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Colour Theories & Its Applications

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Scientific & Philosophical Interests & Origins of Modern Colour TheoryIsaac Newton Opticks 1704 (old spelling of Optics)Used musical scale to divide spectrum and attach names to areasPhysics (but theological implications)

Слайды и текст этой презентации

Слайд 1Colour Theories & Its Applications
By Valentine Silenok valentine.silenok.msu@gmail.ru

EFL

lecturer at MSU Faculty of Fine Arts
Colour Theories & Its ApplicationsBy Valentine Silenok valentine.silenok.msu@gmail.ru

Слайд 2Scientific & Philosophical Interests & Origins of Modern Colour Theory
Isaac

Newton Opticks 1704 (old spelling of Optics)
Used musical scale to

divide spectrum and attach names to areas
Physics (but theological implications)


Scientific & Philosophical Interests & Origins of Modern Colour TheoryIsaac Newton Opticks 1704 (old spelling of Optics)Used

Слайд 3Interpretations of Colour Theory by artists
Goethe’s Theory of Colours (1810)
Built

on wavelength theory of light (after Newton)
Methods interesting
Conclusion refuted
Influential on

artists
Ex. Turner
Colour theory weblink

Goethe’s Colour Wheel

Interpretations of Colour Theory by artistsGoethe’s Theory of Colours (1810)Built on wavelength theory of light (after Newton)Methods

Слайд 4Research on Colour Theory & Nomenclature (names) by scientists for

aesthetic ‘products’
Michel Eugène Chevreul--Chemist working in Gobelins carpet factory
Noticed optical

mixing of two adjacent colours
De la loi du contrast simultané des couleurs 1839
Influential on artists
Research on Colour Theory & Nomenclature (names) by scientists for aesthetic ‘products’Michel Eugène Chevreul--Chemist working in Gobelins

Слайд 519th c. theories of “Simultaneous Contrast” and optical mixing Ex.

Eugène Delacroix Women of Algiers

Complementary Colours in art & design

19th c. theories of “Simultaneous Contrast” and optical mixing Ex. Eugène Delacroix Women of AlgiersComplementary Colours in

Слайд 6Detail

Detail

Слайд 7optical mixing
Ex. Pointillism (neo-expressionism)--Seurat

Complementary Colours in art & design

optical mixing Ex. Pointillism (neo-expressionism)--SeuratComplementary Colours in art & design

Слайд 8Seurat (details)

Seurat (details)

Слайд 9 optical effects of adjacent tonal values or colours link to stroboscopic effects

(complementary colours seen as grey) http://www.michaelbach.de/ot/mot_strob/index.html

optical effects of adjacent tonal values or colours  link to stroboscopic effects (complementary colours seen

Слайд 10Colour Theory & Practical Applications in Design
Part of Pantone color

swatch set with samples of color trends for designers (fall

2008)
www.pantone.com

Video Clip from The Devil Wears Prada

Colour Theory & Practical Applications in DesignPart of Pantone color swatch set with samples of color trends

Слайд 11Types of Colour Theories

Subtractive Theory
The subtractive, or pigment theory deals

with how white light is absorbed and reflected off of

coloured surfaces.
Additive Theory
The Additive, or light theory deals with radiated and filtered light.
Types of Colour TheoriesSubtractive TheoryThe subtractive, or pigment theory deals with how white light is absorbed and

Слайд 12Subtractive Theory
Black absorbs 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.
Subtractive TheoryBlack absorbs most lightWhite reflects most lightColoured Pigments absorb light and reflect only the frequency of

Слайд 13Additive Theory
Black radiates 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.
Additive TheoryBlack radiates no lightWhite (sun) radiates all lightVideo is the process of capturing and radiating light,

Слайд 14The Visible Spectrum

The Visible Spectrum

Слайд 15The Colour Wheel
If the ends of the spectrum are bent

around a colour wheel is formed:

The Colour WheelIf the ends of the spectrum are bent around a colour wheel is formed:

Слайд 16The Colour Wheel
Colours on the wheel can be described using

three parameters:
Hue: degrees from 0˚ to 360˚
Saturation: brightness or dullness
Value:

lightness or darkness
(As suggested by Henry Albert Munsell in A Colour Notation, 1905)

The Colour WheelColours on the wheel can be described using three parameters:Hue: degrees from 0˚ to 360˚Saturation:

Слайд 17The 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
The Colour Wheel: HueHue or Spectral Colour is represented as an angle.Primary Colours:0˚ 	= Red120˚	= Green240˚	= BlueSecondary

Слайд 18The 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.
The Colour Wheel: SaturationSaturation or Chroma is the intensity of a colour.A highly saturated colour is bright

Слайд 19The 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
The Colour Wheel: Value

Слайд 20The Colour Wheel: Value

The Colour Wheel: Value

Слайд 21The Colour Wheel: Value

The Colour Wheel: Value

Слайд 22The Colour Wheel 3d
Three parameters to describe a colour: Hue

Chroma Value

The Colour Wheel 3dThree parameters to describe a colour: Hue  Chroma  Value

Слайд 23Tone = Shade + Tint

Tone = Shade + Tint

Слайд 24MANY more scientific models based on different colour theory: (Example:

Colour Tree by American artist Henry Albert Munsell from A Colour

Notation, 1905.)
MANY more scientific models based on different colour theory: (Example: Colour Tree by American artist Henry Albert

Слайд 25More Illustrations of the Munsell System
Source: http://ian-albert.com/graphics/munsell.php

More Illustrations of the Munsell SystemSource: http://ian-albert.com/graphics/munsell.php

