WO1996004533A1

WO1996004533A1 - Method for producing and recognizing multicolored hues

Info

Publication number: WO1996004533A1
Application number: PCT/EP1995/003079
Authority: WO
Inventors: Gerriet Hellwig
Original assignee: Gerriet Hellwig
Priority date: 1994-08-02
Filing date: 1995-08-02
Publication date: 1996-02-15
Also published as: JPH10509099A

Abstract

By using at least two starting colors of different hue in the direction of blue or yellow in order to achieve an optimal mix of color nuances, full and bright hues can be attained in essentially all known colors, notably in the case of the problematic colors of light green, light skin colors, beige and light brown, without necessitating a greater number of starting colors than in the prior art.

Description

PROCESS FOR GENERATING AND DETECTING COLORED COLORS

The invention relates to a method for generating, recognizing or encoding colored shades by mixing or determining bright colors, a corresponding set of colors, a reproduced color image and a device or a filter or. Sensor set for separating or determining colors of an image template according to the preamble of the independent claims.

Colorful images are separated into individual starting colors for their printing or photographic reproduction, more or less in separate operations be applied or developed strongly and on top of each other. This results in a multitude of bright colors by mixing the original colors. This also applies to colorful images generated by light color mixing. Numerous shades and shades of color are thus generated by additive and / or subtractive mixing of basic or starting colors, which are mixed prior to the application of the paint and / or are assigned to one another by point-like screening or glazing during application or are also caused by light mixing.

In most cases, the aim is to produce a colorful, true-to-life, slightly grayish, brilliant and high-contrast color image and to reduce the sensitivity with which the generated image reacts to fluctuations in the technical parameters, e.g. B. Changes in the color density in the pigment, the area-specific amount applied to the image carrier, the changes in the desaturation behavior, the process temperature or process moisture, etc. These influences also determine the repeatability if the same at different times or after a new start of the process Results of imaging are to be achieved. It is also desirable that relatively coarse interventions in individual parameters lead to minor changes in the image result in order to enable reliable control of the color setting of the image to be generated. A more detailed description of these aspects can be found in DE-OS 22 33 165, to which reference is made with regard to the terminology used here as well, insofar as it is not defined below.

In particular, you can try to use at least one such starting color, e.g. B. red, to use in two different shades, which in particular influence the color tones that flow smoothly thereafter. For the determination of these colors, a color space is particularly suitable, as it is e.g. B. is specified by the EU 232 874 and US 5 076 286, to which here are included for further details and effects express reference is made to the present invention.

Is z. B. tries with the three bright starting colors of the usual "four-color printing", in which black is used as the fourth non-bright color, namely yellow, magenta (red) and cyan (blue), at least one more complex To generate mental or intermediate color by screening, for example the green lying between blue and yellow, the orange lying between red and yellow and / or the violet lying between blue and red, only relatively cloudy colors result. In order to represent purer colors, these intermediate colors were previously used as separate pigments or material-premixed starting colors; however, the range of the color shades that can be represented and associated with them is then very limited. There is also at best only an insignificantly improved differentiation in brightness areas or at most a negligible improvement in the reproduction of cloudy colors, e.g. B. light skin tones.

If, for example, an orange is used as an additional starting color, some color shades between yellow and red can be better represented, but all other color areas are not significantly influenced by it.

It is also shown that for the finer differentiation of the color rendering, which encompasses all color ranges, an increase in the brilliance alone does not produce satisfactory results. In the case of colors in a colored arrangement, the average human eye also subjectively clearly distinguishes between cold and warm colors, and this cold or warm value can see between the slightest changes in the color shade or the reflected light when viewed when switching arrive cold and warm. This is especially true for multi-colored pictures or for bright cloudy colors. Another reason for the lack of brilliance arises from the fact that the basic or starting colors are given a gray tint or a gray cast for technical reasons of manufacture. Colored arrangements or pictures from the aforementioned three starting colors convey a flat impression because they lack depth. This depth is generated by shading with a separate color, namely black, which is why this color is also called "the depth" by experts in the printing industry. The addition of black leads to the usual four-color printing. Screened black, used to darken colors, often brings with it unwanted graying.

