The Reality and Perception of Color: Violet, Cyan and Yellow
- Aug 26, 2024
- 11 min read
Updated: Sep 25, 2024
Transformative, Color, Resonance and Environment
ABSTRACT
Color perception is a complex and multifaceted phenomenon that bridges the gap between the physical properties of light and the subjective experience of color as interpreted by the brain. While some colors correspond directly to specific wavelengths of light, others, such as violet, are considered “constructed” by the brain, leading to unique experiences that challenge traditional understanding.
This research document explores the nature of violet, cyan, and yellow, contrasts their roles in color perception, and examines how these colors and their transformative resonance can be integrated into the environmental design to evoke deep emotional and psychological responses.
KEYWORD
INTRODUCTION
In the dynamic field of digital media and environmental design, the role of color extends beyond aesthetic considerations to encompass psychological, cultural, and perceptual dimensions.
The interplay between transformative processes, color resonance, and environmental factors is critical in creating spaces and experiences that resonate emotionally and cognitively with audiences.
This document seeks to explore the concept of color perception, focusing on the unique nature of violet as an “unreal” color, in contrast to the more “real” colors cyan and yellow. Through this exploration, we will uncover the implications for design, particularly in creating environments that influence human perceptions, emotions, and behaviors.
THE NATURE OF COLOR PERCEPTION
The human visual system is intricately designed to interpret a wide range of colors through the interaction of light, cone cells in the eyes, and neural processing in the brain.
This section provides an in-depth examination of how color perception works and the distinction between primary, secondary, and tertiary colors.
THE VISUAL SPECTRUM AND CONE CELLS
Visual Spectrum: The visible spectrum of light ranges from approximately 380 to 740nm* (nanometers), encompassing the wavelengths that human eyes can detect. Each wavelength corresponds to a specific color within this spectrum.
Cone Cells: Human eyes contain three types of cone cells, each sensitive to different ranges of wavelengths:
L-cones (Long): Sensitive to red light, with peak sensitivity around 564–580nm.*
M-cones (Medium): Sensitive to green light, with peak sensitivity around 534–545nm.*
S-cones (Short): Sensitive to blue light, with peak sensitivity around 420–440nm.*
Color Perception: The brain interprets signals from these cones to create the perception of color. By combining the responses from the different types of cones, the brain generates the full spectrum of visible colors, including those that do not have direct wavelength correspondence.
* Source: Visible Spectrum by Wikipedia
PRIMARY, SECONDARY, AND TERTIARY COLORS
Primary Colors (Red, Green, Blue): These colors correspond to specific wavelengths within the visible spectrum and are the building blocks for all other colors. Each primary color stimulates one type of cone cell more than the others, creating a distinct color perception.
Secondary Colors (Cyan, Magenta, Yellow): These colors are produced by combining signals from two types of cone cells. For example, cyan is created by the combined stimulation of green and blue cones with the absence of red.
Tertiary Colors: These colors result from the combination of primary and secondary colors, creating more complex hues that contribute to the rich diversity of colors perceived by the human eye.
VIOLET: THE “UNREAL” COLOR
Violet occupies a unique place in the color spectrum. While it is perceived as a distinct color, its nature and perception differ significantly from other colors, leading some to consider it an “unreal” or constructed color. This section explores the peculiarities of violet, its formation, and its implications for design.
ABSENCE OF GREEN: THE FORMATION OF VIOLET
Spectral Position: Violet is located at the far end of the visible spectrum, beyond blue, and corresponds to wavelengths between approximately 380 and 450nm.
Figure 4: The Color that doesn't exist
Timestamp 0:14 - “It’s not there… Why then do we see it?”
This segment highlights the absence of magenta in the visible light spectrum, indicating its spectral position is not represented by a single wavelength.
Timestamp 2:08 - “The cone cells in your eyes overlap in the wavelengths they detect.”
Here, the overlap of cone cells’ sensitivity to different wavelengths is described, illustrating how the perception of color involves combining different wavelengths rather than detecting specific ones.
Timestamp 3:19 - “There is no wavelength of light for magenta.”
