Color technology

Rochester Institute of Technology

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Theses

Thesis/Dissertation Collections

5-1-1993

Color technology

Denise Rule

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Recommended Citation

Rochester Institute

of

Technology

A Thesis

Submitted to the

Faculty

of

the

College

of

Imaging

Arts

and

Science in

Candidacy

for

the

Degree

of

Master

of

Fine Arts

Color

Technology

by

Denise Rule

Approvals

Advisor: Professor Roger Remington

Date:

~

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('i'fU

')

, I

Associate Advisor: Dr. Richard Zakia

Associate Advisor: Professor Pamela Blum

Special Assistant to the Dean for Graduate

Affairs: Professor Philip Bornarth

Date:

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/7:}~·a~d>/~~

Dean, College of

t

A<t'\43~li€ldl\ rt~

Dr. Margaret Luc

"

/

Date:

{;,_-_/_I_--+'23"""--__

/

I,

Denise

Rule

,

prefer to be

contacted each time a request for production is

made. I can be reached at the following

address.

339 First Ave.Manasquan.New Jersey.08736

Acknowledgement

I

would

like

to thank

Rochester

Institute

of

Technology,

specifically, the Munsell

Lab,

and

the

Integrated Electronic Prepress Lab

for

the

use

their

of equipment.

I

would

also

like

to thank

Roger

Remington,

Dr. Richard

Zakia,

Pamela

Blum,

and

Frank Romano for

Preface

During

my

undergraduate

core program,

Dorothy

Yanik,

a

two

dimensional

design

teacher, introduced

me

to the

world of color.

As in many basic

color

classes,

I

started out

with

Joseph

Albers'

teachings, using

color

aid

paper

for

academic exercises.

I

studied

under

Dorothy

for

the

next

three

years,

experimenting

with

color

through

the

medium

of paint and

studying the

masters

to

learn

their

techniques

of color

manipulation.

Dorothy

also

taught the

basics

of

the

design

processes

and

how design

and

fine

arts

can

relate

to

each

other.

Her

teaching

and

Table

of

Contents

Signature

Acknowledgements

Preface

Introduction

Proposal Development

3

Research

5

Application Development

11

Evaluation

13

Appendices

a

Proposal

b

Components

of proposal/plan

c

Proposal

d

Final

proposal

e

Timeline

f

Idea

generation

g

Taxonomy

Roger Remington

Pamela Blum

h

Taxonomy

i

Final

Taxonomy

j

Prototype

k

Posters

1

Final Prototype

m

Steps in

the

Evaluation

n

Evaluation

Glossary

Introduction

During

my

first

year of graduate school at

the

Rochester Institute

of

Technology,

I

thought that

color would

be

an

interesting

thesis

topic.

Unfortunately,

I had

difficulty

relating

graphic

design

to

color

experimentation.

Over

the summer,

I

considered

how

color

relates

to

graphic

design

and

how

the

lack

of

knowledge

of

design

and

color result

in

poor

visual

aesthetics.

With

that

in

mind,

I

came

up

with

the

idea

of color

blindness

as

the

major

pragmatic

issue in design. When I

returned

to RIT

in

the

fall,

I

wrote

my

thesis

proposal.

Exploring

the

pragmatics of color

and

perception

in

graphic

design,

addressing

the

issue

of color

blindness.

(see Appendix

a)

After

the

approval of

this

proposal

by

the

Special Assistant

of

the

Dean

of

Graduate

Affairs,

I

conducted a search of

the

faculty

at

RIT in hopes

of

finding

helpful

committee

members

with

good

backgrounds in

color

and

graphic

design.

My

chief

advisor,

Roger

Remington,

became my authority

on

graphic

design. I

found

two

committee

members

with

backgrounds specifically in

color:

Dr.

Richard

Zakia,

a

recently

retired

Professor

of

the

Photography,

has

written

numerous

books

on

the

subject

of color

and

photography,

addressing

the

scientific

aspects;

and

Pamela

Blum,

a professor

in

the

Fine

Arts,

whose

expertise

lies in

the

Proposal Development

After

the

approval

of

the

first

proposal,

weekly

meetings were scheduled

with

my

chief advisor

Roger

Remington,

to

discuss

the

progress of

my

thesis.