The invention has for its object to improve a method of the type mentioned in such a way that a better result of color reproduction or recognition is achieved with a low total number of output colors, as well as a suitable set of colors, a suitably produced color image and a corresponding reproductive color - To provide a separating device or a filter or sensor set.

The improvement should preferably be achieved with regard to one or all of the following criteria, namely a distinction between cold and warm color, brightness values, differentiation of bright brilliance, insensitivity in technical mastery, contrasts with light and dark colors and gradation or Differentiation in all color nuances and / or in all color areas. The display of brilliance and variety of colors should also be increased, clouding should be avoided or should be avoidable with as little black as possible; the color image generation should be controllable in a simple manner in all steps of the associated technical process, and / or it should also be possible to gradually raise known processes in individual stages to the level of the new process. In particular, the Color reproduction of colorful images produced by the process can be improved.

According to the invention, this object is achieved by the features of claims 1, 5, 13, 17, 25, 26, 28, 29 and 30.

The invention is based on the use of at least two starting colors of the same color direction selected in this way, but of different hue, which not only influence the associated or seamlessly adjoining color ranges, but also at least one color range or a color field, which as a whole The distance to this lies and in turn contains numerous shades of color. The color space on which this is based is such that adjacent or adjoining color shades have optimally equal color distances across the entire color space.

At least one additional technical starting color, which is lighter or darker than the corresponding scale or standard color, is thus added to the starting colors usually provided for image generation. If a blue that is lighter than cyan, which can be turquoise-like light blue, is used, the brilliance of two individual areas of the color roughness is improved. One individual area encloses the light blue and enlarges it. The other individual area improves the display width as well as the brilliance in the red-brown area of the color space, which is also improved in its display with regard to the control of the brightness or turbidity values. Color areas of the color space, which mainly contain orange tones and skin tones, lie between these spaced-apart individual areas, where they have the smallest distances from one another. The second individual area can be significantly larger than the first.

The measuring technology for colors lacks a measuring geometry which corresponds sufficiently to human visual impressions, but which in turn is due to the color space model according to EP-PS 232 874 and US Pat. No. 5,026,286 is given in an advantageous manner. The measurement geometry for colors must be three-dimensional, because colors are determined by three basic differentiation criteria, which can be described, for example, by hue, saturation and brightness, that is to say the color valence. If all distinguishable colors are arranged in the same color distances as possible, a three-dimensional color space is created according to the abovementioned prior art. If you draw a line in the top view of this color space from its center to the most intense green and extend this line to the outer borders of the room, the color space is divided into a lighter and a darker half. The blue tones provided for the present colorful images are distributed so that the dark tones are in the darker half of the color space, but the light or turquoise blue are in the lighter half of the color space.

If one follows the locations of the most intense shades of blue in the plan view of the color space mentioned, a color sequence of shades of blue results from dark to light, in which dark violet, ultramarine, cyan, emerald, turquoise and light blue follow one another. Brilliant dark shades of blue appear more reddish than neighboring lighter shades of blue to cyan, which appear greener. In the space of the emerald, the hue that is usually called green has been reached. As this series progresses to turquoise and, on the other hand, even lighter shades of blue, its hue changes back to more blue. As a result, blue appears in the color space at two separate and spaced apart locations. There are therefore two fundamentally different groups or types of blue, namely the group of light blue tones, which are called light blue tones in color theory of the performing arts, and on the other hand the group of dark or strong blue tones. In contrast to other color spaces, the above color space also contains turquoise blue. If one uses a lighter yellow than the scale yellow, e.g. If, for example, cold lemon yellow, the brilliance is likewise improved in two separate individual areas of the color space that are spaced apart from one another. In this case, the first individual area includes the light yellow and extends in the color space up to and including orange or scarlet red, up to yellow, green and turquoise tones and up to associated cloudy colors, such as those caused by stone gray or green gray or putty colors are given. The second individual area, on the other hand, includes the color emerald green and can be significantly smaller than the first individual area. In the areas with the smallest distance between these two individual areas, there are shades of green in the color space that are less brilliant than emerald green.

