Understanding the color white in drawing and color science classes for future visual arts professionals

Abstract

The article presents a comprehensive analysis of the phenomenon of white color as a specific result of the interaction between the physical properties of light and the psychophysiological characteristics of human visual perception. White is interpreted not as an objective property of the material world, but as a subjective sensation arising from the uniform reflection of the light spectrum by surfaces or the emission of light from digital screens.
Special attention is paid to the differences between the perception of white color in traditional artistic practices and within the digital environment. The mechanisms of white color formation in painting through pigment mixing, as well as in digital RGB and CMYK models, where it is defined numerically, are analyzed. It is determined that, despite the precision of digital coding, the final perception of color remains subjective and depends on an individual's visual characteristics, lighting conditions, and emotional state.
The study emphasizes the importance of developing sensitivity to subtle shades of white in the professional training of designers and artists. Examples of educational practices, particularly drawing plaster models, are provided as effective means for developing the ability to differentiate tonal gradations of achromatic colors. Particular attention is given to mastering the terminology of white shades as an essential component of professional communication.
Additionally, the role of white color as a formative tool in design and artistic practice is examined. It is shown that white functions not only as a background but also as an active compositional element influencing spatial perception, scale, and emotional expression. Approaches to the classification of white shades in both traditional materials and digital environments are generalized, enabling more accurate prediction of the transfer of images from screen to physical media.
The study concludes that it is necessary to combine theoretical knowledge of color science with practical experience in working with both material and digital color carriers. Prospects for further research are associated with the development of a systematic glossary of white shade terminology to enhance precision in professional activity within the field of visual arts.