In the visual arts, color theory or color theory is a body of practical guidance for mixing the colors and visual effects of certain color combinations. There are also definition (or category) colors based on color wheel: primary color, secondary color and tertiary color. Although the principles of color theory first appeared in the writings of Leone Battista Alberti (ca. 1435) and Leonardo da Vinci's notebook (ca. 1490), a tradition of "colonial theory" began in the 18th century, initially in partisan controversy over the Isaac Newton Color Theory ( Opticks , 1704) and the nature of primary colors. From there it evolved as an independent artistic tradition with only superficial references to the science of colorimetry and vision.
Video Color theory
Color abstraction
The basics of the pre-20th century color theory are built around "pure" or ideal colors, characterized by different sensory experiences than the attributes of the physical world. This has led to a number of inaccuracies in traditional color theory principles that are not always fixed in modern formulations.
The most important problem is the confusion between the behavior of mixed light, the so-called color additive, and the behavior of paints, inks, dyes, or pigment blends, called subtractive colors. This problem arises because the absorption of light by the substance of the material follows a different rule of light perception by the eye.
A second problem is the failure to describe the very important effects of contrasting strong (light) lighting in the appearance of reflected color from the surface (such as paint or ink) as opposed to the color of light; "colors" like chocolate or ocher can not appear in a mixture of light. Thus, the strong contrast of light between the medium-valued yellow paint and the bright white around it makes the yellow look green or brown, while the strong contrast of brightness between the rainbow and the surrounding sky makes the yellow in the rainbow look like a dimmer yellow, or white.
A third problem is the tendency to describe color effects in a holistic or categorical way, for example as the contrast between "yellow" and "blue" are understood as generic colors, when most color effects are caused by contrast in three relative attributes that define all colors:
- Value, (light vs. dark, or white vs black),
- Chroma, [saturation, purity, strength, intensity] (intense vs boring), and
- Colors (eg surname colors: red, yellow, green, cyan, blue and magenta).
Thus, the visual impact of "yellow" vs. "blue" colors in the visual design depends on the lightness and relative saturation of the colors.
This confusion is partly historical in nature, and arose in scientific uncertainty about the perception of color that was not resolved until the end of the nineteenth century, when the artistic idea was rooted. However, they also arise from attempts to describe highly contextual and flexible color perception behavior in terms of the abstract color sensations that can be produced equivalently by any visual media.
Many "color theorists" have assumed that the three basic "pure" colors can mix up all possible colors, and that the failure of specific paints or inks to adapt this ideal performance is due to impurity or imperfection of the dye. In fact, only imaginary "primary colors" are used in colorimetry that can "mix" or measure all visible colors (perceptually possible); but to do this, this imaginary prelude is defined as being out of visible color range; ie, they can not be seen. The three primary "real" colors of light, paint or ink can only mix a limited variety of colors, called whole, which are always smaller (containing less color) than the various colors that human beings can understand.
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Color theory was originally formulated in three "primer" or "primitive" colors - red, yellow and blue (RYB) - because these colors are believed to mix all other colors. This color mixing behavior has long been known to printers, clothing merchants, and painters, but this trade prefers pure pigments rather than primary color mixtures, because the mixture is too dull (unsaturated).
The primary colors of RYB form the basis of 18th century color vision theories, as fundamental sensory qualities mixed in the perception of all physical colors and the same in the physical mixture of pigments or dyes. These theories are enhanced by an 18th-century investigation of a variety of purely psychological color effects, in particular the contrast between "complementary" or opposing colors produced by color afterimages and in contrasting shadows in colored light. These ideas and many personal color observations are summarized in two founding documents in the theory of color: the Theory of Colors (1810) by German poets and government ministers Johann Wolfgang von Goethe, and The Law of Contrast Color Simultaneously (1839) by French industrial chemist Michel EugÃÆ'¨ne Chevreul. Charles Hayter published A New Practical Treatise on Three Primitive Colors Considered as the Perfect Missile Information System (London 1826), in which he described how all the colors can be obtained from only three.
Furthermore, German and British scientists founded in the late 19th century that color perception is best described in the form of a set of different primary colors - red, green and violet blue (RGB) - modeled through an additive mixture of three monochromatic lights. Subsequent studies used these primary colors in different responses to light by three types of color receptors or cones in the retina (trichromation). On this basis the quantitative description of the color mix or colorimetry was developed in the early 20th century, along with a series of increasingly sophisticated color space models and color perceptions, such as opponent process theory.
