Color logic: Interactively defining color in the context of computer graphics

Rochester Institute of Technology

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9-1-1992

Color logic: Interactively defining color in the

context of computer graphics

Brian J. Rose

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Recommended Citation

College of Imaging Ans and Sciences

Rochester Institute of Technology

Rochester, New York

CERTIFICATE OF APPROVAL

M. S. DEGREE TIIESIS

The M. S. Degree Thesis ofBrian

J.

has been examined and approved

by two members of the color science faculty

as satisfactory for the thesis requirement for the

Master of Science degree.

Dr. Mark Fairchild, Thesis Advisor

COLOR LOGIC:

INTERACTIVELY DEFINING COLOR

IN THE CONTEXT OF COMPUTER GRAPHICS

Brian

J.

B.S. Philadelphia College ofTextiles and Science (1990)

Athesis submitted for panial fulfillment of the requirements for the degree of

Master of Science in Color Science in the Center for Imaging Science in the College of Imaging Ans and Sciences

at the Rochester Institute ofTechnology

September 1992

Brian J. Rose

Signature of Author

Mark D. Fairchild

Thesis Release Form

Rochester Institute ofTechnology

Center for Imaging Science

Title ofThesis: COLOR LOGIC: Interactively Defining Color in the Context of Computer Graphics

I, Brian J. Rose I hereby grant permissiontothe Wallace Memorial Library of

R• I· Ttoreproduce my thesis in whole or in part. Any reproduction will not be for commercial use of

profit.

Date----!...J.1

!f~~~!q2-

_ _

COLOR LOGIC:

INTERACTIVELYDEFINING COLOR

IN THE CONTEXT OF COMPUTER GRAPHICS

BrianJ. Rose

Submittedforpartialfulfillment

ofthe requirementsforthedegreeof MasterofScience in Color Science

intheCenterfor_ImagingScience

intheCollegeof_ImagingArtsandSciences

attheRochester Instituteof_Technology

ABSTRACT

Anattemptwas made tobuildabridge betweentheart and science ofcolor, utilizingcomputer

graphics as amedium.This interactivetutorial presentsboth technical andnon-technicalinformationin

virtuallycompletegraphic_{form, allowing}the undergraduatecollege studentto _readilyunderstandand

apply its content. Theprogramconcentrates on relevant topicswithin each ofthe _followingaspects of

colorscience:Color_Vision, Lightand_Objects, Color_Perception, Aestheticsand_Design, Color

Order, and ComputerColorModels.Upon preliminarycompletion, user-testingwas conducted in

orderto ensurethat theprogramis _{intuitive, intriguing,}and valuable toa wide rangeof users.COLOR

LOGIC represents effective integration ofcolor _science, graphic _design, user-interface _design, and

Acknowledgements

I_herebyextend_mygreat appreciationto the_followingfortheir support throughoutthisendeavor:

Dr. Mark Fairchild...for his continual input, always taking time away from his hectic

scheduletodiscuss_myideas_{evenif I justdropped}

byhisofficeinthemiddle of a given_afternoon,and an endless amount of encouragement.

Dr. _Roy Berns...for his enthusiasm in _discussing the project with invited guests, his

constructive_criticism,and most_importantlyhiswillingnesstoopentheMunsellColor Science_Laboratory

doorsto theart world.

Dr. _NancyJo Howard... for herguidance in the _teachingof color science to artists and

designers,andher everlastingemotionalsupport.

Munsell Color Science _Laboratory and _{R,I,T...for providing} the financial support

throughoutthedevelopmentofthis_thesis,andfor_{generously supplying}the_necessaryenvironment and

facilities.

Each of _my users/observers...whose verbal and non-verbal feedback ensured the

intuitiveness,ease ofuse,and ease of comprehension ofCOLOR LOGICas a whole.

...andlast butcertainlynotleast

Myfamilyand friends...for listeningto mycountless hours oftalkingaboutcolor, their

patienceandfeedback regarding COLORLOGIC,andforstill _speakingto me as aresult_{twoofthemfeel}

asif_theyshouldreceiveadegreeincolorscience aswell.

TableofContents

1. Introduction 1

2. Background 4

3. Procedure 9

COLOR LOGIC Home Card 14

COLOR VISIONSTACK. ₁₅

LIGHT AND OBJECTS STACK. 19

COLOR PERCEPTION STACK. 23

AESTHETICSANDDESIGNSTACK 28

COLOR ORDER STACK _%

COMPUTER COLOR MODELS STACK 40

4.Conclusions 51

5._Bibliography 55

SourcesusedforThesis 55

Sourcesusedfor_Glossary 56

Sourcesusedfor_Scanning 58

6.Appendices 60

APPENDIX A 60

COLOR LOGIC_OwnershipandUse Agreement 60A

APPENDIXB 61

GLOSSARY. 62

APPENDIXC 73

"Fewartists or others whodealwithcolor will_denythatcolor posesdifficultproblems.Capable

people, all welldisposed toart and the aesthetic _approach, have recently added _{significantly} to the

knowledgeof color and toways of_workingwith it._Theyalways intendedthat their findingswouldbe

usefulto artists anddesigners._{Unfortunately,they}havenot succeededin_conveyingthat_message,or their

contributions,tothoseintendedbeneficiaries."1 ...MacAdam

"So where do we go from here? What contribution can each ofus make to_bridging the_gap

betweenart and science?_Basicallyit isa_teachingjob."9 . ..Wright

".. .forcomputers are

makingabroadexpertise availabletoeveryone. There isa_{rising demand}

for individuals with the_abilitytoreassembleknowledgeintoa coherentwhole, to use abroad baseof

knowledge to _{convey ideas} and information. ...the monitor of a computer system is a display of

interactivecoloronwhichdesign isachieved_bycolor manipulation. Ifyouwantto use the capabilities

computation _provides,then knowledgeofcolor principleswillgive youcontrol ofthecomputer_image,

and provide you with a powerful tool for the communication ofdesign ideas. With color graphic

computation, the language of color can be spoken with a new forcefulness to communicate

information."^ ...Norman

INTRODUCTION:

The creation of COLOR LOGICa computer graphics-based interactive tutorial_has

encompassed numerous parameters_that, whether_initiallyrelated_directlyor_indirectlytoone _another,

now form a single _product; hence, the term _bgic, which is defined _as, "A mode ofreasoning. The

relationshipof elementtoelementtowholeina set of_{objects, principles,individuals,} or events."8This

product is intended to educate college students_{at the undergraduate} levelon segments _ofcolor

science,inthecontextof computergraphics; specifically,topicswithinthose segmentsthatarebeneficial

to students who use Macintosh computers to generate artwork. In _essence, such a tutorial appeals

potentiallytostudentsfroma wide range of academicdisciplines.

