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Colourinteractionanddyn Namics-170914132953
Colourinteractionanddyn Namics-170914132953
Colourinteractionanddyn Namics-170914132953
Report
on
By
PRASHANT S. TRIPATHI
M.E. (MANUFACTURING SYSTEM ENGINEERING)
TABLE OF CONTENT
Sr. No. Title Page No.
1. Introduction 1
2. Historical Background 3
3. Colour Basics 6
4. Colour Harmony 8
5. Colour Systems 10
6. Colour Wheel 13
7. Complementary Colours 18
7.1 Visual Illusions 19
8. Colour Combinations/Schemes 20
13. Conclusion 39
1.INTRODUCTION
1 . 4 Color Application
With respect to the arts, color was part of the realistic, visual representation of form, but
one group of painters abandoned the traditional practices regarding color in painting. This group
of artists were influenced by Cezanne, Van Gogh, and Gauguin. Led by Henri Matisse, they were
known as the Fauves, or "the wild beasts." Their exuberant use of brilliant hues seem to disregard
imitative color1. Whereas other artists had used color as the description of an object, the Fauves
let color become the subject of their painting. A painting in the "Fauvist Manner" was one that
related color shapes; rather than unifying a design with line, compositions sought an
expressiveness within the relationships of the whole. This turn from tradition brought an integrity
to color in that color was regarded on its own merit.
2. HISTORICAL BACKGROUND
Color theory was originally formulated in terms of three "primary" or "primitive" colors—
red, yellow and blue (RYB)—because these colors were believed capable of mixing all other
colors. This color mixing behavior had long been known to printers, dyers and painters, but these
trades preferred pure pigments to primary color mixtures, because the mixtures were too dull
(unsaturated).
Fig 2.1:- Goethe's color wheel from his 1810 Theory of Colours
The RYB primary colors became the foundation of 18th century theories of color vision,
as the fundamental sensory qualities that are blended in the perception of all physical colors and
equally in the physical mixture of pigments or dyes. These theories were enhanced by 18th-
century investigations of a variety of purely psychological color effects, in particular the contrast
between "complementary" or opposing hues that are produced by color afterimages and in the
contrasting shadows in colored light. These ideas and many personal color observations were
summarized in two founding documents in color theory: the Theory of Colours (1810) by the
German poet and government minister Johann Wolfgang von Goethe, and The Law of
Simultaneous Color Contrast (1839) by the French industrial chemist Michel Eugène Chevreul.
Subsequently, German and English scientists established in the late 19th century that color
perception is best described in terms of a different set of primary colors—red, green and blue
violet (RGB)—modeled through the additive mixture of three monochromatic lights. Subsequent
research anchored these primary colors in the differing responses to light by three types of color
receptors or cones in the retina (trichromacy). On this basis the quantitative description of color
mixture or colorimetry developed in the early 20th century, along with a series of increasingly
sophisticated models of color space and color perception, such as the opponent process theory.
Newton declared that colors opposite each other had the strongest contrast and harmony. Across the same
period, industrial chemistry radically expanded the color range of lightfast synthetic pigments,
allowing for substantially improved saturation in color mixtures of dyes, paints and inks. It also
created the dyes and chemical processes necessary for color photography. As a result, three-color
printing became aesthetically and economically feasible in mass printed media, and the artists'
color theory was adapted to primary colors most effective in inks or photographic dyes: cyan,
magenta, and yellow (CMY). (In printing, dark colors are supplemented by a black ink, known
as the CMYK system; in both printing and photography, white is provided by the color of the
paper.) These CMY primary colors were reconciled with the RGB primaries, and subtractive
color mixing with additive color mixing, by defining the CMY primaries as substances that
absorbed only one of the retinal primary colors: cyan absorbs only red (−R+G+B), magenta only
green (+R−G+B), and yellow only blue violet (+R+G−B). It is important to add that the CMYK,
or process, color printing is meant as an economical way of producing a wide range of colors for
printing, but is deficient in reproducing certain colors, notably orange and slightly deficient in
reproducing purples. A wider range of color can be obtained with the addition of other colors to
the printing process, such as in Pantone's Hexachrome printing ink system (six colors), among
others.
Fig 2.2:- Munsell's color system represented as a three-dimensional solid showing all three
color making attributes: lightness, saturation and hue.
For much of the 19th century artistic color theory either lagged behind scientific
understanding or was augmented by science books written for the lay public, in particular Modern
Chromatics (1879) by the American physicist Ogden Rood, and early color atlases developed by
Albert Munsell (Munsell Book of Color, 1915, see Munsell color system) and Wilhelm Ostwald
(Color Atlas, 1919). Major advances were made in the early 20th century by artists teaching or
associated with the German Bauhaus, in particular Wassily Kandinsky, Johannes Itten, Faber
Birren and Josef Albers, whose writings mix speculation with an empirical or demonstration-
based study of color design principles.
3. COLOR BASICS
Color is the perceptual characteristic of light described by a color name. Specifically,
color is light, and light is composed of many colors—those we see are the colors of the visual
spectrum: red, orange, yellow, green, blue, and violet. Objects absorb certain wavelengths and
reflect others back to the viewer. We perceive these wavelengths as color.
