Which colors are best seen in dim light and which are best in bright light. Explain why

The retina consists of two types of light-sensitive cells - rods and cones. During the day, in bright light, we perceive the visual picture and distinguish colors with the help of cones. In low light, rods come into play, which are more sensitive to light, but do not perceive colors. Therefore, in the twilight we see everything in gray color, and there is even a proverb "At night all cats are gray

Because there are two types of light-sensitive elements in the eye: cones and rods. Cones see colors, while rods see only the intensity of light, that is, they see everything in black and white. Cones are less light-sensitive than rods, so they can't see anything at all in low light. Rods are very sensitive and react even to very weak light. That is why in the semi-darkness we do not distinguish colors, although we see contours. By the way, the cones are mainly concentrated in the center of the field of view, and the rods are at the edges. This explains why our peripheral vision is also not very colorful, even in daylight. In addition, for the same reason, astronomers of past centuries tried to use peripheral vision when observing: in the dark it is sharper than direct.

35. Is there 100% white and 100% black? What is the unit for whiteness??

In scientific color science, the term “whiteness” is also used to assess the light qualities of a surface, which is of particular importance for the practice and theory of painting. The term "whiteness" in its content is close to the concepts of "brightness" and "lightness", however, unlike the latter, it contains a shade of qualitative characteristics and even to some extent aesthetic.

What is whiteness? White characterizes the perception of reflectivity. The more the surface reflects the light falling on it, the whiter it will be, and theoretically a perfectly white surface should be considered a surface that reflects all the rays falling on it, but in practice such surfaces do not exist, just as there are no surfaces that would completely absorb the incident on it. them light.

Let's start with the question, what color is the paper in school notebooks, albums, books?

You might be thinking, what an empty question? Of course white. That's right - white! Well, and the frame, window sill, painted with what paint? Also white. Everything is correct! Now take a notebook sheet, a newspaper, several sheets from different albums for drawing and drawing, put them on the windowsill and carefully consider what color they are. It turns out that being white, they are all different colors (it would be more correct to say - different shade). One is white and gray, the other is white and pink, the third is white and blue, etc. So which one is "pure white"?

In practice, we call white surfaces that reflect a different proportion of light. For example, we evaluate chalk soil as white soil. But as soon as a square is painted on it with zinc white, it will lose its whiteness, but if inside the square is then painted over with white having even greater reflectivity, for example, barite, then the first square will also partially lose its whiteness, although we will practically consider all three surfaces to be white .

It turns out that the concept of “whiteness is relative, but at the same time there is some kind of boundary from which we will begin to consider the perceived surface no longer white.

The concept of whiteness can be expressed mathematically.

The ratio of the light flux reflected by the surface to the flux incident on it (in percent) is called "ALBEDO" (from Latin albus - white)

ALBEDO(from late Latin albedo - whiteness), a value that characterizes the ability of a surface to reflect the flow of electromagnetic radiation or particles incident on it. The albedo is equal to the ratio of the reflected flux to the incident one.

This ratio for a given surface is basically preserved at various conditions lightness, and therefore whiteness is a more constant surface quality than lightness.

For white surfaces, the albedo will be 80 - 95%. The whiteness of various white substances can thus be expressed in terms of reflectivity.

W. Ostwald gives the following table of whiteness of various white materials.

A body that does not reflect light at all is called in physics absolutely black. But the blackest surface we see will not be completely black from a physical point of view. Since it is visible, it reflects at least some of the light and thus contains at least a tiny percentage of whiteness - just as a surface approaching perfect white can be said to contain at least a tiny percentage of blackness.

CMYK and RGB systems.

RGB system

The first color system we'll look at is the RGB (red/green/blue) system. The screen of a computer or TV (like any other body that does not emit light) is initially dark. Its original color is black. All other colors on it are obtained by using a combination of these three colors, which in their mixture should form white. The combination "red, green, blue" - RGB (red, green, blue) was empirically derived. There is no black color in the scheme, since we already have it - this is the color of the "black" screen. So the absence of a color in the RGB scheme corresponds to black.

This color system is called additive (additive), which in rough translation means "adding / complementing". In other words, we take black (the absence of color) and add primary colors to it, adding them together until white.