Color science is broadly interdisciplinary, encompassing physics, chemistry, physiology,

presence, veryoften takenforgranted and not prioritized as a crucial entity.Asonebreaksthrough the

surface, hesoon realizes thatcolorisquite complex._{Delvingdeeper,} he furtherrealizes that real-world

applications _involving the use of color_veryoften utilize information obtained from several individual

disciplines simultaneously.Afineartist_{specializing in painting,}for_example, mightbegin hiswork witha

small number of watercolors as_{primaries, say,}a_red,a_yellow,a_blue,a_black,and a white.Throughvisual

experimentation, hewill proceedtocreate multiple shades of"new"_colors,via_mixingcertain primariesin

some proportion. Such _mixing will _{typically be done} not _{by making} some series of calculated

measurements,butrather_{by dipping}thebrush intothevariouspaintprimaries.This methodisthe artist's formofexperimentation_as

withpracticeheknowshowmuch ofagiven colorisneededto producethe desired mixture. Forthe_artist, he _mayfromthis pointbeconcerned_onlywith hiscreativevision: the

scene orimagethefinalartwork will portray._Conversely,he_maypossessthedesireto knowmore about

thephysical properties ofthe_paint,suchas: how itwillappearunder various_lightingconditions_asin

his studio asopposed to a _{museum,controlling}thelevelsof_transparencyand_opacity in a systematic

fashion, and how certaincolors will _{psychologically} affect his viewers. Briefexposure to the physical

properties oflightandobjects,as well asto perceptualpsychology,would providesuchinformation. Parallel to this notion is theendeavor of_creatingcomputer graphics with color.Just as the

curious fineartistinthe previous examplein no _wayneeded toalsobea physicist or a psychologist in

orderto continue_producinghisartwork,thestudent_attemptingto generatecomputergraphics need not beeducatedin all relateddisciplineseither.Anotherexample: a pre-medical student will_likelypossess a

good amountofknowledge pertainingtothehumaneye andits internal_{components; whereas,} he _may

neverhave been exposedto the_theoryofhowcolorisusedin art and designforaesthetic purposes. Futhermore,letus assume thatheis conductinga seniorresearch projectwhichrequireshimto generate

someillustrations _pertainingto the_anatomyofthehumanbrain. Even ifheisa good _{illustrator,it is very}

likelythat theoverallaesthetic_qualityofhisfinalartwork will lackartisticintegrityhe_simplydoes not

possess theskills _necessary, unless ofcoursehe_fortunatelyhas an art anddesign background aswell.

Afterall, artists _typicallydevoteyears to acquire such knowledgeand skills. _Essentially, he willbenefit

aesthetic improvementofhis work.Via theAestheticsand_{Design stack,} hewill be presented with a

foundation in Baubausdesigntheory_{wherestudiesinblack-and-whiteare of}

primaryfocus; thenwith

theworkofJohannesltten_{which stresses color studies}

demonstratingcontrast _effects;and_finallythe

work of_JosefAlberswhich expands on the theories ofltten. _Ultimately,the student will havegained

some_{insight into working}with color effectively.

Consideryet another example: a_Marketingprofessor who_{is using}ahypermediaapplication to

generatean interactivetutorialon thesubject oftheNew York Stock Exchange. Aside _{from presenting}

statisticaldataand pertinent mathematical_equations, sheunderstands thatfull-colorgraphicswill make

her tutorial _{aesthetically pleasing} to the students

which, in return, aid in _conveying the desired

information. But...she has nopriorexperienceworkingwith color in computergraphics! Reading the

manuals supplied withvarious software packageswill _{likelysupplyonly} minimal relevantinformation.

Indeed, shewouldbenefit greatly_{by knowing}somefundamentalaspectsof colorscience_{atleastenough}

sothat the time investednow will soonbe rewarding._Therefore, this person could spend about 1 to2

hours _navigating through each segment _{(stack/window)} ofColor _{Logic, studying} the contents, and

repeatingif/whennecessary.

Consideringthesevariousinterestsandtheir obvious_{differences,they}areindeedall relevantto a

single topic:Color. Thisenlightens another goal ofCOLOR LOGIC tocontributeto the _{long-standing}

BACKGROUND:

In orderto _developa single applicationwhich communicates thediverse languageof colorto

individuals _having various educational backgrounds and _interests, the developer must _necessarily be

fluent in this language himself. _Moreover, and perhaps _equallyas _important, he must then beable to

reconnectthefragmentedcomponentstoforma_{well-organized,}comprehensive whole.Fragmentationof the subject of color isa result oftheever-prominent_gapthat exists_{among its} uses inart and science. Essentially, theartist and scientistdrivetoward amutualgoal: to utilizecolorin such a mannerthat the

result_{is aesthetically}pleasing_{or atleast}acceptable_{to theviewer/observer.Beyondthis}

goal,however,

such_{commonality very}oftendissipates._Thus,the_underlying methodologiesdiffer significantlyfromone

another.

Artists work with color ina _highlyqualitative manner_{where it is incorporated as oneofa}

number oftools in thegeneration of artwork.Thesetools (ordesign _elements) are inherent todesign foundation, consisting of: line, form, space, and color. Ofthese _elements, color has been the most

challengingtoapproach in the artist'sstudio.5_{Given traditional mediumssuchas canvas and}

paper,the

artist learns through much experimentation how to work _with, and_apply, color effectively. Bauhaus design theory beginswithexposuretolineandformin_{black-and-white,whereby}thevisualweightof each

within someinterval system is integral to its overalldesign solution. _Next, as a result ofthe efforts of

Swiss-bornpainterJohannes_ltten,focusisdirectedtowardcolorinteraction(calledcontrasts),asfollows:

1.ContrastofHue

2. ContrastofSaturation

3. ContrastofValue

4._{Complementary}Contrast

5.Cold-WarmContrast

6.ContrastofExtension

Expandingon_contrasts, theartististhenexposedto thework ofJosefAlbers_{once a student ofltten}'s

with which he learns howto prompt visual illusions throughcolor.The _followingare some of Albers'

contributions:

1. ReverseGrounds_{Onecolor appears astwodifferentcolors}

2. ReverseGrounds_{Twodifferentcolorsappearasone color}

3. UseofMiddle Mixture

4.Illusionof_Transparency

Tothe_artist,colorisa means throughwhich heisabletoexpress amood, feeling, oridea. His

creativitythen allowshimtoincorporatesuch expressionswithpreviousknowledgeto_ultimatelyproduce

thefinalworkof art.The implicationhereisthatthisapproachtocoloris _highlysubjective

wherebyeach

individualfosters hisown expressions andinterpretations.

But how doesanartistthink?Howdoes helearn? And howdoes hecreate?Thesequestions are

farremoved from thescopeofthis paper.Orare they?In the contextof_{color, they suddenly become}

relevant._Yet, ratherthan_attemptingtoanswerthem and thereafter_justifyingsuch _responses,onemight

dowelltoobservetheartistat_work;to conversewithhimabouthisattitudes toward_color; andto strive

foracommonmode_ofcommunication.Perhapsthelastoftheseisthefoundationwith whichtobuilda

bridge between color art and science. As reflected in a column _by David Wright (a color _scientist)

regardingacollege coursedesignedtoteach graduate students about_color, "Itwas not_easytodesigna

very logicalcourseforsuch avariedbunchofstudentsandIdoubtwhether_theylearned verymuchfrom

me.But Iliketothinkthatweenjoyed_{ourselves, primarily}becausewelearnedfrom each other."9_The

inference here is that whether verbal and/or physical _{in nature, information} was communicated

effectively

drawing on the interests ofthose present. Whatever the _{conclusion, it is certainly} well

understood that artists tendtowork_primarily froma highlyvisual _{perspective; they}tend to thinkin

terms ofpictorial _{visualization;} and_they tend to learn well when information is presented in

highly-illustrated,graphicform. Mathematical equations,data,andgraphs aretypicallynot of muchinterestto

Nowfor a synopsis on thecolor scientist. _"Nearlyall persons who havecontributed to color

science, recentlyas well as_formerly,wereattractedto the_studyof color_bycolorinart.Useofobjective or

scientific methodsdidnot resultfrom_anycold,detached_attitude,but fromtheinherentdifficultiesofthe

problems_concerningcolor andits_use,bywhich_theywereintrigued."!Recallthatofthedesignelements,

color poses thegreatest challenge to theartist. _Futher, that this _{is primarily}due to the fact that the

appearance of a given color isdependent on all other colors present. The artist works from a visual

standpoint,_{experimenting}withvarious color schemes aimed at_obtainingan acceptabledesignsolution.

