By Lois Swirnoff

ISBN-10: 1475720734

ISBN-13: 9781475720730

ISBN-10: 1475720750

ISBN-13: 9781475720754

To the elemental grammar of colour and shape offered within the first version of Dimensional Color, Lois Swirnoff provides a bankruptcy on colour constitution and expands one on colour and light.

Exploring the interplay among gentle, colour, and surfaces, the e-book offers a useful software for the instructing and perform of colour in structure and layout. 230 colour; fifty eight b&w illustrations

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3. Color-Space and Time 43 lQ lQl lQl Fig . 5. Apparent spatial locations offour color sequence in window. 3-16 3-17 44 Dimensional Color What is sign ificant in this group of experiments is that the perceptual sequencing in hue and brightness between the colors matter, and not their actual positions as planes in depth. Providing that the perceptual intermediaries appear consistently as a logical series of steps, they can, in fact be located anywhere within the space-frame. The progression will work with equal effectiveness, and as logically, if it is reversed.

A softer boundary occurs by the juxt aposition of more equivalent colors, hence the apparent distance is decreased. A range of colors can be selected by eye, by juxtaposing colored papers in an orderly sequence. A g radation from orange to red in four steps must correlate with a gradient in brightness. Finding adjacencies between more distant color ranges can become a visual game to the eye sens itized to boundary effects. If two colors are selected and intensely ob served, the contrast at their mutual boundary will evoke the appearance of a color of specific hue and intensity.

After the bright orange-red we 3. Color-Space and Time 37 3-3 3-4 tried a darker, slightly blue red, the red hue of the Color-aid system. While the same displacement of true to perceived position was observed, the cooler red did not seem to advance as ne ar to the eye as its warmer equivalent had previously. We tried a lighter blue than the fully saturated hue. When it was perceived as a film, its brightness increased, and its location, relative to the darker, saturated blue tested before, appeared to be closer to the eye, but behind the frame .

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Dimensional Color by Lois Swirnoff


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