CMYK system

For colors that are obtained by mixing paints, pigments or inks on fabric, paper, linen or other material, the CMY system (from cyan, magenta, yellow - cyan, magenta, yellow) is used as a color model. Due to the fact that pure pigments are very expensive, to obtain black (the letter K corresponds to Black), the color is not an equal mixture of CMY, but simply black paint

In a way, the CMYK system works in the opposite direction from the RGB system. This color system is called subtractive (subtractive), which in rough translation means "subtractive / exclusive". In other words, we take the white color (the presence of all colors) and, applying and mixing paints, remove certain colors from white up to the complete removal of all colors - that is, we get black.

The paper is originally white. This means that it has the ability to reflect the entire spectrum of colors of light that hits it. The better the paper, the better it reflects all colors, the whiter it seems to us. The worse the paper, the more impurities and less white in it, the worse it reflects colors, and we consider it gray. Compare the paper quality of a high-end magazine and a cheap newspaper.

Dyes are substances that absorb a specific color. If a dye absorbs all colors except red, then sunshine, we will see the "red" dye and will consider it "red dye". If we look at this dye under a blue lamp, it will turn black and we will mistake it for "black dye".

By applying various dyes to white paper, we reduce the number of colors it reflects. By painting the paper with a certain paint, we can make it so that all the colors of the incident light will be absorbed by the dye except for one - blue. And then the paper will seem to us painted blue. And so on ... Accordingly, there are combinations of colors, mixing which we can completely absorb all the colors reflected by the paper and make it black. White color is missing in the diagram, since we already have it - this is the color of the paper. In those places where white is needed, the paint is simply not applied. So the absence of color in the CMYK scheme corresponds to white.

Good afternoon Dear friends! Once all welcome to the site "Electrician in the House". Recently, the demand for LED products is constantly increasing. The use of innovative light sources finds application in various industries National economy.

New cars are equipped with LED lamps, houses, premises of enterprises and outdoor advertising stands are illuminated. They are used in spotlights, street and office lamps, as well as in many other human inventions.

concept does not even imply the amount of heat they give off, but has a completely different meaning. This is - visual effect perception of the light source by the human eye. As the color spectrum of light approaches the sun (yellow), the "warmth" of each lamp is determined.

You can also make an association with a candle flame, and you will immediately understand how this phenomenon is described. On the contrary, the bluish tint of light is associated with an overcast sky, a snowy night glow. This light evokes cold, pale images in us. But there is a scientific explanation for everything.

When a piece of metal is heated, it has a characteristic glow. At first, the color range is in red tones. As the temperature rises, the color spectrum gradually begins to shift towards yellow, white, bright blue and purple.

Each color of the glow of the metal corresponds to its own temperature range, which makes it possible to describe the phenomenon using known physical quantities. This helps to characterize the color temperature not as a randomly taken value, but as a certain heating interval until the required color spectrum is obtained.

The color spectrum of the glow of LED crystals is somewhat different. It differs from the possible colors of the glow of the metal due to a different method of its origin. But the general essence remains the same: a certain color temperature is required to obtain the selected shade. It is worth noting that this indicator has nothing to do with the amount of heat generated by the lighting fixture.

Once again, I want to note, do not confuse color temperature and physical temperature (amount of heat) that your lamp emits, they are different indicators.

Color temperature scale for LED lamps

Today's domestic market offers a huge range of light sources on LED crystals. All of them work in different temperature ranges. Usually they are chosen depending on the place of the intended installation, because each such lamp creates its own, individual look. The same room can be significantly transformed by changing only the color of the lighting in it.

For optimal use of each LED light source, you should decide in advance which color is most convenient for you. The concept of color temperature is not specifically related to LED lamps, it cannot be tied to a specific source, it depends only on the spectral composition of the selected radiation. Each lighting device has always had a color temperature, just when standard incandescent lamps were released, their glow was only “warm” yellow (the emission spectrum was standard).

With the advent of fluorescent and halogen lighting sources, white "cold" light came into use. LED lamps are characterized by an even wider colors, due to which independent choice optimal lighting became more complicated, and all its shades began to be determined by the material from which the semiconductor was made.

Relationship between color temperature and lighting

A clear knowledge of the tabular values \u200b\u200bof this characteristic helps to understand what color will be discussed further. Each of us differs in his color perception, therefore, only a few can visually determine the coldness or warmth of the light flux.

The average indicators of a group of products operating in a given spectrum are taken as a basis, and the final choice of LED lamps takes into account the specific conditions of their operation (installation site, illuminated space, purpose, etc.).

