these longer form videos! I love your tiktok page but it's great to have info all together rather than going on a treasure hunt. I watch all your videos religiously. Keep it up!
That was super interesting. I find it very difficult to intuitively judge the outcome of a mix of two colors. Now I know why that is and how to make a rough prediction.
Love the note about prescriptive naming vs descriptive naming! Let's work with the tide instead of wasting energy and time going against it trying to change an entire society's perceptions. Also super helpful learning that the colors mix on a curve instead of a straight line, it explains so much so well!! Definitely downloading your color wheel :)
I really like this disk, except for the naming. I have a hard time with the names, maybe because Spanish is my first language and the names change differently. That’s something I appreciate about Munsell that he uses codes with numbers and a letter. I think this disk would benefit from a system that it’s not so English focus. I personally would love a disk that it’s divided in 7 or 9 hues. Ideally, use the same number of hues, values and chroma. I like 7 hues because that’s how typically light spectrum is divided. Each hue would have a number, a mapping of number to names can be provided to memorize which can be translated very easily. I really appreciate all the work you have done and shared with us.
@@ColorNerd1 cool, I will take a look. By the way, I was talking to someone who speaks Portuguese and they seem to have more variety on color names than we do in Spanish, which was surprising to me. Made me think how language can affect how you perceive colors, similar to how people who speak tone languages like mandarin have higher chances of being pitch perfect.
Thank you Peter for being so interested in something and sharing what you know with the world. You are an amazing teacher in the way you illustrate the complexities of colour in such a beautiful and simplified way. I continue to learn so much!
Yes! The “traditional” wheel is good as a scientific explanation of colors for elementary kids but it doesn’t translate to the human experience of color. It also doesn’t account for how the color and warmth of light interacts with how we perceive pigments. It’s why it is so important we have the correct color light when we give eye exams.
I say, “yellow-green” because not many people know what “chartreuse” which is not the same as “lime”. I also say, “orange-red” because no one know what color “vermilion” is. Artists use correct color terms, but not usually when talking to everyday people who don’t. An artist would know there’s a huge difference between violet/magenta/mauve when most would just say purple or scarlet/maroon/crimson/rose for red. For someone who knows the difference and can tell what colors make up each of these, it’s annoying to hear them not be used correctly. I feel like this is the difference between a hair stylist knowing that shears are not the same things as scissors or a dog groomer being able to distinguish each dog breed and their individual characteristics, etc, etc. once you know the difference, you can’t not see the names for each one the same as being ‘just yellow’ when there’s lemon yellow, gamboge, deep yellow, napes yellow….etc etc! 😂 Also, as someone who loves color and learning new things including how to mix colors and make their own paint from scratch, I just wanted to say that I’d pay goooood money if you made one of these charts that was much, much larger and also included every single color pigment out there, not just the ‘most commonly used ones’. You can take that idea and run with it if you want to because I’m sure there’s a lot of potential for marketing to those of us who make their own paints and who are pigment gurus out there…. Just saying! 😉😂
Wow, I have been interested in the CIECAM model since architecture school a decade ago and have been waiting for years for something like this. Looking forward to seeing how this develops!
Can you indulge two technical questions? You have the Lime-Purple axis as neutral, which I found interesting. When I first discovered the CIE models, I had always assumed the warm-cool distinction was derived from the opponent process, along the C1/0-180 axis, in which case the neutrals would be 90-270, which didn't quite sit right to me. Your 120-300 feels better although I would put neutral at 105-285. I know Bruce McEvoy defines cool/warm along the daylight series and excludes purple and green using a rationale based on the opponent process. That makes sense rationally to me, but on vibes alone, I hate it. Green is neutral, maybe, but purple is a warm color to me. Still in my professional work, I have generally followed his lead and built my own color wheels around the 60-240 axis as an approximation of the CCT series. It makes me think around the light sources buildings are located in, the color of the sky at most times of day, and the range of human skin tone. McEvoy's structure is useful for harmonies but magenta is still a warm color to me. But I would love to hear your rationale! I see on TikTok you say it has to do with maximum sensitivity to that wavelength but how is that related? Would love an explanation. Also, for color perception do you use the CIE1931 graph instead of CIELUV? The latter appealed to me because it seemed to explain quirks of Itten color circle (I was read the gospel of Albers in school, with some Itten), specifically the choices in the blue-violet section. If you overlay the polar grid of CIECAM on that like McEvoy, for each change in degree you get more distance in the CIELUV space between two hues of blue-violet than between two shades of grue or yellow. Maybe I am wrong but this space feels like something Itten was seeing when he split like 10 degrees of CIECAM. Am I crazy? I am just so excited to find someone who I can ask and who does not work at Samsung.