Fall

semester was

devoted

to the

development

of a

detailed

proposal,

describing

the

course

of

my

thesis.

This

proposal

included

the

project

title,

situation

analysis,

problem

statement,

mission

statement,

goals,

objectives,

process and

strategies,

pragmatic

concerns,

evaluation

plan,

and timeline.

The

proposal

answered

the

questions who,

what,

why,

how,

when,

and

where,

which

followed

the

components of a

thesis

project proposal/plan

created

by

Roger Remington

and

Deborah

Beardslee.

(see Appendix

b)

Halfway

through

the quarter,

I

began

questioning the

path

of

my

thesis.

With

the

help

of

my

committee

members,

I

revised

my

thesis to

address

color perception.

This

change

did

not

significantly

alter

my existing

proposal

much

because it

was still

in

a

broad,

explanatory

stage.

With

the

guidance

of

Roger

Remington,

I

produced

the

found

ation

of

my

thesis

development

sequence

in

a proposal,

(see Appendix

c)

I

was still

unsure of

my

application,

but Roger

Remington kept stressing

that

research

development

would

form

the application,

and

not

to

let

the

application

dictate

the

progress of

my

thesis.

This

proposal was

revised

when

my

actual application was

The final step

of

the

proposal was a

timeline

that

mapped out

the

research

and

design

of

the

application

according

to the time

constraints

of

the

next

two

quarters.

(Appendix

e)

The

timeline

included

necessary

research, thesis meetings,

holidays,

design

concerns, the thesis

show,

and

documentation

of

my

research.

I

found

it difficult

to

schedule meetings with

the

conflicting

agendas of

my

committee

members

and

myself,

but

the thesis

research

Research

in

the

beginning

of

the

fall

quarter

I

started

researching

color

blindness

and color

theories.

I

met

with

Pamela Blum in October

to

review

additive and

substrative color

theories.

Using

colored

gels

and

color

aid,

we experimented

with

the

effects of surface

color.

This meeting

was

intended

to

narrow

the

direction

of

the

experimentation

needed

for my

application.

Pamela

Blum

also

sug

gested

that

I

think

about

my

thesis

in

relation

to

possible career

directions.

Consequently,

I

decided

to

broaden my

topic to

include

color

perception.

I

raised

this

issue

with

Roger

Remington,

who agreed with

the

decision. I

then

informed Pamela Blum

and

Dr.

Zakia

of

my decision. Both

thought

it

was

a

wise choice.

At

this point,

I

needed

to

review

my

research

and organize

my

path

for

the

next

two

quarters.

I

decided

to

mind-map

to

help

generate

ideas,

(see Appendix

f)

This

focused my

research

on

the

structure and

order of

color, the

specialized use of

color,

and

the

graphic color mediums.

Realizing

that

I

needed

to

keep

my

own

thoughts

and notes

in

order,

I

continued

researching

and

working

on

a

word

taxonomy

of color.

A

taxonomy

is

basically

a network

chart

that

begins

with a general

topic,

then

branches

out

to

specific

information. The

taxonomies

of

Roger

Remington

and

Pamela Blum

served as

references

to

begin my

research of

the

color

my

own

taxonomy, I began configuring

the

structure of color

theories

and scientific

research.

As I

subdivided

the

information,

I

concluded

with physical

and psychological

color effects,

(see Appendix

h)

At my

first

committee

meeting,

I

presented

the

first

draft

of

my

taxonomy

to

Roger

Remington

and

Pamela Blum. Roger

suggested

the

need

for

clarification

of

the

scientists and

their

research.

He

also

commented on

the

structural

development

of

the

chart.

Pamela Blum

questioned

the

physical

and

psychological

effects

caused

by

color perception.

She

suggested

using

footnotes for

explanations.

I

met

with

Dr.

