Color Theory. Chapter 2 Color Basics. Color as Light. Light as Color
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1 Color Theory Chapter 2 Color Basics Color as Light Light as Color
2 Last Class: Color Coding & Color as Communication Color as cultural & personal expression Current technology driving color availability and client expectations 3 dimensions of color Color Trends, Fashion & Forecasting Color Charting Intro
3 Basic terms & concepts: Color as light The visible spectrum Wavelengths = color White light = all Reflection, Transmission, Absorption, Refraction Additive Color vs. Subtractive Color Light Primaries vs. Pigment Primaries
4 So what is color? Its an old question the earliest western philosophers asked it. How does this common, powerful, varied experience happen? What s it mean? Why is there color?
5 Aristotle 384BC BC Greek philosopher, scientist, physician. Rembrandt s Aristotle Contemplating a Bust of Homer
6 De Coloribus Aristotle Aristotle tried to explain what causes different colors where do colors come from? His conclusion: Color comes from varying combinations of sunlight and firelight, and of air and water Darkness is due to privation of light. All variations in color are the result of varied proportions of darkness and light.
7 Aristotle s Observations He learned by looking at phenomena and considering what he observed. (dawn of observational science) He watched the changing colors of the sky throughout the day. At noon, the sun is yellow. Later, orange, then red the sunset can become green and dark violet
8 Aristotle s Observations Ergo, the as sunlight increases and decreases, colors change. Colors are therefore due to the amount of illumination. Not quite. But it was a start.
9 Color as Light vs. Pigment Since we see light, but we most often mix pigment in paint, or ink, or dyes we must understand both color as light and color as pigment. That is, we must understand additive color (light) and subtractive color (pigment)
10 Color is Light Every color you have ever seen was due to colored light. Not you need light to see color color IS light. Each color IS a different kind of light. No light no color. Period.
11 Color as Light Light is a form of energy. You happen to have cells that respond to that kind of energy. Thus, you see. Your eye sees only light never the surface, never a pigment, paint or dye, and never the object. The nerves at the back of our eye are photosensors they respond to light.
12 White Light White light from the sun contains a mixture all of the colors of light that the eye can see (the visible spectrum) and radiates EM energy we can t see. (Actually a few very special wavelengths are missing but we leave Fraunhofer lines to the physicists.)
13 White Light White light from the sun contains a mixture all of the colors of light that the eye can see (the visible spectrum) and radiates EM energy we can t see. (Actually the absorption a few very spectrum special of wavelengths the Sun observed are missing by the Fourier but we Transform leave Fraunhofer lines to the physicists.) Spectrometer at the National Solar Observatory on Kitt Peak, near Tucson, Arizona. The data, which is in essence gathered by shining sunlight through a very accurate prism...
14 Sunlight: a mixture of many colors White light from the sun contains a mixture all of the colors of light that the eye can see the visible spectrum.
15 Each color or wavelength may be separated via Refraction. White Light: As light enters or leaves a prism, each color a mixture bends at a slightly of different angle, thus separating white light many into its colors components. White light from the sun contains a mixture all of the colors of light that the eye can see. "Light dispersion conceptual waves". Wikimedia - Licensed under Public Domain via Commons
16 Sunlight: an uneven mixture of many colors White light from the sun contains a mixture all of the colors of light that the eye can see.
17 Sunlight: visible light and other EM as well. Visible light is just one neighborhood in the broad range of electro-magnetic radiation radiating from the sun.
18 Electro-magnetic spectrum Light is only one of many kinds of electro-magnetic energy. Light is a cousin of X-rays, Gamma rays, microwaves, radar and radio waves. The only difference is the wavelengths of the energy.
19 Visible light spectrum Gamma Rays X-Rays Microwaves Radar FM Radio TV AM Radio Ultraviolet Infrared Short waves, High frequency High energy Long waves Low frequency Low energy
20 Visible light spectrum From a physical point of view, the light we actually see has nothing special about it except that our eyes can see it. Our eyes are designed to perceive a small portion of the many wave-forms that are around us all the time.
