COLOR AND COLORISTICS

Course curriculum

Ministry of Education of the Russian Federation

Vladivostok State University of Economics and Service

Institute of Service, Tourism and Design

Department of Design and Arts

COLOR AND COLORISTICS

Course curriculum

by specialty

070601.65 "Design"

Vladivostok

BBK 85.158.b

The curriculum for the discipline “Color science and coloristics” is compiled in accordance with the requirements of the State Educational Standard of Higher Professional Education.

Intended for students of specialty 070601.65 “Design”.

Compiled by: , Associate Professor of the Department of Design and Arts.

Approved at a meeting of the Department of Design on January 1, 2001, minutes No. 15.

INTRODUCTION

Currently, the relevance of the discipline “Color science and coloristics” is quite great. Teaching this artistic discipline is unthinkable without connection with the history of art and spiritual culture.

The need to introduce the discipline “Color Science and Coloristics” is due to the need to study color as the most important component of the natural and artificial environment surrounding humans. The study of this discipline is closely related to such disciplines as composition, art history, design history, and environmental design. The knowledge and skills that students acquire as a result of studying the discipline are necessary for the development of their “global” color thinking, as well as the individual, creative capabilities of each.

1. ORGANIZATIONAL AND METHODOLOGICAL INSTRUCTIONS

1.2. The purpose and objectives of the academic discipline

Purpose This discipline is the formation of such professional qualities as the ability to independently transform theoretical knowledge into a method of professional creativity and the ability to express a creative concept using the conventional language of color.

Main goals disciplines: familiarizing students with the basic laws of color composition, instilling in them professional skills in working with color in combination with any form and any space, developing their “global” color thinking and developing the individual, creative capabilities of each.

1.2 List of competencies acquired
when studying the discipline

The discipline is aimed at developing the following professional qualities: the ability to work with color in combination with any form; ability and readiness to depict objects of the objective world, space based on the laws of color science and coloristics.

1.3. Main types of activities and features
their implementation

The discipline “Color science and coloristics” with a total volume of 204 hours. studied over 2 semesters.

	Lectures (hour)	Lab. Classes (hour)		Self Job

The discipline program provides for lecturing, conducting laboratory classes, and completing a course project.

The lecture course contains the basic concepts of the physical properties of color, questions of the symbolic meaning of color, its connection with form and the possibilities of emotional impact.

The practical course is structured in such a way that all basic theoretical concepts are studied in exercises and assignments. Due to the fact that teaching the theory of composition includes the study of the main types of formal composition (frontal, volumetric, spatial), the course “Color science and coloristics” also contains a series of exercises to study the basic formative properties of color, characteristics and techniques for constructing and identifying all types of composition with using color.

1.4. Types of control and reporting by discipline

The university has established the following types of control:

Current certification is a regular check of the level of knowledge of students and listeners and the degree of assimilation of the educational material of the relevant discipline during the semester as it is studied (results of self-testing, performances in practical classes, testing on individual topics, etc.);

Topic 10. Construction of the color star by I. Itten. Building harmonious color combinations.

Topic 11. Spatial properties of color. Factors on which the spatial effect of color depends.

Topic 12. Shape and color.

Topic 13. Types of color contrasts. Contrast of color comparisons, contrast of light and dark, cold and warm, complementary colors, color saturation, color spread, simultaneous contrast.

Topic 14. Psychological properties of color. Peculiarities of color perception (general and individual). Functional suitability of color. Subjective properties of color associated with various associations.

Topic 15. Characteristics of the primary colors of Wassily Kandinsky. Classification of colors according to their psychological effects. Human perception of a complex color environment.

Topic 16.Symbolism of color The nature of symbolic characteristics. Formation of color symbolism in various cultures.

Topic 17. Comparison of color symbolism of different nations (similarities, differences). The role of color symbolism in modern color culture.

2.2. List of laboratory topics

Subject 1. Giving assignments, preparing literature on the topic, completing the composition. Construction of a 9-step achromatic stretch.

Topic 2. Performing 2-tone and 3-tone achromatic compositions;

Topic 3. Construction of 4 single-tone chromatic stretches.

Subject 4. Execution on their basis, respectively: 1-tone, 2-tone chromatic compositions.

Topic 5. Performing 3-tone and 4-tone chromatic compositions;

Topic 6.

Topic 7. Construction of a chromatic circle.

Topic 8. Carrying out coloring of harmonious combinations of 4 groups of related colors.

Topic 9. Construction of a chromatic composition based on related color combinations;

Topic 10. Carrying out coloring of harmonious combinations of related and contrasting colors: dyads, triads.

Topic 11. Building a composition based on one of the combinations of related and contrasting colors.

Topic 12. Performing coloring of harmonious combinations of contrasting colors.

Topic 13. Construction of a contrasting composition.

Topic 14. Construction of a color star. I. Itten.

Topic 15. Construction of the color star by I. Itten.

Topic 16.

Topic 17. Construction of harmonies according to the color star of I. Itten.

3.1. List and topics
independent work of students in the discipline

As independent work, students are asked to complete a task to study color patterns in nature.

3.2. Guidelines
on organizing independent work of students

Independent work involves familiarizing yourself with existing analogues, searching for examples of harmonious color combinations of natural and artificial forms.

The laws of the color system are nothing more than certain laws of reality processed by the creative consciousness of the artist. Color harmony, color, contrasts are an abstraction of color combinations that exist in reality and which the artist perceives, generalizes and interprets in a new way or in his own way. In this sense, reality, nature are the source, the original.

The composition should be based on a selected natural sample (shell, tree leaf, flower, tree bark, bird feather, etc.) on the basis of which the analysis of natural color harmony is carried out.

Purpose of the task: learn to analyze natural images, decomposing complex colors into simple components.

The main task is to perform a series of color stretches and a stylized composition based on a color spot.

The discipline “Color Science and Coloristics” occupies a special place in the system of development of creative thinking and artistic and design skills of the future designer.

The influence of the light-color environment on human life, noticed in the distant past, remains the subject of constant attention in our time, which is due to the desire to aestheticize the environment around people. It is difficult to name an area of ​​human activity to which color has nothing to do. This explains the complex and synthetic nature of color science. The proposed literature will help students understand and successfully solve the assigned educational and methodological tasks.

In the book Harmony of Color. – M.: AST, Mn.: Harvest, 2006 – the basics of color theory, methods and techniques for constructing various color models are considered. The theoretical principles are supported by extensive illustrative material, which allows us to understand how color can be used to convey various states of nature and a person’s emotional mood.

Composition in design: textbook. allowance. – M.: AST: Astrel, 2006. Dedicated to revealing the features of constructing a formal composition, which constitutes the most important part of design creativity. The means, techniques and principles of this construction are revealed. A detailed series of guidelines for the practical application of the proposed material in the educational process is given.

In the book Flower Science. – Minsk: Higher. school, 1984 p. An attempt was made to bring together scattered information about color as an element of the culture of different times and peoples and, on this basis, to recreate some general picture of the emergence and development of the science of color, as well as to show its current state.