The use of the two different yellow tones as the starting colors results in the possibility of an active or controllable suppression of color tones, by means of which certain color fields of the color space can be reliably excluded from the reproduction in the color image. This is e.g. B. desirable with regard to cloudy colors or with regard to such colors which, in the manner explained, tend to change between colors perceived as cold and warm, as is particularly true for light cloudy colors. So that warm yellow does not change over to cold, a clear distance from the transition limit is required in the color space, and so that cold yellow does not change over to warm, a corresponding clear distance from the opposite side of the change limit is required. In general it can be said that greenish tones have to be produced with greenish yellow and reddish tones with reddish yellow.

For determining individual colors as well as for mutual

Differentiation of all occurring colors are suitable apart from the hue, color properties or color specifications, which can be subdivided according to the level of properties, e.g. B. dark and degree of brightness, degree of warmth and cold and / or degree of opacity.

If two output colors of the color direction blue are used in two color specifications, the risk of individual mixed colors turning gray is reduced. If blue is used in two degrees of brightness, the contrasts are increased and more visual image depth is achieved. If turquoise-like bright blue is used, there is greater color brilliance, a finer gradation of the color nuances, in particular in bright green tones and / or in light skin tones. If a darker, red-containing blue is used, the brilliance in the area of dark violet is increased, dark brown tones do not change to gray or green tones, and a change between dark green and dark brown is also avoided. If, on the other hand, a darker blue, free of red, is used, as is the case with scale blue, gray, green and blue color tones can be clearly produced in cold dark tones.

Blue creates the depth effect of an image in that it can appear as pure color in all brightness levels or because there are most brightness variants of blue in pure, brilliant tones. If the color set has a medium blue, as is contained in the known four-color set for prints, a relatively large white area portion remains between the halftone dots in light tones. This leads to a bland or pale impression of the color. To achieve dark tones, a relatively large amount of black has to be added, but this has the side effect of graying.

The turquoise blue mentioned is then pure

Pigment less brilliant if it is produced by lightening scale blue or cyan. This light blue has its name "turquoise blue" because light blue pigments regularly have a faint green tint until a few years ago had. Today, however, it is more and more possible to create the pigments for this light blue so pure that they no longer have a green tinge, but appear like a lighter, but equally pure variant of the scale blue. They have, so to speak, a brilliance without depth and are also called coelin, sky blue or light blue for colors for the performing arts.

A special feature of paper printing is that this turquoise blue does not appear as a special color. Another special feature of turquoise blue is that it contradicts the known color wheel. In fact, according to its hue, it should lie between green and blue, where it does not fit because of its different brightness values. The special brightness of turquoise also makes it difficult to determine suitable measurements for this color. The color measurement technology works according to a color understanding that is derived from the principles of light colors. In the case of light colors, however, all the primary colors are of the same light and without brightness-specific spectacles, such as for the body colors and especially for the color blue. Depending on the measuring method, values may therefore be determined for the color turquoise blue mentioned here which are similar to those of cyan.

Of blue, which is different with respect to the darkness and brightness level, each mainly influences a separate brightness range, so that by using two or three different output colors of the blue color direction, two or three brightness ranges are influenced, which also determine the contrast can. This results in a finer gradation of the brightness or contrast values over a larger contrast range. Furthermore, it is possible to produce a larger number of different colors and to achieve a finer gradation in the hue area. In the respective brightness range, more color nuances as well as more brilliant or lighter colors can be created be achieved, e.g. B. a light yellow green to turquoise. Through the use of light blue, the light shades of all shades of blue become more extensive, as do all light green colors, light skin tones, beige colors, light brown colors and light wood colors.

