OUGD404 - Design Principles: What Is A Book? Development

1. Additive Colour

2. Subtractive Colour

3. Colour Theory

4. Anatomy of Type

5. Point Size

6. Font or Typeface

7. Rods and Cones

8. Complementaries

9. Colour Modes

10. Grids

 

I have changed my 10 things to include slightly, to ensure that I include all of the most necessary points in my publication. I haven't however changed them on my '10 things' post because I wanted to show a wide array of possibilities I could have used.

Design sheets

 

I decided I would start my development process by completing some design sheets. I find that this always helps me to get my ideas in some sort of order and it helped me to see which I preferred. I did 12 designs for each page number on half of an A3 page so that they were clear enough for me to keep referring back to. Here I have experimented with the scale of the numbering on page 1, looked at how it could coincide with the symbol I am using, and thought about the grid system I am going to be using, experimenting with both postmodern and modern designs. I much prefer the modernism approach however because it is much more ordered and clean cut in comparison. Also, it is much more appropriate to take a modernist approach as this involves using grids all of the time.

For number 2 I did the exact same thing, in this case however I concentrated more on making it look ordered and neat. I really like the idea of having some sort of numbering system down the left hand side of the page, which would indicate which page number the reader is on, but in a subtle way. This could be achieved for example by blocking out all of the other numbers by illustrating a grid whereby only the number 2 would be visible. I also like the idea of merging some of the imagery in to the lines which are forming to make a grid. This would make each page balanced and would provide me with a consistent format to work with, without being concerned that the pages don't flow as a whole publication.

 

Digital version of preferred thumbnails for number 1 and 2

 



 

Many of my designs for page 3 are also quite complex, this could possibly be an issue if I was wanting to make a consistent publication. I experimented with combining the star shape which is formed within the primary, secondary and tertiary colour wheel, allowing this to become the main structure of the page. This worked well in some cases, however it may not be as recognisable on such a large scale in comparison to a smaller diagram on one of the pages. I am certain that I will be choosing the strongest designs from all of the page numbers and then deciding which one I prefer the most, then apply it to all of them.

I enjoyed experimenting with the number 4 as I was really able to explore the possibilities of using it as a tool to split the double page spread up in to different sections. I did this by combining the points and picas diagram in with the elongated line, which I felt worked really well. I also used the same principle but applied the diagram to the number vertically, this also worked really well. Some of the designs, for example when I created an almost mirrored design with the letter 'P' didn't work so well, as there was no real reason for applying this idea, other than it looking a bit more creative possibly. I much prefer design with reasoning behind, as it shows that thought has gone in to it and it hasn't just been rushed.

 

Digital version of preferred thumbnails for number 3 and 4

 

 

Number 5 was also a strong one to experiment with in terms of using the actual digit to form the layout of the pages. However sometimes I felt as though it was getting slightly lost in the design as it wasn't clear enough. I also wouldn't want the numbering to be the main feature of each page as the quality of the design would be lost I feel.

My previous point I made about the numbering detracting attention from the content is most definitely valuable here. Since designing pages for the number 6 it became apparent to me that not all digits are easy to work with in that way. Because it isn't very angular it made it harder for me to use it as a foundation for creating a layout. Another thing I did look at here was using the actual letterforms for the work 'SIX' and applying them to the design as a bit of a change. However, I don't think this would look consistent with every page as each number has a different amount of characters in it.

 

Digital version of preferred thumbnails for number 5 and 6

I found that I was able to create lots of interesting layouts with the number 7, as it is very angular and there were a lot of options for how it could be placed on the double page spread. It is not my favourite set of layouts however, and I feel as though none of them stand out as being a very strong design. I would like to maybe use the strongest design overall and apply it to each page throughout my publication, rather than making them different in accordance with the number used.

