Hi Martin,
Thanks.
It was a mistake on my part - and I'm not that sure that people do want my
views...
Cheers,
Terry
-----Original Message-----
From: [log in to unmask]
[mailto:[log in to unmask]] On Behalf Of Salisbury, Martin
Sent: Saturday, 20 February 2016 5:28 PM
To: [log in to unmask]; 'Ken Friedman' <[log in to unmask]>;
'PhD-Design' <[log in to unmask]>; [log in to unmask]; 'Eduardo
corte-real' <[log in to unmask]>; 'Stuart MEDLEY' <[log in to unmask]>;
[log in to unmask]; [log in to unmask]
Subject: RE: Assume fixed number of colours in design?
Hi Terry,
Is there a reason why your message wasn't sent to the full list? I had
thought this was a PhD Design list discussion. I am sure everyone would like
to hear your views.
Best wishes
Martin
Professor Martin Salisbury
Course Leader, MA Children's Book Illustration Director, The Centre for
Children's Book Studies Cambridge School of Art
0845 196 2351
[log in to unmask]
http://www.cambridgemashow.com
http://www.anglia.ac.uk/ruskin/en/home/microsites/ccbs.html
________________________________________
From: Terence Love [[log in to unmask]]
Sent: Saturday, February 20, 2016 6:13 AM
To: 'Ken Friedman'; 'PhD-Design'; [log in to unmask]; 'Eduardo
corte-real'; 'Stuart MEDLEY'; [log in to unmask];
[log in to unmask]; Salisbury, Martin
Subject: RE: Assume fixed number of colours in design?
Dear Ken, Eduardo, David, Sue, Stuart, Gunnar, Martin and all
Ken, I can see that what I wrote doesn't make sense to you - yet. Perhaps
what follows may help.
One of the points I've made many times on this list is about awareness of
the layering of theories and analyses, the roles of meta-analysis of
theories and the precursor constraints shaping theory making.
A second point I've made is about the way that information about the
behaviours of a theory and its predictions, and the constraints on it can
be of more use than the theory itself.
A third issue is that it seems important also to distinguish between, and
consider separately, the real world, theory as perceived, representations
of theory (theory written down) , theory as its abstract self (different
from the previous two), how characteristics of theory are shaped, and how
characteristics of theories shape other things (typically other theories).
The essays of John Chris Jones that Cameron made available follow the same
points in many places.
The question I posted about colour was a meta-level query about one of many
factors that shape theory making about design activity, and, more
importantly, about predicting particular outcomes from it.
Specifically, the question focuses on the implications for deriving
predictive theory about the outcomes (not outputs) resulting from our
creation of designs, with respect to the inclusion of issues of colour.
More specifically, it focuses on how assumptions we make about the
continuity of colour spectrums shape the ease, practicality and usefulness
of making design theories predicting outcomes in the real world about design
activity.
When we assume colour is a continuous spectrum, then in making design theory
that includes this we are restricted to using design theory structures and
theories that can encompass colour use, design and perception as continuous.
In contrast, when we assume colour is used, designed and perceived as
discrete units of individual colour incorporating a range of electromagnetic
spectrum , or discrete segments of the electromagnetic spectrum (i.e. each a
range of colour that we can regard as the same colour), we can use other
design theory structures and theories that do not need to address colour
being continuous. Note: there is no assumption that it will be the same
bands of the electromagnetic spectrum in each case, only that there will be
bands representing each colour rather than colour being continuous spectrum.
The reason this may be significant is that we (as the design research
community) have had difficulty in developing design theories for predicting
the outcomes in the world resulting from designs and design decisions.
Moving from a continuous picture of colour to a discrete one potentially
offers a pathway to better and easier design theories.
Part of the difficulty of creating design theory for predicting outcomes has
been the need to have over-simplistic theories that can address colour and
other factors as continuous. One of the key things about theories that
represent continuous functions is they either require a huge depth in
abstract thinking (and almost always the use of serious maths) OR they
require reducing theories to simplistic form that removes their predictive
ability. The latter is what has manily occurred in design.
In contrast, if colour is discontinuous and there exists a measure of the
coarseness of its segmentation (e.g. Pantone has 3000 colours, or there are
three primary colours, or the sRGB colour space has 16.7E6 colours) then we
can use very different forms of design theories to predict outcomes from
design activity that are more discrete in form, and these are theories that
are potentially manageable without either over simplification or a lot of
maths.
I suggest that the reality already exists that we accept multiple colours as
the same ( although different arrangements in different circumstances). This
means that in practical terms the colour spectrum comprises discrete bands
of equivalence of colour, rather than being a continuous spectrum in which a
colour even minisculy different in frequency is different in use, design and
perception. We already accept multiple colours as the same in many ways: our
individual eyes see colours differently, our eyes see colours differently at
different time of the day, colour is perceived differently due to many
environmental factors, for practical and financial reasons we accept that
colours printed (or on screen) are what was intended even when they are
slightly different, etc.
In conclusion, my suggestion is that for the purposes of developing better
design theories that move towards predicting outcomes resulting from
designs, we pragmatically accept the practical reality of a spread of
colours being the same colour, rather than seeing colour in an abstract
manner as a continuous microscopically differentiated electromagnetic
spectrum.
Best wishes,
Terence
---
Dr Terence Love
PhD(UWA), BA(Hons) Engin. PGCEd, FDRS, PMACM, MISI Love Services Pty Ltd PO
Box 226, Quinns Rocks Western Australia 6030
Tel: +61 (0)4 3497 5848
[log in to unmask]
www.loveservices.com.au
--
-----Original Message-----
From: [log in to unmask]
[mailto:[log in to unmask]] On Behalf Of Ken Friedman
Sent: Saturday, 20 February 2016 5:45 AM
To: PhD-Design <[log in to unmask]>
Subject: Re: Assume fixed number of colours in design?
Ken
<snip> Terry Love's question does not make sense to me.
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