This point underscores that magenta does not occupy a distinct position in the spectrum, reinforcing the concept of spectral position in relation to color perception.
Overlapping Stimulation: Unlike primary colors that directly correspond to specific wavelengths, violet is perceived when both the blue and red cones are stimulated, with minimal to no stimulation of the green cones. This overlapping stimulation creates a color perception that does not have a direct physical basis in a single wavelength.
Timestamp 2:08 - “The cone cells in your eyes overlap in the wavelengths they detect.”
This refers to how the sensitivity of cone cells to different wavelengths overlaps, allowing them to respond to a range of wavelengths rather than just specific ones.
Timestamp 2:17 - “When a ray of light with a wavelength of 570 nanometers enters your eye, it stimulates both the long and medium cones.”
This illustrates how overlapping stimulation occurs as different cones in the eye are activated by the same wavelength of light.
Timestamp 2:34 - “An odd quirk of this system is that when two beams of light at the exact same ratio enter the eye, the signal that is sent off to the brain is the same.”
This demonstrates how overlapping stimulation from multiple wavelengths can produce the same perceptual color.
Timestamp 3:16 - “Every color that we perceive can be generated via this dual route: a single wavelength of light or a combination of wavelengths that stimulate our cones in the same manner.”
This shows how overlapping stimulation from different wavelengths can result in the same color perception.
Figure 5: There's no purple light
Timestamp 1:50 - “Our eyes and brains don’t know the difference between seeing two wavelengths of light, or one wavelength of light, or five wavelengths of light.”
Timestamp 1:59 - “It would create the exact same signal as if we had sent these… two beams of light with different wavelengths but coming in at the same time.”
Constructed Perception: The brain constructs the perception of violet by interpreting the combined signals from the blue and red cones. This constructed nature differentiates violet from other colors that have a more straightforward correlation with specific wavelengths.
Timestamp 3:19 - “There is no wavelength of light for magenta. Instead, we perceive it only when the S cones and L cones pick up a signal from pure red and blue light.”
This highlights that magenta is not a physical wavelength but is constructed by the brain when it receives signals from both red and blue light, illustrating the idea of constructed perception.
Timestamp 3:32 - “Our brains literally make up magenta.”
This reinforces the notion that the perception of magenta is a result of the brain combining signals from different wavelengths, rather than being a direct sensory input.
THE PSYCHOLOGICAL AND PERCEPTUAL IMPACT OF VIOLET
Emotional Resonance: Violet is often associated with mystery, spirituality, and creativity due to its rare and unique appearance in nature. Its constructed nature may contribute to its perception as an otherworldly or ethereal color.
Design Implications: The use of violet in design can evoke feelings of intrigue, sophistication, and depth. However, its perceived “unrealness” may also challenge traditional design conventions, requiring careful consideration of its use in environments where emotional and psychological impact is paramount.
TRANSFORMATIVE ASPECTS
Violet as a transformative color in cinema often symbolizes the boundary between the real and the surreal, the ordinary and the extraordinary. This is especially evident in its frequent use to represent magic, dreams, and the supernatural.
Cinema and Transformation: In many films, violet is used to signify a transition into a world of magic or dreams. For instance, in “Sleeping Beauty” (1959), the evil fairy Maleficent is often surrounded by violet light, highlighting her magical powers and malevolent intent. Similarly, in “Doctor Strange” (2016), the use of violet and purples emphasizes the mystical elements of the multiverse and the transformative journey of the protagonist as he learns the arcane arts.
Transformative Spaces: Violet can transform spaces into otherworldly realms, creating environments that feel both enchanting and ominous. This can be seen in “The Matrix” (1999), where the use of violet tones in certain scenes helps to blur the line between reality and the digital dream world.
COLOR AND PERCEPTION
Violet’s use in films as a symbol of the unreal, magic, and dream states also ties back to its perception as an “unreal” color in the physical world.
Symbolism in Cinema: The unreal nature of violet in film often aligns with its use to represent characters or scenes that are disconnected from reality. For instance, in “Alice in Wonderland” (2010), the Mad Hatter’s world is infused with violet hues, representing the fantastical and dream-like nature of Wonderland.
