2 OverviewIntroduction to colorVisual variablePsychoperspective spaceThe necessarity of number 3System of colorColor-matterWay of appearing of the colorPhenomenology of color
3 Introduction to color Ethymology of the word ‘color’: warm/ emotion ChromaCelare = to hideCloros (yellow-green)Historical point of view about color:Color-idea by CartesioColor-useful by BerkleyColor-inuseful by KantColor-biocenotic by Darwin
4 Visual variable 8 Visual variable Dimension Value Trasparency Position4 variables of image8 Visual variableDirectionTexture (tactile by sight)Hue (hue + value = color)Shape4 variables of separation
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 theobserver.Nino Di Salvatore - Archetipo oggettivo verde e gialloThe space is not only physic. The perceptive space is metric free.
9 The psychoperceptive space is composed by: a. Vectorial constances of the perceptiona1. Retinical image’s dimensiona2. Axis of gravity’s parallelisma3. Chromatic gradienta4. Color focusinga5. Position in the visual fieldb. Spatial forcesb1. Shapeb2. Dimensionb3. Orientationb4. Optical weightb5. Latent lines (visual flow)b6. Interval
11 a.Vectorial constances of the perception Retinical image’s dimensionAxis of gravity’s parallelismChromatic gradient4. Color focusing5. Position in the visual field
12 1. Retinical image’s dimension NEARFARNEARFAR2. Axis of gravity’s parallelismSTILLON MOVEMENT
13 3. Chromatic gradient 4. Color focusing NEAR INTERMEDIATE FAR ADVANCINGRECEDING
14 5. Position in the visual field RETROCEDENTEAVANZANTELoretta LuxWalk 300
15 ExerciseUN QUADRATO FERMO VICINO ALL’OSSERVATOREIN UNO SPAZIO TRIDIMENSIONALE CON TRE QUADRATIIN MOVIMENTO CHE SI ALLONTANANOWhich is the best way (color, dimension, position,..) to representthis situation?
29 5. Latent linesEverybody 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, theyare generated psychoperceptively by the observers. Althought that they have the samevalue of the designed lines.
33 Opposition in geometry ..it’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 huedifferent lightnessPEN relative to the gravity, the weighthigh contrastdifferent huesimilar lightnessTEN relative to the tensionlow contrast
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, gassosoPunto, linea, superficieColori primariRegni della naturaSoggetto, verbo, complemento oggetoSistema 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)
47 Association between color and state of the matter
48 Way of appearing of the color COLORI FILMARICOLORI RIFLESSICOLORI STRUTTURALICOLORI SUPERFICICOLORI VOLUMECOLORI LUCE
49 Phenomenology of color 1. TrasparencyConditions:a. The field should be divided in 4 parts, 2 for the figure and 2 for the backgroundb. 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)