This is exciting (to/for me). I think the answers to some color-mixing mysteries (fails) lies within this marvelous work. This is my first tap into Color Nerd but I'm sure I'll be spending some serious time here. Thank you.
This is great, i wish people would add brown to the color wheel. It would be so helpful because most people have a version of brown skin/eyes or brunette/black hair. Its very hard to determine how the colors should work when its not included.
Brown is just a dark desaturated orange. Look where the orange is on this colorwheel and move towards the middle. There are also plenty of brown pigment represented in the chart.
I used the color wheel multiple times for getting color harmonies and the results has been always off to me. When you a good complimentary color design that you actually love it won't be 180 degrees on the wheel - the biological nature of human perception could not be represented with equal weights to colors. I think the next step would be using statistics: asking people en mass to rate color combinations and see if we can correct proportions of the wheel further.
Amazing info! Would you be able to talk a little bit about the Natural Color System (NCS) based on opponent color theory? How does the NCS (or even Lab) differ from your color disc? I noticed that the 4 primaries used in the NCS don't line up exactly with the a+/a- and b+/b- on your disc. Are they both supposed to represent opponent pairs? What causes this discrepancy? From my understanding, both Lab and NCS are derived from the unique hues and color opponency, which states that each pure primary doesn't contain the others. But then I see your a+/a- spectrum uses a slightly blue-red, and blue-green. What have I misunderstood about how this all fits together? Very curious about what information I'm lacking and if you could fill in those gaps! Keep being awesome!
Unique hues don't line up with the a* and b* axes; NCS kind of stretches and squishes perceptual hue differences to space the unique hues evenly. My wheel here is more aligned with lab, but this version is actually based on ciecam02 because a) lab ain't a great model for looking at perceptual differences in paints, and b) I borrowed Bruce MacEvoy’s pigment chart (with credit), and he makes a good argument for ciecam02 as a fair representation of perceptual differences in paint colors (even though it's not a perceptual model)
I imagine this is a product you're selling - you could totally make this an interactive tool online or on a app. Maybe register a patent request too man - looks awesome!
So desaturated magenta (and I assume dark magenta also) is purple, but so is violet. Also, between "normal" blue and violet is indigo which is called by many as a type of blue. 🤔
so, the complementary colors of the additive RGB (Red, Green, Blue) model align more closely with how our brain processes visual information from light?
Thank you for the video! I have a question regarding the trillium. If I start with PB15 and add PV19, then the resulting mixing line passes between PV23 and PV15.3, so is quite high in colorfulness. But if I use the trillium and add PB15 to PV19, then my mixing line goes through the grey zone. In such a case: how do I decide which mixing line to use?
I had to look at this on the chart to see what you meant. I get PB15 and PV19 on pretty much a straight line to each other, going both ways, which makes sense to me in that the plotted positions are for masstone. Both pigments are transparent (a fact not adequately captured by the trillium/colordisk), and if diluted in wc or a bit of white added in oil or acrylic, would have higher chroma. The resulting new position of the chroma and hue of PB15+PW6, for example, would affect the way the trillium predicts its mixture paths. Generally I have still found that to be mostly accurate (pb15+pw6 mixed with pv19 is indeed a higher chroma purple than the masstone of pv23) - I just wish I could figure put how to capture that information more intuitively on the chart
Interesting, I've been calling what's labelled here as "pink" as "magenta" based on the primary in the CMYK process. Guess I'll keep in mind that people are usually talking about something cooler, and call it fuschia unless it's specifically referring to subtractive process theory, or printer ink or something.
I label it pink in keeping with the research on basic color terms. pink seems to be a more universal "bucket" and magenta is a more specific case, a term only some people use in some contexts.
