Tonal Relations in Imaging Systems

Color Dimension

• Color has four dimensions: pure hue, value, chroma, and temperature.
• Pure hues are located on the outer edges (horizontal dimension).
• Value is represented on the vertical axis, from light at the top to dark at the bottom.
• Chroma, or intensities, of the color take the third dimension, or depth, of the color.
• The fourth dimension is the temperature of the colors.

Hue

• Used to distinguish one chromatic color from another.
• It is the name of the color.
• Hue indicates the color's position in the spectrum and on the color wheel.
• It is believed that color categories are largely determined by the physiology of the human visual system.
• The study of categorization links strongly to the study of color naming.

Color Naming

• Colors have different names in different languages, along with different meanings and understandings in cultures. Common types include:
• Commonly used mono lexemic color names: red, blue, violet, yellow, black, white, gray, brown, purple, pink, etc.
• Color names related to objects or materials that directly take the names of the materials: gold, silver, lime, persimmon, orange, violet, etc.
• Color names associated with objects and materials: sky blue, velvety black, lemon yellow, brick red, ashen green, etc.
• Color names related to their tonality: light red, deep blue, dark red, grayish green pale brown, gray-green black- brown blue-black, etc.
• Color names common among artists and paint manufacturers
• Color names related to the minerals: cobalt blue, cobalt green, cobalt violet; chrome yellow, chrome orange, chrome green; cadmium yellow, cadmium orange, cadmium red; zinc white, madder lake, etc.
• Names that refer to places: Naples yellow, Paris blue, Saturn red, mars yellow, etc.
• Names related to social status: Royal blue, Royal purple, etc.
• Color names used among fashion designers and interior decorators include: tan (yellow brown or golden-brown shade) beige (a pale, sandy, or light brown color) turquoise (greenish blue) blond (light yellow) mauve (a pale purple) taupe (a gray with brown quality) puce (a dark red or purple brawn);
• Most people are uncertain about these colors
• Some theoreticians suggest naming colors using composite words.
• Indicate the color that modifies the main hue with the first syllable, such as gray-blue or yellow-green.
• Use double names to indicate the degree of modification, such as yellow-red yellow or red-yellow-red.

Value

• Sensitivity to any kind of light is common to all humans.
• Under suitable conditions human eyes can distinguish from fifty to hundred different tones between black and white.
• Judgment is influenced by the area of these tones and prevailing light levels.
• Using a continuous tonal scale which shows progressive change from black to white can be valuable to technical processes.
• With a continuous tonal scale if one tone merges imperceptibly into the next, it is often more convenient to use a step wedge or gray scale.
• Each step on gray scale appears proportionally lighter than the previous one.
• Steps need to be some 2% brighter or lighter than its neighbor in day light for to detect any difference of tone.
• The number of steps chosen for a gray scale will depend on its purpose, as 10 steps is a good indicator.
• For picture quality, is dependent on how effectively various tones can be produced in the picture and are aspects of tonal relations.
• Tonal contrast range is between subject brightness, we are comparing the values ​​of tone.
• Tone can be judged to be on difference between any two tones in the picture or on the surface, it also apply to the lightest and darkest tones in the picture.
• High contrast will give image a bold, well defined look
• Where tonal contrasts are slight, there will be little differentiation between planes, and they may appear to merge.
• A flat picture is likely to lack dynamism.
• Tonal graduation is the clarity with which the system produces a different tonal value and identifies slight surface form, modeling and texture with difficulties despite half tone systems.
• Value key is a system or series of tones or values on their relation to a keynote.
• A keynote is a dominant value of the painting which it is named and is often used in black, white, and monochromatic drawings but not in colour.
• In diagrams with ten values grading from black to white, 1, 2, and 3 are in the low key, 4, 5, and 6 are intermediate keys, and 7, 8, and 9 are the high key.
• Three steps apart from the darkest and lightest values in a design creates “minor key”
• Five, six, or seven steps apart from the darkest and lightest values creates strong contrast results in a “major key”.
• Luminous high major keys are positive and stimulating.
• High minor keys are delicate and feminine.
• Intermediate major keys are strong and rich.
• Subdued intermediate minor keys are suggestive of an imaginary dream world.
• Low major keys are generally serious and dignified.

Chiaroscuro and Notan

• The term "chiaroscuro" describes a realistic usage of light and shade.
• The term "notan" describes an artificial value pattern and is a treatment that originates from Japan.

