Spatial Presence

of Color
Color in Observed Light
Daylight &
Artificial Light
Daylight is always made up of all colors but varies with
time of day, season and latitude in the balance of colors.
Noon light on a clear day: mix of all colors at near-equal
intensity
Daylight &
Artificial Light
Dawn or sunset: light at red-orange end of the spectrum
becomes more prominent as atmospheric haze in the air
cuts down the presence of colors at the blue-violet end.
Cloudy day light: weakened reds by the filtering clouds
and so appears somewhat bluish.
Daylight &
Artificial Light
Since all colors are still present in in such altered sunlight,
the eye can still see all colors – a blue box still looks blue at
sunset and a red box still looks red on a cloudy day.
Daylight &
Artificial Light
COLOR CONSTANCY - is a form of adaptation in which
the eye and brain adjust to ambient conditions to bring
them into a form most useful for understanding.
An effect familiar when putting on or taking off
sunglasses in which tinted glass alters the balance of
color.
Daylight &
Artificial Light
Artificial light
Flame of candles and oil or gas lamps = yellow-reds, weak
colors at the blue end of the spectrum
Incandescent electric light = same characteristics to a
lesser degree.
Daylight &
Artificial Light
Mercury-vapor and sodium lights = produce a spectrum
that shows only narrow lines of color with blanks in
between.
As a result, color cannot be observed in normal
relationships under such light.
Fluorescent light = continuous spectrum as incandescent
light. Warm / Cool
Neon light produces line spectra of pure color.
 Metamerism
The effects of lighting that alter the appearance of colors.
A phenomenon where colors seem to change when viewed from different light sources.
Michel Chevreul
(1786-1889)

French chemist
Worked on chemical research and quality
assurance in the dyes used for fine fabrics and
textile designs.
Predict the visual effect of simultaneous
contrast
Michel Chevreul
(1786-1889)

published in 1839 as The Law of

Simultaneous Color Contrast (translated into
English in 1854), is an artistic milestone, one
of the first systematic studies of color
perception and a compendium of color design
principles that many 19th century French
painters from Delacroix to Matisse attempted
to apply in their art.
 Josef Albers
(1888 – 1976)
a German-born American artist and educator
1963 he released one of the most famous
books about color theory, “The Interaction of
Color”.
His focus was on the interaction of colors, and
how a designer can manipulate human
perception by knowing about color
combination.
Albers uses color to create a false sense of
depth in the image.
 Color Interaction
Color Interaction was first put on a sound experimental base by the French chemist Michel Chevreul.
THE SIZE OF THE COLOR AREA INFLUENCES THE WAY COLOR IS PERCEIVED.
 Color Interaction
Small sample may appear lighter, darker more or less intense than the same color applied to a large
surface.
 Color Interaction
Large Brown sample against a DARK background = lighter.
Small Brown sample against a LIGHT background = darker
 Color Interaction
Large Brown sample against a DARK background = lighter.
Small Brown sample against a LIGHT background = darker
 Color Interaction
Simultaneous Contrast Successive Contrast
Simultaneous Contrast
 Simultaneous Contrast
describes the effect that adjacent areas of color have on one another.
An area of color will seem to shift toward a hue complementary to that of an adjacent area.
 Simultaneous Contrast
Gray on Yellow (warm background) = gray appears cooler
Gray on Blue (cool background) = gray appears warmer
 Simultaneous Contrast
Gray on Yellow (warm background) = gray appears cooler
Gray on Blue (cool background) = gray appears warmer
 Simultaneous Contrast
A dark tone on a light background = appears darker
A light tone on a dark background = appears lighter
 Simultaneous Contrast
A dark tone on a light background = appears darker
A light tone on a dark background = appears lighter
 Simultaneous Contrast
Green beside Red = more intense (more green) than
Green beside Blue = less intense
 Simultaneous Contrast
The blue shifts the green toward its complement – orange, and so neutralizes the green color to some
degree.
 Simultaneous Contrast
Areas of uniform color seem to shift in tone near an edge where they meet another, contrasting color
creating a fringe of seemingly varied color.
 Simultaneous Contrast
Areas of uniform color seem to shift in tone near an edge where they meet another, contrasting color
creating a fringe of seemingly varied color.
Simultaneous Contrast

