saturation adjustment
3/4
A study of satur ation a collage djustm d paper ent thr s ough of decr but eac eased s h with aturatio a u n iq n, ue textu reflect and abs re and o a b r b il ity to light. T hands p he boo rovides k le t h in is toric an your of the s d form aturatio al resea n adjus box un rch tm ent too dernea l, while th it in th said pa v it e e s you to per and play wit find im h and con th a e ges tha ecptuall t are fo y relate rmally the boo d to cer klet. tain sec tions o f
the v
how is it defined and what does it entail?
vividness of a color's hue. saturation measures the degree to which a color differs from a gray of the same d
f
ation o oncentr elming c h rw e v r o e an r firepow forces o ry a it il m
n, utio a sol s a such such nce, tem, a s t y s re s sub ratu ical ther mpe o phys e n t a a f n o ve h of state t a gi muc The ble a g as i s n i s n o ai s is p cont te, a solu a s a ure. ress or p
darkness or lightness. 5 /6 the degree of chroma or purity of a color; the degree of freedom from admixture with white.
the purest (most saturated) color is achieved by using just one wavelength at a high intensity, such as in laser light.
6/7
argon laser beam with a deffraction mirror
evice to visual d meaning of ns as a er o ti th c o n n. n sfactio es its a trast fu on con on and impli d beyond sati ti a r tu sa te ati inform nd concentra convey lete a p m o c being
2.
8/9
10 /11
All natural rubies have imperfections in them, including color impurities and inclusions of rutile needles known as “silk�. Gemologists use these needle inclusions found in natural rubies to distinguish them from synthetics, simulants, or substitutes. Usually the rough stone is heated before cutting. Almost all rubies today are treated in some form, with heat treatment being the most common practice.
12/13
carlos cruz-diez i chromosaturation
victor vasarely i planetary folklore partcicipations
nicolas schoeffer i lux ten
three rms of d in te te la lue u b w and y form , yello iginall d r e o r of s a w colors capable theory ituve” lieved e Color ad im b r h e p r r “ e ehavio lors w ary” or ese co ixing b “prim th m t r e u s b lo u , o - beca inters This c s, (RYB) and pa olors. ixture , dyers other c s ll r a te g o c lor m in r p to n. o mixin ts to own aturati igmen een kn cked s pure p la d e d r n r long b a e ref dull ades p ere too these tr tures w is m e e th becaus
16 /17
A problem has been the tendency to describe color effects holistically or categorically, for example as a contrast between “yellow” and “blue” conceived as generic colors, when most color effects are due to contrasts on three relative attributes that define all colors: lightness, saturation, and hue.
.
Most of the nineteenth and early twentieth century color theorists worked from a scientific model, codifying their observtions into formal systems. These theorists wrote on color, as a discipline, as a fact, as scientific truth.
18/19
ogden rood wilhelm ostwald albert munsell michel chevreul
wassilly kandinsky johannes itten faber birren joseph albers
20/21
Bauhaus, Major advances in were made in the early 20th Wassily particular century by artists teaching or associated with the German Kandinsky, Johannes Itten, Faber Birren and Josef Albers,
g
whose writings mix
speculation with an empirical or
demonstrationbased study of color design principles.
22/23
The term refers to the contrast between pure intense colors and dull diluted or grayed colors. Dull colors would appear to be duller when it is placed next to pure intense colors, and pure intense colors would appear move vivid when it is next to a dull color.
contrast of saturation
ad reinhardt i red and blue
ad reinhardt i brick wall
24/25
ad reinhardt i untitled
(blue))
28/29
out ve o . rem CMYK o t o d Bt use tly m RG n e o u g fr req is f vertin t en on stm n c dju whe a s n lor tio ura ut co t a S gam of-
rgb The main purpose of the RGB color model is for the sensing, representation, and display of images in electronic systems, such as televisions and computers, though it has also been used in conventional photography. Before the electronic age, the RGB color model already had a solid theory behind it, based in human perception of colors.
cmyk The CMYK color model (process color, four color) is a subtractive color model, used in color printing, and is also used to describe the printing process itself. CMYK refers to the four inks used in some color printing: cyan, magenta, yellow, and key (black). Though it varies by print house, press operator, press manufacturer, and press run, ink is typically applied in the order of the abbreviation.
dricalcommon cylin . e the two most ar SV H d B color model an HSL points in an RG of ns tio ta en an es in ometry of RGB coordinate repr e the ge S. tations rearrang an en th es nt pr va re le o re tw The d perceptually ore intuitive an 70s m 19 e be th to in pt d m pe atte tation. Develo en es pr re e) ub HSV are used the cartesian (c ions, HSL and aphics applicat gr r te pu e, and less m ar co for e editing softw ckers, in imag pi r lo co in on. y si toda d computer vi age analysis an im in ly on m com
30/31
30/31
Named after the founding comittee (Comitee of Color Measurement) within the Society of Dyers and Colourists, CMC color space takes into account the fact that the tolerance to the difference in color is different depending on the saturation of color. The shape of teh ellipse, therefore, increases from the less saturated colors in teh center of the circle towards more sturated colors on the outsides.
