Rachael Horowitz

Journal of Undergraduate Research
Volume 5, Issue 8 - May 2004

Lamps and Their Effect on Color Perception

DEFINE THE PROBLEM

When discussing the topic of color and light, it is evident that there is much information on color, how color is perceived due to light and the physics of light. However the information pertaining to how light affects a color and how people perceive this change in interiors is still not available for designers. The following research investigates these topics and indicates the importance for designers to understand the effect of light on color.

DEFINITIONS OF COLOR

Color is a response to the stimulus of light. The colors of an object are seen as reflected light. Therefore, colors seem to be constantly changing. According to Holtzschue, (2002) “light is the cause of color, colorants are the means used to create color, and the color that we see is the effect. The effect of a color changes whenever there is a change in colorant or in light” (p1). Color is sensed by the eye, but the perception of color takes place in the mind (Holtzschue, 2002). Holtzschue (2002) stated, “No two individuals see or think of colors in exactly the same way” (p45). Every color has three qualities:

Hue: the name of the color for example red or blue.
Value: the relative lightness or darkness of a sample
Saturation: the hue-intensity or brilliance of a sample, its dullness or vividness (Holtzschue, 2002). It is important to understand that each of these terms describe a quality of some thing.

HISTORICAL BACKGROUND

In the eighteenth and nineteenth centuries in Europe, poets not artists, began to study and write on the “behavior” of colors. Studies searched for a perfect color-order system and for laws of harmony in color combination. Johann von Wolfgang Goethe’s (1749-1832) and Isaac Newton’s (1642-1727) writings formed the foundation of modern color study. Newton discovered, by passing sunlight through a prism, the wavelengths split. He observed, as each wavelength entered the prism, it bended and reflected a different color (Holtzschue, 2002). The author believes, “from this, he hypothesized the nature of light and the origins of perceived color” (p85). This has remained the basis of modern physics.

Goethe opposed the theories of Newton. He viewed colors not as light, but as experienced reality (Holtzschue, 2002). Goethe developed a circular six hue spectrum of perceived color: red, orange, yellow, green, blue and violet. Currently this is used as the artists’ spectrum. From this spectrum, Goethe hypothesized rules of order, symmetry, and balance for harmonious combinations of color (Holtzschue, 2002).

Albert Munsell (1858-1918) developed a color tree and organized colors by hue, value, and chroma (see Figure 1). Every value is assigned a place on an alphanumeric scale. Linda Holtzschue claims his color tree is flawed since it does not allow for a place on the tree for tertiary colors, the chromatic neutrals. Also, it does not allow for newly discovered colors to be placed numerically on the tree (Holtzschue, 2002).

Figure 1. The Munsell Color Tree (Holtzschue p. 89)

Josef Albers (1888-1976) believed, true understanding of color came from an intuitive approach to studio exercises. He was not studying ideas of color order, but how colors were perceived and how they interacted. It was all about the visual experience. He felt practice came before theory (Holtzschue, 2002).

EXISTING THEORIES

Josef Albers’ 1963 book “Interaction of Color” is a record of an experimental way of teaching color. He says, a color is almost never seen as it really or physically exists, making color relative. To use color effectively, it is necessary to recognize that color is always deceiving. Recognition and interaction of color make two different colors look alike. The purpose of this study is to develop an eye for color, i.e. seeing color action, as well as feeling the color relatedness. This training furthers development of observation and articulation (Albers, 1963). Albers’ studies do not deal with preconceived academic truths, nor does he reference physic’s laws of light. His exercises allow people to understand color and color relationships, which are based on the visual results of the person. His experiments lead to the visual realization of interaction between color and awareness of color in its direct relationships to its surroundings (Albers, 1963). Albers recognizes that when 50 people hear “red” it may invoke 50 different shades of red in each person’s mind. The perceived color of red is different for everyone.

COLOR PERCEPTION

Fehrman (2000) recognizes, “color perception varies greatly from person to person depending on the individual brain’s interpretation of color signals coming from the eye, on whether or not color vision is defective, and on our psychological and cultural biases toward color” (p6). Egan and Olgyay (2002) suggest color perception depends on subjective factors such as expectations, experience, and the nature of the object being viewed. “Under conditions of normal adaptation, the color of an object is relatively independent of the spectrum (or color distribution) of its reflected light if the light source contains the entire spectrum” (p75). Form is defined by the object’s contrasting color to its surroundings. The perceived color of the object can change if the background colors change. The perceived weight of an object may also be determined by its color, for example, darker elements appearing heavier than lighter elements (Egan and Olgyay, 2002).

CONTEXTUALIZE THE PROBLEM

There are many theories and studies on color. It is necessary to understand how light effects the properties of color since we see color as a reaction to light. This understanding of how light effects color is essential to producing a harmonious color combination.

UNDERSTANDING LIGHT AND COLOR

Holtzschue (2002) states, “color is a single-sensory experience; a sensation of light that cannot be verified by the other senses” (p11). A colored object can be touched, but the color itself cannot. Therefore color is intangible. The author further states, “this instability of color has a number of causes. The first of these is the way in which color is generated by light, reflected from surfaces, and sensed by the human eye. A color of an object is no more permanent or absolute than the light in which it is seen” (p11).