In the same period, industrial chemicals radically expanded the color range of lightweight synthetic pigments, allowing to increase saturation in the dye color mix, paint and ink. It also creates the dyes and chemical processes necessary for color photography. As a result, three-color printing becomes aesthetic and economical in mass print media, and the artist color theory is adjusted to the most effective primary colors in photographic inks or dyes: cyan, magenta, and yellow (CMY). (In printing, dark color comes with black ink, known as CMYK system; both in printing and photography, white is provided by paper color.) These CMY primer colors are reconciled with primary RGB, and subtractive color mixing with additive color mixing, by defining the primary CMY as a substance that is absorbed only one of the primary colors of the retina: cyan only absorbs red (-RGB), green only magenta (R- GB), and only blue blue purple (R GB). It is important to add that CMYK, or process, color printing is intended as an economical way to produce various colors for printing, but lacks in reproducing certain colors, especially orange and slightly less in reproducing purple. More diverse colors can be obtained by adding other colors to the printing process, such as in the Pantone Hexachrome printing system (six colors), among others.
For many 19th century artistic color theories are lagging behind a scientific understanding or coupled with a science book written for ordinary people, especially Modern Chromatics (1879) by American physicist Ogden Rood, and the early color of the atlas developed by Albert Munsell (Munsell Book of Color , 1915, see Munsell's color system) and Wilhelm Ostwald (Color Atlas, 1919). Major advances were made in the early 20th century by artists who taught or associated with the German Bauhaus, especially Wassily Kandinsky, Johannes Itten, Faber Birren and Josef Albers, whose writings mix speculation with empirical studies or demonstrations based on color design principles.
traditional color theory
Complementary colors
For color mixing, the Isaac Newton color wheel is often used to describe complementary colors, which are the colors that annul their colors to produce a mixture of white (white, gray, or black) light. Newton offers as a colorful assumption against each other on the hue circles to cancel their hue; This concept is shown more closely in the 19th century.
The key assumption in the Newton hue circle is that the "flaming" or maximum saturation color lies on the outer circumference of the circle, while white is white at the center of the chromium. Then the saturation of the two spectral colors mix is ​​predicted by a straight line between them; a mixture of three colors predicted by the "center of gravity" or the centroid of three triangular points, and so on.
According to traditional color theories based on primary subtractive colors and RYB color models, derived from a mixture of paint, yellow mixed with purple, orange mixed with blue, or red mixed with green produces an equivalent gray color and is the complementary color of the painter. This contrast forms the legal basis of contrasting colors of Chevreul: the colors that appear together will be altered as if mixed with complementary colors of other colors. So, a piece of yellow cloth placed on a blue background will look orange, because orange is a complementary color for blue.
However, when complementary colors are chosen by definition by mixed light, they are not the same as the main colors of the artist. This mismatch becomes important when color theory is applied throughout the media. Digital color management uses color circles that are defined according to additional primary colors (RGB color models), because the colors in computer monitors are a mixture of light additives instead of subtractive paint blends.
One of the reasons the main colors artists work at all is that the imperfect pigments used have a sloping absorption curve, and thus change color with concentration. Pigments that are pure red at high concentrations may behave more like magenta at low concentrations. This allows it to make purple impossible. Similarly, a very blue color of blue at high concentrations appears cyan at low concentrations, allowing it to be used to mix the green color. Chromium red pigments may appear orange, and then yellow, as their concentration decreases. It is even possible to mix very low concentrations of the mentioned blue and red chromium to obtain a greenish tint. This works better with the color of the oil compared to watercolors and dyes.
So the old primaries depend on the skewed uptake curve and pigment leakage to work, while newer ones are scientifically dependent only on controlling the amount of absorption in a particular part of the spectrum.
Another reason the true main colors are not used by early artists is that they are not available as durable pigments. Modern methods in chemistry are needed to produce it.
