U.S. patent number 3,722,109 [Application Number 05/180,701] was granted by the patent office on 1973-03-27 for fine and graphics arts products for enabling amateurs and others to select and-utilize color materials with optical results of increased predictability.
Invention is credited to Nathaniel J. Jacobson.
United States Patent |
3,722,109 |
Jacobson |
March 27, 1973 |
**Please see images for:
( Certificate of Correction ) ** |
FINE AND GRAPHICS ARTS PRODUCTS FOR ENABLING AMATEURS AND OTHERS TO
SELECT AND-UTILIZE COLOR MATERIALS WITH OPTICAL RESULTS OF
INCREASED PREDICTABILITY
Abstract
A limited number of predetermined, systematically identified
color materials are predeterminedly arranged in an array of
distinguishable groups of colors of like "value," with reference to
the terms "hue," "value" and "chroma" as used in the "Munsell Color
System" (or with reference to equivalent terms as used in analogous
systems). The user, in working with the array, efficaciously is
enabled to create a particular color of predicted optical character
by mixing given colors from a particular group of premixed colors
of like "value."
Inventors: |
Jacobson; Nathaniel J.
(Brookline, MA) |
Family
ID: |
26760787 |
Appl.
No.: |
05/180,701 |
Filed: |
September 15, 1971 |
Related U.S. Patent Documents
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Application
Number |
Filing Date |
Patent Number |
Issue Date |
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78644 |
Oct 6, 1970 |
3628260 |
Dec 21, 1971 |
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694736 |
Dec 29, 1967 |
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Current U.S.
Class: |
434/103 |
Current CPC
Class: |
G09B
11/10 (20130101) |
Current International
Class: |
G09B
11/10 (20060101); G09B 11/00 (20060101); G09b
011/00 () |
Field of
Search: |
;35/28.3,28.5 |
References Cited
[Referenced By]
U.S. Patent Documents
Primary Examiner: Skogquist; Harland S.
Parent Case Text
RELATED APPLICATION
The present application is a continuation-in-part of application
Ser. No. 78,644, filed Oct. 6, 1970, now U.S. Pat. No. 3,628,260,
issued Dec. 21, 1971, which in turn is a continuation of
application Ser. No. 694,736, filed Dec. 29, 1967 now
abandoned.
TERMINAL DISCLAIMER
The final term of this patent, following Dec. 21, 1988 is
disclaimed.
Claims
What is claimed is:
1. A product for use in the fine and graphic arts, said product
comprising:
a. an organized array of color media of predetermined hues, values,
and chromas, symbolized by the notation H V/C;
b. each of said hues, as quantitatively defined in accordance with
the Munsell Color System, referring to the position of a color
sensation in the spectrum, the hue of any indicating-its relation
to the ten major hue terms, viz., red, yellow, green, blue, purple,
yellow-red, green-yellow, blue-green, purple-blue and
red-purple;
c. each of said values, as quantitatively defined in accordance
with the Munsell Color System, referring to the reflectance
luminosity of a color in comparison with a measured standard in the
form of a neutral a theoretically pure black symbolized by V = 0 to
a theoretically pure white symbolized by V = 10;
d. each of said chromas referring to the purity of a color in the
sense of degree of departure for neutral grey toward the most
intense color sensation of a particular hue, the scales of chroma
extending from C = 0 for a neutral grey out to C = 14 or farther
for the pure color;
e. selected groupings of selected color media being isolated from
other groupings of color media, each of said color media in any
such selected grouping being characterized by the same value as so
quantitatively defined;
f. said color media being of approximately maximum chroma at any
predetermined value;
g. said groupings each including at least four media, respectively
designated by hue terms including yellow, blue-purple, red and
green;
h. said hues, when considered as varying from value to value,
extending along lines that extend outwardly in the vicinity of V =
5/ and that are constricted inwardly in the vicinity of V = 2/ and
V - 10/.
