By George A. Agoston
This ebook at once addresses a long-felt, unhappy want of recent colour technology - an appreciative and technically sound presentation of the foundations and major choices of colorimetry to artists and architects, written by means of one in all them. along with his distinct mix of teaching and adventure in engineering, along with his lifelong curiosity and, latterly, occupation in paintings and paintings schooling, Dr. Agoston is surprisingly prepared to express the message of colour technology to artwork and layout. His publication fulfills the hopes I had while I first heard approximately him and his publication. I foresee very important and long-lasting affects of this publication, analogous to these of the epoch-making writings via previous artist-scientists, resembling Leonardo, Chevreul, Munsell, and Pope. approximately all people who've contributed to paint technological know-how, lately in addition to previously, have been interested in the research of colour through colour in paintings. Use of goal or clinical equipment didn't outcome from any chilly, indifferent perspective, yet from the inherent problems of the issues relating colour and its use, in which they have been intrigued. smooth schooling and event has taught many folks find out how to take on tough difficulties via use of clinical equipment. as a result - colour technological know-how.
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Additional info for Color Theory and Its Application in Art and Design
Cadmium red (I) and madder lake (11) pigments. Spectral reflectance curves for matte paint films. 7,8l) Fig. 2. Madder lake pigment. 7,8l) when illuminated by daylight (II-C), typified by CIE ILL C, and by incandescent lamp light (II-A), typified by CIE ILL A. Relative spectral-energy distribution curves der lake (11), however, absorbs relatively small proportions of the light at wavelengths both above 600 nm (red) and below 480 nm (blue). The result is that, when madder lake is illuminated by daylight, magenta light (a mixture of essentially red and blue light) passes from the pigment particles to the eye.
187]. If the reflectance is measured at 5 or 10 nm intervals over the whole visible range (380-780 nm), the results can be plotted as a spectral reflectance curve. Curve I for cadmium red shows that the pigment exposed to white light absorbs less than half of the light that it receives in the wavelength range above 600 nm and absorbs most of the light at wavelengths below 600 nm. , > o a:" ~~00~--~~--~~----=700 Wavelength [nm] 50 ~OO 500 600 Wavelength [nm] 700 Fig. 2 Fig. 1 Fig. 1. Cadmium red (I) and madder lake (11) pigments.
Wavelength composition of light after it passes through glass of 1 mm thickness (I) and 2 mm (11) when illuminated by an incandescent lamp whose light is typified by eIE ILL A. 1tially no different from those that occur when light falls on an opaque paint film. Part of the light that passes through the transparent material (nonfluorescent) is absorbed and dissipated, unnoticed, as heat; the remainder that is not absorbed emerges from the opposite side as transmitted Zight. ) When daylight enters one side of a colored glass, and red light is transmitted from the other side to our eyes, we say that the glass is red - that is, the perceived color (object color) i s red.
Color Theory and Its Application in Art and Design by George A. Agoston