WEBVTT - Selects: How Color Works 0:00:00.720 --> 0:00:03.120 Hi everybody, This is Chuck here. Happy Saturday. 0:00:03.160 --> 0:00:05.080 I hope you're doing well. Do you want to know 0:00:05.120 --> 0:00:07.960 how color works? There's a lot to it and you 0:00:08.000 --> 0:00:10.000 can learn it all right now. This one is from 0:00:10.039 --> 0:00:12.160 May twenty first, twenty fifteen. 0:00:12.520 --> 0:00:13.440 I hope you enjoy it. 0:00:17.200 --> 0:00:23.440 Welcome to Stuff You Should Know, a production of iHeartRadio. 0:00:26.600 --> 0:00:29.760 Hey, welcome to the podcast. I'm Josh Clark with Charles W. 0:00:29.920 --> 0:00:33.760 Chuck Bryant and Jerry and it's stuff you should know. 0:00:35.400 --> 0:00:36.880 Color and technical color. 0:00:37.120 --> 0:00:39.520 Yeah, which is really something. 0:00:39.520 --> 0:00:40.559 It's tea technical. 0:00:40.880 --> 0:00:41.240 Yeah. 0:00:41.320 --> 0:00:43.960 Yeah, imagine what it was like back then. Oh man, 0:00:44.159 --> 0:00:45.120 I'll debut. 0:00:44.960 --> 0:00:48.919 Just melted people's eyes all bait probably did. You're like, wow, 0:00:49.800 --> 0:00:50.400 how are you doing? 0:00:51.000 --> 0:00:51.520 I'm great. 0:00:51.920 --> 0:00:52.839 I'm glad to hear that. 0:00:53.120 --> 0:00:53.680 Yeah, how are you? 0:00:54.320 --> 0:00:55.960 I'm good. I'm tired, but I'm good. 0:00:56.200 --> 0:00:57.560 Yeah. 0:00:57.680 --> 0:01:00.200 I got to precurely to study. 0:01:00.760 --> 0:01:02.960 Oh yeah, I had to get up early to make 0:01:02.960 --> 0:01:04.240 the cheese. 0:01:05.760 --> 0:01:08.560 What oh you know it's just saying. 0:01:08.520 --> 0:01:11.400 Don't wait, wait, who's saying, yeah. 0:01:11.240 --> 0:01:13.440 Make the cheese, make the sausage, make the doughnuts. 0:01:13.480 --> 0:01:14.720 I've heard make the doughnuts. 0:01:15.400 --> 0:01:16.560 You never heard make the sausage. 0:01:16.720 --> 0:01:18.720 I've heard you don't want to see how the sausage 0:01:18.760 --> 0:01:19.119 is made. 0:01:19.240 --> 0:01:20.440 Yeah, just pick anything. 0:01:20.640 --> 0:01:23.800 Make the cheese, I don't think so cut the cheese, 0:01:24.440 --> 0:01:27.039 milk the cow. People get up early for that, so 0:01:27.080 --> 0:01:28.360 I guess there's that association. 0:01:28.400 --> 0:01:29.240 Have you ever milked a cow? 0:01:29.560 --> 0:01:30.880 No? Have you? No? 0:01:31.040 --> 0:01:32.640 I was talking to Emily about that the other day 0:01:32.680 --> 0:01:35.440 because we went horse riding and I'd never ridden a 0:01:35.440 --> 0:01:36.039 horse before. 0:01:36.120 --> 0:01:37.160 Oh yeah, it's pretty neat. 0:01:37.240 --> 0:01:38.280 Huh, it's my. 0:01:38.319 --> 0:01:41.720 New favorite thing. Yeah, it was amazing how awesome it was. 0:01:42.440 --> 0:01:44.120 Did you jump over anything on the horse? 0:01:44.319 --> 0:01:47.680 No? But we like, you know, trotted up a hill. 0:01:47.880 --> 0:01:49.160 Did you shoot a bow and arrow? 0:01:49.400 --> 0:01:50.560 No? I almost fell off though. 0:01:50.600 --> 0:01:53.600 And yeah when he trotted up the hill, I got 0:01:54.360 --> 0:01:56.280 like kind of loose in the saddle, as they say. 0:01:57.080 --> 0:01:59.680 I was like, whoa, okay, well that's exactly what you 0:01:59.680 --> 0:02:00.840 should said, as woe. 0:02:01.040 --> 0:02:02.960 Well, no, he was going uphill, so I had to 0:02:02.960 --> 0:02:05.040 just keep on trucking. Really, yeah, I didn't want to 0:02:05.040 --> 0:02:07.160 stop him. Good for you, man, he was carrying a load. 0:02:07.240 --> 0:02:08.280 I felt bad for the horse. 0:02:09.000 --> 0:02:10.040 I'm sure he was fine. 0:02:10.120 --> 0:02:10.799 Yeah, he was all right. 