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Downloadable Source of Multiple Exposures of Digital Photographs (Provided by the Website Below) COLO UR- C ODED 1 layoutInDesign17x17CP.indd 1 05/05/2011 14:57 COLOUR CODED Edited by Carinna Parraman at The Centre for Fine Print Research University of the West of England Bristol, BS3 2JT www.uwe.ac.uk/research/cfpr Published by the Society of Dyers and Colourists, PO Box 244, Perkin House, 82 Grattan Road, Bradford, West Yorkshire, BD1 2JB, England. www.sdc.org.uk ISBN 978-0-901956-93-4 Printed by The Ark Design & Print Pudsey Business Park 47 Kent Road Leeds, LS28 9BB www.thearkdesign.co.uk A catalogue record for this book is available from the British Library Copyright © 2010 Society of Dyers and Colourists. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of the copyright owners. 2 layoutInDesign17x17CP.indd 2 05/05/2011 14:57 Colour Coded key: (The subjects contained in each paper are illustrated using the following key) measurement / image quality architecture / landscape culture / communication / history new materials /chemistry /nanotechnology conservation / heritage illumination / lighting print /reproduction /subtractive colour mixing HDR /multispectral /additive colour mixing /display art / design / painting education perception / emotion medicine / biology 3 layoutInDesign17x17CP.indd 3 05/05/2011 14:57 COLOUR CODED Introduction Carinna Parraman and Alessandro Rizzi, CREATE: building a multi-disciplinary project in page 6 Europe Colour History Arne Valberg, From Colour perception to neuroscience. A historic perspective on colour vision page 19 Claudio Oleari, A concise history of the chromaticity diagram, from Isaac Newton to the CIE page 32 observer Daniele Torcellini, The history of the colour reproduction of artwork page 47 Colour and Film Kieron Webb, Colour and the restoration of motion picture fi lm page 59 Orsola Silvestrini, Dead ends of colour in Italian cinema page 76 Chaker Larabi, Cinema; moving towards all digital page 85 Majed Chambah and Alessandro Rizzi, Perception based digital motion picture restoration and page 95 quality evaluation Colour Measurement and Appearance János Schanda, A colour space based on advanced colour matching functions page 110 John J. McCann, Vassilios Vonikakis, Alessandro Rizzi, Carinna Parraman, Report on the 3-D page 129 colour Mondrian project: refl ectance, illumination, appearance and reproduction Cecilia Sik-Lányi, Lights and colour in virtual reality page 152 Vien Cheung and Stephen Westland, Evaluation of colour-correcting lenses page 165 Serge Berthier, Nanophotonics in nature and art: a brief overview. page 173 Colour and Restoration Diane Kunzelman, Pictorial restoration: techniques of integration of paint losses and their evolution page 189 to the present day Susanna Bracci and Marcello Picollo, UV-Vis-NIR spectroscopic characterisation of glass page 215 Elza Tantcheva, Analytical methods of investigating colour in an art historical context page 222 4 layoutInDesign17x17CP.indd 4 05/05/2011 14:57 Colour in Print Mary McCann, Interrogating the surface page 232 Ondrej Panak, Printing techniques - what is beneath page 242 Steve Wilkinson, How secondary process can enhance print page 256 Colour Communication Robert Hirschler, Colour communication in industry from design to product - with special page 263 emphasis on textiles Tien-Rein Lee, Colour association in Chinese culture – colour-selection based on the fi ve-element page 275 Wuxing system Nathan Moroney, The many mispellings of fuchsia page 290 Conclusion Reiner Eschbach, Enjoy your misfortunes page 296 Picture Credits Anna Bamford, Julie Caves, Alison Davis, Rahela Kulcar, Ondrej Panak, John Hammersley, Kristine Grav Hardeberg, Paul Laidler, Melissa Olen, Carinna Parraman, Alessandro Rizzi, Vassilios Vonikakis, Eli Zafran 5 layoutInDesign17x17CP.indd 5 05/05/2011 14:57 CREATE: building a multi-disciplinary project in Europe Carinna Parraman, Alessandro Rizzi Centre for Fine Print Research, University of the West of England, Bristol, UK Dept. di Informatica per la Comunicazione, Università degli Studi di Milano, Italy Introduction The aim for the coordinators of the CREATE project over the last four years has been simple, yet the objective and the journey have been challenging: how to communicate and exchange theories and ideas on colour? Colour is a vast and complex subject that impacts many sectors in so many different ways. Yet, the majority of research into colour is usually undertaken in single subject areas, in for example, art, psychology, colour science, physics, chemistry, design, architecture and engineering. The challenge of CREATE was to address the increasingly complex questions through interdisciplinary dialogue and practice. The long-term objective of the project was to