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Examining the Attributes of Colour Colour Forecasting Prehistory

Examining the Attributes of Colour Colour Forecasting Prehistory. Common Constructs in Theories of Colour. Primary colours A representative set of hues that is often used to describe & explain colour And as a basis for colour creation & combination theories

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Examining the Attributes of Colour Colour Forecasting Prehistory

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  1. Examining the Attributes of ColourColour Forecasting Prehistory

  2. Common Constructs in Theories of Colour • Primary colours • A representative set of hues that is often used to describe & explain colour • And as a basis for colour creation & combination theories • There is no single, standard set of primary colours • Colour correspondences • Devised since antiquity • Elements, seasons, geometric shapes, etc

  3. Different Sets of Primary Colour Red, yellow & blue Red, yellow, blue & green Red, green & blue White, black, yellow, red, green & blue Albers (1963) Spectral profile colours Ostwald (1916) Red, yellow, blue green & purple Cyan, magenta, yellow & black Printing industry (CMYK) NCS (2001) Munsell (1911) Itten (1961)

  4. Different Sets of Primary Colour Substance & Formula colour (paints, pigments, dyes, etc) Spectral profile colour (colour in the form of light-waves) Subtractive colour mixing Additive colour mixing

  5. Secondary Colour • Hues created by mixing two primary colours • Different variants of secondary colour occur (Depending on the definition of primary colour).

  6. Tertiary Colour • Colours achieved by an admixture of 1) Two secondary colours; or, a primary/secondary colour and its complementary/contrasting colour. • Tertiary colours often include colours that are not classified as primary or secondary & difficult to categorise such as brown, olive, khaki, ochre, bronze, silver, gold, etc. Tertiary colours mixed from: purple-yellow green-red purple-orange plus tints

  7. Tertiary Colour Tertiary Colours

  8. Three Attributes of Colour Colour is widely considered to have three attributes & these enable the identification & classification of colour (Gage, 1995, 2000; Itten, 1973) In reference to substance colour & formula colour, these attributes vary somewhat across the literature and in practice; however, they are generally referred to as: hue saturation (chroma, chromaticity) tone (tonal value, value, lightness-darkness)

  9. Three Attributes of Colour In reference to spectral profile colour, these attributes are generally referred to as: hue saturation luminance

  10. Three Attributes of Colour Tone High Low Hue Red Saturation Low High

  11. Three Attributes of Colour Hue The quality by which an object or substance (ie substance colour or formula colour) is recognised as being red or green or blue, etc. Various theorists have devised hue circles/colour wheel models & these indicate the hues considered to be key hues: Chevreul (1855) Hering (1878) Itten (1961)

  12. Three attributes of colour Saturation The degree of ‘purity’ or chromatic intensity of a colour (also referred to as chroma, chromaticity & brilliance) High/strong saturation Low/weak saturation

  13. Three attributes of colour Saturation The degree of ‘purity’ or chromatic intensity of a colour (also referred to as chroma, chromaticity & brilliance) Different levels of colour saturation can lead to different visual impressions

  14. Primary hue: Red To create a Shade: Blend the primary hue with black or a darker colour (complementary or contrasting) Shade To create a Tint: Blend the primary hue with white or a lighter colour Tint A note on tints & shades

  15. Colour forecasting

  16. Colour forecasting In early 1900s, hat milliners in the USA set the colour trend for each season in the USA based on their access to imported dyes from Europe; Underlying aims: 1) Colour consistency across different industries 2) Create differentiation between seasons to maximise sales • Information about new colours was passed on to manufacturers in the apparel, textile & footwear industries • Ensured colour consistency of textiles, clothing, buttons, thread and footwear, etc, for each season

  17. Colour forecasting Textile Colour Card Association (TCCA) Formed in 1915, the initial 117 members met to determine and produce colour cards representing each new season’s colour palette (Rorke, 1931) Bi-annual colour forecasts Meeting on a regular basis in New York, the TCCA produced bi-annual colour forecasts for each new season and colour forecasts were provided for different market segments: Men, Women & Children.

  18. Colour forecasting Colour forecasting spread to countries outside the USA • By the 1940s, TCCA colour forecasting spread to Great Britain, Australia, New Zealand, Canada, Middle East & South America. Colour forecasting for interior design & industrial design • TCCA colour forecasting spread to upholstery, drapery, etc, in the 1950s (renamed the “Total Environmental Forecast for Homes & Interiors” 1982) • Linked in to industrial design for appliances, electrical goods, etc.

  19. Colour forecasting TCCA became the Color Association of the United States (CAUS): http://www.colorassociation.com/ in 1955 • Current subscription costs range from US$50 to US$1500 per annum for corporate, education & individual subscriptions.