 

 

I found that 8 was also not as easy to work with. I experimented with it and found that I could form a grid by drawing a horizontal line through the centre of it. I found it worked quite well when I drew the vertical lines to represent the image of complementary colours. It seems as though the further I get through the numbers, the more challenging it becomes to produce layouts which would be suitable for all of the double page spreads. I therefore think the simpler the better so it is easily applicable.

 

 

Digital version of preferred thumbnails for number 7 and 8

I think because I have the different colour mode images to work with here, there are a lot of different ways I could compose the double page spread. I have therefore been able to experiment lots and I am quite pleased with the outcome of these designs. I think the '9' digit with a vertical line doesn't work as well as the one with a curved line, therefore I shall be using the '9' taken from the Kozuka typeface.

 

 

This was another one which worked well, I could even use the uppercase letterforms 'TEN' rather than the digits, however I don't think this would work for every digit once again. I think the most successful here, is when I have used a simple grid, for example the bottom right design where everything is boxed off in a certain area. I think it would be worthwhile trying to develop this idea and apply it to each of the pages as I feel as though it would be successful.

 

 

Digital version of preferred thumbnails for number 1 and 2

 

Development...

I then started to work digitally, and first of all used the Fibonacci sequence to create a custom sized page I could use. I am happy with the page size I have produced as it isn't too big and isn't too small, however I may decide at a later date in my design process to scale it down if my design requires a smaller page size. At the moment the page is 17.5cm x 26.5cm.

 



 

 

I then used Van De Graaf's canon to separate my page in two and possibly use the idea of inserting text and image in the boxes I have drawn. However I feel as though I would like to be a bit more experimental than this, as there are so many possibilities with this brief in terms of what grid we decide to use, therefore I think it would be interesting to create my own to some extent.

 

 

I firstly started to experiment with the layout of the cover design. I tried to incorporate the uppercase letterforms in to the design and used the letter 'I' to make an almost central separation to the page. In this case however I don't think it works very well and I won't be doing anything similar to this for my final design.

 

Here I did the same thing but in a slightly different way. I feel as though the black is too harsh for the weight of the letterforms. It also makes it hard to know where to place the rest of the text on the page, as it isn't exactly a balanced ratio of black to white.

 

Here, the lines work a bit better I think. I especially like how the horizontal line continues on to the back page, giving it some form of continuation rather than it coming to a sudden stop on the front and having a black reverse side.

 

This was slightly easier to construct in terms of deciding where the rest of the text should be situated on the page. However I am not happy with the overall composition of the page and feel as though it isn't quite there yet.

 

By simply reducing the stroke size of the line and moving it to be placed in between the text rather than merging in to it, I feel as though a completely different image is made. It is definitely more legible and balanced and would be more applicable to a publication cover than any of the previous designs.

 

This below doesn't work well as it just looks as though the 'I' has been elongated for the sake of it, not really providing a strong separation to work with on the page.

 

I quite like this design as it is balanced and I have experimented with the weighting of the typeface I have used (Kozuka). I'm slightly unsure about whether the word 'things' works on it's side though, and think it could possibly annoy the reader, as everything else is lined up perfectly, being read in the same direction.

 

I tried to see whether it would be possible to create a block of text consisting of the title. I don't think this typeface is suitable for this, but I also think it instantly looks too crowded, and even when I have seen it done before I have never been overly fond of it.

 

Below is the information I typed in to create my new document. I decided that I would reduce the margins slightly from the preset figures and change the orientation to landscape, to allow me to separate each page in two accordingly, to create my double page spread.

 

Below is one of the designs I started with, taking the idea of the addition symbol to represent additive colour. I feel as though it is important to use associative imagery to allow the information to become as memorable as possible. I also used RGB swatches to represent screen based design. I tried to incorporate 'RGB' to the inside of the addition symbol, but don't think it is very effective. The number 1 here is very subtle, especially in comparison to some of my initial drawings.

This is what I came up with once all of the guide lines were taken away and the addition symbol had been altered slightly. Instantly I prefer it and I love how the symbol fits perfectly to follow the vertical and horizontal lines I have drawn on.

