SO YOU WANT TO WRITE ON WALLS?
There are few things you must do to make your presence in this subculture a welcome one.
- First; Know the history.
- Second; Know the rules of the game.
- Third; work hard at being good, or at least competent.
- Fourth; snitches and shit talkers get stitches and need walkers. - - Fifth; you're good, but not that good. Keep your fat head to a reasonable swell and get back to work. These are the five fingers to your left hand, get to know them well. Soon you'll be able to get a grip on your self-esteem and we'll all be better for it.
FIRST : INDUSTRY
Cavemen drew pictures on walls, but Egyptians were the first language artists, then the Romans bit.The Greeks and Native Americans all got with the program. There was graffiti on the New York subway a year after it was built. There is graffiti on the moon. If graffiti is vandalism, and vandalism is a form of pollution, then man has left his mark with garbage at the fullest reaches of the universe. So you with your pathetic desire to be remembered are in good company. It's important to know how graff developed in your area code, so consult local experts, and remember, everybody lies.
SECOND; THE RULES
1)You suck until further notice
2)It's gonna take a long time before we even acknowledge your existence, even longer before we can bear to look at that foul scribble you call your name. To speed the process of acceptance, you can:
A-Choose a clever name that defies the norm of simple-minded slang. An example of a good name is "ARGUE" (RIP). It looks good when written, sounds cool when spoken, and conveys a combative attitude. On the other hand "ENEMA" (actual name) looks, sounds, and conveys a shitty attitude. BE CHOOSY.
B-Use paint, gain a thorough knowledge of supplies, remember that permission walls, stickers, and dust tags are small parts of a balanced diet, be bold, learn a style of writing for every occasion, and write your name bigger every time you go out.
3)Jealousy is a disease for the weak
4)Your heart is your greatest possession, don't let it get taken from you.
5) Don't write on houses of worship, people's houses in general, other writers names, and tombstones. Writing on memorial walls and cars is beef beyond belief. Furthermore, involving civilians in your beef is grounds for dismissal. These are the five fingers to your right hand. Get to know them well. Give them soul claps, firm handshakes, and throw smooth brolo punches
THIRD; DEVELOPING STYLE
Although being a toy seems undesirable, you should enjoy it while you can. at this stage you can bite all you want with no remorse. All your elders will say is, "Awww isn't that cute, kootchie kootchie koo." So steal that dope connection, rob that colour scheme, and loot whole letter forms. Don't worry about giving any credit, we'll pat ourselves on the back and brag how we influenced the next generation. However, style isn't a crutch or shtick. It is understanding why that connection you bit flows, or why that colour scheme bumps. Style is the process to an appealing end. Once you got it down to a science, you can re-invent letter forms to suit yourself. This creative growth will amaze the old and young alike. Pretty soon somebody will steal your secret sauce and the cycle will be renewed. If this happens to you, don't bitch about not getting your due.
Graffiti is the language of the ignored. If your style is stolen, someone heard you speaking. You got what you wanted from the beginning, some attention, you big baby.
FOURTH: THE LAW
It must be noted that the vandal squad loves graffiti. Their job requires them to fiend for graff as much as you do. When you wreck enough walls, they'll want to meet you. Just like the ball huggers outside the graff shop, they'll recite every spot you hit, with the difference being you'll also hear the miranda warning. To postpone this, go solo as much as possible. Don't write with anyone that won't fight for you. Don't be paranoid, but be careful. If you avoid writing on pristine properties, you'll stay in misdemeanour's territory, and you won't divert the cops attention from pastry and caffeine consumption (consult local laws to be sure). Remember, if they didn't see you do it, it's almost impossible for them to win a conviction without your damming testimony. Shut up, shut up, SHUT UP! Giving a cop info on another writer will doom you to a life of ridicule, from cops and kids alike, with no parole.
FIFTH: EGO TRIPPIN
There';s nothing wrong with knowing you're the shit as long as you are. But once you reach that conclusion, you're one foot over the edge of falling off. Watch your step fathead, there's no shortage of people chanting, "JUMP JUMP JUMP!" There are plenty of writers that have been painting for well over 20 years, and your posing and fronting looks retarded next to them. Get back to work you "never was" slouch.