Conversely,thescientist_typicallyfocuseson somewell-knownprojectwith_color, such asvisualattributes

rootedin _physiologyand _psychology;chemical attributes rooted invarious dyesand _pigments;physical

attributes rootedin reflection, _{transmission,}and absorption _{properties, etcetera,}of agiven material or

object; and mathematical models used in thereproduction of colorfrom onedevice to another. The

implication is that color science is _highly quantitative_{color is broken down into its elemental}

components,revealingchemical andphysicalproperties_{andisthen analyzedbasedonitsapplicationto}

anyofa number of scientificdisciplines.

Aswith past movementsinart historysuch astheRenaissancevast technological advancesin

color science allow one to trackthe progress ofthebehaviorof colorinvariouscontexts. _{For example,}

understanding thechemical properties of various colorinks allows forthe design ofa color printer optimalforthegraphicarts;and_{understanding}the characteristicsofvarious color monitors allowsforthe

selectionof adesirable _displaydevice._Further, each deviceis known to have inherentlimitations in its

color output (orgamut), which lends to still further information with respect to _reproducing colors betweenthem.Asonedelvesstilldeeper intothesespecialized_areas, he_{unfortunately}movesfartherand

farther fromqualitative aspects. Generally,such concerns areintroduced neartheend ofthe _research,

and areoften given anartist'sattention. _Moreover, thisassumes that the scientist and artist are ableto

communicate with one another.. .abig assumption indeed! The colorartist and scientist must strive

equally for mutual understanding, or as one color scientist states, "It is no use the colour scientist

knowsmore aboutthat than thescientist."^_Sufficeitto

saythatneither anchor(artnor_science) canbe productiveat an optimallevelwithouttheother

theyare_{complementary,}ofteninterdependent.

Perhaps a most relevant example of such interdependence is the use of color in computer

graphics.Theartist is_approachingyet another medium throughwhich to express his talents.As paint,

illustration, and 3-Dgraphics programs become more and more advanced, theyare _approaching true

replication ofthecharacteristicsinherent intraditional mediums.For example, currentpaint programs

allowtheuserto select the_{width, stroke,} and pressure of a paint_brush, air_brush, or _marker; various

canvastexturescanbesimulated onthecomputer_displaysuchthat theillustrationtoolswillmimic_them;

a palette canbe calleduponwhich allows theuserto_actuallymix agivenset ofprimariesto produce a

seeminglyunlimitednumber of new_colors;and3-Dgraphics canbegenerated such that_theyassumethe

physicalcharacteristics of real-world objects.Thisnew_{medium, however,}isnot withoutitscomplexities.

The aforementioned palette is constructed _using color selection devices (called color_pickers)

incorporatingmathematicalmodelsthatare quite_technical,andthatdiffer significantly fromone another.

Thecomputeroffers several advantages over traditional _{mediums, meriting} the need to learn

aboutits inherentcomplexities.Color inthiscontextisnot_wet,asis paint_{nolongerdoesthe artist need}

to'predict' howthe _resultingcolorwill appear once it_dries; color isnot_permanent,as is paint_ifa

mistake is made, or slight modification is needed _along thevalue and/or chroma_dimension(s) ofa

particular _hue, the user _simply modifiesthecolor and appliesitappropriately; and coloris_accurately

reproducible on the displaywherein objects can _easily be selected, copied, pasted, and resized

anywhereonthescreen.These_{advantages,amongothers,}haveattractedartistsfromall areas ofthefine

arts anddesign. Sincecoloristhe most relevant toolincomputer_graphics,theartist mustlearn howto

select, mix,and_{apply it}effectively.This iswherethecomplexities set_in,demandingthathis knowledgeof color movebeyondtherange of color_theory,andintocolorscience.

Color scientists design and _develop displays, printers, color-lookup-tables _(CLUTs), and

mathematical modelsforcolor_pickers;and artists utilizethese technologiesto producevisual formsof

communication...graphics.Further,thescientists mustunderstandwhatit isthattheyare

developing

forcedtoseetheworldas artistsinordertogain abetter_{understanding}oftheuse of a givenproduct.On

the_flip-side, artists design and_develop visual forms ofcommunication_{viacomputer graphics. Such}

graphics_maybe 2-dimensionalor3-dimensional in_nature,and_maybeplacedinsomeseries to produce

animated effects. _Moreover, artists must understand the technical nature of color. _Otherwise, the

selection, modification, and application ofcolor is a matter of happenstance...quite a _frustrating

approachindeed!

Theenvironment centered around computer graphics seemstobe reconnectingthe fragments

ofcolor_{atleastinrelative}terms

forcingtheconstruction of abridgebetweencolor art and science.The

followingexcerpt,though,perhaps statesthismore clearly: "The_complexityof_problems,the size of their

fragments,andthedepth of our_{understanding}ofthesefragmentshavecreated ademand foradifferent kindof_thinker,athinker who surveys the plane ofknowledgeand sees thatholesare_{being dug}deeper

and deeper into the plane and recognizes that the holes are _becoming narrower and narrower as

specialization increases. Thethinker sees too that people are unableto see out of these narrow_deep

holes to the other narrow _deep holes in the _plane; it is _becoming more and more difficult to make

connectionsbetweentheseholesinthe plane ofknowledge.Thisthinkerdecidestobetheconnector."^

Quite familiarto theorganized

'thinker/connector'

isthenotionthat throughout hisendeavor,

hemust notdeviate from itsintended focus; he must _continuallyevaluate his progress basedon this

focus; and _readily implement modifications to the overall _{design,allowing} the _resulting form to be

determined onlyupon completionoftheproject.ThefocusofCOLOR LOGIC istoteach thefundamental

aspects of color sciencetoanyone_usingtheMacintoshcomputer as a mediumwithinwhichtoproduce

artwork. This requires a _poolingofinformation across several segments of colorscience

sifting out

informationwithin those segments that is relevant to the use of color incomputergraphics. Inother

words,one must_digintoseveral narrowdeepholes,shovelthe_{necessaryinformation,}and placeitonto a new plane.This new planeisthefoundationforthe_bridge; theformsofinformationobtained aretheraw

PROCEDURE:

Recallthat thefocusofCOLOR LOGIC istoteach the userthe fundamentalaspects of selected

areas of color art andscience_as

theyrelateto _usingcolorinthegeneration of computer graphics-based

artwork. _Further, that theformatisa one-on-one situation_wherebythecomputer presents information

viagraphics and_text, and then responds to inputfrom the user with moregraphics and/or text. This

output-input cycle creates human-computer_interaction,andisthuscategorized as_hypermedia, defined

as,"Applicationsinvolvinginteractive,electronic"documents,"through which the reader can travel at_will,

exploringconcepts andinformationinnon-sequentialfashion."^

Thefirst_stepin_designingthistutorialwastodeterminethe aspects of color sciencethatrelate

directlytocomputer graphics.I felt thatalogical startingpointwouldbe the human_eye,whichisour

detectoroflightand objects in the _environment; thus, astacktitled Color Vision. _Knowing that two

components arerequiredforthe eyeto"see"thisenvironment_{alightsourceandan}object_{the physics}

ofcolorwould_{necessarilyfollow;thus,}a stacktitledLightandObjects. It isworth _notingthatI_purposely

avoided _using the titleColor _Physics, as the audience forthis tutorial might have been apprehensive

toward theword "physics"_avoidingthe stackaltogether_{although the content remains unchanged.}