21 Visible light spectrum Ultraviolet Infrared Our eyes sense (see) only a small portion of the electromagnetic energy that is all around us. Light is the same stuff as radio waves, microwaves, x-rays,
22 Colors are distinct wavelengths of light Each color that we see is just one very particular type of electro-magnetic energy. That is, red is different from green because it has a different energy level and a different wavelength. NOTE: Colored light has NO COLOR, except as the mind interprets energy sensed by the eye. That is, there is nothing red about red.
23 Light Sources
24 Not-very White Light: Mercury Vapor Note that the colors separated from this mercury vapor lamp don t include the reds. Light dispersion of a mercuryvapor lamp with a prism made of flint glass D-Kuru/Wikimedia Commons
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26 All visual experience is based on light a light source (one or more) illuminates objects and surfaces, some portion of the light reflects off of those surfaces and enters the viewer s eye. The colors and the forms we see are due to how surfaces and materials interact with illuminating light. Some colors are subtracted/absorbed, others are reflected. Color is Light We do not see objects; we see light.
27 All visual experience is based on light a light source (one or more) illuminates objects and surfaces, some portion of the light reflects off of those surfaces and enters the viewer s eye. The colors and the forms we see are due to how surfaces and materials interact with illuminating light. Some colors are subtracted/absorbed, others are reflected. Color is Light We do not see objects; we see light.
28 All visual experience is based on light a light source (one or more) illuminates objects and surfaces, some portion of the light reflects off of those surfaces and enters the viewer s eye. The colors and the forms we see are due to how surfaces and materials interact with illuminating light. Some colors are subtracted/absorbed, others are reflected. Color is Light We do not see objects; we see light.
29 What is Light? Energy wave, or particle? This is mainly a physics question, but the phenomena of light and color depend on it, so we explore a bit. Einstein and other physicists before him, debated just what light is. They basically considered light to be either a wave or a particle.
30 What is Light? Energy wave, or particle? Eventually, they decided that light is both which was first considered a contradiction, but later we decided it was a paradox. A particle of light a photon is a 2D object living in a 3D universe. Kinda bizarre. Basically, light and color, from a physical point of view, are amazing phenomena. But we digress.
31 Blue Skies and Rainbows: blue and violet are selectively scattered
32 Blue Skies: blue and violet are selectively scattered The familiar blue of the daytime sky is the result of the selective scattering of sunlight by air molecules. Scattering is the scientific term used to describe the reflection or re-direction of light by small particles. Selective scattering, also known as Rayleigh scattering, is used to describe scattering that varies with the wavelength of the incident light. Particles are good Rayleigh scatterers when they are very small compared to the wavelength of the light.
33 Blue Skies: blue and violet are selectively scattered corfici/sunset/ Ordinary sunlight is composed of a spectrum of colors that grade from violets and blues at one end to oranges and reds on the other. The wavelengths in this spectrum range from.47 um for violet to.64 um for red. Air molecules are much smaller than this --- about a thousand times smaller. Thus, air is a good Rayleigh scatterer. But because air molecules are slightly closer in size to the wavelength of violet light than to that of red light, pure air scatters violet light three to four times more effectively than it does the longer wavelengths. In fact, were it not for the fact that human eyes are more sensitive to blue light than to violet, the clear daytime sky would appear violet instead of blue!
34 Rainbow: sunlight divided A rainbow is a result of white sunlight being divided (refracted) into its constituent colors we get to see what s IN sunlight.
35 Rainbow: sunlight divided waterstories.nestle-waters.com
36 Rainbow: sunlight divided White light from the sun contains a mixture all of the colors of light that the eye can see. A rainbow is a result of white sunlight being divided (refracted) into its constituent colors we get to see what s IN sunlight.
37 Rainbow: sunlight divided Blue Skies and Rainbows
38 Refraction Light may be bent as it enters or leaves certain substances such as glass. Light does not pass strait though glass, but turns a corner on entry and again on leaving the glass. This is what makes lenses possible eyeglasses and contact lenses rely on the refraction.
39 Refraction Light is bent
40 Refraction A prism is the most distinctive example we see of refraction. White light enters a prism, is bent on entry and on leaving. However, different colors of light bend at different angles. This enables a prism to separate white light into its constituent colors. Rainbows occur when fine drops of water act as prisms -- refracting and reflecting light
41 Each color/wavelength of light bends differently -- that s why a prism can separate white light into its constituent colors.