In conclusion, graffiti is free,impresses the girls, is heroic in our coach potato culture, will provide you with a million stories to tell at parties, and a sure cure for the inner city blues. If it's not fun, you're doing it wrong or have been doing it too long. So get going, fame awaits the fly amongst you
There is rarely a day that goes by when I fail to see someone sporting a Stussy T-shirt or cap. It seems like ever since "Smells Like Teen Spirit" grunge took over the world that the seventies, along with its plethora of fads, is back in style. This includes not only bell-bottoms, but also what is known as the aerosol culture. Unfortunately, it seems that the core of the whole art is still back in the seventies for many of today's writers, and superfluous repainting of objects by non-union workers is without the moral codes, feelings, and purposes it once had. This introduction to graffiti is intended to serve both as a guide for newcomers and a reference for experienced writers who sometimes lose sight as to what its all about.
Tagging, the most primitive form of the graffiti art, consists of a writer's signature, usually done in permanent marker or spray paint. Artistically, tagging is the root of graffiti, and a skill a writer must become proficient at before becoming an accomplished graffiti artist.
The first thing you need to do is choose a tag, or a name which you will be known by in the graffiti community. DO NOT TAKE THIS LIGHTLY; if you choose something stupid it will come back to haunt you. "Stupid" things include choosing initials, nicknames, names already in use, famous people, corny or trite words, and words that are just plain dumb. A tag is usually 3 to 7 characters but can be shorter or longer if really deemed necessary. Those with a tag greater than 4 letters will often find it necessary to develop a "shortened" version of the tag for time and space-sensitive places. In tagging, as Subway Art(a book regarded by writers as the "Graffiti Bible") points out, graffiti writers confront the first need to have style."
Subway Art goes on to say that "Style is a very concrete idea among writers. It is form, the shapes of the letters, and how they connect. There are various categories of style, ranging from the old, simple bubble letters ... to highly evolved and complex wildstyle, an energetic interlocking construction of letters with arrows and other forms that signify movement and direction." Just as one can say "thanks," and mean it honestly, sarcastically, scornfully, or any of a thousand different ways, it is how the word is delivered that determines how it is understood. Graffiti without style, much like a monotonous voice, becomes ambiguous, and is either interpreted with hatred or indifference. Simply put, style speaks a thousand more words than a writer's tag ever will.
Each tag without style can be thought of as a writer without true devotion and commitment for the art. It represents a writer who wants the fame, glory, and recognition without sacrificing the many hours necessary to obtain the skills required for style. Becoming adept in translating emotions into rapid and smooth lines is a never-ending process that in essence is the key to all graffiti.
When I began writing, I thought the only thing needed to get famous was to go around writing my name, but it wasn't long before that illusion wore off. I still see trash cans and phone booths with old tags of mine on them, but I'm ashamed of them now. Ashamed of them because they demonstrated my ignorance to the feelings and passions that fuel the art. Ashamed of them because they had no style.
Almost every time I hit up an area, I go back a week later to check it out. I return not to admire it, but to **** and critique it. I take photos of everything (except plain tags), to help me find and work through the flaws of my art. This process appears to be often overlooked by writers at Newton South, but I think it is far more important than the work itself. As _Subway Art_ states, "Graffiti is a public performance," and everything one submits will be critiqued by every passer-by, so it's better if you can examine it and improve it before anyone else gets the chance.
It is unfortunate that many beginning writers think the only admission to the graff community is going down to Staples and buying a permanent marker. Magnums, Mean Streaks, and SG-7's do not make one an accomplished writer, they merely make one a vandal. It is then up to that vandal to privately evolve his or her art to lettering with emotion and energy.