The book “The Art of Color” by Johannes Itten, a Swiss artist, a major color researcher and one of the leading Bauhaus teachers, is written based on the artist’s observations of color in nature and works of art from various times and peoples. The author examines the patterns of color contrasts, color harmony and color design. The book is addressed to architects and designers in a wide variety of fields.

Book Agranovich - S., Litvinova coloristics: workshop. – Mn.: UE “Technoprint”, 2002. – 122 p. Contains information on the basics of color science and coloristics, allowing students to study the patterns of color effects on humans and apply this knowledge when solving a wide variety of design problems.

The textbook Color in the interior outlines the general theoretical foundations of architectural polychromy in the interior of residential and public buildings, as well as recommendations on the practical use of color in the interior.

3.4. Control questions
for self-assessment of the quality of development
disciplines

1. What is color. Determine its role in human life.

2. Tell us about the symbolism of color.

3. Harmonic combinations of related and contrasting colors. Building a dyad.

4. Name the main characteristics of color. Chromatic and achromatic colors. Talk about hue, lightness, and saturation.

5. Name the types of contrasts. Describe them.

6. What characteristics does V. Kandinsky give to local colors?

7. Consistent contrast. Under what conditions does it occur? Give examples.

8. What determines the spatial effect of color. Analyze the possibility of depth effects in color combinations.

9. Tell us about the formative properties of color.

10. Color contrast. Simultaneous contrast. Conditions for the emergence and neutralization of simultaneous contrast.

11. How many colors are distinguished in the spectrum. What happens if one of the colors of the spectrum is suppressed. Why? Explain the essence of I. Newton's discovery.

12. Harmonic combinations of contrasting and complementary colors. Tell us about the specific features of pairs of complementary colors.

13. Tell us about the psychology of the effect of color on a person.

14. Single-tone harmonic combinations. Three conditions for constructing achromatic compositions.

15. Tell us about the subjective characteristics of color associated with various associations.

16. Chromatic circle. Order of education. Primary, secondary colors.

17. Construction of three-tone achromatic compositions.

18. Harmonic combinations of related and contrasting colors along the color wheel. Construction of triads. What figures are involved in their formation.

19. Harmonic combinations of related and contrasting colors along the color wheel. Construction of harmonious combinations of 4 components of the color wheel.

20. Explain the structure and functioning of the eye. Why does the eye perceive a certain range of waves?

21. List the factors influencing the perception of color.

22. Tell us about the views of the artists of the past on harmony.

23. What is the role of light in human life. Which ones do you know?

24. What optical methods of color formation exist.

25. Systematization of colors by W. Ostwald (double pyramid). Tell us about Otto Runge's color ball.

26. Why does a designer need knowledge of the psychological properties of color?

27. Tell us about the harmonic combinations of shadow rows in a composition.

28. Color star by I. Itten. Construction principle.

29. What type of harmony do they mean when they talk about color?

30. Construction of color harmonies using the color star of I. Itten. What figures are involved in the formation of harmonies.

31. What colors in an optical mixture give an achromatic tone. Tell us about their properties.

1. Colors: color is the key to beauty and harmony. Publisher: Niola Press, 2013

2. Itten Johannes: the art of color 9th edition. M.: Publisher: D. Aronov, 2014

3. Kravtsova color science: educational and methodological manual / , . – Vladivostok: Publishing house VGUES, 2002 – 64 p.

4. Ustin in design: textbook /. – M.: AST: Astrel, 2007. – 239 p.

4.2. additional literature

1. Stepanov in the interior / . – K.: Vishcha school. Head publishing house, 1985.-184 p.

2. Vlasov compositions of decorative and applied art /. – St. Petersburg: Education, 1997

3. Chidzieva Hideyaki: harmony of colors, a guide to creating color combinations: translated from English/. - M.: AST", 2003. - 142 p.: ill.

4. Color harmony of the interior / Advice from professionals: translated from English. 2000. – 128 p.

4.3. Full text databases

1. National digital resource “RUKONT” [Electronic resource]. Access mode: http://rucont. ru/

2. Electronic library BOOK. ru [Electronic resource]/ EBS BOOK. ru. Access mode: http://www. book. ru/

3. EBS “University Library Online” [Electronic resource]. Access mode: http://www. biblioclub. ru/

4. Electronic library system eLIBRARY. RU [Electronic resource]. Access mode: http://aclient. integrum. ru/

5. DICTIONARY OF BASIC TERMS

Achromatic colors- colors that have no color tone and differ from each other only in lightness.

Shiny surfaces– surfaces that have reflections that appear differently bright from different directions.

Perception– a subjective image of an object, phenomenon or process that directly affects the analyzer or system of analyzers (the terms “image of perception”, “perceptual image” are also used); the process of formation of this image (the terms “perception”, “perceptual process” are also used).

Expressiveness- the quality of a work of art associated with the artist’s ability to sharpen, emphasize what is characteristic of the depicted phenomenon, and concentrate it in order to influence the viewer.

Harmony(from the Greek “harmonia” - “connection”, “harmony”, “proportionality”).

Color harmony- a natural combination of colors on a plane, in space, causing a positive psychological assessment, taking into account all their main characteristics: color tone, lightness, saturation, shape, texture and size. The following signs of color harmony are distinguished: connection, unity of opposites, measure, proportion, balance, clarity of perception, sublime, beautiful, expediency, order.

Dominant(from Latin “predominance”, “dominance”) color is the predominance of any color in a work, chosen for certain purposes. For example, to create and convey mood, time of day, season. The dominant color affects the viewer together with the composition.

Decorativeness- a qualitative feature of a work of art, determined by its compositional, plastic and coloristic structure.

Color dynamics– this is a relationship of growth, intensification of some quality of color.

Color vision, color perception– the ability of the eye to distinguish colors, that is, to sense differences in the spectral composition of visible radiation and in the color of objects.

Irradiation – an apparent change in the area of ​​a color spot surrounded by a background that differs in lightness from the spot.

Coloristics(from the Latin “Color” - color) is a branch of the science of color that studies the theory of the use of color in practice in various fields of human activity.

Color(Italian "Сolorito", from Latin "Color" - paint, color) - a system of color tones, their combinations and relationships in a work of art, forming an aesthetic unity. Color is the most important component of an artistic image. Color is one of the means of artistic expression in a work of art, since it reflects the individuality and inner state of the artist, his emotional and aesthetic attitude towards the subject of the image. The following main types of color are distinguished: whitened, blackened, muted, saturated.

Combinatorics(from Latin “to connect”) – a type of exercise in which various combinations are made up of given elements (for example, colors) according to certain conditions

Constancy of perception– the tendency to perceive an object, its size, shape, lightness, color as stable and unchanging, regardless of changes occurring to it (distance from the viewer, changes in lighting, environmental influences, etc.).

Contrast(from the French "contraste") - a sharply expressed opposite. Contrast– a comparison of two opposing qualities, contributing to their strengthening. Contrast– a measure of induction (see induction), i.e. a measure of the difference between colors. Great contrast - great influence of colors on each other. The greater the contrast, the greater the induction. Contrasts are divided into two types: achromatic and chromatic (color). A dark spot next to a light one appears even darker, and vice versa, a light spot appears lighter when adjacent to a dark one (achromatic contrast). If you place two complementary colors next to each other, their color saturation will be more intense (chromatic contrast).