  20. Colour forecasting Sample of a colour forecast from the Color Association of the United States

  21. Colour forecasting Color Marketing Group: Provide a colour forecasting & technical colour advice to multi-nationals such as General Motors, Proctor & Gamble, Kimberly-Clark

  22. New colour Cadillac: ‘Majestic Amethyst’ Sold out in 14 Minutes! Leatherman tools: Increased market share by introducing a range of colours

  23. Colour forecasting Pantone:Provide a colour forecasting service for subscribers Fashion colour forecasts are given themes & illustrations are provided to support each colour forecast theme

  24. Colour forecasting Cullachange A Sydney-based professional dyeing service for the apparel & textile industries provides seasonal colours linked to Australian fashion industry colour forecasts (http://www.cullachange.com.au)

  25. Colour Theories Applications and Techniques Pre-history

  26. Use of colour: Pre-history period • Our understanding of how colour was used in the pre-history period comes about from examining examples of art & applied design dating from this period. • The Pre-history colour palette was limited to accessible pigments such as ochres, charcoal, earth brown & crushed bone mixed with water, resin, animal fat, or any similar binding agents (Delamare & Guineau, 2000). The pre-history colour palette

  27. Use of colour: Pre-history period During the pre-history period, coloured pigments were mostly derived from locally available natural sources & were generally applied in a realistic, representational manner (Delamare & Guineau, 2000). Natural pigments were used to decorate the body & in cave paintings in Spain, France & Australia. Aboriginal rock painting, Kakadu National Park (Image: Australian Heritage Photographic Database: http://www.environment.gov.au/cgi)

  28. Ancient Egypt (c5,000 – 300BC) The ancient Egyptian civilisation (c5000-300BCE) flourished in eastern North Africa along the banks of the Nile River. During this period, blues, greens, violet, white & gold were added to the prehistory palette of ochres & earth colours. • Pigments were derived from a range of mineral sources such as silicates of copper and calcium; powdered, crushed malachite, carnelian and lapis lazuli (Delamare & Guineau, 2000). The pre-history colour palette The colour palette of ancient Egypt

  29. Ancient Egypt (c5,000 – 300BC) Colour was generally used symbolically: • Red skin implied health & youth. • Green represented Spring & renewal. • Blue & gold were associated with royalty or divinity due to the preciousness of these pigments (Ball, 2001; Delamare & Guineau, 2000). Image from the Book of the Dead, c1240BC. (Image: http://www.egyptarchive.co.uk/html/british_museum_35.html). Egyptian tomb relief

  30. Ancient Egypt (c5,000 – 300BC) Blue & gold were reserved & used for royalty & divinity due to the cost & rarity of these pigments. Tomb painting & funerary mask of Tutankamun; Cairo Museum

  31. Ancient Greece (c750 – 146BC) • The ancient Greek period is considered to have extended from the 8th century BCE through to 146BCE. • The colour palette of ancient Greece built on colour palette of the earlier Egyptians. • Greek art & design display a fairly large range of pigments and dyes applied in a representational as well as symbolical manner (Ball, 2001; Delamare & Guineau, 2000; Janson, 1995).

  32. Ancient Greece (c750 – 146BC) Key ideas that came to influence later colour theorists... Pythagoras (c570-c497BCE) The Universe & its workings are underpinned by mathematical proportion. This Pythagorean aesthetico-mathematical understanding of the universe led to the ‘music of the spheres’ concept wherein the movements of all celestial bodies work in harmony & reflect mathematic proportion (see Johannes Kepler, etc). Colour correspondences: Linking four key colours to the elements, geometric shapes & Seasons (Gage, 1995; Kuehni & Schwarz, 2008; Magee, 2001).

  33. Ancient Greece (c750 – 146BC) Key ideas that came to influence later colour theorists... Heraclitus(c535-475BCE) ‘Everything is flux’ – nothing remains stable & everything is in a state of transition • A key notion in regard to colour which is always open to the influence of factors such as changing light conditions, etc. The Universe is comprised of opposing forces & balance represents the ‘Unity of opposites’ • The notion of creating harmony via the balancing of opposing forces (Complementary colour) echoed in many colour theories of 19th & 20th centuries (Gage, 1995; Kuehni & Schwarz, 2008; Magee, 2001). .

  34. Ancient Greece (c750 – 146BC) Key ideas that came to influence later colour theorists... Plato(c428-347BCE): Two realms: the visible world where nothing stays the same and everything changes and decays Theory of Ideal Forms: In the second world, perfect order and ideals forms reign. It is here that Beauty, Harmony, Order & Perfection exist, & Plato suggested that these had universal appeal (Gage, 1995; Magee, 2001). The Elgin Marbles from the Parthenon (examples of ideal beauty)

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