Oncelight has beenaltered_bysome_object,throughreflection and/ortransmission as a result ofinternal

(sub-surface)particles and surface_{texture, it is}detectedbytheeye and signals are then sent tothebrain

for interpretation, or "perception"; _thus, a stack titled Color Perception. Within the realm of color

perception,anotionarises that colors are affected_byone_another, and arehence dependenton spatial

arrangementand size. This pertainstotheories of color applicationin art, where colorisoften usedto

convey some visual message

requiring great_{skill; thus,} a stack titledAestheticsandDesign. When

implementingsuchskill,it is extremely beneficialto have a_system(s) with which toorganize colors so

that _{they may}be differentiated quicklyand _{accurately; thus,} a stack titled Color Order. _Finally, the

culmination ofthese five stacks provides the _supporting structure with which the user _{may readily}

comprehendthefinal stack of thistutorialone which contains_{information regarding} color

"models"

usedincurrentcomputergraphics_{applications; thus,}a stacktitledComputerColorModels.Oncethis

and Dr. _NancyJo Howard, theformerof whom _{is my} thesis advisor, andthe latter_my undergraduate

academicadvisor._{With approval, I}proceededtocontinue_developingthe _idea;and meetings continued

withDr. Fairchildon a_weeklybasis.

The next _step required me to assume the role ofa computer graphic artist, as well as to

periodicallyobtain professionalinput. Iwas_seekingtheanswerto the_followingquestions,amongothers:

If I knew _nothingabout color science and wanted touse thecomputeras a medium with

whichtoproduce_myartwork,whatinformation concerningcolor wouldbeofinteresttome?

Whatiscolor?

Howdowesee color?

Whatdoesthecolor_trilogyconsist of?

Howdoesone workwithcolor?

Howiscolor reproduced on a computer monitor?

Howdoesperception_varyamongobservers?

Howdoobjectsvary?

Howdodifferentlightsources changetheperceived color of an object?

How do the optics of the eye capture color and send information to the brain for

interpretation?

Why dothethreepaintprimaries_{thatweweretaughtin elementaryschoolart}classes_when

mixed_together,yieldone_color,while coloredlightsofthose same three colorsyield an_entirelydifferent

color?

WhatistheMunsellColor Order_System,andhow does itcomparewith models_typicallyused

incomputer graphics?

What arethedimensionsthroughwhicha colorischaracterized?

Whatdothesedimensionsmean?

WhatareCIELABandCIELUVbasedon, andwhatdo they havetodowith colorincomputer

Askingothers and myselfthese_{questions, I}was then ableto_{begin researching}the pertinentinformation

for each stack. This consisted of a literature search and continued consultation with _my advisor.

Concurrently, it was also _necessary to _{begin reading} a number of manuals written on the subject of

HyperCard: theprogram which would _ultimatelycontain thefinishedtutorial. _{Not only}arethere stack

designguidelines

regardingthe placement of graphics and_text,aswellas human-computerinteraction

techniques,butalsolimitations inherenttoHyperCard itself. To_blindlydesigntheentire tutorialwithout

knowingpublished standards and limitations would_potentiallyhave createdmuch havoc in thelatter

stages ofdevelopment.

Publishedstandards comprise rules and suggestions_regardinggraphicdesignanduserinterface

design decisions. Relativeto thistutorial,graphicdesign isconcernedwith the appearanceofcards and

backgrounds; and user interfacedesign,with "howusers interactwith thestack and navigate within it

from one place to another _Considering these twoaspects of_design, the _followingquestions were

answered:

"What_{is my}stack_tryingtoaccomplish?"6

"Isthe purposeclearto_myusers?"6

"What'sthe_{best way}to_layoutthisstack?Thiscard?"6

"What kindofbuttonshouldIusehere?"6

"IfIusethiskindof_arrow,will usersknowwhatImean?"6

"How doItellusers what's_goingon?"6

Tyingtogether all oftheaforementionedaspects ofdesignand_development,Ibegantoillustrate

each card asitwould appear onthemonitor.The background layerof eachcard shouldbeas consistent

as possible throughouteverystack, soI proceededtodesignseveralbackgroundtemplatesthatwould

Home

CardTirlP

nr

CardGraphic(s)

toO

Stack

Intro.

I 1_{Glossary <}

"to Home" isan icon which representsthe_{HOME card,} and allows theuserto go backand

selectanotherstack of_cards,or exitthetutorial_{byselecting QUIT.}

"toStackIntro."

isan iconwhich representsthecurrentstack's_{introduction card,allowing}the

userto gobackand select a specific card.

"CardTitle"is abutton_which,when_{selected, informs}theuserofthecurrent card's purpose;

and also the_keypoints ofinterestonthecard.

"CardGraphic(s)"

is/arethecentral_element(s)ofthecard,containingterms and/or animation.

"ITF"

istheinfographictext_field,whichiswhere alldefinitionsandothertextwillappear asthe

result ofuserinteraction. "Glossary"

isaniconwhichrepresents an on-line_{glossarycontaining}alltermsfoundwithinthe

entire tutorial.The glossary isyet anotherelementwhichevolvedthroughoutdevelopment.

The "left and right _pointing

arrows"

are the means through which the user will navigate

throughthe_stack,card_bycard. _{Essentially,they}take theuserto theprevious and next_cards, respectively.

Unlike the background layer, all card layers differ from one another in both structure and

content._Moreover,each isa component of one of thestacks

belongingto some_Category; each has a

Purpose;andthereexists some method through which the user willNavigate through thecontents of

each _{card, therebyallowing}the userto orientand travel withinthe stack. _Hence, it was _necessary to

produce CPNdescriptions to describe such criteria. The _following is an in-depth discussion ofthe

development of each stack_card

comprehension, each card description contains information _following abullet (). This indicates the

method through whichthe card graphics were_{actuallygenerated,} although no graphics were created

COLOR LOGIC

BorneCard

The purpose of this card is to serve as the introduction to the program_COLORLOGIC:

DEFINING COLOR INTHE CONTEXT OF COMPUTER GRAPHICS. Perhapsthe mostimportantcard

forthenew_user,theHOMEcard will consist ofthefollowing:

Alogowhich wasdeveloped_specificallyforthis_program,and therefore_{may only}beusedfor

saidprogram_or

bytheauthorin futureendeavors. This isaccompanied_bya series of animateddots

thatappearinsequential order(ROY G_BTV);andthendisappearrandomly.

Sixtextbuttonsoneforeachstack_thatlinkthe

userto adesignatedtopic,andthus related

cards.

Skgrapbiciconsone to theleftof each buttonthat represent the_identityforthesixstacks

of cards.

Aballoonbuttonwhichcontainsthelistofthose persons who provided helpin_{any form}

at some time_duringthedevelopmentofthis program.

An informationbuttonwhichliststhenavigation guidelinesforthis_program,aswellasbasic

informationonthegraphiclayoutofeachcard. A non-scrollingwindowisused,asthese guidelines must

beshort and simple.