2. The product of claim 1, wherein said media are in the form of
acrylic emulsion pigments.
3. A product for use in the fine and graphic arts, said product
comprising:
a. an organized array of color media of predetermined hues, values,
and chromas, symbolized by the notation H V/C;
b. each of said hues, as quantitatively defined in accordance with
the Munsell Color System, referring to the position of a color
sensation in the spectrum, the hue of any indicating-its relation
to the 10 major hue terms, viz., red, yellow, green, blue, purple,
yellow-red, green-yellow, blue-green, purple-blue and
red-purple;
c. each of said values, as quantitatively defined in accordance
with the Munsell Color System, referring to the reflectance
luminosity of a color in comparison with a measured standard in the
form of a neutral a theoretically pure black symbolized by V = 0 to
a theoretically pure white symbolized by V = 10;
d. each of said chromas referring to the purity of a color in the
sense of degree of departure from neutral grey toward the most
intense color sensation of a particular hue, the scales of chroma
extending from C = 0 for a neutral grey out to C = 14 or farther
for the pure color:
e. selected groupings of selector color media being isolated from
other groupings of color media, each of said color media in any
such selected grouping being characterized by the same value as so
quantitatively defined;
f. said groupings each including at least four media, respectively
designated by hue terms including yellow, blue-purple, red and
green;
g. said hues, when considered as varying from value to value,
extending along lines that extend outwardly in the vicinity of V =
5/ and that are constricted inwardly in the vicinity of V = 2/ and
V = 10/;
h. said color media having the following numerical designations of
hue, value and chroma:
i. said numerical designations varying no more than plus or minus
0.5 for hue, no more than plus or minus 0.1 for value, and no more
than minus 0.5 for chroma, there being no upper limit to
chroma.
4. The product of claim 3 wherein said media are in the form of
acrylic emulsion pigments.
Description
BACKGROUND AND SUMMARY OF THE INVENTION
The present invention relates to the fine and graphic arts and,
more particularly, to products for enabling amateurs and others to
select and utilize color materials, with visual results of
increased predictability.
Although the science of color has undergone considerable
development, difficulties have been encountered in enabling
amateurs and others to apply existing theoretical knowledge in a
practical manner. An amateur painter, for example, typically has
acquired a supply of different pigments, whose range of colors have
been limited by the inherent chemical characteristics traditionally
available. This range of colors bears little direct relationship to
either recent visual-chemical advances or to a conceptual
understanding of the order of color and its theoretical
possibilities in composition. Only after long and costly experience
in dealing with the complexity of mixing random pigments or like
materials is the painter able to achieve his desired color
objectives. The present invention contemplates enabling a user to
apply existing theoretical knowledge inherently by the provision of
a specific organization of premixed, measured, color materials.
Many systems have been developed for the purpose of making a
theoretical organization of the characteristics of color. These
have involved the establishment of common terms for color notation
and communication. While this invention is compatible with all
systems of measured color arrangements, the specific notations
presently employed in identifying the visual color factors of color
media are identical with those used in the Munsell Color System.
The physical terms "hue," "value" and "chroma," as defined in the
Munsell Color System, are used below to characterize the color
materials described -- hue referring to the position of a color
sensation of the spectrum (e.g. blue, blue-green, etc.), value
referring to the luminosity of a color in comparison with a
measured standard of varying degrees of light and dark (i.e.,
ability to evoke the sensation of brightness in the human eye), and
chroma referring to the purity of a color (i.e., the degree of
departure of a color sensation from neutral gray toward the most
intense color sensation of a particular position in the spectrum).
Again it will be understood that analogous terms of other color
systems could be substituted for the terms used herein.