Слайд 26Scientific & Industry-specific Color systems
CIE (Commission internationale d’éclairage),
and MANY

others

Scientific & Industry-specific Color systemsCIE (Commission internationale d’éclairage), and MANY others

Слайд 27Using Color--
blue in 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
Using Color--blue in large regions, not thin linesred and green in the center of the field of

Слайд 28Colour Schemes Systematic ways of selecting colours
Monochromatic
Complimentary
Analogous
Warm
Cool
Achromatic
Chromatic Grays

Colour Schemes Systematic ways of selecting coloursMonochromaticComplimentaryAnalogousWarm CoolAchromaticChromatic Grays

Слайд 29Colour Schemes: Monochromatic
Monochromatic:
One Hue many values of Tint and

Shade

Artist: Marc Chagall
Title: Les Amants Sur Le Toit

Colour Schemes: MonochromaticMonochromatic: 	One Hue many values of Tint and Shade Artist: Marc ChagallTitle: Les Amants Sur

Слайд 30Colour Schemes: Complementary (note spelling--NOT complimentary)
Complimentary: Colours that are opposite

on the wheel. High Contrast
Artist: Paul Cezanne
Title: La Montage

Saint Victoire
Year: 1886-88

Colour Schemes: Complementary (note spelling--NOT complimentary)Complimentary: Colours that are opposite on the wheel. High ContrastArtist: Paul Cezanne

Слайд 31Color for Categories and Sequences

Color for Categories and Sequences

Слайд 32Colour Schemes: Analogous
Analogous: A selection of colours that are adjacent.

Minimal contrast
Artist: Vincent van Gogh
Title: The Iris
Year: 1889

Colour Schemes: AnalogousAnalogous: A selection of colours that are adjacent. Minimal contrast Artist: Vincent van GoghTitle: The

Слайд 33Colour Schemes: Warm
Warm: First half of the wheel give warmer

colours. The colours of fire.
Artist: Jan Vermeer
Title: Girl Asleep at

a Table
Year: 1657

Colour Schemes: WarmWarm: First half of the wheel give warmer colours. The colours of fire.Artist: Jan VermeerTitle:

Слайд 34Colour Schemes: Cool
Cool: Second half of the wheel gives cooler

colours
Artist: Pablo Picasso
Title: Femme Allongée Lisant
Year: 1939

Colour Schemes: CoolCool: Second half of the wheel gives cooler coloursArtist: Pablo PicassoTitle: Femme Allongée Lisant Year:

Слайд 35Colour Schemes: Achromatic, Chromatic Grays
Achromatic: Black and white with all the

grays in-between.
Chromatic Grays: Also called neutral relief. Dull colours, low

contrast.
Colour Schemes: Achromatic, Chromatic GraysAchromatic: Black and white with all the grays in-between.Chromatic Grays: Also called neutral

Слайд 36Colour Pickers & Choice of Media
HSB, HLS, HSV
RGB
CMYK
Others
Lab
PANTONE

Munsell’s notation wheel

Colour Pickers & Choice of MediaHSB, HLS, HSVRGBCMYKOthersLabPANTONEMunsell’s notation wheel

Слайд 37Colour Pickers: HSB, HLS, HSV
HSV
Hue
Saturation
Value
HSB (Same as HSV)
Hue
Saturation
Brightness

HLS
Hue
Lightness
Saturation

Colour Pickers: HSB, HLS, HSVHSVHueSaturationValueHSB (Same as HSV)HueSaturationBrightnessHLSHueLightnessSaturation

Слайд 38Colour 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

Colour Pickers: RGB, CMYKRGB RedGreenBlueUsed in Video and Computer graphics3 Values in % or between 0-255CMYKCyanMagentaYellowK =

Слайд 39Photoshop CS3 Picker
Combines HSB, RGB, CMYK, Lab (Luminance, Red/Green, Yellow/Blue)
Adobe

http://kuler.adobe.com/

Photoshop CS3 PickerCombines  HSB, RGB,  CMYK, Lab  (Luminance, Red/Green, Yellow/Blue)Adobe

Слайд 40Colour Pickers: PANTONE
Standard for printing/fastion industry

Colour Pickers: PANTONEStandard for printing/fastion industry

Слайд 41Color and the visual display of information
Ware, p. 84

Color and the visual display of informationWare, p. 84

Слайд 42Colour (hue) and counting or searching

Colour (hue) and counting or searching

Слайд 43Hue
Not Usually Pre-attentive

HueNot Usually Pre-attentive

Слайд 44Hue & shape

Hue & shape

Слайд 45Region Search
Hue boundary identified
pre-attentively

Form variations do NOT
interfere with hue
boundary identification
Form

boundary NOT
identified pre-attentively

Hue variations interfere
with form boundary
identification

Region SearchHue boundary identifiedpre-attentivelyForm variations do NOTinterfere with hueboundary identificationForm boundary NOTidentified pre-attentivelyHue variations interferewith form boundaryidentification

Слайд 46Area Estimation
Blue rectangles? Sloped rectangles?

Area EstimationBlue rectangles?    Sloped rectangles?

Слайд 47Fill and Shape

Fill and Shape

Слайд 48Brightnesss

Brightnesss

Слайд 49Shape again

Shape again

Слайд 50Luminance/Contrast

Luminance/Contrast

Слайд 51Questions in nowadays’ researches
Actual problems
Actual research projects:
-modelling colour harmony

as it was an attribute of the -colour features in

the composition
-do not take the already studied personal factors into consideration

Questions in nowadays’ researchesActual problems Actual research projects:-modelling colour harmony as it was an attribute of the

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