Twelve-period seasonal colors-system

AIC 2004 Color and Paints, Interim Meeting of the International Color Association, Proceedings

Twelve-period seasonal colors-system Vojko POGACAR University of Maribor, Faculty for Mechanical Engineering, Maribor, Slovenia

ABSTRACT We observed that there are no evident scientific explanations of the widespread four-seasonal methodology of color selections. Therefore, we tried to find some objectives to interpret the starting-point more precisely, in correlation with its natural origin. We completed the general classification of four-seasonal typology by adding intermediate periods. We proposed that each main period has an entering and closing part, regarding the previous or following period. Therefore, besides four main seasons, eight intermediate periods were added and finally twelve different periods of seasonal typology were classified. Such stratification is also in accordance with our meteorological calendar but not exactly with each month’s diversity. Our twelve-period seasonal typology is based upon astronomical and geometrical correlation between the position of the Earth in relation to the Sun, where the Sun is the main source of the light. For this purpose we developed a special time-cycling system in which daily and yearly color-cycles are included. This system gives us an opportunity to observe the variety of correlation between antagonistic color-characteristics as well as other aspects and relationships between colors and time-cycles. The system represents a more objective basis for analysis, estimations and evaluations of trends in color counseling. 1. INTRODUCTION The theory of seasonal colors typology was developed after Itten (1985) introduced his colorstar in 1962. Spring-type is associated with light yellow undertone, summer-type with light blue, autumn-type with red and winter-type with dark blue undertone. We assume that Itten’s links between specific colors and seasons are without logical explanation. Our aims are to classify colors, according to their specific seasonal appearance in nature and by adding intermediate periods to the four main seasons to create a twelve-periods seasonal colors system. 2. DEFINITIONS OF THE SEASONS, YEAR- AND DAY-CYCLES The Sun is the main and only source of light-energy in nature and, therefore, it is most important to define seasons. There are also many other important factors influencing seasonal features: distance between the earth and the sun, angle of incidence falling to a certain part of the earth’s surface (Schlyter 2004), all kind of atmospheric phenomena: thickness of the atmosphere, share of water in specific geographical zones, capacity to reflect, absorb and accumulate light, configuration of maritime regions (influencing the stream), configuration of the earth’s surface (influencing air-current), humidity, electromagnetic activity of the sun, etc. The interactions between all of the above-mentioned factors result in different shades of light and in different colors. Different light angles of incidence onto the earth’s surface (Schlyter 2004) result in different quantum of light-energy distributed to certain parts of the earth, which define seasons, but differently in different geographical zones. 203

AIC 2004 Color and Paints, Interim Meeting of the International Color Association, Proceedings

The geometry of geographical zones is defined according to these light-angles of incidence: the tropical zone is between angles +23° to −23°, the two sub-tropical zones are between +23° to +47° and −23° to −47°, the two moderate zones are between +47° to +66.5° and −47° to −66.5° and both polar zones are between +66.5° to +113.5° and −66.5° to −113.5°. Though the emitted quantum of light-energy is distributed geometrical and equal along the different levels of zones, it is obvious that the shapes of the zones are amorphous, because light-energy distributed to the earth’s surface is dissipated due to the influence of numerous atmospheric factors. They are able to change the distribution of light energy by up to 70% or even more. However, geographical zones exist and they correlate directly and exclusively with the quantum of light energy, modified only by the atmospheric phenomena on the earth. No other energy significantly influences the characteristics of geographical zones and, therefore, the seasons, which are closely linked to them. Theoretically, the geometry of geographic zones serves us by explaining any symbolic correlation between distributed light-energy into geographical zones with achromatic and chromatic color scales. 2.1 Year-cycle The Earth in its ecliptic rail, encircles the Sun over a year and during this time creates five similar and potentially symmetrical level-positions and two extremes, which are antagonistic towards each other. The correlated levels receive about a similar quantum of light energy, extreme sides —represented by the summer and winter solstices— receive a significantly different quantum of energy. Therefore, the areas of the globe during the summer solstice receive a significantly greater amount of light energy than the areas in winter solstice, and a vice versa half year later. Yearly-cycles (Pogacar 1994a) are also manifested differently in different geographical zones. In tropical and sub-tropical zones the differences in year-cycle are minimal with minimum changes in temperature and predominantly warm, either with dry or rainy seasons. Polar zones have predominantly winter and a short spring, where there is daylight for six months and darkness during the rest of the year. Typical changes in all four seasons are only found in the central parts of moderate zones (Figure 1). 2.2 Day-cycle Day-cycle encompasses 24-hour-time, when the earth rotates 360° along its longitudinal axis. Day-cycle reaches its brightest point around noon and the darkest around midnight. Excluding all the atmospheric factors, we observe vertical symmetry as the 12-hour difference between the brightest and darkest points of day and night or, in other words, between symbolic black and white, where relations are also stratified in to a symbolic achromatic scale. Specific characteristics of the day-cycles depend-on geographical zones but, somehow, they also reflect the yearly-cycle in a metaphoric way. In the tropic zone the light during the day and night is polarized to a maximum, pointing out significant differences between bright day and dark night. In polar zones, the day-cycle is minimally polarized because the daylight lasts for six months and darkness another six months. Therefore only in the center of a moderate zone is there equilibrium between day and night.