0:02:10.880 --> 0:02:12.079 Yeah what was his name? 0:02:14.400 --> 0:02:15.360 Oh? Man? 0:02:15.760 --> 0:02:18.800 Now I'm kicking myself like a horse because I called 0:02:18.800 --> 0:02:22.160 this horse by his name the whole day, and now 0:02:22.200 --> 0:02:23.560 I can't remember Calvin. 0:02:23.840 --> 0:02:26.440 I thought we'd bonded. I guess I was just pretending. 0:02:28.440 --> 0:02:30.919 That's cool. The horse probably can't remember your name either. 0:02:31.000 --> 0:02:34.160 Yeah, and he took a big dump. They do that, right, 0:02:34.240 --> 0:02:35.960 and then just stopped. And I was like, what are 0:02:36.000 --> 0:02:36.679 you stopping for? 0:02:37.320 --> 0:02:40.280 And I was like, oh, oh, you're lucky even stop 0:02:40.360 --> 0:02:41.840 sometimes they just walk and do that. 0:02:42.200 --> 0:02:45.040 Really, all of the ones on our little ride stopped. 0:02:44.639 --> 0:02:47.720 To poop, which I thought was maybe I'm confusing them 0:02:47.720 --> 0:02:53.040 with another animal humans just walking poop at the same time. 0:02:53.200 --> 0:02:55.360 Anyway, it was my favorite new thing. I loved it. 0:02:55.480 --> 0:02:58.320 That's cool, man, I felt very at home. What color 0:02:58.480 --> 0:02:59.040 was the horse? 0:03:00.120 --> 0:03:02.480 The spotted ones, which I love, man. 0:03:02.560 --> 0:03:04.200 I was hoping you were gonna say, like blue or 0:03:04.200 --> 0:03:05.240 red or something easy? 0:03:05.960 --> 0:03:07.080 Did you smashed the table? 0:03:07.160 --> 0:03:09.200 Let's go with blue? Okay, blue? 0:03:09.400 --> 0:03:10.280 It was a blue horse. 0:03:10.440 --> 0:03:14.720 So allow me to explain why your horse appeared blue. Okay, 0:03:15.080 --> 0:03:19.560 As Newton figured out, that horse was not inherently blue. 0:03:19.560 --> 0:03:23.600 There's nothing inherently blue about that horse. Yeah, it's all 0:03:23.639 --> 0:03:24.519 in our perception. 0:03:24.760 --> 0:03:27.200 Yeah, because color technically doesn't exist. 0:03:27.560 --> 0:03:28.880 It exists in our minds. 0:03:29.280 --> 0:03:32.200 Well, yeah, the perception of color does exactly, But like 0:03:32.240 --> 0:03:36.320 an apple isn't just there's nothing in the apple that's red. 0:03:36.360 --> 0:03:38.920 Exactly, chuck, And there's nothing in your horse that made 0:03:38.920 --> 0:03:44.200 it blue. Now, what happens is that color is basically 0:03:44.280 --> 0:03:48.680 our perception of a specific wavelength of visible light. 0:03:48.920 --> 0:03:49.440 That's right. 0:03:49.560 --> 0:03:52.760 And visible light is just part of the electromagnetic spectrum 0:03:52.760 --> 0:03:57.800 that includes everything from microwaves to radio waves, to gamma rays. 0:03:58.120 --> 0:03:59.920 To ocean waves. 0:04:00.320 --> 0:04:06.800 Not quite, but visible light is part of that wavepools. No, no, no, 0:04:07.040 --> 0:04:12.280 just those things that I said. Okay, So along that 0:04:12.400 --> 0:04:17.040 spectrum is this very narrow little slice that's visible light. 0:04:17.240 --> 0:04:22.359 And invisible light which we see is like white light, sunlight. Yeah, 0:04:22.920 --> 0:04:26.880 it is the presence of the rainbow, which are called 0:04:26.880 --> 0:04:27.960 the spectral colors. 0:04:28.240 --> 0:04:28.760 It's right. 0:04:29.360 --> 0:04:31.800 On one end, you have the short wavelength, which is blue. 0:04:31.880 --> 0:04:35.720 On the other end, you have the long wavelengths, which is. 0:04:35.720 --> 0:04:37.679 Red technically violet. 0:04:37.760 --> 0:04:41.240 On the other side, well, red has a bunch of 0:04:41.279 --> 0:04:43.919 different names. When you start reading in the color. 