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Color Lab Speaker: Chiara Possoni.

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Presentation on theme: "Color Lab Speaker: Chiara Possoni."— Presentation transcript:

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

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

14 5. Position in the visual field

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

23 Quadrato nero su sfondo bianco
Malevic, Russian Quadrato nero su sfondo bianco

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


26 3. Orientation Static space Dynamic space

27 Rodchenko, Russian

28 4. Optical weight

29 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.

30 6. Interval

31 Quality of the space Bidimensional Tridimensional Static Dynamic
Concave Convex

32 Victor Vaserely, Russian

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

34 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.

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

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

37 Klee’s lessons

38 Newton Weight of color

39 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

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

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

42 NCS: Natural color system

43 Color’s conjunction




47 Association between color and state of the matter

48 Way of appearing of the color

49 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

50 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)

51 2. Induction - Interraction

52 The same squared perimeter, but one time interaction and the other induction
Cause: different disposition of the color in the perimeter

53 3. Marginal gradient

54 4. Color’s diffusion


56 5. Hermann’s grill

57 6. Munker White’s phenomenon

58 7. Teodorovic’s experience

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