Color circle– a color system in which the color variety is ordered on the basis of an objective pattern. It can be used as a tool for approximate calculation of the results of color mixing, to determine the intervals between colors when selecting combinations.

Local color- a color characteristic of a given object (its color) and has not undergone any changes. In reality this does not happen. The color of an object constantly changes somewhat under the influence of the strength and color of lighting, the environment, spatial distance, and it is no longer called local, but conditioned. Sometimes local color does not mean an object color, but a homogeneous spot of a conditioned color, taken in basic relationships to neighboring colors, without revealing a mosaic of color reflexes, without nuances of these main spots.

Matte surfaces– surfaces that diffusely reflect light, appearing equally bright from different directions

Modeling– in fine arts: the transfer of volumetric-plastic and spatial properties of the objective world through light and shadow gradations (painting, graphics) or the corresponding plasticity of three-dimensional forms (sculpture and relief). Modeling is usually carried out taking into account perspective, but in painting, with the help of color gradations inextricably linked with chiaroscuro.

Color saturation– the degree of difference between a chromatic color and an achromatic color of equal lightness, measured by the number of discrimination thresholds n from a given color to an achromatic one.

Nuance(French "nuance" - "shade", "transition") - a subtle transition of one color tone to another, one light-and-shadow gradation to another. A combination of shades (nuancing) is used to achieve a more subtle modeling of the image object.

Simultaneous Contrast– color change under the influence of surrounding colors.

Primary colors– three colors (red, green and blue). By mixing these three colors you can get the most saturated colors of all other color tones.

Color relationships– these are quantitative differences between colors in all their characteristics, in all their properties (in brightness, hue, saturation, density, etc.).

Hue– slight differences in paints in lightness, saturation and color tone.

Surface color– color perceived in unity with the texture of the object; as a rule, it is almost always the foreground color. Surface color allows you to display the surface properties of an object with the greatest reliability.

Border contrast– color contrast observed along the edges of contact of color spots.

Planar color- belonging to any surface, the texture features of which are not felt by the eyes. For example, the color of the wall in the background.

Sequential Contrast– a change in color as a result of prior exposure to other colors on the eye.

Spatial color– a textureless color that characterizes subject-spatial situations. For example, the color of distant objects and environments (sky, water), plein air painting, values.

Purple colors- colors obtained from mixing extreme spectral colors - red and violet.

Balance of color spots– this is their ratio that gives the impression of stability of the entire color structure.

Rhythm– uniform arrangement of dimensional elements, order, combination of lines, volumes, planes of color shades. Rhythm- This is one of the features of the compositional structure of works. The simplest type of rhythm is a uniform alternation or repetition of any parts (objects, shapes, color spots, etc.). In works of art, the manifestation of rhythm can be more complex. Here it often helps to create a certain mood in the picture, thanks to it greater integrity and consistency of the parts of the composition are achieved, and its impact on the viewer is enhanced.

Color range is a sequence of colors that has at least one characteristic in common, and the rest vary. The following types of series are distinguished: series by brightness (lightness); series by saturation (purity); rows by color tone.

Light- radiant energy perceived by the eye, making the surrounding world visible. Light– electromagnetic wave motion.

Lightness– the degree of difference between a given color and black, measured by the number of discrimination thresholds n from a given color to black. Lightness- This is a sign that defines a color as light or dark. On the color wheel, the lightest color is yellow, and the lightest color is violet.

Synesthesia(from the Greek “synaisthesis” - “co-sensation”) is a phenomenon of perception when, when a given sense organ is irritated, along with sensations specific to it, sensations corresponding to other sense organs also arise. For example, when listening to music, a sensation of color arises, or when observing color, some sounds, tactile or taste sensations, etc. are imagined.

Range– a sequence of colors into which the luminous flux passing through a prism is decomposed. First obtained by I. Newton.

Static color- a special case of equilibrium, which is characterized by a complete stop of movement, a state of rest or immobility.

Warm colors– colors are red, red-orange, orange, yellow-orange, yellow and yellow-green.

Color tone- the quality of a color in relation to which this color can be equated to one of the spectral or magenta colors. Hue is the quality of a color that allows it to be named (red, blue, etc.). It is measured by the wavelength of radiation predominant in the spectrum of a given color. Achromatic colors have no hue.

Texture(Latin "faktura" - "processing", "structure") - the nature of the surface of a work of art, its processing.

Cool colors– colors are blue-green, blue, blue-blue, blue and blue-violet.

Chromatic colors- colors that have a color tone, these include all spectral and many natural colors.

Color- a sensation that occurs in the human organ of vision when exposed to light. Color– the property of any material objects to emit and reflect light waves of a certain part of the spectrum. Color(from the Latin “color” - “color”) is one of the main means of fine art, which, in unity with lightness, conveys the material properties, (qualities) of the objective world.

Flower science is a complex science of color, including a systematized set of data from physics, physiology and psychology and related ones, studying the natural phenomenon of color, and a set of data from philosophy, aesthetics, theory and history of art, ethnography, philology, theory and history of literature, studying color as cultural phenomenon. The range of sciences on which color science is based is expanding; over time, chemistry, biology, pedagogy, etc. are added to it.

Color composition- this is a combination of color spots on a plane, in space, organized in a certain pattern and designed for aesthetic perception. There are four types of color compositions:

ü polar, which is built on two contrasting or complementary colors;

ü tricolor, in which three chromatic colors are the main ones;

ü multicolor, which is built on four or more colors.

Color Purity– the share of pure spectral in the total brightness of a given color. The purest colors are spectral. In relation to paints, color purity is defined as the proportion of pure pigment of a given color in a paint mixture.

Equal-step color scale- a series of tonal transitions that proceed according to the degree of uniform increase or decrease of any color quality.

Purkine effect– a change in the relative brightness of colors as lighting increases or decreases.

– At very high brightnesses (corresponding to direct sunlight in southern latitudes), the color tone is preserved without significant changes only in yellow and blue, the rest “fade”.

– Normal brightness spectrum (corresponds to diffuse daylight). All colors are clearly visible.

– With severe darkening, only three primary colors are distinguished: red, green and blue.

I made a note on coloring for myself, so as not to forget. I tried to shorten it as much as possible, so I ended up with a lot of smart words. The outline is not complete, but somehow I can’t get around to finishing it. If anyone wants to add something, don't hesitate.

Color is the result of the interaction of three components: light source, object And observer. The observer perceives the wavelengths of light emitted by the light source and modified by the object.
Light, visible to humans, is a small part of the light spectrum of electromagnetic waves.

Light waves themselves have no color, but different wavelengths are associated with specific colors.
Color order unaltered- from short-wave range (violet) to long-wave range (red) or vice versa. Wavelengths slightly longer than red light occupy the infrared (IR) range. Waves shorter than violet are the ultraviolet (UV) range.
Items on their own have no color, he appears only when they lighting.

A person perceives two types of color: color of the glowing object(color of light or additive color) and color of light reflected from an object(pigment color or subtractive color).