0:04:43.800 --> 0:04:46.000 Well, no blue on the blue side, it's like starts 0:04:46.000 --> 0:04:47.919 at violet. But we don't perceive it very well. 0:04:48.240 --> 0:04:51.280 Oh well, I'm talking about what humans can see, right, Yeah, 0:04:51.320 --> 0:04:53.039 and then everything else is in between. 0:04:53.440 --> 0:04:56.560 Right, and what's really in the middle, Like yellow, Maybe 0:04:57.279 --> 0:04:59.320 it seems like yellow is kind of in the middle. 0:04:59.720 --> 0:05:03.240 Yeah. When you think, you tell me. 0:05:03.320 --> 0:05:06.400 Well, on the other end, beyond violet, you've got ultraviolet, 0:05:06.640 --> 0:05:08.360 and beyond red, you've got infrared. 0:05:08.480 --> 0:05:09.719 Yeah, these are things we can't see. 0:05:09.800 --> 0:05:12.880 No, we can't. Some animals can, remember they think monarch 0:05:12.920 --> 0:05:15.919 butterflies are able to migrate all the way to Mexico 0:05:17.360 --> 0:05:20.440 using ultraviolet detecting ultraviolet. I remember that. 0:05:20.520 --> 0:05:22.680 Oh yeah, man, that was a good episode, pretty amazing. 0:05:23.400 --> 0:05:27.600 So this band of light, this visible spectrum, contains the 0:05:27.720 --> 0:05:31.400 spectral colors which we perceive, right, And for a very 0:05:31.400 --> 0:05:34.880 long time, everybody just thought, well, that apple's red or 0:05:34.880 --> 0:05:37.320 that horse is blue. That's just how it's born. There's 0:05:37.320 --> 0:05:38.520 nothing that can be done about it. 0:05:38.680 --> 0:05:38.840 Yeah. 0:05:39.000 --> 0:05:42.000 And then like we said, along came Newton, and Newton said, no, 0:05:42.760 --> 0:05:46.320 something weird's going on here. Like you said, color doesn't 0:05:46.360 --> 0:05:50.640 really exist. It's in the eye of the beholder almost literally. Yeah, right, 0:05:51.520 --> 0:05:54.840 And the reason why an apple seems red or your 0:05:54.839 --> 0:05:58.159 horse seems blue are because of natural chemicals found in 0:05:58.480 --> 0:06:00.359 say the skin of the apple or the hide to 0:06:00.400 --> 0:06:04.960 the horse. That are called pigments. So in an apple, specifically, 0:06:05.040 --> 0:06:09.560 it's anthrocyanins that make it red. In the case of 0:06:09.600 --> 0:06:13.360 a carrot, it's carotenoids, in the case of grass, it's chlorophyll. 0:06:13.720 --> 0:06:18.400 And these pigments have the capability of absorbing some wavelengths 0:06:18.400 --> 0:06:22.839 of light and reflecting others back. And the wavelength that 0:06:22.880 --> 0:06:25.599 it reflects back are the colors that we perceive. 0:06:26.120 --> 0:06:26.599 That's right. 0:06:27.440 --> 0:06:31.360 And that's if it's an object that is opaque. 0:06:31.600 --> 0:06:34.320 Well, yeah, that's a big one right there. Yeah, apples 0:06:34.360 --> 0:06:35.280 are pretty opaque. 0:06:35.360 --> 0:06:39.720 Yeah, I would say, so that's your Superman maybe. 0:06:39.839 --> 0:06:43.400 Yeah, heats invisible see through apples. Oh yeah he can. 0:06:43.520 --> 0:06:46.520 Can I get your joke now? So yeah, with an 0:06:46.560 --> 0:06:50.520 opaque object, where light doesn't pass all the way through, 0:06:51.839 --> 0:06:55.039 some lights reflected back. So in the case of anthracyanins, 0:06:55.120 --> 0:07:00.839 this pigment absorbs all the other wavelengths of light except red, 0:07:01.400 --> 0:07:05.400 and it reflects red back, and so red is reflected back. 0:07:05.440 --> 0:07:07.200 So what you see when you look at this apple 0:07:07.279 --> 0:07:10.080 with all the red light reflecting back at you is 0:07:10.120 --> 0:07:13.120 a red apple, that's right. That's how we perceive color 0:07:13.360 --> 0:07:15.280 in the world around us. Naturally. 