Just as one would not try an instrument out for the first time at a public performance, the best way to start learning style is not going around bombing (saturating an area with one's tag) the walls of the city or the insides of trains. Learning graffiti is a lot like learning how to play an instrument: start learning in private with someone you admire. Try going down to derelict train lots with someone who has been writing for a few years, and hit the place up. Have the writer point out what he or she does or does not like about your style, and have the writer suggest ways to improve it. Above all, it is important you listen to what they have to say; they know what they're talking about and have been at it far longer than you. Remember, everyone in the graffiti community was a toy (inexperienced writer) once, and anyone who says they weren't lies through their teeth. The writing community, like most communities, is one that places elders (those with many years of experience) first. Novices look to people with a year or two of writing experience, those people with a couple of years of training look up to those from the previous generation, and so it continues.
Style is a constantly evolving entity, and was around long before you, so don't be disappointed if you can't just go blasting out dazzling wildstyle lettering on your first try. If you're going to try paint, start with dead letters, simple block letters that aren't filled in (wasting paint for a one coat fill isn't worth it in an abandoned yard). Resist all urges to coerce style into your letters, it will not turn out the way you hoped. Rather, become proficient in doing the dead letters fast and accurately, and along the way you will see subtle nuances of your lettering technique that will eventually evolve into style. Remember that spray paint is not a substance that lends itself to lazy hands, so every move of the can should be quick and smooth or you will get drips and shaky lines. If you can, try to acquire some caps (nozzles) which either spray a really fat line (reducing the amount of paint that can drip) or release the paint at a slower rate.
Once you've gotten your lettering down, moving on to more complex forms of the art should be a snap. Never be afraid to experiment with letters, but bear in mind there's only so much one can do with a letter before it either becomes obfuscated by debris or turns into another letter. Also, magazines such as _Can Control_, _Hype_ and _Skills_ contain tons of photos for the aspiring writer. It is important to keep in mind that while learning others' style is a great learning tool, stealing their letter style (biting), is perhaps one of the worst offenses a writer can be charged with.
Remember, time isn't of the essence. The trains, buildings, and highways aren't going anywhere, so take the time necessary to evolve your style before going out and making a public display. Getting style isn't easy, and it takes many hours of arduous work to evolve into a presentable state. As the "Graffiti Bible" says, "There is no easy way to learn the complicated wildstyle, and no substitute for time. Rather, the best way to learn is through recapitulating the entire history of graffiti art, from the simple to the complex."
So, if you're serious about your artwork, take the time to show your devotion to all the writers around you. Plan out your art in a bible (sketchbook) ahead of time, and make sure you have the skills necessary to execute such a "piece" (short for masterpiece) when put in a time-constrained, dangerous situation. Work through the flaws and faults of your style with someone you respect and admire in the graffiti community, and above all, don't be afraid to be criticized. So, for all you real writers out there who will be around to pass the torch on to the next generation, keep practicing, and don't get caught.
Some letter structures
/> http://flexyourrights.org/ - guide to how to converse with police officers in different scenarios, good site.
Urban words - http://www.urbandictionary.com/
/> How to Construct Block 3D- http://www.mrwiggles.biz/how_to_do_block_3d.htm
/> How to Construct Basic Arrows- http://www.mrwiggles.biz/how_to_construct_arrows.htm
/> Blackbook Supplies Page- http://www.mrwiggles.biz/id214.htm
/> USE THIS TO HELP YOU WITH COLORS VERY DOPE!!!!!1111one
see what direction the bad one takes? I see more of this than I care to and from alot of advanced cats too,this is what happens when one becomes impatient,it's a sign of undisciplined behavior.
the next one which is good is better than bad and you can get a cool effect sometimes by using this technique.
the third one which is better you make your strokes the whole length of the section you are coloring being careful not to overlap the wet ink onto the dry ink if at all possible,this takes patients ,a steady hand and discipline.
the fourth one which is the best requires using the principles of the third technique but going over the section at a 90 degree angle to achieve that deep rich color.
How to do a throw-up!!
1.Do your outline in the colour you plan to fill in.
2. Fill in the letters with a smooth back-and-forth motion.
3.Outline your letters in another colour.
4.Add some drop shadow
5.Throw an additional outline around the whole thing in a third color to make it pop out...
LETTER STRUCTURE, USING BARS AND FLOW.
Three of the main things heard here in the toy forum are 'work on letter structure', 'use bars to construct letters' and 'it doesn't flow'.
