Color Lab
Speaker: Chiara Possoni
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
Introduction to color
Ethymology of the word ‘color’:
1.
2.
3.
4.
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
Visual variable
4 variables of image
1.
2.
3.
4.
Dimension
Value
Trasparency
Position
8 Visual variable
1.
4 variables of separation 2.
3.
4.
Direction
Texture (tactile by sight)
Hue (hue + value = color)
Shape
Shape and how
can they
be assembled
Psychoperceptive space
Psychoperceptive Space. What is it?
It’s just like a window open to the world
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.
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
Task: Spatial expression
a.Vectorial constances of the perception
1. Retinical image’s dimension
2. Axis of gravity’s parallelism
3. Chromatic gradient
4. Color focusing
5. Position in the visual field
1. Retinical image’s dimension
NEAR
FAR
NEAR
2. Axis of gravity’s parallelism
STILL
ON MOVEMENT
FAR
3. Chromatic gradient
NEAR
INTERMEDIATE
4. Color focusing
ADVANCING
RECEDING
FAR
5. Position in the visual field
RETROCEDENTE
AVANZANTE
Loretta Lux
Walk 300
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?
..?..
This is the best solution!!
...because it uses
at best the
vectorial
costances of the
perception
b. Spatial forces
The spatial forces can manifest through:
1.
2.
3.
4.
5.
6.
Shape
Dimension
Orientation
Optical weight
Latent lines (visual flow)
Interval
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.
1. Shape
Every shape has his own spatial forces
Ilya Chashnik, Russian (1902–29)
Cosmos — Red Circle on Black Surface with a Supremacist Cross, undated
El-lissitzky, Russian
Batti i bianchi con il cuneo rosso
Malevic, Russian
Quadrato nero su sfondo bianco
2. Dimension
Dimension is critical in generating 2D and 3D spaces.
2D
3D
Vassily Kandinsky (1866 – 1944)
9 punti in ascesa
3. Orientation
Static space
Dynamic space
Rodchenko, Russian
4. Optical weight
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.
6. Interval
Quality of the space
Bidimensional
Tridimensional
Static
Dynamic
Concave
Convex
Victor Vaserely, Russian
Opposition in geometry
..it’s can be defined as..
● Polarity in the space
● Duality in the shape
● Complementarity in the color
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.
Klee’s lessons
The balance between opposite colours is not grey
Klee speaks of a pendolum.
- different hue
- different lightness
- PEN relative to the gravity, the weight
- high contrast
- different hue
- similar lightness
- TEN relative to the tension
- low contrast
Klee’s lessons
Newton
Weight of color
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
Subtractive color mixing
- CMY are the primary of the matter
- Nearer to the black (K)
Additive color mixing
- CMY are the primary of the energy
- Nearer the white (W)
NCS: Natural color system
Color’s conjunction
Association between color and state of the matter
Way of appearing of the color
COLORI FILMARI
COLORI RIFLESSI
COLORI STRUTTURALI
COLORI SUPERFICI
COLORI VOLUME
COLORI LUCE
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
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)
2. Induction - Interraction
The same squared perimeter, but one time interaction and the other induction
Cause: different disposition of the color in the perimeter
3. Marginal gradient
4. Color’s diffusion
5. Hermann’s grill
6. Munker White’s phenomenon
7. Teodorovic’s experience