I wanted to see what my layout would look like if I was to have an oversized image on the left hand side with text alone on the right. I quite like it, but feel as though the 'RGB' surrounding the symbol doesn't work as well, as it doesn't look balanced. It would work better with 'CMYK' as there are enough characters to place around it.

I much prefer this. It just shows that the additional text of 'RGB' isn't really necessary. I don't think the positioning of the text works well now however, as it needs to coincide with the positioning of the imagery.

 

I didn't know whether the central vertical line was necessary, as it is quite obviously the centre of the page. I like it both ways but thing it depends on the composition I want to create for each double page spread, and whether I want the centre to be a noticeable feature to highlight the grid system I have used.

 

Here I have experimented with moving the symbol down so that it falls off the edge of the page and overlaps the margins, I have also moved the text to make room for more imagery going down the centre of the page, which I thought could be the colour swatches once again.

 

By simply adding another horizontal line to the bottom of the page I have created a more balanced page instantly. I think i will follow this sort of structure for my final design as I love how it separates all of the text and imagery in an ordered way.

 

 

Here are the measurements of the margins below, to indicate the consistent grid I will be using throughout my work. I decided I didn't want it to be symmetrical so I made the top and bottom slightly unequal.

 



 

I wanted to see what the same design would look like without the addition symbol being filled with block colour. I think this makes the design look much weaker and more subtle, and I'm not sure whether this is the effect I am wanting to create.

 

Without the lines going through the centre of the symbol it looks much better, but I am still unsure as to whether or not it is strong enough visually to capture people's attention.

Here I have simply reduced the size of the symbol slightly and moved the text in to allow room for enlarged colour swatches. I quite like this layout but feel as though there is something missing.

 

Finally I am becoming much happier with this design. I am glad I have been able to explore and experiment so much with this one layout design as it will allow me to settle on one and apply it to all of the other pages.

I think the addition symbol filled with black works much better and makes it look much more balanced, however I still think that the colours on the right hand side could do with changing slightly.

Here I increased the stroke size of all of the images to make it all stand out a lot more. I think it definitely worked to create a stronger composition overall.

By removing some of the lines I was able to see whether or not they were necessary, in this case the singular line alone doesn't work at all, and it need something else to make it look a bit more balanced and appealing.

The overlap of the colour swatches reminds me of the olympics, but I wanted to try and illustrate how they are all mixed together. I don't think it is necessary after trying this though, as the addition symbol works in replacement of this idea.

This instantly looks better now that the stroke size has been increased even more. I am a lot happier with the progress I am making, and although the changes are only small they create such a difference on each design.

 

Below is one of my ideas for numbering pages enlarged. I thought the simple idea of highlighting one circle would indicate the page number in a very modernist way.

 

 

Moving on to subtractive colour, I experimented with numbering down the left hand side. I created outlines on the numbers to allow me to highlight to specific numbers.

 

I then applied it to one of the additive colour page layouts. I like it but along the way I have been printing some pages off to see what it looks like when printed and the effect isn't quite as strong.

 

I started another page too, illustrating the colour theory on the right hand side whilst blending the line in with the design. I also used circles along the side to see what they would look like and I just find them quite unnecessary and not exactly serving a purpose.

 

Below I have shown the grid system I used when drawing the points and picas line. I wanted them to be perfectly drawn so that the lengths were all equal and accurate.

Below I drew Van De Graaf's canon to include on my pages relating to grids.

 

Now that I am happy with the layouts I have produced and think I am going to apply the same, well structured grid to each of the pages, I am going to design each of the individual pages, firstly without taking the binding into consideration, just so that I can make sure that they work as double page spreads. Then I will consider the method of binding and move all of the information around so that when printed they are all in the correct place.

 

I used scrap pieces of paper to produce a prototype so that I knew where everything should be positioned roughly, and with the way I want it to look it makes sense to have a contents as there is the room for it.

