Monday, 3 February 2014

OUGD404 Design Principles Colour Theory Task

We were asked to pantone match the coloured objects we collected and digitally recreate the colour pairings.








 The most distinct difference is the luminance the colure have in reality, yet loose when digitised. This is because instead of reflecting light the digital colours are made from light in the first place, this creates a flat pure colour less effected by its surroundings.
Once again the light reflection completely changes the way the colours look. However, the photos do seem to exaggerate the brightness of the orange yet still the on screen colours do seem more dull than those in reality.
On screen the red seems way more pink than in reality. Although it is true that the photo makes the red look less pink, the on screen colour just seems way off. Although the contrast is very strong somehow when digital the red looks much brighter than the green and almost glowing in comparison.

The distinct tonal difference that makes up so much of the contrast of chromatic value is shown when the colour is removed from the swatches on photoshop.
In comparison to a darker much truer red the paper red looks pinker still. Without the slightly reflective surface of the red cap the central colour seems much darker and this can be seen in the grey scale version shown below.

The yellow seems much brighter without the hinderance of the desaturated paper onto which the colour was placed. There is something about the control of having both colours in a digital contrast that maintains a purity of colour because instead of reflecting light it is light. This can be seen in the way that the green seems much darker than in reality because it is not reflecting light off a shiny surface.

Once again the distinct tonal change that makeup so much of the contrast can be seen in the grey scale version, The tint of the yellow is especially noticeable.
The depth and complexity of the red cap is lost when digitised. the luminance of the surface adds to the colours effect and although it is easier to see and identify the colour in a digital format, a greater range of colours and effects are achievable in reality. When put into a digital format the colours become more similar, they seem to have a similar intensity or hue which in turn means that the contrast of saturation is not contributing as much to the contrast. The contrast of tone has to be more dominant in order to allow for this which can be seen below.

The contrast of hue is much less than previously found but once again the contrast of tone manages to allow for this which creates an impression of brightness in the blue, especially in comparison to the darkness of the green.


The most dominants contrasts at play here are that of temperature and hue. The contrast of tone is not very great as can be seen below, yet the contrasts of hue and temperature manage to make this pair possibly that of the greatest contrast. However, once again without luminance or reflection of light the colours still look very close.




The contrast of hue is very small, yet the contrast of saturation remains relatively high because of the contrast of tone, which can be seen below. The contrast of temperature plays a small part because the dark blue is edging towards the blue and the light green is edging towards the yellow and orange. 


These colours seem very close, especially tonally as can be seen below, yet the contrast of hue and therefore saturation makes them seem quite different. A complimentary contrast is to be blamed for this. However, they are not directly complimentary because the green is so heavily tinted with yellow. Despite this the complimentary contrast makes the otherwise quite dark red slightly brighter and the green slightly less yellow.

In conclusion, not only do the digital versions of these colours have slightly less complexity than printed colours because the ambient light cannot reflect off them, but also this results in greater similarity between all the colours because luminance and opacity cannot act on them.





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