The Economist explains
How artists' paints are made
Jun 23rd 2014, 23:50 BY K.S.C.
IN HIS early encyclopedia, “Natural History”, published in the first century AD, Pliny the Elder wrote that the best Greek painters needed only four colours to make their work immortal: black, white, red and yellow. None of their work survived, so either they failed to follow his advice or he was wrong. Either way, in the centuries since, the range of paint pigments has proliferated rapidly. Today Winsor & Newton, a British art supplier founded in 1832, has 119 standard oil colours. Even beginners' kits contain at least six. How did artists' palettes become so varied?
Mixing paint is different to mixing light. When you mix all the colours in the light spectrum, as Newton discovered, you get white light (in a process known as additive mixing); if you were to repeat the experiment with all the different paints on your palette the resultant mixture would be nearly black (this is called subtractive mixing). To get good secondary colours, like greens and purples, the primaries you use need to be as pure as possible. From antiquity until the 19th century the majority of pigments were either mined from the earth (as in the case of ultramarine), squeezed from the carcasses of invertebrates (cochineal; tyrian purple), or produced through simple chemical reactions (verdigris). None was completely pure. Another problem was that many pigments weren't stable. Some couldn't be blended without discolouring or eating away at the canvas—as early buyers of Turner, who was notoriously careless about his pigment choices, angrily discovered.
Some new colours were discovered by accident: in 1856 the 18-year-old William Perkin was trying to synthesise quinine in his father's shed when he stumbled across the mixture he would later market as the dye mauveine. But many others came about through concerted efforts in the 19th century to expand the range and reduce the cost of colours for use in industry. Ultramarine was a particular problem. By far the most stable and brightest blue, it had to be painstakingly extracted from lapis lazuli mined in the Sar-e-Sang mines in northern Afghanistan and then shipped along the Silk Road to Venice. This made it exorbitantly expensive. In 1824 a reward of 6,000 francs was offered by the Société d’Encouragement pour l’Industrie Nationale, a French industry body, to anyone who could manufacture an artificial version. Two chemists, one French and the other German, simultaneously published the same recipe. The synthetic French ultramarine was chemically identical to the real thing, but cheaper to produce, with even particles and no impurities.
Pierre-Auguste Renoir is believed to have said: "Without paint in tubes there would have been…nothing of what the journalists were later to call Impressionists." Metal paint-tubes were important, of course, but so too was the new wave of synthetic colours, as an exhibition that opened this month at the National Gallery in London, “Making Colour”, ably shows. They granted consumers choice and freed artists from the painstaking labour of creating their own paints. Without the explosion of aniline-, chrome- and cadmium-based colours, many fledgling industries would have been severely handicapped and works of art from Renoir’s “The Skiff” to Katarina Fritsch’s giant blue cockerel sculpture in Trafalgar Square would have been impossible.
Dig deeper:
Having turned respectable, graffiti culture is dying (November 2013)
Insurers are worried that too much valuable art is stored together (September 2012)
New kinds of paint for military vehicles can detect and neutralise gases in a chemical weapon attack (September 2012)
6色旗非彩虹旗
Number of colours in spectrum or rainbow[edit]
A spectrum obtained using a glass prism and a point source is a continuum of wavelengths without bands. The number of colours that the human eye is able to distinguish in a spectrum is in the order of 100.[7] Accordingly, the Munsell colour system (a 20th-century system for numerically describing colours, based on equal steps for human visual perception) distinguishes 100 hues. The apparent discreteness of main colours is an artefact of human perception and the exact number of main colours is a somewhat arbitrary choice.
| Red | Orange | Yellow | Green | Blue | Indigo | Violet |
| |
一向反對同性戀婚姻的明光社總幹事蔡志森，今日在《明報》撰文，他指出，美國最高法院裁定全國同性婚姻合法化之後，很多人將自己臉書上的圖像改為6色「彩虹」以示慶祝，「令人不能不慨嘆這是一個以假亂真、魚目混珠的年代。」
蔡志森指出，代表同志平權的「彩虹」只有6種顏色，但真正的彩虹是有7色的，6色的根本就不是彩虹，「當一個社會運動以假亂真，以高舉假的事物為榮，怎不叫人慨嘆！你可以用6色線條作標誌，也可以賦予這設計獨特的解釋，但請不要叫它作彩虹，不要教壞細路，在大自然中彩虹是7色的。同樣，婚姻作為一種社會制度，有一籃子的要求，不符合這些規定的根本就不應叫做婚姻。」
蔡志森：六色根本不是彩虹 批評同性平權運動「高舉假的事物」 | 立場報道 | 立場新聞
一向反對同性戀婚姻的明光社總幹事蔡志森，今日在《明報》撰文，他指...