Today, all light sources, depending on their range of glow, are classified into three main groups:

- warm white light – work in the temperature range from 2700K to 3200K. The spectrum of white warm light emitted by them is very similar to the glow of an ordinary incandescent lamp. Lamps with such color temperature recommended for use in living quarters.
- daylight white light(Normal white) - in the range from 3500K to 5000K. Their glow is visually associated with the sunlight in the morning. This is a neutral range luminous flux that can be used in residential technical rooms(hallway, bathroom, toilet), offices, classrooms, production workshops and so on.
- cold white light(day white) - in the range from 5000K to 7000K. Reminds me of bright daylight. They illuminate hospital buildings, technical laboratories, parks, alleys, parking lots, billboards, etc.

Colorful temperature LED lamps table

Colorful temperature	light type	Where applicable
2700 K	light "warm white", "reddish white", warm part of the spectrum	Typical for conventional incandescent lamps, but also found in LED lamps. Used in cozy home interior promotes rest and relaxation.
3000 K	light "warm white", "yellow-white", warm part of the spectrum	Happens in some halogen lamps, also found in LED. Slightly colder than the previous one, but also recommended for housing stock.
3500 K	daylight white light, white part of the spectrum	Created by fluorescent tubes and some modifications of LED lamps. Suitable for apartments, offices, public spaces.
4000 K	light "cold white", cold part of the spectrum	An indispensable attribute of high-tech style, but suppresses with its deathly pallor. It is used in hospitals, and in underground facilities.
5000 K - 6000 K	light "daylight" "white-blue", daytime part of the spectrum	An excellent imitation of the day for working and industrial premises, greenhouses, greenhouses, terrariums, etc.
6500 K	light "cold daylight" "white-lilac", cold part of the spectrum	Suitable for street lighting, warehouses, lighting of industrial facilities.

It is clear from the above characteristics that low color temperature red dominates and blue is absent. When the temperature increases, green and blue colors appear, and red disappears.

Where can I find out about this option?

On the packaging of each lighting lamp, manufacturers indicate its technical characteristics. Among all other characteristics, such as power, voltage, mains frequency, it must be indicated (this applies not only to LED lamps). You should definitely pay attention to this main factor before buying a lamp.

By the way, this characteristic is displayed not only on the packaging, but also on the lamp itself. Here is one example, a 7W LED lamp with a temperature of 4000K. It is installed in my house, in the kitchen, it shines with pleasant daylight.

And here is another example of the designation on the LED spotlight for plasterboard ceilings, temperature 2800 Kelvin. Luminaires with this color temperature emit a warm light similar to an incandescent lamp and were installed in the bedroom at one of the objects.

Which lamps to choose for the office

AT normative document SP 52.13330.2011 "Natural and artificial lighting" recommends the use of various radiation sources depending on their type, power, construction and characteristics of the luminous flux. It is prescribed to equip the premises of the housing stock with small and low-temperature "warm" light fixtures, and in the non-residential stock, install larger lamps of normal "white" light.

It has been proven that white lighting is optimal for the working process, since the part of the blue spectrum contained in it has a beneficial effect on a person, helps him to concentrate, accelerates the reaction and the working processes of the body. It is good to choose radiation sources from 3500K to 5600K, with white or neutral light, with a slightly bluish tint. Such lighting will make it possible to increase efficiency to the maximum mark.

Both fluorescent and LED lamps are suitable, although the latter will give significant savings energy resources.

On the contrary, it would be a big mistake to install cold white light fixtures with a range close to 6500K in such a place. This will lead to rapid fatigue of workers, complaints about headache and a sharp decline in performance.

Which lamps are suitable for the home

In apartments and private houses, white light is not recommended. It is not necessary to place the same lamps everywhere, it is better to use individual recommendations for lighting equipment in such rooms. You can install white neutral lights in the kitchen, bathroom and hallway. Their temperature can vary from 4000K to 5000K.

But for the bedroom, nursery and rooms where you relax, it is preferable to use warm tones of the light spectrum. Here best solution there will be a warm white light closer from 2700K to 3200. It will relieve daytime tension, create coziness and allow you to relax.

It is convenient and effective to use normal white light in the reading area and work area, as well as to illuminate mirrors in front of which makeup is applied. This way you will achieve maximum color contrast and convenience for the actions performed.

