380 to 750 nanometers.<\/a> Sir Isaac Newton split white sunlight into the spectrum of colours, and we can name each hue in terms of its wavelength or frequency. <\/p>\n\n\n\nBut colours we see are because that object has absorbed all other colours. So we could say “we see a red chair”. But this pot is only red, because at a molecular level, the surface of the chair has absorbed all light rays except for the reds. The chair does not really have a particular colour, instead it is the light around it that generates the colour.<\/p>\n<\/div><\/div>\n\n\n\n“I think it is a waste of time for the colourist to practice making 24-hue, or 100 hue, colour circles. Can any painter, unaided, visualize Colour No.83 of a 100-hue circle?<\/em>“<\/p>Johannes Itten writing in Elements of Colour<\/strong><\/cite><\/blockquote><\/figure>\n\n\n\nJohannes Itten, in his book The Elements of Color, explains that this is “colour agent”; the naming and defining of a colour. We can evaluate a colour and define it in terms of its wavelength and reflectivity. We can look at paints and measure the mixes, to create physio-chemically accurate colours. But it is not only about naming colours, or measuring them, but seeing how they appear.<\/p>\n\n\n\nColour agent (as named by Johannes Itten) represents the colour that it is, <\/strong><\/p>e.g., as measured by the computer, or stored in a file.<\/strong><\/p><\/blockquote><\/figure>\n\n\n\nLook at the coloured red and blue blocks. What do you see? Are some darker than others?<\/p>\n\n\n\nSeveral blue and red squares. The left squares appear darker than the right squares.<\/figcaption><\/figure>\n\n\n\nEach of the blocks have a different colour interval<\/strong>. The rectangles along the top show a dramatic change. While those vertically show a more subtle interval.<\/p>\n\n\n\nConsider the next six blue squares. Name their value.<\/p>\n\n\n\nSix blue squares, ranging from dark blue to white<\/figcaption><\/figure>\n\n\n\nProbably you looked at the whole six squares and said that the left one was 100% and the one to the right was zero. You would probably allocate an equal amount of value to the interval between each, and the brightest got the higher value and the white the lowest. Possibly 100%, 80%, 60%,40%, 20% and 0%. This seems sensible. In fact, this matches with how the image was created – as we altered the levels of saturation.<\/p>\n\n\n\nSix coloured blue squares. Each with a different saturation<\/figcaption><\/figure>\n\n\n\nHowever, what if we said that we tricked you. And the quantity of coloured squares is different. <\/p>\n\n\n\n
What would you think now? <\/p>\n\n\n\n
Would you change your mind on the values you allocated?<\/p>\n\n\n\nTen blue squares, ranging from dark blue to white<\/figcaption><\/figure>\n\n\n\nProbably you would change your mind. You would allocate the maximum value to the dark black, and the minimum value to the white. <\/p>\n\n\n\n
So what is the moral? There are several lessons we can learn:<\/p>\n\n\n\n
First, it is certainly possible to allocate values to colours. We can imagine colours in terms of value. This is useful. Not only does it help us to find the ripest berries in a berry patch, but we can also use them to create plots and charts, and understand values on maps! <\/li> Second, it is not always easy to allocate values. We really need to view the range of values on offer, to decide on their respective values. This is why we need to see a colour legend in a map – so that we can understand individual values.<\/li> Third, we need to see the full range of colours, to decide on the range of values. Indeed, we see colours in comparison to other colours.<\/li> Fourth, it is not easy to allocate accurate colours. Especially if those colours are far away, or adjacent to different colours. As we shall see next, our perception of colours change depending on where they are located. <\/li><\/ul>\n\n\n\nActivity 3. Judge colours in comparison to where they are located.<\/h2>\n\n\n\n We have already looked at this challenge with the blackberry photographs (see above in step 1). We have already discovered that colours look different depending on how much light falls on the surface and how they reflect light. <\/p>\n\n\n\n
To look deeper into this challenge; look at the following set of ten colours. Now name the coloured squares (on the black background) numbered 1 to 10. <\/p>\n\n\n\nImage shows 10 coloured rectangles, on a black background, which are named 1 to 10. The idea is to name the colours.<\/figcaption><\/figure>\n\n\n\nWorking through 1 to 10, our thoughts may go as follows. “Yellow, salmon, pink, light green, light blue, dark red, magenta, green, cyan and grey”. <\/p><\/blockquote>\n\n\n\n
It is interesting. We have probably named these colours differently to the previous 10 colours we named in Step 2<\/strong>. <\/p>\n\n\n\nHowever, these coloured rectangles have the same RGB values<\/strong> as before.<\/p>\n\n\n\nEven if we put the images close together, our mind struggles to perceive the same colours. We see the colours differently, if they are on a white background in comparison to the black background. For example, rectangle 5 looks much lighter against the dark background. Rectangle 9 looks warmer on the dark background.<\/p>\n\n\n\n