 

Below is the new document I set up, this time with 12 pages so that I have room for the contents page as well as all of the other 10 page spreads.

 

I went for a much more simplistic and bold approach to the cover. I didn't want the cover to be too overpowering, but just professional enough to capture attention and look smart and concise. I experimented with the length of the black rectangular shape as well as the weights of the typeface. This in itself was enough to create impact and even worked well once printed which is the most important thing to check.

 

I decided to enlarge the numbers on the left hand side to make each page consistent and practical. This made it a lot easier to decide where everything should be placed on each page. I am really happy with the outcome of all of the double page spreads I have created and look forward to actually having it printed and bound.

 

Once all of the design work was complete I decided that I would print all of the pages out, cut them in half and stick them appropriately to coincide with where everything needs to be placed within my publication. This then helped me to work digitally once again and move the content around so that it was all in the right place.

 

Using the print outs as a template I was then able to create the following double page spreads which are almost ready to be printed. After a long process of designing and experimenting I am finally happy with the outcome.

 

 

Below is what the same publication looks like, but without the lines in place. I have saved this document separate to the other one as I want to have it in case I decide to have a piece of tracing paper in between each page with the grid printed on it, to give it added aesthetic value and make it a bit different. I have experimented with this and it is photographed below this set of imagery.

Binding and experimentation

 

When creating this publication I was constantly printing throughout the design process to ensure I was happy with the outcome, because often what you see on screen can look much better than when it is printed.

 

Below is the second prototype I created once I had experimented with scrap paper. I found this really helpful in terms of informing myself where everything should be placed.

Below is the same prototype printed alongside a smaller print out of one of my pages along the way. I reduced the size and halved it to save my ink, but I actually quite like the size of it, as my publication has a lot of white space in it so it can afford to be that little bit smaller. I may consider this when it comes to printing.  

 

Paper sample 1

 

I printed one of my pages out on to brown paper, feeding it through my printer at home. Having just bought a new one, the quality of the print is amazing and I thought it would be worthwhile experimenting with any stock I already have, to see whether it is able to feed through before buying stock of relevant colour to me. The brown paper is quite thin and wouldn't work for this type of publication.

 

This is actually a piece of pale green card, and although I wouldn't be using this colour for my final designs, I am happy with the outcome and I am now aware that I am able to feed card through my printer too.

 

Although I have a print slot booked in to print this publication off, I think I will try and produce one whilst I am still at home as it will be completed then and ready for submission. As the quality of my printer is strong enough I think it would be worthwhile to do it this way.

I took a photograph of some trace I printed on at A4 scale, but to the correct size of my publication. I just wanted to show how the paper can curl up at this scale.

Paper sample 2

Here I have made a smaller prototype so that I could grow in confidence with how I am going to bind my publication. I really like this way of binding, as I like how all of the edges are visible. I also found that when I was playing around with the paper, it is almost impossible to do perfect binding whereby the edge of the pages lines up perfectly. I think this way of binding is most suited to my design and it was simple enough to do. I am going to experiment with different stock and different threads and ribbons before deciding on the final materials I want to use.

Here I have experimented with printing on a piece of trace, which surprisingly worked very accurately. I made a small mock up of what it would look like, with the lines removed from my double page spreads, allowing the trace to become an added and important feature to my publication. I once again tried it on a smaller piece but actually think that it worked really well.

The way in which I have bound it here, is by simply putting one stitch through to keep it all in place. Despite there only being one stitch it kept it where it needed to be and the tracing paper stayed where it needed to be.

I feel as though if I was to print to the scale which I originally decided, it may mean that the trace would get damaged, as it would be more delicate and prone to folding over or curling up. Having never bound a book before or had any experience with it, I think it makes more sense for me to go with what I think would look most successful by the end of it.

 

I have looked at saddlestitch, which would certainly work in this way. However I purposely designed my pages, composed in a certain way to be able to stitch through the paper in the same way shown with my paper sample 2.