The use of turquoise with high opacity achieves a brightness-increasing effect in particular when the darker to darkest color is first applied as a raster in the image production and then the next lighter color is applied in each case. However, it is also conceivable to first apply the lighter to the lightest and then essentially the next darker color.

The use of light yellow with increased opacity usually also increases the brilliance. The opacity can be increased by increasing the specific pigment density in the dye, but only up to a certain limit, after which the opacity can be increased even further by adding the color white. The color of the color carrier, e.g. B. of paper, a roll. Is this color e.g. B. yellowish, it is expedient to make the light or turquoise blue more opaque with an admixture of white pigment.

If two starting colors of the color direction yellow are used in two color specifications, all occurring colors can be distinguished in fine gradations, whereby orange is explicitly not to be addressed as yellow. If two starting colors yellow with different degrees of warmth and cold are used, each of these starting colors influences or enlarges the associated cold or warm area, cold and warm colors being more precisely distinguishable without the above-mentioned risk of them being between change cold and warm, the cold and warm contrast becomes blurred or cloudiness due to unwanted complementary influences arise that correspond to a graying. If a yellow that is as cold as possible is used, there is a clear distance between the associated colors and the changeover boundary between warm and cold color rendering. The same applies when using the warmest possible yellow.

If a suitable warm yellow is not available for screening techniques, it can be mixed from a colder yellow and violet to deep blue to the desired technical basic color, e.g. B. by stirring before Auf¬. The colder the yellow pigment, the less deep blue should be added, the less cold this yellow pigment is, the less reddish the added clay should be.

The division of yellow and blue into two or three colors also allows a better differentiation of the shades of green.

If the original colors do not have optimal brilliance, a further increase in the image quality can be achieved by adding a second red, which is expediently bluish than, but as pure as possible as usual magenta. This bluish red is also called cardinal, fuchsia or fuchsia red. The purer the pigments for the magenta are, the easier it is to dispense with this second red. This second blue red and also "pink" can also be mixed from red with shades of blue before printing.

If two output colors of the color direction red are used in two color specifications, the area of the color space in which red to violet shades appear brilliant is enlarged. If red is used in the usual magenta tone and an additional bluish tone, this effect results in all brightness ranges of the colors mentioned, for example cardinal red, carmine red, titian red in the dark, fuchsine red in the middle and "purple" -, "powder" - and "pink "Tones in the bright area. In grid technology, this also applies if the additional color is made of magenta and a violet or blue tone was mixed before printing.

According to the invention, best reproduction results can be achieved with a maximum of six to seven output colors. If an increase in the visual depth of the image is nevertheless desired, black can be added as a further starting color or replace the darker red. However, this image depth can also be achieved essentially at least as effectively by using three different shades of blue. However, black can also be reproduced in the image from a mixture of blue and yellow and possibly red.

Although not absolutely necessary, particularly high image reproduction qualities are achieved when the respective starting color is used as the unmixed, purest pigment. This also applies in particular to the mixing of warm yellow from colder yellow and deep blue to red.

The features according to the invention make colorful images possible in true-to-life, not gray-tinted, brilliant and high-contrast color tones. In terms of the original, the colors are less tolerant, finer and safer to set, they react with less sensitivity to technical fluctuations, for example in the color guidance in the printing process, and their repeated generation is possible within narrower tolerance limits of color deviations. According to the invention, by adjusting the brightness and not, or not only by increasing the luminosity, it is possible to produce full hues in all the colors that occur. The light blue or turquoise blue and / or the light yellow improve the color rendition in color areas that are approximately diametrically opposed to this turquoise blue or light yellow or as a color sector in the known color wheel. The design according to the invention also improves the insensitivity of halftone prints to the formation of so-called moires, which cause rhythmic shadowing through technical halftoning.

