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Color Lab Speaker: Chiara Possoni. Overview -Introduction to color -Visual variable -Psychoperspective space -The necessarity of number 3 -System of color.

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Presentation on theme: "Color Lab Speaker: Chiara Possoni. Overview -Introduction to color -Visual variable -Psychoperspective space -The necessarity of number 3 -System of color."— 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 Ethymology of the word color: 1.warm/ emotion 2.Chroma 3.Celare = to hide 4.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 Introduction to color

4 8 Visual variable 4 variables of image 4 variables of separation 1.Dimension 2.Value 3.Trasparency 4.Position 1.Direction 2.Texture (tactile by sight) 3.Hue (hue + value = color) 4.Shape Visual variable

5 Shape and how can they be assembled

6 Psychoperceptive space

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

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

9 The psychoperceptive space is composed by: a. Vectorial constances of the perception a1. Retinical images dimension a2. Axis of gravitys 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 1.Retinical images dimension 2.Axis of gravitys parallelism 3.Chromatic gradient 4. Color focusing 5. Position in the visual field

12 NEARFAR 1. Retinical images dimension 2. Axis of gravitys parallelism FARNEAR STILL ON MOVEMENT

13 3. Chromatic gradient NEAR INTERMEDIATEFAR 4. Color focusing ADVANCINGRECEDING

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

15 Exercise UN QUADRATO FERMO VICINO ALLOSSERVATORE 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: 1.Shape 2.Dimension 3.Orientation 4.Optical weight 5.Latent lines (visual flow) 6.Interval

19 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. Spatial forces

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


26 Static spaceDynamic space 3. Orientation

27 Rodchenko, Russian

28 4. Optical weight

29 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. 5. Latent lines

30 6. Interval

31 Quality of the space Bidimensional Tridimensional Static Dynamic Concave Convex

32 Victor Vaserely, Russian

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

34 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. Complementarity in the color

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

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

42 NCS: Natural color system

43 Colors conjunction




47 Association between color and state of the matter


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. Colors diffusion


56 5. Hermanns grill

57 6. Munker Whites phenomenon

58 7. Teodorovics experience

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