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	<title>Comments on: Get a crash course in color theory</title>
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	<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/</link>
	<description>How to live and work as a designer</description>
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		<title>By: Brian Flanagan</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-45527</link>
		<dc:creator>Brian Flanagan</dc:creator>
		<pubDate>Wed, 22 Aug 2007 18:20:53 +0000</pubDate>
		<guid isPermaLink="false">http://www.lifeclever.com/2006/11/10/get-a-crash-course-in-color-theory/#comment-45527</guid>
		<description>I tend to disagree, and regard Hardin&#039;s conclusion as a wonderfully simple-minded regurgitation of the dogma that&#039;s been collecting dust since Galileo borrowed it from Democritus. 

&quot;...the nature of the perpetual things consist of small particles infinite in number... the particles are so small as to be imperceptible to us, and take all kinds of shapes and all kinds of forms and differences of size. Out of them, like out of elements (earth, air, fire, water) he now lets combine and originate the visible and perceptible bodies...&quot; (Democritus)


&quot;Hence I think that these tastes, odours, colours, etc., on the side of the object in which they seem to exist, are nothing else than mere names, but hold their residence solely in the sensitive body...&quot; (Galileo)

This odd notion has been passed down to us today:

&quot;If you ask a physicist what is his idea of yellow light, he will tell you that it is transversal electromagnetic waves of wavelength in the neighborhood of 590 millimicrons. If you ask him: But where does yellow come in? he will say: In my picture not at all, but these kinds of vibrations, when they hit the retina of a healthy eye, give the person whose eye it is the sensation of yellow. (SchrÃ¶dinger)

SchrÃ¶dinger&#039;s remark applies to all the &quot;secondary qualities&quot;:

&quot;The world as described by natural science has no obvious place for colours, tastes, or smells. Problems with sensory qualities have been philosophically and scientifically troublesome since ancient times, and in modern form at least since Galileo in 1623 identified some sensory qualities as characterizing nothing real in the objects themselves . . .

The qualities of size, figure (or shape), number, and motion are for Galileo the only real properties of objects. All other qualities revealed in sense perception--colours, tastes, odours, sounds, and so on--exist only in the sensitive body, and do not qualify anything in the objects themselves. They are the effects of the primary qualities of things on the senses. Without the living animal sensing such things, these &#039;secondary&#039; qualities (to use the term introduced by Locke) would not exist.The world as described by natural science has no obvious place for colours, tastes, or smells. Problems with sensory qualities have been philosophically and scientifically troublesome since ancient times, and in modern form at least since Galileo in 1623 identified some sensory qualities as characterizing nothing real in the objects themselves...

The qualities of size, figure (or shape), number, and motion are for Galileo the only real properties of objects. All other qualities revealed in sense perception--colours, tastes, odours, sounds, and so on--exist only in the sensitive body, and do not qualify anything in the objects themselves. They are the effects of the primary qualities of things on the senses. Without the living animal sensing such things, these &#039;secondary&#039; qualities (to use the term introduced by Locke) would not exist.&quot; (Clark)


It required a genius of my own transcendent splendor to see the obvious:

&quot;Whatever the meaning assigned to the term complete, the following requirement for a complete theory seems to be a necessary one: every element of the physical reality must have a counterpart in the physical theory.&quot; (EPR)

&quot;Well, obviously the extra dimensions have to be different somehow because otherwise we would notice them.&quot; (Green)

&quot;Now it may be asked why these hidden variables should have so long remained undetected.&quot; (Bohm)

&quot;The aspects of things that are most important for us are hidden because of their simplicity and familiarity.&quot; (Wittgenstein)</description>
		<content:encoded><![CDATA[<p>I tend to disagree, and regard Hardin&#8217;s conclusion as a wonderfully simple-minded regurgitation of the dogma that&#8217;s been collecting dust since Galileo borrowed it from Democritus. </p>

<p>&#8220;&#8230;the nature of the perpetual things consist of small particles infinite in number&#8230; the particles are so small as to be imperceptible to us, and take all kinds of shapes and all kinds of forms and differences of size. Out of them, like out of elements (earth, air, fire, water) he now lets combine and originate the visible and perceptible bodies&#8230;&#8221; (Democritus)</p>

