ProdottiSediePoltrone loungeDivaniSedie da ufficioChaises longuesSgabelli et pancheScultureSedie per conferenzeSedute per aeroportiVolume utileMicro architectureTavoli da pranzoTavoli barTavolini da soggiorno e da salottoScrivanieSistemi di arredo per l'ufficioSistemi per conferenzeIlluminazioneOrologiOggetti decorativiAppendiabiti da parete e mensoleVassoi e vasiAlexander Girard Antonio CitterioCharles & Ray Eames Barber OsgerbyGeorge NelsonHella JongeriusIsamu NoguchiJasper MorrisonJean ProuvéKonstantin GrcicRonan & Erwan BouroullecVerner PantonJulie RichozCura & riparazioniRicambiProdotti per la curaGaranzia del fabbricanteNuovoBestsellerDisponibile velocementeGift finderOffice chair finderLounge chair finderColori e materialiMikadoColour Frame MirrorsIspirazioniSoggiornoSala da pranzoHome OfficeStanza dei bambiniOutdoorHome StoriesAugmented RealitySpazio di lavoroFocusRiunioniWorkshopClub OfficeCitizen OfficeStudio OfficeDynamic SpacesOspitalitàAeroportiEducazioneCo-WorkingHealthcareNostri clientiHome StoriesAugmented RealityPerché i classici sono così importantiColori e materialiUna casa invitante Uno spazio di primo piano per un istituto d'arte di primo pianoComfort e sostenibilità combinatiUn paesaggio d'ufficio - senza pareti o divisoriServiziCura & riparazionRicambiProdotti per la curaGaranzia del fabbricanteFAQ e contattiIstruzioni d'usoIstruzioni d'uso per prodotti precedentiConsulting & Planning StudioConsulenza e progettazione nella VitraHausIstruzioni per la cura all'esternoRiparazione, manutenzione, revisione presso il Vitra Circle Store Campus ProfessionalsDati CADSchede technicheCertificazioniBrochureRapporto di sostenibilitàIstruzioni d'usoInformazioni sull'ecologiapConEsempi di pianificazioneColori e materialiCertificazioni e normativeDealer loginMikadoTyde 2 su ruoteACXOur ClientsDancing OfficeSedie da ufficioMagazineStorieConversazioniEsposizioniDesignerProject VitraVitraHaus Loft - A conversation with Sabine MarcelisA 1000 m2 piece of furnitureShaping the future of energyFrom a toy to an objectWhat would nature doWhy design classics remain relevant, even in the officeA studio visit with Tsuyoshi TaneThe Eames Collection at the Vitra Design MuseumMoments in architectureAbout the partnership between Eames and VitraThe Eames La ChaiseSaul SteinbergTane Garden HouseWhat would Charles and Ray say?The Maison Jean ProuvéDesign is a highly political professionPhilosophy of select and arrangeThe OriginalVitra CampusMostreVisite guidate e laboratoriRistorazioneShoppingAttività da svolgere in famigliaArchitetturaIl vostro eventoPianifica la tua visitaVitra Campus appNotizieVitraHausVitra Design MuseumVitra SchaudepotVitra Circle Store CampusOudolf GartenSu VitraSostenibilitàJobs & CareersProcesso di designL'originale è di VitraStoria - Project Vitra
What is Colour?
by Verner Panton
© Verner Panton Design AG
"Choosing Colours should not be a gamble. It should be a conscious decision. Colours have meaning and function," says Verner Panton. In the book "Notes on Colour", the Danish designer collects his ideas and thoughts on colours. An extract.
"Colours are a subjective, physical perception – they really don’t exist at all. Yellow is yellow only in our thoughts. It is only the function of our eyes that creates colours. Everything in our surroundings has a color – only water (distilled) and schnapps are colourless!"
© Verner Panton Design AG
"Colourless is only what light can penetrate completely. A colour has its origin in the purely physical world. It originates in light rays being reflected from or penetrating a substance. The things we see get their colour and appearance from rays of light.
The rays of light hit an object, are reflected by or penetrate it and are picked up by the eye, Some of them are absorbed by the object thus changing the intensity and composition of the reflecting or penetrating light."
"Colourless is only what light can penetrate completely. A colour has its origin in the purely physical world. It originates in light rays being reflected from or penetrating a substance. The things we see get their colour and appearance from rays of light.
The rays of light hit an object, are reflected by or penetrate it and are picked up by the eye, Some of them are absorbed by the object thus changing the intensity and composition of the reflecting or penetrating light."
© Verner Panton Design AG
© Verner Panton Design AG
"The perception of colour depends on the source of the light. The sun is our most important source of light. Daylight is rich in blue tones. In contrast the standard light bulb does not contain much blue or violet but has a great deal of yellow, orange and red. Sunlight has a more golden tone. When it falls on fresh snow it looks more yellowish while fresh ski tracks cast a blue shadow because of the pure light from the sky."
© Verner Panton Design AG
"Textiles seem to have different shades of colour by daylight and by lamplight. A scarlet material seem to be intensely red by lamplight and bluish in daylight. A blue-green material seems less blue by lamplight than daylight. When an object reflects more than 80-90% of the light falling on it we perceive it as white. When it absorbs more than 95% of the light it appears black."
"Textiles seem to have different shades of colour by daylight and by lamplight. A scarlet material seem to be intensely red by lamplight and bluish in daylight. A blue-green material seems less blue by lamplight than daylight. When an object reflects more than 80-90% of the light falling on it we perceive it as white. When it absorbs more than 95% of the light it appears black."
Publication date: 8.6.2017
Author: Verner Panton. From "Verner Panton: Notes on Colour". Danish Design Center; Copenhagen; 1991.
Images: © Verner Panton Design AG