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Color Lab
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Color Lab

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  1. Color Lab Speaker: Chiara Possoni

  2. Overview • Introduction to color • Visual variable • Psychoperspective space • The necessarity of number 3 • System of color • Color-matter • Way of appearing of the color • Phenomenology of color

  3. Introduction to color • Ethymology of the word ‘color’: • warm/ emotion • Chroma • Celare = to hide • Cloros (yellow-green) • Historical point of view about color: • Color-idea by Cartesio • Color-useful by Berkley • Color-inuseful by Kant • Color-biocenotic by Darwin

  4. Visual variable • Dimension • Value • Trasparency • Position 4 variables of image 8 Visual variable • Direction • Texture (tactile by sight) • Hue (hue + value = color) • Shape 4 variables of separation

  5. Shape and how can they be assembled

  6. Psychoperceptive space

  7. Psychoperceptive Space. What is it? It’s just like a window open to the world

  8. Psychoperceptive Space The space is defined through the psychoperceptive activity of the observer. Nino Di Salvatore - Archetipo oggettivo verde e giallo - 1969 The space is not only physic. The perceptive space is metric free.

  9. The psychoperceptive space is composed by: • a. Vectorial constances of the perception • a1. Retinical image’s dimension • a2. Axis of gravity’s parallelism • a3. Chromatic gradient • a4. Color focusing • a5. Position in the visual field • b. Spatial forces • b1. Shape • b2. Dimension • b3. Orientation • b4. Optical weight • b5. Latent lines (visual flow) • b6. Interval

  10. Task: Spatial expression

  11. a.Vectorial constances of the perception • Retinical image’s dimension • Axis of gravity’s parallelism • Chromatic gradient • 4. Color focusing • 5. Position in the visual field

  12. NEAR FAR STILL ON MOVEMENT 1. Retinical image’s dimension NEAR FAR 2. Axis of gravity’s parallelism

  13. 3. Chromatic gradient NEAR INTERMEDIATE FAR 4. Color focusing ADVANCING RECEDING

  14. 5. Position in the visual field RETROCEDENTE AVANZANTE Loretta Lux Walk 300

  15. Exercise UN QUADRATO FERMO VICINO ALL’OSSERVATORE IN UNO SPAZIO TRIDIMENSIONALE CON TRE QUADRATI IN MOVIMENTO CHE SI ALLONTANANO Which is the best way (color, dimension, position,..) to represent this situation?

  16. ..?..

  17. This is the best solution!! ...because it uses at best the vectorial costances of the perception

  18. b. Spatial forces • The spatial forces can manifest through: • Shape • Dimension • Orientation • Optical weight • Latent lines (visual flow) • Interval

  19. Spatial forces Putting a shape in a field is just like putting a stone in a pond Every shape has an extention much bigger than its physical extension.

  20. 1. Shape Every shape has his own spatial forces

  21. Ilya Chashnik, Russian (1902–29) Cosmos — Red Circle on Black Surface with a Supremacist Cross, undated

  22. El-lissitzky, Russian Batti i bianchi con il cuneo rosso

  23. Malevic, Russian Quadrato nero su sfondo bianco

  24. 2. Dimension Dimension is critical in generating 2D and 3D spaces. 2D 3D Vassily Kandinsky (1866 – 1944) 9 punti in ascesa

  25. 3. Orientation Static space Dynamic space

  26. Rodchenko, Russian

  27. 4. Optical weight

  28. 5. Latent lines Everybody makes the same visual path to join the shapes in the visual field. This visual path is constituted by the latent lines. They are not real, they are generated psychoperceptively by the observers. Althought that they have the same value of the designed lines.

  29. 6. Interval

  30. Quality of the space Bidimensional Tridimensional Static Dynamic Concave Convex

  31. Victor Vaserely, Russian

  32. Opposition in geometry ..it’s can be defined as.. ● Polarity in the space ● Duality in the shape ● Complementarity in the color

  33. Complementarity in the color If I had only 1 color there will be no color. For a color to exist it has to be created something of different nature. Only in this way it can feel its existence. If I fix a color and then a black sheet, the color creates his complementary, its contrary. The two colors together form a unity. A color is really itself when near to its contrary. A color expresses at best its property when it is near its complementary color.

  34. Klee’s lessons The balance between opposite colours is not grey Klee speaks of a pendolum.

  35. different hue • different lightness • PEN relative to the gravity, the weight • high contrast • different hue • similar lightness • TEN relative to the tension • low contrast

  36. Klee’s lessons

  37. Newton Weight of color

  38. The necessarity of the number 3 The passage from 1 to 2 can be seen as a passage from being to appearing. If I had only the 1 there will be no term of confront. If I had only 1-2 there will be a tautology. The number 3 establishes a principle of order. The number 3 is a structural necessity. • Solido, liquido, gassoso • Punto, linea, superficie • Colori primari • Regni della natura • Soggetto, verbo, complemento oggeto • Sistema dei sillogismi

  39. Subtractive color mixing - CMY are the primary of the matter - Nearer to the black (K)

  40. Additive color mixing - CMY are the primary of the energy - Nearer the white (W)

  41. NCS: Natural color system

  42. Color’s conjunction

  43. Association between color and state of the matter

  44. Way of appearing of the color COLORI FILMARI COLORI RIFLESSI COLORI STRUTTURALI COLORI SUPERFICI COLORI VOLUME COLORI LUCE

  45. Phenomenology of color 1. Trasparency Conditions: a. The field should be divided in 4 parts, 2 for the figure and 2 for the background b. Each of the 2 parts of the figure should be in contact with only 1 part of the background

  46. c. The 2 parts of the figure should be perceived as an unity (Figural condition) b. The succession of the colors of the figure should be related to that of the background (clearer figure on clearer background and viceversa)