Blue in the context of Primary colours

Cobalt blue is a blue pigment made by sintering cobalt(II) oxide with aluminium(III) oxide (alumina) at 1200 °C. Chemically, cobalt blue pigment is cobalt(II) oxide-aluminium oxide, or cobalt(II) aluminate, CoAl₂O₄. Cobalt blue is lighter and less intense than the (iron-cyanide based) pigment Prussian blue. It is extremely stable, and has historically been used as a coloring agent in ceramics (especially Chinese porcelain), jewelry, and paint. Transparent glasses are tinted with the silica-based cobalt pigment "smalt".

Lapis lazuli (UK: /ˌlæpɪs ˈlæz(j)ʊli, ˈlæʒʊ-, -ˌli/; US: /ˈlæz(j)əli, ˈlæʒə-, -ˌliˌ læˈzuːli/) is a deep-blue metamorphic rock used as a semi-precious stone that has been prized since antiquity for its intense color. Its name originates from the Persian word for the gem, lāžward, and serves as the root for the word for "blue" in several languages, including Spanish and Portuguese azul and English azure. Lapis lazuli is a rock composed primarily of the minerals lazurite, pyrite, diopside, and calcite. As early as the 7th millennium BC, lapis lazuli was mined in the Sar-i Sang mines, in Shortugai, and in other mines in Badakhshan province in modern northeast Afghanistan. Lapis lazuli artifacts, dated to 7570 BC, have been found at Bhirrana, which is the oldest site of Indus Valley Civilisation. Lapis was highly valued by the Indus Valley Civilisation (3300–1900 BC). Lapis beads have been found at Neolithic burials in Mehrgarh, the Caucasus, and as far away as Mauritania. It was used in the funeral mask of Tutankhamun (1341–1323 BC).

By the end of the Middle Ages, Europe began importing lapis lazuli to grind it into powder and make ultramarine pigment. Ultramarine was used by some of the most important artists of the Renaissance and Baroque, including Masaccio, Perugino, Titian and Vermeer; it was often reserved for the clothing of the central figures of their paintings, especially the Virgin Mary. Ultramarine has also been found in dental tartar of medieval nuns and scribes, perhaps as a result of licking their painting brushes while producing medieval texts and manuscripts.

In color theory, hue is one of the properties (called color appearance parameters) of a color, defined in the CIECAM02 model as "the degree to which a stimulus can be described as similar to or different from stimuli that are described as red, orange, yellow, green, blue, violet," within certain theories of color vision.

Hue can typically be represented quantitatively by a single number, often corresponding to an angular position around a central or neutral point or axis on a color space coordinate diagram (such as a chromaticity diagram) or color wheel, or by its dominant wavelength or by that of its complementary color. The other color appearance parameters are colorfulness, saturation (also known as intensity or chroma), lightness, and brightness. Usually, colors with the same hue are distinguished with adjectives referring to their lightness or colorfulness - for example: "light blue", "pastel blue", "vivid blue", and "cobalt blue". Exceptions include brown, which is a dark orange.

The RGB color model is an additive color model in which the red, green, and blue primary colors of light are added together in various ways to reproduce a broad array of colors. The name of the model comes from the initials of the three additive primary colors, red, green, and blue.

The main purpose of the RGB color model is for the sensing, representation, and display of images in electronic systems, such as televisions and computers, though it has also been used in conventional photography and colored lighting. Before the electronic age, the RGB color model already had a solid theory behind it, based in human perception of colors.

Green is the color between cyan and yellow on the visible spectrum. It is evoked by light which has a dominant wavelength of roughly 495–570 nm. In subtractive color systems, used in painting and color printing, it is created by a combination of yellow and cyan; in the RGB color model, used on television and computer screens, it is one of the additive primary colors, along with red and blue, which are mixed in different combinations to create all other colors. By far the largest contributor to green in nature is chlorophyll, the chemical by which plants photosynthesize and convert sunlight into chemical energy. Many creatures have adapted to their green environments by taking on a green hue themselves as camouflage. Several minerals have a green color, including the emerald, which is colored green by its chromium content.

During post-classical and early modern Europe, green was the color commonly associated with wealth, merchants, bankers, and the gentry, while red was reserved for the nobility. For this reason, the costume of the Mona Lisa by Leonardo da Vinci and the benches in the British House of Commons are green while those in the House of Lords are red. It also has a long historical tradition as the color of Ireland and of Gaelic culture. It is the historic color of Islam, representing the lush vegetation of Paradise. It was the color of the banner of Muhammad, and is found in the flags of nearly all Islamic countries.