It is better to equip a child's desk lamp with temperature 3200-3500K. It will not create excessive fatigue for the eyes, and proximity to the white spectrum will help you get ready and tune in to work. For all LED lamps, their operating temperature is indicated on the packaging.

That's all dear friends. If you liked the article, I would be grateful if you share it on social networks.

One of the most remarkable properties of vision is the ability of the eye to get used (adapt) to the dark. When we enter a dark room from a brightly lit room, we do not see anything for a while, and only gradually the surrounding objects begin to emerge more and more clearly, and in the end we begin to notice something that we had not seen at all before. In very weak light, objects appear devoid of color. It was found that vision in conditions of dark adaptation is carried out almost exclusively with the help of rods, and in conditions of bright light - with the help of cones. As a result, we recognize a number of phenomena associated with the transfer of the function of vision from rods and cones acting together to rods alone.

In many cases, objects that are considered to be of the same color can take on color and become amazingly beautiful when the light intensity is increased. For example, a telescope image of a faint nebula usually appears "black and white", but astronomer Miller of the Mount Wilson and Palomar observatories was able, through his patience, to obtain color images of several nebulae. No one has ever seen the colors of the nebulae with their own eyes, but this does not mean that the colors are artificial, just that the light intensity was too low for the cones of our eyes to detect color. Particularly beautiful are the Ring and Crab Nebulae. In the image of the Annular Nebula, the central part is painted in a beautiful blue color and surrounded by a bright red halo, while in the image of the Crab Nebula, bright red-orange filaments interspersed against a bluish haze.

In bright light, the sensitivity of the rods seems to be very low, but in the dark, over time, they acquire the ability to see. The relative changes in intensity to which the eye can accommodate exceed one million times. Nature has come up with two kinds of cells for this purpose: some see in bright light and distinguish colors - these are cones, others are adapted to see in the dark - these are sticks.

Interesting consequences arise from this: the first is the discoloration of objects (in weak light), and the second is the difference in the relative brightness of two objects painted in different colors. It turns out that the rods see the blue end of the spectrum better than the cones, but the cones see, for example, dark red, while the rods cannot see it at all. Therefore, for sticks, red is the same as black. If you take two sheets of paper, say red and blue, then in semi-darkness the blue will appear brighter than red, although in good light the red sheet is much brighter than blue. This is an absolutely amazing phenomenon. If we look at the brightly colored cover of a magazine in the dark and imagine its colors, then in the light everything becomes completely unrecognizable. The phenomenon described above is called the Purkinje effect.

In FIG. 35.3, the dotted curve characterizes the sensitivity of the eye in the dark, i.e. sensitivity due to rods, and the solid curve refers to vision in the light. It can be seen that the maximum sensitivity of rods lies in the green area, and cones - in the area yellow color. Therefore, a red leaf (red color has a wavelength of about 650 mm), clearly visible in bright light, is almost completely invisible in the dark.

The fact that vision in the dark is carried out with the help of rods, and there are no rods in the vicinity of the macula lutea, is also manifested in the fact that we see objects directly in front of us in the dark, not as clearly as objects located to the side. Faint stars and nebulae are sometimes easier to see if you look at them somewhat sideways, because there are almost no rods in the center of the retina.

Reducing the number of cones towards the periphery of the eye, in turn, leads to another interesting effect - at the edge of the field of view, even bright objects lose their color. This effect is easy to check. Fix your eyes in a certain direction and ask a friend to come up to you from the side, holding brightly colored sheets of paper in his hand. Try to determine the color of the leaves before they are right in front of you. You will find that you have seen the leaves themselves long before you can tell what color they are. It is better if your friend enters the field of view from the side opposite the blind spot, otherwise confusion will arise: you will already begin to distinguish colors, and suddenly everything will disappear, and then the leaves will appear again and you will clearly distinguish their color.

It is also interesting that the periphery of the retina is extremely sensitive to the movement of visual objects. Although we see poorly when we look sideways, with one corner of the eye, nevertheless, we immediately notice a beetle or midge flying from the side, even if we did not expect to see anything at all in this place. We are “pulled” to see what it flickers on the edge of the field of view.

Basics graphic design on the basis of computer technologies Yatsyuk Olga Grigorievna

2.7. Effect of lighting on color

The visible object is illuminated by the sun or an artificial light source. In artificial lighting, color filters are often used, which significantly affects perception. For example, if you illuminate a blue object with orange light, it will appear black, because there is no blue component in the orange beam that could be reflected from this object, therefore, all rays are absorbed.