Basic or primary colors are colors that can be mixed to obtain all other colors and shades. Mixing type ( additive or subtractive) defines the primary colors.
Additional or complementary colors (located opposite each other on the color wheel) are pairs of colors that, when mixed additively, produce white, and when mixed subtractively, gray or black. For RGB colors, CMY will be complementary (and vice versa). Each color can be contrasted not with one contrasting (complementary) color, but nearby a couple, which forms it.

The given scheme of primary colors only works for computer graphics systems. Traditional artists the main colors are considered red, yellow and blue. Colors obtained by mixing primary colors are called composite(green, orange, purple). The sum of the composite colors will produce brown.

Additive mixing- (from the English add - add, i.e. addition to black of other light colors) or RGB(Red, Green, Blue) is a color synthesis method in which the primary colors are additive red, green and blue. In this system lack of flowers gives black colors adding all colors — white. The choice of the main three colors is determined by the physiology of the retina of the human eye.
Subtractive mixing(from the English subtract - subtract, i.e. subtraction colors from a common beam of reflected light) or CMY(Cyan, Magenta, Yellow) is a color synthesis method in which the primary colors are subtractive cyan, magenta and yellow. The color model is based on the absorption properties of the ink. In this system lack of flowers gives white color (white paper), and mixing all colors- conditionally black(in fact, printing inks, when mixed with all colors, give a dark brown, and to give a truly black shade, add black key ink - Key color). It has a small color gamut compared to RGB.

The RGB and CMYK color models are theoretically additional to each other, and their spaces are partially overlap.
CIE LAB color model (or Lab). In this model, any color is determined brightness"L" (Luminance) and two chromatic components: parameter “a” (varies from green before red) and parameter “b” (varies from blue before yellow). Colors developed within this model will look the same both on screen and when printed, regardless of the type of playback device. Possesses the largest color gamut.

Color properties:

Color tone or shade ( Hue) - a set of color shades, similar with the same spectrum color.

Saturation (Saturation) - degree fadedness.

Lightness (Lightness) — degree of closeness of color to white.

Brightness (Brightness) — degree of closeness of color to black.

Chromatic colors - all colors except achromatic. They have all three properties.
Achromatic(“colorless”) colors - white, shades of gray and black. The main property is lightness.

Spectral colors are seven key colors of the spectrum.
Non-spectral colors (colors, not included in the color spectrum) - This shades of gray, colors mixed with achromatic colors (for example: pink, like a mixture of red and white), brown And purple colors(Magenta).

Itten color wheel:

MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION OF HIGHER PROFESSIONAL EDUCATION

"UFA STATE UNIVERSITY OF ECONOMICS AND SERVICE"

(“UGUES”)

DEPARTMENT OF PHYSICS

Dolomatov M.Yu., Shulyakovskaya D.O., Kismereshkin S.V., Eremina S.A.

METHODOLOGICAL MANUAL FOR PERFORMING LABORATORY WORK IN THE COURSES “COLORISTICS”, “COLORISTICS”

RIO UGUES

UDC 677.027.001.5(035)

M.Yu. Dolomatov, D.O. Shulyakovskaya, S.V. Kismereshkin, S.A. Eremina Methodological manual for performing laboratory work in the courses “Color Science”, “Coloristics”. Toolkit. Ufa: RIO Ufimsk. state University of Economics and Service, 2015 – 56 p.

The methodological manual provides guidance on performing laboratory work in the courses “Color Science” and “Coloristics” for university students in such specialties as chemical technology, design, computer graphics and computer design, printing, textile industry, dye and pigment technology. Laboratory work is devoted to the practical development of the basic laws of optics and color theory. The methodological manual includes a brief theoretical foundation for the study of color measurement systems and recommendations for conducting studies of painted objects, textile materials, printed products, analysis of contrast and achromatic color limits.

Reviewers

SHAPIRO S.V., DR. technical sciences,

Professor of the Department of Physics

Dolomatov M.Yu., 2015

Ufa State University of Economics and Service, 2015

Laboratory work No. 1. CHECKING GRASSMAN'S FIRST LAW USING A GRAPHIC EDITOR. COLORIMETRIC SYSTEMS RGB AND XYZ ON SAMPLES OF PRINTING PRODUCTS... 4

Laboratory work No. 2. ACHROMATIC LIMITS OF COLOR....................................
Laboratory work No. 3. STUDY OF OPTICAL CONTRAST BY
COLOR, BRIGHTNESS, SATURATION.................................................... ........................
Laboratory work No. 4. CALCULATION OF COLOR CHARACTERISTICS
TEXTILE MATERIALS IN THE XYZ COLORIMETRIC SYSTEM .. 18
Bibliography................................................ ........................................................ ..........
Questions to prepare for the test................................................................... ......................................
Topics for abstracts........................................................ ........................................................ .........
Annex 1.	Color graph (locus) of the XYZ system for equal-energy
source E ..................................................... ........................................................ ......................
Appendix 2.	Color circle................................................ .........................................
Appendix 3.	Color graph (locus) of the XYZ system.................................................... ...

Laboratory work No. 1. CHECKING GRASSMAN'S FIRST LAW USING A GRAPHIC EDITOR. RGB AND XYZ COLORIMETRIC SYSTEMS ON SAMPLES OF PRINTING PRODUCTS

Goal: Check Grassmann's first law. Explore RGB and XYZ colorimetric systems

1. Determine the color compositions of the object under study using the Microsoft Paint graphic editor.

2. Determine the brightness of colors using the Microsoft Paint graphic editor.

Brief theory

Grassmann's laws

As a result of the study of additive color mixing by the great German mathematician G. Grassmann, the founder of modern algebra, three laws of color formation were formulated in 1856.

First law. Any four colors are linearly related, although there are an unlimited number of linearly independent sets of three colors (triads). In other words, each color can be expressed through three linearly independent colors, and the number of triads of linearly independent colors is infinitely large.

Linearly independent colors are three colors, each of which cannot be obtained by mixing the other two.

In this laboratory work, linearly independent colors F1, F2, F3 will correspond to red (R - red), green (G - green) and blue (B - blue) colors, respectively. In our case, law (1.1) can be written:

also a continuous change in the component colors.

This law makes it impossible for any separate color to exist that is not directly adjacent to the colors of the mixed radiations.

Third law. The color of the mixture depends only on the colors of the components being mixed and does not depend on their spectral compositions.

The component colors of triads can also be complex, but this does not play a role in the formation of a complex color. From this law it follows: if each of two colors mixes with a third, then regardless of the spectral composition of the radiation of these two colors, the resulting color in both cases will be the same.

Exceptions to Grassmann's laws:

1. Not possible for colors of different lightness and saturation.

2. It is not feasible in powerful monochromatic radiation, for example, in laser radiation.

3. This cannot be done if the surface of the material reacts chemically with dyes.

4. This cannot be done if the fluxes of added radiation cause photochemical changes in the surface of the materials.

5. This cannot be done if the dyes or pigments chemically interact with each other. Grassmann's laws have a physiological basis. Human color vision is related to

the presence of three types of cells - cones in the retina of the fundus. These cones contain pigments whose spectral sensitivity maxima correspond to 450 nm (blue), 550 nm (green) and 630 nm (red). All diverse colors are perceived by a person through mixing the radiation of these three components in various proportions. For example, to obtain the color orange, it is not necessary to reproduce its tone - a wavelength in the electromagnetic spectrum. It is enough to create a total spectrum of radiation that excites the cones of the retina in the same way as the color orange.