Amenu bar containingpull-down menus_specificallydesigned forCOLOR_{LOGIC,allowing}

theusertoQUITtheprogramor gotoa specific stack.Therespectivecommandfunctionsare active on

COLOR VISION STACK

1. Introduction Card

The_{category is Color Vision. The} purpose ofthis cardis to serve as theintroduction to the

Color Vision stack, and toform inthe user's _memory an _identity (inthe form of an _icon) which will

become recognizablethroughout theremainder ofthe stack.The iconforthis stack(theleft_EYE) will

appearinthe centerofthescreen enlargedto_{approximately}5"x5".Thiswillbethe_onlygraphic element

onthe cardlayer.Navigationbeginsoncetheuserclicks either a specific cardbuttonortherightarrow.

The eye was generated _{using PixelPaint Professional 2.0.1,} then edited and resized in

Photoshop 2.0. A T'xl" version was needed for the HOME stack and background _layer; and a

5"x5"

versionfortheintroductioncard.

2. OnticalDiagram Card

The category is Color Vision. Thepurposeofthiscardistoillustratea cross-sectionoftheeye,

thus _showing what happens to the lightonce it penetrates the cornea. In _addition, a 3-dimensional

illustrationhasalsobeenprovided_{accessibleviaa radiobutton.Further,theuser willbepresented with}

thename ofeach component ofthe_eye,accompanied_byadescriptionofitsfunctionthe_{latter requiring}

userinteraction. Within the cardtitle, theuser willbe informed to clickon a term in orderto see an

animated effect. Essentially, the user navigates through thecard_byclicking the words on or nearthe

respectivecomponent,thus_{causing its definition}toappearintheinfographictextfield.

"Two images were scanned into _Photoshop 2.0 for use as on-screen models in PixelPaint

Professional2.0.1. One_{thecross-sectional diagramwas recreatedentirely,}

usingthescannedimage

onlyas avisual model.Thesecond_{a3-dimensionalview}oftheeye

wasmodified _slightlyin PixelPaint

3. Retinal Anatomy Card

The_{category is Color Vision.}Thepurpose ofthiscardistoillustratethe types of cellsfoundin

the _retina,with emphasis_being placed on two specifictypes: rods and cones.Within thecard_title, the

user willbeinformedtoclick on aterminordertosee an animated effect.Eachcell-typewillbelabeled

automatically, thefunctionof each_beingrevealedinthe infographictext fieldwhen the userclicks the

pertinentterm.

Theanatomicaldiagramwas scannedinand recreated_entirely;thus_servingas avisualmodel

only.The imagewascreatedin PixelPaint Professional 2.0.1.

4 Retinal HarmonyCard

The category is Color Vision. Thepurposeofthis cardistodistinguish between rods and cones

in general, andtodesignate when thesecells respond to agiven luminancelevelthis will determine

whetherrods _respond,cones_respond,or a combination ofboth.Oncetheuserclicks_{Scotopic,Mesopic,}

orPhotopicVision, two graphicswillappear

illustratingthe types of retinal cells (rods and/or_cones)

involved_{andinformationwill appearintheinfographictextfield.Within}thecard_title, theuser willbe

informedtoclickona term inorderto seeananimated effect_{corresponding}tothe segment ofa given

dayinwhichthat typeofvision_typicallyoccurs.

The rods and coneswerecopiedfromtheretinal_anatomydiagram,and pastedintothiscard.

Thethree sceneswere createdinPixelPaintProfessional2.0.1.

5. Cone-CellrKstrihiitionCard

The category isColor Vision.Thepurpose ofthiscardisto_{distinguish among}thethreetypes of

cone cells. Navigationbegins whenthe userclicks one ofthe cone

cells_its

size will _reduce,and the

graphic element will reproduceapre-determinednumber of times (20R, 10G,or1 B). Asecondfeature

ofthiscard_{accessiblevia a radio} buttonisademonstrationof_whycertain huesappearto _advance,

whileothersappeartorecede.Acompositesquare contains9smallersquares of equal_{area, representing}

potentially differ from thatwhich isexpected. Once theuserclicks on thecomposite _square, the ideal

answer_{corresponding}toa person with normal colorvisionandtheapproximateratio_{20 R : 10G:}

IB-willbeshown.Thefactthat thesehuesallhavethesamebrightnessandchromawillbe _revealed,andan

explanation given asto_whytheindividual'sresponse_maydifferfromtheideal.

"Thecone cells were copiedfromtheretinalharmonycard,and pastedintothiscard.Once in

here,each was scaleddowninsize and copied a pre-determined number of times: 20 _R, 10 _G,and 1 B.

Thecomposite square and examples were createdinSuperCard 1.6.

6. Trichromatic Theory Card

The category is Color Vision. Thepurpose of this cardisto present totheuserthefirstofthree

theories that attempt toexplain the form inwhich retinal signals are sentto thebrain for processing.

Navigationwillbeginwhen theuserclicks the_graphic, andthe_followingstatement appears within the

infographic text _{field, "Red,}green, andblue signals are_beingsentto the _{brain; however,} thisdoes not

intuitivelyexplain howweare able tosee allofthecolors ofthevisible spectrum.The phenomenon

knownasAdditive Color Mixture provides the

answer."

Inaddition, anexampleofadditivecolor_mixing

will be demonstrated using light primaries

which, when dragged over _top of one _another, will

automaticallysimulatetheadditive effect.This isaccessible atthebottomcenter portion ofthecard, viaa

radiobutton. This theoryfailstoexplaincolorvisiondeficiencies.

The cones and primaries were createdin PixelPaint Professional 2.0.1. The brainwas copied

from the ColorPerception introduction card, and pasted into this card. The Additive Color _Mixing

example was createdin SuperCard 1.6.

7 Onnonent TheoryCard

The_{category is Color}Vision. Thepurpose ofthiscardisto presentto the userthesecond of

three theories thatattempttoexplain theforminwhich retinalsignals are sentto thebrain forprocessing.

Navigationwillentail_havingtheuserclicktheterm_Theoryforan explanation.Anexample of afterimages

Thecones and brain were copiedfrom the Trichromatic_{Theory card,} and pasted into this

card. The cones were modified _using PixelPaint Professional 2.0.1. The afterimage was created in

SuperCard 1.6.

8. Stage Theory Card

The_{category is Color Vision. The}purpose ofthiscardistopresentto theuserthelastofthree

theories that attempt toexplainthe form in which retinal signals are sentto thebrain for processing.

Navigationwillentail _havingtheuser clickthe termsforanexplanationof what_reallyhappenswhen_they

reach thebraina combinationoftheTrichromatic_{Theory (taking}intoaccountAdditiveColor_Mixing)

andtheOpponent_{Theory (taking}intoaccountvariouslevelsofLightnessandColorVisionDeficiencies).

The cones andbrain werecopiedfrom the Trichromatic _Theory card, and pasted into this

card.Thegraphs were generatedin PixelPaint Professional2.0.1.

9 ColorVisionDeficiencies Card

The category is Color Vision. ThepurposeofthiscardistoinformtheuseroftheColor Vision

Deficiencies known to exist. Navigation begins when the user clicks a term _{corresponding} to either

Trichromatism, Protanopia, Deuteranopic Tritanopia,orMonochromatismatwhich point its definition

will appearin theinfographic textfield. In addition, the appropriate graphic will appearto therightto

simulatethe_resultingappearanceexperienced_bysomeone_possessingthatdeficiency.