Zakia

at a

later date

to

review

my

progress

on

the

taxonomy.

He

made changes

to the

scientific

details,

the

terminology

of

color,

and reproduction output.

These

suggestion

helped

me

refine

the

taxonomy.

(see Appendix

i)

Focusing

my

thesis

research

and

developing

my

application was

the

next

step.

I

used

the

color

taxonomy

as

a reference.

In

talking

with

Dr.

Zakia,

I

narrowed

my

research

to

four

topics:

color

effects,

modes

of

seeing,

black

as a

color,

and

color

technology

(the

comparison of

photography, computers,

printing,

and

video reproduction).

The

first

topic,

color

effects

(simultaneous

contrast, assimilation,

and end

effect),

would

visually demonstrate

some

of

the

contextual

effects

of color

and

how

to

solve

the

The

second

topic

was

modes of

seeing

color,

which

directly

relates

the

different

ways

color

is

seen

and

how

each

form

of color

alters

the way

we

perceive and use color.

The different

modes

of

seeing

are object

color,

volume

color,

transparency, illuminant

color, illumination color,

and aperture color.

The

third topic

would

prove

the validity

of

black

as a

color.

We

are

taught that

black

is

the

absence

of all color

but

this

statement

is

false. Black like

white

and

grey

is

a

neutral

color.

It is

a

combination of all colors

but

at

a

lower level

of

lightness.

The final topic,

color

technology, is

a

comparison of

photography,

printing,

computers,

and video

reproduction.

There

is

a great need

for designers

to

understand

and

compensate

for

the

problems of color

reproduction.

When I

presented

these topics to

Roger

Remington

and

Pamela

Blum, they

were

curious

how

each

topic

related

to the

original

proposal.

Their

other

concerns

dealt

with

how

useful

RIT

and

my

committee members

would

be in addressing

these

topics.

I

proceeded

to

narrow

down

the topics to

color

technology

and

black

as a color.

I

visited

the

facilities

of

RIT's Munsell Lab

to

inquire

about

its

research

and

equipment

and

also

to

learn

about

how

the

brain

perceives color.

Lisa

Rerif,

Research

Staff,

the

research

that

is presently

being

done

to

solve

the

problem

of

the

different

color

capabilities

of

technology.

After

seeing

the

Munsell Lab

and

talking

with

my

committee

on

the

relevance of

my four topics, I

chose

the topic

of color

technology

for my

thesis.

In selecting

this

topic, I

needed

to

research

the

disciplines

that

dealt

use

the

repro

duction

of

color.

I

also started

looking

at

what

the

Photography,

Printing

and

Imaging

Science Schools had

to

offer

to my

thesis.

My

thesis

would now cover

the

growth

of

color

technology,

and

how

areas of

technology

relate

to

graphic

design.

The

research would

involve analyzing

color

capabilities of

different

graphic

formats,

presenting the information

a

designer

should

know

about

these

formats,

and

the

effects caused

by

changing

mediums.

At

a

weekly meeting

with

Roger

we

discussed

the

form

that the

application

would

take.

We

arrived at

the

idea

of a color

guide

for

graphic

designers,

specifically

dealing

with

the

technological

resources of

color reproduction.

Afterwards,

Roger

gave

me

some

names

in

the

other schools of

CIAS

My

first

contact with

Roy

Berns,

the Director

of

the

Munsell

Lab,

was

to

discuss my

thesis

and

application.

We discussed

where

to

begin researching information

on

the

color

ranges of

the

different

outputs and

how

the

different

color systems are

used,

specifically

the

Munsell

Color System.

Roy

gave

me a

book.

Perfect Picture. He

suggested

talking

with

Glenn

Miller,

a

photography

teacher,

about color

and

computers.

Glenn Miller

pointed me

in

a

scientific

direction

of color

that

was

too

technical

and

inappropriate

to

use

in my

research.

Frank

Romano,

a new

member

of

the RIT

faculty

(editor

of

Pocket

Pal

and numerous

other

publications

on

electronic

prepress),

was

very

helpful

and

encouraging

about

the

importance

of

my

thesis.