Hey! Thanks for the video. May I ask you why Cyan is the coolest and Red - the warmest? While researching I came to conclusion that there is no one warmest and coolest color. Also, from putting the colors to my face and knowing that I am a cooled toned person (by color analysis), warm colors do not look good on me. I noticed that the border of cool/warm was magenta-green line. And in my color wheel I marked orange that sits between yellow and red as the warmest and blue that sits between cyan and "indigo" blue (the opposite of yellow) as the coolest. I find orange to be a warmer color than red, also knowing that pink-red which sits next to red becomes visually cooler, while none of the oranges look ever "cool". That made me conclude that the "average orange" is the warmest color. Could you please share your idea behind marking red and cyan as the warmest-coolest color pair.
Hi! Yes, I actually use it as a "cyan primary" in some palettes in oils: it mixes both chromatic greens and purples. but because it is so high value, it loses chroma in dark mixtures, so I use it in tandem with prussian blue.
@@ColorNerd1 Are there any other pigments you think are closer to true cyan than PG50? Maybe PB17, if you’ve tried it? PB35, PB36? Or maybe diluted PB16? PB33, if you’ve ever used that? PB71? How about PB31 Egyptian Blue? Have you tried that?
@@awatercolourist think about it, haha... MacEvoy noted that Prussian doesnt reflect any "red" wavelengths, like cobalt, ultramarine and other blue pigments do. try mixing prussian with burnt sienna and you see the result curves through neutrals with a green bias; prussian also is the darkest value blue pigment that doesn't lean purple (like indanthrone or ultramarine)
@@awatercolourist I've tried pb17 in WC, its a nice cyan and high in value, but not lightfast (a disappointment among phthalos haha). I also sometimes use PB33 as a cyan in oils but it doesn't have much tinting strength. The ceruleans are too blue and too pale for me, and I haven't played with PB71 or PB31 yet.
Ah yes another gem yt video I have few questions tho.. CMYK is used in printers, can this be applied in traditional painting such as acrylic medium for beginners? Im trying to search on google the "Kubelco Monk Theory" (it's what the transcript and caption says) and found no results... Lmao what is it again?
Yes, CMY works for paint! Gives a wider gamut than RYB. but beware that in some student-grade paints, because the pigments have been cut with fillers magenta and yellow will not make a very chromatic red. And it's Kubelka-Munk :)
Love this video, I've seen seperate features of the color disk in a bunch of your tiktoks already but it's realy nice to get a more complete breakdown of what it can do!
You are talking about Red-Green-Blue (RGB) color palette, as the eyes see it. Our visual sense (eyes+brain) is based on RGB palette, that is what our visual receptors can perceive but painters mix colors in RGY palette and the printers use CYM palette.
You really thrive in these longer form videos! I love your tiktok page but it's great to have info all together rather than going on a treasure hunt. I watch all your videos religiously. Keep it up!
That was super interesting. I find it very difficult to intuitively judge the outcome of a mix of two colors. Now I know why that is and how to make a rough prediction.
Love the note about prescriptive naming vs descriptive naming! Let's work with the tide instead of wasting energy and time going against it trying to change an entire society's perceptions. Also super helpful learning that the colors mix on a curve instead of a straight line, it explains so much so well!!
Definitely downloading your color wheel :)
I really like this disk, except for the naming. I have a hard time with the names, maybe because Spanish is my first language and the names change differently. That’s something I appreciate about Munsell that he uses codes with numbers and a letter. I think this disk would benefit from a system that it’s not so English focus. I personally would love a disk that it’s divided in 7 or 9 hues. Ideally, use the same number of hues, values and chroma. I like 7 hues because that’s how typically light spectrum is divided. Each hue would have a number, a mapping of number to names can be provided to memorize which can be translated very easily.
I really appreciate all the work you have done and shared with us.
I have a couple Spanish language prototypes in the shared folder on my linktree. They need some work, but I'd welcome your feedback
@@ColorNerd1 cool, I will take a look. By the way, I was talking to someone who speaks Portuguese and they seem to have more variety on color names than we do in Spanish, which was surprising to me. Made me think how language can affect how you perceive colors, similar to how people who speak tone languages like mandarin have higher chances of being pitch perfect.
Thank you Peter for being so interested in something and sharing what you know with the world. You are an amazing teacher in the way you illustrate the complexities of colour in such a beautiful and simplified way. I continue to learn so much!
This is so fascinating! Thank you for sharing this resource so generously. I can’t wait to learn more and apply it to botanical art!