There are a number of rules of perception.

The stronger the natural light, the brighter and louder any color.

An object of the same color as the light becomes brighter. This phenomenon is widely used in the design of exposures - in this case, the most effective use of filters. For example, red objects appear very bright under red illumination, and very dark, almost black under green illumination.

White always "absorbs" the color of lighting. White objects appear reddish in red light, greenish in green light, and so on.

Light is reflected more (objects appear brighter) if the rays fall vertically rather than at an angle.

When removed, a change in color is observed: at a distance, all objects appear bluish. As the distance increases, light objects darken somewhat, while dark ones soften and brighten. It should be borne in mind that good lighting or skillful, purposeful lighting can give an additional effect.

Under artificial lighting, the color tone of objects changes. For example, white, gray and green objects turn yellow; blue - darken and redden; the shadows of objects are sharply defined; objects in the shade are poorly distinguishable in color (Table 2.3).

Not only the color of the lighting is very important, but also its intensity. It is necessary to distinguish at least three gradations of light intensity: bright, medium diffused and reflected. It is noticed that dark finish rooms absorbs rays and reduces illumination by an average of 20–40%, depending on the lighting option: direct - up to 20%, uniform diffused - up to 30%, reflected - up to 40%. Therefore, a dimly lit room is best finished in light yellow and light pink tones. White color is significantly inferior to them, since in low light white surfaces appear dull and gray. The decoration of well-lit rooms facing south may be darker; the use of gray-blue tones is acceptable. The illumination of the lower floors, especially the first, is always worse than the upper ones, so the color of the lower floors should be lighter than the upper ones.

Table 2.3. Change in color tone and brightness under artificial lighting

Colored lighting is actively used in advertising. If at the exhibition you need to emphasize the color of the exhibit (for example, highlight a red tomato), point a red spotlight at it. The color will be especially bright and expressive. However, in this case, you need to carefully choose the colors of other objects included in the exposure: they will change their colors, and the result may be unexpected. Another interesting effect: in daylight, a white object, additionally illuminated by a red spotlight, gives a green shadow. When lighting the subject green, the shadow will be red. In general, when an object is illuminated by an artificial source certain color, the item will cast a shadow of the complementary color.

From the book Photocomposition author Dyko Lidia Pavlovna

The concept of "lighting effect" Working with light in photography should be considered from the above positions. It should also be noted that in photography, the importance of lighting the subject is also increased due to the fact that here light is the basis of education.

From the book The Decisive Moment author Cartier Bresson Henri

Color Until now, in talking about composition, we had in mind only one, so symbolic color - black. Black and white photography is, so to speak, shaping. She manages to convey all the color diversity of the world through abstract black and white, and this

From the book Light and Lighting author Kilpatrick David

Illumination Level Illumination levels observed on Earth have already been mentioned. Under normal conditions, it is unlikely to exceed the operating ranges of photographic or television systems. However, some older cameras used with modern

From the book Fundamentals of Composition. Tutorial author Golubeva Olga Leonidovna

Lighting Contrast One of the reasons why general reflective environments (such as whitewashed Mediterranean village streets) produce great photographs is the low lighting contrast. Under such conditions, it is possible to successfully use

From the book Great Mysteries of the Art World author Korovina Elena Anatolievna

Types of lighting and its organization Theoretically, the only source of light is best remedy imitations natural light, since the sun itself is a single source. But the sun is in the firmament, which has the shape of a hemisphere, playing the role

From the book Volume 4. Treatises and lectures of the first half of the 1920s author Malevich Kazimir Severinovich

Light and color White light consists of a mixture of radiations with wavelengths between 440 and 700 nm. This is at least the standard explanation. In fact, white light as such does not exist; simply the human eye, reacting to radiation with wavelengths within the specified

From the book Fundamentals of Graphic Design Based on Computer Technology author Yatsyuk Olga Grigorievna

Color in the studio Color balance and color content affect the perception of a photographic image. It is sometimes erroneously assumed that all light sources exactly match each other in terms of color characteristics. But it's not. For example, an electronic flash lamp

From the book Digital Photography from A to Z author Gazarov Artur Yurievich

Special lighting techniques There are a number of jobs for which, due to special requirements, standard lighting installations are unsuitable. Usually these are general standardized works, therefore, once you have mastered the basic technique and techniques, you no longer need to resort to some new ones.

