Color: More Than Meets The Eye Part One: Which Color Wheel Are You On?

This post is the first in a four-part series exploring the fascinating evolution of color theory, language, and perception. Over the next few weeks, we’ll explore color wheels, the surprising history of color names, the shifting definition of "primary" colors, and how language and culture shape the way we see color.

Stay tuned for upcoming posts in this series:

1. Which Color Wheel Are You On? (You’re here!)

2. Color Names: Why Red Came First (And Cyan Came Later)

3. What Makes a Color “Primary”?

4. Color in Culture: How Language Shapes Our Palette

“If you’d asked me years ago, I would’ve said, ‘Of course there’s only one color wheel!’ Turns out, art—and life—are full of alternate wheels.”

Part One: Which Color Wheel Are You On?

I can hear it now:

“Wait… which color wheel?”

“Isn’t there only one?”

That’s what I used to think, too.

Like many people, I grew up with what's known as the traditional color wheel—the one we're taught in grade school art classes. Red, yellow, and blue were considered the holy trinity of primary colors, and everything else could be mixed from them.

But that’s only one version of color theory.

Because of a surprising conversation a few years ago, I discovered that there are multiple color wheels, each built around a different purpose, medium, and scientific understanding of how color actually works.

And each tells a different story about how we see—and create—color.

The Three Main Color Wheels

1. RYB (Red, Yellow, Blue): The Traditional Artist's Wheel

This is the one most of us encounter first—the classic painter’s color wheel. Based on mixing pigments, the RYB model has been around for centuries. In this system, red, yellow, and blue are the primaries, with orange, green, and violet as their secondaries.

Historically, red, yellow, and blue were seen as the “noble” hues. Around AD 300, philosopher Chalcidius referred to them as simple or primary colors, likely based on the artistic practices of his time. (Kuehni, R.G. “Development of the idea of simple colors…” Color Research & Application, 2007)

This model is still widely used in traditional and early education, despite newer theories offering more accurate representations of how colors interact.

Traditional Artists' Color, based on pigment mixing.

2. RGB (Red, Green, Blue): The Light-Based Color Wheel

If you’ve ever worked with digital art, film, or screens, this is the color model behind the pixels. The RGB wheel is used in digital media—anywhere light is emitted rather than reflected. Its primaries are red, green, and blue.

Mix them at full intensity and you get white light.

This model stems from Newton’s prism experiments in the 17th century and aligns with how our eyes perceive color through cone cells sensitive to red, green, and blue light. It’s foundational in technologies like TVs, smartphones, and computer monitors.

So, when I was told I was wrong about primary colors…it turns out, we were both right. We were just talking about different media.

Red, Green, Blue Color Wheel, based on Newton's experiments with light, is used in modern digital media.

3. CMYK (Cyan, Magenta, Yellow, Black): The Print Model

This is the model used in printing. The CMYK system is called subtractive because it begins with white (paper) and subtracts light using ink. Its primaries are cyan, magenta, and yellow—with black (K) added for contrast and depth.

Interestingly, cyan and magenta didn’t even exist as words until the 19th century, when synthetic dyes and industrial printing emerged. Magenta was actually named after the Battle of Magenta in 1859!

Fun Fact: In 1725, printer Jacob Christoph Le Blon described a subtractive model based on red, yellow, and blue pigments—marking the first documented distinction between pigment and light-based systems. (Smithsonian Institution, Color in a New Light Exhibition)

Cyan, Magenta, Yellow (Black) Color Wheel, based on how ink appears on white paper, is used in modern print media.

So, Which One Is Right?

Each color wheel has its place:

• Use RYB if you’re painting with traditional media.

• Use RGB if you’re working with digital screens or light-based displays.

• Use CMYK for anything going to print.

Just like tools in an artist’s studio, each model serves a different purpose.

What About You?

Have you ever had a moment when someone told you your understanding of color was “wrong”?

Do you use RYB, RGB, or CMYK in your creative work—or maybe all three?

Have you ever had your own “Wait… there’s more than one?” moment?

I’d love to hear how you experience color. Share your thoughts in the comments or drop me a message!

Sources & References

• Kuehni, Rolf G. “Development of the idea of simple colors in the 16th and early 17th centuries.” Color Research & Application, 32.2 (2007): 92–99.

• Handprint: Ancient Color Theory

• Smithsonian Libraries: Color in a New Light

• Newton, Isaac. Opticks, 1704

• Berlin, Brent, and Kay, Paul. Basic Color Terms: Their Universality and Evolution, 1969