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Concerning Foo Fighters’ “Wasting Light” CD cover, this paper aims at critically analyzing and discussing the relevant information to color theory, in addition to, application. Further, the paper will provide an in-depth examination and analysis of the colors used (Livingstone, 1998). To achieve this aim, several steps will be followed. Foremost, using a common color notation system, the colors used in the image will be identified.
The next step will involve providing in-depth analysis and discussion of the identified colors in terms of their categories and attributes. For an effective analysis, the gestalt theories of perception that are evident in the color application will be identified and discussed. The step will also involve identifying the color contrast, in addition to, the identification of the perceptual effects that are seemingly apparent in the image.
Colour Notation System
The common color notation system is a term commonly used in images, which are aspects of arts and creativity. As such, it is used to refer to the use of alphanumeric notation in an effort towards the identification of colors rather than establishing colors by their basic names. Among the most common color notation systems include RGB as well as Pantone.
In the given image, Pantone is the viable color notation system that will be used to identify colors. Albert Henry Munsell founded this system. In the given picture, the colors evident are R, RP, G40, B70, and G50 (Goldstein, 1996).
According to the findings of the research conducted by (Livingstone, 1998), it is indicated that color categories decompose the space of color in overlapping subsets, which are identified as partial. Colour categories are considered prototype categories. In our picture, the colors can be categorized into Green, purple, blue as well as red. However, hue, chroma as well as the value can be used to characterize these colors.
However, the attributes of the colors identified in our reference image can be best described while making use of the hue characteristic. As such, the hue attribute is necessary when differentiating the color categories (Kanizsa, 1979). With regards to our colors, R can be identified as pure in form, that is the principle red. On the other hand, RP can be characterized as tending towards purple. G40 can be characterized as principle green tending towards green-yellow but at point 40. In the same context, B70 can be attributed as principle Blue tending towards purple-blue but at point seventy. On its part, G50 can be characterized as principle color green tending towards blue-green but at a point fifty (Goldstein, 1996).
Gestalt theories of perception can also be used to make inferences from our image concerning color applications. Gestalt is a word commonly used in arts and it originated from Germany. It is used to refer to configuration along with a structure, whether emergent or whole. The theory holds that; six principal factors lead to the determination of how the automatic grouping of elements into patterns is done by the visual system (Livingstone, 2002).
The above picture is a clear indication of what ensues when a person looks at a picture for the first two or three seconds. When it is not easy to have a clear focus of the background, that is peripheral perception, it follows that the eye moves to other parts of the image. In this case, the vision shifts to the boots since they are closer to the initial fixation, in addition to, having a contrast, which is reasonable. In our image, since some of the colors are not clear enough, our vision shifts to the areas that are seemingly brighter. About the color contrast employed, it has the capability of creating inferences for a viewer.
For instance, some colors used have a higher level of contrast and, therefore, subject to negative inferences. As such, the vision of a viewer cannot dwell on the dull aspect of the image as much. This implies that his vision will tend to shift to the areas of the image where lighter contrast has been used. This is because the lighter the contrast, the clearer it is. However, according to Feisner (2000), contrast can hamper the ability of an image to confer a message. For instance, the duller the color applications, the lesser the level of appeal and, therefore, a person will not look at it for a considerable period as compared to one employing lighter contrast and, therefore, not get the message intended (Kopacz, 2003).
Further, the picture does not apply large displays with a high level of color resolution, in addition to, fast update rates. This means that a viewer cannot be able to have a clear view from afar. According to (Kanizsa, 1979) regarding the evaluation of a multiresolution display, it is vital and rational to create as well as display an image, which is forfeited, for every possible location where eyesight can be fixed in any given image representation. This implies that it is wise to precompute and then store an image so that it can be located at strategic points for the sake of eye fixations (Burcheh, 2002).
From this analysis, it is evident that the identification of colors in an image requires more than just common sense. As such, there are many details involved in an image, and as such, they are supposed to be depicted before making conclusions (Livingstone, 2002).
Burcheh, K. E. (2002). Colour Harmony. London, UK: Wiley and Sons.
Feisner, E. (2000). Colour, How to use color in Art and design. London, UK: Springer.
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Goldstein, E. B. (1996). Sensation and perception. Pacific Grove, CA: Brooks/Cole.
Kanizsa, G. (1979). The organization in vision: Essays on Gestalt perception. New York: Praeger.
Kopacz, J. (2003). Colour in Three – Dimensional Design. London, UK: McGraw-Hill Irwin.
Livingstone, M. (2002). Vision and art: The biology of seeing. New York: Abrams.
Livingstone, M. S. (1998). Art, illusion, and the visual system. Scientific American, 258 (3), 78-85.