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.

Evaluang Informaon about Colour and Colour Notaon Systems Evaluang Informaon

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 Evaluang Informaon

• A huge range of informaon about colour is available from many different sources including scholarly sources, books, websites, mainstream media (TV programs, magazines) • However, informaon about colour varies from: • High-quality scholarly, evidence-based informaon to... • Unreliable and unsubstanated opinion masquerading as ‘fact’ or ‘theory’ • When discussing or applying colour, it’s important to refer to quality informaon rather than unsubstanated or unreliable informaon...

How do you identify ‘good’ quality information?

Evaluang Informaon

Informaon = Knowledge

Quality of informaon = quality of knowledge

Informaon relang to colour tends to vary along a connuum:

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 Evaluang Informaon

Quality of informaon = quality of knowledge

Quality informaon tends to be characterised by... • Objecve, unbiased approach • Claims & asserons are fully substanated (valid, reliable & evidence-based) • Evidence-based informaon is not generalised to different sengs, groups & cultures or different me periods

Evaluang Informaon Content & language ! Informaon is presented clearly & objecvely with minimal emove language ! Informaon is current & relevant X The author seems biased & uses emove 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 & unsubstanated statements X Unsubstanated opinions & claims Evaluang Informaon Experse of author/s ! Appropriate educaonal background of author/s ! Author/s are experts in the field & are regularly cited by other authors X Author/s lack an appropriate educaonal background X Author/s arexxxxxxxx not cited by other authors

Who is the intended audience? ! The intended audience requires evidence-based informaon X Author/s intended audience are potenal clients or customers X Author/s intended audience does not require evidence-based informaon Evaluang Informaon

Check the origin of informaon ! Published by a university, reputable publishing house/website, internaonal conference proceedings (peer-reviewed) ! Journal arcle that has been peer-reviewed; X Magazine arcle 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 sll current X Published many years ago and the informaon may have been either superseded or debunked How to Reference Informaon

• When wring essays/reports, always substanate/provide evidence for all claims, statements & asserons

• It is important to follow this protocol especially when referring to informaon about colour because of the prevalence of unsubstanated claims & nonsense about colour available in mainstream media

• The simplest way to do this is to provide evidence for all your claims, statements & asserons – evidence sourced from scholarly journal arcles and books

How to Reference Informaon Which example is acceptable?

(1) Birren (1961) suggests that influences human response; however, he does not provide evidence to support this claim.ü

(2) Red influences human response. û

How to Reference Informaon 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 substanaon 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 & Citaons

• Copying or reproducing informaon without references or citaons is plagiarism = stealing ideas • It’s not OK or acceptable & penales apply

References & Citaons

• Always quote or cite any reference you make to other author’s ideas or wring:

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 & Citaons 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 arcles: Author, A. (Year). Title of arcle. Name of journal, Volume, Issue, pages. Hard, A. & Sivik, L. (2001). A theory of colors in combinaon: A descripve model related to the NCS color-order system. Color Research and Applicaon, 26(1), 4-28. References & Citaons

Internet sites:

Author, A. (Date). Title. Retrieved on [date] from [URL].

Rogers, Srk, Harbour and Partners (2007). Corporate informaon. Retrieved on 2 March 2007 from hp://www.rsh-p.com

References & Citaons

Beer opon: Use EndNote soware

! You can build a library of references (plus notes, etc) in EndNote

! Endnote works in conjuncon with most word-processing soware applicaons

! With Endnote, you can insert in-text citaons (in the referencing format you have selected for your document) & EndNote automacally 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: • hp://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 notaon systems Colour Notation

Colour notaon systems began to emerge in 18th century & they provided a means of: • Idenfying colour • Standardising colour across different applicaons from graphic & texle design through to prinng, producon, manufacture, etc

Previously, colour matching was conducted manually (that is, visually) and was therefore open to variaon and error Munsell Colour System

Developed in the early 20th century

Provides a means of idenfying and notang colour as well as a methodology for creang colour combinaons and colour harmony.

Munsell idenfied colour using the aributes of , value and chroma (saturaon) wherein tone occurred in a range of ten values and chroma up to twelve values (Kuehni, 2002). hp://munsell.com/

Munsell Colour System

A colour can be notated by lisng the three numbers for hue, value, and chroma.

For example 5G 5/10

5G represenng mid (hue)

5/ meaning medium value (lightness)

NOTE: We will discuss 10 represents the chroma Munsell again in future (saturaon level) lessons

Pantone Colour Notation System The Pantone system provides a range of products and services that focus on idenficaon of colour in terms of paints, and inks (subtracve colour) (Kuehni & Schwarz, 2008)

Launched in 1962, the system allows for colour consistency from design to printers, paint manufacturers, texle dyers, etc

Wide range of colour idenficaon products available including the Pantone Matching System hp://www.pantone.com/ Pantone Colour Notation System

The Pantone system provides translaons into CMYK as well as computer colour systems such as sRGB and HSV

Photoshop includes a translaon device in its Color Picker tool

Benefits: colours consistency can be maintained from design to prinng or other applicaons NCS Colour System

The Natural Colour System (NCS) evolved from the research of Ewald Hering whose research focussed on human colour percepon (Hard, Sivik & Tonnquist, 1996).

The NCS system (subtracve colour reproducon) includes six primary colours: red, green, , plus white and black.

A proprietary system owned by the Scandinavian Colour Instute AB, NCS offer a large range of colour idenficaon & colour management tools, products & services. NCS website: hp://www.ncscolour.com NCS Colour System

A colour idenfied as S 1050-Y90R represents:

S Standardised colour (one of 1,950 NCS standard colours) 10 Percentage of blackness (10%) 50 Percentage of “chromaceness” (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 leer (R) & therefore 10% yellow R Red (NCS, 2011). CMYK

Not a colour notaon system

Prior to digital prinng technology, the CMYK colour model was commonly used in the prinng industry;

Key colours are: cyan (C), magenta (M), yellow (Y) and black (K).

The CMYK four colour prinng process is used to create a wide gamut of colours in the prinng 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 Internaonale de l’Eclairage (CIE) – an internaonal authority on light, illuminaon and colour hp://www.cie.co.at/ CIE 1931 XYZ colour space was developed to idenfy & describe visible colour

CIE 1931 XYZ model CIE 1931 XYZ Colour Space

An addive colour model, the CIE 1931 XYZ colour space uses three values: x (red), y (green) and z (blue) to idenfy visible colour

Three colour values: X, Y, Z sRGB Colour Space

An addive 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, applicaons & 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 problemac.

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 applicaons and has the three dimensions of hue (H), saturaon (S) and luminance (L) HSL, HSB & HSV Colour Spaces

Similarly, the HSB model depicts colour using dimensions: Hue (H) Saturaon (S) Brightness (B).

HSV Colour Model

The HSV model aempts to reproduce colour using the arst’s noons of hue, nt, shade and tone within the constraints of computer applicaons.

Colour is reproduced using: Hue (H)

Saturaon (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