A journey through some visual illusions show how a simple physical concept of human colour vision doesn’t work. It’s all about perception, not physics.
“A human observer is able to recognise the colour of objects irrespective of the light used to illuminate the objects.” “Colour constancy does not exist in humans.” Which is right?
It was part of the folklore of women’s fashion in the 20th century, but had been embraced by the French Impressionists. Here’s why and how.
What do paintings look like to someone with deuteranopia? Why do great paintings ‘draw’ the eye? Do we see the colours the artist intended? And how many words for blue are in Ukrainian?
With its origins in the old rivalry between form and colour, Divisionism was the concept of scientific painting in the mind of Georges Seurat.
From linear perspective projection, synthetic pigments like Prussian Blue, and colour theory, to the first new painting medium since oils, science and painting have developed together.
How he became interested in colour, and how he developed his colour system – which remains one of the most widely-used colour ordering systems.
A brief look at the history of colour ordering, and colour systems, as an introduction to the pioneering work of Albert Henry Munsell.
Painting is about form, light, and colour. Here is a short summary of the practical points developed in the previous articles on colour.
How pigments work, and some of their practical problems.