Wow! This makes the colour hunt easy and adjusts it to human visual appeal. Nicely done and explained. Thanks!
Yes! The “traditional” wheel is good as a scientific explanation of colors for elementary kids but it doesn’t translate to the human experience of color. It also doesn’t account for how the color and warmth of light interacts with how we perceive pigments. It’s why it is so important we have the correct color light when we give eye exams.
I need your color disc ASAP! Thank you for sharing!
What an innovative color wheel!
I say, “yellow-green” because not many people know what “chartreuse” which is not the same as “lime”. I also say, “orange-red” because no one know what color “vermilion” is.
Artists use correct color terms, but not usually when talking to everyday people who don’t. An artist would know there’s a huge difference between violet/magenta/mauve when most would just say purple or scarlet/maroon/crimson/rose for red. For someone who knows the difference and can tell what colors make up each of these, it’s annoying to hear them not be used correctly. I feel like this is the difference between a hair stylist knowing that shears are not the same things as scissors or a dog groomer being able to distinguish each dog breed and their individual characteristics, etc, etc. once you know the difference, you can’t not see the names for each one the same as being ‘just yellow’ when there’s lemon yellow, gamboge, deep yellow, napes yellow….etc etc! 😂
Also, as someone who loves color and learning new things including how to mix colors and make their own paint from scratch, I just wanted to say that I’d pay goooood money if you made one of these charts that was much, much larger and also included every single color pigment out there, not just the ‘most commonly used ones’.
You can take that idea and run with it if you want to because I’m sure there’s a lot of potential for marketing to those of us who make their own paints and who are pigment gurus out there….
Just saying!
😉😂
Wow, I have been interested in the CIECAM model since architecture school a decade ago and have been waiting for years for something like this. Looking forward to seeing how this develops!
Can you indulge two technical questions? You have the Lime-Purple axis as neutral, which I found interesting. When I first discovered the CIE models, I had always assumed the warm-cool distinction was derived from the opponent process, along the C1/0-180 axis, in which case the neutrals would be 90-270, which didn't quite sit right to me. Your 120-300 feels better although I would put neutral at 105-285. I know Bruce McEvoy defines cool/warm along the daylight series and excludes purple and green using a rationale based on the opponent process. That makes sense rationally to me, but on vibes alone, I hate it. Green is neutral, maybe, but purple is a warm color to me. Still in my professional work, I have generally followed his lead and built my own color wheels around the 60-240 axis as an approximation of the CCT series. It makes me think around the light sources buildings are located in, the color of the sky at most times of day, and the range of human skin tone. McEvoy's structure is useful for harmonies but magenta is still a warm color to me. But I would love to hear your rationale! I see on TikTok you say it has to do with maximum sensitivity to that wavelength but how is that related? Would love an explanation.
Also, for color perception do you use the CIE1931 graph instead of CIELUV? The latter appealed to me because it seemed to explain quirks of Itten color circle (I was read the gospel of Albers in school, with some Itten), specifically the choices in the blue-violet section. If you overlay the polar grid of CIECAM on that like McEvoy, for each change in degree you get more distance in the CIELUV space between two hues of blue-violet than between two shades of grue or yellow. Maybe I am wrong but this space feels like something Itten was seeing when he split like 10 degrees of CIECAM. Am I crazy? I am just so excited to find someone who I can ask and who does not work at Samsung.
This is exciting (to/for me). I think the answers to some color-mixing mysteries (fails) lies within this marvelous work. This is my first tap into Color Nerd but I'm sure I'll be spending some serious time here. Thank you.
I'm so excited to show this to my students ❤ thank you so much for this work, what a gift
Wow, I love this stuff.
That was all the missing pieces I needed! Thank you for clearing that up for me 🙏🏽
This is great, i wish people would add brown to the color wheel. It would be so helpful because most people have a version of brown skin/eyes or brunette/black hair. Its very hard to determine how the colors should work when its not included.
Brown is just a dark desaturated orange. Look where the orange is on this colorwheel and move towards the middle. There are also plenty of brown pigment represented in the chart.
Thank you so much this is such a great tool I can't wait to used this for some color theory mixing
I used the color wheel multiple times for getting color harmonies and the results has been always off to me. When you a good complimentary color design that you actually love it won't be 180 degrees on the wheel - the biological nature of human perception could not be represented with equal weights to colors. I think the next step would be using statistics: asking people en mass to rate color combinations and see if we can correct proportions of the wheel further.