The cones werecopied from the Opponent _Theory card, and pasted into this card. The

LIGHT ANDOBJECTSSTACK

1. IntroductionCard

The category is Lightand Objects. Thepurpose ofthiscardistoserve as theintroductionto

theLightandObjectsstack,andtoformintheuser's_memoryan_identity(in theformof an_icon)which

willberecognizablethroughout theremainder ofthe stack.The icon forthisstack

whitelight_refracting

through aprism_{willappearinthecenter ofthe}

screenenlargedto_{approximately} 5"

x5".Thiswillbethe

only graphic element on thecard layer. _{Text regarding Newton's} "discovery" will appear in the lower

center portionofthecardwhenthe userclicksonthe termPRISM.Theuserthen hastheoptionto either

gotothe next cardinthe_stack,ortoa specific cardviaa cardtitlebutton.

Thesun andprismwere generated _{using PixelPaint}Professional_2.0.1,then edited andresized

in _Photoshop 2.0. A T'xl" versionwas needed forthe HOMEstack and background_layer; and a5"x5"

versionfortheintroductioncard.

2. Light ComnositionCard

The category is Light and Objects. The purpose ofthis cardis to present to the userthe

visible spectrum, contained within the optical spectrum, which in turn is contained within the

electromagnetic spectrum. Navigationbeginswhentheuserclicks one of the subtitles _{(electromagnetic,}

optical,or visible_spectrum)orwavelength.

Thespectra were createdin PixelPaintProfessional2.0.1.

3 TightSourcesCard

The category is Light and Objects. The purposeofthiscard isto presentto the userfour

commonlightsources, andtoillustrate howeach can affect theappearance of a whiteobject_paper.

Navigation begins when the user clicks a graphic elementicon_(or

sources, causing a beam of light to travel from the source to the _{corresponding} sheet of paper.

Simultaneously, its CCT-rangewill appear in the infographic text field. Once all sources have been

selected,theuser willbeabletomake appearancejudgmentsbasedontheirdifferences.

The lightsources were createdin PixelPaint Professional 2.0.1; and thelight rays _(including

theirsimulated effects onthewhite_paper)werecreatedinSuperCard 1.6.

4.CIE DaylightIllumitiants Card

The category is LightandObjects. Thepurpose ofthiscard isto present to theuserthreeof

the most_commonly usedCIEdaylight_illuminants, andto illustrate the spectral powerdistribution of

each. Navigation begins when the user clicks a graphic elementicon

representing one of the

illuminants,causing itsspectral powerdistributiontoappear.Onceallilluminants have beenselected,the

user willbeableto make appearancejudgmentsbasedontheirdifferences.

Thespectral powerdistributions _(SPD's)weregeneratedin PixelPaint Professional2.0.1.

5.MoreCIEIlluminantsCard

The category is Light and Objects. The purpose ofthis card is to present to the usertwo

other_{perhaps more} common_{ofthe CIE standard illuminants, and to illustrate the spectral power}

distributionofeach.Navigation beginswhentheuserclicks a graphicelementicon

representingoneof

the_{illuminants,causing its}spectral powerdistributionto appear.Onceallilluminantshave beenselected,

theuser willbeabletomake appearancejudgmentsbasedontheirdifferences.

Thespectral powerdistributions(SPD's)weregeneratedinPixelPaint Professional 2.0.1.

6 WhatAhontTime?Card

The category is LightandObjects. Thepurposeofthiscardis toinformtheuserthata source

can make an objectappeardifferently dependingonthe timeof dayaswiththe_Sun;or_graduallyover a

period oftime_{aswith other} sources. The Sun willbe the central _element, others _beingaccessible

*Since illuminantsare _theoretical, and thusbasedon equations and_data, their values remain constant

overtime. Inresearch_{applications,}standardilluminantsare oftenusedforsuch consistency. Navigation

willentail_havingtheuser click various numbers ontheclock

causingtheSuntoappear_(changingcolor

correspondingtoa giventimeofday)._{Simultaneously,}theCCTwillappear ontheclock.

TheSunvariants and clock were createdinPixelPaintProfessional2.0.1.

7. MatteObjectCard

The category is LightandObjects. Thepurpose ofthiscardistoillustratewhathappenswhen

lightmakes contactwitha matte object. Navigationbeginswhentheuserclicks the_Sun, atwhich point

lightwilltravelintheformofa composite ray. _{The ray}oflightwillbombardthe surfaceofthe_object,and

subsequent rayswillspawn. Absorptionanddiffuse reflectionwillbemagnifiedfromthe surfaceinorder

toillustratetheseconcepts.

The magnified views of absorption and diffuse reflection were generated in PixelPaint

Professional2.0.1. The lightrays and object were generatedinSuperCard 1.6.

8 GlossyObjectCard

The categoryisLightandObjects. Thepurpose ofthis cardistoillustratewhathappenswhen

lightmakescontact witha_glossyobject. Navigationbeginswhentheuserclicksthe_Sun, atwhich point

lightwilltravelin theformof a composite ray. The rayoflightwillbombardthe surface of the_object,and

subsequentrayswillspawn. Absorptionanddiffuse reflection willbemagnifiedfromthesurfacein order

toillustratetheseconcepts.

The magnified views of absorption and diffuse reflection were generated in PixelPaint

Professional2.0.1.Thelightraysand object were generatedinSuperCard 1.6.

9 MirrorCard

The category is Light and Objects. Thepurpose ofthiscardistoillustratewhathappenswhen light

travel in the form of acomposite ray. The _rayoflightwill bombard the surface ofthe _object, and

subsequent rays will spawn. Absorption will_be magnified from the surface in orderto illustratewhat

happensifthemirrorhasinherent imperfections.

"Themagnified view of absorption was generatedin PixelPaint Professional2.0.1. Thelightrays

and object were generatedinSuperCard 1.6.

10.Transparent ObjectCard

The category is LightandObjects. Thepurposeofthis cardistoillustratewhathappenswhen

light makes contactwithatransparentobject. Navigationbeginswhenthe userclicksthe_Sun, atwhich

point lightwill travelin theform of a composite ray. The rayoflightwill bombardthe surface of the

object, and subsequent rays will spawn. Absorption will be magnified from the surface in order to

illustratethisconcept.

The magnified view of absorption wasgeneratedin PixelPaintProfessional2.0.1. Thelightrays

and object were generatedinSuperCard 1.6.

11 TranslucentObject Card

The category is LightandObjects. Thepurpose ofthis cardistoillustratewhathappenswhen

lightmakes contactwitha translucentobject. Navigation beginswhentheuserclicks the_Sun,atwhich

pointlightwill travelin theform of acomposite ray. The rayoflight willbombardthe surface ofthe

object, and subsequent rays will spawn. Absorptionand diffuse reflection will be magnified from the

surfaceinordertoillustratetheseconcepts.

"The magnified views of absorption and diffuse reflection were generated in PixelPaint

COLOR PERCEPTION STACK

1.IntroductionCard

The category is Color Perception. The purpose ofthis cardisto serve astheintroductionto

theColor Perception_stack,andtoforminthe user's_memoryan_identity(intheform of an_icon) which

willbecomerecognizablethroughouttheremainderofthe stack. Theiconforthis stack(across-section

profile oftheheadand neckwithemphasis onthe_brain)willappearinthecenterofthe screen enlarged

to_{approximately}5"x5". Thiswillbethe _primarygraphic element onthe cardlayer. Navigationbegins

oncetheuserclicks eithertherightarrowora cardtitlebutton.

Aprofilewasscannedinandrecreated_entirely;thus_servingas avisualmodel only.The image

was createdin PixelPaintProfessional_2.1,then edited and resizedin_Photoshop 2.0.A l"xl"

version was

neededfortheHOMEstackandbackgroundlayer;and a 5"x5"

versionfortheintroductioncard.