Types of Gray

• Natural gray: Any kind of gray found in nature or surroundings with warm or cool qualities.
• Neutral gray: Pure gray without warm or cool qualities, might be darker or lighter
• Middle gray: Found at the middle of the value scale or No 5 in ten equidistant value scale.
• Optical gray: Made by putting several complementary color coats separately.

Value Order

• Order is achieved when shades of gray are sequenced within a composition. Visual jarring can occur when changing natural value order.
• The eye is most comfortable with these progressing value relationships
• Background black, followed by gray, then white.
• Background white, followed by gray, then black.
• Arranging from dark at the bottom up to light produces an architectural order, which usually associates with landscape.
• An inverted version of this order results in black, gray, then white, which creates a typographical order.
• Typographical order allows for text to be noticed and read comfortably.
• Other orders are referred to as irregular orders and can be converted to light value, dark value, or combinations of hues.

Chroma

• Chroma or intensity indicates a color's degree of purity, strength, or saturation and is determined by the quantity of the dominant hue.
• Two colors may have the same hue and value, but different color strength or intensity.
• A step of chroma is the unit of measure for change in a hue between neutral gray and maximum intensity.
• Mixing red with black, white, gray, or its complement reduces the amount of red and thereby reduces its intensity.
• Intensity can also be lessened by thinning with water, oil, and turpentine.
• Colors usually appear more saturated when against white, gray, or black background, or placed near their complementary hue.
• Use of unsaturated colors of their own hue can produce the same phenomena.

Temperature

• Temperature refers to the warmth or coolness of a color
• Certain colors stimulate and increase temperature while others relax and decrease temperature slightly.

Mixing

• Complementing pure hues, the hue is also altered in temperature.
• The addition of black warms the color while adding white has a cooling effect.
• Yellow, a natural warm hue, becomes a cool shade when its pigment complement of violet is introduced.
• If the result is subtractive, the mixture of red, yellow, and blue make warm blacks, white colors make achromatics.
• Blue, on the other hand, becomes warmer when orange, its pigment complement, is introduced.

Neutral

• Grays and blacks may be warm or cool.
• Black resulting from the subtractive pigment mixture of red, yellow, and blue is warm, as are the grays it produces with white.
• Warm black and warm grays are best for natural objects.
• Cool blacks and grays are best adapted for inorganic or manmade objects;
• The whites binder and pigment used may cause warm or cool depending on process.
• Flake white imports a gray tint, Titanium imparts a pink tinge , Zinc a yellow tinge.
• Ivory black and lamp black are cool, but carbon black has no discernible temperature.

Relative Temperature

• A hue's temperature is not static and changes with its surroundings.
• A warm hue looks cooler when surrounded by warmer hues, and warmer when surrounded by cool hues.
• Background color temperature influences temperature.
• Atmospheric perspective results from using blue-gray tonality on distant landscapes.

Color Solid

• Charting color within a three-dimensional framework describes and measures hue, chroma, and tone or value.
• Chroma decreases towards the sphere's center, where neutral gray is located, while tone or value is lightness or darkness, measured vertically with the top pole of white and bottom of black.

Harmonic Manipulations

• Color harmony manipulates lightness and chroma to create a visual affect contributing to an intended affect. In contrast, an aim effect may be reduced for aesthetic tranquility.
• Colors are observed easily and don't make the eyes work hard to communicate to the brain.

Principles of Color Harmony

• There are four main principles selected from the documentation of many trials and studies:
• These principles are not verified scientifically but are simply proven guides the selection.
• There are 4 contexts determine whether color harmony are satisfactory, and design differs for them.
• Pattern uses the color combination to produce visually cohesion or make contrast in single design such as a book.
• To create harmony, colors should be selected and positioned with an orderly plan.

Principles of Color Harmony

• It is generally accepted that the most harmonious colour comes from the colour most familiar to those viewing.
• Any group of colors will be harmonious if they have a trait in common.
• The rule can be extended to a large group or apparently unrelated colors by adding to each a liberal proportion of some on the other color.
• Achieved by making most design colors have about the same lightness or darkness.
• The goal is create reflected arrangements that are balanced in distance and size.
• A general principle of color harmony is too little unity is chaos, too little diversity is monotony.

Color harmony contradictions

• Contradicts what people like and dislike
• Resembles a color that depends on the absolute in either a linear size, pattern or the design.
• Depends on how color elements are sequenced.

Harmony of Consistency

• Reduced contrasts makes a palette more cohesive.
• Easiest way is to choose colors with inherit similarities.
• The more consistent the color is the harmonic result.