I don't paint at all but this is fascinating
Amazing info! Would you be able to talk a little bit about the Natural Color System (NCS) based on opponent color theory? How does the NCS (or even Lab) differ from your color disc? I noticed that the 4 primaries used in the NCS don't line up exactly with the a+/a- and b+/b- on your disc. Are they both supposed to represent opponent pairs? What causes this discrepancy? From my understanding, both Lab and NCS are derived from the unique hues and color opponency, which states that each pure primary doesn't contain the others. But then I see your a+/a- spectrum uses a slightly blue-red, and blue-green. What have I misunderstood about how this all fits together?
Very curious about what information I'm lacking and if you could fill in those gaps!
Keep being awesome!
Unique hues don't line up with the a* and b* axes; NCS kind of stretches and squishes perceptual hue differences to space the unique hues evenly. My wheel here is more aligned with lab, but this version is actually based on ciecam02 because a) lab ain't a great model for looking at perceptual differences in paints, and b) I borrowed Bruce MacEvoy’s pigment chart (with credit), and he makes a good argument for ciecam02 as a fair representation of perceptual differences in paint colors (even though it's not a perceptual model)
@@ColorNerd1 Really appreciate you taking the time to respond! Your knowledge and teaching skills are incredible - take care!
Impressive!
I imagine this is a product you're selling - you could totally make this an interactive tool online or on a app. Maybe register a patent request too man - looks awesome!
It would be helpful if you included a link to your google drive where your color wheel lives. I had to do some digging.
Incredible
So desaturated magenta (and I assume dark magenta also) is purple, but so is violet. Also, between "normal" blue and violet is indigo which is called by many as a type of blue. 🤔
How can I get a copy of your color wheel?
Go to his linktree in the profile, it's free as a pdf
Which is where?
Click on his profile, then there's link.tree. Follow the link and look around
I love this video, but I hate the RYB color system!
Thanks for your help.
Fabulous, so cool
I would like to buy printed version on Amazon
so, the complementary colors of the additive RGB (Red, Green, Blue) model align more closely with how our brain processes visual information from light?
Thank you for the video! I have a question regarding the trillium. If I start with PB15 and add PV19, then the resulting mixing line passes between PV23 and PV15.3, so is quite high in colorfulness. But if I use the trillium and add PB15 to PV19, then my mixing line goes through the grey zone. In such a case: how do I decide which mixing line to use?
I had to look at this on the chart to see what you meant. I get PB15 and PV19 on pretty much a straight line to each other, going both ways, which makes sense to me in that the plotted positions are for masstone. Both pigments are transparent (a fact not adequately captured by the trillium/colordisk), and if diluted in wc or a bit of white added in oil or acrylic, would have higher chroma. The resulting new position of the chroma and hue of PB15+PW6, for example, would affect the way the trillium predicts its mixture paths. Generally I have still found that to be mostly accurate (pb15+pw6 mixed with pv19 is indeed a higher chroma purple than the masstone of pv23) - I just wish I could figure put how to capture that information more intuitively on the chart
Absolutely love this. Can you tell me (again?) why the named 'blocks' in the outer perimeter are not the same size? :)
Those divisions are cultural. in English, we don't divide the spectrum evenly, we chunk it based on what people tend to agree is blue or purple etc :)
Interesting, I've been calling what's labelled here as "pink" as "magenta" based on the primary in the CMYK process. Guess I'll keep in mind that people are usually talking about something cooler, and call it fuschia unless it's specifically referring to subtractive process theory, or printer ink or something.
I label it pink in keeping with the research on basic color terms. pink seems to be a more universal "bucket" and magenta is a more specific case, a term only some people use in some contexts.
Where are the links to download these new color wheels?
The link to my linktree site is in my profile
where can you find this stuff to buy/download?
My linktree link. It's on my profile page, or you can just Google color nerd linktree
How/where can I obtain a copy of your colour wheel?
My linktree - it's linked on my profile, or just Google "color nerd linktree"
Where can I download this color wheel?
My linktree. You can find the link on my channel page or by googling "color nerd link tree"
Please I need a book on color only. Please please which book I can buy to dive in.