The color set is suitable for all color mixing and color representation processes. The following is an exemplary list:

The most common and easiest way to produce color deliberately is to paint a surface with some brushable colored material. Even if the substrate is not covered completely, but only to a greater or lesser extent, there is the first technical principle of variation, the glaze, the more or less shining through of a color. If other dyes are brushed over in the same way, resulting mixtures with a number of color variants result. This is how color photography works, including glazing with inks. If you work with colors wet on wet, it may well be that two colors mix substantially, to a uniform, continuous mixed color, which is otherwise produced as a so-called real mixture by stirring in a vessel. An effect similar to the glaze results if you divide color areas into small dots. If you place small dots of two colors close together and flat, you get the impression of a uniform color area, a mixed color. In art this process was called pointilism, in technology rasterization. One speaks of spurious mixture, in contrast to the above. real color mix. The screen, which works on the principle of light colors, also works according to this technique; he places points of light side by side.

Depending on the type and quality of the dyes, there are overlaps between the mixing principles, for example if the color effect of a dye is based on the fact that small granules are distributed in a colored carrier paste, it is often the case with gray. Glazes result in light color effects etc. in brighter tones.

There are many other overlaps of mixed principles in image reproduction. For example, a (real) glaze results if screen dots are not exactly next to each other in the print, but partially overlap. If the colors flow into each other until they are completely mixed, a real mixture is created as further homogenization. This can be used as a desired effect in gravure printing, in inkjet printers, but also in various textile printing processes, because genuinely mixed colors appear more intensely than halftone mixtures. These overlaps mean that the starting color components for achieving a color tone can vary from process to process, as can the nuances of the starting colors in terms of brightness, saturation and hue (hue). However, the principle according to the invention can be used for all of these techniques, using at least two starting colors of suitable, same color direction, in particular yellow and / or blue, of different color valence.

In order to illustrate the influence that the mixing principle can have on the determination of the starting colors of the same color direction, the most extreme example is known which is known from practice: With yellow there is a difference in the starting colors to be chosen if one uses a most intense orange wants to achieve. The warmer yellow should be used for screening, the cold yellow for real mixtures of very intense tones. However, the phenomenon affects only a vanishingly small part of the color space, well below one percent.

The question of the gradual adjustment of the color set to the previous techniques, especially the three or four-color technology, ie a step-by-step reduction of the color set recommended here, is initially answered by the

Peculiarities of the methods used: In the photographic see method, a blue (or its translation into other spectral ranges synchronous with the color set) can be dispensed with, especially if a blue tends to change its hue in the brightening. In view of the prevailing light color mixing principle, a golden yellow should be used for a colored screen, which should appear fuller, more saturated and possibly red than the golden yellow specified for the print. For a true blend of opaque colors, the full set of three shades of blue should be used. A third blue can be omitted for inks in similar circumstances as in photography.

In the case of halftone printing, what is important is the intended use, for example whether signals, posters or art books are printed, whether one or more colors of the recommended color set can be dispensed with and which ones. This is also a question of visual physiology, primarily with regard to the viewing distance: a book or magazine fills the field of view more when viewed than an advertising poster that is supposed to be attractive or at least conspicuous from a distance. In the book, more emphasis is placed on fine gradation of the colors, in the poster on intensity.

The easiest way, as described, to do without the second red. Only in rare cases is it recommended to use two shades of blue, whereby the darker one should be less reddish; with or without black, 5 to 6 colors. If one does not use the blue separation, the picture appears warmer and skin colors are easy to control, but not as varied. Black is beneficial; 5 colors. If you do not use the yellow separation and only work with two or three shades of blue, hard contrasts and colorful pictures with a lot of depth are possible, but they have a somewhat cool effect. There is no need for black; 4, 5 or 6 colors, 4 when using turquoise without black. According to the invention, it is further proposed, regardless of the features explained, to use the color turquoise blue for a set of colors which is intended for the production of mixed colors and contains more than three or four different colors.

The color set according to the invention is also suitable as

Basis for coding colors. For example, the mixing ratios in which the set of colors according to the invention optimally represents the color to be coded are used as coding values for a color.

In addition to the claims, these and other features also emerge from the description, the individual features being implemented individually or in groups in the form of sub-combinations in one embodiment of the invention and in other fields, and also advantageous and protectable designs can represent, for which protection is claimed here.

