, and Metamerism

1.1 Welcome

Notes:

Welcome to Color, Light and Metamerism, presented by The Sherwin-Williams Company. Thank you for your interest as we share important properties that affect the built environment in an array of many ways.

1.2 IDCEC Best Practices

Notes:

NO AUDIO RECORDED - CLICK NEXT TO CONTINUE This CEU is registered with the Interior Design Continuing Education Council (IDCEC) for continuing education credits. This credit will be accepted by the American Society of Interior Designers (ASID), International Interior Designers Association (IIDA) and Interior Designers of Canada (IDC). The content included is not deemed or construed to be an approval or endorsement by IDCEC of any material or construction or any method or manner of handling, using, distributing or dealing in any material or product. Questions related to specific materials, methods and services should be directed to the instructor or provider of this CEU. This program is registered for 0.1 CEU/HSW value. The IDCEC class-code is: CEU-103657-R1  This CEU will be reported on your behalf to IDCEC and you will receive an email notification. Please log in and complete the electronic survey for this CEU.  Certificates of completion will be automatically issued once you have submitted the online survey for this CEU.  Attendees who do not belong to ASID, IIDA or IDC and do not have a unique IDCEC number will be provided with a Certificate of Completion after this CEU.

1.3 Copyright

Notes:

This presentation is protected by U.S. and International copyright laws. Reproduction, distribution, display and use of the presentation without written permission of Sherwin-Williams is prohibited.

1.4 Course Description

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This course will describe in detail the phenomenon known as Metamerism. Principles of color and light will be explored to give the participant a greater awareness of these elements, as well as their effect on each other in the built environment. At the conclusion of the course, the participant shall be able to apply these concepts to his or her design.

1.5 Learning Objectives

Notes:

By the end of this course, you should be able to:

 Examine the properties of color, how we see color and its relationship to the inhabitant of the space.  Gain knowledge and insight into the study of Metamerism.  Develop an understanding between the relationship of color and light in a space.  Gain knowledge for the use of color in projects.

1.6 Color

Notes:

Mr. Demetrious Smith, Architect, is flying north to Cleveland, Ohio for a business trip. He resides in a warm, sunny part of the southeast United States. Looking at the upcoming weather report for Cleveland, which includes colder temperatures and snow, he realizes he needs to purchase a heavier suit for the trip. At a nearby department store, he finds an ideal ensemble: dark pants, with a dark brown sport coat and a pumpkin-colored dress shirt.

Best of all, it was all on sale.

Mr. Smith has a short-notice, but very important out-of-town presentation to a new potential client the next afternoon and desires to make an outstanding first impression.

As he is getting ready the next morning in Cleveland, he notices in the mirror something peculiar… The pants and shirt look great, but the jacket purchased is not brown, it is, in fact - !

1.7 Color

Notes:

Prismatic Design just completed the construction of a boutique hotel. The finishes, including stunning damask lobby wall-covering and charcoal-colored ceramic tile, have all been installed.

The interior designer, Ms. Charlotte Carr, is on her way to the jobsite for a meeting the furniture installer, who has begun the process of placing furniture throughout the space. Upon walking into the lobby, Charlotte views something very out-of-place. The steel-colored fabric on the sectional seating, which looked gorgeous at the showroom, appears to have a yellowish almost dirty cast, not at all the desired look with the and gray space.

1.8 Color

Notes:

The shift in color described in each scenario is referred to as Metamerism. It is the phenomenon that occurs when color changes under different light sources. Today, we will explore the relationship between Color, Light and Metamerism.

1.9 Study of Color

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Color is as individual as the person. Color is a freedom of expression.

As we begin, what comes to mind when you think of color?

The study, or theory, of Color has intrigued humankind for a long time.

1.10 Color History

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Aristotle developed the first known theory of color during Ancient Greek times: “He postulated that God sent down color from the heavens as celestial waves.” He defined four taken from nature’s four elements: earth, fire, wind and water.

