Hello Welcome
Your tutor for this course is Jo Elliott.
Jo has a Masters of Design Science (Illumination) from the University of Sydney and a Bachelor of Dramatic Art (Production) from the National Institute of Dramatic Art (NIDA).
Jo works in theatre as a freelance lighting designer and production manager. Jo also has a number of years experience as an architectural lighting designer.
Jo is looking forward to working with you in the course. Please post any questions you may have on the discussion forum.
Evalua ng Informa on about Colour and Colour Nota on Systems Evalua ng Informa on
Drawing on the extensive literature on colour, this course aims to provide students with evidence-based knowledge about colour within the context of design, art & architecture.
Design decisions inevitably involve decisions about colour.
Discussion Forum
• You will find the Discussion Forum on the elearning site • If you have questions, ask them in the discussion forum • If you e-mail the instructor questions about content or procedures, you will be directed to post in the forum • This will allow all students to learn from the responses • You are responsible for knowing the contents of the discussion forum • Feel free to share any good resources you find, initiate discussions with classmates, etc. Tips for Success
• Follow all assessment instructions • Clear writing is important in your assignments—be straightforward and don’t try to sound “fancy” • Regularly check unit announcements and the Discussion Forum • Give yourself sufficient time to dedicate to the learning modules and completion of assessments • If you have questions, ask them Evalua ng Informa on
• A huge range of informa on about colour is available from many different sources including scholarly sources, books, websites, mainstream media (TV programs, magazines) • However, informa on about colour varies from: • High-quality scholarly, evidence-based informa on to... • Unreliable and unsubstan ated opinion masquerading as ‘fact’ or ‘theory’ • When discussing or applying colour, it’s important to refer to quality informa on rather than unsubstan ated or unreliable informa on...
How do you identify ‘good’ quality information?
Evalua ng Informa on
Informa on = Knowledge
Quality of informa on = quality of knowledge
Informa on rela ng to colour tends to vary along a con nuum:
Poor quality Good quality
Unsubstantiated Evidence-based claims or nonsense information
Often found in Generally found in tabloid media & peer-reviewed some magazines journal articles, scholarly books Evalua ng Informa on
Quality of informa on = quality of knowledge
Quality informa on tends to be characterised by... • Objec ve, unbiased approach • Claims & asser ons are fully substan ated (valid, reliable & evidence-based) • Evidence-based informa on is not generalised to different se ngs, groups & cultures or different me periods
Evalua ng Informa on Content & language ! Informa on is presented clearly & objec vely with minimal emo ve language ! Informa on is current & relevant X The author seems biased & uses emo ve language X The content is dated & possibly superseded or irrelevant
Is there evidence to support claims & statements? ! References & evidence to support all claims & statements X Minimal evidence & unsubstan ated statements X Unsubstan ated opinions & claims Evalua ng Informa on Exper se of author/s ! Appropriate educa onal background of author/s ! Author/s are experts in the field & are regularly cited by other authors X Author/s lack an appropriate educa onal background X Author/s arexxxxxxxx not cited by other authors
Who is the intended audience? ! The intended audience requires evidence-based informa on X Author/s intended audience are poten al clients or customers X Author/s intended audience does not require evidence-based informa on Evalua ng Informa on
Check the origin of informa on ! Published by a university, reputable publishing house/website, interna onal conference proceedings (peer-reviewed) ! Journal ar cle that has been peer-reviewed; X Magazine ar cle that may not have been reviewed or edited; X Book published by a novelty publisher or self-published;
When was it published? ! Published recently and is s ll current X Published many years ago and the informa on may have been either superseded or debunked How to Reference Informa on
• When wri ng essays/reports, always substan ate/provide evidence for all claims, statements & asser ons
• It is important to follow this protocol especially when referring to informa on about colour because of the prevalence of unsubstan ated claims & nonsense about colour available in mainstream media
• The simplest way to do this is to provide evidence for all your claims, statements & asser ons – evidence sourced from scholarly journal ar cles and books
How to Reference Informa on Which example is acceptable?
(1) Birren (1961) suggests that red influences human response; however, he does not provide evidence to support this claim.ü
(2) Red influences human response. û
How to Reference Informa on Which example is acceptable?
(1) Birren (1961) suggests that red influences human response; however, he does not provide evidence to support this claim.ü
(2) Red influences human response û Never make a claim or statement that lacks substan a on or corroborated evidence
File-sharing Music-sharing Image-sharing Information-sharing Idea-sharing
Are all these OK & acceptable?
When is it not acceptable to access the ideas of others & present them as your own?