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AIC 2004 Color and Paints, Interim Meeting of the International Color Association, Proceedings

After previous description we made conclusion, that day-cycle is correlated with 12 levels achromatic scale, and the year-cycle with 12 part chromatic color circle (Pogacar 1994b, 2002).

Figure 1. The year-cycle transition from 7-levels achromatic scale to 12-part chromatic color circle. 3. CREATING A TWELVE-PERIOD SEASONAL COLORS-SYSTEM (TP-SCS) In previous four seasonal color-typology there are no evident principles for color selection and it looks like “black & white” criterion in current colored time. In addition our colorsensitivity has increased and color-measuring tools developed. To improve this system, we added eight intermediate periods, resulting in a twelve-period seasonal color system (Figure 2) (Küppers 1989). In reality four seasons only occur significantly in moderate zone and there are no distinct boundaries between any adjacent seasons, regarding temperature or seasonal daylight. Transition from one to another is gradual. Table 1. Basic classification of the Twelve-period seasonal colors-system (TP-SCS). Nr.

PERIOD

SYMBOLIC NAMES

L*

C*

h

1 2 3 4 5 6 7 8 9 10 11 12

early- Winter mid- Winter late- Winter early-Spring mid- Spring late- Spring early- Summer mid- Summer late- Summer early- Autumn mid- Autumn late- Autumn

BV+B B+C C+CG CG+G G+GY GY+Y Y+YO YO+O O+R R+M M+RV RV+BV

20 - 45 45 - 60 60 - 70 70 - 80 80 - 85 85 - 90 90 - 85 85 - 75 75 - 60 60 - 55 55 - 50 50 - 20

20 - 40 40 - 50 50 - 40 40 - 30 30 - 25 25 - 20 20 - 25 25 - 30 30 - 40 40 - 50 50 - 45 45 - 30

270 - 240 240 - 210 210 - 180 180 - 150 150 - 120 120 - 90 90 - 60 60 - 30 30 - 0 360 - 330 330 - 300 300 - 270

Legend: B: blue, C: cyan, G: green, Y: yellow, O: orange, R: red, M: magenta, V: violet

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AIC 2004 Color and Paints, Interim Meeting of the International Color Association, Proceedings

Figure 2. Example of the twelve periods course in temperate zone on the surface of a seasonal colors system body. The entering and closing parts should have the function to link simultaneous colors together in more logical and fluid color continuum. This 12-period seasonal color system is based on geometrical correlation among CIELAB related systems (Jeler 2001) and the astronomic calendar, but not exactly with each month’s diversity (Table 1) (Golob 2001). Basic colors define only color-direction in a specific period, but precise color-selection is defined along an isomorphic rail in the color body. It is important to point out that Summerundertones, including part of late Spring and early Autumn, are much lighter from the opposite dark Winter time, late Autumn and early Spring. 4. CONCLUSION Our aims are to improve 12-period seasonal colors typology, so as to make it a useful tool for color analysis, counseling, color-projecting and design. On the other hand, we are convinced that colors are elements of visual language and, therefore, it is necessary to participate in any development in this field. Printing invention by Guttenberg initiated unpredictable linguistic development. Computer technologies as picture-supporting tools give us today an opportunity to develop and improve elements of visual language, with color in-between. An old proverb says that one picture tells us more than a thousand words! In the long history of visual development and perception, time has come to articulate these visual elements in order to become a vivid language and useful communication tool at the same time. Colors belong to the international communication system and often there are no words to substitute colors’ abilities to speak directly without boundaries.

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AIC 2004 Color and Paints, Interim Meeting of the International Color Association, Proceedings

REFERENCES Golob, V. 2001. Barvna metrika. Maribor: UM-FS Maribor. Itten, J. 1985. Der Farbstern. Ravensburg: Otto Maier. Jeler, S. 2001. Barvni sistemi. Interdisciplinarnost barve. Maribor: Društvo koloristov Slovenije, 165195. Küppers, H. 1989. Harmonielehre der Farben. Theoretische Grundlagen der Farbengestaltung. Cologne: Du Mont Buchverlag. Pogacar, V. 1994a. Barvna ciklomatika. Likovne besede (Ljubljana) 29-34: 92-97, 124. ——. 1994b. Barvna ciklomatika. In Mednarodno posvetovanje, Barva in barvna metrika, Zbornik referatov, ed. by S. Jeler. Maribor: Univerza v Mariboru - Tehniška fakulteta, Slovenski center za barvo in Društvo koloristov Slovenije, 10. ——. 2002. Colours as linguistic elements of the visual communication system. In Color & Textiles, Book of Abstracts. Maribor: Slovenian Colorist Association, Faculty of Mechanical Engineering, Textile Department, 27. Schlyter, P. 2004. In http://www.stjarnhimlen.se/, http://home.tiscali.se/pausch. Address: Vojko Pogacar, Univ. of Maribor, Faculty for Mechanical Engineering Institute for Constructions and Design, Smetanova 17, Maribor, Slovenia E-mail:

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