From the author's book

Sophisticated Lighting Techniques Colored Lighting When colored light is used as the main light source and not as an effect, it becomes difficult to determine the exposure. With a direct reading of the exposure meter readings both in brightness and in

The dignity and value of painting is determined by the richness of the subtle color shades or in the French manner "Valerov". One of the main signs of professional painting is the ability to keep the gamut, the local color of each object, but at the same time richly show the unity and struggle of warm and cold shades, a nuanced change in color depending on lighting conditions (more about which can be found on the website in the article ""), the distance to the viewer ("") and the colors of the surrounding objects.

Unlike drawing, where in addition to composition and construction, which are also inherent in painting, the main task is to keep the work in tone, that is, to correctly convey the light relations between different tones of black, gray and white, in painting there are two such tasks - tone plus color. At the same time, it should be noted that the basis of painting should always be a local Color tone of the depicted object, and not the richness of shades, nuances or valor. The object's own coloring is never changed by the environment beyond recognition in nature and, as a result, should not change in realistic painting. Whatever shades the distance to the observer, lighting and surrounding objects give nature, we always feel its true color. Thus, in painting, local color and tone can be likened to the basis, and the play of shades, transitions of warmth and coldness, reflection of reflexes in this sense is likened to a superstructure or decoration that helps to reveal space, emphasize connection with the environment and enrich the work with pictorial qualities. Both are important.

All visible changes in local color appear due to the influence of a) the thickness of the air gap, b) lighting and c) the coloristic environment. The size of the air gap dictates the rules of aerial perspective or the patterns of change in color tone due to an increase in the light-air space between the observer and the object. The time of day and the weather, with their characteristic color conditions of lighting, largely determine the gamut* and color** of the painting. The color (or coloristic) environment, by which we will understand here the variety of colors of objects in the surrounding world, is no less important than aerial perspective or lighting for understanding the creation of coloristic richness in painting. In a particular case, the colors of the environment dictate how to enrich a separately depicted object in a picturesque way, and in a global sense they create a rich interrelated color harmony in a pictorial work.

It is known from physics that all objects in the surrounding world are sources of their own or reflected light. A beam of light carries waves of all seven colors of the rainbow. Falling on an object from a beam of light, only waves of the same color as the color of the object are reflected, the rest of the waves are absorbed by the object. Objects that reflect the light falling on them modify the local coloration of neighboring objects with their reflected color. Neighboring objects also affect nearby objects with their reflected color. From this mutual influence of objects on each other, new color combinations, the impression of volume and space is enhanced, objects receive a coloristic relationship with the entire environment. So all objects, or rather the colors of objects perceived by us, are also determined by reflected rays - reflexes that objects send to each other.

“Reflex (from lat. reflexus - facing, turned back, reflected) in painting (less often in graphics), a reflection of color and light on any object , which occurs when a reflection falls on this object from surrounding objects(neighboring objects, sky, etc.) ". In a general sense, a reflex is the influence of the environment on an object.

The number and strength of reflexes depend both on the material texture of the surface of the depicted objects (matte, transparent, glossy), and on the brightness of nearby objects. For example, if you put a yellow lemon next to a glossy jug on the shady side, then a very noticeable reflex will appear on the dark surface of the jug. yellow shade. Glossy, shiny surfaces give strong reflections and have many colored highlights and reflexes. Rough and matte surfaces, scatter rays and have softer and smooth transitions light gradations.

As a rule, it is customary to define a reflex as an integral part of one's own shadow, where the influence of the environment on the object is easiest to notice. This applies especially to graphic drawing. However, here are some very important reflections of the great French colorist E. Delacroix. He wrote: “The more I think about color, the more I am convinced that a semitone colored by a reflex is the principle that should dominate, because it is he who gives the right tone - the tone that forms the valères that are so important in the subject and give it a genuine liveliness".

Based on the above statement, it can be recommended to paint with the reflected color not only the reflex in the shadow, but also the penumbra from the light side.

