4-16

I E S LIGHTING HANDBOOK
I.C.I, co-ordinates from spectrophotometry curves. Although it is not
possible to construct a spectrophotometric curve from a color specification
in I.C.I, co-ordinates or other shorthand notation, I.C.I, co-ordinates x,
y
and Y may be obtained from spec-
trophotometric curves. The example
given in the Appendix on page A-24
illustrates the procedure
21
for making
the necessary computations for a deep
red reflecting surface whose spectral
reflectance curve is given in Fig. 4-9.
Solutions by both the weighted ordi-
nate and selected ordinate methods are
explained and Appendix Table A-13 on
page A-28 gives selected ordinates for
illuminants A, B, and C. A mechani-
cal integrator, by means of which much
of the numerical work of the selected
ordinate method may be eliminated, is
a time-saving tool.
J
0.76
0.40 0.50 0.60 0.70
WAVELENGTH IN MICRONS
FIG. 4-9. Spectral reflectance
curve for a vivid red surface Munsell
R4/14. 1 micron =
10,000 angstroms
=
1/10,000 centimeter.
Color Harmony in Design
Many theories of color aesthetics have been published. Most of these
are expressed in terms of one or another of the numerous systems of
surface color designation. To a considerable extent, they represent codifi-
cations of artistic taste and experience. Although many of these differ
greatly in many details, a few general principles have been expressed
repeatedly.
14
.
15
-
22
.
23
-
24
Both the purpose of a color schemewhether in a factory or night club,
on a machine or on a stageand the amount, quality, and distribution of
illumination that is to be available, should be known before colors are
selected.
Composition and design are always of paramount importance. A good
color combination will be most pleasing when used in a good design, and
an excellent design can make almost any combination of colors acceptable.
Consequently, it is possible to find or create exceptions to all "rules" of
color harmony.
Consistency of both design and color can be maintained without mon-
otony. It is possible to use a single hue exclusively if variations of value
(luminous reflectance) and chroma are employed in a design that provides
interest, accent, and variety. The use of one or more hues contrasting
with the dominant hue is the most common method of avoiding monotony.
Contrasting hues of high chroma are most effective when used in small
areas. Light colors (high reflectance) are effective as accents in dark sur-
roundings (prevalently low reflectance), and dark colors are effective for
variety and interest in light surroundings. Contrasting hues may be, but
need not be, complementary. .