There are also three obvious questions in response to these statements.
I'll give some tips on why to use bars, what letter structure is and what is flow using some well known fonts.
USING BARS TO CONSTRUCT LETTERS
This is the basis to creating decent letters for the majority of writers at all skill levels, it helps create a flow within the letter and to provide correct structure. The best way to think of what a bar is and how it works is a fattened pen stroke that is drawn as a box.
I will show this using the sans serif font, impact, as the letters are simple and explain bars well. I would also recommend this font or similar for people starting out to aid learning letter structure.
All basic letters are constructed from similarily lengthed bars, there will be up to four bars as in the letter 'E' and one bar for letters such as 'S' or 'C'.
Two letters shown as the normal print, the dissected bars that form the letter and how lines should be drawn to form the letter best (note how the bars overlap, this helps create a more 'even' looking letter).
Letter structure is basically that, how the letter is structured to make it that specific letter. Letters are common things in our lives and are often overlooked as we perceive them as being simple. In a
lot of cases they can be but there are times that an extension/add-on or bar is used that throws the whole letter structure off. While it is often thought by people who are new to graffiti that it should be
unreadable it is known that a good writer should have good letter strucutre.
Where does this letter stop becoming an 'n' and become an 'h'? A common mistake made by people just starting with letters, using the wrong length bar in the wrong place can completly change the structure of a letter.
Placing some letters too close together will create a new letter or be confusing. Here a 'c' and 'l' are shown coming closer and closer together eventually becoming the letter 'd'.
While the letters 'H', 'A' and 'N' are completely different in structure not much has to be changed to make a one look like the other.
Even though the final modified letter is crude compared to the original it shows that wrongly angled bars can be interpreted in a way not intentioned by the writer.
Flow is often seen as the most important aspect within a piece or a letter. Flow can mean different things depending on who one talks to.
To me there are three types of flow; flow within a letter, flow within a piece and overall flow.
Flow within a letter
The best way to achieve this is by using bars. This is where learning bars helps you further down the track.
It may not be obvious in the first two 'H's shown but the flow of the letter on the right is thrown off simply because a bar has been incorrectly used. The 'H' on the left uses the correct method of one
bar/stroke for it's left leg. The 'H' on the right hasn't used bars so it appears that the left leg is made of two bars instead of one.
Flow within a piece
The letters within the piece whould have flow as well. They should all appear to be letters from the same type set, not a mix of different styled letters. It would disrupt the flow if all your letters were
rounded except for one that was squared. The letters should have even spacing between them, not some close and then some far apart. The example below shows an extreme case using standard fonts.
To me this is like, to use a cliche term, the 'X-Factor'. Do all the colours come together well, does the 3D suit, does the piece sit nicely on it's canvas? All the little things that bring everything
Here's a common toy mistake... take your time, folks. It's not a race. Make your lines straight without using a ruler. If that means you have to slow down and ease up your pen pressure, do it. You'll get faster as you get better. Right now you are practicing so SLOW THE **** DOWN.
Another mistake kiddies make is not making their **** consistent. That means that every line that forms your letters (and in this case, think of lines as "bars," like the letter O has one bar that is round, the letter D has two... one round and one straight... does that make sense?) ...anyway, the width of your bars should be consistent, that is, every bar should be just about the same thickness. At least when you start. Later, you start to teach yourself how to change thickness to achieve style. But hold on, cowboy (or cowgirl, if you're a girl) (ha ha)... you have to learn the rules BEFORE you break them like I broke your sister's hymen. So understand consistency in your letters like this:
I'll use COPE2 as an example...
Study the first flick:
Now study this one:
The first one's a wild style and the second one is a simple.
Notice how the simple also looks pretty fresh.
But look at the actual shape of the "C" and the "O" and so forth on the wildstyle piece and imagine it without the extensions and ****. It's exactly the same structure as the simple piece.
Most toys make the mistake of hammering out wildstyle after wildstyle that's all arrows and connections and extensions and no grasp whatsoever of the actual letters. They don't understand this vital element to graff... that the letters are practiced and perfected and rehearsed like mad. The characters, throws, handstyles... all developed over years with thousands of pages going into their construction and lots of practice.
