Interesting question. I don't think its a setback. Everything can be learnt. Its the passion, determination and motivation for the field that matters.

Inspiring response, Dickson. Thanks.

Yes. In fine arts, graphics, sculpture etc. Artists are working on their special talents to create a new quality while using the material. They do not copy reality, however some poor talented will. For me there is no problem for color blindness as the limitation for studying visual arts.

Great Point, Dr. Borowska-Beszta.

Everyone has a weakness, one or other, and none are created as perfect. Intelligence is to work on the positive (others) than to harp on the bygone.

Choice is yours . . . .

That's the reality, we are imperfect beings. Good point, Dr. Umachandran.

No, and most definately you can work in visual arts.

Thanks for your response, Maria.

As a colour blind, you can work in the visual communication industry. With the nowadays softwares, each color is permanently defined by numerical features, whether in the hue/value/chroma systems for pigments, CMYK systems if you work in printing industry, or RGB systems for screens. These tools allow you to record and manipulate colors as numbers. You often will have to do an extra work to be as efficient as the one who directly see colors. You will work differently. And sometimes you will be even more efficient than him, because the numerical scales are not subjective or linked with individual color perception.

This succinct explanation best addresses my concern for the case in point where a colour-blind individual would work as a Colourist in say, a film/tv industry. Very informative, Thierry. Thanks.

It will pose a problem as a visual art but can do best at the performing field,which most at times do not do with colour but performance

When you have disability with high motivation, you'll do better than many healthy people

First of all: even for non-colour-impaired people, the world is never looking the same, just look at #TheDress (for instance: Hesslinger, V. M., & Carbon, C. C. (2016). #TheDress: The role of illumination information and individual differences in the psychophysics of perceiving white‐blue ambiguities. i-Perception, 7(2), 1-10. ); you can observe this even for the broader field of PERCEPTION as such: Perception is mainly a cognitive task, not a sensory one. Of course, if you suffer from deuteranopia, protanopia, or tritanopia, there are obvious and stronger deviations from the normal distribution, still, we know a lot of phenomena that can compensate for the impairment of colour vision, e.g. familiarity or context. Now, the question is where exactly you want to work in the very wide and various field of visual arts? If you're mainly working on colour harmony, fine-graded colur arrangements etc. etc., you will be hindered, no question; if it is more about an expressionist approach of using colours, many other factors are much more influential, among them creativity, vigilance, motivation, kwowledge. In the end the most influential factor will be the WILL OF DOING it. You will find assistance and help everywhere if you struggle with some specific issues, and you will find ways to compensate for most impairments. Finally, impairments are often the starting point of creating new ways, approaches and solutions, ESPECIALLY in the visual arts!

Wow! I consider this response of yours an enlightening one. Thanks, Prof. Carbon. In fact, your concluding quote "impairments are often the starting point of creating new ways, approaches and solutions, ESPECIALLY in the visual arts", transcends all of life's endeavour.

To add to Dr. Carbon's remark, "impairments are often the starting point of creating new ways, approaches and solutions," I think it's clear that certain "deficiencies" very often lead to innovation, and not just in the visual arts. I think trained opera stars would consider vocal "shouting" style or whispered falsetto as "impaired," perhaps, but we all know they have much greater impact on popular culture. Similarly, the handheld camera and jump cuts of film in the later 1960s would have been seen as flat-out mistakes during the golden age of Hollywood, but look what happened. They caught on and are now parts of the expressive vocabulary that aspiring filmmakers must learn. So colour blindness might create a stumbling block here and there, but it might also lead to workaround solutions (like the colour numbers mentioned above) that change taste. And that's the proof of the pudding. Can you innovate so as to change taste? Anybody can innovate without an audience, but getting traction in posterity is the bigger challenge. Go for it.

wonderful discussion support the idea of Claus-Christian Carbon

It´s possible. Is not an obstacle if you work in drawing, sculpture, installations. Sometimes, I have - as teacher of Fine Arts (higher education) - daltonic students. And, today, there are appropriate glasses for daltonic people.

YES!

Reason: The colour is often the first layer of visual comprehension but not the only one. There is more to 'visuality' like its form, structure and texture.

The emerging Universal Design discourse/concerns in Communication Design are attempting to address the various 'colourblind' issues. Mandar Rane in his blog has meticulously discussed the issue, have a look. https://mrane.com/portfolio/design-for-the-colorblind/