He

gave me

publications on prepress

and

suggested

that

I

attend

his lecture

about problems

designers

have

with computers.

I

found

the

publica

tions. An Introduction

to

Digital

Color

Prepress

and

Digital

Color Prepress from

the

Agfa Corporation

very

helpful. I kept

their

format in

mind

when

developing

my

thesis

application.

Frank

also gave me

other

names

in

the

printing department

to

round out

my

resources.

Marie

Freckleton,

a professor

in

the

printing

department,

suggested

reading

Graphic

Arts

thesis

books,

Publish

Magazine,

and

Pre

need

to

know

and could understand without

a scientific

background. Publish Magazine

had

an

issue specifically addressing

color

technology

in

the

reproduction

industry.

Marie

introduced

me

to the

Integrated

Electronic Prepress Lab

(IEPL)

and

some

prepress graduate students who would

be helpful.

After gathering

this

information I

returned

to

researching

the technologies

of color

reproduction and

their

differences in

color

capabilities.

The

results of

my

research

showed

differences in

color reproduction

capabilities

among

the technologies.

Inconsistencies

were

due

to mechanics

and

the

substrates of

the

colors.

As

our

society

becomes

more

technologically

advanced,

graphic

designers

are

becoming

more

involved in

the

other

disciplines

of

reproduction,

resulting in

the

need

for

uniform

color

throughout

development

and

production.

Basic knowledge

about

color

technology

would

be helpful

to

graphic

designers

to

identify

important issues

of

Application Development

As

research came

to

an

end,

Roger

urged me

to

start

the

basic layout

and

copywriting for

the

guidebook.

I

organized

my

notes and

data,

wrote

the table

of

contents,

and

made

a

detailed

outline of

the informational

order

of

the

guidebook.

Dr.

Richard Zakia helped

me

organize

and

flesh

out

the necessary

information

for

the

guidebook.

He

stressed

the

need

for

visual

examples

to

show

resolution

quality,

the

color

capabilities of

different technologies,

the interrelationships

of prominent color

systems,

and

the

differences in

color

vocabulary

between disciplines.

Using

this

information,

I

started

writing the

copy for my

guidebook.

My

first draft

was

completed

and

handed

to

Roger

Remington,

Pamela

Blum,

Dr.

Zakia,

and

Frank

Romano

for

their

input

and

advice.

For

the

most

part,

only

minor adjustments

had

to

be

made.

As

the

copies

were

returned

from

Roger,

Dr.

Zakia

and

Frank

Romano,

I

started

working

on

the

design

of

the

guidebook.

The

format

of

the

page was

based

on a nine point-unit

grid.

The

type

used was

Univers,

a

sans-serif

typeface

which

reflects

modernism.

Univers

was chosen

specifically because

of

its large

x-height,

which

increases

readability.

The

total

size of

the

page was a nine

inch

square.

The reasoning behind

this

geometric shape

was

to

parallel

the

nature

of

the

technology.

Another

concern

in

the

layout

was

need

for

negative

space, to

prevent eye

fatigue.

The

images

and colors

were

intended

to

be

the

dominant

features

throughout the

guidebook.

I

wanted

to

keep

the

overall

design

simple

to

emphasize

the information.

(see Appendix

j)

During

my

second

committee

meeting I

presented

the

first

full

color comprehensive

of

my

guidebook.

This meeting

was

a

critical

point

in

the

development

of

my

application.

The

committee's main concern was

that the

images

and

color

appeared

secondary

to

the

text.

Another

concern was

that the

images

appeared

to

float,

and needed

anchoring

by

altering

the

size and

placement.

One

good

point

mentioned

in

the

meeting

was

the

necessity

to

show

how

the printing

process

related

to the

process

of

design. Pamela

voiced

her

concerns about

the

insufficient

depth

of

the

information,

but

understood

after explanation

that this

was

just

a

prototype

for

introducing

graphic

designers

to

color

technology.

