Practical application of browns and grays based on a vector concept—The practical strength the asymmetrical Munsell color space

Abstract

A comparison was done regarding tertiary students' response between the symmetrical color wheel—The Itten Color Wheel developed by Johanne Itten at Bauhaus School and the asymmetrical Munsell Color Space developed by Professor Albert Munsell. One of the significant differences was the students' response on the representation of browns and grays. Students realized the Itten Color Wheel did not indicate these less chromatic browns and grays in relation to their pure hues while the Munsell Color Space arranged these browns and grays progressively in accurate vector length from one hue to another. The Munsell Color Space was first developed with watercolor paint representing the true practical range of each hue with its transitional tertiary colors, namely the intermediate browns and grays within the color space. The practical range between any two or more hues could be visualized with the help of these intermediate browns and grays. To investigate further the importance of the asymmetrical structure of the Munsell Color Space and the practical advantage through representing browns and grays in the color space, this article will present a vector approach of color planning. This approach further enhances the learning of color theory based on the Munsell Color Space. A few practical examples are also shown in this article to illustrate how this vector approach may help in learning and planning color applications.

Evolution of Jean-Léon Gérôme's colour schemes

“…In the video, the company's founder, Robert Gamblin, introduces the acquisition of desired colours through mixing within a three-dimensional color space. It will help understand how colour vectors function in a colour scheme (Ng, 2018). The company specialises in producing high-quality paints for high-end industries such as art restoration.…”

“…Less chromatic colours such as browns and greys are presented in proper connections to their parent chromatic hues. It is important because these transitional colours, consisting primarily of greys and browns (Ng, 2018), are crucial in colour design because they can be used for colour bridging and visual hierarchy designing purposes.…”

“…As explained in Chapters 3.2 and 3.4, by understanding that the actual colour space as an asymmetrical geometrical volume instead of a symmetrical one, artists can craft or troubleshoot complex colour compositions with higher precision (Ng, 2015). Spatial relations among its colours can be created by maneuvering along the three attributes of the colour space (Ng, 2018). The artist can also be aware of the limitations of colour pickers of digital painting applications, therefore picking intended colours more accurately.…”