Color Science What Light Is Measuring Light

Total Page:16

File Type:pdf, Size:1020Kb

Color Science What Light Is Measuring Light Color Science CS 465 Lecture 23 [source unknown] Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 1 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 2 What light is Measuring light • Light is electromagnetic radiation • Salient property is the spectral power distribution (SPD) – exists as oscillations of different frequency (or, wavelength) – the amount of light present at each wavelength – units: Watts per nanometer (tells you how much power you’ll find in a narrow range of wavelengths) – for color, often use “relative units” when overall intensity is not important amount of light = 180 d (relative units) wavelength band (width d) [Lawrence Berkeley Lab / MicroWorlds][Lawrence Berkeley Lab / wavelength (nm) Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 3 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 4 What color is The problem of color science • Colors are the sensations that arise from light energy • Build a model for human color perception of different wavelengths • That is, map a Physical light description to a – we are sensitive from about 380 to 760 nm—one “octave” Perceptual color sensation • Color is a phenomenon of human perception; it is not a universal property of light • Roughly speaking, things appear “colored” when they depend on wavelength and “gray” when they do not. ? [Stone 2003] Physical Perceptual Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 5 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 6 The eye as a measurement device A simple light detector • We can model the low-level • Produces a scalar value (a number) when photons land behavior of the eye by thinking on it of it as a light-measuring machine – this value depends strictly on the number of photons – its optics are much like a camera detected – its detection mechanism is also – each photon has a probability of being detected that much like a camera depends on the wavelength • Light is measured by the – there is no way to tell the difference between signals caused photoreceptors in the retina by light of different wavelengths: there is just a number – they respond to visible light • This model works for many detectors: – different types respond to – based on semiconductors (such as in a digital camera) [Greger et al. 1995] different wavelengths – based on visual photopigments (such as in human eyes) Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 7 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 8 A simple light detector Light detection math • Same math carries over to power distributions – spectum entering the detector has its spectral power distribution (SPD), s() – detector has its spectral sensitivity or spectral response, r() measured signal detector’s sensitivity input spectrum Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 9 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 10 Light detection math Cone Responses or • S,M,L cones have broadband spectral sensitivity • If we think of s and r as vectors, this operation is a dot • S,M,L neural response is product (aka inner product) integrated w.r.t. – in fact, the computation is done exactly this way, using – we’ll call the response functions r , r , r sampled representations of the spectra. S M L • Results in a trichromatic • let i be regularly spaced sample points D apart; then: visual system • S, M, and L are tristimulus values [source unknown] • this sum is very clearly a dot product Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 11 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 12 Cone responses to a spectrum s Colorimetry: an answer to the problem • Wanted to map a Physical light description to a Perceptual color sensation • Basic solution was known and standardized by 1930 – Though not quite in this form—more on that in a bit s [Stone 2003] Physical Perceptual Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 13 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 14 Basic fact of colorimetry Pseudo-geometric interpretation • Take a spectrum (which is a function) • A dot product is a projection • Eye produces three numbers • We are projecting a high dimensional vector (a • This throws away a lot of information! spectrum) onto three vectors – Quite possible to have two different spectra that have the – differences that are perpendicular to all 3 vectors are not same S, M, L tristimulus values detectable – Two such spectra are metamers • For intuition, we can imagine a 3D analog – 3D stands in for high-D vectors – 2D stands in for 3D – Then vision is just projection onto a plane Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 15 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 16 Pseudo-geometric interpretation Basic colorimetric concepts • The information available to the visual system about a • Luminance spectrum is three values – the overall magnitude of the the visual response to a – this amounts to a spectrum (independent of its color) loss of information • corresponds to the everyday concept “brightness” analogous to – determined by product of SPD with the luminous efficiency projection on a plane function V that describes the eye’s overall ability to detect • Two spectra that light at each wavelength produce the same – e.g. lamps are optimized response are to improve their luminous metamers efficiency (tungsten vs. fluorescent vs. sodium vapor) [Stone 2003] Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 17 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 18 Luminance, mathematically More basic colorimetric concepts • Y just has another response curve (like S, M, and L) • Chromaticity – what’s left after luminance is factored out (the color without regard for overall brightness) – scaling a spectrum up or down leaves chromaticity alone – r is really called “V ” Y • Dominant wavelength • V is a linear combination of S, M, and L – many colors can be matched by white plus a spectral color – Has to be, since it’s derived from cone outputs – correlates to everyday concept “hue” •Purity – ratio of pure color to white in matching mixture – correlates to everyday concept “colorfulness” or “saturation” Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 19 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 20 Color reproduction Additive Color • Have a spectrum s; want to match on RGB monitor – “match” means it looks the same – any spectrum that projects to the same point in the visual color space is a good reproduction •Must find a spectrum that the monitor can produce that is a metamer of s [cs417—Greenberg] [source unknown] R, G, B? Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 21 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 22 CRT display primaries LCD display primaries ) 2 Emission (watts/m wavelength (nm) – Curves determined by phosphor emission properties – Curves determined by (fluorescent) backlight and filters Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 23 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 24 Combining Monitor Phosphors with Color reproduction Spatial Integration • Say we have a spectrum s we want to match on an RGB monitor – “match” means it looks the same – any spectrum that projects to the same point in the visual color space is a good reproduction • So, we want to find a spectrum that the monitor can produce that matches s – that is, we want to display a metamer of s on the screen [source unknown] Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 25 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 26 Color reproduction Color reproduction as linear algebra • We want to compute • The projection onto the three response functions can the combination of be written in matrix form: r, g, b that will project to the same visual response as s. Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 27 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 28 Color reproduction as linear algebra Color reproduction as linear algebra • The spectrum that is produced by the monitor for the • What color do we see when we look at the display? color signals R, G, and B is: – Feed C to display – Display produces sa • Again the discrete form can be written as a matrix: – Eye looks at sa and produces V Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 29 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 30 Color reproduction as linear algebra Subtractive Color • Goal of reproduction: visual response to s and sa is the same: • Substituting in the expression for sa, color matching matrix for RGB [source unknown] Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 31 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 32 Reflection from colored surface Subtractive color • Produce desired spectrum by subtracting from white light (usually via absorption by pigments) • Photographic media (slides, prints) work this way • Leads to C, M, Y as primaries • Approximately, 1 – R, 1 – G, 1 – B [Stone 2003] Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 33 Cornell CS465 Fall 2004 •Lecture 23 © 2004 Steve Marschner • 34 Color spaces Standard color spaces • Need three numbers to specify a color • Standardized RGB (sRGB) – but what three numbers? – makes a particular monitor RGB standard –a color space is an answer to this question – other color devices simulate that monitor by calibration • Common example: monitor RGB – sRGB is usable as an interchange space; widely adopted today –define colors by what R, G, B signals will produce them on – gamut is still limited your monitor (in math, s = RR + GG + BB for some spectra R, G, B) – device dependent (depends on gamma, phosphors, gains, …) • therefore if I choose RGB by looking at my monitor and send it to you, you may not see the same color – also leaves out some colors (limited gamut), e.g.
Recommended publications
  • Painting Part 3 1
    .T 720 (07) | 157 ) v.10 • pt. 3 I n I I I 6 International Correspondence Schools, Scranton, Pa. Painting By DURWARD E. NICHOLSON Technical Writer, International Correspondence Schools and DAVID T. JONES, B.Arch. Director, School of Architecture and the Building Trades International Correspondence Schools 6227C Part 3 Edition 1 International Correspondence Schools, Scranton, Pennsylvania International Correspondence Schools, Canadian, Ltd., Montreal, Canadc Painting \A jo Pa3RT 3 “I find in life lliat most affairs tliat require serious handling are distasteful. For this reason, I have always believed that the successful man has the hardest battle with himself rather than with the other fellow'. By To bring one’s self to a frame of mind and to the proper energy to accomplish things that require plain DURWARD E. NICHOLSON hard work continuously is the one big battle that Technical Writer everyone has. When this battle is won for all time, then everything is easy.” \ International Correspondence Schools —Thomas A. Buckner and DAVID T. JONES, B. Arch. 33 Director, School of Architecture and the Building Trades International Correspondence Schools B Member, American Institute of Architects Member, Construction Specifications Institute Serial 6227C © 1981 by INTERNATIONAL TEXTBOOK COMPANY Printed in the United States of America All rights reserved International Correspondence Schools > Scranton, Pennsylvania\/ International Correspondence Schools Canadian, Ltd. ICS Montreal, Canada ▼ O (7M V\) v-V*- / / *r? 1 \/> IO What This Text Covers . /’ v- 3 Painting Part 3 1. PlGX OLORS ___________________ ________ Pages 1 to 14 The color of paint depends on the colors of the pigments that are mixed with the vehicle.