0:07:15.600 --> 0:07:19.080 Yeah, and if it's transparent, it's not reflecting that light 0:07:19.120 --> 0:07:22.560 but transmitting it. So it depends on the color of 0:07:22.640 --> 0:07:26.120 light that's passing through it instead of reflecting back to you. 0:07:26.560 --> 0:07:28.600 Yes, and again it's that chemical makeup. 0:07:28.840 --> 0:07:32.120 It operates in sort of the same way, right, It's 0:07:32.160 --> 0:07:34.320 just not like in an apple skin, let's say. 0:07:34.800 --> 0:07:37.480 Yeah, exactly. But it all comes to do It comes 0:07:37.520 --> 0:07:42.880 down to basically pigments or whatever natural chemical or mineral 0:07:43.800 --> 0:07:46.960 that either absorbs or reflects certain wavelengths of light. 0:07:47.040 --> 0:07:47.440 That's right. 0:07:47.960 --> 0:07:50.840 So here's the thing though, Chuck, Like that can happen 0:07:50.880 --> 0:07:53.200 all day long, and as long as there's not a 0:07:53.320 --> 0:07:56.600 human or a monkey, or a dolphin or a dog, 0:07:56.800 --> 0:08:00.160 because dogs are not colorblind, that's right. They see and 0:08:00.200 --> 0:08:03.000 colors than we do, but they're not color blind. 0:08:03.080 --> 0:08:06.800 I always wonder how they do this tests animals. 0:08:06.920 --> 0:08:08.160 Yeah, it's a good question. 0:08:08.520 --> 0:08:10.080 I mean, I'm sure it's pretty easy to find out, 0:08:10.120 --> 0:08:11.560 but I just didn't have time to look into it. 0:08:11.600 --> 0:08:15.800 I'm with you. Yeah, this is like in massive black 0:08:16.480 --> 0:08:19.560 hole of information, Like you could just keep going and 0:08:19.600 --> 0:08:24.440 going and going with colors such a huge expansive topic 0:08:25.240 --> 0:08:28.200 that we could just do nothing, but color episodes for 0:08:28.240 --> 0:08:30.000 the next several months. If we wanted to do you 0:08:30.040 --> 0:08:31.080 want to kill me? 0:08:33.200 --> 0:08:35.040 I may not make it through today's. 0:08:34.600 --> 0:08:37.439 So you're doing great. This is fine, This is great, Chuck. 0:08:37.760 --> 0:08:41.640 It is a very like big subject. Yes it is, man, 0:08:41.679 --> 0:08:44.960 We're just we're providing a brief overview of it. 0:08:45.040 --> 0:08:45.439 That's right. 0:08:45.720 --> 0:08:48.760 So, like I was saying, things can reflect color all 0:08:48.800 --> 0:08:50.520 the time, but as long as there's not something there 0:08:50.600 --> 0:08:53.560 to perceive it, is there any Is there really any 0:08:53.600 --> 0:08:57.720 color there? Well that's a philosophical question, but there's an 0:08:57.760 --> 0:08:58.880 answer to it, and the answer is no. 0:08:59.080 --> 0:09:00.760 If a tree falls in the woods and no one's 0:09:00.760 --> 0:09:02.040 around to hear, it doesn't make a noise. 0:09:02.200 --> 0:09:06.480 No. Actually, my opinion on that one is yes, okay. 0:09:07.240 --> 0:09:12.840 But with color, yeah, it doesn't exist without being perceived. 0:09:12.880 --> 0:09:15.000 I think. Yeah, sound to me is different than. 0:09:15.320 --> 0:09:17.240 It's a bit of a brain melter. But I see 0:09:17.240 --> 0:09:17.760 what you're saying. 0:09:17.800 --> 0:09:21.960 Okay. So that leads you to the question of how 0:09:22.000 --> 0:09:25.679 do we see color? And that wasn't figured out until 0:09:25.960 --> 0:09:29.800 the eighteenth century, and it wasn't proven I think, until 0:09:29.800 --> 0:09:32.200 the sixties. And there were a pair of guys who 0:09:32.200 --> 0:09:34.920 were a dynamic duo. If I've ever heard of one before, 0:09:35.800 --> 0:09:36.880 and what were their names? 0:09:37.280 --> 0:09:39.719 Well, Thomas Young, he was I thought he was kind 0:09:39.720 --> 0:09:41.040 of the main guy. I had never heard of. 0:09:41.040 --> 0:09:43.439 The other guy, Hermann von Helmholtz. 