CONTINUED FROM COLOUR PERCEPTION AND ITS AESTHETIC

TRANSLATIONS - PART A

Prof. Pawar being aware of all these light conditions decided to paint a

backdrop scene by putting dark goggle glasses on his eyes during the daylight

conditions. He started picking up relevant colors from the palette seen

through these dark glasses. While this was being done he had visualized the

final effect that will appear in the above said theatre light conditions. The

final painting result when seen in normal day light appeared to be dull and

pale. However, the same painted backdrop was appearing vigorous, vibrant in

the theatre light conditions.

A theatre hall is dark and stage is lit up,

• Experiment: Stage 1: Prepare spectacles with red, yellow, blue and green.

Take the color swatches of red, yellow and blue (1x1 inch) by using colored

ink sketch pens on white background surface. Record the color perceived

through the 4 spectacles.

Stage 2: Create a composition of any type (preference simple) by a color

palette of red, yellow and blue. Repeat the same composition three times on

3 different drawing papers-Just in outlines only-Total 3 versions. Put red

glasses on your eyes and start painting first versions. Repeat remaining three

versions, blue, yellow, and green on remaining three compositions through

yellow glass, blue glass and green. You have to document the perceived

change of original colors of visible or invisible color experienced by you.

From the news paper “The Times of India”

This painting of Mona Lisa is photographically copied and I have tried to understand its various colour correction options in Photoshop such as L.A.B. mode,RGB mode, CMYK mode etc.

Here my attempt is to search the “Sfumato” effect visible in the back ground and blurring of her body contours. It is true that, this must be tried from the original painting which is not possible. The news paper cutting presented here gives me an insight about how the French Scientists discovered this technique created by Leonardo da Vinci. (Lalit Kala Akademi ,NCPA Publication)

“Sfumato”

• The quest to know Colour perception

and my academic experiments

simultaneously when shared with the

friend Prof. Deepak Ghare former

faculty instructor in design in print

education puts us on to mind-mapping

as an artist to investigate followings:

“Sfumato”: Blurring of edges,

Complexion, Background, Layers of

colors and medium, “Chiaroscuro”-light

and shade, Umbra and penumbra etc.

and when we see this in print and

reproduction parallel to it such as Soft

focus, perspective (depth of focus ),

contrast, highlight and shadow balance,

luminosity and shadow contain colour.

This information is inspired from the

news appeared in (Times of India) the

paper about the famous painting by

Leonardo of “Mona Lisa”. I quote, “The

specialists from Centre for Research and

Restoration of the Museums of France

found that the da Vinci painted up to 30

layers of paint on his works to meet his

standards of subtlety. Added up, all the

layers are less than 40 micrometers, or

about half the thickness of human hair

researcher Philippe Walter said.

This technique called “Sfumato”, allowed da Vinci to give outlines and contours a hazy

quality and creates an illusion of depth and shadow. His use of technique is well-known,

but scientific study on it has been limited because test often required samples from the

original paintings. The French researchers used a noninvasive technique called x-ray

fluoresce spectroscopy to study the painting layers and their chemical composition. The

analysis of the various paintings also shows da Vinci was constantly trying out new

methods, Philippe Walter said. In the Mona Lisa, da Vinci used manganese oxide in his

shadings. In others, he used copper. Often he used glazes, but not always.” To sum up the

printers must take the cognizance of the original art work by the artist even if it is digitally

produced. Sometimes the final art work is the result of multi techniques of mix and

match media.

My Father’s correspondence with Sir C.V.Raman about “The Yellow” as basic colour… a rare letter by the great and humble scientist…

Artist M.F.Husain and his attempt to look at the

Raman Effect - phenomenon observed in the

scattering of light as it passes through a material medium, whereby

the light suffers a change in frequency and a random alteration in

phase. Raman scattering differs in both these respects from

Rayleigh and Tyndall scattering, in which the scattered light has the

same frequency as the unscattered and bears a definite phase

relation to it. The intensity of normal Raman scattering is roughly

one-thousandth that of Rayleigh scattering in liquids and smaller

still in gases. See Scattering of electromagnetic radiation

Because of its low intensity, the Raman Effect was not

discovered until 1928, although the scattering of light by

transparent solids, liquids, and gases had been investigated

for many years before. The development of the laser has led

to a resurgence of interest in the Raman Effect and to the

discovery of a number of related phenomena. See Laser

When the exciting radiation falls within the frequency range

of a molecule's absorption band in the visible or ultraviolet

spectrum,

the radiation may be scattered by two different processes,

resonance fluorescence or the resonance Raman effect.

Both these processes give much more intense scattering

than the normal no resonant Raman effect. The absolute

frequencies of the resonance Raman effect shift by exactly

the amount of any shift in the exciting frequency, just as do

those of the normal Raman effect. Thus the main

characteristic of the resonance as compared to the normal

Raman effect is its intensity, which may be greater by two or

three orders of magnitude. See Fluorescence

Raman scattering is analyzed by spectroscopic means. The

collection of new frequencies in the spectrum of

monochromatic radiation scattered by a substance is

characteristic of the substance and is called its Raman

spectrum. Although the Raman effect can be made to occur

in the scattering of radiation by atoms, it is of greatest

interest in the spectroscopy of molecules and crystals. In a

typical experiment monochromatic radiation from a laser

impinges on the sample in an appropriate transparent cell.

Raman scattering is approximately uniform in all directions

and is usually studied at right angles. In this way the intense

radiation of the laser beam interferes least with the

observation of the weak scattered light.

To be continued to Colour perception and its Aesthetic translations -

Part C