![]() I think I might have been able to fix this problem by using different colours for the opponents depending on the track, so that I would have been able to match their colours to each track's colour scheme. ![]() As you can see in the image below their colours are random splotches on the colour wheel, unrelated to the other colours in the image. When analysing those colours using my Colour Wheel Visualiser it quickly becomes clear why. ![]() ![]() Those are only seen all together at the very beginning of a race and I always felt like they didn't look good together. One thing I was never really satisfied with in Proun is the colours of the opponents. Apparently while searching for colours that look good together I accidentally used Gurney's theories quite exactly! I happen to even vary between the schemes he gives as examples: some gamuts are mostly on one side of the colour wheel, while others are quite exact complementary schemes. Surprisingly, it turns out that most of these form quite clear triangles. Now that we have this tool, what do Proun's colour schemes look like? Let's have a look. You can download the tool (including source code) here:Äownload Joost's Colour Wheel Visualiser.zip (24kB) It simply loads an image (JPG or PNG) and shows which parts of the colour wheel are used in that image. To be able to exactly analyse the colour schemes of existing art I have hacked together a little C# tool: Joost's Colour Wheel Visualiser. This made me curious: how do the colour schemes in Proun relate to them? Nevertheless the colour gamuts seem like a very sensible and useful tool to me. I suppose experienced artists might have many other tricks to achieve good colour schemes, and there is probably some really good art that totally doesn't fit what Gurney explains. While normally an artist would need to be careful not to use colours too much, when using a limiting gamut it becomes possible to aim for using the brightest colours allowed within the gamut and still achieve a harmonious whole. The colour gamut can even be on just one side of the colour wheel, greatly limiting the colour scheme in an artwork. This limits the colour usage and keeps an artwork from becoming a "fruit salad" as Gurney calls it. All other colours will be less saturated since they cannot be on the outer rim of the colour wheel, no matter how bright the chosen primary colours are. The big revelation to me is that this means that only the three chosen primary colours can be fully saturated. The area of allowed colours is called the "gamut mask". This creates a triangle on the colour wheel and we can only use the colours inside the triangle. This limits the number of colours that can be used in an artwork. The idea is that you pick a few colours and only use the colours that can be mixed using those colours. The colour circle is independent of light/dark: each of those colours can still be made lighter or darker. This means that the strongest colours are at the outside. Towards the inside the colours desaturate towards grey. To understand this we first need to know the colour wheel. The concept I found most interesting in Gurney's book is gamut mapping. So let's have look: what are Gurney's ideas and how do they relate to Proun's art? You can download the tool and source further in this post. How then do the colour schemes in Proun relate to Gurney's colour theories? To analyse this I have developed a simple little tool that visualises the colour scheme in an image. Apparently this was successful, since reviewers were extremely positive about Proun's visuals and vibrant colours. I just tweaked the colours until they looked good. I was especially curious about Proun: when creating the art for this game I did not know anything practical about colour theory. It contains a number of really interesting ideas about colour schemes, so I was curious how these relate to existing games. During the Christmas vacation I read the fantastic book Color and Light: A Guide for the Realist Painter by James Gurney.
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