0:09:43.760 --> 0:09:47.200 Yeah, Thomas Young. What I read was that he was 0:09:47.240 --> 0:09:51.360 the first to propose the trichromatic theory. Basically that we 0:09:51.400 --> 0:09:55.240 see everything through red, green, and blue channels because that's 0:09:55.320 --> 0:09:57.600 how our eyes pick up on color. 0:09:58.040 --> 0:10:02.280 Yeah, because we have specialized cells in our eyes called cones, right, Yeah, 0:10:02.480 --> 0:10:06.400 I think we have something like one hundred million or 0:10:06.400 --> 0:10:09.600 some ridiculous amount of rods. And rods are the things 0:10:09.640 --> 0:10:13.640 that we see in like fine detail, black and white typically, right. Yeah, 0:10:13.880 --> 0:10:18.800 Cones are color perceiving cells, and each cell is specialized 0:10:18.880 --> 0:10:22.920 to you either attuned to wavelengths that red, green, or blue. 0:10:23.200 --> 0:10:25.360 Yeah, you have way more rods than cones, about one 0:10:25.440 --> 0:10:28.720 hundred and twenty million rods in each eye and only 0:10:28.920 --> 0:10:31.720 only about six million cones in each eye. 0:10:31.760 --> 0:10:35.440 And those cones are concentrated mostly in the front of 0:10:35.480 --> 0:10:38.120 your retina, Yeah, in the middle, right, which is why 0:10:38.160 --> 0:10:40.320 you don't see color peripherally quite as well. 0:10:40.360 --> 0:10:40.800 That's right. 0:10:41.559 --> 0:10:46.000 So these cells are attuned to different wavelengths, right. The 0:10:46.080 --> 0:10:50.040 long wavelengths are red, medium is green, and short is blue. 0:10:50.880 --> 0:10:52.200 I thought you said medium was yellow. 0:10:53.080 --> 0:10:54.040 No, that's in the middle. 0:10:54.320 --> 0:10:57.040 Oh okay, right, so medium is not in the middle. 0:10:57.880 --> 0:11:03.560 Well as far as our RGB goes, gotcha, okay. And 0:11:03.640 --> 0:11:06.600 so with these cells, Chuck, if you're looking at your 0:11:06.600 --> 0:11:11.800 blue horse, what was his name, Calvin the blue horse. Yeah, 0:11:11.880 --> 0:11:14.760 so if you're looking at Calvin the blue horse, you're 0:11:14.800 --> 0:11:19.760 getting a lot of information on from short wavelength light, yes, 0:11:19.920 --> 0:11:22.920 not so much at the long or medium wavelengths, right, 0:11:23.679 --> 0:11:26.760 And so there's probably a little bit it's not a 0:11:26.800 --> 0:11:30.240 true blue horse, right, which would mean that it was 0:11:30.400 --> 0:11:35.880 a totally saturated blue, which is only that blue wavelength, 0:11:35.960 --> 0:11:38.439 true blue wavelength coming to your eyes, there's probably a 0:11:38.480 --> 0:11:40.840 little bit of green, a little bit of red. And 0:11:40.880 --> 0:11:42.880 so all the cones in your eyes are getting all 0:11:42.960 --> 0:11:47.079 this information at once, and they're reporting to your brain 0:11:47.320 --> 0:11:52.760 via electrical impulses about the quality of the wavelengths of 0:11:52.880 --> 0:11:55.920 light that they're getting, and so your brain takes it 0:11:55.960 --> 0:11:59.400 and basically it becomes a color mixer and creates the 0:11:59.440 --> 0:12:02.679 color blue that you're seeing Calvin as Yeah, that's how 0:12:02.720 --> 0:12:05.360 we detect color. And from the r and the G 0:12:05.520 --> 0:12:11.679 and the B you can put together. Supposedly, the Commission 0:12:11.920 --> 0:12:17.440 on Illumination, a European Commission on illumination back in nineteen 0:12:17.480 --> 0:12:20.520 thirty one determine that humans can see something like two 0:12:20.600 --> 0:12:22.400 point three eight million colors. 