Grassmann's laws are the theoretical basis of modern colorimetric and computer color measurement systems.

RGB colorimetric system

The RGB color model describes emitted colors and is the basis for computer color systems. There are three basic radiations - red, green, blue

(from English, German red, rot - red; green, grun - green; blue, blau - blue, light blue).

In the RGB model, all colors are expressed as the result of additive mixing of red, green and blue in varying proportions. The RGB color system (1931) uses Maxwell's triangle (Fig. 2.1). Maxwell's triangle is an equilateral triangle, at the vertices of which lie color streams corresponding to the primary colors.

Properties of Maxwell's triangle of the RGB system:

1. The vertices of the triangle correspond to the three primary RGB colors.

2. At the vertices of the triangle there are sources of red, green and blue radiation with the following characteristics: R =700.1 nm, G =546.1 nm, B = 435.8 nm. In this case, the red color is highlighted by a red filter from the spectrum of a tungsten incandescent lamp; green corresponds to the e line in the spectrum of a mercury lamp; blue - g lines in the spectrum of a mercury lamp.

3. All colors that can be obtained by mixing primary colors, in accordance with Grassmann's law, lie on the sides and inside the Maxwell triangle.

4. The white area on the triangle corresponds not only to the center of gravity of the triangle, but also to the equal contributions of green, blue and red.

Rice. 1. - Maxwell's triangle as the basis of the RGB system

Maxwell's color triangle allows you to quantify the effect of mixing any dyes and any monochromatic and complex color rays. The largest area that can be covered in a triangle for image transmission corresponds to computer monitors and color television. The lowest color transfer capability corresponds to dyes, printing inks and textile dyes. In personal computers, one octet of 8 bits (R, G, B) is used to transmit color, the values ​​of which are designated by integers from 0 to 255 inclusive. All popular design packages are built on this basis of color reproduction, in particular, Microsoft Paint, Adobe Photoshop, CorelDraw, etc. For example, black corresponds to a combination of numbers - (0,0,0), white -

(255, 255, 255), bright orange (242, 105, 53), rich yellow (222, 211, 33).

Calculation of the color module m=R+G+B and three-color chromaticity coordinates in the system

r = R/m; g = G/m; b = B/m.

A disadvantage of the RGB system is that the system's addition curves have negative sections (negative amounts of primary colors), which creates difficulties in calculating a number of spectral colors. In this regard, in 1931, the CIE adopted the XYZ system as a color measurement standard, which did not have the disadvantages of the RGB system.

XYZ colorimetric system

Conventional color coordinates X, Y, Z were introduced. Unlike the chromaticity curves of the RGB system coordinates, all color coordinates were positive, so color calculations were simplified.

Instead of Maxwell's triangle, the XYZ system uses a transformed color triangle with a more convenient shape to represent color (Figure 2).

Rice. 2 - Color graph (locus) of the XYZ system for an equal-energy source E. It is possible to switch from the RGB colorimetric system to XYZ and back

according to the transformation known in colorimetry:

colorimetric system is sRGB. The conversion of color coordinates from the sRGB colorimetric system to XYZ is presented below:

Basic color characteristics

According to modern ideas, color is determined by:

the ratio of the reflective and absorbing ability of the surface and the chemical nature of the pigments with which the surface is coated;

properties of radiation sources;

human color vision.

Despite the versatility of color phenomena, in modern colorimetry chromatic colors are characterized by three main colorimetric properties: hue (λ), purity or saturation (P), brightness (B) or lightness (L). Brightness is determined to characterize the color of luminous bodies, lightness (or relative brightness) - to characterize the color of non-luminous bodies. Let's consider these values ​​in more detail.

A color similar to that of any complex radiation can be obtained by mixing a certain monochromatic radiation with white light.

The color tone of a chromatic color is the wavelength of such monochromatic radiation, the mixing of which in a certain proportion with white provides a color that is visually identical to the given one. . The color tone can be determined using the color wheel (using a protractor), and the color tone will be expressed in degrees.

Purity (saturation) is a colorimetric value that shows the degree of expression of a color tone in a given color. Color purity P as a percentage equal to the ratio of the brightness of monochromatic radiation ( In λ ) to the sum of the brightness of monochromatic radiation and a beam of white light ( V B):

		WB

Monochromatic colors have the greatest purity (100%); achromatic colors have a purity of zero.

Work plan

1. In the group folder, create your own folder named “Last Name First Name”. Copy the Van Gogh painting to a new folder according to your option.

2. Open the Microsoft Paint graphic editor: Start→All Programs→Accessories→Paint.

3. Open a file with a picture: Menu→Open→Specify the path to your folder.

4. Determine the color composition in the painting.

Select any color, hover the mouse cursor over it and left-click. Open Palette from the menu. In the Palette window, click the “Define Color” button. Click the “Add to set” button (see Fig. 3).

5. Enter the values ​​opposite the items Red (R), Green (G), Blue (B) and Brightness (Br-Brightness) into the summary table. The values ​​of R, G, B and will be the contribution of each color to

the resulting color according to Grassmann's first law. Otherwise, these values ​​are called

color coordinates.

7. Convert color coordinates from the sRGB system to the XYZ system. For the transition we use the known relations:

X = 0.4124R+0.3576G + 0.1805B;

Y = 0.2126R + 0.7152G+ 0.0722B;

Z = 0.0193R +0.1192G + 0.9505B.

Pivot table example

Name

Note: the image should be made with colored pencils or paints; Name the flowers yourself.

Rice. 3 - Palette window

10. Repeat points No. 4-No. 7 for 8-10 for the colors that, in your opinion, are the main ones in this picture.

Structure of the report on the work performed: number of laboratory work, topic, purpose, objectives, brief theory, summary table with data for 8-10 main colors of the picture, conclusions on laboratory work.

Control questions

1. What colors from the red-green-blue triad can be added to produce yellow? You can use the palette to answer.

2. How, in your opinion, can the skills acquired in this laboratory work in determining the composition of color using a graphic editor be applied in practice?

3. What are the red, green, and blue coordinates for color #5 from your table?

Laboratory work No. 2. ACHROMATIC LIMITS OF COLOR

Purpose: Study of the achromatic limit of color

Tasks:

1) Study of the achromatic limit of black using the Microsoft Paint graphic editor.

2) Study of the achromatic limit of white color using the Microsoft Paint graphic editor.

Brief theory

Color depends on surface properties and radiation properties. The color radiation that is absorbed by the surface is called the primary one. The color of the reflected radiation is called complementary. The primary color is related to the secondary color in the same way as absorption and reflection. All colors are divided into two groups - chromatic and achromatic. Achromatic - all black and white colors. Gray colors are formed by mixing black and white in various proportions. In gray, the opposite optical characteristics of white and black colors are compensated, therefore, it is a neutral, equilibrium color. There can be an infinite number of gray color options. The trained human eye perceives up to 300 shades of gray from this infinite variety.

