colour perception and its aesthetic translations - part b
DESCRIPTION
Colour Perception and its Aesthetic Translations - Part BTRANSCRIPT
CONTINUED FROM COLOUR PERCEPTION AND ITS AESTHETIC
TRANSLATIONS - PART A
Prof. Pawar being aware of all these light conditions decided to paint a
backdrop scene by putting dark goggle glasses on his eyes during the daylight
conditions. He started picking up relevant colors from the palette seen
through these dark glasses. While this was being done he had visualized the
final effect that will appear in the above said theatre light conditions. The
final painting result when seen in normal day light appeared to be dull and
pale. However, the same painted backdrop was appearing vigorous, vibrant in
the theatre light conditions.
A theatre hall is dark and stage is lit up,
• Experiment: Stage 1: Prepare spectacles with red, yellow, blue and green.
Take the color swatches of red, yellow and blue (1x1 inch) by using colored
ink sketch pens on white background surface. Record the color perceived
through the 4 spectacles.
Stage 2: Create a composition of any type (preference simple) by a color
palette of red, yellow and blue. Repeat the same composition three times on
3 different drawing papers-Just in outlines only-Total 3 versions. Put red
glasses on your eyes and start painting first versions. Repeat remaining three
versions, blue, yellow, and green on remaining three compositions through
yellow glass, blue glass and green. You have to document the perceived
change of original colors of visible or invisible color experienced by you.
From the news paper “The Times of India”
This painting of Mona Lisa is photographically copied and I have tried to understand its various colour correction options in Photoshop such as L.A.B. mode,RGB mode, CMYK mode etc.
Here my attempt is to search the “Sfumato” effect visible in the back ground and blurring of her body contours. It is true that, this must be tried from the original painting which is not possible. The news paper cutting presented here gives me an insight about how the French Scientists discovered this technique created by Leonardo da Vinci. (Lalit Kala Akademi ,NCPA Publication)
“Sfumato”
• The quest to know Colour perception
and my academic experiments
simultaneously when shared with the
friend Prof. Deepak Ghare former
faculty instructor in design in print
education puts us on to mind-mapping
as an artist to investigate followings:
“Sfumato”: Blurring of edges,
Complexion, Background, Layers of
colors and medium, “Chiaroscuro”-light
and shade, Umbra and penumbra etc.
and when we see this in print and
reproduction parallel to it such as Soft
focus, perspective (depth of focus ),
contrast, highlight and shadow balance,
luminosity and shadow contain colour.
This information is inspired from the
news appeared in (Times of India) the
paper about the famous painting by
Leonardo of “Mona Lisa”. I quote, “The
specialists from Centre for Research and
Restoration of the Museums of France
found that the da Vinci painted up to 30
layers of paint on his works to meet his
standards of subtlety. Added up, all the
layers are less than 40 micrometers, or
about half the thickness of human hair
researcher Philippe Walter said.
This technique called “Sfumato”, allowed da Vinci to give outlines and contours a hazy
quality and creates an illusion of depth and shadow. His use of technique is well-known,
but scientific study on it has been limited because test often required samples from the
original paintings. The French researchers used a noninvasive technique called x-ray
fluoresce spectroscopy to study the painting layers and their chemical composition. The
analysis of the various paintings also shows da Vinci was constantly trying out new
methods, Philippe Walter said. In the Mona Lisa, da Vinci used manganese oxide in his
shadings. In others, he used copper. Often he used glazes, but not always.” To sum up the
printers must take the cognizance of the original art work by the artist even if it is digitally
produced. Sometimes the final art work is the result of multi techniques of mix and
match media.
My Father’s correspondence with Sir C.V.Raman about “The Yellow” as basic colour… a rare letter by the great and humble scientist…
Artist M.F.Husain and his attempt to look at the
Raman Effect - phenomenon observed in the
scattering of light as it passes through a material medium, whereby
the light suffers a change in frequency and a random alteration in
phase. Raman scattering differs in both these respects from
Rayleigh and Tyndall scattering, in which the scattered light has the
same frequency as the unscattered and bears a definite phase
relation to it. The intensity of normal Raman scattering is roughly
one-thousandth that of Rayleigh scattering in liquids and smaller
still in gases. See Scattering of electromagnetic radiation
Because of its low intensity, the Raman Effect was not
discovered until 1928, although the scattering of light by
transparent solids, liquids, and gases had been investigated
for many years before. The development of the laser has led
to a resurgence of interest in the Raman Effect and to the
discovery of a number of related phenomena. See Laser
When the exciting radiation falls within the frequency range
of a molecule's absorption band in the visible or ultraviolet
spectrum,
the radiation may be scattered by two different processes,
resonance fluorescence or the resonance Raman effect.
Both these processes give much more intense scattering
than the normal no resonant Raman effect. The absolute
frequencies of the resonance Raman effect shift by exactly
the amount of any shift in the exciting frequency, just as do
those of the normal Raman effect. Thus the main
characteristic of the resonance as compared to the normal
Raman effect is its intensity, which may be greater by two or
three orders of magnitude. See Fluorescence
Raman scattering is analyzed by spectroscopic means. The
collection of new frequencies in the spectrum of
monochromatic radiation scattered by a substance is
characteristic of the substance and is called its Raman
spectrum. Although the Raman effect can be made to occur
in the scattering of radiation by atoms, it is of greatest
interest in the spectroscopy of molecules and crystals. In a
typical experiment monochromatic radiation from a laser
impinges on the sample in an appropriate transparent cell.
Raman scattering is approximately uniform in all directions
and is usually studied at right angles. In this way the intense
radiation of the laser beam interferes least with the
observation of the weak scattered light.
To be continued to Colour perception and its Aesthetic translations -
Part C