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Titel och upphov Color & light : navigating color mixing in the midst of an LED revolution, a handbook for lighting designers
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Utgivning, distribution etc. Quite Specific Media, a division of Silman-James Press, Los Angeles : [2019]
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DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning xxvii, 212 pages color illustrations 23 cm
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Anmärkning: Innehåll Introduction: Explore and experiment -- Why color? -- What is color? -- Primary colors in light -- Other spectral colors -- The color circle and color spaces -- Additive color mixing revisited -- Subtractive mixing -- What is white light? -- Saturation -- Color dominance -- Monochromatic and polychromatic palettes -- Color rendering, limited spectrum sources, and new color spaces -- Revisiting dominant and recessive colors -- Dimming, dousing and redshift -- Additive mixing in a world of LEDs -- Color paths revisited -- Metamerism : developing a new language of color -- Creating work that can be reproduced -- Conclusion: Where we are going -- Appendix A : Design for a lighting lab -- Appendix B : A form for recording mixed colors.
Anmärkning: Innehållsbeskrivning, sammanfattning Color & Light is an essential practical guide to how color works in light. Written from the perspective of a theatrical lighting designer, it discusses how to see color, how to construct effective lighting palettes, and how to make use of both color filters and color-mixing LED fixtures to create compositions that work well with scenery and costumes to tell compelling stories.We are presently at the leading edge of a revolution in theatrical lighting, redefining how it can be used to create and communicate. Today's LED-based additive color-mixing fixtures require new methodologies and new ways of thinking, and Color & Light directly addresses this technology's potentials and challenges. But underpinning lighting's many recent technological changes is the fundamental language of color that artists have worked with since the birth of humanity's artistic urges.
Term
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Antal i kö:
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*24510$aColor & light :$bnavigating color mixing in the midst of an LED revolution, a handbook for lighting designers /$cClifton Taylor.
*2461 $aColor and light
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*300 $axxvii, 212 pages$bcolor illustrations$c23 cm
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*504 $aIncludes bibliographical references and index.
*5058 $aIntroduction: Explore and experiment -- Why color? -- What is color? -- Primary colors in light -- Other spectral colors -- The color circle and color spaces -- Additive color mixing revisited -- Subtractive mixing -- What is white light? -- Saturation -- Color dominance -- Monochromatic and polychromatic palettes -- Color rendering, limited spectrum sources, and new color spaces -- Revisiting dominant and recessive colors -- Dimming, dousing and redshift -- Additive mixing in a world of LEDs -- Color paths revisited -- Metamerism : developing a new language of color -- Creating work that can be reproduced -- Conclusion: Where we are going -- Appendix A : Design for a lighting lab -- Appendix B : A form for recording mixed colors.
*520 $aColor & Light is an essential practical guide to how color works in light. Written from the perspective of a theatrical lighting designer, it discusses how to see color, how to construct effective lighting palettes, and how to make use of both color filters and color-mixing LED fixtures to create compositions that work well with scenery and costumes to tell compelling stories.We are presently at the leading edge of a revolution in theatrical lighting, redefining how it can be used to create and communicate. Today's LED-based additive color-mixing fixtures require new methodologies and new ways of thinking, and Color & Light directly addresses this technology's potentials and challenges. But underpinning lighting's many recent technological changes is the fundamental language of color that artists have worked with since the birth of humanity's artistic urges.
*650 0$aColor$vHandbooks, manuals, etc.
*650 0$aStage lighting$vHandbooks, manuals, etc.
*650 6$aCouleur$vGuides, manuels, etc.
*650 6$aÉclairage de scène$vGuides, manuels, etc.
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*650 7$aStage lighting.$2fast
*655 7$aHandbooks and manuals.$2fast
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This is an essential practical guide to how colour works in light. Written from the perspective of a theatrical lighting designer, it discusses how to see colour, how to construct effective lighting palettes, and how to make use of both colour filters and colour-mixing LED fixtures to create compositions that work well with scenery and costumes to tell compelling stories. We are presently at the leading edge of a revolution in theatrical lighting, redefining how it can be used to create and communicate. Todays LED-based additive colour-mixing fixtures require new methodologies and new ways of thinking, and the book directly addresses this technologys potentials and challenges. But underpinning lightings many recent technological changes is the fundamental language of colour that artists have worked with since the birth of humanitys artistic urges. More saturated vs. less, warmer vs. cooler, more green vs. more magenta, recessive vs. dominant -- the bedrock language of colour manipulation endures, whether you are putting paintbrush to canvas or calling up colour attributes on a high-tech lighting console. Balancing the basics and the latest innovations, this is a book for everyone involved artistically with light and colour. It will enhance your understanding of how a lighting setup works from a colour perspective, while equipping you with the language to communicate about colour with your collaborators.