Only light generates color, without it, no color exists. Light is the visible energy emitted by a light source. Holtzschue (2002) states, “the eye is a sense organ that is adapted to receive the light. The retina of the eye receives the energy signal and transmits it to the brain, where it is identified as color. Light sources emit this visible energy in pulses (or waves) of energy. All light travels at the same speed, but waves of light energy are emitted different distances apart called frequencies. The distances between the peaks or waves of energy emission is called wavelength. Wavelengths of light are measured in nanometers (nm)” (p11). “The human eye is able to sense wavelengths of light ranging from about 380 nm to about 720 nm. Certain wavelengths are sensed as discrete (separate) colors: red, orange, yellow, green, blue, indigo (blue-violet), or violet. Red is the longest visible wavelength (720 nm), followed in order by orange, yellow, green, blue, indigo and violet, the shortest wavelength (380 nm). These are the colors of visible light or the visible spectrum” (p12) (see Figure 2).

Figure 2. The Visible Spectrum (Holtzschue p. 13)

LAMPS

Lamp is the correct term for a light bulb. According to Holtzschue, (2002) “incandescent lamps, like the sun, produce light by burning. Also like the sun, incandescent light sources emit the visible wavelengths as a continuous spectrum” (p15). Thus, incandescent lamps are considered the most natural. Fehrman (2000) says, “its color rendering is on the warm side of natural, enriching the reds, pinks tans, yellows and neutrals in the room, while dulling the greens and blues” (p51).

Holtzschue (2002) says to refer to a light source as “true” is deceptive. This may imply there is “false” light, but light is always light. There are natural light sources and man-made ones; they can be differentiated by their spectral distribution and by their apparent whiteness. Daylight is the standard of whiteness for all manmade lights. The humans’ response to sunlight is part of our genetic makeup, it determines if light from a man-made source will be sensed as natural (p16).

RESEARCH EXPERIMENT

The research conducted for this project investigates how people perceive color under two different lighting conditions. The purpose of this study was to determine if different types of light sources cause change in color perception. Participants included 23 men and women in a broad age range, most working within the design field. The research results will allow designers to better understand how colors may change when applied to an interior environment.

The six colors of the artists’ color wheel were used (see Figure 3): red, orange, yellow, green, blue, and violet. A white 1’ cube was constructed in foam core to simulate an enclosed environment. An aperture on the front face allows viewing into the cube. Alternating light sources shine from an aperture placed above the viewing level. Each color is applied to the cube’s interior vertical face, seen when looking straight into the cube. Participants viewed colors under both incandescent lighting and the new “true light”. After viewing each color, they were asked to choose the closest match to the color in the box from eight color chips of varying shades and values of the same hue. One of the samples is the exact color viewed inside the cube. Choosing the exact match indicates that the light source does not alter that color. The choice of a different color shows the light source tends to change the perception of that color. The original color was chosen based on the closest match to the perceived exact red, for example. The sample color chips were chosen based on variations in value and saturation of that color.

Figure 3. The Artists' Color Wheel (Holtzschue p. 132)

This process was based on Albers theory of the interaction colors discussed earlier. The interactions or changes were seen in each color under the different lamps. Results were visually formed by the person, not based on academic conclusions.

The analysis suggests that green, blue, and violet tend to change under both lamps. Only 22% of the volunteers chose the correct green under both lamps. Blues that were much lighter in value and saturation were chosen significantly more than the correct blue under both lamps. The hue that was consistently chosen as Violet under both lamps was significantly lighter in value than the correct one. Under both lamps, red and orange were typically perceived true to the original hue. About 52% chose the correct red color under both lamps. Orange was chosen correctly almost 100% of the time. Many volunteers commented that yellow was the hardest to determine. Under both lamps, the yellow chosen the most was a different hue, although close in saturation levels.

Figure 4. Percentage that chose the correct color with True Lamp

Figure 5. Percentage that chose the correct color with Incandescent Lamp

CONCLUSION

It is necessary for any designer to understand the physics and psychological aspects of color. A color can be applied in various applications, therefore each use of color may have a different texture and light reflectance. This causes the perception of color to change and it may be perceived differently by different people. As Albers stated, color is deceiving, but if this is understood from the beginning, a person can manipulate various light sources and applications to achieve the desired effect. A harmonious interior environment is achieved.

There were not many prior research studies on how light effects color or how people perceive these changes. Also, there was not adequate information on how color and light are perceived in the interior environment. This research used the available information on color and light to link these topics together. It will enhance designers understanding of the effects of color and light.

REFERENCES

Albers, Josef. (1963). Interaction of Color. Yale University.
Egan, David M. and Victor Olgyay. (2002). Architectural Lighting Second Edition. New York: McGraw-Hill Companies.
Fehrman, Kenneth R. and Cherie Fehrman. (2000). Color: The Secret Influence. Upper Saddle River: Pearson Education, Inc.
Holtzschue, Linda. (2002). Understanding Color, An Introduction for Designers. New York: John Wiley & Sons, Inc.

--top--

Back to the Journal of Undergraduate Research