address a broad range of themes in colour and to develop with artists, designers, technologists and scientists a cross disciplinary approach to improving colour communication, education and to provide a forum for dialogue between different fi elds. Now at the end of the funding programme, a range of experts have contributed to this dialogue by writing about their subject for this publication. The title Colour-Coded, and the colour coding on the chapter pages, aims to demonstrate the crossovers between disciplines and how colour can be considered from a multi-dimensional perspective, that benefi ts both the arts and sciences. The development of a cross-disciplinary European network In 2006, through funding from the European Union, CREATE, (Colour Research for European Advanced Technology Employment), was established . The group came together to promote and exchange research and knowledge through a series of conferences and training courses to an emerging generation of young researchers in colour. The organising group was composed of: the University of the West of England, Bristol (UK); the Università degli Studi di Milano (Italy); the Gjøvik University College, (Norway); the University of Leeds (UK); the Universitat Autònoma de Barcelona (Spain); the University of Ulster in Belfast, Northern Ireland (UK); the Université de Reims Champagne-Ardenne (France); the University of Pannonia (formerly University of Veszprém, Hungary). With such a range and depth of expertise in the group that included fi ne art, design, textiles, printing, colour measurement, appearance, perception, computer vision, 6 layoutInDesign17x17CP.indd 6 05/05/2011 14:57 and image quality, young researchers had access to experts of the highest calibre. The aim was to foster potential mobility opportunities for research thus expanding and enhancing the knowledge-base and skill-sets of European researchers, industrialists, academics and SMEs. The motivation for the EU Marie Curie Actions is to encourage young people to become researchers, for researchers to become research active and to build successful research careers. A further objective is to assist in their mobility to travel, meet and to share knowledge with other groups. Based on the MC Actions, the aims of the group CREATE was: • to develop a pan-European network of training projects and to bring together European colour groups; • to exchange and disseminate knowledge through specialist conferences; • to enable researchers, especially those at an early stage in their career, to benefi t from the knowledge of experts in the fi eld of digital colour and its applications through a programme of 7 events; • to enable the researcher to develop not only links outside their own research centre but to create a cross disciplinary dialogue with peers and experts across Europe; • to provide a forum for dialogue between different fi elds, to create new insights to an idea or problem; • to facilitate the dissemination of cutting-edge research to the commercial and industrial sector and improve economic growth through new collaboration and knowledge transfer; • to foster a robust research network beyond just the time-frame of the funding programme; • to assist and develop networks and contacts in order to help build future research portfolios particularly for early career researchers. Programme content The CREATE project assisted in the development of research ideas between speakers and researchers, including European colour groups working in the arts and the sciences, and a subsequent exchange and dissemination of knowledge. As new researchers applied for the training events, a new injection and diversifi cation of ideas evolved. The priority therefore was to maintain a balance between delivering knowledge and providing time and space for new ideas and research opportunities to occur. The programme of events began and ended with a large conference, showcasing the range of subjects and expertise of the participants. The fi rst conference, entitled ‘Collaborate - Innovate – Create’, was held at the School of Creative Arts, UWE Bristol, September 2007, and the last was held at Gjøvik University College, Norway, June 2010. In between have occurred a series of carefully themed skills-based workshops, lectures, and poster sessions. These were hosted by different universities: Training Course 1: ‘Putting the Human Back into Colour’, Charleville-Mézières, Ardennes, France, February 2008 Training Course 2 and 3: ‘New Ways to use Print Technology’, October 2008 7 layoutInDesign17x17CP.indd 7 05/05/2011 14:57 ‘On Paper...’, University of the West of England, Bristol, England ‘On Fabric...’, University of Ulster, Belfast, Northern Ireland Training Course 4: ‘Communicating Colour’, University of Pannonia, Hungary,
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