C.O.P - Colour Theory part 2

C.O.P - Colour Theory part 2

• We can't be sure whether a colour is a certain colour, it is when we put things around that colour that determine what colour it is. 
• We can't trust colour, it isn't something that is a given. 
• Physical aspects to colour, Physiological aspects and Psychological.
• Spectral colour is a colour that is evoked by a single wavelength of light within a visible spectrum.
• A single wavelength, or narrow band of wavelengths generates monochromatic light.
• Every wavelength of light is perceived as a spectral colour in a continuous spectrum.
• The colours of similar or sufficiently close wavelengths are often indistinguishable by the human eye.
• Colour is a theoretical phenomenon - it does not necessarily exist.
• Everything to do with colour is how we see it - basically an illusion.
• Type 1 - Is sensitive to red-orange light
• Type 2 - is sensitive to green light
• Type 3 - is sensitive to blue/violet light
• When a single cone is stimulated, the brain perceived the corresponding colour.
• If our green cones are stimulated, we see green and so on..
• Because of this physiological response, the eye can be fooled into seeing the full range of visible colours through the proportionate adjustment of just three colours: Red, Green and Blue.
• Spectral Colour : the eye cannot differentiate between spectral yellow, and some combination of red and green. The same effect accounts for our perception of cyan, magenta, and the other in-between spectral colours. 
• Additive colour: Light. - RGB primaries; CRT monitors. - Secondary - CMY
• Subtractive colours: Ink - CMY primaries; Film, prints. - Secondary - RGB
• Johannes Itten (1888-1967)
• Josef Albers - The interaction of colour (1888-1976)
• Contrasts: 
• - Tone
• - Hue
• - Saturation
• - Extension
• - Temperature
• Formed by the juxtaposition of light and dark values. This could be monochromatic.
• The key idea of contrast is to be able to differentiate between two colours. 
• Formed by the juxtaposing of different hues. The greater the distance between hues on a colour wheel, the greater the contrast.
• Yellow on a white background sits back into the background and blue stands out, on a black background the yellow stands out and the blue sits back.
• Formed by the juxtaposition of light and dark values and their relative saturations.
• Formed by assigning proportional field sizes in relation to the visual weigh of a colour. Also known as the contrast of proportion.
• Optical Balances - Yellow and Violet for example. Both colours hit your eye at the same time.
• Formed by juxtaposing hues that can be considered 'warm' or 'cool'. Also known as the contrast of warm and cool.