Source: , Causes of Color, October 28, 2009. http://www. webexhibits.org/causesofcolor/1B.html

1.11 Color History

Notes:

Leonardo da Vinci was the first to suggest an alternative in color theory, adding and to the four traditional colors: (earth), Red (fire), (wind) and (water). He correctly identified white as the presence of all color, and black as the absence of it.

1.12 Color History

Notes:

The first detailed understanding of the science of color began in 1666 when Sir Isaac Newton identified colors as a spectrum produced by a glass prism. Using two prisms, he refracted white light and defined seven colors inside it of red, , yellow, green, , ultramarine, and .

1.13 Disciplines of Color

Notes:

Today, several different disciplines and fields share in the study of colors that include: Natural Science, Theology, Psychology, Philosophy, Biology, Medicine, Engineering, and Art. Architects and designers use this research to apply color to the built environment.

“Seldom, surely, is the psychological part of an appearance in nature so great as it is in the case of color.” It is virtually impossible to be exposed to color and not respond.

1.14 What is Color

Notes:

Color is, “the sensation caused by certain qualities of light that the eye recognizes and the brain interprets.” It is a wavelength of light that an object produces and the eye sees.

1.15 Primary Colors

Notes:

Spectral light is comprised of seven colors: red, orange, yellow, green, blue, and violet. The is a circular demonstration of spectral light created to better understand the relationship between colors. Red, yellow and blue are the primary colors of the spectrum. These are pure colors that cannot be made from other colors, and they serve as the basis for all colors.

Notice the way the colors, red, yellow and blue, spiral through seven colors each, creating secondary and tertiary colors. The secondary colors orange, green and purple are positioned halfway between the primary colors. The tertiary colors fill in the gaps to complete the color wheel.

1.16 Attributes of Color

Notes:

Color itself is the result of different wavelengths of light that stimulate certain parts of the brain. The primary colors of light are red, green and blue. When added together, these colors produce a white light, which is known as additive .

1.17

Notes:

The same white light is produced when a of light is mixed with its true secondary complement. The complementary colors of light are cyan and red, and green and yellow and blue. In this course, we will further explore light and examine the human eye and how it sees color.

1.18 The Eye and Color

Notes:

The eye sees color through the retina, which is the inner surface of the eye. The retina is an intricate network of receptor cells and neurons where light is converted into neutral impulses that are forwarded to the brain.

There are two types of receptors in the retina: rods and cones. Rods react to brightness, but not color. Cones see color and detailed vision. There are about twelve million cones total in both eyes, and there are three types of cones: red, green and blue. Theses cones contribute to a sensation that your brain recognizes as a color. The three cones can amazingly see about 7 million colors.

1.19 The Eye and Color

Notes:

The retina views objects as opposite-down or mirrored. It is the brain that reverses the phenomenon, so we can view objects in their proper orientation. Additionally, the brain takes the two images seen by two eyes and combines them into one singular picture. Finally, the brain pieces missing information and makes corrections for an eye that may be problematic. This process, from the retina registering light wavelengths and transmitting signals to the brain, takes a mere 1/25th of a second.

Interestingly, 20% of the light signals produced by this electro-chemical process will not even reach the brain. Instead, they will go to the pituitary gland, the master endocrine gland, to assist with its processes in the human body.

1.20

Notes:

Color blindness is an inherited condition linked to the X chromosome. As you know, men have only one X chromosome and women have two. For a woman to be considered colorblind, both X chromosomes would be affected. This is a rare occurrence and explains why color blindness in varying degrees is more prevalent in men at 8% of the population [compared] to .4% of the population of women.

It is thought that color blindness is due to the lack or reduced number of a certain type of cone.

1.21 Color Wavelengths

Notes:

How fast do you drive to work? Or, maybe a better question, how fast do you drive on the way home?

Electromagnetic waves travel through space at 186,282 miles- per second (299,792 km/sec). This is called the speed of light. That sure is one intergalactic commute!

