Interaction of Color¶
Albers, J. (1963). Interaction of Color. Yale University Press.
Cited by¶
5 citations across 5 artifacts.
Each citation links to the sentence it supports in the citing article.
Primes¶
- Color Harmony
- Listed in the references but not attached to a specific claim.
- Contrast
- Caravaggio's chiaroscuro is the canonical painterly demonstration of value contrast; Albers (1963), in Interaction of Color, formalized the same simultaneous-contrast and edge-amplification phenomena that this painting exploits, showing that the perceived brightness, hue, and saturation of a patch are systematically shifted by its surround.
This sourceStudio-derived account of simultaneous contrast and color relativity — a patch shifts in apparent hue, value, and saturation depending on its surround — supports the claim that contrast (not the patch's spectral composition) is the operative variable. Complements Itten (1961) on systematic contrast types.
- Caravaggio's chiaroscuro is the canonical painterly demonstration of value contrast; Albers (1963), in Interaction of Color, formalized the same simultaneous-contrast and edge-amplification phenomena that this painting exploits, showing that the perceived brightness, hue, and saturation of a patch are systematically shifted by its surround.
- Dissonance
- And in colour science, it is the vibration and simultaneous-contrast effects between adjacent hues.
This sourceVibration and simultaneous-contrast effects between adjacent hues — color dissonance as a structural relation.
- And in colour science, it is the vibration and simultaneous-contrast effects between adjacent hues.
Domain-specific¶
- Bezold Effect
- Textile and rug design — Bezold's own commercial use: a single dye lot made to read differently across patterns by the colour and fineness of the interwoven elements. Painting and color theory — Albers's Interaction of Color, where one hue reads as several depending on its surround
This sourceAlbers's Interaction of Color sets its first exercise as making one and the same colour look different by placing identical colour fields on grounds of very different colour.
SupportedVerified against a saved copy of the source
“and the same size be placed on large grounds of very different color.”
- Textile and rug design — Bezold's own commercial use: a single dye lot made to read differently across patterns by the colour and fineness of the interwoven elements. Painting and color theory — Albers's Interaction of Color, where one hue reads as several depending on its surround
Mechanisms¶
- Color-Field Translation
- Its natural discipline is simultaneous contrast: because a color's appearance is produced by its neighbors, the method must be tuned in relation and can never trust a swatch in isolation.
This sourceDemonstrates simultaneous contrast: identical colors can appear different because of their surroundings.
- Its natural discipline is simultaneous contrast: because a color's appearance is produced by its neighbors, the method must be tuned in relation and can never trust a swatch in isolation.
Verification¶
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Links previously used in the corpus¶
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Registry ID ref:839524f04273 · see in the full table