Examples of the invention are explained in more detail below:

The original colors from which an image is compiled in printing are separated before printing. For this purpose, the original image is photographed by upstream color filters, these filters each being kept in the complementary color of the original colors used later in the printing. The process is repeated with a corresponding filter for each starting color to be printed. So on every film you can see roughly the same picture, only with differently blackened areas. The degree of blackening determines the later degree of color strength. In the same or a separate operation, the blackening or gray levels of the film are converted into screenings. This is necessary because in contrast to photography, for example, a printing machine does not activate more or less color or can wear, it can only give off the color over the entire surface. However, these areas can be very small, so that by joining together many small areas or halftone dots, one can get the impression of more or less color, depending on the size of the dots of an area. If you print two such surfaces on top of each other with two starting colors of different distribution, you get the impression of multiple colors between these two starting colors. The more output colors you add or the more output colors you separate an image, the more diverse the coloration achieved. The separation used to be done using a repro camera, today usually using scanners that scan the image point by point and accordingly expose films.

The images of the films are transferred to the printing form, the part of the printing machine that is actually printing or guiding the color, by photomechanical means: the printing plate or the printing cylinder are provided with a layer which hardens under the action of light. For exposure, the film is placed on the printing plate so that the blackened parts or halftone dots protect the underlying layer from light. After sufficient exposure, a negative image of the film is obtained, which is reversed into a positive one by various chemical processes, such as etching and lacquering, and is reinforced in accordance with the mechanical requirements of the print run.

Depending on the existing machines, the original colors are printed together in one pass or in several passes in succession if the machine has only one inking unit. The number and selection of the original colors depends essentially on the intended use of the prints. Two examples below:

In the first case, the title and color pages of a boulevard newspaper are printed, in rotogravure roll rotation with five starting colors: two blue, two yellow, one red, in series. follow light yellow, dark yellow, turquoise, red, dark blue. Because a rather striking effect is to be achieved, the finer colors are not drawn, as is black, because no fine typographies or lines can be printed.

In the second case, an art ribbon is printed, on a two-color machine in the offset process with six output colors in the order of deep dark blue. Dark blue, red, dark yellow, turquoise, light yellow. So that the light starting colors turquoise and light yellow can be seen well on the darker ones, they were enriched with some white pigment. The warm yellow was mixed substantially from lemon yellow and a reddish violet. Because the originals are demanding in terms of color, the optimal set of six bright colors is used for printing.

Claims

claims

1. A method for producing bright colors by mixing at least four bright colors, one of which belongs to the yellow color direction, characterized in that at least two bright yellow colors of different color valency are used.

2. The method according to claim 1, characterized in that the starting colors of the color direction yellow are used in at least two different brightnesses or at least two different saturations.

3. The method according to claim 1 or 2, characterized in that the warmest possible yellow to golden yellow and / or at least one coldest possible yellow to lemon yellow is used.

4. The method according to claim 3, characterized in that in order to produce a warm yellow a contrasting käl¬ teres yellow to lemon yellow with violet or dark blue and / or red, such as scale red, is substantially mixed.

5. A method for generating or recognizing bright colors by mixing or determining at least four bright starting colors, one of which belongs to the direction of color blue, characterized in that at least two starting colors of the walking direction blue of different color valency are used.

6. The method according to claim 5, characterized in that the starting colors of the color direction blue are used in at least two different saturations.

7. The method according to claim 5 or 6, characterized gekenn¬ characterized in that a turquoise light blue and at least one darker, substantially free of red blue and / or at least one dark blue containing significant red is used.

8. The method according to any one of claims 5 to 7, characterized in that one of red, turquoise or Hellgelbantei¬ len essentially free bright blue with high opacity is used, which in particular contains a substantial admixture of white.

9. The method according to any one of the preceding claims, in which one of the output colors of the color direction red is heard, characterized in that at least two output colors of the color direction red of different color valence, in particular different degrees of darkness and brightness, are used, wherein preferably, in addition to a red or magenta, another red is used which contains a greater proportion of blue or is darker.

