Colour Perception and its Aesthetic Translations - Part A


Published on

Colour Perception and its Aesthetic Translations - Part A

Published in: Education, Business, Technology
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • European colour palette has more pastel shades…
  • Indian colour palette is different than European colour palette…
  • An original image on the left and redefined digitally on the right, notice the effect of atmospheric mist is lost though it looks sharp the image on the right…
  • Notice the freshness of watermelon when viewed against different colour backgrounds
  • Primary, secondary, tertiary and quaternary colours
  • Observe the translations of original self portrait photograph going through gray mode, image enhancement, invert mode and its gray mode. This is helping me to visualize new concepts. I call it digital interpretation and not manipulation.
  • Colour Perception and its Aesthetic Translations - Part A

    1. 1. “Science disembodies and Art embodies” by John Fowles…“Colour is the place where our brain and the Universe meet “by Paul Kleefrom the book by famous visual designer Alan Fletcher “ The Art of looking sideways”.I have been learning all through such visions of great visionaries.
    2. 2. Indo German Colour ConferenceMarch 1,2,and 3 2012Hosted bypm Tuc Chemnitz University ofTechnology,(Germany)GATE,(Graphic Art and Technology Education)Print Week India,Campaign Indiapm Indialinking high potentials
    3. 3. Colour perceptionand its AesthetictranslationsAcademic Experiments in visual and communication artRanjan Raghuvir Joshi
    4. 4. Gratitude…To: My elder brother Suhas R. Joshi then student ofGIPT and first class merit ranker of the first batch of OFF-SET(1962) Printing Technology Education started in 1960s inWestern India. My first exposure to PRINT in 1960 then 10years old, due to him when he showed me this GovernmentInstitute of Printing Technology…known as GIPT in India
    5. 5. Gratitude…Colour Experiments at Art Institutes…Sir J.J. Institute of Applied Art,Government Institute of Printing Technology,Sir J.J. College of Architecture-Mumbai,Thane Art Society’s Thane School of Art,Cambrian College of Applied Art and Technology-Canada-EIOL (Mumbai).,Somani College of Applied Art and Craft-Mumbai,Symbiosis Institute of Design-Pune,ecole intuit.lab.-Paris-France (Mumbai Campus)MAEER’s Maharashtra Institute of Technology-MIT-Institute of Design-PuneUniversity of Huddersfield – U.K.
    6. 6. Thanks… Students, and Faculties…• Sonali Mandke, Karlyle Gomes, Nadia, Karan Arora, Gayle D’souza, and whole classFaculties:Jamila Varawala, Prashant Acharya, - Cambrian College-Canada., (Mumbai)Natasha,Mahima,Anita,Annya, and class of Fashion Communication,Faculties: Prof. Subhash Kotwal , Prof. Mrs. Vaibhavi Ranavde, Haroop,Prashant Acharya,andProf. Vinay Mundada-Director- Symbiosis Int. Des. PuneMs. Dolly Biswas and her students., Somani College of Applied Art and Craft-Mumbai,Students of Sirj.j. college of Arch. ( MUMBAI ),Vyoma, Aditya, Monish,Sommya,Monaz,Pankhuri and class of and the H.O. D.Jamilla Q. Varawalla., France (Mumbai)Late Mr.Satish Deshpande (Pune),Prof. Deepak Ghare, Prof. Ashoak Desai,Prof. Bobade,Late Prof. Kamble,Late Prof.Lahane, Late Prof. Joglekar, and students of evening class ofGIPT,(Mumbai)
    7. 7. ART- for absorption of the light rays by the object beingperceived by our eye- for reflection or refraction of the same light rays, and- for transmission of light rays in context toobject being perceived.
    8. 8. Munsell’s original colour tree andmy concept inspired fromthe same…
    9. 9. Munsell’s original colour tree andmy concept inspired from the same.Here I have tried to develop the play ofhue, value, chroma and saturation ofcolor first on flat surface and then inthree dimensions. It was photographedin different light conditions. Thestudent Vishal Kullerwar of GraphicDesign could implement thisexperience to design corporatepackaging colour concept system
    10. 10. Notice the following visuals experimented forbetter understanding the questions mentioned…Do you find any colour difference when seen against oppositecolors?, Such as Dull,Bright,Netural ect.,Do you find optical change in size of the painted pattern againstanother colour?,Do you find colour difference due to change of medium, surface andget the similar when viewed in all of them?,Do you find colour change due to three dimensions when seen inactual shade and light?,Do you think this could be a guide line for colour checking?
    11. 11. Different combinations ofRed, Green,Voilet,Blue withCyan, Magenta and Yellow.Light and Pigment colour theorieswhen seen and observed with contextto colour in three different mediumsthe colour appearance change andalso the colour vocabulary.
    12. 12. We can not be like an Ostrich,digging our neck in the groundsearching for fish and be ignorantabout the colorful world aroundus….Artist, Client and the Printer arethe three dimensions of thisIndustry
    13. 13. The change of colors due tothird dimensionsIn the next slide you will notice the momentearlier colour swatches on white paper whenpeeled off from the flat two dimensionalsurface the painted color will change. Thedirections of source of light also influences thevisual appearance
    14. 14. This basic diagram when reconstructed in threedimensional structure notice the shadow patterns…• I developed the sameconcept further withthe help of students ofArchitecture. It wasinteresting to see theshadow patterns ofthe wire framesinviting different colorperception. Thesepatterns were paintedback on flat papersurface by capturingthe shadow patterns.
    15. 15. “Sciography”“Sciography” this new vocabulary inArchitecture which means thepatterns of shadows emerged outof the building construction fallingon the ground that enhances theenvironment gave me inspiration.Here notice the two dimensionaldesign painted in high key, low keyand middle key captured from thethree dimensional wire structure. Itis like aesthetic visual and colourtranslation from three dimensionsto two dimensions.