<p>&#8220;Hence I think that these tastes, odours, colours, etc., on the side of the object in which they seem to exist, are nothing else than mere names, but hold their residence solely in the sensitive body&#8230;&#8221; (Galileo)</p>

<p>This odd notion has been passed down to us today:</p>

<p>&#8220;If you ask a physicist what is his idea of yellow light, he will tell you that it is transversal electromagnetic waves of wavelength in the neighborhood of 590 millimicrons. If you ask him: But where does yellow come in? he will say: In my picture not at all, but these kinds of vibrations, when they hit the retina of a healthy eye, give the person whose eye it is the sensation of yellow. (SchrÃ¶dinger)</p>

<p>SchrÃ¶dinger&#8217;s remark applies to all the &#8220;secondary qualities&#8221;:</p>

<p>&#8220;The world as described by natural science has no obvious place for colours, tastes, or smells. Problems with sensory qualities have been philosophically and scientifically troublesome since ancient times, and in modern form at least since Galileo in 1623 identified some sensory qualities as characterizing nothing real in the objects themselves . . .</p>

<p>The qualities of size, figure (or shape), number, and motion are for Galileo the only real properties of objects. All other qualities revealed in sense perception&#8212;colours, tastes, odours, sounds, and so on&#8212;exist only in the sensitive body, and do not qualify anything in the objects themselves. They are the effects of the primary qualities of things on the senses. Without the living animal sensing such things, these &#8216;secondary&#8217; qualities (to use the term introduced by Locke) would not exist.The world as described by natural science has no obvious place for colours, tastes, or smells. Problems with sensory qualities have been philosophically and scientifically troublesome since ancient times, and in modern form at least since Galileo in 1623 identified some sensory qualities as characterizing nothing real in the objects themselves&#8230;</p>

<p>The qualities of size, figure (or shape), number, and motion are for Galileo the only real properties of objects. All other qualities revealed in sense perception&#8212;colours, tastes, odours, sounds, and so on&#8212;exist only in the sensitive body, and do not qualify anything in the objects themselves. They are the effects of the primary qualities of things on the senses. Without the living animal sensing such things, these &#8216;secondary&#8217; qualities (to use the term introduced by Locke) would not exist.&#8221; (Clark)</p>

<p>It required a genius of my own transcendent splendor to see the obvious:</p>

<p>&#8220;Whatever the meaning assigned to the term complete, the following requirement for a complete theory seems to be a necessary one: every element of the physical reality must have a counterpart in the physical theory.&#8221; (EPR)</p>

<p>&#8220;Well, obviously the extra dimensions have to be different somehow because otherwise we would notice them.&#8221; (Green)</p>

<p>&#8220;Now it may be asked why these hidden variables should have so long remained undetected.&#8221; (Bohm)</p>

<p>&#8220;The aspects of things that are most important for us are hidden because of their simplicity and familiarity.&#8221; (Wittgenstein)</p>
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		<title>By: john henry</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-45038</link>
		<dc:creator>john henry</dc:creator>
		<pubDate>Sat, 18 Aug 2007 11:38:03 +0000</pubDate>
		<guid isPermaLink="false">http://www.lifeclever.com/2006/11/10/get-a-crash-course-in-color-theory/#comment-45038</guid>
		<description>Further on CL Hardin, he points out that colour on monitors is a highly sophistcated colour illusion (tristimulus), if you appreciate this you will understand that colour on the web is different to real life</description>
		<content:encoded><![CDATA[<p>Further on CL Hardin, he points out that colour on monitors is a highly sophistcated colour illusion (tristimulus), if you appreciate this you will understand that colour on the web is different to real life</p>
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		<title>By: Brian Flanagan</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-21370</link>
		<dc:creator>Brian Flanagan</dc:creator>
		<pubDate>Fri, 09 Feb 2007 20:12:03 +0000</pubDate>
		<guid isPermaLink="false">http://www.lifeclever.com/2006/11/10/get-a-crash-course-in-color-theory/#comment-21370</guid>
		<description>Thanks to Andrew Allen for his learned observations. 