At my

next

weekly

meeting

with

Roger

Remington,

I had

a comprehensive

of

the

guidebook

with

the

altered

images. Roger

suggested

that the

examples

stay

geometric

to

reinforce

the

structure

of

the

grid.

For

the

next

two weeks,

I

worked

on

inputting

and

manipulating images. This

stage

took time

due

to the

limitations

of

the

technology.

Scanning

color

images

at

the

size needed

for

the

guidebook

required a

lot

of

memory,

resulting in

slower

computer response

time,

which

made

every

alteration

of

the

image

very

time

consuming.

Posters

were

designed

as

supporting

pieces

for

the

exhibition of

the

guidebook

.

Their

images

and

information

were

taken

from

the

guidebook

and

implemented into

a

larger

format, (see Appendix

k)

The

week

before

the thesis

show

I

presented

a

black-and-white

guidebook

dummy

to

Roger

and

Pamela for final proofing

and

review of

the

images. Roger Remington had

minor

changes,

while

Pam

questioned

the

hierarchy

of

the

information.

For

the

final

prototype,

I

printed

the

color

images

out

on

a

3M dye

sublimation printer

in

the

Integrated Electronic Prepress Lab

and

the type

was

outputted

on

a

linotype

imagesetter. These

outputs

were

pasted

into

page spreads and

color

copies made

to

form

the

guidebook,

(see

appendix

I)

The

posters

were

laid

out

in

QuarkExpress

and outputs

were

done

on a

Agfa SelectSet

5000 imagesetter

as color separations.

Then

a

3M

MatchPrint

was

produced

from

the

negatives.

Evaluation

The final step

of

my

thesis

was

its

evaluation,

which

included

a number of

different

processes.

In

the

beginning

of

September,

Roger

Remington

provided a

worksheet on evaluation

to

help

us

in

our

proposal

development, (see

Appendix

m)

Unfortunately,

I

was

unable

to

go

into

specific

detail in

the

evaluation

due

to the

lack

of

time.

However,

enough

feedback

was

given

to

make a stable

conclusion.

Overall,

everyone agreed

that

the

design

of

the

page

was

structurally

strong, as

were

the

images. But

the

guidebook was

lacking

in

information

on

the

traditional

prepress

techniques.

There

was

also a

desire for

more

visual

information

to

support

the text.

In

an evaluation

by

the

general

public,

most people

found

the

guidebook

visually

appealing

and

the

information helpful.

(see Appendix

n)

On

a

more

personal

level I

found

that the

general

direction I

started

with

had

to

be

modified, this

put me

at a

disadvantage. I

felt

that time

constraints

hindered

the

development

of

the

images.

Overall,

I

accomplished

the

goals

and objectives

set

by

my

proposal

and

learned

a great

deal

about

how

other

disciplines

relate

to

graphic

design.

Appendices

a

Proposal

b

Components

of proposal/plan

c

Proposal

d

Final

proposal

e

Timeline

f

Idea

generation

9

Taxonomy

Roger

Remington

Pamela

Blum

h

Taxonomy

i

Final

Taxonomy

j

Prototype

k

Posters

1

Final Prototype

m

Steps

in

the

Evaluation

n

Evaluation

Glossary

Thesis Proposal for

the

Master

of

Fine Arts Degree

College

of

Imaging

Arts

and

Science

Rochester Institute

of

Technology

Title^Color Blindness: The Forgotten

Many

"Submitted

by: Denise Rule

Date:

9-16-92

Thesis Committee:

Chief

Adviser:

Roger Remington

Associate

Advisors:

1

.

Dr. Richard Zakia

2.

Pamela

Blum

Departmental

Approval:

(signature

of graduate

faculty

member)

Date:

Approval,

Special Assistant

to the Dean

of

Graduate

Affairs:

(signature

of

Special Assistant

to

the

D^n)

Date:

Computer

needs other

that

word

processing:

Yes

No

X

Explain

need of

equipment:

Over 50%

of

the

male population

is

born

with color

blindness.

