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9colourtheory.ppt
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- 2. Video Clip fromThe Devil Wears Prada Ad for Pantone color swatch set with samples of fashion color trends for the autumn 2008 season www.pantone.com
- 3. Colour Theories 1. SubtractiveTheory • The subtractive, or pigment theory deals with how white light is absorbed and reflected off of coloured surfaces. 2. Additive Theory • The Additive, or light theory deals with radiated and filtered light.
- 4. Subtractive Theory • Blackabsorbs most light • White reflects most light • Coloured Pigments absorb light and reflect only the frequency of the pigment colour. • All colours other than the pigment colours are absorbed so this is called subtractive colour theory. • The primary colours in Subtractive Theory are: – Cyan ( C ) – Magenta ( M ) – Yellow ( Y ) – Black ( K ) • Subtractive or Pigment Theory is used in printing and painting.
- 5. Additive Theory • Blackradiates no light • White (sun) radiates all light • Video is the process of capturing and radiating light, therefore it uses Additive (Light) Theory not Subtractive (Pigment) Theory. • The primary colours in Additive Theory are: – Red ( R ) – Green ( G ) – Blue ( B ) • The primary colours add together to make white • Light Theory is also called Additive Theory. • Light Theory is used in Television, theater lighting, computer monitors, and video production.
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- 7. The Colour Wheel Ifthe ends of the spectrum are bent around a colour wheel is formed:
- 8. The Colour Wheel •Colours on the wheel can be described using three parameters: 1. Hue: degrees from 0˚ to 360˚ 2. Saturation: brightness or dullness 3. Value: lightness or darkness (As suggested by Henry Albert Munsell in A Colour Notation, 1905)
- 9. Goethe’s Theory ofColours (1810) • Built on wavelength theory of light • Methods interesting • Conclusion refuted • Influential on artists • Ex. Turner • Colour theory weblink Goethe’s Colour Wheel
- 10. The Colour Treeby American artist Henry Albert Munsell from A Colour Notation, 1905.
- 11. The Colour Wheel:Hue • Hue or Spectral Colour is represented as an angle. • Primary Colours: • 0˚ = Red • 120˚ = Green • 240˚ = Blue • Secondary Colours: • 60˚ = Yellow • 180˚ = Cyan • 300˚ = Magenta
- 12. The Colour Wheel:Saturation • Saturation or Chroma is the intensity of a colour. • A highly saturated colour is bright and appears closer to the edge of the wheel. • A more unsaturated colour is dull. • A colour with no saturation is achromatic or in the grey scale.
- 13. The Colour Wheel:Value "the quality by which we distinguish a light colour from a dark one." - Albert Henry Munsell A Colour Notation 1905 Value represents the luminescent contrast value between black and white
- 14. The Colour Wheel:Value
- 15. The Colour Wheel:Value
- 16. The Colour Wheel3d Three parameters to describe a colour: Hue Chroma Value
- 17. Tone = Shade+ Tint
- 18. Colour Pickers • HSB,HLS, HSV • RGB • CMYK • Others – Lab – PANTONE Munsell’s notation wheel
- 19. optical effects of adjacenttonal values or colours link to stroboscopic effects of complementary colors http://www.michaelbach.de/ot/m ot_strob/index.html
- 20. Colour Schemes Systematic waysof selecting colours • Monochromatic • Complimentary • Analogous • Warm • Cool • Achromatic • Chromatic Grays
- 21. Colour Schemes: Monochromatic •Monochromatic: One Hue many values of Tint and Shade Artist: Marc Chagall Title: Les Amants Sur Le Toit
- 22. Colour Schemes: Complementary (notespelling--NOT complimentary) • Complimentary: Colours that are opposite on the wheel. High Contrast Artist: Paul Cezanne Title: La Montage Saint Victoire Year: 1886-88
- 23. • 19th c.theories of “Simultaneous Contrast” and optical mixing – Example: tapestry production (French chemist: Michel Eugène Chevreul, Law of simultaneous contrast of colours, 1839) – Ex. Pointillism (neo- expressionism)--Seurat Complementary Colours & “Optical Mixing in art & design
- 24. 20th c. : InArt Johannes Itten, Josef Albers, Op Art
- 25. Scientific & Industry-specificColor systems • Various color systems • CIE (Commission internationale d’éclairage), • Munsell (Albert Munsell) • and MANY others
- 26. Color for Categoriesand Sequences
- 27. Using Color-- • bluein large regions, not thin lines • red and green in the center of the field of view (edges of retina not sensitive to these) • black, white, yellow in periphery • Color Brewer • Pantone
- 28. Colour Schemes: Analogous •Analogous: A selection of colours that are adjacent. Minimal contrast Artist: Vincent van Gogh Title: The Iris Year: 1889
- 29. Colour Schemes: Warm Warm:First half of the wheel give warmer colours. The colours of fire. Artist: Jan Vermee Title: Girl Asleep at a Table Year: 1657
- 30. Colour Schemes: Cool Cool:Second half of the wheel gives cooler colours Artist: Pablo Picasso Title: Femme Allongée Lisant Year: 1939
- 31. Colour Schemes: Achromatic, ChromaticGrays Achromatic: Black and white with all the grays in-between. Chromatic Grays: Also called neutral relief. Dull colours, low contrast.
- 32. Colour Pickers: HSB,HLS, HSV • HSV • Hue • Saturation • Value • HSB (Same as HSV) • Hue • Saturation • Brightness • HLS • Hue • Lightness • Saturation
- 33. Colour Pickers: RGB,CMYK • RGB • Red • Green • Blue – Used in Video and Computer graphics – 3 Values in % or between • 0-255 • CMYK • Cyan • Magenta • Yellow • K = Black – Used for printing
- 34. Photoshop CS3 Picker •Combines HSB, RGB, CMYK, Lab (Luminance, Red/Green, Yellow/Blue) • Adobe http://kuler.adobe.com/
- 35. Colour Pickers: PANTONE •Standard for printing/fastion industry
- 36. Color and thevisual display of information Ware, p. 84
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- 38. Hue: where isthe red circle? Not Usually Pre-attentive
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- 40. Region Search Hue boundaryidentified pre-attentively Form variations do NOT interfere with hue boundary identification Form boundary NOT identified pre-attentively Hue variations interfere with form boundary identification
- 41. Area Estimation • Bluerectangles? Sloped rectangles?
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