Now we apply all the theoretical knowledge of color science and get the following recommendations in painting an object:

- the bottom of the depicted objects is always under the influence of the podium and is painted by the rays of color and light reflected from it;

- the top of the depicted object is influenced by the color of the sky or the ceiling and, in general, what is higher than the object of attention;

- the color of the sides from the side of its own shadow will be colored by a reflex, as an integral part of its own shadow, and from the side of the light it will be colored by the penumbra color reflected from the environment;

- in its own shadow, a color additional (or contrasting) to the main local color of the depicted object will appear according to the law of simultaneous contrast;

- the falling shadow will be painted with the color of the object from which it falls and will acquire a cold or warm shade, depending on the warmth and coldness of the lighting. Also, its color will be affected by the color of the object on which the shadow falls;

- in the highlights and fractures of the form, the coloring corresponding to the color of the lighting is always noticeable. For example, a highlight in a still life in daylight reflects the outline of a window and has the color of the sky outside the window. The glare from the soffit will have the color of the lamp, etc.

At the same time, not only the object is under the control of the environment, but it itself affects the color of the environment.

To more accurately explain the principles of the influence of colors of nearby objects, let's analyze the train of thought using the example of a training task, paying attention to Figure 1.

Rice. 1. A.S. Chuvashov. Educational still life. 2002 Paper, watercolor. A-3.

At the time of completing the training task, the production was illuminated by diffused warm light, therefore, scattered, as if fading shadows will acquire cold shades. For Objects painted in warm colors, such as red drapery, an apple, a jar and a vase, in the light their color will become brighter and louder, more saturated, and in the shade their color will fade and acquire an achromatic hue, that is, they will lose saturation. On the contrary, the color of the illuminated part of the background cold blue drapery will lose its beauty of saturation and gain it in its own and falling shadows of the folds. The principle is simple: warm plus warm or cold plus cold add up and give saturation, while cold plus warm is subtracted and, as it were, nullifies each other, gives color movement into achromatic. Glare on objects reflects the color of the sky in the window. The bottom of each item in the still life is dominated by the color of the drapery on the podium. The glossy vase reflects well the pink drapery on which it stands, along with the apple. The apple below takes on a pink tint of the color of the podium, and in the penumbra on top it reflects the shade of the background blue drapery. The matte ceramic lid does not reflect specific objects, but reflections from them. The penumbra on the lid from the side of the light and the reflex at the bottom of the lid also get a pink tint from the background drapery. To the left, a reflection from the background blue drapery appears in the shadow. Also, cold shadows, which are usually painted with bluish-blue colors on an ocher-yellow bottle and a brown vase, according to the laws of mechanical mixing of colors, will give the painter greenish hues. An apple in the shade will tend towards greenish hues. Drop shadows take on the color of the object from which they fall. The buffy falling shadow from the lid on the blue drapery also tends towards the green side. The falling shadow from the pink drapery takes on purple hue on a blue background. Own shadows on the folds of the blue drapery are also highlighted with a pink reflex. The jar and the vase will highlight the reflex in its own shadow on the pink drapery with brown shades. The falling shadow from a glossy vase is written as an admixture to the main pink color draperies of brown coolish shades.

So, at first glance, correctly transmitted reflexes help to convey a three-dimensional form. However, their main function is to create a color relationship between objects in a single light and color-air environment, they allow you to connect objects with each other and with the environment. They seem to fit the object into environment with objects of various colors. This multi-colored environment here is called the coloristic environment. Streams of strong and weak, large and small reflections intersect and, as it were, penetrate, envelop everything around, creating a special color environment, a common color system. Such a general color structure of the picture, where all colorful combinations strive for a single, integral, harmoniously smoothed life truthfulness, is called color in painting *. The overall color structure of the picture and its gamut**, as it were, sum up the particular color richness of several depicted objects as a denominator, in other words, creates the necessary unity of diversity.

All the multi-colored variety of depicted objects with their different warmth and coldness and darkness in the picture should work to identify the compositional center and create an atmosphere corresponding to the idea. A cool dark color tone of the environment enhances the light warm tones of the depicted object, and a dark warm tone enhances the cold light tones. It must be remembered that different "black" colors also have warm and cold shades. If the painter needs a cold black color, he adds blue paints to the mixture, if a warm tone, then red ones. In general, cold shades emit warm ones and vice versa, and in an equal scale of such color spots they cause the effect of vibration or fabulous shimmer. The artist monitors the creation or maintenance of warm (from 100% warm colors, up to a ratio of 75% warm colors to 25% cool colors), cold (from 100% cool colors, to a ratio of 75% cool colors to 25% warm colors), and contrast gamut (50% warm and 50% cool colors).