3.1 Describing Colors
A color is described in three ways: by its name, how pure or desaturated it is, and its value
or lightness. Although pink, crimson, and brick are all variations of the color red, each hue is
distinct and differentiated by its chroma, saturation, intensity, and value.Chroma, intensity,
saturation and luminance/value are inter-related terms and have to do with the description of a
color.
It has been suggested that "Colors seen together to produce a pleasing affective response
are said to be in harmony".[2] However, color harmony is a complex notion because human
responses to color are both affective and cognitive, involving emotional response and judgement.
Hence, our responses to color and the notion of color harmony is open to the influence of a range
of different factors. These factors include individual differences (such as age, gender, personal
preference, affective state, etc.) as well as cultural, sub-cultural and socially-based differences
which gives rise to conditioning and learned responses about color. In addition, context always
has an influence on responses about color and the notion of color harmony, and this concept is
also influenced by temporal factors (such as changing trends) and perceptual factors (such as
simultaneous contrast) which may impinge on human response to color. The following conceptual
model illustrates this 21st century approach to color harmony:
Wherein color harmony is a function (f) of the interaction between color/s (Col 1, 2, 3, …,
n) and the factors that influence positive aesthetic response to color: individual differences (ID)
such as age, gender, personality and affective state; cultural experiences (CE), the prevailing
context (CX) which includes setting and ambient lighting; intervening perceptual effects (P) and
the effects of time (T) in terms of prevailing social trends.[3]
In addition, given that humans can perceive over 2.8 million different hues,[4] it has been
suggested that the number of possible color combinations is virtually infinite thereby implying
that predictive color harmony formulae are fundamentally unsound.[5] Despite this, many color
theorists have devised formulae, principles or guidelines for color combination with the aim being
to predict or specify positive aesthetic response or "color harmony". Color wheel models have
often been used as a basis for color combination principles or guidelines and for defining
relationships between colors. Some theorists and artists believe juxtapositions of complementary
color will produce strong contrast, a sense of visual tension as well as "color harmony"; while
others believe juxtapositions of analogous colors will elicit positive aesthetic response. Color
combination guidelines suggest that colors next to each other on the color wheel model
(analogous colors) tend to produce a single-hued or monochromatic color experience and some
theorists also refer to these as "simple harmonies". In addition, split complementary color
schemes usually depict a modified complementary pair, with instead of the "true" second color
being chosen, a range of analogous hues around it are chosen, i.e. the split complements of red
are blue-green and yellow-green. A triadic color scheme adopts any three colors approximately
equidistant around a color wheel model. Feisner and Mahnke are among a number of authors who
provide color combination guidelines in greater detail.[6][7]
Color combination formulae and principles may provide some guidance but have limited
practical application. This is because of the influence of contextual, perceptual and temporal
factors which will influence how color/s are perceived in any given situation, setting or context.
Such formulae and principles may be useful in fashion, interior and graphic design, but much
depends on the tastes, lifestyle and cultural norms of the viewer or consumer.
As early as the ancient Greek philosophers, many theorists have devised color associations
and linked particular connotative meanings to specific colors. However, connotative color
associations and color symbolism tends to be culture-bound and may also vary across different
contexts and circumstances. For example, red has many different connotative and symbolic
meanings from exciting, arousing, sensual, romantic and feminine; to a symbol of good luck; and
also acts as a signal of danger. Such color associations tend to be learned and do not necessarily
hold irrespective of individual and cultural differences or contextual, temporal or perceptual
factors.[8] It is important to note that while color symbolism and color associations exist, their
existence does not provide evidential support for color psychology or claims that color has
therapeutic properties.
5. COLOR SYSTEMS
Available color systems are dependent on the medium with which a designer is working.
When painting, an artist has a variety of paints to choose from, and mixed colors are achieved
through the subtractive color method. When a designer is utilizing the computer to generate digital
media, colors are achieved with the additive color method.
• The RGB colors are light primaries and colors are created
with light..
A color wheel (also referred to as a color circle) is a visual representation of colors arranged
according to their chromatic relationship. Begin a color wheel by positioning primary hues
equidistant from one another, then create a bridge between primaries using secondary and tertiary
colors. The color wheel or color circle is the basic tool for combining colors. The first circular
color diagram was designed by Sir Isaac Newton in 1666.
The color wheel is designed so that virtually any colors you pick from it will look good
together. Over the years, many variations of the basic design have been made, but the most
common version is a wheel of 12 colors based on the RYB (or artistic) color model.
Traditionally, there are a number of color combinations that are considered especially
pleasing. These are called color harmonies or color chords and they consist of two or more colors
with a fixed relation in the color wheel.
• Advancing hues are most often thought to have less visual weight than the receding hues.
• Most often warm, saturated, light value hues are "active" and visually advance.
• Cool, low saturated, dark value hues are "passive" and visually recede.
• Tints or hues with a low saturation appear lighter than shades or highly saturated colors.
• Some colors remain visually neutral or indifferent.