0:12:22.880 --> 0:12:24.840 Oh, i'ds up to one hundred million, now. 0:12:24.920 --> 0:12:27.040 Is it? Because I've seen all over the place in 0:12:27.080 --> 0:12:29.640 this The nineteen thirty one CIE findings are the ones 0:12:29.679 --> 0:12:32.520 that people say, this has the best science behind it. 0:12:32.600 --> 0:12:35.760 Oh really, yeah? Yeah, so one hundred million, no, I'm sorry, 0:12:35.840 --> 0:12:36.599 ten million. 0:12:36.480 --> 0:12:40.080 Okay, okay. The other thing about the CIE is that 0:12:40.120 --> 0:12:43.440 people say, well, this was only under certain types of illumination. 0:12:43.559 --> 0:12:46.480 I think three different types of illumination, so it is 0:12:46.640 --> 0:12:49.480 entirely possible if you change the intensity or whatever, you're 0:12:49.520 --> 0:12:53.720 going to have brand new color. So ten millions reasonable, Okay. 0:12:54.160 --> 0:12:56.160 That's a lot of colors that we can see, all 0:12:56.200 --> 0:12:59.199 from the red, the green, and the blue cones coming 0:12:59.240 --> 0:13:02.600 together and your brain adjusting them and seeing, oh, well 0:13:02.640 --> 0:13:04.480 that's burnt sienna. 0:13:05.000 --> 0:13:07.280 I know you're gonna say that, did you. Yeah, that's 0:13:07.320 --> 0:13:09.320 sort of the go to joke color, right it is. 0:13:09.800 --> 0:13:10.880 It's pretty joky color. 0:13:10.880 --> 0:13:14.240 It's a good one. Yeah, it's pretty amazing. Ten million colors, 0:13:14.320 --> 0:13:18.000 or let's say it's two million, if you're going by 0:13:18.000 --> 0:13:19.280 the nineteen thirty one model. 0:13:19.440 --> 0:13:21.959 Yeah, you know, the CIE naming convention. 0:13:22.720 --> 0:13:25.120 Shall we talk about some of the characteristics of color. 0:13:25.280 --> 0:13:27.480 Yeah, but let's take a break first. This is getting heavy, 0:13:27.559 --> 0:13:39.240 all right, okay. 0:13:43.480 --> 0:13:47.760 Saish all right. 0:13:47.880 --> 0:13:50.480 So if you actually you can do this on your 0:13:50.520 --> 0:13:53.920 modern television as well, But it seemed like most TV's 0:13:54.000 --> 0:13:55.600 now kind of come fairly set up. 0:13:55.840 --> 0:13:58.280 Yeah, but in the old days, when you had those. 0:13:58.120 --> 0:14:01.200 Little wheels to try and get that color right, it 0:14:01.240 --> 0:14:03.680 was you know, you might have noticed things that said 0:14:03.880 --> 0:14:08.800 hue and intensity or value or tone and all that stuff. 0:14:09.200 --> 0:14:13.520 Those are all color characteristics. Yeah, and Hugh specifically is 0:14:15.400 --> 0:14:18.240 I mean, that's basically what the color is. It's not 0:14:18.360 --> 0:14:21.200 the lightness or the darkness. It's you know, it's the 0:14:21.280 --> 0:14:25.200 greenness or the redness or the blueness, right, that's the hue. 0:14:25.440 --> 0:14:29.200 Yeah, it's it's what you can interchange that word with color. 0:14:29.320 --> 0:14:32.640 Yeah, exactly. I like how they refer to it as 0:14:32.680 --> 0:14:33.920 the identity of a color. 0:14:34.120 --> 0:14:35.600 Yeah, that sounds kind of personal. 0:14:36.640 --> 0:14:40.840 The intensity is how pure it is. So, like we said, 0:14:41.120 --> 0:14:43.720 most colors are mixes. You know, they bleed one way 0:14:43.760 --> 0:14:46.200 or the other on the wavelength, but in its purest 0:14:46.200 --> 0:14:50.640 form a single wavelength, which is really rare, that would 0:14:50.640 --> 0:14:52.520 be the purity or the intensity. 0:14:52.080 --> 0:14:52.560 Of the color. 0:14:52.840 --> 0:14:53.080 Right. 0:14:54.040 --> 0:14:55.120 You're not gonna see that very. 0:14:55.040 --> 0:14:57.840 Often though, No, And I was wondering, like, that's pretty cool. 0:14:57.920 --> 0:15:03.040 There's some physics labs some where that can produce pure 0:15:03.240 --> 0:15:07.400 saturated green like unadultterated green or unadultraated blue. 0:15:07.480 --> 0:15:09.080 There is, or you're saying, I'm sure it's got to be. 0:15:09.400 --> 0:15:11.560 There has to be. Yeah, probably that has got to 0:15:11.560 --> 0:15:15.000 be really something to see. To know, you're looking at green, 0:15:15.600 --> 0:15:18.960 like nothing but green. I would like to see that sometime. 