2. Central VisualAnatomy Card

The categoryis Color Perception. Thepurpose ofthis cardistoillustrateasuperior_(top)view

ofacross-section ofthe _brain, with respect to various components responsible for processing visual

images. Further,theuser willbepresented withthe name of eachcomponent ofthe_brain,accompanied

by a description ofits functionthe _{latter requiring} userinteraction. Essentially, the user navigates

through thecard_byclickingthe terms neartherespectivecomponent(atwhichpoint itwillberevealed

byan animatedseries ofdots),_promptingtherespectivedefinitiontoappearintheinfographictextfield.

The cross-section of the brain was scanned in and adapted from Rohen in PixelPaint

3 Ontical Pathway Card

The categoryisColor Perception. Thepurpose ofthiscardistoillustratea superior_(top)view

of a cross-section ofthe_brain, with respect to the pathsin which retinalsignals travel en route to the

visualcortex. The user will navigatethrough thecard_byclickingtheLeftandRight Visual Field terms, at

whichpointthe_pathwaywill_pulse,andtherespectivedefinitionwillappearintheinfographictextfield.

The diagram was generated in PixelPaint Professional _2.0.1; and the animated

arrows-simulatingrays oflightwere createdinSuperCard 1.6.

4 Color TrilogyCard

The categoryisColor Perception. Thepurposeofthiscardisto reinforce theimplicationsof

theColor Vision stack,theLightand Objectsstack,andtheColor Perception stack: ₍₁₎ that the

perception of color _absolutely requires an _object, alight _source, and an _observer, and ₍₂₎ that these

components exist _{in many} varieties and are thus variables _contributing to each individual percept.

Navigationbeginswhentheuserclicks a term_{corresponding}toone ofthegraphic_elements, atwhich

point thetermwillbecomehighlighteditsrespectivedefinition appearingin theinfographictextfield.

In addition, theuserwillbepromptedtoclickonthe line_joiningthe source and_object,at whichpoint a

computermonitorwillappear. Themonitorisboth an object and alightsource.Toonceagainseethe

originalscheme, theuserwill_simplyclick onthelinewhichjoinsthe observer and monitor.

All graphics were generated in PixelPaint Professional 2.0.1. The lines were created in

SuperCard 1.6.

S. Chromatic AdaptationCard

Thecategory is Color Perception. The purposeofthis cardis to demonstrate that theeye

adaptstoagivenlightsource over a specified period oftime.Theuser willfirst bepresentedwitha_gray

square suitedfor_neutralizingthe

eyes'

sensitivityto_color,followed_bya graphicimageasitmight appear

underDAYLIGHT illumination.Afterhavingviewedtheimagefor45 seconds, theinfographic text field

firstimagewilldisappear,and another_graysquarewillbe_presented, followed_bythesame graphicimage

asitmight appear under_{INCANDESCENT illumination.}After_havingviewedtheimagefor45seconds,the infographictextfieldwillprompttheusertorecollecthisobservations._Finally,oncetheuserclicks onthe

COMPARISON..._button,bothimageswill_appear,and revealtheobvious colordifferencesbetweenthem.

Thebasicimagewascreated_{using PixelPaint Professional2.0.1,}and represents the

DAYLIGHT-illuminated_image;whereas thesameimagewas editedin _Photoshopto representthe

INCANDESCENT-illuminated image.

6.MemoryColor Card

The category is Color Perception. Thepurpose ofthiscardistoillustratethe effect experience

hasonthe perception of_color,inthatobjects are_typicallyassociatedwith_havinga "real"

color

although

theyoften existinseveralcolors. Navigationbeginswhentheuserclicks agivencolorassociationterm: a descriptionofthe respective objectwillappearintheinfographictext_field,accompanied_byother colors

inwhichthatobjectis knownto exist.

All graphics were createdinPixelPaintProfessional2.0.1.

7 Simultaneous ContrastCard

The category is ColorPerception. Thepurpose ofthis cardistoillustratethevisualeffectsbackgrounds

poseontostimuli: aneutralscalewill showlightnesseffects, and a simultaneous contrast schemewill

show _hue, saturation, and brightness effects. The user will navigate _{by clicking} neutral scale or

simultaneouscontrast. Forthe _latter, an additional enhancement has been added_{the usercan click}

either of the radio buttons (Colors on Neutrals orColors on _Colors) to see the appearance changes

differentbackgroundspose onthecentral geometric stimulus(whichmaintains consistent color attributes

throughout).

8. AfterimagesCard

The categoryisColor Perception. The purpose ofthis cardis toillustrate the visualeffect

created as a result of cone-celldesensitization. Theuserwillnavigate through thecard_byfirst_selecting

the appropriate radio_button, at which pointthe user willbe prompted toadapt to the image for₄₅

seconds. Aftertheadaptation _period,theimagewillbereplaced_bya solid white areaofthe samesize the afterimagewillthusberevealed.

Allgraphics were generatedinSuperCard 1.6.

9. Observer Variances Card

The_categoryis Color Perception. Thepurpose ofthiscardisto illustratethat forthesame

objectunderthe same_illuminant,eachobserver perceivesthatobjectdifferently.

*Such variances aredueto: _age, lens_flexibility, macular_density,and cone-cell distributionall of which

vary fromobserverto observer.

Navigation will entail the user _clicking the three observers to see how the perception ofthe image

changes,accompanied_byrespective characteristics.

Theobservers were created in PixelPaint Professional 2.0.1. The 3-D image was created in Stratavision;andmodifiedforeachobserverin_Photoshop 2.0.

10 Ohserver MetamerismCard

The category is Color Perception. Thepurposeofthis cardis toillustratethatforthe same

PAIRofobjects underthe same _illuminant, one observer _mayperceive them to be a _MATCH, while

anotherobserver_{may detect}enough colorvariancesuchthat_{they do}not produce a match..

*Suchvariancesaredueto: age,lensflexibility,macular_density,and cone-celldistributionallofwhich

varyfromobservertoobserver.

Navigationwill entail the user_clickingthe twoobserverstosee howthe perception ofthe image PAIR

The observers were createdin PixelPaint Professional 2.0.1.The image-pairs werecreated in

AESTHETICSAND DESIGN STACK

1. Introduction Card

The_categoryisAestheticsandDesign. Thepurposeofthis cardistoserve astheintroduction

to theAestheticsandDesign_stack,andtoformintheuser's_memoryan_identity(intheformof an_icon)

which willbecome recognizable throughout the remainderofthe stack. The icon forthis stack (and

artist's palette and_paintbrush)will appearin thecenter ofthescreenenlargedto_{approximately} 5"

x5".

Thiswillbethe_onlygraphic element onthe cardlayer. Navigationbeginsonce theuserclicks eitherthe

rightarrow or a cardtitlebutton.

Theartist's palette and paintbrush were createdinPixelPaintProfessional_2.0.1,then edited and

resizedin _Photoshop 2.0. A T'xl"

versionwas neededfortheHOMEstack andbackground_layer; and a

5"x5"

versionfortheintroductioncard.

2. Using LIGHTas aMediumCard

The category is Aesthetics andDesign. Thepurpose of thiscardistoillustratetheconcept of

additive colormixing

incorporatingpixelsfroma colormonitor onone_side,andhalogen lightsources

(3)each coveredbyadifferentfilteron theother. The usernavigates through the card_byclickingthe

terms, revealingtheimportantdefinitions in theinfographic textfield. The central portion ofthe card

contains three circles (Red, Green,and_Blue) that simulatelightsources. Theuser willbe promptedto

clickon _anyone of them anddrag itover _top ofthe others to produce the _{following secondary} and

tertiaryadmixtures:

Red + Green = _Yellow

Red + Blue= _Magenta

Green + Blue= _Cyan

"Themonitor andlight_{sources were created}inPixelPaint Professional 2.0.1. Thesimulatedlight

sources were createdinSuperCard 1.6.

