Color Lab Speaker: Chiara Possoni. Overview -Introduction to color -Visual variable -Psychoperspective space -The necessarity of number 3 -System of color.

Color LabSpeaker: Chiara Possoni

Overview-Introduction to color-Visual variable-Psychoperspective space-The necessarity of number 3-System of color-Color-matter- Way of appearing of the color-Phenomenology of color

Ethymology of the word ‘color’:

1. warm/ emotion2. Chroma3. Celare = to hide4. Cloros (yellow-green)

Historical point of view about color:

- Color-idea by Cartesio- Color-useful by Berkley- Color-inuseful by Kant- Color-biocenotic by

Darwin

Introduction to color

8 Visual variable

4 variables of image

4 variables of separation

1. Dimension2. Value3. Trasparency4. Position

1. Direction2. Texture (tactile by sight)3. Hue (hue + value = color)4. Shape

Visual variable

Shape and howcan theybe assembled

Psychoperceptive space

Psychoperceptive Space. What is it?

It’s just like a window open to the world

Psychoperceptive Space

The space is defined through the psychoperceptive activity of the observer.

The space is not only physic. The perceptive space is metric free.

Nino Di Salvatore - Archetipo oggettivo verde e giallo - 1969

The psychoperceptive space is composed by:

a. Vectorial constances of the perception a1. Retinical image’s dimension a2. Axis of gravity’s parallelism a3. Chromatic gradient a4. Color focusing a5. Position in the visual field

b. Spatial forces b1. Shape b2. Dimension b3. Orientation b4. Optical weight b5. Latent lines (visual flow) b6. Interval

Task: Spatial expression

a.Vectorial constances of the perception

1.Retinical image’s dimension

2.Axis of gravity’s parallelism

3.Chromatic gradient4. Color focusing 5. Position in the visual

field

NEAR FAR

1. Retinical image’s dimension

2. Axis of gravity’s parallelism

FARNEAR

STILL ON MOVEMENT

3. Chromatic gradient

NEAR INTERMEDIATE FAR

4. Color focusing

ADVANCING RECEDING

5. Position in the visual field

RETROCEDENTE

AVANZANTE

Loretta LuxWalk 300

Exercise

UN QUADRATO FERMO VICINO ALL’OSSERVATORE IN UNO SPAZIO TRIDIMENSIONALE CON TRE QUADRATI IN MOVIMENTO CHE SI ALLONTANANO

Which is the best way (color, dimension, position,..) to representthis situation?

..?..

This is the best solution!!

...because it uses at best the vectorial costances of the perception

b. Spatial forces

The spatial forces can manifest through:

1.Shape2.Dimension3.Orientation4.Optical weight5.Latent lines (visual flow)6.Interval

Putting a shape in a field is just like putting a stone in a pond

Every shape has an extention much bigger than its physical extension.

Spatial forces

1. Shape

Every shape has his own spatial forces

Ilya Chashnik, Russian (1902–29)Cosmos — Red Circle on Black Surface with a Supremacist Cross, undated

El-lissitzky, RussianBatti i bianchi con il cuneo rosso

Malevic, RussianQuadrato nero su sfondo bianco

3D2D

Dimension is critical in generating 2D and 3D spaces.

2. Dimension

Vassily Kandinsky (1866 – 1944)

9 punti in ascesa

Static space Dynamic space

3. Orientation

Rodchenko, Russian

4. Optical weight

Everybody makes the same visual path to join the shapes in the visual field. This visual path is constituted by the latent lines. They are not real, they are generated psychoperceptively by the observers. Althought that they have the same value of the designed lines.

5. Latent lines

6. Interval

Quality of the space

BidimensionalTridimensional

StaticDynamic

ConcaveConvex

Victor Vaserely, Russian

● Complementarity in the color

● Polarity in the space

Opposition in geometry

● Duality in the shape

..it’s can be defined as..

If I had only 1 color there will be no color. For a color to exist it has to be created something of different nature. Only in this way it can feel its existence.If I fix a color and then a black sheet, the color creates his complementary, its contrary. The two colors together form a unity. A color is really itself when near to its contrary. A color expresses at best its property when it is near its complementary color.

Complementarity in the color

Klee’s lessons

The balance between opposite colours is not grey Klee speaks of a pendolum.

- different hue- different lightness- PEN relative to the gravity, the weight- high contrast

- different hue- similar lightness- TEN relative to the tension- low contrast

Klee’s lessons

NewtonWeight of color

The necessarity of the number 3

The passage from 1 to 2 can be seen as a passage from being to appearing. If I had only the 1 there will be no term of confront. If I had only 1-2 there will be a tautology. The number 3 establishes a principle of order. The number 3 is a structural necessity.

- Solido, liquido, gassoso- Punto, linea, superficie- Colori primari- Regni della natura- Soggetto, verbo, complemento oggeto- Sistema dei sillogismi

- CMY are the primary of the matter - Nearer to the black (K)

Subtractive color mixing

- CMY are the primary of the energy- Nearer the white (W)

Additive color mixing

NCS: Natural color system

Color’s conjunction

Association between color and state of the matter

Way of appearing of the color

COLORI FILMARI

COLORI STRUTTURALICOLORI RIFLESSI

COLORI VOLUMECOLORI SUPERFICI

COLORI LUCE

Phenomenology of color

1. Trasparency

Conditions:a. The field should be divided in 4 parts, 2 for the figure and 2 for the background

b. Each of the 2 parts of the figure should be in contact with only 1 part of the background

c. The 2 parts of the figure should be perceived as an unity (Figural condition)

b. The succession of the colors of the figure should be related to that of the background (clearer figure on clearer background and viceversa)

2. Induction - Interraction

The same squared perimeter, but one time interaction and the other inductionCause: different disposition of the color in the perimeter

3. Marginal gradient

4. Color’s diffusion

5. Hermann’s grill

6. Munker White’s phenomenon

7. Teodorovic’s experience