    [Show full text]
  • Color Basics for Landscapes
    Landscapae Nov. 2006 L-18 Color Basics for Landscapes Melvin Wong, Department of Tropical Plant and Soil Sciences he topic of color can become very complicated. This Twelve hues of the color wheel Tpublication introduces some basic concepts of color theory and some ideas about our reactions to color that Primary colors may be applicable to choices we make when choosing Yellow plants for landscapes. Red We see only a small portion of the total electromag­ Blue netic spectrum. We cannot see ultraviolet or infrared light, X-rays, gamma rays, microwaves, radar, or waves Secondary colors from television or FM, AM, or short-wave radio. What Orange (yellow-red) we perceive as “visible” is light waves of a limited range Purple (red-blue) of wavelengths. We “see” these light waves when they Green (blue-yellow) are reflected from objects to the retinas at the back of our eyes. We see black when nothing is reflected, and Tertiary colors white when all visible-wavelength light is reflected. We Yellow-orange (saffron or amber) see red when all light is absorbed except red, blue when Orange-red (vermillion or terra-cotta) all light is absorbed except blue, and yellow when all Red-purple (magenta or fuchsia) light is absorbed except yellow. Purple-blue (navy or royal blue) Twelve basic colors form the color wheel, which was Blue-green (teal) invented by color theorists to help us think about color. Green-yellow (chartreuse) The twelve colors are called hues. Three colors (yellow, red, and blue) are called primary colors because you cannot mix other colors to make them.
    [Show full text]
  • Module 3 Imitative and Decorative Arts
    TRADE OF PAINTING & DECORATING PHASE 2 Module 3 Imitative and Decorative Arts UNIT: 1 Colour Module 3 – Unit 1 Colour Table of Contents Introduction .............................................................................................................. 1 Learning Outcomes .................................................................................................. 2 1.0 Pigmental, primary, secondary & tertiary colours ...................................... 3 1.1 The colour circle ......................................................................................... 3 1.2 Primary, secondary and tertiary colours .................................................. 5 2.0 Monochromatic, Analogous & Complementary Colour Harmony ............... 6 2.1 Monochromatic, analogous and complementary colour harmony ...... 6 2.2 Colour in decoration................................................................................... 7 3.0 Produce Secondary and Tertiary Colours By Colour Mixing .......................... 8 3.1 Mixing primary colours to produce secondary ....................................... 8 3.2 Mixing secondary colours to produce tertiary colours .......................... 8 4.0 Tints and Shades ............................................................................................. 9 4.1 Define the terms tints and shades ............................................................ 9 4 2 Mixing tints and shades of various colours ............................................. 9 4.3 Colour terminology ..................................................................................
    [Show full text]
  • Color Book Unformatted
    New & Revised - Includes Genesis Heat Set Oils 1 PREFACE There seems to be a mystique about mixing colors. The novice painter procrastinates or delgates this responsibility to a paint manufacturer bu tultimately the day arrives when the painter wants to take control of the palette colours. This can happen only when the painter takes the responsi- bility to learn to mix colour. Mixing colour is very exciting. The knowledge of how to control and create colour is the ultimate in creativity. It is not difficult to master, but it will take time, patience, practice, but most of all desire. The intent of this book is to provide a guide to mixing colour. It is my hope that it will be useful regardless of whether the preferred medium is oil, alkyd, acrylic, watercolour, pastel, pencil or coloured ink. Colour theory applies to all media. All that differs is technique. Colour is so closely interwoven with the other four basic elements of art that it would be impossible to discuss colour without examining its rela- tionship to line, form, texture and space. The importance of colour to har- mony and composition are also inseparable, as are chemistry and tem- perature. Please understand that colour reproduction of a paint mixture in printed form is almost always inaccurate. Every effort has been made to provide the highest quality of photography, colour separations and printing. How- ever, it is not possible to duplicate the myriad nuances of paint with only five colours of printer’s ink. Furthermore, oil reflects the light differently than acrylic. Pencil and watercolour have their own individual properties.