42 Refraction A sunset is due to light refracting as it enters the atmosphere.
43 Refraction At different times of day, the angle of the sun with respect to the sky changes, and so we see different colors (wavelengths) of light dominating.
44 Low frequency (blues, greens) light is disproportionately absorbed/disturbed by dust. Thus, the more dust or atmosphere that light has to pass through, the more red will dominate the visible light. Late in day, light passes through a lot of air/dust.
45 Refraction: the Sun..where is it? At sunrise and sunset, refraction is severe --- so much that the atmosphere bends the sun s light like a lens--and makes the sun appear where it isn t.
46 Refraction During the day, our sky is blue because of refraction. Later in the day, higher energy colors/light get in.
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48 Refraction: makes deep stuff look shallow.
49 Where light goes: Transmission, Absorption, Reflection
50 Transmission Transmission is light passing completely through a surface. When we see through glass or clear plastic, we are actually seeing transmitted light. Note that light passing through glass is both transmitted through the glass, and refracted at each surface of the glass.
51 Transmission In colored glass, pigments within the glass absorb some portion of the transmitted light the remaining (unabsorbed) light provides the color we see. So transmission does not change the color of light, but selective absorption while transmission is occurring, will alter color.
52 Reflection Light is also reflected. We re accustomed to mirrors that reflect most of the light that hits them. But every surface that you have ever seen reflects light otherwise you could not have seen it. When you see a red apple, you do not see the apple, strictly speaking. You instead see the light that reflects off of the apple towards your eyes.
53 Local color depends on light being reflected off of a surface. Surfaces that are black reflect little light. White surfaces reflect a lot of light but not as much as a mirror and white surfaces diffuse light a mirror does not. Reflection
54 Absorption When a light strikes a surface, some of the light is absorbed into that surface. The energy that is the light, enters and does not leave. That s why it is warmer in the sunshine than in shade the light itself transfers energy from the sun to your skin.
55 Absorption The characteristics of the material determine how much light is absorbed and how much is reflected. A black surface is one that absorbs most light, and a white surface absorbs very little. That s why a black jacket is usually hot on a sunny day and a white jacket is cooler. (on the other hand, dark surfaces radiate heat better but that s another issue.)
56 Selective Absorption and Reflection The color of a surface depends on reflection and selective absorption. When light strikes a surface, the surface will keep (absorb) some wavelengths (colors) of light and let go (reflect or transmit) of other types. A red painted wall reflects red light; a pane of red stained glass transmits red light. A surface absorbs some colors of light and reflects/transmits other colors selectively absorbing some colors and selectively reflecting/transmitting other colors. This is what makes local color happen.
57 Selective Absorption and Reflection The color of a surface depends on reflection and selective absorption. Incoming/Incident Light Reflected Light (seen) Incoming/Incident Light Absorbed Light (heat)
58 Selective Absorption and Reflection The color of a surface depends on reflection and selective absorption. Reflected Light (seen) Incoming/Incident Light Incoming/Incident Light Reflected Light (seen Absorbed Light (heat)
59 Selective Absorption and Reflection The color of a surface depends on reflection and selective absorption. Reflected Light (seen) Incoming/Incident Light Incoming/Incident Light Reflected Light (seen Absorbed Light (heat)
60 Selective Absorption and transmission Color of transparent material depends on transmission and selective absorption. But color change is still due to absorption the colors that are subtracted. Incoming/Incident Light Incoming/Incident Light Clear Glass Transmitted Light (seen) Blue Glass Other colors are absorbed by (subtractive) pigments in the glass. Absorbed Light (heat) Transmitted Light (seen)
61 Selective Absorption and Subtractive Color If white light is shining on a red apple, we see the apple as red because the red is reflected and the MOST OF the other colors greens and blues are absorbed. Those absorbed colors are subtracted and predominantly red reflects to our eyes. We see the white light minus the greens and blues, leaving only the red lights. This is why pigments and reflective surfaces are said to rely on subtractive color mixing.
62 Subtractive Color Mixing Colored Pigments Most of the color mixing you have ever done involved subtractive color mixing. Whenever we mix paint, we are selectively eliminating (subtracting or absorbing) some colors from the ambient white light that strikes that surface.