References & Cita ons
• Copying or reproducing informa on without references or cita ons is plagiarism = stealing ideas • It’s not OK or acceptable & penal es apply
References & Cita ons
• Always quote or cite any reference you make to other author’s ideas or wri ng:
OK: Chevreul (1839) suggests that colour harmony occurs when complementary colours are used;
OK: “Colour harmony equates with complementary colours” (Chevreul, 1839, p76);
NOT OK: Colour harmony comes from complementary colours. References & Cita ons Use a standard referencing system • Preferably APA
Books: Author, A. (Year). Title of book, City: Publisher. Lynch, K. (1960). The image of the city. Cambridge MA: MIT Press.
Journal ar cles: Author, A. (Year). Title of ar cle. Name of journal, Volume, Issue, pages. Hard, A. & Sivik, L. (2001). A theory of colors in combina on: A descrip ve model related to the NCS color-order system. Color Research and Applica on, 26(1), 4-28. References & Cita ons
Internet sites:
Author, A. (Date). Title. Retrieved on [date] from [URL].
Rogers, S rk, Harbour and Partners (2007). Corporate informa on. Retrieved on 2 March 2007 from h p://www.rsh-p.com
References & Cita ons
Be er op on: Use EndNote so ware
! You can build a library of references (plus notes, etc) in EndNote
! Endnote works in conjunc on with most word-processing so ware applica ons
! With Endnote, you can insert in-text cita ons (in the referencing format you have selected for your document) & EndNote automa cally builds your reference list at the end of your document (in the referencing format you have selected to use)
Remember !!!!
• You are responsible for adhering to the academic honesty policy: • h p://sydney.edu.au/stuserv/learning_centre/help/ evidence/ev_plagiarism.shtml
• You are responsible for all of the material provided in each of the learning modules Colour nota on systems Colour Notation
Colour nota on systems began to emerge in 18th century & they provided a means of: • Iden fying colour • Standardising colour across different applica ons from graphic & tex le design through to prin ng, produc on, manufacture, etc
Previously, colour matching was conducted manually (that is, visually) and was therefore open to varia on and error Munsell Colour System
Developed in the early 20th century
Provides a means of iden fying and nota ng colour as well as a methodology for crea ng colour combina ons and colour harmony.
Munsell iden fied colour using the a ributes of hue, value and chroma (satura on) wherein tone occurred in a range of ten values and chroma up to twelve values (Kuehni, 2002). h p://munsell.com/
Munsell Colour System
A colour can be notated by lis ng the three numbers for hue, value, and chroma.
For example 5G 5/10
5G represen ng mid green (hue)
5/ meaning medium value (lightness)
NOTE: We will discuss 10 represents the chroma Munsell again in future (satura on level) lessons
Pantone Colour Notation System The Pantone system provides a range of products and services that focus on iden fica on of colour in terms of paints, pigments and inks (subtrac ve colour) (Kuehni & Schwarz, 2008)
Launched in 1962, the system allows for colour consistency from design to printers, paint manufacturers, tex le dyers, etc
Wide range of colour iden fica on products available including the Pantone Matching System h p://www.pantone.com/ Pantone Colour Notation System
The Pantone system provides transla ons into CMYK as well as computer colour systems such as sRGB and HSV
Photoshop includes a transla on device in its Color Picker tool
Benefits: colours consistency can be maintained from design to prin ng or other applica ons NCS Colour System
The Natural Colour System (NCS) evolved from the research of Ewald Hering whose research focussed on human colour percep on (Hard, Sivik & Tonnquist, 1996).
The NCS system (subtrac ve colour reproduc on) includes six primary colours: red, green, blue, yellow plus white and black.
A proprietary system owned by the Scandinavian Colour Ins tute AB, NCS offer a large range of colour iden fica on & colour management tools, products & services. NCS website: h p://www.ncscolour.com NCS Colour System
A colour iden fied as S 1050-Y90R represents:
S Standardised colour (one of 1,950 NCS standard colours) 10 Percentage of blackness (10%) 50 Percentage of “chroma ceness” (50%) – these figures can be deducted from 100 to give a percentage of whiteness: 40% Y Yellow 90 Percentage of colour related to the last le er (R) & therefore 10% yellow R Red (NCS, 2011). CMYK
Not a colour nota on system
Prior to digital prin ng technology, the CMYK colour model was commonly used in the prin ng industry;
Key colours are: cyan (C), magenta (M), yellow (Y) and black (K).
