Physics 1230: Light and Color

• Introduction to Color
– Adding and Subtracting Colors
– Painting and Printing
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 COLOR

• Spectral and non-spectral colors

• Intensity distribution curve
• Intensity, hue, and saturation
• Color tree
• Additive primaries: R, G, and B
• Subtractive primaries: C, M, and Y
• Chromaticity diagram
• Color mixing: addition and subtraction
• Non-ideal colors
• Light sources, color temperature
• Inks, paints, and watercolors
• Halftones
What can we see?
 FOUR PRIMARY COLOR GROUPS

Additive colors are Psychological colors

Subtractive colors apply Artist’s primaries consist of red, yellow,
created with light. to print and pigment. In consist of red, yellow,
You project a red blue, green and the
this case color exists and blue. From these
light through a red achromatic pair, black
because the pigment primary colors the and white. This is the
screen or on a absorbs some light rays secondary colors
monitor or group we were taught
and reflects others. If orange, green and as children. All colors
television. The we use red paint the purple can be mixed
additive primaries can be described
pigment absorbs or from combinations of
are red, green and verbally as a mixture
subtracts all light rays two primaries. The of these four
blue (RGB). If you other than red, which it result when all three
combine red, green psychological
reflects back to the eye. primaries are mixed is primaries.
and blue light you The subtractive black
get white. primaries are magenta,
yellow, cyan and black
(CMYK). If you combine
M, Y & C you get black.
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 COLOR MIXING

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 MIXING COLORS
Where do we see a mix of the primary colors in everyday life?

The images on our television sets and computer monitors are composed of tiny
beams of red, green, and blue light. These are the ADDITIVE PRIMARIES. They
are called additive primaries because we can make most colors from them.

The colors in our clothes are made from dyes whose primary colors, however, are
cyan, magenta, and yellow. These are the subtractive primaries.

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 METHODS OF ADDING COLORS

1. ADDITION OF ILLUMINATION: Examples are stage lighting and 3-

color TV projection. Projected colors overlap.

2. PARTITIVE MIXING: Examples are TV screens, laptop screens, or

tightly woven fabric. These are closely spaced dots of colors.

3. TIME MIXING: Examples are rotating color wheels.

4. BINOCULAR MIXING: Here a different color is sent to each eye, and

the colors mix in the brain.
Partitive Mixing Example – Butterfly Wings
 COLOR MIXING IN LIGHT
Color that is mixed using light responds differently than in pigment. The primary
colors, those that are the basis for all others and cannot be made from mixed
color, are red, green and blue-violet. From these primary colors the secondary
colors magenta, turquoise and yellow can be mixed from combinations of two
primaries. The result when all three primaries are mixed is white. This occurs
because all the colors of the spectrum are present in white light. There is the
opposite result when all primaries are mixed in pigments.
One good example of color mixing in light occurs in video and computer monitors.
You may not notice this in your computer because color in computer graphics
programs are calibrated to react like pigment.

Also check out

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 SPECTRAL COMPLEMENTS
The complement of a color is the color you would add to get white -

Complement of red = blue + green = cyan

Complement of blue = red + green = yellow

Complement of green = blue + red = magenta

So WHITE = R + G + B = B + Y = G + M = R + C

Colors made by mixing are not as saturated because they contain a broader color range

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CONCEPT QUESTION - SPECTRAL COMPLEMENTS

Complement of green is -

A. Red plus blue

B. Magenta

C. Yellow

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 Look around the room - at other people's dress,
walls, etc.. Why are these things colored the way
they are? Why do we see yellow in bananas, green in
grass, or black in an evening gown?

COLOR In white light, an object that looks red, for

instance, is absorbing all the other wavelengths
(colors) of the white light and letting only the red
reflect back to your eyes.

An object that looks black is absorbing all the

wavelengths of light and allowing none (or almost
none) to reflect into your eye. Then why can we see
it at all, you may ask? Some of the light may
reflect off the black object if it is shiny, in which
case not all wavelengths are being absorbed, some
are simply reflected like a mirror.

So our banana is yellow because the properties of

the skin of the banana are such that it absorbs all
the other colors except yellow (until, of course, it
overripens and then it starts absorbing all the
colors!)