According to the law of conservation of energy, the incident radiation flux J is divided into four component fluxes - absorbed J A, reflected J R, transmitted J T, and for optically inhomogeneous bodies, scattered J S:

J=JA + JR + JT + JS

Based on relation (1), we will consider various cases of the formation of achromatic color.

All radiation incident from the radiation source is absorbed by the body (black color).

In this case, the input light flux is equal to the absorbed one (J=J A), the remaining fluxes are negligible - and the condition is satisfied:

JR +JT +Js =0 .

Since we perceive with our eyes the light emitted or reflected by the body, such a body will be invisible. This is the case of a completely black body. There is a paradox that completely black bodies should be invisible. To make an object invisible, it must be coated with absolutely black dye, but this is already in the realm of science fiction. However, such bodies exist in nature. In the 90s In the 20th century, using an X-ray telescope, astrophysicists discovered such completely black objects and called them “black holes.” Black holes are very massive, but small in volume stars with enormous density that attract light (draw rays into themselves). Such objects can be detected indirectly - they are visible only in the X-ray range of the spectrum, due to atoms falling on them (atoms falling on such an object emit X-rays). In the earthly world around us, there are apparently no absolutely black objects. All bodies that absorb more than 90% of light appear black. For a long time, black velvet was considered the blackest material on Earth, absorbing 99.6% of light. According to the Washington Post on February 20, 2008, a technical breakthrough has been made in the creation of ultra-black optical materials. A group of researchers from Rice Polytechnic University (USA) led by Sean-Yu Lin and Pulikel

By working on a still life in watercolor, students become familiar with the basics of painting. As one of the types of fine art, painting conveys all the diversity of the world around us (light, space, volume, etc.) on a plane with the help of color, thereby differing from graphics, where the means of expression are stroke, line, spot, chiaroscuro, and color plays a limited, auxiliary role. Sometimes, due to the specificity of the technique and some conventionality of the techniques, watercolor is classified in the field of graphics. It's hard to agree with this. At the beginning of mastering this technique, the student, when painting a still life in watercolor, should set himself only painting tasks. The choice of watercolor at the first stage of introducing a student to painting is not made because of the ease of technical and technological tasks, but simply because of the availability of materials. So that from the very beginning painting classes are not amateur in nature, it is necessary knowledge of the basics of color science.

Color- one of the signs of any object. Along with the form, it determines the individuality of the object. When characterizing the surrounding objective world, we mention color as one of its main features.

The ancient Greeks tried to comprehend color. In 450 BC. e. Democritus wrote: “In perception there is sweetness, bitterness, heat and cold, as well as color. In reality there are atoms and emptiness.”

The concept of color is usually considered in three aspects: physical-technical, psychobiological-physical and psychological.

The first who tried to explain the nature of color and light were philosophers. “Light is not fire, nor any body at all, nor an outflow from any body, no, light is the presence of fire or something similar in the transparent,” wrote Aristotle. Particular interest in the doctrine of color arose in the first half of the 17th century, when philosophical concepts were replaced by physical ones based on experiments and experiments. Having created the corpuscular theory of light, the great English physicist Isaac Newton explained the different colors of radiation by the presence of corpuscles that made them up. Explaining his theory, Newton considered colors not as qualities, but as the original properties of light, which differ from each other due to different refraction. He wrote: “The kind of color and degree of refrangibility inherent in each particular kind of rays are not changed either by refraction, or reflection, or any other cause that I could observe.” At the beginning of the 19th century. Research by O. Fresnel, J. Foucault and other scientists confirmed the advantage of the wave theory, which was put forward in the 17th century. R. Hooke and H. Hugens, Jesuit Ignatius Gaston Pardee, in front of the corpuscular. In March 1675, Hooke, speaking at the Royal Society, stated: “Light is an oscillatory or tremulous motion in a medium... originating from a similar motion in a luminous body, like sound, which is usually explained by the tremulous movements of the medium conducting it, caused by the tremulous movements of the sounding bodies. And just as in sound proportional vibrations produce various harmonics, so in light various strange and pleasant colors are created by the mixture of proportional and harmonic movements. The former are perceived by the ear, the latter by the eye.”

But even to this day it is not yet clear why light exhibits wave properties in some phenomena and corpuscular properties in others.

The German physicist M. Planck, and then Einstein, Bohr and others, discovered that light is emitted not in the form of waves, but in the form of certain and indivisible portions of energy, which were called quanta, or photons. Photons of different energies represent different colors of light.

The quantum theory created now seems to unite the wave and corpuscular properties of light, since they are the natural qualities of all matter. Every wave has corpuscular properties, and every particle of matter has waves.

Experimenting with glass prisms, Newton in 1672 separated white light into individual spectral colors. These colors smoothly transition into one another, from red to purple. The decomposition of white color in any medium, called dispersion, is its division into different wavelengths. Between violet and purple-red, i.e., the extreme colors of the spectrum, there are approximately 160 different color shades. The invisibility of transitions from one color to another makes it difficult and complicated to study their properties. Therefore, the entire spectrum is usually divided into six or eight intervals, which correspond to red, orange, yellow, green, blue and violet, with variations of yellow-green, light and dark blue.

The color of an object occurs due to selective absorption, i.e., the absorption of selected wavelengths by the object. If we look at the red drapery through green glass, it will seem black to us. Why? Red reflects mainly red rays and to a lesser extent orange and yellow. Everything else is absorbed. Green glass absorbs red rays, and all the rest have already been absorbed by red rays.

Therefore, the drapery will appear black. Any object absorbs all colors except its own, which makes up its color. If you look at the red drapery through red glass, it will be perceived very intensely, richly. On the contrary, when illuminated by any other color sources, it can be seen as orange and even brown.

The intensity of light depends not only on the amount of radiant energy, but also on its color quality. In addition, the intensity of light is determined by the reaction of the eye to radiation, which is associated with psychophysiology, i.e., a person’s subjective sensations.

Only the sensitivity of the eye can measure light and color sensations. This measurement and perception of color is complicated by the fact that there is no equality between the degree of sensitivity to individual, monochromatic rays and the magnitude of their energy. The distribution of energy across the spectrum and the distribution of light flux intensity do not coincide.

The main parameters of color are hue, saturation and brightness.

Color tone is the quality of chromatic color that distinguishes it from achromatic color. This is the main characteristic of chromatic color. Achromatic flowers have no hue. In other words, hue is the difference in color across wavelengths.

Saturation- this is the full expression of the color tone. The more the color differs from achromatic, the more saturated it is. Saturation is the purity of color. By whitening a color, we reduce its saturation.

Color brightness- this is his lightness. It is determined by the ratio of the number of reflected rays to the number of incident ones.

Thus, color is expressed by qualitative characteristics (hue and saturation) and quantitative characteristics (brightness). To accurately characterize hue, color saturation, and brightness, it is necessary to measure them. You can measure visually, but it will be inaccurate.

In addition to the seven primary colors of the spectrum, the human eye, at an average brightness level, can distinguish 180 color tones, including 30 purple ones, which are not in the spectrum, but are obtained by mixing blue and red tones. In total, the trained eye of an artist distinguishes about 10 thousand color shades. The maximum sensitivity of the eye in daylight occurs at radiation with a wavelength of 553-556 nm, which corresponds to the yellow-green spectral color, and the minimum sensitivity is at the extreme wavelengths of the visible range, which are red and violet light. This effect is observed only at the same radiation energy power.