    [Show full text]
  • A Designer's Dozen Newsletter Tips
    A DESIGNER S N EWSLETTER TIPS TIPS TOo ENHANCEz n CLARITY Organize the content of your newsletterDD e then use the command in your software to make and into groups: administrator/staff articles the desired portion into all caps. That way, if you 1or columns, grade level/curriculum articles, decide to change it to upper and lower case later, extracurricular groups/events/sports, parent you don’t have to retype it. group/organization articles or columns, items that need action (such as forms to be filled out See how you first Reverses are very effective, and returned, workshop flyers that ask for looked at this reverse? but use only in a few small areas. They are a good choice advance registration, etc.; e careful that you don’t You might want to use a 4 have two things on back-to-back pages that need reverse for a short item for short items that you want to call to be filled out and returned to different places) you want a response to, attention to. Use a bold weight for such as a call for volun- the white type so that it doesn’t fill in and general informational items from outside- teers or a lost and found the-school sources (such as District letters reminder. Notice how when copied, and you may want to regarding bus safety, lunch information flyer both the subhead and increase the point size of the type as body of this item are well. Set up your text block to have from SoDexHo, parenting information newsletter bolder than the typefaces that the school subscribes to, etc.
    [Show full text]
  • Satish Chandra a Passionate Floweriest Abdul Salam Khan1 Saroj Bhargava2 1,2 Department of Performing & Visual Arts, Mewar University, Gangrar, Rajasthan, (India )
    Satish Chandra a Passionate Floweriest Abdul Salam Khan1 Saroj Bhargava2 1,2 Department of Performing & Visual Arts, Mewar University, Gangrar, Rajasthan, (India ) ABSTRACT Satish Chandra was an eminent landscapist and a prolific painter based on natural motif. He was very much found of flower series. As like as great impressionist artist Cloude Monet. He was also developed a flower garden in his home at luchnow, for his day today study. Though his maximum work is oil painting but he has also mastery in water color. His understanding and pursue of excellence in field of capturing natural motifs was outstanding not only he grapes the subject physically but also he hold the essence of soul personally. That quality of work stand apart in comparing Satish Chandra contemporary painter and recognition as a Satish Chandra master of colorist and a passionate floweriest. Keywords: Eminent, Landscapist, Prolific, Impressionist, Floweriest, Motifs I. INTRODUCTION Elements of nature such as flowers served as prolific painting motifs for centuries and subverts one of the oldest forms of the still-life. The long tradition of flower paintings extended to the modern era and botanical elements found its place in almost every art genre that followed. High decorative properties but also the symbolic undertone that gave the artworks philosophical connotations. Time to time several artist like Claude Monet in the 19th century, created his celebrated water-lily painting series and Marc Queen pull the flowers out of their natural surroundings to bring the viewers’ attention to the beauty of the colorful blossom and the unique singularity possessed by every specimen.
    [Show full text]
  • Tints and Shades Redux, an Exhibition of Dot Paintings, Prints and Light Sculpture Is About How Color Is Perceived in Relation to Its Presentation
    PAUL KOLKER Tints and Shades Redux OPENING RECEPTION THURSDAY, SEPTEMBER 22ND 6PM - 8PM DOWNSTAIRS AT THE SALON OF STUDIO601 511 WEST 25TH STREET BETWEEN 10TH AND 11TH AVENUES September 22, 2011 Paul Kolker: Tints and Shades Redux, an exhibition of dot paintings, prints and light sculpture is about how color is perceived in relation to its presentation. In this show, Kolker explores the question of the aesthetic values of perceived color through new dot paintings made in his limited color palette, but in tints and shades painted on black, white or grayscale background elds. Kolker paints or prints dots of solitary color. His palette is minimal,consisting of red, green, blue and yellow; the physiological human vision colors. Although he adheres to the aesthetic purity of color unmixed with another color and painted in the shape of minimal geometric forms, he creates a myriad of tints and shades producing a gamut of pastel-like colors. Tints are colors mixed with white; shades, with black. Mixing with both black and white eects a grayscale. The resultant visual eect of painted dots in tints and shades is reminiscent of the eighteenth- century pastelists, who using crayons explored a faster and less expensive way than painting in oils to eect portraiture. The crayons were fabricated with colors mixed with chalk, lamp-black or combinations of black and white, also producing a grayscale of tints and shades. However, Kolker further developed his minimalist style of painting for other reasons besides his adherence to elemental colors and minimal shapes and forms. As far back as 1975, the alignment grid of his three color tube front end projector television became the root basis for his art.