Warm vs. cool colors
The difference between "warm" and "cold" colors has been important since at least the end of the 18th century. Contrast, as traced by etymology in the Oxford English Dictionary, appears to be related to the observed contrast in the light of the landscape, between "warm" colors associated with daylight or sunset, and "cool" colors associated with gray or cloudy days. Warm colors are often said to color from red through yellow, brown and brown inserted; Cold colors are often said to be the color of blue green through blue violet, mostly including gray. There is a historical disagreement about the colors that embed polarity, but the source of the nineteenth century places the peak contrast between orange red and turquoise.
Color theory has illustrated the effects of perception and psychology on this contrast. Warm colors are said to advance or appear more active in a painting, while cold colors tend to recede; used in interior design or fashion, warm colors are said to evoke or stimulate the audience, while cool colors are calm and relaxed. Most of these effects, as far as they are real, can be attributed to higher saturation and lighter values ​​than warm pigments in contrast to cold pigments. Thus, chocolate is a dark, warm unsaturated color that few people perceive as being visually active or psychologically awakening.
The contrast of traditional warm-cold color associations with the color temperature of the black body radiates theoretically, in which the association of colors with temperatures is reversed. For example, the hottest stars emit blue light (that is, with shorter wavelengths and higher frequencies), and the coolest ones emit red.
This contrast is further evident in the psychological association of colors with the relativistic effects of Doppler seen in astronomical objects. Traditional psychological associations, in which warm colors are associated with advancing objects and cool colors with receding objects, are directly opposite to those seen in astrophysics, where stars or galaxies are moving toward our point of view from Earth is blueshifted ) and the star or galaxy moving away from Earth is redshifted.
Achromatic Color
Any color that does not have strong chromatic content is said to be unsaturated , achromatic , neutral , or neutral . Close neutral includes chocolate, tans, pastels and dark colors. Close neutral can be either color or light. Pure achromatic colors, or neutral include black, white and all gray.
Near neutrals are obtained by mixing pure colors with white, black or gray, or by mixing two complementary colors. In color theory, neutral colors are easily modified by more saturated colors and they seem to use a saturated color complement; for example, next to a bright red sofa, the gray walls will look very greenish.
Black and white have long been known to combine "good" with almost any other color; black reduces the clarity of the saturation or brightness of the color it is paired with, and the white color shows all the colors to the same effect.
Color and nuance
When mixing colored light (an additive color model), the red, green and blue (RGB) acromatic mixtures are spectacularly always white, not gray or black. When we mix dyes, such as pigments in paint mixtures, colors are produced that are always darker and lower in chroma, or saturation, from the parent color. It moves the blend color to neutral colors - gray or almost black. Lights are made lighter or dimmer by adjusting their brightness, or energy level; in painting, lightly adjustable through a mixture with white, black or color complement.
It is common among some painters to darken paint by adding black paint - producing a color called nuance - or brighten a color by adding a white color called tints . However that is not always the best way for representational painting, as the unfavorable result is for the color also shifts in hue. For example, darkening the color by adding black can cause colors like yellow, red and orange, to shift toward the greenish or bluish spectrum. Brightening colors by adding white can cause changes to the blue when mixed with red and orange. Another practice when darkening colors is to use the opposite color, or a complement (eg a purplish red added to yellowish green) to neutralize it without shifting color, and darken it if the additive color is darker than its parent. color. When brightening the color, this shift of hue can be corrected by adding a few adjacent colors to bring the mixed color back to match the parent color (eg adding a small amount of orange to the red and white mixture will improve the tendency of this mixture to shift slightly toward the blue end of the spectrum).
Divide the primary color
In painting and other visual arts, two-dimensional color wheel or three-dimensional color solids are used as a tool to teach beginners important relationships between colors. The color organization in a particular color model depends on the model's purpose: some models show relationships based on human color perception, while others are based on the color mixing properties of certain media such as computer display or paint collection.
This system is still popular among contemporary painters, since it is essentially a simplified version of Newton's geometric rules that closer color together in the hue circle will result in a more vivid mix. However, with the variety of contemporary paint available, many artists simply add more paint to their palette as desired for practical reasons. For example, they can add red, purple and/or green paint to expand the mixable range; and they include one or more dark colors (especially "earth" colors like yellow ocher or burnt sienna) just because they are comfortable to be premixed. Printers usually add a CMYK palette with spot ink color (trademark only).
