Color wheels
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Examples of models for organizing color over time
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Color wheels
- 1. Color Systems Prepared by Sheila Asato, M.A. ©2012
- 3. COLOR SYSTEMS “A successful color ordering system requires an appropriate shape, the correct number of colors to include, and the proper medium in which to present its information.” - Sarah Lowengard
- 4. Ancient systems All harmony is in accordance with the relationships between earth, planets and stars.
- 5. What is the simplest design that can communicate a relationship among colors? Color Tables & Graphs
- 6. Richard Waller's graph-like table of "simple and mixed colors” “Presented in 1686, at the Royal Society of London
- 7. Schäffer's System Color samples of the seven simple and natural principal colors
- 9. George Lichtenberg, Color triangle, ca. 1775
- 10. Mayer-style Dye Triangle Mayer-style triangles continue to be used as tools to test colors and match shades for pigments and dyes. This example calibrates red, yellow and blue shades of Irgalan dyes, a type of synthetic dye often used by art conservators, but any three colors might be combined in this system.
- 11. COLOR WHEELS What is the shape of this problem?
- 12. Isaac Newton
- 13. L'Optique des couleurs (1740), Castel
- 15. C.B.’s Circle
- 16. Schiffermüller's wheel Blue Yellow Carmine Sea Green Orange Yellow Violet red Green Fire red Violet blue Olive green Red Fire blue
- 18. Moses Harris
- 25. RGB and CMYK
Editor's Notes
- Source: http://www.colorsystem.com/?page_id=31&lang=en
- Downloaded 10-20-12 from http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=11&sp=1 The Creation of Color in Eighteenth-Century Europe by Sarah Lowengard Source: Tabula Colorum. From Richard Waller, "A Catalogue of Simple and Mixt Colours with a Specimen of Each Colour Prefixt Its Properties," in Philosophical Transactions of the Royal Society of London, vol. 6 for the years 1686 and 1687 (London, 1688), after page 32. Credit: Courtesy General Research Division, The New York Public Library, Astor, Lenox and Tilden Foundations.
- Downloaded 10-20-12 from http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=13 Schäffer's principal colors were red, yellow, blue, white, black, brown, and green, and he includess "members"—the pure colors —of each group. The heraldic imagery of the presentation suggests an extra significance for red, yellow and blue, in the size and placement on the page of those shields. Source: Farbenmuster der sieben einfachen und natürlichen Hauptfarben. From Jacob Christian Schäffer, Entwurf einer allgemeinen Farbenverein . . . (Regensburg, 1769), plate I. Credit: Photograph © 2002 Board of Trustees, National Gallery of Art, Washington, D.C.
- Source:http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=19 Mayer, Tobias (b. 1723, Marbach; d. 1762 Göttingen) German mapmaker, artist, mathematician and astronomer. Mayer was apprenticed as a mapmaker in 1744 and worked first at the cartography office in Nuremberg. His own study of mathematics, including the use of astronomical measurements for cartography, led to the offer of a professorship in Göttingen. There, he worked at the astronomical observatory and continued his work on astronomical measurements. In 1755, Mayer submitted to the English government a plan to determine longitude at sea: he shared the prize (£10,000) with John Harrison in 1765. Mayer presented a theory of color mixing at a public lecture in1758. The origins of this interest are uncertain, but may have may have been inspired by his experiences as a mapmaker. The theory was not published in full until after his death, but the lecture was described in the Göttingische Anziegen in 1758. Several of its features were picked up by others and made available to the public. A late-eighteenth century version of Mayer's triangle retains the number of chambers, but does not indicate that it is only one of a series. Source: Triangle Chromatique. From Jacques Lacombe, Dictionnaire encyclopédique des amusemens des sciences mathématiques et physiques (Paris, 1792). Credit: Courtesy Dibner Library, Smithsonian Institution.
- Source: http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=17 Lichtenberg's replication of Tobias Mayer's triangle has only seven chambers per side, rather than Mayer's suggested 12. In his comments to the Opera inedita, Lichtenberg complained of the difficulties of creating a color reproduction according to Mayer's instructions. Source: From Tobias Mayer, Tobiae Mayeri. . . Opera inedita: Vol. I. Commentationes Societati Regiae scientiarvm oblatas, qvae integrae svpersvnt, cvm tabvla selenographica complecten. Trans. and ed. Georg Christoph Lichtenberg. Göttingen, 1775, plate III. Credit: By permission of the British Library, 48.h.8.
- Source: http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=16 Source: Made by Shirley Eng for the Conservation Laboratory of the Museum at FIT (Fashion Institute of Technology). Credit: Courtesy The Museum at FIT. Photograph by Irving Solero.
- Source: http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=23 Louis Bertrand Castel contrasted his colors and his color system to that of Newton. Castel also established a connection between each of his 12 prismatic colors and the 12 tones of the musical scale, an important step, he believed, in the construction of his color harpsichord. Source: From Louis-Bertrand Castel, L'Optique des couleurs (Paris, 1740), after page 414. Credit: Courtesy Dibner Library, Smithsonian Institution.
- Source: http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=21 The Traité de la peinture en mignature appeared in many editions printed throughout Europe from about 1672 through the end of the eighteenth century. These color circles, from a 1708 edition, are the earliest published examples of Newton-style color circles in an artist's manual. Source: [C. B.] Traité de la peinture en mignature (The Hague, 1708). Credit: Courtesy Werner Spillmann collection, Basel, Switzerland.
- Source: http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=24 Schiffermüller included 12 colors in his circle, referring to Castel's ideas of color-sound correspondences. Vignettes surrounding the color wheel suggest its applications in painting and connections to the sciences.Upper left, two putti are discussing the rainbow; upper right, one is explaining to the other, as a third draws a rainbow refracted onto a wall through the fountain at center. Lower left: a putto recreates Newton's prism experiment; lower right: a putto paints a rainbow, upon which a figure (God?) sits, over a land and cityscape. Source: From Ignaz Schiffermüller, Versuch eines Farbensystems (Vienna, 1772), plate I. Credit: Courtesy Werner Spillmann collection, Basel, Switzerland.
- Source:http://www.gutenberg-e.org/cgi-bin/dkv/gutenberg/slideshow_low.cgi?pn=25 Schiffermüller's system called for a series of charts, as Schäffer's system had. He used blue rather than Schäffer's choice, red, as his example. The resemblance is only superficial, however, as they offer different information. Source: From Ignaz Schiffermüller, Versuch eines Farbensystems (Vienna, 1772), plate II. Credit: Photograph © 2002 Board of Trustees, National Gallery of Art, Washington, D.C.