    [Show full text]
  • Color Terms (PDF)
    Educational Material Glossary of Color Terms achromatic Having no color or hue; without identifiable hue. Most blacks, whites, grays, and browns are achromatic. advancing colors Colors that appear to come towards you (warm colors). analogous colors Closely related hues, especially those in which we can see a common hue; hues that are neighbors on the color wheel, such as blue, blue-green, and green. chroma The purity or degree of saturation of a color; relative absence of white or gray in a color. See intensity. color field painting A movement that grew out of Abstract Expressionism, in which large stained or painted areas or “fields of color” evoke aesthetic and emotional responses. color wheel A circular arrangement of contiguous spectral hues used in some color systems. Also called a color circle. complementary colors Two hues directly opposite one another on a color wheel (for example, red and green, yellow and purple) which, when mixed together in proper proportions, produce a neutral gray. These color combinations create the strongest possible contrast of color, and when placed close together, intensify the appearance of the other. The true complement of a color can be seen in its afterimage. cool colors Colors whose relative visual temperatures make them seem cool. Cool colors generally include green, blue-green, blue, blue-violet, and violet. The quality of warmness or coolness is relative to adjacent hues. See also warm colors. hue The pure state of any color or a pure pigment that has not had white or black added to it. intensity The relative purity or saturation of a hue (color), on a scale from bright (pure) to dull (mixed with another hue or a neutral.) Also called chroma.
    [Show full text]
  • Athira K M Department of Multimedia Typography
    TYPOGRAPHY Athira K M Department of Multimedia Typography • Style or appearance of text • The art of working with text Types of Fonts • Serif • Sans Serif • Script •Decorative Fonts Serif Line or stroke projected from the end of main stroke Sans Serif Sans means without, so sans serif means without Serif Script Decorative Which fonts is used…. Less is More Opposite Attracts Long and Short LEADING KERNING TRACKING HIERARCHY HIERARCHY Used to guide the reader’s eye to whatever is most important LEADING The space between lines of text TRACKING Overall space between characters KERNING Space between specific characters PIXEL • A pixel is the smallest unit of a digital image or graphic that can be displayed and represented on a digital display device. • A pixel is the basic logical unit in digital graphics. Pixels are combined to form a complete image, video, text or any visible thing on a computer display. •‘Pixel’ is basically a combination of ‘pix’ (picture) and ‘el’ (elements). the word was first used by image processing engineer Frederic c Billingsley in 1965 RESOLUTION • It is the measurement of the output quality of an image, visually in terms of pixels or dots • It is measured in PPI(Pixels Per Inch) or DPI(Dots Per Inch) • It is the density of dots that make up the image when printing • High resolution would be an image intended for print, generally having 300 PPI or more • Low resolution refers to images only intended for screen display(visual or web) generally having 100 or 72 PPI • The bigger resolution, the more detail it is and the lower the resolution, the less detailed and fuzzy it becomes.