The

purpose of

my

thesis

is

to

address

this

large

audience,

by

exploring

the

pragmatics of color

and

perception

in

graphic

design. This study

will

lead

to

a environmental

design

application,

Components

of

a project proposal/plan

1.

2.

3.

4.

6.

7.

8.

L

10.

n.

12.

-^

14.

*--*15.

Project Title

Client

and address

Designer

and address

Problem

Statement

or project

description

(The

problem

&

its

setting,

including

audience.context)

Documentation

of

Need

or

Situation Analysis

(Including

initial

assumptions

and

importance

of

study

to the

designer,

to the

discipline,

and

to the

society)

Mission

Statement

Goal

(s)

Objectives

(Including

subproblems)

Processes

and

Strategies

(Methodology

for gathering

info,

for analyzing

info,

for generating

solutions

and

for

evaluation)

Time/Implementation

Plan

Pragmatic

considerations

(i.e.

estimated

budget,

resources

needed,

etc.)

Dissemination

Evaluation

Plan

Bibliography

Glossary

of

Terms

WHAT

WHO

WHO

WHAT

WHY

WHY

WHY

b&*

I

,

/j/a^

eW<-W

,

h

U~^

<*^*

HOW

WHEN

HOW

WHERE

WHY

WHERE

WHAT

Rochester

Institute

of

Technology

A

Proposal Submitted

to the

Faculty

of

The

College

of

Imaging

Arts

and

Science

in

Candidacy

for

the

Degree

of

Master

of

Fine Arts

Color Perception

by

Denise Rule

Poject

Title

Color

Perception

Project Designer

Denise Rule

137

Colony

Manor Drive

Rochester,

New York 14623

Situation Analysis

With

the

growth of

technology,

graphic

design is evolving in directions

that

need

to

be

studied.

I

plan on

investigating

old and new

theories

of color

perception

in

graphic

design

and

how

they

may

improve

visual

literacy.

Problem Statement

I intend

to

address color perception

by

exploring

the

pragmatics of color and

perception

in

graphic

design

and

related

fields. The

audience

for my

thesis

will

consist

primarily

of professional

designers

and

design

educators.

Mission Statement

This

thesis

is

an

informational

environment

that

will

inform

and educate

designers

and potential

designers

about color perception which will aid

in

Goals

Objectives

Process

and

Strategies

Establish

the

use of

color

perception

as a

pragmatic

issue

in

graphic

design

Gather information

on

color perception

to

establish

the

necessary

knowledge

Gather fundamental in

formation

on color per

ception

in

a

book

-psycho

logical,

aesthetics,

theory

Compile

the

history

of

color

to

use as a

reference

tool

Diagram

old

color

tech

nologies

print,

television,

movies

Diagram

new color

tech

-nologies

video, photo,

xerography,

Fax

Present already

existing

research on

color

perception

Diagram

and present of

existing

studies

1

Determine

the

effective

ness of

these

studies

in

an

evaluation

Compare

studies and

information

on color per

ception with color

blind

ness

studies and

information

Develop

a matrix

of

the

semiotics

of color

Diagram

a chart of color

notation

Research

and analyze

color perception

in

graphic

design

Gather

visual examples

of color perception

Elaborate

on

existing

studies on

color perception

Gather

good and

bad

examples of

using

color

perception

theories

Show

the

effectiveness of

each

design

by

comparing

and contrast

the

examples

good and

bad

examples

Evaluating

old and new

studies on color per

ception

to

see

the

effectiveness of which

are

the

best

Take existing

color per

ception studies and

expand

their

testing

to

graphic

design

as a whole

Educate

and

inform

designer

and

potential

designers

Gather

research on

graphic

design

Keep

research and studies

on graphic

design

'

