Magenta Gpx

[Natalie Omahony]

Magentaməˈdʒɛntə/) is a purplish-red color.[1][2] On color wheels of the RGB (additive) and CMY (subtractive) color models, it is located precisely midway between blue and red. It is one of the four colors of ink used in color printing by an inkjet printer, along with yellow, cyan, and black to make all the other colors. The tone of magenta used in printing, printer's magenta, is redder than the magenta of the RGB (additive) model, the former being closer to rose.

Magenta took its name from an aniline dye made and patented in 1859 by the French chemist Franois-Emmanuel Verguin, who originally called it fuchsine. It was renamed to celebrate the Italian-French victory at the Battle of Magenta fought between the French and Austrians on 4 June 1859 near the Italian town of Magenta in Lombardy.[3][4] A virtually identical color, called roseine, was created in 1860 by two British chemists, Edward Chambers Nicholson, and George Maule.

Magenta is an extra-spectral color, meaning that it is not a hue associated with monochromatic visible light. Magenta is associated with perception of spectral power distributions concentrated mostly in two bands: longer wavelength reddish components and shorter wavelength blueish components.[5]

In the RGB color system, used to create all the colors on a television or computer display, magenta is a secondary color, made by combining equal amounts of red and blue light at a high intensity. In this system, magenta is the complementary color of green, and combining green and magenta light on a black screen will create white.

In the CMYK color model, used in color printing, it is one of the three primary colors, along with cyan and yellow, used to print all the rest of the colors. If magenta, cyan, and yellow are printed on top of each other on a page, they make black. In this model, magenta is the complementary color of green. If combined, green and magenta ink will look dark brown or black. The magenta used in color printing, sometimes called process magenta, is a darker shade than the color used on computer screens.

In terms of physiology, the color is stimulated in the brain when the eye reports input from short wave blue cone cells along with a sub-sensitivity of the long wave cones which respond secondarily to that same deep blue color, but with little or no input from the middle wave cones. The brain interprets that combination as some hue of magenta or purple, depending on the relative strengths of the cone responses.

If the spectrum is wrapped to form a color wheel, magenta (additive secondary) appears midway between red and violet. Violet and red, the two components of magenta, are at opposite ends of the visible spectrum and have very different wavelengths. The additive secondary color magenta is made by combining violet and red light at equal intensity; it is not present in the spectrum itself.

The web colors fuchsia and magenta are identical, made by mixing the same proportions of blue and red light. In design and printing, there is more variation. The French version of fuchsia in the RGB color model and in printing contains a higher proportion of red than the American version of fuchsia.[citation needed]

The color magenta was the result of the industrial chemistry revolution of the mid-nineteenth century, which began with the invention by William Perkin of mauveine in 1856, which was the first synthetic aniline dye. The enormous commercial success of the dye and the new color it produced, mauve, inspired other chemists in Europe to develop new colors made from aniline dyes.[3]

In France, Franois-Emmanuel Verguin, the director of the chemical factory of Louis Rafard near Lyon, tried many different formulae before finally in late 1858 or early 1859, mixing aniline with carbon tetrachloride, producing a reddish-purple dye which he called "fuchsine", after the color of the flower of the fuchsia plant.[6] He quit the Rafard factory and took his color to a firm of paint manufacturers, Francisque and Joseph Renard, who began to manufacture the dye in 1859.

In the same year, two British chemists, Edward Chambers Nicholson and George Maule, working at the laboratory of the paint manufacturer George Simpson, located in Walworth, south of London, made another aniline dye with a similar red-purple color, which they began to manufacture in 1860 under the name "roseine". In 1860 they changed the name of the color to "magenta", in honor of the Battle of Magenta fought by the armies of France and Sardinia against Austrians at Magenta, Lombardy the year before, and the new color became a commercial success.[3][7]

In color printing, the color called process magenta, pigment magenta, or printer's magenta is one of the three primary pigment colors which, along with yellow and cyan, constitute the three subtractive primary colors of pigment. (The secondary colors of pigment are blue, green, and red.) As such, the hue magenta is the complement of green: magenta pigments absorb green light; thus magenta and green are opposite colors.

Process magenta is not an RGB color, and there is no fixed conversion from CMYK primaries to RGB. Different formulations are used for printer's ink, so there may be variations in the printed color that is pure magenta ink.

This color is called magenta in X11 and fuchsia in HTML. In the RGB color model, it is created by combining equal intensities of red and blue light. The two web colors magenta and fuchsia are exactly the same color. Sometimes the web color magenta is called electric magenta or electronic magenta.

Magenta is a common color for flowers, particularly in the tropics and sub-tropics. Because magenta is the complementary color of green, magenta flowers have the highest contrast with the green foliage, and therefore are more visible to the animals needed for their pollination.[citation needed]

The German telecommunications company Deutsche Telekom uses a magenta logo. It has sought to prevent use of any similar color by other businesses, even those in unrelated fields, such as the insurance company Lemonade.[11]

I've been trying to get rid of the slight magenta cast on my prints for days. I have a Mac that's running Catalina 10.15.7 and printing through Photoshop CC (updated). I've read through many of these forums and tried everything, with no luck. I have a hunch it's double profiling but can't get it to stop. Please help!

2. check that all the plastic wrap is removed from the top of the cartridges. There is a little vent hole on top to let air in. If that is obstructed it won't necessary affect a nozzle check (very little ink) but could affect a print.

3. I downloaded and printed the test images, which most notably showed the sky in the arches photo with a lack of cyan, it seems? It also generally looks flat. Apologies for the poor quality, the image file was quite small.

I've had same issue - which seems to happen despite any alterations to profiles or manual settings. I have had the same workflow for over a year & had satisfactory results printing in monochrome. I used the 'print preview' option once & since then I cannot get rid of a pronounced magenta case when using 'Plain Paper'. Is there a fix to this glitch - I have deactivated the preview option, but the issue continues. I can print in monochrome on 'plain' paper with Mac without this issue - it seems to be a Windows 10 / Canon issue?

Unfortunately uninstalling / reinstalling driver & latest updates has not solved the issue. It also persists when I switch to a Windows 10 laptop - which suggests the glitch has somehow registered on the printer's side?

In general: holding down [Shift] when magenta is On keeps magenta active as long as you hold down [Shift]. Also fat black when hovering over a face while drawing and then holding down [ Shift].

With Gdi32 it was common approach to use magenta as transparency key to draw graphics. With System.Drawing it would be a one liner, i.e. _myImg.MakeTransparent(Color.Magenta). But what about WPF? Is there even such a thing as standard practice for aforementioned scenario?

Ultimately, I may have to write code to convert these bitmaps into transparent pngs, cache them somewhere and load those instead. If so, does anyone know of any resources that can help me accomplish this aside from Gdi+?

Both are quinacridones. PV19 (rose is the more red one, the other is more magenta) is a necessity, as it replaces fugitive crimsons. Has to be present on any palette. PR122 is a nice magenta to have. PR122 being a true magenta can mix with blue and yellow to make any color. However, to do this is inconvenient while painting, so PR122 is best used as a violet mixer or a green complement, and thus finds limited use as it is not commonly used as a mixer for the yellow/orange/red colors. OTOH, PV19 is commonly used as a mixer with most colors (yellow to red to blue to green).

Can you detect any difference between the two different Magentas of the first image?

Can you provide me any information about the differences between PV19 Q.Violet and PR122 Magenta? What is the difference between these two pigments?

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