It is important to notice all these phenomena described in theory when solving practical problems of depicting the surrounding world in each of its particular cases, and preferably under the experienced guidance of a mentor. But, at the same time, in order to correctly and expressively write the world around the painter, first of all, it is necessary to rely on theoretical knowledge obtained from various sciences: chemistry, physics, biology, physiology, psychology and many others. For when the master tries to recreate the realities of life on the pictorial plane, he must truthfully display all the patterns by which this world lives. Most likely, the viewer will not see nature at that single moment of the season, day, state of nature and with the event that the artist displays in his work. Most often, a picture is generally a creative combination of the listed realities. However, in evaluating the plausibility of the depicted, the viewer will always rely on his life experience and knowledge gained in the process of lifelong education. Perhaps only secondarily should one rely on the developed or natural abilities of the eye and color perception. Depicting this or that object, in any case, we must think about the local color of the depicted object, the color of the main light source - our own or reflected - and neighboring objects. Each reflex, each shade has its own explanation. According to the author's personal observations of reputable artists, it can be argued that a competent painter at work only checks the accuracy of his theoretical reasoning in nature. Approximate reasoning can be as follows: if we know which side the light source is located on, therefore, we know how the light will spread in shape and where the falling shadows will fall. We can immediately determine which day: cloudy or sunny. We know the time of day: morning, afternoon, evening. These data determine the master of warm or cold light, and, consequently, the warmth and coldness of the falling shadow. Further, knowledge will always tell you how the local color of the object will change, based on the local color of the object and the shade of lighting. It remains to add to this the influence of nearby objects that cast rays of light colored in their own color. If in nature the master visually finds a correspondence to his conclusions of reasoning, then it is possible to fix with confidence the meaningful and seen in his pictorial work. It remains to keep the scale and color. Theoretical knowledge will facilitate the work and save the artist from visual deceptions caused by a) fatigue of the eye muscle that adjusts the lens; b) a separate, fragmentary examination of nature outside the context of the environment and the distance to the viewer's eye. And the last. It is necessary to avoid any kind of canons, because in nature there are a variety of unusual light conditions, the most unexpected color combinations.

Rice. 2. A.S. Chuvashov. Complex still life. 2002 Paper, watercolor. A-2.

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* Gamma (from Greek γαμμα - the third letter of the Greek alphabet) is a term widely used in art history, denoting a certain sequence of c.-l. homogeneous phenomena, objects, for example, paints (“colorful G.”), colors (“color G.”). . In the visual arts, gamma is the name of the patterns of repetition of shades of the same color that prevail in a given work and determine the nature of its color system or a series of harmonically interconnected shades of color (with one dominant) used to create artwork. For example, the red scale of the work can combine the colors of burgundy, cherry, pomegranate, ruby, raspberry, lafite, amaranth, cyclamen, cardinal, crimson, scarlet, strawberry, strawberry, lingonberry, red currant, cumac, tomato, mountain ash, coral, pink, flamingo etc. Blue gamma - hydrangea colors, dusky blue, sapphire blue, forget-me-not color, ashy, ash blue, sky blue, and so on. At the same time, this term can be accompanied by the usual color definitions of warm, hot, cold, bright, faded, light. But more often they say the Musatov blue-green gamut, the Vrubel gamut, etc., according to the colors that prevail in the work of artists.

**“Colour (from Latin color - color) is a general aesthetic assessment of the color qualities of a work of art, the nature of the relationship of all the color elements of the work, its color structure. The color is warm and cold, light and dark.

Literature

Great Soviet Encyclopedia: In 30 volumes / ch. ed. A. M. Prokhorov. - 3rd ed. - M .: Soviet Encyclopedia, 1975. - T. 22: Belt - Safi.
Drawing, painting, composition. Reader. M., 1989, p. 101.
Russian humanitarian encyclopedic Dictionary: In 3 volumes - M .: Humanit. ed. Center VLADOS: Philol. fak. St. Petersburg. state un-ta, 2002. T. 1: A-Zh. - 688 p.: ill.
Sokolnikova N.M. Fine arts: Textbook for uch. 5-8 cells: At 4 o'clock, Part 4. Concise Dictionary artistic terms. - Obninsk: Title, 1996. - 80 p.: tsv. ill. S. 38.

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