I recommend MacAdam&#039;s &#039;Selected Papers on Colorimetry - Fundamentals&#039;; it&#039;s a superb collection of the seminal works by Newton, Helmholtz, Maxwell, Schrodinger et al.
	
Also well worth it is Austen Clark&#039;s admirable text on &#039;Sensory Qualities.&#039; 

&#039;Color for Philosophers: Unweaving the Rainbow,&#039; by C. L. Hardin is a popular work and does a fine job of introducing basic psychophysics of color perception, but... someone really ought to write a rejoinder, along the lines of &#039;Color for Scientists,&#039; as the philosophical conclusions need to be taken with a large grain of salt (think &quot;Utah&quot;). Hardin concludes that colors are illusory because they don&#039;t fit the prevailing paradigm -- a great leap backward to the Greek atomists.</description>
		<content:encoded><![CDATA[<p>Thanks to Andrew Allen for his learned observations. </p>

<p>I recommend MacAdam&#8217;s &#8216;Selected Papers on Colorimetry - Fundamentals&#8217;; it&#8217;s a superb collection of the seminal works by Newton, Helmholtz, Maxwell, Schrodinger et al.</p>

<p>Also well worth it is Austen Clark&#8217;s admirable text on &#8216;Sensory Qualities.&#8217; </p>