The large range of wavelengths is known as the . “Unlike the way we hear sounds, which we sense at individual frequencies, we see color by transforming many wavelengths into just a few signals. As a consequence, many combinations can result in the same color,” stated Roy S. Berns, Professor of Color Science, Appearance and Technology at the Rochester Institute of Technology in New York told Sherwin’ Williams Stir Magazine. The electromagnetic spectrum includes both radiation and infrared light. Light is created from visual radiant energy and this light creates the visual spectrum of color, as we know it.

The energy carried by each wavelength varies creating a different spectral reflectance. This reflectance is an important concept for color and metamerism that reflects back what we see.

1.22 Relationship

Notes:

Color is ethereal. It can articulate a mood in a space. It can motivate and speed, it can calm and meditate. Color is ambiguous. As children, we experiment with our favorite Crayola crayons in coloring books, and as designers and architects, we decode our clients’ preferences to find theirs. We use red to stimulate the senses. Companies, such as Target, use red on walls and in their branding to increase the hustle-bustle of shoppers. Fast-food restaurants, such as Dunkin’ Donuts, place color in their restaurants to increase the speed of dining. We use melodic of tan, cream and blue-green in hospital patient rooms to relax and soothe. We couple color with music to stimulate memory. Color is used to define spaces, and to promote way-finding down a long corridor. In a sophisticated and forward-thinking approach, Oklahoma City used color from LED to distinguish governmental properties in its tunnel system under the city. Color is often used as a representative, such as in branding. Color can be symbolic, white or black may represent marriage or death in certain cultures. Color is instrumental in defining architectural elements, details, interiors and exteriors. Due to complexity of color, finish selection is critical in the specification process.

1.23 The Study of Light

Notes:

Let’s go over a hypothetical scenario here to help further explain.

Rosalyn, an Interior Designer, is early for a kick-off meeting at her client’s soon- to-be corporate office. The meeting will define how her client wishes to retrofit the business into the existing space. Rosalyn takes a few minutes to wash her hands. She adjusts her focus to the restroom mirror and notices her normally bright complexion looks pale, cool and even drawn under her eyes. The white sink and stone counters also appear to have a blue cast, and Rosalyn instantaneously realizes before the meeting even begins, the light applications may need to be reconsidered…

The building itself is located in the rustic, organic lush scape of Portland, Oregon. The client requests a color selection that can utilize daylight, in order to increase productivity and promote positive well-being. Ms. Salazar, of course, will consider this request in her reflected ceiling plan. Being that Portland does have its share of cloudy days, Ms. Salazar will pay careful attention when designing a lighting system to properly light the space - no matter what the outside weather conditions may present.

1.24

Notes:

Color temperature is measured by the Kelvin temperature scale. The Kelvin scale is a thermodynamic, or absolute, temperature scale referenced to absolute zero - the theoretical absence of all thermal energy. The Kelvin scale is often used in conjunction with the Celsius scale, as they share the same interval. 0 Kelvin is - 273.15 degrees Celsius. The conversion is actually quite simple: subtract 273.15 from any Celsius temperature to find Kelvin.

1.25 Color Temperature

Notes:

The international standard for describing the color of light is the CIE 1931 Chart. The central curve depicts the color of light that is emitted from an object as it is heated. At 1000 degrees Kelvin, an object will radiate a dull, reddish light. As the temperature increases, we find the object’s light becoming warm white, and then cool white, and finally blue at temperatures above 10,000K. The cosmos provides a clear example as we consider this theory. This explains why large aging stars called Red Giants, in fact, reflect red because they have cooled to lower temperatures.

The most popular choice of lighting has a color temperature around 3500K. This temperature provides an optimal appearance that is reminiscent of warmth and daylight.

The term “black body radiator” is significant because it describes white light, a near perfect area where color does not shift. The temperature of the black body radiator is around 2700K. The black body is represented as the curve in the 1931 Chromaticity chart.