3. Using OBJECTSas aMedium Card

The_{category is}AestheticsandDesign. Thepurposeofthiscardistoillustratetheconceptof

subtractive colormixing

incorporatingtubes of paint on one_side,and crayons ontheother. Theuser

navigates through thecard_byclickingthe_{terms, revealing}the importantdefinitions in theinfographic

textfield.Thecentral portionofthecard containsthreeirregularshapes_{(Cyan,Magenta,}and_Yellow)that

simulateblobsof paint.Theuser willbepromptedtoclick on_anyone ofthemand_dragitover_topofthe

othersto produce the_{followingsecondary}and_tertiaryadmixtures:

Cyan + Magenta= _Blue

Cyan + Yellow= _Green

Magenta + Yellow= _Red

Cyan + Magenta+Yellow = _Black

Thecrayons and tubes of paint were createdin PixelPaint Professional 2.0.1. The simulated

blobsof paint were createdinSuperCard 1.6.

4 Bauhaus Design IntroductionCard

The_{category is Aesthetics} andDesign. Before workingwith _color,designersneedtohave a

thorough_{understanding}ofbasic designconcepts

usingonlyblack-and-white.Thepurpose ofthiscardis

to serve astheintroductiontotheBauhaus Designportionofthestack,andtoformintheuser's _memory

an _identity(in theform of an _icon) which will become recognizablethroughout the remainder ofthe

stack.The iconforthisstack(textwith color_effects)will appearin thecenter ofthescreen enlargedto

approximately

5"

x5".Thiswillbethe_onlygraphic elementonthecardlayer. Navigationbeginsoncethe

The textwas createdinPixelPaint Professional_2.0.1,then edited and resizedin_Photoshop2.0.

A l"xl"version was neededforthebackground layerofthe relative _cards; and a5"x5" versionforthe

introductioncard.

5. Sequential Pattern Card

The_categoryisAestheticsandDesign. Thepurpose ofthiscardistoillustrateone ofthebasic

theoriesofBauhausDesigna series of patternsthatare alldifferent fromone_{another,showing}contrast

and a progressionfromdarktolight.Aside_{from selecting}a_term,theuser_mayalso create a pattern ofhis

own.This isaccomplished_byclickingand_draggingonthewhitelinesintheupperportionofthecard. All sample patterns were created in PixelPaint Professional _2.0.1, then edited and resizedin

Photoshop2.0. Thewhitelineswere createdinSuperCard 1.6.

6.InterruntedPatternCard

The category is AestheticsandDesign. Thepurposeofthiscardistoillustrateone ofthebasic

theories ofBauhaus Design_{a series ofpatterns that}

are _{effectively interrupted byadding, changing}

direction, or_usingotherdevices. The userselects the_{A, B, C,}andD terms for corresponding pattern

descriptions. "AH sample patterns were created in PixelPaint Professional _2.0.1, then edited and

resizedin_Photoshop2.0.

7 Interval SystemsCard

Thecategory is AestheticsandDesign. Thepurposeofthiscardistoillustrateone ofthebasic

theories ofBauhausDesigna seriesofpatternsthat_effectivelygive movementtothedesign.Aside from

selectinga term, the user_mayalso create a pattern ofhis own. This is accomplished _byclicking and

draggingonthewhitelinesintheupper portion ofthecard.

All sample patterns were created in PixelPaint Professional2.0.1, thenedited and resized in

8.Pattern AsGray Scale Card

The categoryisAestheticsandDesign. Thepurpose of this cardistoillustrateoneofthebasic

theoriesofBauhausDesigna series of patternsthat_effectivelyillustratedifferentways to see contrastin

grayscales and pattern.Allnine patterns_differ,yet show contrast and progressionof values._{In addition,}

themiddle pattern within a given row must showtransitionbetweenthefirstandthirdpatterns.

Allsample patterns were created in PixelPaint Professional2.0.1, then edited and resizedin

Photoshop2.0.

9.TvoogranhvAsGrayScale Card

The category is AestheticsandDesign.Thepurposeofthis cardistoillustrateone ofthebasic

theories ofBauhausDesigna series of patterns that_{effectively illustrate different}waysto see contrastin

grayscales and_{pattern, using}typography._Essentially,the_topportionshows value_differences;whilethe

bottomportionshowspatternand contrast.

All sample patterns were createdin PixelPaint Professional _2.0.1, then edited and resizedin

Photoshop2.0.

10 Tohannesltten IntroductionCard

The category is AestheticsandDesign.Thepurposeofthis cardisto serve as theintroduction

to theJohannes lttenportionofthe_stack,andtoformintheuser's_memoryan_identity(inthe formof an

icon)whichwillbecomerecognizablethroughouttheremainderofthe stack.The icon forthis stack(text

with color_effects)will appearin thecenterofthescreenenlargedto_{approximately}5"x5". Thiswillbe

the_onlygraphic element on the cardlayer. Navigation beginsoncetheuserclickseithertherightarrow

or a cardtitle button.

The textwas createdinPixelPaint Professional2.0.1,then edited and resizedinPhotoshop2.0.

A l"xl"

versionwas neededforthebackground layerofthe relative_cards; and a5"x5" version forthe

11. ContrastofHue-The_categoryisAestheticsandDesign.Thepurpose ofthiscardisto presentthe

most extreme instance of contrast _{lying among} chromatic colors: yellow/red/blue. The _intensity

diminishes asthe chosen huesare removed from thethreeprimaries. _Therefore, the_secondarycolors

orange, green,and violet are weakerin contrastthan _{red, yellow,}andblue. Navigationbegins oncethe

userclicks eithertherightarrow or a cardtitle_button;or_anyoftherectangles atthe_topofthescreen_to

create a composition with_secondarycolors.

The examples were created in PixelPaint Professional _2.0.1, then edited and resized in

Photoshop2.0. User-interactivegraphics_(rectangles)werecreatedinSuperCard 1.6.

12. Contrast of_{Saturation-The category is Aesthetics} and Design. The purpose ofthis cardis to

present thecontrast between pure, intensecolors and _dull, diluted colors. Theseexamples simulate

subtractive colormixing.Ona checkered pattern of_25squares,luminous redis placedinthecenter;the

fourcorners areneutral_grayinthesamebrightnessasthe pure color. Gradedadmixture of_graywiththe

pure colorproducesintermediateshades oflowsaturation. Navigationbeginsoncetheuserclicks either

therightarrow or a cardtitle_button;or_anyofthe terms_{A, B,C, D, E, F,}fora specificdescription.

The examples were created in PixelPaint Professional _2.0.1, then edited and resized in

Photoshop2.0.

13. Contrastof_{Value-The category is Aesthetics} andDesign. The purpose ofthiscardis topresent

theartist's strongestexpressionofvalue:blackand_white,anda series of graysthatliebetween. _Equally

important are the value contrasts that exist _among chromatic colors. _Essentially, the benefit in the

improvement inone's senseof_shading;aswellas_knowingthe_existingvariances_amongall ofthehuesin

general.Navigationbeginsoncetheuserclicks eithertherightarrow or a cardtitle_button;oreither ofthe

termsAorBfora specificdescription.

The examples were created in PixelPaint Professional 2.0.1, then edited and resized in