Use

graphic

design

Goals

Objectives

Process

and

Strategies

Provide

an environment

using information

gathered

Experiment

with

different

colors

visually

Collect data

on

the

spec

trum

of

color

for

visual use

Experiment

with

different

color

theories

visually

Synthesize

a color world

Create

a color

environment which

the

viewers

have

not

experienced

before

Using

a metaphor

to

create

this

color world

Utilize

certain color

technology, showing

the

diversity

of color

and graphic

design

Use

subtractive color

to

reinforce graphic

design

Using

subtractive

color

theory

to

show

the

viewers

the

difference

between

subtractive and

additive

light

theories

Present

visual examples

of subtractive

color

Using

additive

light

to

show

the

importance

of

color

Using

color gels

to

show

the

different

effects of

color

has

on

existing

graphic

design

Show

that

color gels

project

the

results of

the

various ways people

see

Show

that

people

see

dif

ferent

things

because

color

is

not perceived

the

same

in any

one else

Show

the

difference

between

the

graphic

de

sign

that takes this

into

consideration and ones

that

don't

Evaluate

project

and

modify

accordingly

Test

the reliability

and

validity

of project

Test

variety

of people on

what

they

see

in

various

conditions of

lighting

and

color

usage

Implement

a

survey

to

show

the

effectiveness

of

the

project and

information

Survey

people on color

usage,

lighting

usage,

and site

differences

Ask

people which solu

tions

works

best/worst

Pragmatics

Considerations

Budget

estimated

Resources

Foam

core

$20.00

Paper

40.00

Typesetting

100.00

Copying

50.00

Lights

10.00

Gels

10.00

Color

Science

Department

Projector

Lights

Dissemination

This

application will

be

assembled and

display

in

the

Bevier

Gallery

at

RIT for

a

duration

of

3

weeks.

The

thesis

notebook

is for

educational use

only

at

Poject Title

Color Perception

Project Designer

Denise Rule

137

Colony

Manor Drive

Rochester,

New York 14623

Situation Analysis

The

growth of

technology

has

resulted

in

a change

in Graphic Design.

Graphic designers

need

to

be

versatile

between

photography, printing,

and

computers and video.

I

will

focus

my thesis

on

the

color perception of

these

graphic

formats. With

the transformation

of materials comes pragmatic

problems

dealing

with

the

aesthetics

and visual

literacy.

My

application will

be

an

informational

piece

on what graphic

designers

need

to

know

about

color

and

technology.

Problem Statement

I intend

to

address color perception

by

exploring

the

pragmatics of color and

perception

in

graphic

design

and

technology.

The

audience

for my

thesis

will

consist

primarily

of

professional

designers.

Mission Statement

This

thesis

is

an

informational

prototype

that

will

inform

graphic

designers

Goals

Objectives

Process

and

Strategies

Establish

the

use of

color perception as a

pragmatic

issue

in

graphic

design

Gather information

on

color perception

to

establish

the

necessary

knowledge

Gather fundamental in

formation

on color

per

ception

in

a

book

-psycho

logical,

aesthetics,

theory

Gather information

on

graphic

design,

photog

raphy,

computersA/ideo.

Gather

the technical

limita

tions

of each graphic

for

mat

Compile

the

history

of

color

to

use as a

reference

tool

Present

old

color

tech

nologies

print,

television,

movies

Diagram

new color

tech

-nologies

video,

photo,

xerography,

Fax

Present

already existing

research on color

perception

1

Diagram

and present of

existing

studies

Determine

the

effective

ness of

these

studies

in

an

evaluation

Compare

studies and

information

on

color per

ception with new

tech

nology.

Develop

a

taxonomy

of

the

semiotics of

color

Diagram

a chart of color

notation

in

each graphic

format

Research

and analyze

color

perception

in

graphic

design

Gather

visual

examples of

color perception

in

each

format

Gather

good and

bad

examples of

using

color

in

each

format

Show

the

effectiveness of

each

design

by

comparing

and contrast

the

examples

good and

bad

examples of

Goals

Objectives

Process

and

Strategies

Elaborate

on

existing

studies on color

Evaluating

old

and

new

studies on

color per

ception

to

see

the

effectiveness

Evaluate

the

optical mix

ture

which occurs at

differ

ent sizes

Experiment

with

different

colors

in

each

format

Educate

and

inform

designer

and potential

designers

Gather

research on

graphic

design

Present diagrams

of

prag

matic problems

in

graphic

design

1

Use

color examples com

paring

each

format

Present

the

different

formats

Provide

an

informational

piece

for

graphic

designers

Experiment

with

different

colors

visually

Collect data

on

the

spec

trum

of color

for

visual use

Experiment

with

different

color

theories visually

Experience

color as a

primary

factor in

visual

organization

Provide

a

clear,

logical

information flow

Present

visuals

that

support

the

information

'

Provide diagrams

that

compare

different

color

diagrams.