1.26

Notes:

The Color Rendering Index (CRI) is based around the black body radiator of the chart. Again, it is important to remember that the temperature of the black body is around 2700 degrees. The International Commission on Illumination (CIE) created the Color Rendering Index as a measure of the quality of the color of light. It generally ranges from zero, for a source like a low-pressure sodium vapor lamp, which is monochromatic, to one hundred, for a source like an incandescent light bulb, which emits essentially blackbody radiation. Eight colors of red, orange, yellow, green, blue, indigo and violet are viewed under the light, and the shift of these colors determines the CRI. By definition, if there is no change in appearance, then a light is given the highest value of 100. For example, an incandescent light bulb has a CRI value of 100. In contrast, northern daylight has a CRI of 100 as well, at a temperature of 7500K.

A perfect rating does not mean the setting is a perfect lighting situation. However, because the color temperature of the incandescent bulb is around 2700K, it lacks blue, making color matching challenging for . Conversely, the northern light lacks red, making and orange harder to distinguish.

The best lighting for color rendering overall has the best of both worlds: a high CRI and an intermediate light temperature.

1.27 Wavelengths

Notes:

Light is a visible wavelength of the electromagnetic spectrum. A wavelength is the crest of one wave to the next. The electromagnetic spectrum is vast, starting with Gamma rays then to X-rays, to ultra-violet light, visible light, infrared light, and finally, radio waves - like we listen to everyday.

Visible light makes up a tiny part of the electromagnetic spectrum, from slightly below 400 nanometers to 700 nanometers. A nanometer is an increment used to measure things that are very small, such as molecules or atoms. For example, a single molecule of water is less than one nanometer. A human hair is about 100,000 nanometers wide!

1.28 Nanometer

Notes:

To really put nanometers in perspective…take for instance, basketball player Shaquille O’Neal, who is 7’1” tall, or about 2,160,000,000 nanometers tall!

1.29 Northern vs. Southern Light

Notes:

Daylight is often thought of as ideal light. This is true in some situations. However, daylight has several varietals.

Color temperature of light varies in different parts of the world. Northern light is cool and diffused, while light around the equator is warm, intense and tends to pick up on and oranges.

1.30 Daylight

Notes:

A critical consideration of daylight is to remember it is comprised of two elements: sunlight and skylight.

Sunlight is, obviously, the light emitted from the sun. The intensity of sunlight varies during the seasons, and again, depends on the latitude of the earth.

Skylight is a bit more ambiguous. Skylight is the color that reflects off of the particles in the atmosphere. The sky itself appears blue because of the light reflection of the atom, nitrogen. Weather and pollutants in the air can also change the visible color we see in the sky.

Daylight is known for its positive effect on human emotion and mood, as well as eyestrain and other forms of fatigue and should always play a significant role in a design. However, it should not be considered a primary role for functionality. Functionality should be based upon a controlled lighting system.

1.31 Artificial Light

Notes:

Technology has provided tremendous choices when it comes to controlled lighting choices. We can consider all-encompassing designs that account for task levels and multi-purpose of spaces. Take the tailored conference room by day and turn it into a chic entertainment venue for clients at night by changing the light levels. In our family rooms, we have proper light levels for our teen’s favorite video game marathon or our quiet reading time there alike.

We have choices. Just as we have choices in how we want to light, we have choices in what lamps we want to use. Words such as eco, green and sustainability now also flood our choices when we seek the perfect lamp.

1.32 Color Rendering of Lamps

Notes:

How many times has a residential client asked you for the, “same color as my best friend’s or neighbor’s foyer?” How many times have you tried to explain that though the color is beautiful at that house, but, perhaps, it may just look different in his or her home? As clients often do, they go ahead and paint it anyway. The beautiful taupe admired in another’s home now appears to be to be in this particular home.

Now that we have reviewed the color rendering impacts of daylight, we will examine the color rendering considerations of lamps.

