A super interesting note about the previous post on color and it’s psychological, subjective qualities.
When I was completing the color test a window was directly behind my monitor while I was sitting under florescent lighting looking at the screen. Natural sunlight is at such a high intensity much higher than bulb lighting and our sense of color perceives that intensity as blue, the lower intensity light, indoor lighting isn’t as bright giving that light a more reddish hue.
I find it interesting that with blue light, higher intensity light, interfering with my perception from behind the monitor, made it harder to see the tiny nuances of difference in the color test at the blue range. Doing the test again in a controlled lighting environment made the sense keen and I made a perfect score.
A side-note is that because electromagnetic waves are all around us, only a small range of these waves being visible light, there is much more affecting our perception than meets the eye.
EM radiation carries energy and momentum, which may be imparted when it interacts with matter.
Our world is so much more subtle than we are daily able to pay attention to, and it is always in flux. Color theory is still not pure. The problem arises because the absorption of light by material substances follows different rules from the perception of light by the eye. A major issue for designers of print is that the printing process requiring ink and a subtractive process gives material substance to a color while our eye perceives the direct wavelengths causing color perception.
Many historical “color theorists” have assumed that three “pure” primary colors can mix all possible colors, and that any failure of specific paints or inks to match this ideal performance is due to the impurity or imperfection of the colorants. In reality, only imaginary “primary colors” used in colorimetry can “mix” or quantify all visible (perceptually possible) colors; but to do this the colors are defined as lying outside the range of visible colors: they cannot be seen. Any three real “primary” colors of light, paint or ink can mix only a limited range of colors, called a gamut, which is always smaller (contains fewer colors) than the full range of colors humans can perceive.
So does an artist, the human element, give a work of art, design, or even a photograph that personal touch just by a different mood, a different lighting scenario…. a perception of color… a sense? Of course, and the texture of our differences is stunningly beautiful.