63 surfaces under white light Tomato absorbs violet/blue/greens.. Pepper absorbs reds, blues, violets Hydrangea absorbs all but blue and violet.
64 Tomato absorbs violet/blue/greens.. and reflect reds and oranges.
65 Pepper absorbs reds, blues, violets and reflects greens
66 Hydrangea absorbs all but blue and violet.
67 under cool/blue light Reds disappear from tomato and hydrangea Yellow in RO tomato persists, along with green of pepper.
68 under magenta (RRV) light Reds persist in tomato and Purple of hydrangea but green pepper appears dark near-neutral.
69 under yellow-green light
70 Color is Light Reflected Paint pigments vary according to the particular wavelengths of light that are reflected (seen) and absorbed (unseen.)
71 Color is Light Reflected The pigments of New Gamboge absorb most blue violet light and violet light.. and reflects most yellow, red and even green light. The net result is a YYO hue.
72 Color is Light Reflected Paint pigments vary according to the particular wavelengths of light that are reflected (seen) and absorbed (unseen.)
73 Paint pigments vary according to the particular wavelengths of light that are reflected (seen) and absorbed (unseen.) Color is Light Reflected
74 Many combinations produce same/similar color The combination of colored light that appears purple may be constituted of vary dramatically.
75 White-Light to Colored objects/surfaces: Absorption is the main way that materials become colored subtracting some colors from white light, and either reflecting or transmitting colored light.
76 Pigment vs. Light Primaries & Secondaries
77 Basic terms & concepts: Color as light The visible spectrum wavelengths White light Reflection, Transmission, Absorbtion, Refraction Additive Color vs. Subtractive Color Light Primaries vs. Pigment Primaries
78 For Next Class: Read from The Acrylic Book ; p (What are acrylics?) to (Clean Up) (see syllabus for web link to PDF, 2003AcrylicBook.pdf) Have painting supplies here.
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80 Color Theory and Color Models Color theories aim to predict how colors will behave. Color models often represent, graphically or spatially, how colors are related to one another and how they can be mixed or harmoniously related.
81 Color Theory and Color Models The most familiar and basic color model is the color wheel invented by Sir Isaac Newton. This color wheel is by Chevreul -- one our major theorists.
82 Color Theory and Color Models There are many color theories and color models, each intending to serve some particular purpose or application of color. Some color models are most appropriate for painters, others for interior designers, others for computer-based design work. All color models have many similar characteristics, but distinct advantages and disadvantages.
83 Three dimensions of color Just as a point is space can be defined by is position in the three special dimensions (height, width, depth), color also has its own three dimensions. Any single color can be described by its three dimensions. Hue Chroma Value
84 Three dimensions of color - Munsell s color model
85 Three dimensions of color Hue Commonly called color by non-artists and non-designers. This is the nameable color red versus blue versus yellow. Chroma Saturation, Intensity and sometimes brightness though these last two terms are easily confused with Value. Purity of color. Value The lightness or darkness of a color that is, how close to white and how close to black is it?
86 Three dimensions of color Just as a point is space can be defined by is position in the three special dimensions (height, width, depth), color also has its own three dimensions. Any single color can be described by its three dimensions. Hue Chroma Value
87 Three dimensions of color - Munsell s color model
88 Three dimensions of color Hue Commonly called color by non-artists and nondesigners. This is the nameable color red versus blue versus yellow. Chroma Saturation, Intensity and sometimes brightness though these last two terms are easily confused with Value. Purity of color. Value The lightness or darkness of a color that is, how close to white and how close to black is it?
89 Commonly called color by non-artists and non-designers. This is the nameable color red versus blue versus yellow. Hue
90 Chroma Saturation, Intensity and sometimes brightness though these last two terms are easily confused with Value. The purity of the color. The proportion of hue to neutrals.
91 Value The lightness or darkness of a color that is, how close to white and how close to black is it? High Value lighter, closer to white. Low Value darker, closer to black.
92 Constant Hue Charts
93 Constant Hue Charts
94 Value Scale A value scale is to value what a color wheel is to hue. It is simply a graphic representation of the full range of values from white to black. Often a value scale will be divided into even steps. For our charting and color planning we use a 9-value scale, with black at the bottom numbered 1 and white at the top, numbered
95
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