History of Colors

What is the origin of the color? What is the physiology of human vision? When we see something, what exactly it means? We need to go to some scientific experiments to find out the answers of these questions.
He concentrated on the nature of spectrum we find in the rainbow for his experiment. He achieved the same spectrum when he passed a beam of sunlight through a glass prism. Newton named these colors red, orange, yellow, green, blue, indigo, and violet. Another experiment was carried out by passing a spectrum through glass prism. The output came in the form of white light. The experiments were going on and the third was about the complementary colors. With the help of two prisms he produced different colors on the same spot having white background. The combinations of these colors were producing the color, which lies between two source colors in the spectrum. Isaac Newton came to some amazing conclusions after these experiments.

1. Color is not in the glass it is in the light

2. White light is a mixture of all the colors of the spectrum

Think what apt training this would be for book art students seeing how, like book arts itself, it sits at the crossroads between several different disciplines. For one thing, the history of color could serve as a focal point to combine issues in the history of the book with those in the history of art. Developments in pigments, dyes, and inks have had profound effects on both book production (think, for instance, of Gutenberg’s development of oil-based ink) and painting (where would the Impressionists have been without their new synthetic paints in tubes?). Currently, book art programs still tend to be framed around traditional divisions. We teach the history of the book (I, in fact, teach the history of the book—I’m not exactly knocking that), but if we want to encourage students to think of the book in radically different ways, shouldn’t we also be teaching from a perspective that shows its history intersecting and intertwining with that of art instead? Or perhaps even more to the point, show how it overlaps with entirely different disciplines (so often set up in false dichotomies): the relationship between color-making and alchemy, medicine, chemistry, not to mention industrial manufacturing, has a rich history.