An astrophysical jet is an astronomical phenomenon where ionised matter is expelled at high velocity from an astronomical object, in a pair of narrow streams aligned with the object's axis of rotation. When the matter in the beam approaches the speed of light, astrophysical jets become relativistic jets as they show effects from special relativity.

Astrophysical jets are associated with many types of high-energy astronomical sources, such as black holes, neutron stars and pulsars. Their causes are not yet fully understood, but they are believed to arise from dynamic interactions within accretion disks. One explanation is that as an accretion disk spins, it generates a rotating, tangled magnetic field which concentrates material from the disk into the jets and then drives it away from the central object. Jets may also be influenced by a general relativity effect known as frame-dragging.

In astronomy, extinction is the absorption and scattering of electromagnetic radiation by dust and gas between an emitting astronomical object and the observer. Interstellar extinction was first documented as such in 1930 by Robert Julius Trumpler. However, its effects had been noted in 1847 by Friedrich Georg Wilhelm von Struve, and its effect on the colors of stars had been observed by a number of individuals who did not connect it with the general presence of galactic dust. For stars lying near the plane of the Milky Way which are within a few thousand parsecs of the Earth, extinction in the visual band of frequencies (photometric system) is roughly 1.8 magnitudes per kiloparsec.

For Earth-bound observers, extinction arises both from the interstellar medium and the Earth's atmosphere; it may also arise from circumstellar dust around an observed object. Strong extinction in Earth's atmosphere of some wavelength regions (such as X-ray, ultraviolet, and infrared) is overcome by the use of space-based observatories. Since blue light is much more strongly attenuated than red light, extinction causes objects to appear redder than expected; this phenomenon is called interstellar reddening.

Azure is the color between cyan and blue on the spectrum of visible light. It is often described as the color of the sky on a clear day.

On the RGB color wheel, "azure" (hexadecimal #0080FF) is defined as the color at 210 degrees, i.e., the hue halfway between blue and cyan. In the RGB color model, used to create all the colors on a television or computer screen, azure is created by adding a 50% of green light to a 100% of blue light.

The Tyndall effect is light scattering by particles in a colloid such as a very fine suspension (a sol). Also known as Tyndall scattering, it is similar to Rayleigh scattering, in that the intensity of the scattered light is inversely proportional to the fourth power of the wavelength, so blue light is scattered much more strongly than red light. An example in everyday life is the blue colour sometimes seen in the smoke emitted by motorcycles, in particular two-stroke machines where the burnt engine oil provides these particles. The same effect can also be observed with tobacco smoke whose fine particles also preferentially scatter blue light.

Under the Tyndall effect, the longer wavelengths are transmitted more, while the shorter wavelengths are more diffusely reflected via scattering. The Tyndall effect is seen when light-scattering particulate matter is dispersed in an otherwise light-transmitting medium, where the diameter of an individual particle is in the range of roughly 40 to 900 nm, i.e. somewhat below or near the wavelengths of visible light (400–750 nm).

Indigo is a term used for a number of hues in the region of blue. The word comes from the ancient dye of the same name. The term "indigo" can refer to the color of the dye, various colors of fabric dyed with indigo dye, a spectral color, one of the seven colors of the rainbow as described by Isaac Newton, or a region on the color wheel, and can include various shades of blue, ultramarine, and green-blue. Since the web era, the term has also been used for various purple and violet hues identified as "indigo", based on use of the term "indigo" in HTML web page specifications.

The word "indigo" comes from the Latin word indicum, meaning "Indian", as the naturally based dye was originally exported to Europe from India.

Cyan (/ˈsaɪ.ən, -æn/) is the color between blue and green on the visible spectrum of light. It is evoked by light with a predominant wavelength between 500 and 520 nm, between the wavelengths of green and blue.

In the subtractive color system, or CMYK color model, which can be overlaid to produce all colors in paint and color printing, cyan is one of the primary colors, along with magenta and yellow. In the additive color system, or RGB color model, used to create all the colors on a computer or television display, cyan is made by mixing equal amounts of green and blue light. Cyan is the complement of red; it can be made by the removal of red from white. Mixing red light and cyan light at the right intensity will make white light. It is commonly seen on a bright, sunny day in the sky.

White is the lightest color and is achromatic (having no chroma). It is the color of objects such as snow, chalk, and milk, and is the opposite of black. White objects fully (or almost fully) reflect and scatter all the visible wavelengths of light. White on television and computer screens is created by a mixture of red, blue, and green light. The color white can be given with white pigments, especially titanium dioxide.

