SENSING COLOR IN ART
As a painter when developing style my goal is always remain to do something different but simple and inspiring by day to day life. To achieve that my work also get inflected by my graphic designer part. For a long time I wanted to make a painting subjected to me and my mother in pixelated style. But the idea is, both of our faces will not be visible all together, One will be visible looking through a colored glass. It’s a technique of underpainting is what I want to realize. The technique, I could not plan yet! But the main idea human and imagery interaction in terms of visual ability and impact of colored filter. When visibility and colored glass two vital element about interaction it came to my mind how people with colorblindness experience painting. Image sensing with incomplete ability must be sounds very tunic.
JOURNEY MAP & USER PERSONA
The prime idea came form that thought. Also how can we explain our experience seeing colorful painting or experience of not able to see the color. Is it possible make a pattern of that kind of visual interaction with user personas. So much of design involves developing a sensitivity to and a fluency with the language and relationships of color so I sliced into main five groups depending on visual ability : persona with general eyesight and person with un feasibility towards blue, green, red color or any color at all.
There is four major types of color blindness :
- Protanomaly: reduced sensitivity to red light
- Deuteranomaly: reduced sensitivity to green light
- Tritanomaly: reduced sensitivity to blue light
- Monochromacy (achromatopsia)
Its not that people with color blindness don’t see color, The truth is the see color differently. For example, a
red/green color blind person will confuse a blue and a purple because they can’t ‘see’ the red element of
the color purple.
Most Common color blindness is red/green color blindness!
HOW WE SEE
I took a photograph of my painting and…
|Auto simulated that image through CVD Simulator. As result, received five different version of that image depending on visual capacity.|
Every acquired images….
The language and relationships of color involves so much of sensitivity and fluency to interact with design. Artist Alfred Hickethier did something really unique by translating color into numbers ; making color understandable in a completely objective (rather than subjective) way.
” When you think about the relationship among a set of greens, for example, understanding those relationships in terms of a different number of drops of Cyan and Yellow pigments greatly simplifies what differentiates one color from another by revealing the formula used to create each distinct color.”
In the Hickethier Color Theory each color is assigned three-digit numerical values. The five basic color are White (000), Cyan (009), Magenta (090), Yellow (900), and Black (999). Every three-digit number indicates the proportion of Cyan, Magenta, and Yellow pigment used to obtain a given color. The first digit always refers to Yellow, the second digit to Magenta, and the third to Cyan.”
CMY have a special relationship. Combinations of RGB create CMY, and likewise combinations of CMY will give us Reds, Blues RGB and and Greens.
|Overlapping combinations of CMY circles produce Red, Blue and Green. The black spot in the center is produced by combining C+M+Y. A wide range of colors can be created by mixing different amounts of C+M+Y. For example, mix 10 parts magenta + 3 parts yellow to yield a variation of red. Add more yellow and the red starts to appear orange.||Notice that the overlapping combinations of RGB circles create Cyan, Magenta and Yellow. The white spot in the center is the combination of R+G+B.|
What I wanted to achieve is get one RGB value a whole image and couldn’t find any particular process to do that. I read a discussion in a forum that “If you are using Photoshop, you can use the Average blur function (Filter > blur > average) to average the colors of any area of a photo, up to and including the entire area. This will give you one color which can then be sampled to determine your ratios. “ But what I did is, instead of blurring the image I have pixelated it to the highest point, and transfer it to 1pixel zip file. In my opinion the result is more certain every time with this process.
That way I was able to make a collective range of color and RGB evaluation for an entire image. Now there is a question about its accuracy. When we see a particular part of a composition our brain is not able to see every color of that composition or image, we only see an impression of of the color if we keep the subject apart. Sensing images are representations of parts of the earth surface as seen from space. Our brain capacity is not capable of seeing every single color from a vision. So it is not possible to accurate it. But this is the closest result we can get.
However with that one pixel we able to get total color impression of a whole imagery. When doing that in Photoshop we are also provided with ‘RGB data’ and ‘color sensitivity curves of the light sensing substance in human eye’ from color swatch and Histogram which is also extracted data of a total image. With the help of these data we can generate viable ‘Image Sensing Array’ from every image.
|Image sensing array generally used in digital cameras, “The Digital Image Sensor is an Integrated Circuit Chip which has an array of light sensitive components on the surface. The array is formed by the individual photosensitive points. Each photosensitive sensor point inside the image circle acts to convert the light to an electrical signal.|
Through this exercise I will be able to collect variable color sensation data of one image which provides mental picture of the viewing color. It will make us understand and differentiate the image sensing of user persona with normal eyesight and colorblind phenomena on one particular image.
POSIBLE GEOMETRIC REPRESENTATION
COLORS ARE USUALLY DESCRIBED BY THREE COMPONENT:
Not only RGB Model, also color models such as CIELAB and Y’UV! By treating the component values as ordinary Cartesian coordinates in a Euclidean space, a three-dimensional volume is described. So an RGB color model can be mapped to a cube; the horizontal x-axis as red values increasing to the left, y-axis as blue increasing to the lower right and the vertical z-axis as green increasing towards the top. The origin, black, is the vertex hidden from view.
|Now the next steps is how I can be able to incorporate all this data, principal and knowledge and create the technique of underpainting installation ?|