1.33 Incandescent

Notes:

Currents used in lighting were first created in the 1880’s by Nikola Tesla. He discovered how to create alternating currents on a major scale - truly electrifying the world.

Incandescent light renders warm. Reds and oranges are highlighted perfectly in this light. Incandescent tends to be flattering in spaces such as restrooms when it accents the features of the face.

Halogen lighting is another category of incandescent light. Believe it or not, 85% or halogen lighting is infrared - the viewed light itself comes from the remaining 15%. Halogen is known for its amiable color rendering properties, as well as being more efficient than a traditional incandescent.

1.34 Fluorescent

Notes:

Incandescent, due to its inefficiency, is becoming a lamp of the past. Early as 2005, countries all over the world, starting with Brazil and Venezuela, were mandating through legislature and voluntary measures alike, the use of energy efficient lighting. In 2012, the United States began a scheduled phase-out of inefficient light sources, including many types of incandescent light bulbs. The use of fluorescent lighting will continue to influence both commercial and residential spaces.

1.35 Fluorescent

Notes:

Gone are the days where fluorescent lighting only conjured images of humming, vibrating blue light, ala Milton’s desk in Office Space. We live in the present, where fluorescents are now accommodated to fit Aunt Bessie’s antique lamp.

1.36 Fluorescent

Notes:

A fluorescent lamp is a low-pressure mercury arc discharge source. A ballast is required to transmit a current. Fluorescent light is created through an electrical arc that passes through a bulb, changing energy levels within the mercury. The radiation material strikes the phosphors on the sides of the bulb, causing it to fluoresce, or illuminate.

Now, about that blue cast… It is true, the cooler light temperature of fluorescent lamps accentuates blue, and warm tones can often be lost under its glow. However, technology has again prevailed, and we can find many fluorescent , such as a warm white lamp.

Remember, just like our lighting levels, we can interchange lamps for maximum color rendering. Blending both warm white fluorescents with cooler lamps can achieve a desired color rendering in a space.

1.37 LED Lighting

Notes:

Light-emitting diodes, also known as LED lighting, are a recent development in our lighting choices. Invented by the General Electric Company in 1962, we have now found LEDs entering into mainstream design.

LEDs produce light when electricity makes electrons move from one state to another. They have no filament to break and are highly resistant to shock and vibration. They produce minimal heat, and are therefore, extremely energy efficient.

The current problem with LEDs is one of a higher upfront cost, but also, the issue of color rendering. While LEDs are efficient for HVAC systems, the lamp itself is expensive. The problem with LED lighting in an interior environment is the inconsistency of color rendering. Systems such as RGB mixing can be used (red, green and blue light used to mix and create a white light) but the temperature Kelvin is still high. The white light created can shift several hundred degrees Kelvin, which of course is not desirable for color.

LED technology is still underway, and like fluorescents, the worries of its color rendering properties may soon become a concern of the past.

1.38 Creative Considerations

Notes:

LEDs can be effective in numerous applications. Companies, such as AT&T and Holiday Inn, have changed their brand logo signage from neon and fluorescent lamps to LED. This effectively uses the color of the LED light to render the brand.

1.39 LPS Lighting

Notes:

The fourth and last lamp we will explore today for purposes of color is LPS, or Low Pressure Sodium. These are considered to have poor color rendering qualities, as yellow is the predominant color emitted. These are perfect for street and parking lighting, and most outdoor purposes.

An interesting fact about LPS lights is that they create little light pollution. Cities with astronomical observatories often employ them as the majority source of public lighting to maximize their view of the heavens.

1.40 Spectral Power Distribution Curve

Notes:

The easiest way to determine the color characteristics of a light itself is to view a Spectral Power Distribution Curve.

This graph shows you, per lamp, what colors it emits.

Natural and Incandescent lighting produce a full spectra of color. Fluorescent lights have a combined spectra - one from the phosphor in the tube and one from the mercury itself - and that combines to form a full spectra. A sodium light would show an expansive band at the yellow bar as that color comprises for around 90% of the light.