It has been found that predicting the color that will result from
mixing two or more known colors is relatively simple and easy when
the known colors being premixed are of the same value and is
relatively complex and difficult when the known colors are not of
the same value. The present invention takes advantage of this fact
by organizing color materials in such a way as to inherently
program the selection of given colors for mixing in order to
achieve predicted color results. The primary object of the present
invention is to provide a kit of containers of color materials, a
palette supporting color materials, a chart displaying color
materials, or the like, in which the color materials are related
colorimetrically in an array of visually isolated groups of
different colors, the values of the colors within any group being
substantially the same, the values of the colors of different
groups being different, and the hues of the different groups being
selected for maximum feasible chroma. It has been found that a
specific master group of 35 colors, predeterminedly selected in
accordance with the present invention, enables the selection
therefrom of sub-groups of at least four colors plus black and
white, from which a variety of other colors may be predictably
mixed. Preferably each such sub-group contains the colors yellow,
blue-purple, red and green, which have been found to possess
extreme versatility for mixing, when of like value.
Other objects of the present invention will in part be obvious and
will in part appear hereinafter.
The invention accordingly contemplates the products characterized
by components, characteristics and relationships, the scope of
which will be indicated in the appended claims.
BRIEF DESCRIPTION OF THE DRAWING
For a fuller understanding of the nature and objects of the present
invention, reference is to be had to the following detailed
description, taken in connection with the accompanying drawings,
wherein:
FIG. 1 illustrates certain principles of color notation upon which
the present invention is based;
FIG. 2 is a kit of pigments embodying the present invention;
FIG. 3 is a color chart embodying principles of the present
invention; and
FIG. 4 is a color chart, with reference to which further principles
of the present invention are illustrated.
DETAILED DESCRIPTION
As suggested above, the Munsell Color System is a scientific
technique for describing and analyzing color in terms of three
physical attributes, identified as hue, value and chroma. This
system, as described in U.S. Pat. No. 824,374, June 26, 1906 in the
name of Albert H. Munsell for Color Chart or Scale, arranges the
three attributes of color into orderly scales of equal visual
steps, so that the attributes are dimensions or parameters by which
color may be analyzed and described accurately under standard
conditions of illumination. FIG. 1 diagrammatically illustrates the
relationships among these physical attributes in three dimensions.
Hue is shown as a circular band 20 in a horizontal plane. The hue
of a color indicates its relation to the five principal hue terms,
red, yellow, green, blue and purple, which with five sub-divisions,
yellow-red, green-yellow, blue-green, purple-blue and red-purple,
constitute the 10 major hue terms. Value is shown as an axial post
22 in vertical relation to the plane of band 20. The value of a
color indicates the degree of lightness or darkness of a color in
relation to a neutral gray scale, designated by N which extends
from a theoretically pure black symbolized by N 0/ to a
theoretically pure white symbolized as N 10/. A gray or a chromatic
color that appears visually half-way in lightness between pure
black and pure white has a value notation of 5/. Lighter colors are
indicated by numbers ranging from five, while darker ones are
indicated by numbers ranging below five. Chroma is shown as
angularly radiating spokes 24 extending from post 22 through band
20. Chroma indicates the saturation or degree of departure of a
particular hue from a neutral gray of the same value. The scales of
chroma extend from /0 for a neutral gray out to /14 or farther,
depending upon the strength of the individual color. A color
classified popularly as "vermillion" might have a chroma as strong
as /12 while another color of the same hue and value classified
popularly as "rose" might have a chroma as weak as /4. The complete
notation for any chroma color is written hue value/chroma, or
symbolically H V/C. A particular sample of vermillion might then
have Munsell notation of R 5/12.
The kit of FIG. 2 consists of a container having a base 26 in the
form of an open top box and a closure 28 in the form of an open
bottom cover. Both the base and the cover are composed, for
example, of cardboard. Within base 26 are a series of tubes 30
containing a series of at least six acrylic emulsion pigments
selected from a larger group of 35 pigments to be described below.
It has been found that the facilitated color relationships of the
present invention are especially significant in connection with
acrylic emulsion pigments because of their tendency to dry fairly
rapidly before and during use. Each tube 30 is composed of a
flexible metallic or plastic sheath having a threaded mouth, which
is closed by the knurled screw cap. On the label of each tube are
specified Munsell designations of hue, value and chroma, selected
from the charts now to be described in connection with FIGS. 3 and
4.