The CMYK four colour prin ng process is used to create a wide gamut of colours in the prin ng industry
Ink is applied in the sequence: CMYK (Feisner, 2000; Kuehni & Schwarz, 2008) CMYK
C M
Y K
CMYK has its limitations & ‘spot’ colour is often required CIE 1931 XYZ Colour Space Commission Interna onale de l’Eclairage (CIE) – an interna onal authority on light, illumina on and colour h p://www.cie.co.at/ CIE 1931 XYZ colour space was developed to iden fy & describe visible colour
CIE 1931 XYZ model CIE 1931 XYZ Colour Space
An addi ve colour model, the CIE 1931 XYZ colour space uses three values: x (red), y (green) and z (blue) to iden fy visible colour
Three colour values: X, Y, Z sRGB Colour Space
An addi ve colour model, the sRGB colour space: based on the CIE colour space (where X, Y & Z represent red, green & blue)
Developed by Hewle Packard and Microso .
Designed to maintain colour consistency across different types of computers, applica ons & over the Internet sRGB colour space
‘s’ represents ‘Standard’
sRGB Colour Space
Below are some common colours notated in sRGB
Vermilion sRGB (227-66-52)
Carmine sRGB (175-15-50)
Tyrian purple sRGB (102-2-60)
Indian yellow sRGB (227-168-87)
Indigo sRGB (17-80-147)
Ultramarine sRGB (18-10-143) sRGB Colour Space The sRGB colour space has a limited gamut of colours.
As computer technology evolved, colour consistency across different computers became problema c.
Consequently HSL colour space was developed. Providing a greater range of colours
The limited gamut of colours in sRGB colour space HSL, HSB & HSV Colour Spaces
The HSL model is used in computer applica ons and has the three dimensions of hue (H), satura on (S) and luminance (L) HSL, HSB & HSV Colour Spaces
Similarly, the HSB model depicts colour using dimensions: Hue (H) Satura on (S) Brightness (B).
HSV Colour Model
The HSV model a empts to reproduce colour using the ar st’s no ons of hue, nt, shade and tone within the constraints of computer applica ons.
Colour is reproduced using: Hue (H)
Satura on (S) – from full chroma to nil chroma
Value (V) – levels of blackness or non-blackness – black being zero energy in a computer monitor. Time for a break
Image from http://www.metrolic.com References Adobe. (2011). Adobe Photoshop CS5 - Overview. Retrieved 9 May 2011, from http://www.adobe.com/products/photoshop.html CAUS. (2009). Color Association of the United States. Retrieved 30 November 2009, from http://www.colorassociation.com/ CIE. (2008). CIE 1931 XYZ colour space. Retrieved 14 July 2008, from Commission Internationale de l'Eclairage http://www.cie.co.at/ Colourways. (2011). Colourways - Overview. Retrieved 9 May 2011, from http://www.colourways.com.au/pdf/Colourways%20Overview.pdf Cullachange. (2011). Cullachange - Colour charts. Retrieved 9 May 2011, from http://www.cullachange.com.au/colour-charts.html EFCD. (2011). Eva Fay Colour Design Retrieved 9 May 2011, from http://www.efcd.com.au/index.html Feisner, E. A. (2000). Colour: How to use colour in art and design. London: Laurence King. ISO. (2011). ISO 15076 - Image technology colour management. Retrieved 10 May 2011, from http://www.iso.org/iso/iso_catalogue/ catalogue_tc/catalogue_detail.htm?csnumber=54754 Kuehni, R. G. (2002). The early development of the Munsell system. Color Research and Application, 27(1), 20-27. Kuehni, R. G., & Schwarz, A. (2008). Color ordered: A survey of color order systems from antiquity to the present. Oxford: Oxford University Press MCSL. (2011). Munsell Color Science Laboratory. Retrieved 10 May 2011, from http://www.cis.rit.edu/mcsl/ Morovic, J., & Morovic, P. (2003). Determining colour gamuts of digital cameras and scanners. Color Research and Application, 28(1), 59-68. Munsell. (2011). Munsell: Products and services. Retrieved 10 May 2011, from http://www.munsellstore.com/default.aspx?menuitemid=476 NCS. (2009). The Natural Color System (NCS). Retrieved 14 July 2009, from http://www.ncscolour.com/ NCS. (2011). NCS Notation and colour space. Retrieved 10 May 2011, from http://www.ncscolour.com/en/rm/about-us/colour-knowledge/how- ncs-works/ncs-notation/ NHPL. (2011). NHPL Colour Pty Ltd - Calibrated digital capture of colour Retrieved 9 May 2011, from http://www.nhplcolour.com/ digitalcolour.html Pantone. (2011). Pantone - Products and services. Retrieved 10 May 2011, from http://www.pantone.com/pages/pantone/index.aspx Rorke, M. H. (1931). The work of the Textile Color Card Association. Journal of the Optical Society of America, 21(10), 651-653. Schroeder, M. D. (1997). JPEG compression algorithm and associated data structures. Retrieved September 2003 http://people.cs.und.edu/~mschroed/index.html Metrolic. (2012). Metrolic – Brothes Into Sleep. Retrieved 27 November 2011, from http://www.metrolic.com