1.41 Relationship

Notes:

Lighting applications are continuously evolving. Technology, as it has since Edison’s first light bulb, drives this industry. Now, as the demand for sustainability has increased to the level of government mandates, green stands as technology’s partner.

The considerations involved are vast, personal and cultural, multi-purpose functionality of a space, and of course, color rendering properties.

1.42 Relationship

Notes:

“There is no ‘best’ color lamp nor is there any formal definition of ‘true’ color. Each spectral distribution ‘distorts’ object colors compared to another, whether the light source comes from a natural source such as sunshine, north skylight, or electric sources such incandescent, fluorescent and HID. The ‘right’ color source for a given application depends on personal preferences, custom, and to a very large extent, an evaluation of the tradeoffs in efficiency, cost and color rendition.”* The best system, thusly, is a combination of systems. In an interior application, we want it all - efficiency and harmony alike. We want our caramel and cream sofa and purple walls to be caramel and cream and purple, without someday becoming an environmental detriment and with minimal HVAC costs too. Moving back to designer Rosalyn’s Portland office retrofit. Recall her quick-check appearance in the mirror. Perhaps she will add a warm lamp to balance the cool cast? She could position this lamp in a side-lighting application in the form of a wall or mirror sconce to most eloquently illuminate the face. For the overall lighting plan, Ms. Salazar has selected an overall mix of warm and cool fluorescent lighting with some visually interesting statement LED color in the client’s reception area. By proper space planning, she has also maximized the daylight, placing the open office areas by the large expansive windows. She has balanced the cool, cloudy daylight with the artificial light.

*Source: General Electric Company 1.43 Metamerism

Notes:

We have considered the types, temperatures and other detailed aspects of color and light. We have explored color rendering, its principles and applications. With this information in mind, we will now progress into the study of apparent color shift, metamerism.

1.44 Metamerism

Notes:

There are four types of metamerism: Sample, Illuminant, Observer and Geometric. There are also careful considerations we will explore for graphic media and design.

1.45 Sample Metamerism

Notes:

Sample metamerism happens when two objects appear to be the same color under one light source, and different colors under a different light source. The two colors of the objects are referred to as metamers, or as a metameric pair.

WiseGeek states: “One can conclude that the spectral reflectance distributions of the two samples differ lightly, and their plotted reflectance curves cross in at least two regions.” Remember, that spectral reflectance is what we see. The spectral reflectance can change depending on the light source. As you know, cooler Kelvin-temperature light sources can pull blue out of colors, while warmer sources enhance reds and oranges beautifully.

1.46 Illuminant Metamerism

Notes:

Illuminant metamerism occurs when the light sources themselves have differing spectral power distributions. In this example, the objects have the exact same spectral reflectance. The color of the light source that is reflected, then, is what changes the colors, not the spectral reflectance of the color itself. This is a very rare form of metamerism. Really, it can only be seen when using a light box while viewing the object in a divided space under each different lamp source.

1.47 Observer Metamerism

Notes:

Everyone perceives color just a bit differently. One person may see a blue undertone in a paint sample of red, while someone else may just see red. One person may see a hint of yellow in a green, while someone else may yet see quite a bit of yellow in that same green.

Observer metamerism is another reason we must always review our color schemes with a client, as he or she may be viewing that color very differently than you.

1.48 Geometric Metamerism

Notes:

The angle, distance, and position of the light source are all factors of metamerism. Geometric metamerism occurs when our object looks different because of one of these factors. It is thought that men and women may perceive colors differently due to geometric metamerism. The distance between a women’s eyes verse a man’s tends to be less, which may affect the appearance of color.

1.49 Bezold Effect

Notes:

The Bezold Effect is not necessarily considered a type of metamerism, but for our purposes, we need to consider this phenomenon, named for a German professor of meteorology, Wilhelm von Bezold. The Bezold effect is an optical illusion created by color. When small amounts of color are interspersed in a large field of color, an assimilation of that color occurs.