Colorimetrically, this kit contains a replete selection of basic
colors from which a large variety of intermediate colors may be
synthesized. More specifically, the kit contains a minimum
selection of the four colors yellow (Y), blue-purple (BP), red (R)
and green (G), the selection being based on the following
considerations. BP, R and G may be considered the primary colors of
light so that all parts of the spectrum can be produced by their
selected admixtures. In the physical mixtures of most pigments
presently available, Y does not result in a strong chroma when the
two components R and G are mixed to form it. Thus Y is added to the
palette selection. Not all colors appear at their greatest chroma
strength (intensity) at the same value level. For example, blue is
visually strongest at about value 4 or value 5. When a lighter blue
is needed, it is necessary to accept a blue that is somewhat
reduced in chroma. Other colors, such as yellow, are only very
strong when they are light in value. The darker yellows, or
"browns," of course, are not very intense. In accordance with the
present invention, each pigment at any selected value is presented
in its strongest possible chroma.
With reference now to FIG. 4, there is illustrated a natural band
of colors ranging from red through purple, which band has been
turned through a circle so that its ends are contiguous. This
circle has been based upon the consistent natural fact that certain
colors seem to "vibrate" when they are placed side by side.
Illustrating this active relationship of opposite colors, it can be
seen that red and blue-green "vibrate" when placed alongside each
other. These complementary colors, when mixed, weaken each other's
intensity. Thus red and blue green directly neutralize each other.
It has been found that when at the same value level, color
vibrations most effective and chroma loss is most acceptable.
With reference now to FIG. 3, the color chart shows all of the
colors available in the color list of the present invention in
reference to the color sequence of FIG. 4. as extended linearly at
28, 30 from W0 to W100 and from C0 to C100. They are displayed in
related visual hue sequences on equal value levels. From these 35
essential paints the artist can make his choice of those effective
for this painting technique. The special interrelationships of
these colors are most useful in sub-groups of more than six of
these pigments. Yet, as a single color, or in small groups, they
also give the artist the distinct advantage of having precise color
identification from which he can recognize the color relation to
this other paints.
As seen in the chart of FIG. 3, the hue sequence from one value
level to the next departs from a vertical line in order to allow
for real conditions of color strength and visual color spacing.
This selection fits most directly the pallette color needs of the
artist. By having the highest chroma at each value level, the
artist can easily mix the lower chromas from neutralizing colors of
the same value. He can achieve a hue not previously provided by
mixing adjacent colors of the same value when there is an adequate
range (five or more colors). To make changes in light and dark, the
various values of a given color can be combined. Beyond that, it
may be necessary to use mixtures with white or black paint for
lighter or darker color, respectively.
In this discussion of how to use the colors of the present
invention, the chart of FIG. 3 is an empirical expression of the
artist's practical color needs. Prior charts have been
characterized by symmetrical hue spacing for all value levels. In
contrast, the chart of FIG. 3 is characterized by hue positions
which follow curved lines as they change from value to value. More
specifically, assuming horizontal lines representing colors of
equal values, these colors are disposed vertically along lines
representing somewhat different hue to roughly the same color,
these lines being expanded outwardly in the vicinity of values 5
and 6 and being constructed inwardly at their upper and lower
extremities.
With reference to FIGS. 1, 3 and 4, the numerical designations of
the specific colors of TABLE I are highly preferred as constituting
the group from which the particular pigments of FIG. 2 are
selected. These numerical designations can vary to some extent but
preferably the variation, i.e., the tolerance should be no greater
than plus or minus 0.5 for hue, no greater than plus or minus 0.1
for value, and no greater than minus 0.5 for chroma (there being no
upper limit for chroma).