Foreword p. xiii Acknowledgments p. xvii Introduction: Explore and Experiment p. xix Science and Art p. xxiv How to Use This Book p. xxvi Why color? p. 1 Overview p. 1 Storytelling p. 3 Communicating Style p. 4 In Service of Performers, Scenery, and Costumes p. 5 Rendering Space p. 7 Conclusion p. 8 PRACTICAL: Create a simple lighting and ground plan based on the description of the Malibu scene p. 9 What Is Color? p. 10 Photons and Wavelength p. 10 Visible Spectrum p. 13 It's All in Your Head p. 15 Color and Culture p. 15 Cultural Evolution p. 17 Why Do We Need So Many Colors? p. 18 Conclusion p. 19 PRACTICAL: Color research p. 20 Primary Colors in Light p. 23 Cones in Our Eyes Make Primary Colors p. 24 We Are Trichromats p. 25 It Is Not All Cones p. 27 Each of Us Is Unique p. 28 Conclusion p. 29 PRACTICAL: Exploring the spectrum p. 30 Other Spectral Colors p. 31 Cyan and Yellow: Points Along the Visible Spectrum p. 31 Magenta: A Special Case p. 34 Tertiary Colors p. 35 Mixing Non-Adjacent Wavelengths p. 36 Conclusion p. 37 PRACTICAL: Expanding your color research collection p. 38 The Color Circle and Color Spaces p. 39 A Schematic Look at Color Mixing p. 39 A New Color Circle p. 42 Mixing Complements p. 44 Using the Color Circle as a Predictive Tool p. 45 A Color Triangle p. 46 Toward a More Accurate Representation of the Visible Color Space p. 47 Where Are Brown and Gray and Black in These Color Spaces? p. 51 Why Would You Want to Use a Neutral Density Filter? Why Not Just Dim the Light? p. 52 Conclusion p. 53 PRACTICAL: Exploring color space p. 54 Additive Color Mixing Revisited p. 57 The Distance Problem p. 61 Why Is This Math Important to Me? I'm an Artist! p. 63 Plotting an Accurate Path from One Color to Another p. 63 Visual Vibrato p. 66 When to Use Additive Mixing in Different Sources p. 67 Conclusion p. 72 PRACTICAL: Additive mixing and secondary colors p. 72 Subtractive Mixing p. 75 PRACTICAL: Subtractive mixing with mechanical systems p. 78 What is White Light? p. 81 Kelvin Temperature p. 82 Limited Spectrum Sources and White Light p. 83 White Balance and Projection p. 85 Variability of the Perception of White p. 86 Conclusion p. 87 PRACTICAL: Variable white perception in light p. 88 Saturation p. 90 A Refresher on Complements p. 91 Color Fatigue and Saturation p. 92 Find the Missing Color p. 95 Deep Saturation and the Illusion of Darkness p. 98 Conclusion p. 99 PRACTICAL: Pale tinted color palettes p. 100 Color Dominance p. 102 Two-Dimensional Space: Subject and Field Studies p. 102 A Scientific Explanation p. 106 Three-Dimensional Space: Color Effects when Lighting a Figure p. 108 Recessive Colors and Shadows p. 110 The Colors of Daylight p. 113 Conclusion p. 115 PRACTICAL: Creating depth with color p. 115 Monochromatic and Polychromatic Palettes p. 118 Monochromatic Palettes are Radiuses of a Color Space p. 118 Finding White p. 120 Searching for a Complete Spectrum p. 120 Conclusion p. 121 PRACTICAL: Discovering monochromatic palettes p. 122 Color Rendering, Limited Spectrum Sources, and New Color Spaces p. 124 Full Spectrum Sources p. 124 Limited Spectrum Sources and Color Rendering p. 126 Driven by Power Efficiency p. 128 Can I See That at 120%? p. 129 The Revolution of Moving Lights p. 130 The Artistic Take on This p. 131 The March of Technology p. 132 But What If I Don't Care About Efficiency? p. 133 Conclusion p. 134 PRACTICAL: Mixing tungsten and non-tungsten sources p. 136 Revisiting Dominant and Recessive Colors p. 137 What Is Brighter than White? p. 137 Become an Analyst of Colors p. 137 Lighting Color and Local Color p. 139 Conclusion p. 140 PRACTICAL: Working with scenery and costumes p. 141 Dimming, Dousing, and Redshift p. 143 Redshift in Tungsten/Incandescent Fixtures and How Colors Are Affected p. 143 Mechanical Dousing p. 144 Simulating Redshift p. 145 But Will We Care in the Future? p. 146 The Dimming Curve p. 146 Blackouts, Afterglow, Preheating, and Strobe Effects p. 147 Conclusion p. 148 PRACTICAL: Simulating redshift p. 149 Additive Mixing Revisited in a World of Leds p. 150 Color-Fading Mechanical Systems p. 150 The Blue LED Emitter p. 151 Additive Color: Changing the Idea of Saturation and Intensity p. 152 LEDs Are Narrow-Band Emitters of Light p. 153 But Don't Red, Green, and Blue Mix to White Light? p. 154 Toward Creating a Larger Color Space p. 154 Simulating a Better White Light p. 155 It's Not Only the Lime Green that Is Missing p. 155 Conclusion p. 156 PRACTICAL: Programming color with additive and subtractive systems p. 158 Color Paths Revisited p. 159 Color Paths Make Understanding the CIE Color Spaces Relevant p. 160 Color Paths to Consider p. 161 Conclusion p. 163 PRACTICAL: Manipulating color paths by hand p. 163 Metamerism: Developing a New Language of Color p. 164 Ah, the Good Old Days p. 164 The Introduction of Metamers p. 164 But We Already Know About This p. 165 But Why Is This So? p. 166 LED Fixtures Make This important p. 166 Toward a Future Solution p. 167 Remembering Your Colors p. 167 PRACHLAL: Working with metamers p. 169 Creating Work that Can Be Reproduced p. 170 Dimmer Levels and Our Understanding of Color p. 171 Stability in Our Work Means the Ability to Re-Create It p. 173 Conclusion p. 174 Conclusion: Where We Are Going p. 176 Where We Came From p. 177 A Crisis of Documentation p. 178 A Way Forward p. 180 A Return to the Beginning p. 180 Design For a Lighting Lab p. 183 A Form for Recording Mixed Colors p. 187 Glossary p. 188 Reference and Further Reading p. 204 Index p. 205