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PRIME: CONCLUSION
Our
notion of colour and light, would appear to be affected
by a large number of significant factors, and especially,
personal experience. I have explored a primary basis
of that thinking, and an attitude, which I believe is
of fundamental importance for the artist. While I may
not advocate, that one be caught up, and bound by rigid
ideas and formulas, it can be argued from the outset,
that a little knowledge of " best "
science may be helpful, as a starting point in the " illusionist‘s "
journey of discovery. While we appear to arrive at a
better understanding of light and its constituent component
colour, it can only form a basis for further exploration,
and the imminent possibility and inclusion of new ideas.
Children,
required to be computer literate, continue to have great
difficulty, reconciling the use of a palette of so-called
primary pigments, containing red, blue, and yellow, when
science correctly teaches the relationship between the
primary colours of light vis-a-vis the primary colours
of pigment.
The
computer‘s ability to manipulate light now takes us beyond
8, 16 and 256 colours, to the realm of modelling in three
dimensions (256 x 256 x 256), of 16·7 million colours.
The intensity of every hue appears indefinitely expandable
from neutral grey to full saturation. Colours are manipulated
on these pages with the use of three groups of two digit
hexi-decimal numbers (where 00 = nothing and FF = 255,
full saturation) for example:
"# FF
00 00 " and "# 00 FF 00 "
makes "# FF FF 00 "; or
"# FF
00 00 " and "# 00 00 FF "
makes "# FF 00 FF
"; or
"# 00
FF 00 " and "# 00 00 FF
" makes "# 00 FF FF ".
Clearly,
computers pose a serious problem, for teachers holding
on to traditions proselytized over the years by schools
of art and colleges of education. Many more people however,
will the enabled, by such means [as we are], to publish
their own expressed views, concepts and ideas; a privilege
that had previously been confined, to a relatively small
elite. |