Here, I accidentally printed a couple of pages out on to tracing paper, the top one printed off fine, however the first page didn't work as the ink started to run. This is interesting to note as it could possibly happen when I print the grids on to trace, however I am hoping that because there is only a small amount of ink needed, this won't happen.

 





OUGD404 - Design Principles: Colour Theory Session

Colour Theory Questions

Applied colour theory

• There are two different processes of colour, optical and physical;
• Optical - is made up of dots of colours to make that colour you perceive.
• Physical - it is a flat colour and is mixed so there is no dots.
• When looking at pantone books, formula is physical and CMYK is optical.
• One colour plate is cheaper.
• Greyscale mode has only one plate.
• CMYK mode has three plates.
• You can usually go up to 7 plates
• Work in constant lighting, this is so that the way you perceive the colour doesn't change.
• The tints pantone book - the colour gets more saturated as the dots get closer together. It is not physically getting more saturated, it is just changing the tint. Optically giving you different tints, this is done by adjusting the dot pitch. (which is not the same as DPI, Dots Per Inch)

This session involved presenting our colour theory presentations to a small group. We then thought about some questions we could ask that we want to know the answers to, concerning the colour theory. We then shared the questions we came up with and made a set of group questions.

Group questions

1. When contrast of extension is balanced, is it a high or low contrast?
2. Does contrast of extension apply to colours that aren't complementary?
3. Do tertiary colours have a complementary colour?
4. How does artificial/natural light effect the perception of colour?
5. How does the chromatic value of white stock effect the colour of the print?
6. Does tone affect the temperature of a colour?
7. Is it possible for a colour to be warm if its desaturated?
8. Can complimentary colours be balanced (contrast of extension)?
9. How would simultaneous contrast be used?
10. How do you make gold and silver?

OUGD404: Design Principles - Colour Questions

These are the questions which we came up with as a group in our studio session. I decided to research into all of these questions further.

When contrast of extension is balanced, is it a high or low contrast?
When contrast of extension is balanced, there is a low contrast.

Does contrast of extension apply to colours that aren't complementary?
Yes, since carrying out colour experiments I found that even if colours which aren't complimentary are used together, they still form a contrast, as it is always important that we find the correct balance of colours.

Do tertiary colours have a complementary colour?
Yes, every tertiary colour has a complementary colour. They are the opposite colours on the colour wheel.

How does artificial/natural light effect the perception of colour?
This is the question I answered in an individual post.

How does the chromatic value of white stock effect the colour of the print?