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COLOR MIXING USING PAINTS
 COLOR MIXING

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 COLOR MIXING IN ART
Color that is mixed in pigment responds differently than in light or optical color
mixing. The primary colors, those that are the basis for all others and cannot be
made from mixed color, are red, yellow and blue. From these primary colors the
secondary colors orange, green and purple can be mixed from combinations of two
primaries. The result when all three primaries are mixed is black. This is the
opposite of the result when all primaries are mixed in light.
Color in pigment is reliant on light. It depends on the reflection of the specific
color. White light is a mixture of all colors and when a color is present only that
color is being reflected. For example, in red pigment, all other colors except red
are absorbed. Red is reflected and this is what the eye perceives.

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 COLOR MIXING USING PAINTS

• Hypothetical reflectance functions for blue and yellow paints. Blue paint
reflects most light at the short wavelengths and absorbs light of long
wavelengths. Yellow paint reflects most light at long wavelengths and absorbs
light at short wavelengths.
Because blue paint and yellow paint both reflect middle (green-appearing)
wavelengths when blue and yellow paint are mixed together, the mixture appears
green.

 the reflectances add!

 PAINTS

• Paints consist of pigment particles embedded in a liquid vehicle.

• The vehicle may be clear or it may contain a dye.

• Pigment flakes can be partially transparent and work by selective absorption, or opaque
and work by partial reflection. The size of the particle makes a difference - smaller
particles transmit more and absorb less.

• Photographs and paints can have a glossy or matte finish. Glossy surfaces are smooth and
reflect part of the light specularly (like a mirror), and part of the light diffusely. Wet
surfaces usually look glossy, because they are smooth.
COLORS IN ART

Jean-Honoré Fragonard
mixed many colors to paint
A Young Girl Reading (1776)
DESCRIBING COLOR

Hue, Saturation and Value

All colors and tones have an inherent
hue, saturation, and value (HSV). Hue
is the color being described, such as
yellow, purple, or green. Saturation,
also referred to as chroma, is the
intensity or purity of the color. (For
example, 100% red would be vivid red
whereas 10% would be light pink.)
Value is the relative lightness or
darkness of the color. Value is also
used to describe tonal values that
contain no hue (grayscale).

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 CHARACTERISTICS OF COLOR - SATURATION
• SATURATION: This is the purity of a color. An unsaturated color
contains other colors of less intensity.

-100, +20, +100

 adding White to any color makes it less saturated!

 INTENSITY DISTRIBUTION CURVES

The intensity distribution curve gives the percent of each wavelength

reflected from a surface

100%

EXAMPLE: reflection from a

RED surface that reflects 100%
of red but 0% of GREEN or
BLUE
400 500 600 700nm
This is saturated red
 INTENSITY DISTRIBUTION CURVES

The intensity distribution curve gives the percent of each wavelength

reflected from a surface

100%

EXAMPLE: reflection from a

RED surface that reflects 100%
of red mixed with some
YELLOW
400 500 600 700nm
This is unsaturated red
 CHARACTERISTICS OF COLOR - SATURATION
• SATURATION: This is the purity of a color. An unsaturated color
contains other colors of less intensity.

100% 100%

400 500 600 700nm 400 500 600 700nm

Unsaturated yellow Saturated yellow
 INTENSITY DISTRIBUTION CURVES

The intensity distribution curve gives the percent of each wavelength

reflected from a surface

100%

EXAMPLE: reflection from a

CYAN surface that reflects
GREEN and BLUE but not red

400 500 600 700nm

 CHARACTERISTICS OF COLOR – Chromaticity Diagram

• SATURATION: This is the

purity of a color. An
unsaturated color contains
other colors of less intensity.

 adding White to any color

makes it less saturated!
 COLOR FILTERING

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 SUBTRACTIVE MIXING
• Filters work by absorbing part of the white light sent through them.

• Example: a red filter absorbs blue and green thus leaving red.

• So the TRANSMISSION curve of a red filter looks like the

REFLECTANCE curve of a red surface.

(projected light beams)

(using filters)
 SUBTRACTIVE PRIMARIES

• It is useful to think of cyan, magenta, and yellow in the following way -

• Cyan = filter passes green and blue = white - red = “minus red”

• Magenta = filter passes red and blue = white - green = “minus green”

• Yellow = filter passes green and red = white - blue = “minus blue”

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 ADDING SATURATED FILTERS

• What happens if we combine a red filter and a blue filter? What color is
transmitted?

• The combination passes nothing because the red filter only allows red
through, and the second does not pass red, so the combination passes
nothing.
 ADDING USING TRANSMISSION CURVES
• What happens if we combine a cyan filter and a green filter? What
color is transmitted?

• The combination passes green because -

cyan filter + green filter = white - red + (- blue - red) = green
In other words, what goes through two filters must be under the
transmission curves of both (their overlap).

