[Copyright 2002,2003,2004,2005,2007 Frank Durda IV, All Rights Reserved. Mirroring of any material on this site in any form is expressly prohibited. The official web site for this material is: http://nemesis.lonestar.org Contact this address for use clearances: clearance at nemesis.lonestar.org Comments and queries to this address: web_reference at nemesis.lonestar.org]
Even experienced artists and graphical designers make blunders when it comes to the use of color, particularly when first using the video medium. Color combinations that look great in printed matter look absolutely horrible in a web page or other illuminated display.
There are also color combinations that are perceived as the same shade of gray (or a completely different color) when viewed by the 10% of the population with some form of color blindness, and this can render the content invisible.
The artist can also be inadvertantly tricked into creating problems by developing the material using a higher resolution or a different type of video system display than what the finished product will be viewed on. Some color combinations cannot be represented when used in certain ways on television displays (including NTSC, and PAL analog transmission systems, and hybrid or all-digital ADTV, EDTV, MUSE, and HDTV systems), due to the sub-sampling of color detail that is performed in all of these systems. Images may look fine in VGA and look terrible elsewhere.
The designer of web content must also understand the difference between subtractive color (printing) and additive color (video), avoiding combinations of colors that have similar luminance levels, and limiting use of "color wheel" opposites, which are color combinations that may be encoded by the video system in lower resolution and undesired ways, or just difficult for the human eye to perceive.
The following documents discuss some of the key technical issues related to color selection for video and the considerations of such use. Numerous charts and examples show good and bad use of color. The documents are listed in the recommended reading order.
Section 2: Luminance, Luminance, Luminance!
(Learn how to select the colors and shades of gray that
will actually be readable and look good at the same time.
If you only have time to read one section, read this one!)
(Additional sections are still under development)
Appendix A-1 through A-4: Red Color Charts
(Each color shown always has
Red
as the strongest component.)
Appendix B-1 through B-4: Green Color Charts
(Each color shown always has
Green
as the strongest component.)
Appendix C-1 through C-4: Blue Color Charts
(Each color shown always has
Blue
as the strongest component.)
Appendix D-1 through D-4: Dual Primary Color Charts
(Each color shown has two primary colors of the same intensity and are also the
strongest components.
These are the
Yellow,
Cyan, and
Magenta color shades.)
Appendix E: Luminance Calculator (NOT YET AVAILABLE)
Appendix F: Full Screen Color Bars
(A bigger version of the NTSC color bars shown in Section 1
on white and black backgrounds.)
[Copyright 2002,2003,2004,2005,2007 Frank Durda IV, All Rights Reserved. Mirroring of any material on this site in any form is expressly prohibited. The official web site for this material is: http://nemesis.lonestar.org Contact this address for use clearances: clearance at nemesis.lonestar.org Comments and queries to this address: web_reference at nemesis.lonestar.org]