Harmony color
He has argued that "Colors that are seen together to produce pleasant affective responses are said to be harmonious". However, color harmony is a complex idea because of the human response to both affective and cognitive colors, involving emotional responses and judgments. Therefore, our responses to colors and ideas of color harmony are open to the influence of different factors. These factors include individual differences (such as age, gender, personal preference, affective state, etc.) as well as cultural, sub-cultural and social-based differences that lead to conditioning and learning about color responses. In addition, context always has an influence on responses about color and color harmony, and this concept is also influenced by temporal factors (such as change trends) and perceptual factors (such as simultaneous contrast) that may override the human response to color. The following conceptual model illustrates this 21st century approach to color harmony:
Where color harmony is a function ( f ) of the interaction between colors/s (Col 1, 2, 3,..., n ) and the factors that influence positive responses aesthetics of color: individual differences ( ID ) such as age, gender, personality, and affective status; cultural experience ( CE ), applicable context ( CX ) that includes ambient arrangement and lighting; intervening perception effects ( P ) and time effects ( T ) in terms of prevailing social trends.
Moreover, given that humans can see more than 2.8 million different colors, it has been suggested that the number of possible combinations of colors is almost infinite thus implying that the predictive color harmony formula is basically unhealthy. Nevertheless, many color theorists have designed formulas, principles or guidelines for color combinations in order to predict or determine a positive aesthetic response or "color harmony".
The color wheel model is often used as a basis for principles or color combination guidelines and to determine the relationship between colors. Some theorists and artists believe that complementary color alignment will produce strong contrast, visual tension and "color harmony"; while others believe the analog color alignment will lead to a positive aesthetic response. Color combination guides (or formulas) show that colors next to each other on color wheel models (analog colors) tend to produce a single color or monochromatic color experience and some theorists also refer to this as "simple harmony".
In addition, the complementary complementary color scheme typically depicts modified complementary pairs, instead of the "right" second color selected, the various analogue hues are selected, ie the split of red splits is blue-green and yellow-green.. The triadic color scheme adopts three colors that are approximately the same distance around the color wheel model. Feisner and Mahnke are among a number of authors who provide more detailed color combination guidelines.
Color combination formulas and principles can provide some guidance but have limited practical applications. This is due to the influence of contextual, perceptive and temporal factors that will affect how color/perception is perceived in certain situations, settings or contexts. Such formulas and principles may be useful in fashion, interior design and graphics, but much depends on the tastes, lifestyles and cultural norms of the viewer or consumer.
Since ancient Greek philosophers, many theorists have designed color associations and attributed certain connotative meanings to specific colors. However, connotative color associations and color symbolism tend to be culture-bound and may also vary in different contexts and circumstances. For example, red has many different connotative and symbolic meanings that are exciting, evocative, sensual, romantic and feminine; for a symbol of luck; and also acts as a danger sign. Such color associations tend to be studied and should not hold to individual differences and culture or contextual, temporal or perceptual factors. It is important to note that despite the presence of color symbolism and color associations, their existence does not provide any real support for color psychology or claims that color has therapeutic properties.
Formula
There is a tried and true formula for finding color harmony. To use these formulas all that is required is to select the part (or part) of the color wheel.
Monochromatic
The monochromatic formula selects only one color (or color). The color variations are made by changing the value and color saturation. Since only one color is used, the colors and variations are guaranteed to work.
Current status
Color theory has not yet developed an explicit explanation of how certain media affect the appearance of color: color is always defined in abstract, and whether the color of ink or paint, oil or watercolors, transparency or reflecting prints, computer displays or cinema, is not considered highly relevant. Josef Albers investigates the effect of relative contrast and color saturation on the illusion of transparency, but this is an exception to the rule.
See also
References
External links
- The Color Theory Tutorial by Worqx
- Handprint.com: Color - a comprehensive website about color perception, color psychology, color theory, and color mixing
- Color Difference
- Color Theory in Landscape Design
- Color Dimensions - color theory for artists using traditional/digital media
- Color Thesaurus Largest Database of Color Names in the World
- Stanford University CS 178 Flash interactive demo introduces the trichromatic color theory.
- An application that generates a harmonic color palette of images based on color theory
- Color theory related to interior decoration
- Applying Color Theory to Digital Media and Visualization - a book from CRC Press
Source of the article : Wikipedia
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