THESTANDNEWS.COM
蔡志森指出，代表同志平權的「彩虹」只有6種顏色，但真正的彩虹是有7色的，6色的根本就不是彩虹，「當一個社會運動以假亂真，以高舉假的事物為榮，怎不叫人慨嘆！你可以用6色線條作標誌，也可以賦予這設計獨特的解釋，但請不要叫它作彩虹，不要教壞細路，在大自然中彩虹是7色的。同樣，婚姻作為一種社會制度，有一籃子的要求，不符合這些規定的根本就不應叫做婚姻。」
蔡志森：六色根本不是彩虹 批評同性平權運動「高舉假的事物」 | 立場報道 | 立場新聞
一向反對同性戀婚姻的明光社總幹事蔡志森，今日在《明報》撰文，他指...
THESTANDNEWS.COM
八仙樂園彩粉趴活動釀意外，各界紛紛討論，這樣的活動究竟是從哪裡發起的？灑彩色粉末的概念源自於印度的「侯麗節」（Holi Festival）也叫「五彩節」，是印度教徒的重要節日，也是印度的傳統新年。
由侯麗節延伸出來的彩色節（Festival of Colors）也從亞洲傳入歐洲。每年夏天，俄羅斯的聖彼德堡、西班牙的巴塞隆納、德國的柏林都會慶祝彩色節，互相投擲顏色粉末或拋上天，甚至發放彩色煙火歡度節日。 #彩色趴
Colors 4 Desires在6.28的'白˙之後告一段落，只前2集震撼力稍大，因為沒好好參考諸如"顏色的故事"等書。
https://www.youtube.com/watch?t=175&v=yww61J6s5VY
Colors 4 Desires
魅力四色
《魅力四色》(Colors 4 Desires)是韓國KBS旗艦紀錄片，以4K拍攝製作。每集一小時，共有四集，內容分別介紹藍色、紅色、綠色和白色，以染料、繪畫和宗教等多種面向，探討顏色的文化意義。 《魅力四色》獲國際大獎肯定，榮獲加拿大班芙國際影展「評審團大獎」(2014 Banff Rockie Grand Jury Prize)。
顏色是一種文化符號，顏色也是一種文化象徵，顏色的含意隨著不同文化而改變。在這個繽紛亮麗的彩色世界中，我們看見了顏色，更感受到了與我們息息相關的色彩將代表一種深遠的渴望與力量。
人類對於顏色，存在著無法停止的渴望。在印度，木藍草是做成藍色染料的原料，對染布工人來說，藍色是支撐他全家人生活的顏色；在尼泊爾，人們在額頭上點上紅點(蒂卡)，象徵可與神明溝通並受到祝福，母親替待嫁的女兒點上紅點，祝福夫妻可以幸福白頭偕老。 《魅力四色》以4K拍攝，是Full HD的4倍畫質，呈現出「毛細孔解析度」，走遍世界各地，將最精采的人文故事絢爛呈現。
你覺得藍色是什麼？
憂鬱、天空、還是海洋？
你覺得紅色是什麼？
喜氣、勝利、還是血腥？
人類對於顏色，存在著無法停止的渴望。在印度，木藍草是做成藍色染料的原料，對染布工人來說，藍色是支撐他全家人生活的顏色；在尼泊爾，人們在額頭上點上紅點(蒂卡)，象徵可與神明溝通並受到祝福，母親替待嫁的女兒點上紅點，祝福夫妻可以幸福白頭偕老。 《魅力四色》以4K拍攝，是Full HD的4倍畫質，呈現出「毛細孔解析度」，走遍世界各地，將最精采的人文故事絢爛呈現。
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