In the following example, the same orange square

is shown on two different background, with a
stripe of blue and yellow between them. Even
though the two squares have identical colors, the
eye will perceive the bottom square to be darker.
More interestingly, the bottom orange background
will seem to have the same color as the square at
the top, even though they are very different colors.
Simultaneous Contrast

In the following example, the same orange square

is shown on two different background, with a
stripe of blue and yellow between them. Even
though the two squares have identical colors, the
eye will perceive the bottom square to be darker.
More interestingly, the bottom orange background
will seem to have the same color as the square at
the top, even though they are very different colors.
Successive Contrast
SUCCESSIVE CONTRAST or AFTERIMAGE –
another form of simultaneous contrast.
In which the contrasting colors are seen
successively in time rather than adjacent in
space.
Occurs when, after looking at a strong color
for a period of time, if vision is shifted to a
white surface. The white will appear to be
colored as a complementary of the strong
color.
Successive Contrast

Same occurs when vision is shifted from one

color to another.
When walking from a space of intense color
into an adjacent space of neutral colors, the
neutral space will appear tinted with the
complementary of the first space.
Simultaneous Contrast
Simultaneous Contrast
 Successive Contrast
A medium tone placed on a light background = appears darker
A medium tone placed on dark background = appears lighter
 Successive Contrast
A medium tone placed on a light background = appears darker
A medium tone placed on dark background = appears lighter
Successive Contrast
Advancing & Receding Colors

Can distort perception of distance and can be

used to modify perceptions of spatial
relationship.
Warm colors = appear closer
Cool colors = appear farther
Dark colors = advance (closer)
Light colors = recede (farther)
Intense colors = advance
Neutral colors = recede
 Successive Contrast
Light tone on dark background = appears lighter than it is
Dark tone on lighter background = appears darker than it is
Successive Contrast
Advancing & Receding Colors
In interiors, the apparent shape of a space can be
somewhat modified by these effects.
A long narrow room can be made to seem more
normal in proportions by giving the end wall a
warm, deep and intense color.
Low ceiling room – higher = light colors are used.
High ceiling – lower = dark colors for the ceiling
(e.g.: dark blue, gray or black)
Light colored room = bigger
Dark colored room = smaller
 Texture & Nature of Surfaces

Rougher a texture = darker the color

Smoother texture = lighter
Results from the effect of shades and shadow cast by elements of material
A smooth textile will appear lighter in tone than a heavily textured fabric dyed the same color.
Some textures, by catching light from one direction, reflect ambient light to some degree while developing
darkening shadow in the other. Color of such material can seem to vary with the direction of light and angle
of viewing.
Color is least modified when the colored surface is smooth but not reflective – a true flat or matte.
Texture & Nature of Surfaces

Glossy – a surface that is polished of coated so

as to produce surface reflection.
Gloss modifies color by placing a layer
called veiling reflection over the actual
color, and so diluting it.
This will lighten the color and reduce the
saturation.
Texture & Nature of Surfaces

Glossy – a surface that is polished of coated so

as to produce surface reflection.
Gloss modifies color by placing a layer
called veiling reflection over the actual
color, and so diluting it.
This will lighten the color and reduce the
saturation.
Additive Mixture or Fusion

Refers to the way different

colors in small areas appear to
mix or fuse when seen at a
distance great enough that the
eye cannot separate them.
Example: Textile woven of yarn
in two colors. Red and Blue will
seem to be a solid purple.
Vibration
Is the visual effect that occurs when strongly contrasting, bright
colors are placed adjacent to each other.
The eye focuses different colors in slightly different planes. It
cannot focus totally sharply on bright red and bright green if
they are adjacent. The lines become seemingly blurred and
seem to vibrate.
 Vibration
Art: op art
Interior spaces: sense of harshness or disharmony in color schemes.