		1. Absolute luminance. When we perceive brightness or lightness, we fundamentally respond to the quantity of light energy reaching our eyes from objects and surfaces around us. This is the "objective" component of brightness or lightness. The environmental range in luminance values is huge (diagram, right). As a conservative estimate, from the luminance of a white paper under a night sky (about 10-2 candelas per square meter) to the luminance of a 60 watt light bulb (about 105 cd/m2), a ratio of about 1 to 10 million or 107. 2. Response range. In light sensitive media, the response range comprises all luminance values that produce a perceptible change in the media, and a perceptible change if the luminance is either increased or decreased by a proportionally small amount. The response range is bounded by thresholds at high and low luminance values. The lower limit ("noise") is defined as the highest luminance that does not produce a perceptible difference in the light sensitive media if it is reduced, and the upper threshold ("saturation") as the lowest luminance that does not produce a perceptible difference if it is increased. The response range is typically represented as a characteristic curve that shows how relative luminance levels (on a logarithmic scale) are transduced into proportional media densities (on a linear scale). a characteristic curveillustrating the 1:1000 response range typical of photographic film For physical reasons, light sensitive electronic and chemical media have a relatively small response range, given fixed optical aperture and exposure times. The best CMOS chips, for example, have a response range somewhat above 104 or 1:10,000; photographic film and video displays have a response range of about 103 or 1:1000 (shown above), and photographic print papers have a response range of less than 1:100 or 102. By comparison, human color vision provides a large response range that is at least 1:100,000 or 105 at most adaptation levels. 3. Luminance adaptation. Because the response range of all light sensitive media is relatively limited in comparison to the absolute range of luminance valuess in the environment, the exposure of the media to light energy must be adjusted, by means of aperture size, exposure time or filters, so that the environmental luminance values fall within the fixed response range of the media. In a similar way, luminance adaptation shifts the response range of the eye so that the visual system becomes less sensitive when light is very abundant, and more sensitive in the dark. These shifts involve changes in pupil size, changes in the proportion of unbleached photopigment in the retina, and changes in the response sensitivity of visual pathways in the brain. luminance adaptation The total light reflected in all directions from a surface, as a proportion of the total light incident on the surface, is called its reflectance. Luminance adaptation is largely governed by the average luminance of the entire visual image, which in almost all environments is the average reflectance of all surfaces, called the adaptation gray. The adaptation gray is usually equated with a reflectance of about 20%. Roger Clark estimates that scotopic vision corresponds to a photographic ISO of about 800, whereas photopic vision corresponds to an ISO of about 1. This suggests the dimension of visual adaptations between scotopic and photopic vision. Luminance adaptation defines three perceptually unique visual domains: • Scotopic vision is the visual adaptation to night environments, roughly with surface luminance values below 0.1 cd/m2. Scotopic vision provides no chromatic (hue and chroma) sensations at all, so that all surfaces appear to be shades of gray; white surfaces appear to be a silky silvery color, and gradations in lightness below middle gray are indistinguishable. • Photopic vision, at the other extreme, is the visual adaptation to sunlit outdoor environments, roughly with surface luminance values above 300 cd/m2. Photopic vision provides the maximum visual contrast between light and dark surfaces and the maximum sensations of hue and chroma; discrimination of surface colors is good down to very low luminance factors. • Mesopic vision is essentially a mixture of scotopic and photopic adaptations, and is the common luminance adaptation in indoor environments under artificial light or restricted daylight, where white surfaces have a luminance of roughly 10 to 100 cd/m2. Contrast and chromatic variety is muted, moreso as illumination decreases, and there is some loss of discrimination among very dark surfaces. Although the eye is a very poor photometer — human vision is relatively inaccurate at judging the absolute luminance of a scene or object (which is why photographers must meter light exposures) — the different states of luminance adaptation have very recognizable effects within color vision: • quality of white – the bright, pure, "saturated" quality of a white surface under photopic illumination changes to shades of gray under mesopic and scotopic vision; colors reflected into white surfaces by surrounding surfaces become more obvious • lightness contrast – lightness contrast peaks under photopic illumination, and becomes slightly more muted under mesopic illumination: the perceived contrast between light and dark values is reduced, and we can discriminate fewer steps in a graduated value scale; then the contrast ratio between light and dark values (the visual response range) is fairly constant down to luminances of about 10 cd/m2, and then becomes more restricted. • dark value discrimination – the lightness discrimination lost under dimmer illumination falls proportionately more within darker values • chromaticity – the colorfulness of colors peaks under photopic illumination, and colors gradually become more muted and darker as illumination decreases; under scotopic illumination color perception disappears entirely and all surfaces appear as shades of gray • detail – fine detail, such as text printed in fine type, becomes more difficult to see under low illumination; under scotopic vision we lose foveal vision entirely, and cannot read even large print type, such as newspaper headlines • bright luminance – under photopic illumination few lights (often, only the sun and highlights or reflections of its luminance) appear genuinely "bright"; all other lights appear to be merely glowing or "super white"; but under low mesopic and scotopic illumination, even illuminated surfaces, such as the walls of an illuminated room viewed from outside through a window, appear as bright as lights.	a comparison of common light environments (log scales) where 1 lux = 0.31 candela/m2: the luminance of a white surface equals the illuminance falling on the surface