100% 100%

400 500 600 700nm 400 500 600 700nm

 Optical Cast Plastic Color Filters

• The transmission characteristics of filters vary widely.

Here are the transmission curves of the large plastic filters shown in class:

 the Green and Blue filters

let through quite a lot of Red
light!
 Kodak Wratten
Gelatin Filters

• These expensive
filters have much
better transmission
characteristics.
•In this case, the
Blue filter truly only
transmits Blue light!
NON-IDEAL COLORS – a Color Chart

Many filters and

dyes are
unsaturated - so
the results on
addition are
difficult to
predict.
Sometimes color
charts help.

Does the chart

illustrate -
A. Additive color
mixing?
B. Subtractive
color mixing?

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 NON-IDEAL COLORS

So brown is a mixture of ?
A. Unsaturated red and unsaturated green
B. Black and red
C. Dark orange

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 What do all those letters mean in
the Color index?

The RGB values are given as 3 pairs, in hexadecimal (base 16) notation:
0123456789ABCDEF
For example, hex FF = 255

pure Red
 COLOR MIXING WITH ADDITIVE PRIMARIES

The color on the left was produced by instructing the computer to

activate 94 units of red and 62 units of green. This mixture of pixels
undoubtedly produces a color which appears orange. Similarly, to get
green, we mix blue and yellow.

Non-spectral colors do not follow simple rules. The color on the right
was produced by cutting the activation that produced the orange in half.
On the right the activation is 47 units of red and 31 units of green.
Roughly 2 parts red and 1 part green.

Does the color on the right appear brown to you? If it does you now
understand that brown is really dark orange.
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 MORE COLOR MIXING

The information entered into the computer to generate the color on the
left was 250 units of red and 250 units of green. On the right the
information was 50 units of red and 50 units of green.

You undoubtedly see the color on the left as yellow and the one on the right
as olive or olive green. Olive is a very dark yellow.

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 GRAY FILTERS

• Gray filters absorb all colors equally. So they can be used as white light
filters to photograph bright objects (e.g. the sun).
• They are also called NEUTRAL DENSITY FILTERS.
• By combining two neutral density filters, each with transmission of 50%,
how much light will the combination pass?

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 LIGHT SOURCES - COLOR TEMPERATURE
• Light bulbs, the sun, street lamps, candles, and lasers all emit light of different
colors.
• For some sources such as a hot filament in a light bulb, or the sun, the colors emitted
depend on the temperature. Cooler bulbs have more red for example than hotter bulbs.
• Temperature is measured in Kelvin:
Temp. in K = °C + 273
So Room Temp. = 20°C = 293 K
• T(sun) ≈ 5000 K has lots of blue; T(tungsten lamp) ≈ 2850 K (looks orange, less blue);
• T(candle) ≈ 1800 K (looks red, almost no blue)

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 LIGHT SOURCES - COLOR TEMPERATURE

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Light Sources – Photographic Film is sensitive to Color
Temperature
daylight-balanced (5000 K) tungsten-balanced (3200 K)
Fujichrome Velvia film Fujichrome 64T film

photographed photographed in natural

indoors under sunlight
tungsten
illumination

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 LIGHT SOURCES - COLOR TEMPERATURE

Tiffen 67mm 80A Cooling

Conversion Filter

Sunlight, daylight, incandescent,

fluorescent, and other artificial light
sources all have color characteristics
that vary significantly. Filters give you
better images by adjusting for these
light variations. Film and video are rated
for a particular color temperature such
as that of daylight or tungsten light.
Filters are used to correct differences
in color temperature between the
recording medium and the light source.
SPECTRAL AND NON-SPECTRAL COLORS

Spectral colors: Red, orange, yellow, green, blue, violet

Non-spectral colors: Brown, pink, cyan, and magenta

Cyan is a mixture of blue and green
Magenta is a mixture of red and blue
 METAMERS
METAMERS are colors that look the same but that arise from different
intensity curves

The left curve is a yellow, from a mixture of red and green

The right curve is a pure yellow - a narrow band around 600nm

100% 100%

400 500 600 700nm 400 500 600 700nm

 METAMERS

100%

White is an equal mixture of

red, green and blue.

What other intensity curve

would give white light?

This is one example of a

METAMER
400 500 600 700nm
 CONCEPT QUESTION - METAMERS

100% White is an equal mixture of

red, green and blue.

What is another metamer for

white light?

A. Red and cyan

B. Cyan, magenta and yellow

C. Blue and yellow

400 500 600 700nm