Maybe check out "Universal Principles of Color: 100 Key Concepts for Understanding, Analyzing, and Working with Color"
@@ColorNerd1 Thank you so much.
@@ColorNerd1 I already bought the book. Thanks again.
Do you suggest a way to print it for the most accurate colors?
how can I buy this color wheel?
Its a free download on my linktree
Where can we buy it?
Free download from my linktree :)
We need to be friends.
Wanted to download it but the link tree is not available.
Just checked and it's working for me
If I want to buy this chart then what is the best way?
It's free as a PDF on his linktree but he doesn't seem to publish it as a physical object (yet)
Where can I download your colour wheel?
He has a link tree with the file in his bio
Hey! Thanks for the video. May I ask you why Cyan is the coolest and Red - the warmest?
While researching I came to conclusion that there is no one warmest and coolest color. Also, from putting the colors to my face and knowing that I am a cooled toned person (by color analysis), warm colors do not look good on me. I noticed that the border of cool/warm was magenta-green line. And in my color wheel I marked orange that sits between yellow and red as the warmest and blue that sits between cyan and "indigo" blue (the opposite of yellow) as the coolest. I find orange to be a warmer color than red, also knowing that pink-red which sits next to red becomes visually cooler, while none of the oranges look ever "cool". That made me conclude that the "average orange" is the warmest color.
Could you please share your idea behind marking red and cyan as the warmest-coolest color pair.
Hi color nerd! Do you consider PG50 cobalt turquoise to be a cyan? Personally, I see it as a cyan. What do you think?
Hi! Yes, I actually use it as a "cyan primary" in some palettes in oils: it mixes both chromatic greens and purples. but because it is so high value, it loses chroma in dark mixtures, so I use it in tandem with prussian blue.
@@ColorNerd1 Prussian Blue as a cyan?!! That’s a first 😄. Thanks for your reply. 🙂
@@ColorNerd1 Are there any other pigments you think are closer to true cyan than PG50? Maybe PB17, if you’ve tried it? PB35, PB36? Or maybe diluted PB16? PB33, if you’ve ever used that? PB71? How about PB31 Egyptian Blue? Have you tried that?
@@awatercolourist think about it, haha... MacEvoy noted that Prussian doesnt reflect any "red" wavelengths, like cobalt, ultramarine and other blue pigments do. try mixing prussian with burnt sienna and you see the result curves through neutrals with a green bias; prussian also is the darkest value blue pigment that doesn't lean purple (like indanthrone or ultramarine)
@@awatercolourist I've tried pb17 in WC, its a nice cyan and high in value, but not lightfast (a disappointment among phthalos haha). I also sometimes use PB33 as a cyan in oils but it doesn't have much tinting strength. The ceruleans are too blue and too pale for me, and I haven't played with PB71 or PB31 yet.
_Rocking back and forth to the camera is remarkably distracting!_
Ah yes another gem yt video
I have few questions tho..
CMYK is used in printers, can this be applied in traditional painting such as acrylic medium for beginners?
Im trying to search on google the "Kubelco Monk Theory" (it's what the transcript and caption says) and found no results... Lmao what is it again?
Yes, CMY works for paint! Gives a wider gamut than RYB. but beware that in some student-grade paints, because the pigments have been cut with fillers magenta and yellow will not make a very chromatic red. And it's Kubelka-Munk :)
Do you sell a card stock version of this set? My school's printer does not do a good job of printing high saturation color.
This is brilliant, thank you so much for the clear explanation! Downloaded your color wheel, can't wait to play with it!
Love this video, I've seen seperate features of the color disk in a bunch of your tiktoks already but it's realy nice to get a more complete breakdown of what it can do!
How to get your incredible inovation, do need order and how much
Free download from my linktree
What means "actually green", "actually red"? Are they green or red?
What is your take on the approach to color theory developed by Florent Farges (French artist who has numerous videos on color theory). Thank you.
Это очень круто! Я будто открыла для себя новый мир!! Более реалистичный!
Where can I find the download file for your color disc? Thank you!
On my linktree (the service I use to post links to all my resources) - you should be able to find it on my channel page!
You are talking about Red-Green-Blue (RGB) color palette, as the eyes see it.
Our visual sense (eyes+brain) is based on RGB palette, that is what our visual receptors can perceive but painters mix colors in RGY palette and the printers use CYM palette.