		4. Anchoring. It appears from experimental evidence that the visual system perceives the absolute overall luminance only poorly and slowly, and much of the information about the environmental luminance comes from the apparent contrast among all surfaces, determined by looking at the pattern of lightness differences at each color edge. Because the reflectance of surfaces is always within 1% to 99% (and is commonly within 5% to 95%), the contrast ratio of diffusely reflecting surfaces is typically 1:20 or less. In addition, the most sensitive lightness discrimination across all adaptation states is in light valued or near white surfaces. This typically puts adaptation gray in the lower half of the visual response range. Thus, the luminance that produces a 50% visual response on a characteristic curve may be less than 10% of the luminance saturation threshold. The "excess" visual response capability at higher luminance values is available to handle the "glare" luminance of reflected highlights or the direct imaging of light sources. This produces a perceptual contrast, within the response range at any adaptation level, between lightness and brightness. Lightness is the perception of luminance that is less than the luminance of an area perceived as "white" (diffusely reflecting nearly all the light that is incident on it). As luminance increases above this level, color areas seem to glow or fluoresce, and finally to shine as lights; these perceptions appear subjectively different from surfaces, as brightness. Color vision establishes the boundary between these two sensations through lightness induction. In most viewing situations, lightness anchoring appears to put the "white" response approximately around the middle of the visual response range — as appears, for example, if we fit a plot of lightness values (CIE L*) on log luminance values (CIE Y) over a schematic visual characteristic curve (diagram, below). schematic location of lightness variations within visual response rangeplot of CIE L* values on log CIE Y values (dark blue) superimposed on schematic characteristic curve (light blue) This creates a dynamic relationship between the average scene luminance (luminance adaptation) and the perception of white surfaces (lightness induction). If a brightly illuminated surface suddenly appears in a dark adapted field of view, luminance adaptation will decrease sensitivity in order to shift the luminance range downward within the characteristic curve, and the illuminated area will decrease in brightness enough to permit perception of it as a white surface. Alternately, when entering a dark environment, luminance adaptation will increase sensitivity until the most luminous surfaces in view are near the middle of the response range. The exception seems to be low mesopic and scotopic vision, where physically white surfaces always appear distinctly gray, when compared in imagination to the same surfaces in sunlight. This implies that the lightness range has shifted even farther down the visual response range. Consistent with this fact, we lose discrimination of darker values as light becomes dim, and under scotopic vision cannot see the difference among values below a middle gray. As shown by the characteristic curve, this is because large proportional differences between low luminance values have no effect on the visual response at the bottom of the curve. 5. Relative luminance contrast. The dynamic relationship between adaptation and lightness induction extends rather deeply into lightness perception. A single illuminated surface isolated in darkness can appear to be white, even when it is actually black (very low reflectance). Alan Gilchrist and colleagues have shown that persons looking into a hemisphere that filled their field of view and was painted various patterns of dark gray and medium gray, saw the patterns (after adaptation to the dome illumination) as painted light gray and white (diagram, below). lightness anchoringleft column: the interior of a large, diffusely illuminated hemisphere was painted with patterns using a dark gray (CIE L* = 25) and medium gray (L* = 55); right column: the perceived gray values were shifted lighter, so that the medium gray value appeared white (L* > 90); after Lee & Gilchrist (1999) The shift in the perceived lightness does not change the relative lightness contrast between the color areas, so that the luminance proportions seem to be preserved. This shows, among other things, that accurate lightness perceptions require variations in surface reflectance across a representative range of luminance contrasts. However, the effects of luminance contrast can also be quite local, as shown in the Bartleson Brenneman effect (image, below). the bartleson brenneman effect Here the background lightness influences the apparent gradations of gray. A dark background pushes all gray values toward white, compressing their perceived lightness differences; but a light background shifts the values toward black, enhancing the apparent lightness contrast. 6. Scene spatial interpretation. Finally, the dynamically limited, luminance adapted and white anchored luminance variations are imputed by color vision to actual objects, and their surface colors are interpreted in terms of the spatial orientation of their surface to the sources of illumination in the environment, including the relative intensity of light sources, the effects of cast shadows or barriers, the presence of windows, and so on, all of which constitute a spatial interpretation of the scene. Spatial interpretation has a very large effect on color appearance. As a simple example, the first photo (below) shows two sheets of white paper photographed in a spatial context in which one sheet is in shadow and the other in direct daylight. In the two photos below it, the color of the illuminated sheet is copied into the location of the shadowed sheet, or the color of the shadowed sheet is copied into the location of the illuminated sheet. two sheets of white paper in a spatial context both sheets of the same "light" lightness both sheets of the same "shadow" lightness the effect of spatial context on color Here the "shadow" color appears much darker when it is located in the illuminated spatial area, and the "light" color appears much brighter when it is located in the shadow spatial area. These color shifts are not simply due to the relative luminance contrast of the paper colors with the surrounding carpet colors, because the apparent sizes of the color shifts are much smaller when the spatial context is removed and the identical computer monitor colors are presented as two dimensional contrast figures (diagram, below). spatial context removed from color contrast I find the contrast between the "shadow" lightness figures, when compared to the two dimensional display, to be especially striking. The spatial image gives the unambiguous impression that the shadowed paper is white and the illuminated paper is a middle gray; but in the two dimensional display the two colors appear nearly the same value. Overview of Lightness Components. This section has presented the six conceptual dimensions for analyzing, and by means of the analysis viewing accurately, the lightness gradations in any scene. The diagram (below) summarizes how these different components of lightness should be evaluated. interplay of components in lightness

