Chapter 8 - A world without color: color is our way of assessing emotion and feeling from a piece, objects, faces, and color perception rather than depth etc.
Is moonlight blue - low visual light and visual perception. If the moon gives off a reddish light then why do we see blue? Moonlight subverts and darkens our perception of these colors. We lose our ability to perceive color in low light situations, and therefore things become more monochromatic in the dark. Rods and cones.
Edges and depths - edges determine optical illusion, and how we percieve things. Night or low light settings change our ability to fully make things out in finer detail
Color Oppositions - opponent process theory, colors on the opposite side of the wheel, colors we see are the result of interactions between opposing pairs of color receptors
Color Constancy - checking hues against hues to get accurate pigments, color card, and carefuly planning or light sources (cool or warm)
Adaptation and Contrast - afterimages which is why complementary notes in a piece work so well. Cool light, warm shadows are tricky, appearance of color is influenced by simultaneous contrast, successive contrast, chromatic adaption, color contancy, and the size of the object (small=less distinctive color).
Appetizing and Healing Colors - pseudosciecne or psych science that tells us that bright vibrant colors like red are more "appetizing" vs colors that as we move down the spectrum become more muted and "healing"
Chapter 4 - Rethinking the color wheel, it can be misleading to think of colors as primaries or secondaries. CMY v RGB. Pigment v. Light. Yellow, Red, Magenta, Blue, Cyan, and Green. Rethought color wheel
Chroma - percieved strength of the surface color. YRMBCG then value (0 black to 10 white) and then chroma, counting up to pigment intensity. Munsells contribution
Local Color - color that it would be if you put a paint swatch next to it. Usually to actually create "moving space" the color has to be modulated.
Grays and Neutrals - grays can be good for color pops in a scene. hue in grays. complimentary paired grays to kep visual interest, and allows the colors to harmonized bc of the common gray. "better gray than garish"
The Green Problem - blues and yellows, avoid monotony, vary at small scale and large scale. redjsb pinks and grays and mix in "smuggling reds", prime canvas with pinks or reds to enliven greens
Gradation - light to dark, dull to saturated. convey perpetual variation always
Tints - pastel color good for murals. "transposing" colors upward. White makes hues appear bluer, or apply color with a thin transparent sheen over white to make it a more chromatic tint.
Is moonlight blue - low visual light and visual perception. If the moon gives off a reddish light then why do we see blue? Moonlight subverts and darkens our perception of these colors. We lose our ability to perceive color in low light situations, and therefore things become more monochromatic in the dark. Rods and cones.
Edges and depths - edges determine optical illusion, and how we percieve things. Night or low light settings change our ability to fully make things out in finer detail
Color Oppositions - opponent process theory, colors on the opposite side of the wheel, colors we see are the result of interactions between opposing pairs of color receptors
Color Constancy - checking hues against hues to get accurate pigments, color card, and carefuly planning or light sources (cool or warm)
Adaptation and Contrast - afterimages which is why complementary notes in a piece work so well. Cool light, warm shadows are tricky, appearance of color is influenced by simultaneous contrast, successive contrast, chromatic adaption, color contancy, and the size of the object (small=less distinctive color).
Appetizing and Healing Colors - pseudosciecne or psych science that tells us that bright vibrant colors like red are more "appetizing" vs colors that as we move down the spectrum become more muted and "healing"
Chapter 4 - Rethinking the color wheel, it can be misleading to think of colors as primaries or secondaries. CMY v RGB. Pigment v. Light. Yellow, Red, Magenta, Blue, Cyan, and Green. Rethought color wheel
Chroma - percieved strength of the surface color. YRMBCG then value (0 black to 10 white) and then chroma, counting up to pigment intensity. Munsells contribution
Local Color - color that it would be if you put a paint swatch next to it. Usually to actually create "moving space" the color has to be modulated.
Grays and Neutrals - grays can be good for color pops in a scene. hue in grays. complimentary paired grays to kep visual interest, and allows the colors to harmonized bc of the common gray. "better gray than garish"
The Green Problem - blues and yellows, avoid monotony, vary at small scale and large scale. redjsb pinks and grays and mix in "smuggling reds", prime canvas with pinks or reds to enliven greens
Gradation - light to dark, dull to saturated. convey perpetual variation always
Tints - pastel color good for murals. "transposing" colors upward. White makes hues appear bluer, or apply color with a thin transparent sheen over white to make it a more chromatic tint.
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