Utilize

certain

color

technology, showing

the

diversity

of color

in

graphic

design

Use

subtractive color

to

show

the

technology

of

printing

and

photography

1

Using

subtractive color

theory

to

show

the

viewers

the

difference

between

subtractive

and

additive

theories

Present

visual

examples

of subtractive color

Diagram

the

limitations

of

printing

processes

Compare

computers

to

traditional

prepress

tech

Goals

Objectives

Process

and

Strategies

Using

additive

light

theories

'Compare

the

image

of

monitoring

screen and

output

List

the

pragmatic

problems

of

output

devices

Comparison

of

the

formats

Present

the

best

quality

each

format has

to

offer

Diagram

the

color notation

of each graphic

format

Evaluate

project and

modify

accordingly

Test

the

reliability

and

validity

of project

Survey

people on

the

in

formation

presented

in

the

prototype

Implement

a series

of

evaluation on

the

effectiveness

of

the

project and

information

Personally

evaluate

the

process

and application

'

Critiques

of

the

aesthetic

value of

the

application

Judge

the

visual

literacy

of

Pragmatics

Considerations

Budget

estimated

Resources

Matte board

$20.00

Paper

50.00

Typesetting

100.00

Copying

50.00

Color

copies

100.00

Color Science Department

Electronic Prepress Lab

Color

Proofing

Lab

Dissemination

This

application will

be

assembled and

display

in

the

Bevier

Gallery

at

RIT for

a

duration

of

3

weeks.

The

thesis

notebook

is for

educational use

only

at

i

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Appendix g

Taxonomy

A LWGUSHC

RHETCRCAL FIGURES

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C UNCONOOUS

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E STYLISTIC

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G CULTURAL

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.₆COLOR

._{6 COMMON}

CONTOUR

-_{7 EYE MOVEMENTS}

. HELD DEPENDENCY 1ItUSON

- 10MACHEFFECT

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Figure

1:

Steps

in

the

Evaluation

of

a

rruyrai

SPECIFY

THE

PROGRAM

PLAN THE

EVALUATION

COLLECT

DATA

USE DATA

IN

DECISION

MAKING

Plan

I.I.

1. 2

1. 3

I.

4

1.5

I. 6

I. 7

Program

and

Document

Design

Determine

needs

Document

program

design

Establish

impact

areas and

boundaries for

the

project

Define

major project components and subcomponents

in

graphic

form

Show

the

interrelationships among

project components

in

graphic

form

Specify

the

inputs

(resources),

processes

(activities),

and

outputs

(objectives

or

anticipated

outcomes) for

the

operation

of

each

project

component.

Analyze

the

change

effort

in

terms

of

immediate,

intermediate

and

ultimate

impacts

.

2-0

Plan Measurement Procedures

and

Design Appropriate

Instrumentatinn,

2. 1

State

evaluation

concerns

2.2

State

evaluation

questions

Review

and select alternative measurement procedures

Conduct

a

review and

analysis

of

the

effectiveness

of all of

the

project's

measurement

procedures and

instruments

for meeting

the

information

needs

Determine

project

resources

for conducting

the

evaluation

Design

new

instruments

Revise

existing

instruments

Conduct

activities

to

determine

the

reliability

and

validity

of

instruments

Specify

the

evaluation

workplan

Revise

and

further specify

standards or

levels

of program success

2.3

2.4

2.5

2.6

2.7

2.8

2.9

2.I0

3.0

Collect

Information

on

Program Performance

3.6

3.7

Assure