 

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Does tone affect the temperature of a colour?

Change the color tone of a picture

When color temperatures are not measured correctly by a camera, a color cast (too much of one color dominating the picture) can display on the picture, making the picture look too blue or too orange. You can adjust this by increasing or decreasing the color temperature to enhance the details of the picture and make the picture look better.

1. Click the picture that you want to change the color tone for.
2. Under Picture Tools, on the Format tab, in the Adjust group, click Color.

Adjust group on the Format tab under Picture Tools

If you don't see the Format or Picture Tools tabs, make sure that you've selected a picture. You may have to double-click the picture to select it and open the Format tab.

3. To choose one of the most common, Color Tone adjustments, click Presets, and then click the thumbnail that you want.

Tip You can move your mouse pointer over any of the effects, and use Live Preview to see what your picture will look like with that effect applied before you click the one that you want.

4. To fine tune the intensity, click Picture Color Options.

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Is it possible for a colour to be warm if its desaturated?
If a colour is neutral then it is not possible to distinguish the temperature and so it is hard to define whether it is warm or not. It all therefore depends on how desaturated a colour is.
 
Can complimentary colours be balanced (contrast of extension)?

Yes they can be balanced however contrast of extension requires these proportions of the complementary colors to achieve a balance.

How would simultaneous contrast be used?
It is not so much about how simultaneous contrast can be used, it is more to do with the way we apply it to our work.

How do you make gold and silver?
Metallic pantone swatches are used to make gold and silver.

OUGD406 - Communication Is A Virus: Risk Assessment

Today Harrison and I decided to sort out the risk assessment and finalise everything so that we were able to go ahead with our tea stand. We spoke to the buildings people and asked them what we needed to do. Below is a photograph of the original floor plan Sarah drew and gave to them. He said it needed to be drawn out again to make it clearer and also said that we would have to consider a few more things and indicate them on the updated version. I therefore decided that I would draw it on Illustrator and this enabled me to produce a clear copy which would be able to handed in and checked in time.

Simon kindly gave me the document with the floor plan on which is supplied to the tutors in the college. I tried using this to create the floor plan but thought it would actually be too complicated to illustrate where exactly everything would be, which is why I used my original drawing above.

Harrison filled in the risk assessment form and emailed them back to them so that they could check everything was alright before giving us the go ahead. I feel as though we worked well together to get this done and it only took an hour or so until it was all complete.