Digital colour in graphics design by Ken Penders - Theory | eBookworld

Part 1 Digital Colour - The Theory and the Practice 

1. Light, sight and colour 

2. Working with digital colour
3. Colour output 

Part 2 Workshop 

4. Defying the paradigms 

5. Virtual architecture and terrain 

6. The portrait 

7. Digital sculpture 

8. The human figure 

9. The bizarre and the macabre 

10. Images from nature and science 

11. Digital art


Like it or not, we live in an increasingly digital world. Many of my generation can still remember, with some nostalgia, winding up the clockwork mechanism of a postwar radiogram housed in its polished mahogany case, then inserting a fresh needle into the pick-up arm, before placing Eddie Calvert’s 78 rpm bakelite rendering of Oh Mein Papa carefully on the turntable. Who among us then, as we listened to the crackly strains of Eddie’s golden trumpet, could have imagined today’s roller-blading teenager listening through micro
earphones to Oasis on a CD Walkman clipped to the waistband of their Levi’s,
while en route to a cyber cafe for a session surfing the Internet!

The objective of Digital Colour in Graphic Design is to use a suite of complementary applications, both vector and bitmap, to demonstrate the evolving potential of digital design. Part 1 deals with the basic principles underlying the use of colour on the desktop, including colour models and the ways in which devices like scanners, monitors and printers handle colour. System calibration methods are covered, leading desktop drawing, painting and 3D applications. The steps to be taken to ensure that an image created on the screen can be successfully converted to printed copy are also explained. Part 2 then expands on the techniques covered in Digital Graphic Design, showing how the use of colour greatly extends the range of opportunities for the graphic designer. Advanced techniques are explained using a wide range of examples. Any suggestions on how the contents could be further improved would be welcome

                                   -  Ken pender


A few readers may be old enough to remember sitting in the darkness of a cinema auditorium watching the original screening of the Wizard of Oz in which Dorothy, the young heroine played by Judy Garland, is knocked unconscious as the family house is struck by a tornado. The opening sequences leading up to this event were filmed in black and white and then, as Dorothy, still unconscious, begins to dream, suddenly the images on the screen transform into dazzling Technicolor. For me, as a child, this film encapsulated the magical quality of colour, as Dorothy set off, not along a pale 
grey brick road, but along a bright yellow brick road, in search of the magical land of Oz.

For most of us, who just take colour for 
granted, it is hard to imagine how life would be in dull monotone. Life without the vibrancy which colour brings to a sunset, a rainbow, the petals of a flower or the plumage of a bird. Thanks to science, we have some understanding of the physical relationships between light and colour, but even today we do not fully understand how the brain perceives colour. We do know, however, from research that colour is an catalyst in the process of communication between people, for example that the visual impact and retention rate of information communicated with the aid of colours is much higher than that communicated in black and white.

The technology of satellite communica-
tions is already bringing colour television pictures into billions of homes around the globe and the same technology will provide the same homes with access to the Internet. Instead of art galleries displaying coveted works of art for the pleasure of the elite few, free access to virtual art galleries will become available to millions, motivating many of them to participate in the revolution, contributing their own creations via their own Web sites. In this book we have looked briefly at the way digital colour works and at exciting new ways in which it can be applied to the creation of a wide variety of illustration types. As the digital revolution continues its dizzy pace, the opportunities unfolding before the designer are enormous. The future’s bright! The digital future is coloured!

The CD

The CD provided with Digital Colour in Graphic Design contains bitmap files of the Workshop images contained within the book. A readme.txt file catalogues the contents. 

The purpose of providing the CD is to allow the purchaser to view the images as they were originally created on screen. As explained within the book, the colour printing process fundamentally differs from that used to display images on a colour monitor and, therefore, some differences will be noticed. 

The CD images are provided in the widely used TIFF format so that they may be viewed on any of a wide range of painting or photoediting applications on either a PC or a Mac-intosh. 

Images are provided to the purchaser for viewing purposes only. They may not be redistributed by electronic or other means or included in a product for sale.

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