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IAED 244 LIGHTING DESIGN

FUNDAMENTALS OF COLOUR
FUNDAMENTALS OF COLOUR 2

WHAT IS COLOR?

COLOR IS LIGHT.

WHAT IS LIGHT?

LIGHT IS ELECTROMAGNETIC
ENERGY.
COLOUR AND LIGHT 3

Electromagnetic radiation is the name given to fluctuations in electric and

magnetic fields that travel through any medium.
COLOUR AND LIGHT 4
WHAT IS COLOUR? 5

Colour is a sensation produced by visible electromagnetic radiation (light)

that stimulates receptors in our eyes.
WHAT IS COLOUR? 6
COLOUR PERCEPTION 7

light source observer (human eye)

red light

yellow light reflected green light

green light

blue light
green carpet
(red, yellow and blue lights
are absorbed)
COLOUR 8

When lights of two different energy distributions reach the eye they are
received as though they were a single light distribution which may be
calculated by adding the two together.

Additive Mixing
COLOUR 9

Since the light absorbed must come from the light falling on the object, the
process may be thought of as a subtraction of energy from this light.

Subtractive Mixing
COLOUR 1
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ADDITIVE AND SUBTRACTIVE COLOUR MIXING 1
1

light source observer (human eye)

VISION AND PERCEPTION 1
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Colour Vision

The experience of colour begins with a sensation. Both stimuli and sensation
are measurable.

Colour Perception

Perception is the understanding of what has been sensed.

ELEMENTS OF COLOUR VISION AND PERCEPTION 1
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light source (emitter)

human eye (receiver)

object (transmitter)
RECEIVER (OBSERVER/VIEWER) EYE 1
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THRICHROMATIC THEORY 1
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TRICHROMATIC THEORY:
Explains the color vision process in the
eye (by Young and Helmholtz).
OPPONENT THEORY 1
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THE OPPONENT THEORY:

Explains the color vision process in the brain (by Hering).

COLOR VISION AND PERCEPTION AT RECEPTOR AND NEURAL STAGES 1
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 COLOUR VISION AND PERCEPTION 1
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Colour appearance is affected by all the

factors related to:

• LIGHT (emitter),
• OBJECT (transmitter) and
• OBSERVER (receiver).
LIGHT (EMITTER) 1
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• Quality of the light source:

• spectral distribution,
• colour temperature.

• Quantity of the light source:

• amount of light.

Affect the appearance of a colour.

METAMERISM 2
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Colours of materials may match under one light source / lighting condition,
while not under another light source / lighting condition.

This situation is called metamerism.

Thus, when selecting colour of paints and other finishing materials, where
accurate colour judgments are required, be sure colour evaluations are
made under the lighting situation in which they are to be used.
LIGHT (EMITTER) 2
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MODIFYING LIGHT - FILTERS 2
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 OBJECT (TRANSMITTER) 2
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• Properties of the object:

• physical and chemical,
• composition,
• form,
• size,
• texture, etc.

• Other colours in the field of vision.

• Position of the object to the light

source and the observer.

Affect the appearance of a colour.

OBJECT (TRANSMITTER) – DIRECTION OF LIGHT 2
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Direction of light can alter colour perception. When

shadows within texture become darker through lighting, the
sample will be seen darker too.
OBJECT (TRANSMITTER) – EFFECT OF TEXTURE 2
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Sample texture can alter colour perception. Rougher

textures of the same colour will look darker due to shadows
cast from the texture.
OBJECT (TRANSMITTER)- EFFECT OF TEXTURE 2
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Top: (a) Two samples with different color and

texture; (b) Two samples with same color and
different texture; (c) One sample with different
color and same texture; (d) Two samples with the
same texture and color.

Right: Different materials of the same colour may

appear different due to light reflections. This is an
example with different fabrics of the same colour.
OBJECT (TRANSMITTER) 2
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INDIRECT LIGHT – INDIRECT COLOUR 2
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IRIDESCENCE (STRUCTURAL COLOUR) 2
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Caused by structural attribute of a

surface in nano-scale.
IRIDESCENCE (STRUCTURAL COLOUR) 3
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LUMINESCENCE 3
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Most generally caused by phosphorus

particules and/or substance within the
material or paint.
LUMINESCENCE 3
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OBSERVER (RECEIVER) 3
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• Physiological factors:
• sensitivity of eye and brain,
• a need of a state of equilibrium
during color vision.

• Psychological factors:
• personality, experiences,
expactations, etc.

• Social factors:
• culture, religion, fashion, etc.

Affect human response against a colour.

OBSERVER (RECEIVER) 3
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Ishihara test for colour blindness

OBSERVER (RECEIVER) 3
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OBSERVER (RECEIVER) 3
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OBSERVER (RECEIVER) 3
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OBSERVER (RECEIVER) 3
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OBSERVER (RECEIVER) 3
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Simultaneous Contrast
Viewing two colours at the same time influences both of their appearances.
Successive Contrast (Afterimage)
Viewing colours during a time causes an image, after stimulus is taken away.
Both are results of a need of rest (equilibrium) of eyes, during the process of
color vision and perception.
COLOUR VIBRATION 4
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OPTICAL COLOUR MIXING 4
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Pointillism in Art
La Parade (detail) by Seurat
OPTICAL COLOUR MIXING 4
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UNEXPECTED COLOURS 4
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UNEXPECTED COLOURS 4
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UNEXPECTED COLOURS 4
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UNEXPECTED COLOURS 4
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COLOUR AND CULTURE 4
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Top: Buddhist religious

wear.

Left: Colour Festival in

India.
COLOUR PERCEPTION 4
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“SEEING IS A DOUBLE PHENOMENON:

AN ENCOUNTER WITH THE WORLD AND AN
ENCOUNTER WITH ONESELF.”
Maurice Merleau-Ponty
(in “The Complete Guide to Color” by T. Fraser and A. Banks)
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IAED 244 LIGHTING DESIGN

FUNDAMENTALS OF COLOUR