This effect is called the von Bezold spreading effect, and is similar a spatial color mixing. The opposite effect can occur when large amounts of color are placed adjacently, resulting in color contrast.

The Bezold effect can also be considered when contrasting one color, such as blue, with black; adjacent to that same blue placed with white.

1.50 Dye ‐ Lots

Notes:

Bear in mind, the properties of a soft finish, such as carpet or paint. Perhaps you have used a French gray and coral carpet tile in your client’s retail space. You have hit a home run, your client loves it, and two months later, they want to order an additional amount to carpet the dressing area as well. During a site visit, you determine the coral shade appears to have more red in its , even though the lighting conditions are the same throughout. This may be simply a variation of the actual yarn in the dye-lot.

This is a good time to remind a designer or architect to always ask for a sample for approval. Especially in fabric, the sample sent from the dye-lot may not always be a perfect match to what is in our library binder.

1.51 Printing and Graphic

Notes:

Another form of color shift occurs in a print production. Again, this is not a form of metamerism, but needs to be considered. Think of ordering samples; many vendors are shifting from a physical sample to a printed one. No matter how sophisticated the software and printing system, the match will never be perfect. Consider viewing products and samples on-line: the image viewed on one monitor will likely be different on another.

When printing materials, such as a marketing brochure, it is a sound idea to have a CMYK value for the desired color. It is smart to have color specified for the printer, and always ask for a color proof before finalizing an order. This is especially critical when printing a layout of an interior or exterior of a project for best representation.

1.52 Considerations

Notes:

As described, in any of its forms, metamerism is an apparent shift in color. When you review with your client, it is imperative to try and review the color palette and selected finishes in the actual project space, or under lighting conditions that will emulate the project space. Careful considerations must be made. Viewing color paint samples under a light box to enhance their best hue is wonderful, but that is not going to be the color rendering in the client’s office space. Fabric may look gorgeous perfectly flat on a presentation board, but what will it look like wrapped around the three-dimensional furnishing? Will the angled view of it look less illustrious?

1.53 Color

Notes:

Ms. Charlotte Carr now has to contend with her client who is unhappy with the sectional lobby seating in his tailored hotel. Ms. Carr realizes that the sectional, which was supposed to be a sleek cool gray, seems to look yellow and ill-fitting against the candy-apple red walls, and she realizes where she went wrong. When her client approved the upholstery for the sofa, it was underneath color- corrected lighting in the fabric showroom. She should have ordered a large memo sample of that fabric and tucked it around a physical piece of furniture in the lobby itself.

In discussions with her client, Ms. Carr realizes she may have another choice, one that would be less expensive and timely rather than replacing the fabric or sectional out of her pocket. She changes a few of the chandelier’s fluorescent bulbs to a cool blue. Voila! With only a small lamp change, the yellow seems to have disappeared.

1.54 Color

Notes:

And back to the wardrobe-malfunction. Mr. Demetrious Smith thought he had found the perfect statement attire to wear during his proposal presentation to the new potential client. He wondered to himself, “What, exactly, do brown pants, an orange shirt, and a purple jacket say about my business? Perhaps that my client’s parapet walls will soon have pink polka-dots on an olive field?”

Mr. Smith knows where he went wrong. The jacket and pants he purchased are a metameric pair. They appeared to match in the bright store, but under the room’s softer, appropriate lighting, it appears that they are two different colors.

Mr. Smith’s cab is expected to pick him up in an hour, which leaves zero time to find a replacement. He decides his best choice is to forego the jacket and add a couple accessories, such as a tie and watch, to amplify the outfit. Next time, he’ll remember to take a look at the wardrobe in a different light source. Fantastically, his meeting is a huge success.

1.67 Thank You

Notes:

This concludes the AIA portion of this learning unit. We thank you for your valuable time and hope we have enlightened you on Color, Light and Metamerism.

Please contact Sherwin-Williams directly with any questions.