This is also why picking a name is important and not important because it means something (although if it does, and it's not taken, that's cool). The letters you use have so much to do with how your style will evolve. If you pick a name like ONOROC, your letters are going to look like this eventually:
His style is no accident. It's a direct result of the letters he picked for his name.
This takes dedication. Do you have dedication? Patience? 1000 sheets of loose leaf to do the same thing over and over on? What I post on this site is about 1/100th of what I draw. I practice handstyles and throws and characters and elements to pieces every day at work and at home. Most of it never sees the light of day. And I'm no toy.
As long as I mentioned names in the above post, it's important to talk about them...
Number one... is it taken?
"Who cares, right? I mean, PSYCHO is just too good a name to pass up. It reflects the tough, killer attitude I'm putting down out here in the farms in ****, Iowa. It shows I'm hard and from the ghetto streets, even though the last ghetto I saw was in Scarface which I watch every day when I'm not tagging my math homework!"
Okay... number one, if you write the name of a legend like PSYCHO, you WILL GET **** RAGGED, DISSED, BURNED, VAMPED, **** SLASHED, YOUR PAINT TAKEN, YOUR **** KICKED AND YOU WILL DESERVE IT EVERY STEP OF THE WAY YOU STUPID ****. And if they are dead like DREAM, well... let's just hope writers don't see your **** or you will be a pavement smear, straight up.
That's not idle **** talk. It's Bible fact.
And if you don't know your history, you suck. Period. There's no excuse at this point with **** Borders carrying "Graffiti World" and **** like that.
Number two, even if it's not a legend, don't take it. Most writers hit freights, travel and even leave the country sometimes. DAIM is up in L.A. and COPE is up France.
An easy way to tell if it's taken is to do the following google search... go to google.com, select the image search and then type in the name you want and "graff" and there you go. If nothing shows up, it's probably not taken or whoever is currently using doesn't have much fame.
Even then, it can't hurt to ask around.
Seriously, you want to know the secret to picking a good name?
...here it comes...
...and it's not what you expected...
Do the letters look good when you draw them and will they offer you a lot of opportunity to grow and develop a style you will like?
It's really that simple.
So look at a writer who's style you like. What letters do they use? And what about them do you like?
Round letters will produce rounder styles. Sharp letters produce sharper styles. It's pretty much true for the most part.
"TYKT" is going to be all sharp points and edges and straight lines.
"CODOS" is going to be more curvy once you really start getting into it.
So invest some time in specific letters that work for you towards the style you want to achieve, make sure they aren't taken and go for broke.
Here's another example of using a simple as the basis for wilder letters...
Start with these simple letters by EWOK5MH:
Here's the letters...
Now here's a wildstyle and the same letters above put in for comparison. Study it and see how the structure of the letters is the same, but the extensions, the colors and placement has made the two look drastically different:
And here's another example:
Next up, here's a common toy question.
What type of markers/paint should I use?
Now I probably can't settle the many arguments out there, but here's my opinion (so apply grains of salt as needed) (not to your eyes, though)...
First there's markers...
Really, anything that makes a mark on paper is good. It's all in how you rock it.
I'll take a blackbook full of fresh-**** pieces done with Rosearts and fingerpaint over some toy-**** **** executed with $600 worth of Copics any day of the week and so will most writers.
Markers do not make you better! SKILLS make you better.
Read those two sentences again:
Markers do not make you better! SKILLS make you better.
You get skills from practice. Markers can't make a **** set of letters look better. But they can make fresh letters look better.
But, if you want a definitive list and some plus/minus type ****, here you go.
