(Swedish Standards Institute), the Natural Color System was described in an atlas containing 1412 colors. In 1984, an additional 118 colors were added for a total of 1530 colors. Eleven years later, in 1995, a second edition of the NCS Color Samples was released containing 1750 standard colors. In 2004, 200 more colors (184 light colors and 16 in the blue-green space) were added, resulting in the NCS 1950 standard colors. Colors that have a representation in the NCS 1950 samples are denoted with a leading capital "S", for example NCS S 1070-Y10R (a chromatic, slightly reddish yellow). Comparisons to other color systems The most important difference between NCS and most other color systems resides in their starting points. The aim of NCS is to define colors from their visual appearance, as they are experienced by human consciousness. Other color models, such as CMYK and RGB, are based on an understanding of physical processes, how colors can be achieved or "made" in different media. The underlying physiological mechanisms involved in color opponency include the bipolar and ganglion cells in the retina, which process the signal originated by the retinal cones before it is sent to the brain. Models like RGB are based on what happens at the lower, retinal cone level, and thus are fitted for presenting self-illuminated, dynamic images as done by TV sets and computer displays; see additive color. The NCS model, for its part, describes the organization of the color sensations as perceived at the upper, brain level, and thus is much better fitted than RGB to deal with how humans experience and describe their color sensations (hence the "natural" part of its name). More problematic is the relation with the CMYK-model which is generally seen as a correct prediction of the behavior of mixing pigments, as a system of subtractive color. The NCS coincides with the CMYK as regards the green-yellow-red segment of the color circle, but differs from it in seeing the saturated subtractive primary colors magenta and cyan as complex sensations of a "redblue" and a "greenblue" respectively and in seeing green, not as a secondary color mix of yellow and cyan, but as a unique hue. The NCS explains this by assuming that the behavior of paint is partly counterintuitive to human phenomenology. Observing that the mix of yellow and cyan paint results in a green color, would thus be at odds with