In ancient Egypt and ancient Rome, priestesses wore white as a symbol of purity, and Romans wore white togas as symbols of citizenship. In the Middle Ages and Renaissance a white unicorn symbolized chastity, and a white lamb sacrifice and purity. It was the royal color of the kings of France as well as the flag of monarchist France from 1815 to 1830, and of the monarchist movement that opposed the Bolsheviks during the Russian Civil War (1917–1922). Greek temples and Roman temples were faced with white marble, and beginning in the 18th century, with the advent of neoclassical architecture, white became the most common color of new churches, capitols, and other government buildings, especially in the United States. It was also widely used in 20th century modern architecture as a symbol of modernity and simplicity.

Prussian blue (also known as Berlin blue, Brandenburg blue, Parisian and Paris blue) is a dark blue pigment produced by oxidation of ferrous ferrocyanide salts. It has the chemical formula Fe₄[Fe(CN)₆]₃. It consists of Fe cations, where iron is in the oxidation state of +3, and [Fe(CN)₆] anions, where iron is in the oxidation state of +2, so, the other name of this salt is iron(III) hexacyanoferrate(II). Turnbull's blue is essentially identical chemically, excepting that it has different impurities and particle sizes—because it is made from different reagents—and thus it has a slightly different color.

Prussian blue was created in the early 18th century and is the first modern synthetic pigment. It is prepared as a very fine colloidal dispersion, because the compound is not soluble in water. It contains variable amounts of other ions and its appearance depends sensitively on the size of the colloidal particles. The pigment is used in paints, it became prominent in 19th-century aizuri-e (藍摺り絵) Japanese woodblock prints, and it is the traditional "blue" in technical blueprints.

In spectroscopy, hypsochromic shift (from Ancient Greek ὕψος (upsos) 'height' and χρῶμα (chrōma) 'color') is a change of spectral band position in the absorption, reflectance, transmittance, or emission spectrum of a molecule to a shorter wavelength (higher frequency). Because the blue color in the visible spectrum has a shorter wavelength than most other colors, this effect is also commonly called a blue shift. It should not be confused with a bathochromic shift, which is the opposite process – the molecule's spectra are changed to a longer wavelength (lower frequency).

Hypsochromic shifts can occur because of a change in environmental conditions. For example, a change in solvent polarity will result in solvatochromism. A series of structurally related molecules in a substitution series can also show a hypsochromic shift. Hypsochromic shift is a phenomenon seen in molecular spectra, not atomic spectra - it is thus more common to speak of the movement of the peaks in the spectrum rather than lines.

The Natural Colour System (NCS) is a proprietary perceptual color model. It is based on the color opponency hypothesis of color vision, first proposed by German physiologist Ewald Hering. The current version of the NCS was developed by the Swedish Colour Centre Foundation, from 1964 onwards. The research team consisted of Anders Hård, Lars Sivik and Gunnar Tonnquist, who in 1997 received the AIC Judd award for their work. The system is based entirely on the phenomenology of human perception as opposed to color mixing. It is illustrated by a color atlas, marketed by NCS Colour AB in Stockholm.

Magenta is a purplish red color. On color wheels of the RGB and CMYK color models, it is located directly midway between blue and red. It is one of the 4 colors of substractive ink used in color printing by most color printers, also known as CMYK along with yellow, cyan, and black to make all the other colors and hues. 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 François-Emmanuel Verguin, who originally called it fuchsine. It was renamed to celebrate the French-Sardinian victory under French Emperor Napoleon III at the Battle of Magenta against the larger army of the Austrian Empire on 4 June 1859 near the Italian town of Magenta, at the time in Austria. This battle was decisive in liberating Italy from Austrian domination.

RYB (an abbreviation of red–yellow–blue) is a subtractive color model used in art and applied design in which red, yellow, and blue pigments are considered primary colors. Under traditional color theory, this set of primary colors was advocated by Moses Harris, Michel Eugène Chevreul, Johannes Itten and Josef Albers, and applied by countless artists and designers. The RYB color model underpinned the color curriculum of the Bauhaus, Ulm School of Design and numerous art and design schools that were influenced by the Bauhaus, including the IIT Institute of Design (founded as the New Bauhaus), Black Mountain College, Design Department Yale University, the Shillito Design School, Sydney, and Parsons School of Design, New York.

In this context, the term primary color refers to three exemplar colors (red, yellow, and blue) as opposed to specific pigments. As illustrated, in the RYB color model, red, yellow, and blue are intermixed to create secondary color segments of orange, green, and purple. This set of primary colors emerged at a time when access to a large range of pigments was limited by availability and cost, and it encouraged artists and designers to explore the many diverse colors through mixing and intermixing a limited range of pigment colors. In art and design education, gray, red, yellow, and blue pigments were usually augmented with white and black pigments, enabling the creation of a larger gamut of colors and details including tints and shades.