The best buy for the money is a tie between:
Plus: Nice color range, blend well, won't streak, CHEAP, easy to... ahem... acquire through means not endorsed by the tennets of Capitalism
Minus: die pretty quick, the nibs are easy to wear down and lose their sharpness (ironic, ain't it?), they bleed like your momma's ****, the pink ones smell like your biology classroom after frog-dissection day
Bic Markit (slept on like crazy)
Plus: EVEN CHEAPER THAN SHARPIES (33 pack at Wal Mart right now for $15), nice color selection, blends well, doesn't streak, TWO shades of grey
Minus: dies faster than Sharpies, some colors look different on the cap but look the same on paper, bleed like Sharpies
The professionals choose:
Plus: **** HUGE selection of colors, long-lasting nibs and ink, you get two sizes in every marker, blends smooth as hell, pretty easy to pick up in any craft store, does not smudge, the pencils work PERFECTLY with the markers if you match the colors
Minus: EXPENSIVE, bleeds worse than sharpies, harder to find for the most part
Copics (I have never used these)
Plus: even BIGGER color selection, long-lasting nibs and ink, seems to be the best blending marker from everything I've seen
Minus: EVEN MORE EXPENSIVE, really hard to find... I've never seen a craft store that carries them and I've been all over the country
Pantones (I've never used these either)
Plus: this is your ultimate color selection with something like 600 different color choices, three types of tip thanks to a special applicator, doesn't smudge, blends well
Minus: good luck finding these... as best as I can tell, they are only available online, oh... and they are the most expensive markers you can buy... the full set costs somewhere in the area of $800 BEFORE shipping which would probably be considerable, probably bleed just as bad
As for paint markers...
Plus: crazy large selection of colors, don't bleed through pages, several varities of nibs, reasonable prices, easy to find
Minus: smudge, smear and stick like crazy, sometimes long after they are dry, die with the quickness like a black man in a horror movie, nibs quickly turn into paintbrushes that smear paint instead of producing nice clean lines
Plus: good coverage, don't smear or stick once dry, don't bleed, nibs last longer than the markers, two size choices for some colors
Minus: fewer color choices, pearlescent is absolute ****, harder to find (although Wal Mart carries them), more expensive, the caps come off easy and the marker dries out and sometimes you can't get it going again so you throw it at your dog and scream and that doesn't help you feel better, and Elmer might be gay... just look at him.. seriously...
Plus: LARGE color selection... they match the markers color for color and then some, blend well, available wherever arts and crafts are sold
Minus: EXPENSIVE, dammit... clay pots aren't this brittle... seriously, do you **** make this **** out of tissue paper or something? I spend more time sharpening the damn things than I do using them to make art - half the **** time the pencil is broken BEFORE using - like I sharpen it, take it out, and the **** lead falls right out... that is not my fault...
plus: cheap as hell, you can buy them anywhere... even gas stations
minus: seriously... they suck... do you want to make graffitti with crayons? because you'll get the same effect - use for coloring books and life or death situations only
plus: decent color selection, don't break often, blend well, pretty cheap
minus: all I could think of was: "They don't look as good as Prismas," but hey... they don't break as easily. Seriously... don't get me started.
There's a lot more products out there.. EXPERIMENT!
I use Flair felt-tips, watercolor, **** I find at the dollar store... BLOPENS.
Seriously... find what works for you and use that. And don't limit yourself to one thing.
There's a huge debate between Krylon and Rusto...
My opinion? I use both.
I prefer Rusto... I find it coats better and the caps work on it better...
BUT, I use both.
Also good: American Accents, American Traditions, Painter's Touch... some new brand that they carry at Lowes with a one-word name I can't remember...
Is dollar paint a good buy?
In my opinion... NO.
Here's a quick math problem for you...
I buy one can of Rusto for $4.00.
You buy four cans of dollar paint for $4.00.
Now it takes you all four cans to cover the same space as my one can, but you spend more time. Who saved money?
Seriously, consider it.
Anyway, the other thing to remember is that if the caps don't work, don't bother.
Now I haven't touched on Montana. To be honest, I've never used Montana. It seems to be the **** and I know it has the best color selection out there, but the price is also high (something like $6 a can plus shipping last time I checked). Think about that.
Again, tying yourself to one brand of anything strikes me as a bad idea and limits your creativity so get out there and work with what gets the job done for you. This will require practice, money and patience.
But it's worth it.
Here's an image showing some common toy mistakes...