    [Show full text]
  • ACRYLIC TINTS, SHADES and TONES – Education Tool Part II
    ACRYLIC TINTS, SHADES AND TONES – Education Tool Part II Start with a pure chroma (colour) • Add white to create tints • Add black to create shades • Mix with grey to create tones *Grey = Black + white Painters’ Colour Mixing **Tone refers to all three mixed together (black, white and pure chroma) Terminology Source: Diagram from “Principles of Color” by Faber Birren JASART BYRON ACRYLIC EXAMPLE 1. CREATING TINTS AND SHADES: Towards White (tint) WARM RED Towards Black (shade) 5% 10% 25% 50% 75% 90% 80% 60% 40% 20% PURE CHROMA *% refers to colour added to either white or black 2. CREATING TONE (Addition of grey to a set % of colour) 95% 90% 80% 70% 60% 50% 40% 30% 20% 10% 5% *% refers to amount of white ratio to black to create the various greys JASART BYRON ACRYLIC 1. CREATING TINTS AND SHADES: Towards White (tint) COOL BLUE Towards Black (shade) 5% 10% 25% 50% 75% 90% 80% 60% 40% 20% PURE CHROMA *% refers to colour added to either white or black 2. CREATING TONE (Addition of grey to a set % of colour) 95% 90% 80% 70% 60% 50% 40% 30% 20% 10% 5% *% refers to amount of white ratio to black to create the various greys 1/2 ACRYLIC TINTS, SHADES AND TONES – Education Tool Part II JASART BYRON ACRYLIC 1. CREATING TINTS AND SHADES: Towards White (tint) COOL YELLOW Towards Black (shade) 5% 10% 25% 50% 75% 90% 80% 60% 40% 20% PURE *% refers to colour added to either white or black CHROMA 2. CREATING TONE (Addition of grey to a set % of colour) 95% 90% 80% 70% 60% 50% 40% 30% 20% 10% 5% *% refers to amount of white ratio to black to create the various greys JASART BYRON ACRYLIC 1.
    [Show full text]
  • YEAR 1: Elements of Art: Colour
    YEAR 1: Elements of Art: Colour Contents Include: Primary and Secondary Colours Warm and Cool Colours A Study of a Famous Artist Please Note: The activities included in this pack are suggestions only. Teachers should adapt the lessons to ensure they are pitched correctly for their pupils. For an outline of the content included in Year 1 Visual Arts, see the Visual Arts Sequence. Lesson 1: Introduction to Colour This lesson should be used to establish what the children know about colour. Children will learn the three primary colours (yellow, red and blue) and will begin to explore colour mixing. By the end of this lesson, children should be able to name the three primary colours and should have some ideas about how to mix primary colours to make various secondary colours, for example, mixing red and yellow to make orange. The colours red, yellow and blue are called primary colours in art because they cannot be made by mixing together any other colours. When two primary colours are mixed together, the colour created is called a secondary colour. In art, some colours can be used to create feelings of warmth (e.g. red, yellow or orange) or feelings of coldness (blue, green or grey). The works of art included in What Your Year 1 Child Needs to Know can be used to discuss this. See page 155-159 of What your Year 1 Child Needs to Know Learning Objective Core Knowledge Activities for Learning Related Assessment Questions Vocabulary Give children a blank piece of paper and a range of What can you tell me To show what I know To know that the primary coloured paints.
    [Show full text]
  • Colours in a Still Life a Still in Colours 24/05/17 12:00
    a still life Colours in a still life Colours in 037_052_UdA_117890_LP3_A&C.indd 37 24/05/17 12:00 38 COLOURS IN A STILL LIFE CONTENTS EVALUATION CRITERIA LEARNING STANDARDS KEY COMPETENCES Pupils will be able to: Pupils are able to: LIN MST DIG LTL SOC AUT CUL Identify contrast in art and through our senses. Use colours and their tints and shades to show contrast. Explore and examine different ways to show contrast. Observation and analysis of colour and contrast in the Distinguish different ways to show contrast. Understand that contrast means different. painting Vista a la bahía by Juan Gris Colour: primary colours (magenta, yellow and cyan) Present the primary colours and explain why they are called Understand why magenta, yellow and cyan are identified as the primary colours. primary. Use primary colours to create their own graphical productions. Planes as elements comprising shapes Identify planes as elements comprising shapes in works of Understand the expressive potential of planes in forming shapes. art and their own productions. Identify the use of planes in works of art by artists from the 20th century. Make compositions using planes to form different shapes. Painting: still life Recognise still life as a painting theme throughout history Identify still lifes in the works of different artists and perceive representational differences in Baroque work and works from the 20th century. Draw still life through observing real objects. Volume: two-dimensional representations of volume Represent volume in planes by using chiaroscuro. Understand chiaroscuro as a technique for the representation of volume in graphic works. Chiaroscuro Represent simple objects which are endowed with volume by means of chiaroscuro.
    [Show full text]