\n
\n
Image shows 10 coloured rectangles, on a white background, which are named 1 to 10. The idea is to name the colours.<\/figcaption><\/figure>\n<\/div>\n\n\n\n\n
Image shows 10 coloured rectangles, on a black background, which are named 1 to 10. The idea is to name the colours.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n“Psychophysiological colour<\/strong> reality is what I call colour effect” [Itten] <\/p>It is how the colour looks to us. <\/p>Johannes Itten, The Elements of Color<\/cite><\/blockquote><\/figure>\n\n\n\nOur eyes make decisions on the colours based on what colours surround it. We perceive colours (in our mind) through comparison to other colours, and in contrast to other hues. Johannes Itten names this “colour effect”.<\/strong><\/p>\n\n\n\n\n
If we see a white square on a black background, it will look larger than a black square (of equal proportions) on a white background. The black contracts, whereas the white stands out.<\/p>\n<\/div><\/div>\n\n\n\n
\n
When observing a yellow square on white or black background. On a dark background the yellow appears more brilliant and bright, whereas on a light background the yellow square looks darker, and perhaps feels more warmer.<\/p>\n<\/div><\/div>\n\n\n\n
\n
The red square looks darker on the white background, and perhaps more luminous and a warmer colour on the black background.<\/p>\n<\/div><\/div>\n\n\n\n
Activity 4. What emotions do colours evoke?<\/h2>\n\n\n\n Look at these pictures of Caernarfon Castle. Which photograph looks like it was taken on a warm day? Was it hot or cold, when the photograph was taken?<\/p>\n\n\n\nFour Photographs of Caernarfon Castle<\/figcaption><\/figure>\n\n\n\nPhotographs evoke feelings and emotions. The colours in these photographs may evoke warm colours, or colder contrasts. Perhaps things that appear dull may seem to be more distant objects. They may appear colder. A photograph of a warm summer day may contain yellows and oranges. In contrast a colder day may be dull, and dark. Again these are contrasting colours – cold to warm, sun to shade, far and near, wet and dry – our mind observes these differences.<\/p>\n\n\n\n
In broad terms we can say that the tints that are red to orange are warm, while the blues to greens feel colder. There is a cold-warm contrast in the polar extremes of the 12-part colour wheel. This is obviously a huge generalisation, as the perception of colours depend on many things, especially nearby colours, how they are lit, what people have already said about the photograph and so on.<\/p>\n\n\n\nCold warm divide on the colour wheel<\/figcaption><\/figure>\n\n\n\nOne particular effect is that our brain spontaneously requires the complementary colour, and we imagine it there when it is not. For example, when looking at a black square on an area of red, the square will appear greenish grey. Or if the square is blue, orange. Or with a violet square then yellowish. In other words, the mind has simultaneously generated the complement colour. This is simultaneous contrast<\/strong>.<\/p>\n\n\n\nWith a grey square of matching brilliance to the background, appears on a block of bold colour. The grey square appears tinted with the colour of the complement of the block of colour.<\/p>\n\n\n\nSimultaneous contrast, where the small natural grey square appears tinged with the complementary of the background<\/figcaption><\/figure>\n\n\n\nActivity 5. Do your own research.<\/h2>\n\n\n\n There are many situations where colour changes are used to affect mood. Do your own research and find some movies where colour change is clearly being used. <\/p>\n\n\n\n
For example Disney’s Toy Story 3, uses lighting to engender different moods. The colours are used to drive the emotional arc of the movie. Bright and vibrant colours are used for the logo, when the toys are happy (when they first arrive at the day care centre) the windows are open, with lots of light, soft shadows, and the colours are bright. When the mood changes, and the toys are worried, the colours of the scene is more red, with harsh shadows. When the nursery looks like a prison, a grey colour pallet is used.<\/p>\n\n\n\n
Want to look further? <\/h2>\n\n\n\n Take a look at work by Swiss artist Johannes Itten (1888-1967). For example, take a look at The Elements of Color: A Treatise on the Color System of Johannes Itten, Based on Itten’s Book “The Art of Color” Hardcover \u2013 31 Jan. 1970 \u00b7 ISBN-10. 0471289299.<\/p>\n\n\n\n
Have a look at the work by Josef Albers. There is a lot of information on the Albers’ foundation<\/a> website. Or pick up a copy of his book “Interaction of color”.<\/p>\n\n\n\n<\/p>\n","protected":false},"excerpt":{"rendered":"
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