The chart of FIG. 4 shows which colors are juxtaposition and which
colors are opposite (complementary). The calibrated circle includes
100 graduations for the warm colors and another 100 graduations for
the cool colors. With this chart it is very convenient to locate
exact complementary positions. Thus, w15 (red-purple) is exactly
opposite c15 (green). With this knowledge available, the artist has
greater freedom of choice and more creative power in his control of
color. In accordance with the present invention, instead of working
with memorized combinations of paint ingredients, color changes can
be controlled visually. The artist can depend upon the built-in
relationships of the available colors to achieve consistently
predictable effects. By observing the position of the hue on the
color circle, the artist can know how to neutralize or reduce
chroma, how to intensify color relationships and how intermediate
hues can be created. Standard color mixing advice usually begins
with the suggestion to combine the strongest available red, yellow
and blue. Using these three "primaries" many of the different
TABLE I
Color Hue Chroma
__________________________________________________________________________
Value 9 YELLOW w82Y 10 Value 8 RED w35R 6 Value 8 YELLOW w69Y 12
Value 8 BLUE c55B 5 Value 7 RED PURPLE w25RP 9 Value 7 YELLOW RED
w55YR 14 Value 7 YELLOW GREEN w100YG 11 Value 7 BLUE c55B 7 Value 7
PURPLE c86P 8 Value 6 RED PURPLE w15RP 11 Value 6 YELLOW RED w49YR
12 Value 6 GREEN c8G 10 Value 6 BLUE c60B 8 Value 6 PURPLE c86P 9
Value 5 RED PURPLE w10RP 13 Value 5 RED w42R 15 Value 5 YELLOW w67Y
5 Value 5 GREEN c10G 10 Value 5 BLUE GREEN c35BG 8 Value 5 BLUE
c65B 10 Value 5 PURPLE c89P 10 Value 4 RED w40R 13 Value 4 YELLOW
w67Y 3 Value 4 GREEN c15G 8 Value 4 BLUE PURPLE c70BP 10 Value 4
PURPLE c88P 11 Value 3 RED w38R 9 Value 3 GREEN c20G 5 Value 3 BLUE
PURPLE c80BP 12 Base Value RED w33R 7 Base Value YELLOW (BROWN)
w66Y 2 Base Value BLUE GREEN c30BG 5 Base Value BLUE PURPLE c74BP 5
Base Value BLUE PURPLE c82BP 11 Base Value PURPLE c92P 8
__________________________________________________________________________
colors of the spectrum can be produced in fairly high chroma.
Seeing how far apart these colors are in value it is then
necessary, in order to arrive at a desired color, to add some white
or black. In accordance with the present invention, it is much more
direct and convenient to use the selected colors that have already
been adjusted in value at their highest achievable chroma. With
such colors, it no longer is necessary to adhere to the
conventional three "primaries." Instead the strongest colors for
use in each mixing problem can be chosen. In other words, color
that is closest to the value and hue need can be chosen, then other
colors of the same value level can be added to adjust hue and
chroma. The farther apart the colors are on the color circle, the
greater the loss of chroma in color mixtures. Where the colors used
for mixing are extremely far apart, the mixture tends to a neutral.
In the lightest value levels, for example, yellow is an essential
mixing color. As yellow loses its chroma and degrades into the
darker brown of the lower value levels, the strongest mixing colors
are yellow-reds and yellow-greens. This phenomenon can be seen in
connection with Value 7 using red-purple, yellow-red, yellow-green
and blue as "primary" mixing colors. In practice, the artist can
choose four or five "primary" mixing colors in the lower value
levels to produce an unprecedently brilliant range of related
colors.
The present invention, in effect, provides ordered combinations of
standardized, premixed, measured colored media for versatile use
and programmed data for specific guidance. Since certain changes
may be made in the foregoing disclosure without departing from the
scope of the invention hereof, it is intended that all matter
contained in the above description and shown in the accompanying
drawing be interpreted in an illustrative and not in a limiting
sense.
* * * * *