0:15:19.680 --> 0:15:22.440 Yeah, and I have I'm not color blind, but I 0:15:22.480 --> 0:15:26.360 have a more difficult time picking out other hues in 0:15:26.400 --> 0:15:30.120 a color, whereas Emily's really good, like when picking out 0:15:30.160 --> 0:15:33.680 paint colors, like that gray has this and this and 0:15:33.720 --> 0:15:37.000 this in it, and I'm like, really like I see gray. 0:15:37.040 --> 0:15:40.720 Well, supposedly a lot of people have a color deficiency. 0:15:41.000 --> 0:15:43.080 I might have a slight color deficiency. 0:15:42.600 --> 0:15:45.720 And a lot of people don't realize it. Well, yeah, 0:15:46.040 --> 0:15:48.000 a lot of people don't realize that. They think that 0:15:48.040 --> 0:15:50.120 this just this color just looks like this and thinks 0:15:50.120 --> 0:15:51.960 everybody sees it that way and that's not the case. 0:15:52.000 --> 0:15:54.640 And then it comes from a conversation where they're like, well, 0:15:54.640 --> 0:15:56.000 wait a minute, what do you mean you see a 0:15:56.040 --> 0:15:57.160 distinction between those? 0:15:57.480 --> 0:15:59.720 Well, but yeah, but in my case, it's hues. It's 0:15:59.760 --> 0:16:04.120 not like I see a completely different color, right, or you. 0:16:04.080 --> 0:16:06.440 Know, black, or everything's just looks gray. 0:16:06.600 --> 0:16:07.080 Yeah. 0:16:07.560 --> 0:16:11.240 I did a brain stuff on color blindness. That's pretty interesting. 0:16:11.480 --> 0:16:11.680 Yeah. 0:16:11.680 --> 0:16:14.160 I went to research that one time for a show 0:16:14.200 --> 0:16:15.840 and it would just like bent my mind so much 0:16:15.840 --> 0:16:17.440 I quietly filed it away. 0:16:18.320 --> 0:16:19.640 So I'm sure you'll pick it next week. 0:16:20.480 --> 0:16:21.520 Color blindness, Uh huh. 0:16:21.600 --> 0:16:22.920 Yeah. 0:16:23.360 --> 0:16:26.280 Value is the lightness or darkness of a color, and 0:16:26.320 --> 0:16:29.640 that's basically has to do with light, the energy of 0:16:29.640 --> 0:16:30.800 the light that makes it up. 0:16:31.720 --> 0:16:37.200 Yeah, and the value is so hues. There's really just 0:16:37.280 --> 0:16:41.640 kind of a finite, very finite number of colors of hues, right. 0:16:41.720 --> 0:16:42.680 Yeah. 0:16:42.720 --> 0:16:44.920 And you think of like primary colors, which we'll talk 0:16:44.960 --> 0:16:49.880 about soon. But when you adjust something, when you adjust 0:16:49.920 --> 0:16:53.760 the value of it, yeah, that just creates a whole 0:16:53.800 --> 0:16:56.920 new range of colors. So if you add a little 0:16:56.920 --> 0:16:59.680 black to a color, what you're doing is shading it. 0:17:00.200 --> 0:17:00.480 Yeah. 0:17:00.840 --> 0:17:04.119 If you add white, you are creating a tint. 0:17:04.359 --> 0:17:04.919 Yeah. 0:17:04.960 --> 0:17:07.080 And then if you add black and white a gray, 0:17:07.600 --> 0:17:08.439 you're toning it. 0:17:08.760 --> 0:17:13.240 Yeah, right, And I think people interchange those words without 0:17:13.320 --> 0:17:14.280 understanding what they mean. 0:17:14.359 --> 0:17:18.520 Yeah, but they are definite distinct things, and that we 0:17:18.560 --> 0:17:21.119 should probably say. There's a lot of really neat sites 0:17:21.160 --> 0:17:25.359 on the internet. Pantone is a really good one, yeah, 0:17:25.480 --> 0:17:27.680 where you can go look at color wheels and things 0:17:27.720 --> 0:17:30.879 like that and see the distinction between these things and 0:17:31.000 --> 0:17:34.120 be like, oh, you mean pastels. That's another word for 0:17:34.160 --> 0:17:34.639 a tone. 0:17:35.280 --> 0:17:38.320 Yeah, And it's a lot of people really get into 0:17:38.400 --> 0:17:43.320 it because it's the basis of printing and art and photography, 0:17:43.400 --> 0:17:47.800 and like every every sort of art form, well not 0:17:47.840 --> 0:17:51.080 every art form, but many art forms boil down the color. 