Human vision is the most difficult problem for science. It includes not only purely physiological, but also psychological issues. Having a vague idea of ​​the anatomy of the eye and seeing that the eyes of some animals glow in the dark, ancient scientists put forward a peculiar theory. According to it, a person sees because of the light emanating from the eye. A ray of light, leaving the eye and “feeling” the object, comes back into the eye. Euclid called it a light ray. Leucippus and Democritus put forward their own version of the theory of vision. They argued that rays emanate from every object, which consist of tiny particles - corpuscles. Thus, each object sends peculiar “image rays” to our eye. Aristotle developed this theory by arguing that when we look at an object, we perceive some movement. We see the world around us due to the interaction of two ways: “the light of the eyes” and the “rays-images” of objects, said Plato. In the 13th century In Western Europe, interest arose in the achievements of Arab science. Scientific works of the Arabs were translated, in particular, a translation was made of the book “Optics” by the largest optician of the Arab East, Ibn al-Haytham (Alhazen, 965-1039). Ibn al-Haytham argued that the image of an object is formed in the lens and that the eye consists of liquid and crystalline media. Even if the eye emits light, he wrote, the eye still perceives rays coming from outside. Why do people's eyes hurt when they look at the sun? Apparently, the human eye receives something coming from the object. He is, as it were, a receiver of radiation, wrote Ibn al-Haytham.

This theory existed until the 17th century, after scientists discovered the cornea and retina of the eye. In 1630, X. Scheiner’s book “The Eye is the Basis of Optics” appeared, which described experiments with dissected bovine and human eyes. Based on these experiments, it was proven that an inverted image is formed on the retina.

Modern scientists have proven that the human eye consists of three color-sensing nervous apparatuses, consisting of cones that can be excited and transmit three types of color excitations to the brain - blue, green and red. Receivers of color information are the cones of the retina, sensitive to red, green and blue colors. The foundations of this theory were laid by M.V. Lomonosov in the middle of the 18th century. Further physiological research, in particular by Thomas Young at the beginning of the 19th century, confirmed and developed it.

But each of the three centers reacts differently to the color of the daylight spectrum. From what has been said above about the maximum sensitivity of the eye, we can conclude that in the yellow-green range of the spectrum, a lower intensity of light is needed compared to violet and red for the eye to perceive the same brightness of colors visually. If you take a color in isolation and observe it, you can conclude: the fewer impurities it has, the purer it is, the closer it is to the spectral, the more beautiful it is. Light falling on an object can affect the color of the object. Some minerals classified as precious or semi-precious stones change color. When illuminated by daylight, alexandrite is green in color, and when illuminated by an incandescent lamp, it is red. Looking at paintings by old masters who used the glazing technique, we often see luminous pieces of painting, especially if the surroundings are subdued. The color will be less saturated but lighter if the reflection area is wider. And, conversely, with a narrow reflection band, the color appears saturated, but also darker. Therefore, paintings in cold and warm colors look different in different lighting.

A person sees everything, including color, in comparison. The influence of one color on another leads to different color effects. If we consider the characteristics of the spectral sensitivity of the eye in daylight and twilight (weak), then the maximum of bright light occurs at a wavelength of 556 nm, and of weak light - 510 nm. Moreover, in the first case, a person has cone vision, and in the second, rod vision. This feature is called the “Purkinje effect” in honor of the Czechoslovakian scientist J.E. Purkinje, who established this dependence. The red-orange region of the spectrum darkens and the green-blue region brightens under the same conditions. Anyone can test this effect by looking at a bouquet of flowers in daylight (sunlight) and moonlight. The maximum sensitivity of the eye during daytime and twilight vision changes more than 250 times.

We are convinced that... the younger generation of architects will confidently resort to one or another color scheme when solving a problem on the basis of completely scientific data that can be accumulated by the combined efforts of psychophysiologists, colorists, production workers and architects.

M. Ginzburg

1.1. Color in various scientific disciplines

Color science is a comprehensive science about color, including a systematic set of data from physics, physiology and psychology about the natural phenomenon of color, as well as data from philosophy, aesthetics, art history, philology, ethnography, considering color as a cultural phenomenon.

Coloristics is a branch of color science that studies the patterns of use of color in various areas of human activity, where color is used as one of the expressive means that shape the architectural and spatial environment. Colorism is thought of as a color environment or polychromy of objects that form it, which satisfy a person aesthetically and utilitarianly, in contrast to a spontaneously arising color environment. This understanding allows us to talk about the color scheme of a city, an architectural ensemble, or a separate work of architecture, most often as the results of a professional action *.

Problems of color and coloristics have interested scientists since ancient times. A number of scientific disciplines (philosophical, natural sciences and humanities) study color in certain aspects. Thus, physics is primarily interested in the energetic nature of color; physiology - the process of perception of light by the organs of vision and its transformation into color; psychology - problems of color perception and its impact on the human psyche, the ability to evoke various emotions; biology - the meaning and role of color in the life of living organisms and plants; mathematics is carried out

quantifies colors and determines the color tone and saturation of the required color using the corresponding coordinates of color graphs (colorimetry); chemistry studies the properties of substances and their compounds to develop dye formulations that are adequate to the required colors and their combinations and mixtures; philosophy considers color within the framework of the metaphysics of light; aesthetics explores the laws of harmonization of color combinations from the position of certain ideals of social consciousness in accordance with the measure of a person, the measure of a thing harmonized by color, and the measure of the environment in which the object functions and is perceived.

In the modern world, there are a number of scientific disciplines that study the role of color in narrower spheres of human activity, for example, printing, criminology, etc. The set of such sciences is defined as color science. By integrating knowledge gained from color science, coloristics provides the architect and designer with a certain set of techniques and means for displaying the compositional concept in color.

1.2. Understanding color in the process of human development

A person’s attitude towards color changed depending on the level of development of the material, spiritual and artistic spheres of society. The gradual transition from mythological consciousness to scientific knowledge about the nature of color phenomena was important for understanding the role of color.

IN The history of systematization and classification of colors can be distinguished into two large periods: the first - pre-scientific - from prehistoric times to the end of the 16th century, the second - scientific - from the 17th century. until now .

IN the first period, the basic human concepts of color were developed

And The main traditions of using color in all types of life arose. Thus, primitive people identified colors with the most valuable substances and vital elements for them (blood, milk, fire, earth), which corresponded to red, white and black. Colors and paints were very important elements of magical rituals: color served as a word that generates or kills, good or evil. The mythological thinking of prehistoric society will be inherited by the first civilized states. With the development of agriculture and cattle breeding

And With the formation of the pantheon, others were added to the main colors. For example, the ancient Greeks and Chinese had yellow, the Chinese and Egyptians had blue as the color of the sky, and all peoples had green as the color of vegetation. Color was assigned to each of the host of gods. At the same time, not only the clothes, but also the bodies had their own color.