    16. 16. European colour palette has more pastel shades…Indian colour paletteis different thanEuropean colour palette…
    17. 17. IndiancolourpaletteisdifferentthanEuropeancolourpalette…
    18. 18. An original image on the left and redefined digitally on the right, notice the effect ofatmospheric mist (Sfumato) which is lost though it looks sharp the image on the right…
    19. 19. Different shades of Sunrise and Sunset captured in Kerala state..
    20. 20. Observe the value translations
    21. 21. Notice the freshness of watermelon when viewedagainst different colour backgrounds
    22. 22. “Chiaroscuro” Redefined… light and shadethrough textures and surfaces seen in theseexamples..
    23. 23. A) Re-search into colour visualliteracy: Concept of colour vocabularyfor apt communication.B) Check True perception of an image:“Chiaroscuro” (Shade and light).C) Sir C.V. Raman Effect,SP effect ( Prof. Shantaram Pawar) and “Sfumato”
    24. 24. Colour Vocabulary: The students were ask to explore five differentmedium and check the vocabulary in their respective languages about thenames of the color and see its names in other minimum three languages.This is focused with aim in mind for professional communication.
    25. 25. Colourrenderingsanddifferentmedium
    26. 26. Re-search into colour visual literacy:Concept of colour vocabulary for aptcommunication.“In spite of proper use of color in variousmedia, it has been found that colors are notread in the way they are intended tobe. For 100 years, scientists have examineddifferences in color perception.Controversy continues over the question ofwhether different perceptions of coloramong various cultures can be attributed toperception or to color vocabulary.
    27. 27. It has been found that ancientcultures seem to have lackedwords for certain colors. Forinstance, red is generally thefirst name to appear whendiscussing color. Yellow isfound to rank next inprevalence. In general thecolor nomenclature of aculture usually begins with redand progresses towards blueend of the spectrum.
    28. 28. – Despite our highly developedcolor sense, many people stillconfuse bluish-green, blue-green and greenish blue.Similar case of red, when thecolor said to be red in general,it may be pink red, brick red,orange red, magenta red,crimson red roster red,depending onwho expresses it.
    29. 29. The reason is the samered in printing, dyeing,photography, paintingappears different. Thiscan be avoided whenvisual literacy of color isestablished with the helpof Audio-Visualeducation.”My research paper* 1985: Published in the proceedings ofInternational Colour Conference (C.I.E.) “Role of Colour inAudio – Visual Education’” with invitation to present in formof a “POSTER PRESENTATION” at Monte Carlo–Francewhich was presented by Co–author Dr.Shalini Patwardhanin France.
    30. 30. Check True perception of an image:“Chiaroscuro” (Shade and light).1) Highlight: Light falls on the object and logically results in four aspects oflight and shadow. The bright light where light from the source falls mostdirectly on the object.2) Reflected Light: Dim light when bounces back onto the object by the mainlight falling which on surface around the object.3) Cast shadow: The darkest shadow, caused by the object’s blocking of lightfrom the source.4) Crest shadow: That which lies on the crest of the rounded form, betweenthe highlight and the reflected light. Crest shadows and reflected lights isdifficult to see at first, but is the key to rounding up forms for the illusion of3D on the flat surface.
    31. 31. This an attempt by me and my student to explore “Primary,secondary, tertiary and quaternary colors” of pigment colourtheory mixtures using different mediums. The subject is selfportrait. Observe the changes of Hue, Value and Chroma.
    32. 32. Observe the translations of original self portrait photograph going through gray mode,image enhancement, invert mode and its gray mode. This is helping me to visualize newconcepts. I call it digital interpretation and not manipulation.
    33. 33. “Chiaroscuro” Redefined…• The next slide is the further extension of “Chiaroscuro”that is shade and light expressed by means of man-made objects. The artist always try to reinterpret newideas. While visualizing this illustration basicterminologies are not forgotten that were discussedearlier. Notice the play of colors and renderingtechniques used for all the four differently.
    34. 34. • Here are few questions we can try tounderstand…• why is the Sky Blue?How was the colour treated by the oldmasters?What is “Chiaroscuro”?How did the impressionist paint light?How did expressionist differed impressionistsin the use of colour?What is the emotional aspect of colour?And how was the colour used in INDIAN ART?
    35. 35. The Inspirations…• Sir C. V. Raman Effect. Refraction ofSun rays and its visual expressions…• Prof. Shantaram Pawar’s Goggleexperiment.• “Sfumato” new visualperspective…mind mapping with Prof.Deepak Ghare.
    36. 36. My teaching interests inspired further toalso connect the most interesting practicalexperience, It is proposed to be experiencethrough small workshop.• It focuses on three aspects such as A)Environmental perception B)Sorting of the perceived things and C)Decision. (A thought by G.B. Newalkar, pioneer ofconceptualizing small scale industrial concept and entrepreneurshipin Maharashtra State. )This book cover designwas visualized on the saidconcept in 1972.2D Treatment in flat twocolors…
    37. 37. The Concept: “S.P.Effect”...• The Concept: “S.P.Effect”... The perception of color changes due to colorgoggle glasses filters.The Background: This experiment was inspired from the work of myguru/teacher Prof. Shantaram Pawar. He is 75 today, 50 years in the fieldof communication arts. He is painter, poet, calligraphist and creative artdirector. He was painting a backdrop scene for one the Marathi drama.The drama theatres normally have special lighting system designed withspotlight of various colors such as, dim yellowish Tungsten lights etc.