Papers by Paul Green-Armytage
The value of knowledge for colour design
Color Research & Application, 2006
Page 1. The Value of Knowledge for Colour Design Paul Green-Armytage Department of Design, Curtin... more Page 1. The Value of Knowledge for Colour Design Paul Green-Armytage Department of Design, Curtin University of Technology, Perth, Western Australia ...
Tincture
Encyclopedia of Color Science and Technology
Encyclopedia of Color Science and Technology
▶ Light Distribution Canonical Color ▶ Memory Color Car Lighting ▶ Automotive Lighting Carbon Arc... more ▶ Light Distribution Canonical Color ▶ Memory Color Car Lighting ▶ Automotive Lighting Carbon Arc Lamp Wout van Bommel Nuenen, The Netherlands Synonyms Arc lamps Definition Lamps consisting of two rods of carbon in open air or in a glass enclosure. The ends of the rods touch each other and are connected to a current source. By subsequently separating the rods, a discharge arc is produced that brings the ends of the rods to bright incandescence.
This paper is the outcome of a dialogue between two lecturers in the visual arts from universitie... more This paper is the outcome of a dialogue between two lecturers in the visual arts from universities in Queensland and Western Australia. The Colour Card Game is a tool for teaching creative colour exploration to a wide variety of students from different educational disciplines and from different cultural backgrounds. The aim is to engage students in a way that is not intimidating, requires no special skills or preparation, and with any value judgements coming from the students rather than from the teacher. The game is played with commercial paint sample cards that are freely available from paint and hardware stores. The object of the game is to produce unusual colour combinations that 'work' (are considered creatively harmonious). There is an element of chance in the distribution of colour cards, and opportunities for players to exchange cards that they find unworkable. At the conclusion of play the colour combinations are displayed and players vote for the ones they consider...
Complementary Colors
Encyclopedia of Color Science and Technology
Reflections on Design education in Western Australia during the last quarter of the twentieth century and beyond
A model to link different modes and different aspects of appearance
JAIC - Journal of the International Colour Association, 2010
This paper describes a series of studies designed to investigate the possible limits to the numbe... more This paper describes a series of studies designed to investigate the possible limits to the number of different colours that can be used in a colour code and the relative merits of colours and shapes for communicating information. The studies took their particular form in response to an observation by Rudolf Arnheim that an alphabet of 26 colours would be unusable. It was found that a text, with letters represented by coloured rectangles, can be read, first with the help of a key and then without. The colour alphabet, tested in competition with other alphabets made up of unfamiliar shapes and faces, was read more quickly than the others. Speed of reading was only matched with an alphabet made up of shapes that were familiar and nameable. Colours are most helpful for quick identification and for clarifying complex information, but where more than 26 distinctions must be made colours must be supplemented by shapes, typically in the form of letters and numbers.
Attempts to regulate or claim ownership of colours have met with limited success. A complicating ... more Attempts to regulate or claim ownership of colours have met with limited success. A complicating factor has been the lack of clear definitions. There is more than one kind of colour – related, but distinct. In this paper, seven different kinds of colour are described together with the means used to identify individual colours. It is the means used to identify a colour which determine what kind of colour it is that is being identified. These definitions clarify the issues in a number of case histories, for example: why it was difficult to enforce the law against brides wearing crimson in Renaissance Florence; why his patent on a mauve dye was of limited value to William Henry Perkin; why disputes over colours as company trademarks are so prolonged and so inconclusive. These distinctions may also help to clarify the issues in the current debate about the desirability, or otherwise, of regulating colour in the built environment.
JAIC-Journal of the …, 2012
We investigated whether the pairing of facial expressions of emotion with colours is consistent a... more We investigated whether the pairing of facial expressions of emotion with colours is consistent among different cultures, in particular between Australian and European people. Two groups, one consisting mainly of younger and the other of older people, participated in two experiments. For each of six faces, which expressed the basic emotions anger, surprise, disgust, sadness, happiness and fear, single colours and combinations of three colours were selected for the best visual 'fi t' with the faces. The performance by the two groups was essentially identical. The different emotions appear well characterised by the paired colours. Two approaches were used for analysing the results of the experiments: one using techniques from the discipline of psychology, the other from the discipline of design. The six emotions were compared with regard to the position of each colour in the CIELAB colour space, the warm/cold characteristics, and the contrast between the three colours of the triplets. The process whereby facial expressions were 'translated' into colours and colours into faces could also be demonstrated. From an examination of the successes and failures in communication it is possible to propose single colours and colour combinations for each face that could be described as 'correct' and which can serve as a guide for designers.
Relating Munsell to other systems in an elastic colour solid
Color Research & Application
Color zones: connecting color order and everyday language
This paper makes a case for a structured use of everyday language as a means of introducing the c... more This paper makes a case for a structured use of everyday language as a means of introducing the concept of a color order system, which is seen to be of particular value to designers. A distinction is made between teaching and learning, and some of the obstacles to learning faced by design students are described. It is suggested that a
Colour Zones - Explanatory diagrams, colour names, and modifying adjectives
This paper presents a flexible system for describing colours which links everyday language to col... more This paper presents a flexible system for describing colours which links everyday language to colour order systems. The structure, based on that of the Natural Colour System (NCS) 1 , has reference points which are defined and named. The structure is illustrated and an account is given of the processes used to establish the system of colour names and modifying
Primary Colors
Encyclopedia of Color Science and Technology, 2014
Color zones: connecting color order and everyday language
Proceedings of SPIE - The International Society for Optical Engineering
This paper makes a case for a structured use of everyday language as a means of introducing the c... more This paper makes a case for a structured use of everyday language as a means of introducing the concept of a color order system, which is seen to be of particular value to designers. A distinction is made between teaching and learning, and some of the obstacles to learning faced by design students are described. It is suggested that a step by step approach, as embodied in a system of Color Zones, could ease the learning process. An account is given of the Color Zones system, its antecedents final development, and first trials in the classroom.
The Colour Card Game
This paper is the outcome of a dialogue between two lecturers in the visual arts from universitie... more This paper is the outcome of a dialogue between two lecturers in the visual arts from universities in Queensland and Western Australia. The Colour Card Game is a tool for teaching creative colour exploration to a wide variety of students from different educational disciplines and from different cultural backgrounds. The aim is to engage students in a way that is not intimidating, requires no special skills or preparation, and with any value judgements coming from the students rather than from the teacher. The game is played with commercial paint sample cards that are freely available from paint and hardware stores. The object of the game is to produce unusual colour combinations that 'work' (are considered creatively harmonious). There is an element of chance in the distribution of colour cards, and opportunities for players to exchange cards that they find unworkable. At the conclusion of play the colour combinations are displayed and players vote for the ones they consider...
A Colour Alphabet and the Limits of Colour Coding
This paper describes a series of studies designed to investigate the possible limits to the numbe... more This paper describes a series of studies designed to investigate the possible limits to the number of different colours that can be used in a colour code and the relative merits of colours and shapes for communicating information. The studies took their particular form in response to an observation by Rudolf Arnheim that an alphabet of 26 colours would be unusable. It was found that a text, with letters represented by coloured rectangles, can be read, first with the help of a key and then without. The colour alphabet, tested in competition with other alphabets made up of unfamiliar shapes and faces, was read more quickly than the others. Speed of reading was only matched with an alphabet made up of shapes that were familiar and nameable. Colours are most helpful for quick identification and for clarifying complex information, but where more than 26 distinctions must be made colours must be supplemented by shapes, typically in the form of letters and numbers.
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Papers by Paul Green-Armytage