Evil and Magic: Violet is frequently used to signify both magic and malevolence. For example, in “Harry Potter” (2001-2011), the spell-casting scenes involving darker magic often include violet hues, indicating both the power and the danger associated with these spells. Similarly, in “The Little Mermaid” (1989), Ursula the sea witch is surrounded by violet light during her most sinister moments, symbolizing her dark magic and malevolent nature.
RESONANCE
The resonance of violet in films, both emotionally and symbolically, is profound, as it often evokes feelings of mystery, danger, and the supernatural.
Resonating with Audiences: In films, the use of violet often resonates on an emotional level, creating a sense of unease or enchantment. The resonance of violet in these contexts can be both psychological and symbolic, tapping into the audience’s subconscious associations with the color.
Dream and Surrealism: In movies like “Inception” (2010), violet is used to enhance the dream-like quality of certain scenes, reinforcing the theme of exploring the subconscious. The color resonates with the surreal and the unreal, making it an ideal choice for scenes that delve into dreams or alternate realities.
ENVIRONMENTAL INTEGRATION IN FILM DESIGN
In cinematic environments, violet is used to create spaces that feel otherworldly or surreal, aligning with its transformative and symbolic properties.
Set Design and Atmosphere: The use of violet in set design often helps to create an atmosphere that is both magical and foreboding. For example, in “Black Panther” (2018), the mystical Ancestral Plane is bathed in a soft violet glow, emphasizing its spiritual and otherworldly nature. This creates an environment that feels both sacred and mystical, resonating with the themes of legacy and power.
Dream Sequences and Fantastical Worlds: Violet is a common choice in films for dream sequences or fantastical worlds, where the color helps to distinguish these spaces from the ordinary world. In “Coraline” (2009), the Other World is depicted with rich violet tones, emphasizing its dream-like, yet sinister quality.
REFERENCES
FILMS:
“Sleeping Beauty” (1959) – Use of violet in representing Maleficent’s magic and evil.
“Doctor Strange” (2016) – Violet tones signify the mystical elements of the multiverse. “The Matrix” (1999) – Violet hues to blur the line between reality and the digital dream world. “Harry Potter” Series (2001-2011) – Dark magic often associated with violet hues.
“The Little Mermaid” (1989) – Ursula’s magical moments are highlighted with violet light. “Alice in Wonderland” (2010) – Mad Hatter’s world filled with violet hues.
“Inception” (2010) – Violet used to enhance the dream-like quality of scenes.
“Black Panther” (2018) – Ancestral Plane depicted with a violet glow.
“Coraline” (2009) – The Other World portrayed with rich violet tones.
CYAN: THE ABSENCE OF RED
Cyan, a secondary color, plays a crucial role in color perception and design. Unlike violet, cyan corresponds to a specific range of wavelengths in the visible spectrum, making it a “real” color with a clear physical basis. This section examines the nature of cyan, its formation, and its role in design.
Figure 6: Shades of Cyan
ABSENCE OF RED: THE FORMATION OF CYAN
Spectral Position: Cyan occupies a central position in the visible spectrum, corresponding to wavelengths between approximately 490 and 520 nm.
Balanced Stimulation: Cyan is perceived when both the green and blue cones are stimulated, with minimal to no stimulation of the red cones. This balanced stimulation creates a color perception that is both vibrant and calming.
Realness of Cyan: Unlike violet, cyan has a clear physical basis in the light spectrum, making it a “real” color with a direct wavelength correspondence. This physical reality contributes to its widespread use and appeal in design.
THE PSYCHOLOGICAL AND PERCEPTUAL IMPACT OF CYAN
Emotional Resonance: Cyan is often associated with tranquility, clarity, and modernity. Its soothing and cooling qualities make it a popular choice in environments designed to promote calmness and focus.
Design Implications: The use of cyan in design can create a sense of space, openness, and innovation. Its versatility allows it to be used in a wide range of applications, from corporate branding to environmental design, where its calming influence can enhance user experience.