10. The method according to any one of the preceding claims, characterized in that at most six to seven colorful

Starting colors are used and / or that black is mixed from dark blue and yellow and possibly red.

11. The method according to any one of the preceding claims, characterized in that additionally black as achromatic

Base color is used, especially for deep black areas and lines, such as. B. Typographies.

12. The method according to any one of the preceding claims, characterized in that one to all starting colors are used as unmixed, purest pigments or pigment colors.

13. Set of colors, in particular for printing technology, for the production of bright colors, with at least four starting colors, by means of which the bright colors can be produced and among which a starting color of the color direction yellow is included, characterized in that at least two starting colors of the color direction yellow of different color valency are provided.

14. Set of colors according to claim 13, characterized in that the starting colors of the color direction yellow are provided in at least two different brightnesses or at least two different saturations.

15. Set of colors according to claim 13 or 14, characterized gekenn¬ characterized in that the warmest possible yellow to golden yellow and / or at least one coldest possible yellow to lemon yellow is included.

16. Set of colors according to one of claims 13 to 15, characterized in that it contains at least one yellow which is mixed from a colder yellow to lemon yellow with violet or deep blue and / or red, such as scale red, substantially.

17. set of colors, in particular for printing technology, for the production of bright colors, with at least four starting colors, by means of which the bright colors can be produced and among which a starting color of the color direction blue is contained, characterized in that at least two starting colors of the color direction Blue of different color valence are provided.

18. Color set according to claim 17, characterized in that the starting colors of the color direction blue are provided in at least two different saturations.

19. A set of colors according to claim 17 or 18, characterized gekenn¬ characterized in that a turquoise light blue and at least one darker, from blue essentially free of red and / or at least one red containing dark blue is ent ent.

20. Color set according to one of claims 13 to 17, characterized in that a light blue of high opacity, which in particular has a substantial admixture of white, is included.

21. Color set according to one of claims 13 to 20, in which one of the output colors belongs to the color direction red, characterized in that it contains at least two output colors of the color direction red of different color valence, in particular different degrees of darkness and brightness, preferably in addition with a red or magenta there is another red with a larger blue component.

22. set of colors according to any one of claims 13 to 21, characterized in that it contains at most six to seven bright colors and / or that it contains a dark blue and a dark yellow and possibly a red to mix black.

23. Color set according to one of claims 13 to 22, characterized in that it additionally contains black as the achromatic starting color.

24. Set of colors according to any one of claims 13 to 23, characterized in that it contains one to all starting colors as unmixed pigment colors.

25. Reproduction-produced color image, characterized in that it is composed of the starting colors of a color set according to one of claims 13 to 24.

26. Device for separating colors of an image template for the reproduction of color images, characterized in that the separation according to output colors of a color set according to one of claims 13 to 24 or according to complementary starting colors.

27. Set of color separations for the reproduction of color images, characterized by the output colors of a color set according to one of claims 13 to 24 corresponding color separations.

28. A method for producing bright colors by mixing at least four bright starting colors, in particular according to one of claims 1 to 12, characterized in that turquoise blue is used as one of the starting colors.

29. Color set for the production of bright colors, with at least four starting colors, by mixing the bright colors can be produced, in particular according to one of claims 13 to 24, characterized in that one of the starting colors is turquoise blue.

30. Device for separating colors of an image template for the reproduction of color images, characterized in that the separation takes place according to the starting colors of a color set according to claim 29.

31. Set of color separations for the reproduction of color images, characterized by the output colors of a color set according to claim 29 corresponding color separations.

32. filter resp. Sensor set, characterized in that the spectral transmission or. Sensitivity of each filter resp. each sensor corresponds essentially to one of the starting colors of a set of colors according to one of claims 13 to 24 or a complementary starting color.

33. A method for coding a color, characterized gekenn¬ characterized in that the color is coded by the mixing ratios to be used for generating the color of the starting colors of a color set according to one of claims 13 to 24.