7.COMPLEMENTARY COLORS
We look at a color wheel to understand the relationships between colors. Analogous colors
are positioned in such a way as to mimic the process that occurs when blending hues. The colors
that are positioned opposite one another are complementary colors.
To call those hues in direct opposition to each other "complements of each other" is
appropriate. Complementary colors bring out the best in each other. When fully saturated
complements are brought together, interesting effects are noticeable. This may be a desirable
illusion, or a problem if creating visuals that are to be read.
Vibrating Boundaries
Notice the illusion of highlighted edges and raised text. This may occur when opposing
colors are brought together.
Color combinations/schemes may pass unnoticed when pleasing, yet offend dramatically
when compositions seem to clash. One outcome we seek in the final form or composition, is a
successful use of color.
We determine whether or not we are successful by critically assessing the visual balance
and harmony of the final composition—balance and harmony are achieved by the visual contrast
that exists between color combinations. Planning a successful color combination begins with the
investigation, and understanding, of color relationships.
Using a color wheel and a template, the relationships between colors are easy to identify.
• Monochromatic Relationship - Colors that are shade or tint
variations of the same hue. Monochromatic colors are all the
colors (tints, tones, and shades) of a single hue.
Monochromatic color schemes are derived from a single base
hue, and extended using its shades, tones and tints (that is, a
hue modified by the addition of black, gray (black + white) and
white. As a result, the energy is more subtle and peaceful due
to a lack of contrast of hue.
RED : Physical
Positive: Physical courage, strength, warmth, energy, basic survival, 'fight or flight', stimulation,
masculinity, excitement.
Negative: Defiance, aggression, visual impact, strain.
• Being the longest wavelength, red is a powerful
colour. Although not technically the most visible, it
has the property of appearing to be nearer than it is
and therefore it grabs our attention first. Hence its
effectiveness in traffic lights the world over. Its
effect is physical; it stimulates us and raises the
pulse rate, giving the impression that time is
passing faster than it is. It relates to the masculine
principle and can activate the "fight or flight"
instinct. Red is strong, and very basic. Pure red is the simplest colour, with no subtlety.
It is stimulating and lively, very friendly. At the same time, it can be perceived as
demanding and aggressive.
BLUE: Intellectual
GREEN : Balance
VIOLET : Spiritual
PINK
GREY
Positive:Psychologicalneutrality.
Negative: Lack of confidence, dampness, depression,
hibernation, lack of energy.
• Pure grey is the only colour that has no direct
psychological properties. It is, however, quite
suppressive. A virtual absence of colour is
depressing and when the world turns grey we are
instinctively conditioned to draw in and prepare for
hibernation. Unless the precise tone is right, grey
has a dampening effect on other colours used with
it. Heavy use of grey usually indicates a lack of
confidence and fear of exposure.
BLACK
WHITE
BROWN
Perceived appropriateness may explain why the most popular car colors are white, black,
silver and gray ... but is there something else at work that explains why there aren't very many purple
power tools?
One of the better studies on this topic is Joe Hallock's Colour Assignments. Hallock's data
showcases some clear preferences in certain colors across gender.
It's important to note that one's environment--and especially cultural perceptions--plays a
strong role in dictating color appropriateness for gender, which in turn can influence individual
choices. Consider, for instance, this coverage by Smithsonian magazine detailing how blue became
the color for boys and pink was eventually deemed the color for girls (and how it used to be the
reverse!).
Here were Hallock's findings for the most and least favorite colors of men and women:
The most notable points in these images is the supremacy of blue across
both genders (it was the favorite color for both groups) and the disparity between
groups on purple. Women list purple as a top-tier color, but no men list purple
as a favorite color. (Perhaps this is why we have no purple power tools, a product
largely associated with men?)
Additional research in studies on color perception and color
preferences show that when it comes to shades, tints and hues men seem to
prefer bold colors while women prefer softer colors. Also, men were more likely
to select shades of colors as their favorites (colors with black added), whereas
women were more receptive to tints of colors (colors with white added):
There is evidence of people attempting to use color for healing and therapy from as far back as
2000 years. And it has gained in popularity throughout the years, with numerous books being
written about it, including Johann Wolfgang Goethe who studied the physiological effects of
color. As we mentioned though, many people are skeptical about using color and light for healing
or therapy.
13. CONCLUSION
• Colour plays a vitally important role in the world which we live.
• Colour is a sensation which is optical in nature
• As a powerful form of communication, colour is irreplaceable.
• Colours cause powerful reactions
• Colours can be approached for several disciplines.
• “Colour is uncontainable.It effortlessly reveals the limits of language and evades our best
attempts to impose a rational order on it…To work with colour is to become aware of the
insufficiency of language and theory – which is both disturbing and pleasurable.”
-David Batchelor
REFERENCES
1. http://www.colour-affects.co.uk/psychological-properties-of-colours
2. http://www.arttherapyblog.com/online/color-psychology-psychologica-
effects-of-colors/#.VkGHCPkrLIV
3. http://humannhealth.com/effect-of-different-colors-on-human-mind-and-
body/243/2/
4. http://www.worqx.com/color/color_wheel.htm
5. http://www.colorassociation.com/