YELLOW: THE ABSENCE OF BLUE
Yellow, another secondary color, is distinct in its perception and emotional impact. Like cyan, yellow corresponds to specific wavelengths in the visible spectrum, making it a “real” color with a direct physical basis. This section explores the nature of yellow, its formation, and its implications for design.
Figure 7: Shades of Yellow
ABSENCE OF BLUE: THE FORMATION OF YELLOW
Spectral Position: Yellow is located towards the upper end of the visible spectrum, corresponding to wavelengths between approximately 570 and 590 nm.
Balanced Stimulation: Yellow is perceived when both the red and green cones are stimulated, with minimal to no stimulation of the blue cones. This balanced stimulation creates a color perception that is both warm and energizing.
Realness of Yellow: Like cyan, yellow has a clear physical basis in the light spectrum, making it a “real” color with a direct wavelength correspondence. This physical reality contributes to its strong presence and significance in design.
THE PSYCHOLOGICAL AND PERCEPTUAL IMPACT OF YELLOW
Emotional Resonance: Yellow is often associated with happiness, energy, and warmth. Its bright and vibrant nature makes it a powerful tool for attracting attention and creating a positive emotional impact.
Design Implications: The use of yellow in design can create a sense of optimism, enthusiasm, and vitality. However, its intensity also requires careful balance, as excessive use of yellow can lead to feelings of agitation or discomfort.
THE ROLE OF COLOR IN ENVIRONMENTAL DESIGN
Color in environmental design goes beyond visual appeal; it plays a crucial role in shaping perceptions, emotions, and behaviors. This section delves into the significance of color in design, highlighting its psychological and cultural impact.
EMOTIONAL RESONANCE IN COLOR
Color Psychology: Different colors evoke different emotional responses based on their wavelengths, cultural associations, and personal experiences.
For example:
Red: Often associated with passion, energy, and urgency, red can stimulate excitement but also evoke aggression or danger.
Blue: Linked to calmness, trust, and stability, blue can promote relaxation but may also be perceived as cold or distant.
Green: Representing nature, growth, and balance, green can foster a sense of harmony but may also be associated with envy or inexperience.
Color and Perception: The psychological impact of color is influenced by factors such as intensity, saturation, and context. Designers must consider these factors when selecting colors for environments to ensure that they align with the intended emotional and psychological effects.
CULTURAL INFLUENCE ON COLOR PERCEPTION
Cultural Associations: Color perception is not universal; it is shaped by cultural factors that influence how colors are interpreted and valued. For example:
Red in Vietnamese Culture: In Vietnamese culture, red is associated with good fortune, happiness, and prosperity. It is commonly used in celebrations and is considered an auspicious color.
Figure 8: Vietnamese Flag Figure 9: Vietnamese's Tet
White in Western Culture: In many Western cultures, white symbolizes purity, innocence, and peace. However, in some Eastern cultures, white is associated with mourning and death.
Design Implications: Understanding the cultural significance of colors is essential for designers working in diverse or global contexts. Color choices must be made with cultural sensitivity to ensure that designs resonate positively with their intended audience.
CONCLUSION
The exploration of violet, cyan, and yellow within the context of environmental design reveals the complex interplay between physical reality and perceptual experience. While violet challenges traditional notions of color by being a constructed or “unreal” color, cyan and yellow represent the more tangible aspects of color perception. Understanding these nuances allows designers to harness the emotional and psychological power of color to create environments that resonate deeply with individuals and communities.
FUTURE RESEARCH DIRECTIONS
The study of color perception and its application in environmental design is a dynamic and evolving field. Future research could explore the following areas:
Neuroscientific Approaches: Investigating the neural mechanisms underlying color perception and how they influence emotional and cognitive responses.
Cross-Cultural Studies: Examining how different cultures perceive and interpret colors, with a focus on global design practices.
Technological Integration: Exploring the use of digital tools and technologies in creating immersive and interactive color environments.
By continuing to explore these areas, designers can develop more sophisticated and impactful approaches to using color in environmental design, enhancing both individual experiences and collective well-being.
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