More complex social relations and the development of science in the era of an-

tism made changes to the classification of colors and the rules of their combinations: colors began to be divided into noble and low, cultural and barbaric, dark and bright. People increasingly began to realize beauty as such, and the concept of harmony became the most important category. At this time, a division appeared into the colors of architectural polychrome and the colors of painting. Besides,

There was also a classification of color based on mythological tradition. In accordance with ancient mythology, colors were highlighted that symbolized the elements, light and darkness.

The Christian religion and its dogmas in medieval Europe divide colors into “divine” and “godly”: the first are the main, revered and beautiful, the rest are secondary, or despised. The “divine” colors included golden, red, blue, white, green, purple; gray, brown, many mixed colors were considered everyday and prosaic.

IN In the countries of the Middle East, Islam had a great influence on the classification of colors. In accordance with the Koran, which contains the tenets of the Islamic faith, the principles of philosophy, ethics and aesthetics, noble, beautiful colors included white, gold, red, blue, green, and pearl. Other colors were considered ugly. The ideal of Islamic culture is the Garden of Eden, so mausoleums, tombs, temples (mosques), and theological schools (madrassas) were decorated with floral patterns.

IN the Renaissance era in Europe became widespread

And medieval color classifications, supplemented by Leonardo da Vinci. His color system was based on the painter's minimal palette. He identified yellow, blue, and red as the four main colors in nature.

And green . In the depths of the culture of the Renaissance, the emergence of an objective physical-optical knowledge of color and color vision. At the end of the 16th century. In connection with the development of natural sciences, the phenomenon of color migrated from philosophical works, where it occupied an unenviable place, to the laboratories of physicists, who “took it apart piece by piece” using the methods of experimental mathematical natural science.

From the middle of the 17th century. ideas about the nature of color change. The foundations of modern scientific concepts about color were laid by I. Newton in his work “A New Theory of Light and Color” published in 1672. Newton was the first to divide the science of color into two parts - objective (physical) and subjective, associated with sensory perception. He established that sunlight has a complex composition and consists of radiation with different refractive indices, and that homogeneous radiation cannot change its original color, no matter what transformations it undergoes. Having obtained the solar spectrum and explained its nature, Newton laid the foundation for a linear systematization of colors. He divided colors into homogeneous (primary or simple) and heterogeneous (derivative). Seven “simple” spectral colors and one - purple, formed by mixing the extreme colors of the spectrum - served as the basis for a color taxonomy in the form of a circle. Newton gave the correct explanation for the colors of natural bodies and the surfaces of objects. He was responsible for the first experiments in optical color mixing. Newton's spectral color classification system has become the basis of color taxonomy in modern times.

IN end of the 18th century V. Goethe, who did not agree with Newton’s theory, created a new way of classifying colors - according to a physical principle. The color wheel he constructed consists of three pairs of contrasting colors. The basis of the circle is a triangle of main colors. Yellow and blue correspond to light and dark and are the primary colors, as they arose from opposites. Goethe considered the red color as an intensification of yellow, violet - blue. Goethe's work “The Doctrine of Color” (1810) laid the foundations for two new branches of the science of color - physiological optics and the doctrine of the psychological effects of color.

IN In 1772, the German scientist I. Lambert tried to construct a classification of colors that would reflect color changes in lightness and saturation.

sti. In 1810, the German painter O. Runge published his theory of color, in which the issue of low-saturated colors was first raised. Thanks to his work, the color system acquired a third dimension. The German artist built a color ball that combined spectral and achromatic colors, whitened and blackened.

IN XIX century The German scientist G. Helmholtz in his works clarified the question of the primary colors (red, green and blue), which in adjunctive mixtures give all the other colors of the spectrum in any saturation. Physiological optics took this triad as a basis. However, the triad of primary colors - red, yellow and blue, which form the basis of the color wheel - has not lost its meaning. Helmholtz also established three components to characterize colors: hue, saturation and lightness. The German physiologist E. Hering defined three areas of color research - physical, physiological, psychological. And the work of the English physicist J. Maxwell on the study of color perception laid the foundations for the three-component theory of vision.

IN XIX century Painters began to use the scientific systematics of color. The French artist E. Delacroix was one of the first to begin to decide on color

static tasks of painting using a color triangle, circle

And mixing scales. The achievements of the exact science of color were then reflected in the works of the impressionists and neo-impressionists. Interesting

And The research of the Czech scientist J. Purkinė in the field of color perception depending on the angle of vision and adaptation of the eye is relevant.

Beginning of the 20th century - a new period of creating scientific systems, developing methods for quantifying and measuring color. Enormous work in the field of color systematization was done by a number of scientists: W. Ostwald - Ostwald’s “color body”; A. Munsell - spatial model based on the Runge color ball; J. Gildon and V. Wrighton - precise studies to determine color addition functions (data obtained by the Congress of the International Commission on Illumination in 1931 were the basis for the international color measurement system), etc.

Its theoretical justification and recognition as one of the leading

color receives from the main compositional means thanks to the representatives of the first higher school of artistic design, the Bauhaus in Germany, the largest representatives of which were I. Itten, V. Kandinsky, P. Klee, etc. In Russia, effective teaching methods were developed by representatives of VKHUTEMAS: A. Rodchenko, V. Tatlin and many others. However, in the future this position is practically not supported by the activities of constructivists and rationalists in the field of architecture.

From the middle of the 20th century. The applied sciences of color have received great development. Research by psychologists, physiologists, and ergonomists has proven that color is the most important component of the human environment and life. This stimulated the emergence of a huge amount of research and experiments in this area.

In connection with the formation and success of the humanities in the 20th century. color has become the object of research in various areas of humanitarian thought in such areas as linguistics, psychology, cultural studies, and art history. Linguistics studies issues related to the word formation of color names, the peculiarities of color semantics and the vocabulary of color terms, and the categorization of colors. In the psycholinguistic aspect, issues related to the symbolic, subtextual nature of color in the language of fiction are studied. In cultural studies, special attention is paid to the issues of semantics and symbolism of color in various cultures. In aesthetics, color is considered as an aesthetic phenomenon that contributes to the achievement of harmony and beauty. In psychology, the effect of color on physiological and emotional states and the psychodiagnostic capabilities of color tests are studied. For art criticism, it is of interest to study the patterns of color structure, models of color combinations in the fine arts: color harmony, coloring, color contrasts. Within the framework of humanitarian thought, special mention should be made of a number of original theories specifically devoted to the study of color: B. A. Bazyma’s theory of the relationship between color and psyche, N. V. Serov’s theory of chromatism, P. V. Yanshin’s psychosemantics of color.

Today, the leading domestic specialist in the field of architectural coloristics is A. V. Efimov, Doctor of Architecture, Head of the Design Department of the Moscow Architectural Institute. Already in the late 1970s, realizing the urgent need of architects for knowledge in color science, he developed and introduced the discipline “Architectural Coloristics” into the MArchI curriculum.

Research in recent years has made it possible to significantly correct the views of the 20th century. on the mechanisms of vision, in particular the mechanisms of color perception. A new scientific direction has emerged related to the ecology of the visual environment and beauty - video ecology, developed in Russia on the basis of many years of studying the mechanisms of visual perception in health and pathology by V. A. Filin.