0:17:51.800 --> 0:17:53.119 So if you go to art school, you're going to 0:17:53.160 --> 0:17:55.280 study color pretty deeply, yeah, you know. 0:17:55.680 --> 0:17:57.560 Yeah, And one of the things you're going to study 0:17:57.600 --> 0:18:00.439 is color theory. And color theory is based done the 0:18:00.480 --> 0:18:07.400 idea that certain colors contrast one another, certain colors complement 0:18:07.440 --> 0:18:10.160 one another, certain colors should never be used together. And 0:18:10.200 --> 0:18:16.080 not that it's just you know, your instructor serge saying no, 0:18:16.440 --> 0:18:19.960 these colors don't go together. It's not just Serge's opinion, right, 0:18:20.160 --> 0:18:23.520 These are objective facts as far as color theory goes. Sure, 0:18:23.600 --> 0:18:27.720 And it's all based on the idea that all colors 0:18:28.000 --> 0:18:31.880 fall into one of two categories. You have additive colors 0:18:32.000 --> 0:18:33.440 and subtractive colors. 0:18:34.000 --> 0:18:35.679 Yeah, and there's a couple of I mean, there's two 0:18:35.720 --> 0:18:38.479 distinct applications for both of these. If you're talking about 0:18:38.960 --> 0:18:43.439 a computer screen or a television that's using light, so 0:18:43.520 --> 0:18:49.040 it's additive. If you're talking about paint or photography that's subtractive. 0:18:49.320 --> 0:18:51.119 Right, So you can think of it this way. With 0:18:51.240 --> 0:18:55.600 additive colors, you're starting with black and you're adding light 0:18:55.720 --> 0:18:58.240 to it, and ultimately, when you add all these additive 0:18:58.280 --> 0:19:02.639 colors together, you're going to have white. With subtractive colors, 0:19:02.680 --> 0:19:05.080 you start with white, and when you add all these 0:19:05.080 --> 0:19:08.800 colors together, you're ultimately gonna have black. And they subtract 0:19:08.880 --> 0:19:11.760 by absorbing one another's colors. 0:19:12.920 --> 0:19:16.639 Another color mind bender two because with subtractive color, you're 0:19:16.680 --> 0:19:20.520 still adding colors, but it's not additive, right, But they're 0:19:20.560 --> 0:19:21.960 sort of have to wrap your head around that. 0:19:22.040 --> 0:19:27.920 Yeah, but they're subtracting wavelengths by combining colors and absorbing. 0:19:27.560 --> 0:19:29.200 Them, right, Yeah, it takes a hue out. 0:19:29.440 --> 0:19:33.160 So a really good example of subtractive colors is if 0:19:33.200 --> 0:19:39.719 you take cyan. Cyan absorbs orange, red, right right, So 0:19:39.800 --> 0:19:42.600 if you take cyan and you mix it with yellow, 0:19:42.720 --> 0:19:45.959 you produce green. And the reason that cyan and yellow 0:19:45.960 --> 0:19:50.920 produce green is because the cyan absorbs the red light 0:19:51.400 --> 0:19:55.600 and the yellow light. The yellow absorbs blue violet, and 0:19:55.640 --> 0:19:59.600 so the only color that's not subtracted or absorbed is green. 0:20:00.280 --> 0:20:05.600 So green is produced from these other pigments absorbing all 0:20:05.640 --> 0:20:10.840 the other wavelengths. Yeah, and with it additive coloring, additive pigments. 0:20:10.880 --> 0:20:15.480 It's it's quite the opposite. You have light combining to 0:20:15.640 --> 0:20:19.480