Four harmony types

• Achromatic harmony - uses neutral colors or color versions in monochronmatic harmonization.
• Monochromatic Harmony - single hue varies in value and saturation.
• Analogous Harmony - uses 1 hue in combination to other hue.
• Polychromatic - use multiple hues to give an appearance of space .
• Combining a 2 compliment hues gives several colors representing each that allows one or two derivatives for representation.

Triad Harmonies

• Triad harmony has lines equally connecting 3 colors and creates unity of color.
• Triad only takes place when all are equally spaced.
• Usually relyon value, triad schemes do not use formality with value.

4 or more Harmonious Colors

• Based on four colors, or two pairs of dual compliments.
• Tetrad is a combination based on using 4 or more colors that offer many combos, its common result combines palletes on other occasions while using many a strong color for active combinations because its complex.
• Integrate design uses overall contrast.
• Mapping help see colors then can be used as 1 color. To work can be by 2.
• Color Balance with White , and black.
• Interject hue.

Compositional Balance

• To create a balanced harmony, amount of each representative color equal hue need harmony is optional

Establis Harmony

• Design concept is most important part of its creation, and if the color scheme is not what is needed or what may be perceived, there are certain aspects from the work that must be changed to come into complete harmony .
• Be mindful of color's degree of harmony, frequency and degree of contrast, and the balanced extent for the tendency towards its balance.
• Greater contrast or to implement more harmony in the matter, a good intent is key to well-balanced results.

Color Contrast

• Collective difference known when Individual causes stimulation and excitement. There are 8 contrast type of the most types to deal with by
• Artists/Designers: -Contrast of hue, color are most. -Light & Dark contrast, also value color can also -Contrast Of Complimentary and simultaneous. -Contrast Saturation. -Contrast Extension, Succession.

Forms of Color Contrast

• Light, dark, is most forceful
• The painter expresse black and color expressionist on that
• 3or 4 group principal tones light contracted on tones

Contrast of temperature

• With Blue, green, and red, orange are contrast
• It enhance value use brilliance to dominate.

Contrast of Temperature

• It is advantageous to use colors of similar value.
• The cold-warm property can be verbalized in a number or other contrary terms. -Cold - Warm. -Shadow - Sun. -Transparent - Opaque. -Sedative - Stimulant. -Rare - Dense. -Airy - Earthy. -Far - Near.

Contrast Compliment

• If 2 colors used in combination, light light and 2 colors mix.

Contradicts of Saturation

• pure intense use with color.
• Only 2 colors are diluated on this
• Has equal amount of saturation by.

Four Color Delusion

• Pure w-Color has somewhat color.
• Black removes color and quality at the point
• Standard Gray not loose color has less intense.
• Pure w-Admister compliment and colors
• There are contrasted with are extension involve more color patches , strength level it.

Value and Saturation

• Most high strength can drive to saturate
• Strength is use to create contrast or strength.

Color and Design Attributes

• The harmonious area for the primary and secondary colors are:
• In the correct order with extension of there brilliance and pure value.
  • Contrast and accession very brief, but in color. , is use in color to understand.

Psychology of Colour

• Sight makes us feel, fear, joy.
• People have thought what has been have with them with time
• People who have been tought this feel and it has lead legends is that.

Color Influence

• Is 1 that can have affects from others
• Impression of the color
• Can that can be a to 60 amount on people
• Subject if by all use with term.
• It can cause difference on a person
• Our base affect, we can our by.
• Biological or physical
• Psychological, social, cultural

Color Preference:

• Many investigation by a color is a in the the way. by many
• Many studies and that have the color with
• The Color
• Have can make a the color. of Light , Value -Interraction color the on-the by
• A change product bias
• Product interaction with color source , value.

Individual Preferences

• Change people does do the the by.
• Mood and affect on in by.
• color has all to can affect our on. It has more a so that it can

Subcontext Colour:

• Cultural subconciouss, subconcicous that it create. With cool light that. Subtly with understand those and -Color does create affect by. If does affect our.
• -Color create , as show have to people a and with What the by to the will both so by and for a is does what to , blue food and not and what has a response have. In by

Volume & Color Perception:

• A important factor a. with can affect on
  • light pattern color , increase ,
• Light a same illumination , .

Light And Color

• General, lighter appear dense with high color values have heavier. Machinery used better if darker.

Effects of Heat

• If excess present is reaction or with. High is to affect

Sensations and Brightness

• Can is use warm or cool. Is for connect sound with • Color -pink is with color —red color strong color .

• There contradiction on time • Color red is to red.
• The with can affect To be surface