This is far from a definitive list... there are so many more...
Now... to understand 3D, you have to understand perspective.
Perspective is what makes things in the distance look small... to recreate that, you draw things small to make them look far off.
But there's elements that make that work...
In order for you to have 3D, you have to have a vanishing point and your lines have to make sense in connection to that vanishing point. If it helps, make a point far down on the page under your piece, then take a ruler...
Draw lines from the bottom of each corner of your piece straight to that vanishing point.
That's how perspective is done, and it works no matter where your vanishing point is.
Sometimes you may not want to connect the bottom corners together... That means stopping at Step 2. This looks like a shadow. You still need to maintain proper perspective.
Notice how in Step 2 it looks like the letters are floating above the page.
So you want to increase your crack habit, do you?
As with all of the ideas and concepts presented here, this will require PRACTICE.
If you don't want to practice, then you don't want to do graffiti. If you don't want to practice, you are telling the world you want to pollute it with ****.
Please don't pollute the world with ****.
well thats it for now :) and again its not mine i just mixed it up :) if it was to much to read to much to scroll you dont have to say that i think everyone will notice that but i think this i usefull for starting writers hate it or love it thanks
Table of contents for The Color Series
1. An introduction to Color
2. What is Colou?
3. Color Theory - The Basics
An introduction to color
Its amazing how color can affect you. How it can alter your mood or how you feel about something. How we associate different colors to different moods. Red can mean death in one culture and love in another. A website’s success can depend on the combination of colors we choose for it. We can link a color to a brand. A world without color would be very gray.
How would you describe color to someone? Is it a feeling or a perception? Im sure you have wondered like i have, if the blue i see is the blue you see.
According to Wikipedia:
“Color is the visual perceptual property corresponding in humans to the categories called red, yellow, blue, black, etc. Color derives from the spectrum of light (distribution of light energy versus wavelength) interacting in the eye with the spectral sensitivities of the light receptors. Color categories and physical specifications of color are also associated with objects, materials, light sources, etc., based on their physical properties such as light absorption, reflection, or emission spectra.”
What is Colour
“the quality of an object or substance with respect to light reflected by the object, usually determined visually by measurement of hue, saturation, and brightness of the reflected light; saturation or chroma; hue.”
“We perceive color just as we perceive taste. When we eat, our taste buds sense four attributes: sweet, salty, sour and bitter. Similarly, when we look at a scene, our visual nerves register color in terms of the attributes of color: the amount of green-or-red; the amount of blue-or-yellow; and the brightness.”
Online Learning Haven:
“The entire electromagnetic spectrum is made up of ultraviolet, visible light, and infrared. The human eye can only see the light sector of the spectrum. That is Red, Orange, Yellow, Green, Blue, Indigo and Violet. (ROY G BIV is how I was taught to remember it in school). These are also the colors you see in a rainbow after a rainstorm.
Color is the thing we perhaps notice most about light in the world around us. But why we see colors the way we do all has to do with light. The reason something appears to be the color that does is that the object is absorbing all the other colors of light except the ones we see, which are reflected back to our eyes. If something absorbs all the colors, it appears black, if it reflects everything, it appears white. Color comes from what is called the visible spectrum of light. Scientists measure the wavelengths of light in this spectrum in nanometers or billionths of a meter. Red has the longest wavelength, and violet has the shortest. So, what color we see depends on the wavelength of the light we absorb into our eyes. The primary colors are red, green, and blue, from these colors, every other color can be made.”
“Color is all around us. It is a sensation that adds excitement and emotion to our lives. Everything from the cloths we wear, to the pictures we paint revolves around color. Without color; the world (especially RGB World) would be a much less beautiful place. Color can also be used to describe emotions; we can be red hot, feeling blue, or be green with envy.
In order to understand color we need a brief overview of light. Without light, there would be no color, and hence no RGB World. Thank God for light!
Light is made up of energy waves which are grouped together in what is called a spectrum. Light that appears white to us, such as light from the sun, is actually composed of many colors. The wavelengths of light are not colored, but produce the sensation of color.”
COLOR THEORY - THE BASICS