32/33
34/35
The L*a*b* colo r space includes all perceivable co its gamut exceed lors which means s those of the RG that B and CMYK co ProPhoto RGB in lo r models (for ex cludes about 90 am ple, % all perceivabl important attrib e colors). One of utes of the L*a* th e most b*-model is devic means that the e independence colors are defin . Th is ed independent or the device th of their nature of ey are displayed cr ea tio n on. The L*a*b* Adobe Photosho color space is us p when graphics ed e.g . in for print have to CMYK, as the L* be converted fro a*b* gamut inclu m RGB to des both the RG is used as an inte B and CMYK gam rchange format ut. Also it between differe independency. nt devices as for its device
tauba aueberbach. daniel kelm i rgb colorspace atlas
julio le parc i carre des lumieres changeants
36/37
armando hector durante i luz color
schoffer i ilux nicolas schoeffer luxtwo 2
(caja)
38/39
It all goes back to 1988, when the very first release of Photoshop saw the world, prepackaged with a slide scanner. Of course, the word ‘saturation’ was applied to describe color long before Photoshop existed. Moreover, being a rather broad term, it has been defined and used by chemists and economists, physicists and geologists alike, leading to ambiguity when it comes to defining saturation as a color parameter, and specifically as an adjustable one in the digital image editing software age. However, saturation as a color attribute borrows a lot from the other uses of this word and encompasses such synonymous notions as purity, concentration and lack of admixture. It all goes back to the release of Photoshop not because it was a ground-breaking step in defining saturation, but because a snug box of Photoshop software and a piece of scanning hardware made the developments of color theory accessible to the world in an unprecedented way. Photoshop has outsourced intensive research in the field of color perception to scientists and artists spanning from Newton to Bauhaus analogue color theory, allowing seamless and fast adjustment of fixed color variables
to apply the ideas of contrast of saturation and color harmony. Based on the color spaces, developed by colro theorists,the program integrated newly developed for computer graphics HSV and HSL color spaces. Of course, there still remained the clash between the screen color and print color, just as in color theory there has always been a gap between the light color and object color. However, if anything saturation adjustment helped to close the gap via the means of newly developed color spaces and the correction formulas. On top of that, by integrating light in the process of documenting color in the process of photography and scanning, saturation adjustment brings the color systems closer. It could have been an alternative program and it may be something else in the future, but currently the legacy of saturation adjustment being a ubiquitous part of digital imaging is the legacy of the very first release of Photoshop.
index:
8/9 6/7 http://upload.wikimedia. org/wikipedia/
http://cdn.all-that-is-interesting. com/wordpress/wp-content/ uploads/2013/03/world-populationdensity-map.jpg
commons/1/1d/ Argon_laser_beam_and_
10/11
diffraction_mirror.png
http://www.gemsociety.org/article/
16/17 Birren, Faber. (1977). Principles
gem-cutting-terms/
of Color. Van Nostrand Reinhold
http://www.webexhibits.org/
Company.
causesofcolor/6AA.html 12/13 Museo National de Bellas Artes (2012). Real/Virtual. Arte cinético argentino en los anos sessents. Edited by Maria José Herrera. MNBA. Buenos Aires.
18/19 http://www.color-theory-phenomena. nl/08-color-spaces/08-01-05-photorood.bmp http://upload.wikimedia.org/ wikipedia/commons/d/d7/Wilhelm_ Ostwald.jpg http://www.cis.rit.edu/research/ mcsl2/about/munsell_win.gif http://upload.wikimedia.org/ wikipedia/commons/e/e7/Michel_ Eugène_Chevreul_2.jpg http://2.bp.blogspot.com/_tcBiPdSU3c/SeOf8Rxb7cI/ AAAAAAAAIbU/An6lke2iy9s/s200/ colorhemisphere.jpg http://blog.visualmotive.com/ wp-content/uploads/2009/12/ Munsell_1929_color_solid_ transparent.png Birren, Faber. (1977). Principles of Color. Van Nostrand Reinhold Company.
30/31 http://escience.anu.edu.au/lecture/cg/Color/ Image/img7.gif
32/33 http://www.rpdms.com/cmcellipses.gif 20/21 Joseph Albers (2006). Interactionof Color. Yale University Press. http://qkrl.com/ncc/images/birren1.gif http://upload.wikimedia.org/wikipedia/en/9/9e/ Josef_Albers.jpg http://upload.wikimedia.org/wikipedia/
34/35 http://escience.anu.edu.au/lecture/cg/Color/ Image/img7.gif http://web.archive.org/web/20070127223219/ http://www.adobe.com/cfusion/knowledgebase/ index.cfm?id=310838 36/37
http://4.bp.blogspot.com/-0UvGAYzm8ZA/
http://www.artifacting.com/blog/wp-content/
Ttpc0ruZQ5I/AAAAAAAACeg/G-A2hnd1MFs/
uploads/2012/09/rgb-opengreen.jpg
s1600/kandinsky.jpg.
Museo National de Bellas Artes (2012). Real/Virtual. Arte cinético argentino en los anos
22/23 https://lh4.googleusercontent.com/L4Ut48oxVno/TWu4QIv8zJI/AAAAAAAAAB4/ U7KyMkliw2s/s1600/Ad+Reinhardt%252C+1966. 24/25 http://www.moca.org/pc/images/artworks/800px/ reinhardt.jpg http://www.headforart.com/wp-content/ uploads/2010/08/Ad-Reinhardt-Untitled-Redand-Gray.jpg http://photos1.blogger.com/ blogger/1858/906/1600/Ad%20Reinhardt%20 Abstract%20Painting%20Red%20(1952).jpg
sessents. Edited by Maria José Herrera. MNBA. Buenos Aires.
40/41
commons/5/57/Itten001.jpg
polina godz form
+ communication saturation adjustment. typefaces:
brown
+ filosofia
paper: strathmore xerox color expressions