<p>&#8216;Color for Philosophers: Unweaving the Rainbow,&#8217; by C. L. Hardin is a popular work and does a fine job of introducing basic psychophysics of color perception, but&#8230; someone really ought to write a rejoinder, along the lines of &#8216;Color for Scientists,&#8217; as the philosophical conclusions need to be taken with a large grain of salt (think &#8220;Utah&#8221;). Hardin concludes that colors are illusory because they don&#8217;t fit the prevailing paradigm &#8212; a great leap backward to the Greek atomists.</p>
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		<title>By: ANDREW ALLEN</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-21354</link>
		<dc:creator>ANDREW ALLEN</dc:creator>
		<pubDate>Fri, 09 Feb 2007 16:52:30 +0000</pubDate>
		<guid isPermaLink="false">http://www.lifeclever.com/2006/11/10/get-a-crash-course-in-color-theory/#comment-21354</guid>
		<description>I am a prepress artist (I work for a flexo printer). I just wanted to add my 2 cents - I get a zillion jobs from designers all the time - some good and some bad - and I have to make sure the job prints accurately. We use a proofing system and press profiles to ensure the digital printed proof matches the final printed product as closely as possible. The particular pigment used to create a color has a strong affect. If two press operators pull up the same job on two occasions they could use different blends to achieve what appears the same color but actually will look different under different lighting conditions. This effect is known as metamerism. It is important to realize that the color of the light affects the color you see not only because it has its own color but also because varying shades of light reflecting off two identical looking colors can give totally different results if the pigments used to get that color are different. The substrate (the paper color when printing or the monitor gamut when viewing online) will affect the metamerism as well. This is true no matter what graphic discipline you work in. Of course, everyone sees color a little bit differently so even the effects of metamerism will vary between individuals.
One could write a book on colour but everyone who reads it would see something different as well. ;-)</description>
		<content:encoded><![CDATA[<p>I am a prepress artist (I work for a flexo printer). I just wanted to add my 2 cents - I get a zillion jobs from designers all the time - some good and some bad - and I have to make sure the job prints accurately. We use a proofing system and press profiles to ensure the digital printed proof matches the final printed product as closely as possible. The particular pigment used to create a color has a strong affect. If two press operators pull up the same job on two occasions they could use different blends to achieve what appears the same color but actually will look different under different lighting conditions. This effect is known as metamerism. It is important to realize that the color of the light affects the color you see not only because it has its own color but also because varying shades of light reflecting off two identical looking colors can give totally different results if the pigments used to get that color are different. The substrate (the paper color when printing or the monitor gamut when viewing online) will affect the metamerism as well. This is true no matter what graphic discipline you work in. Of course, everyone sees color a little bit differently so even the effects of metamerism will vary between individuals.
One could write a book on colour but everyone who reads it would see something different as well. ;-)</p>
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		<title>By: Kristi</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-20884</link>
		<dc:creator>Kristi</dc:creator>
		<pubDate>Tue, 06 Feb 2007 01:42:10 +0000</pubDate>
		<guid isPermaLink="false">http://www.lifeclever.com/2006/11/10/get-a-crash-course-in-color-theory/#comment-20884</guid>
		<description>Hahaha thats so funny, Im doing this too... Johannes Gutenberg was famour for the printing press guys :D lol for anyone who cares :P Thanks for the answer to the hues question :)</description>
		<content:encoded><![CDATA[<p>Hahaha thats so funny, Im doing this too&#8230; Johannes Gutenberg was famour for the printing press guys :D lol for anyone who cares :P Thanks for the answer to the hues question :)</p>
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		<title>By: Mike</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-20568</link>
		<dc:creator>Mike</dc:creator>
		<pubDate>Fri, 02 Feb 2007 22:13:39 +0000</pubDate>
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		<description>anyone wanna give me the answer for 24? ;)</description>
		<content:encoded><![CDATA[<p>anyone wanna give me the answer for 24? ;)</p>
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		<title>By: Andy</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-19962</link>
		<dc:creator>Andy</dc:creator>
		<pubDate>Mon, 29 Jan 2007 03:09:13 +0000</pubDate>
		<guid isPermaLink="false">http://www.lifeclever.com/2006/11/10/get-a-crash-course-in-color-theory/#comment-19962</guid>
		<description>Hey guys. Really helped me a lot with that question. Got a bit stuck there. Hopefully Ill see you at York also :)</description>
		<content:encoded><![CDATA[<p>Hey guys. Really helped me a lot with that question. Got a bit stuck there. Hopefully Ill see you at York also :)</p>
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		<title>By: Vick</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-18086</link>
		<dc:creator>Vick</dc:creator>
		<pubDate>Tue, 16 Jan 2007 22:31:03 +0000</pubDate>
		<guid isPermaLink="false">http://www.lifeclever.com/2006/11/10/get-a-crash-course-in-color-theory/#comment-18086</guid>
		<description>If you&#039;re dedicated to doing a program at york, then yes.  The questionnaire and portfolio are a critical part of the design admission process.  Ultimately, the decision is yours.  I&#039;m doing it because I want to do it.  Who knows, maybe I&#039;ll see you there.</description>
		<content:encoded><![CDATA[<p>If you&#8217;re dedicated to doing a program at york, then yes.  The questionnaire and portfolio are a critical part of the design admission process.  Ultimately, the decision is yours.  I&#8217;m doing it because I want to do it.  Who knows, maybe I&#8217;ll see you there.</p>
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		<title>By: Sahaj</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-17516</link>
		<dc:creator>Sahaj</dc:creator>
		<pubDate>Tue, 16 Jan 2007 08:34:57 +0000</pubDate>
		<guid isPermaLink="false">http://www.lifeclever.com/2006/11/10/get-a-crash-course-in-color-theory/#comment-17516</guid>
		<description>yay!.filling for york too.
hey..im an international student and dunt know much about york apart from hearsay, is all this application work really worth it?</description>
		<content:encoded><![CDATA[<p>yay!.filling for york too.
hey..im an international student and dunt know much about york apart from hearsay, is all this application work really worth it?</p>
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		<title>By: Janice</title>
		<link>http://www.lifeclever.com/get-a-crash-course-in-color-theory/comment-page-1/#comment-17269</link>
		<dc:creator>Janice</dc:creator>
		<pubDate>Sun, 14 Jan 2007 04:49:58 +0000</pubDate>
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		<description>Oh cool, I was just doing a search for that York Questionaire question too lol, looks like I found it :) Thanks </description>
		<content:encoded><![CDATA[<p>Oh cool, I was just doing a search for that York Questionaire question too lol, looks like I found it :) Thanks</p>
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