Color theory

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  • www.http://warhol.org/interactive/silkscreen/main.html
  • Color theory

    1. 1. Color Theory The art and science of color interaction and effects.
    2. 2. RGB ADDITIVE COLOR Color created from beams of light.
    3. 3. RGB Red Green Blue ADDITIVE COLOR
    4. 4. RGB Red Green Blue ADDITIVE COLOR Color created from beams of light.
    5. 5. RGB Red Green Blue ADDITIVE COLOR Color created from beams of light. This system applies only to devices employing light – computer monitors – television sets – theater stage lighting
    6. 6. RGB Red Green Blue ADDITIVE COLOR Color created from beams of light. This system applies only to devices employing light – computer monitors – television sets – theater stage lighting
    7. 7. RGB Red Green Blue ADDITIVE COLOR Color created from beams of light. This system applies only to devices employing light – computer monitors – television sets – theater stage lighting
    8. 8. RGB Red Green Blue ADDITIVE COLOR Color created from beams of light. This system applies only to devices employing light – computer monitors – television sets – theater stage lighting
    9. 9. RGB Red Green Blue ADDITIVE COLOR WE ADD COLORS IN ORDER TO GET WHITE Color created from beams of light. This system applies only to devices employing light – computer monitors – television sets – theater stage lighting
    10. 10. Primary Color – ADDITIVE RGB Light! This is how a computer translates color to a monitor.
    11. 11. RGB LIGHT RED + GREEN = YELLOW BLUE + GREEN = CYAN RED + BLUE = MEGENTA RED + GREEN + BLUE =WHITE
    12. 12. Primary Color – ADDITIVE RGB Light! This is how a computer translates color to a monitor.
    13. 13. RGB LIGHT RED + GREEN = YELLOW BLUE + GREEN = CYAN RED + BLUE = MEGENTA RED + GREEN + BLUE =WHITE
    14. 14. RGB LIGHT RED + GREEN = YELLOW BLUE + GREEN = CYAN RED + BLUE = MEGENTA RED + GREEN + BLUE =WHITE
    15. 15. Primary Color – ADDITIVE RGB Light! This is how a computer translates color to a monitor.
    16. 16. RGB LIGHT RED + GREEN = YELLOW BLUE + GREEN = CYAN RED + BLUE = MEGENTA RED + GREEN + BLUE =WHITE
    17. 17. RGB LIGHT RED + GREEN = YELLOW BLUE + GREEN = CYAN RED + BLUE = MEGENTA RED + GREEN + BLUE =WHITE
    18. 18. Primary Color – ADDITIVE RGB Light! This is how a computer translates color to a monitor.
    19. 19. RGB LIGHT RED + GREEN = YELLOW BLUE + GREEN = CYAN RED + BLUE = MAGENTA RED + GREEN + BLUE =WHITE
    20. 20. RGB LIGHT RED + GREEN = YELLOW BLUE + GREEN = CYAN RED + BLUE = MAGENTA RED + GREEN + BLUE = WHITE
    21. 21. Primary Color – ADDITIVE RGB Light! This is how a computer translates color to a monitor.
    22. 22. RGB LIGHT RED + GREEN = YELLOW BLUE + GREEN = CYAN RED + BLUE = MAGENTA RED + GREEN + BLUE = WHITE
    23. 23. RGB LIGHT FINAL QUESTION:
    24. 24. RGB LIGHT FINAL QUESTION: HOW DO YOU GET BLACK?
    25. 25. RGB LIGHT FINAL QUESTION: HOW DO YOU GET BLACK? In LIGHT black is the absence of color!
    26. 26. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing.
    27. 27. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. CYAN + MAGENTA = BLUE
    28. 28. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing.
    29. 29. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. CYAN + MAGENTA = BLUE
    30. 30. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. CYAN + MAGENTA = BLUE MAGENTA + YELLOW = RED
    31. 31. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing.
    32. 32. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. CYAN + MAGENTA = BLUE MAGENTA + YELLOW = RED
    33. 33. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. CYAN + MAGENTA = BLUE MAGENTA + YELLOW = RED CYAN + YELLOW = GREEN
    34. 34. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing.
    35. 35. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. CYAN + MAGENTA = BLUE MAGENTA + YELLOW = RED CYAN + YELLOW = GREEN
    36. 36. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. FINAL QUESTIONS: How do we get BLACK?
    37. 37. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. FINAL QUESTIONS: How do we get BLACK? BLACK IS THE PRESNENCE OF ALL COLORS How do we get WHITE?
    38. 38. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. FINAL QUESTIONS: How do we get BLACK? BLACK IS THE PRESNENCE OF ALL COLORS How do we get WHITE?
    39. 39. CMYK Cyan Magenta Yellow Black SUBTRACTIVE COLOR Used in printing. FINAL QUESTIONS: How do we get BLACK? BLACK IS THE PRESNENCE OF ALL COLORS How do we get WHITE? WHITE IS THE ABSENCE OF ALL COLORS
    40. 40. The CMYK Color System If you look at a printed page with a magnifying glass you might see something like the illustration. Our eye mixes the colors
    41. 41. ANDY WARHO L
    42. 42. Franz Marc Marshall Arisman
    43. 43. PRIMARY COLOR Colors that all other colors can be made from. SUBTRACTIVE COLOR We subtract colors from black to get white This is what we do in the art room on a regular basis!
    44. 44. PRIMARY COLOR Colors that all other colors can be made from. RYB Red Yellow Blue SUBTRACTIVE COLOR We subtract colors from black to get white This is what we do in the art room on a regular basis!
    45. 45. Primary Color – SUBTRACTIVE RYB Paint, crayons, colored pencils, pastels etc. This is how we mix colors with pigments and dyes.
    46. 46. SECONDARY COLOR Colors made by mixing two primaries. VGO Violet Green Orange SUBTRACTIVE COLOR We subtract colors from black to get white This is what we do in the art room on a regular basis!
    47. 47. Secondary color- Hues mixed from adjacent primaries; violet, green and orange
    48. 48. Tertiary color- A hue that is mixed from a primary color and the adjacent secondary color.
    49. 49. Color Wheel
    50. 50. How many colors are there? Older computer systems may be limited to 216 A high quality printer is only capable of producing thousands A monitor can display millions How many colors could you make in paint?
    51. 51. Pablo Picasso Joseph Albers
    52. 52. Pablo Picasso
    53. 53. Can any other color set the same mood as the blue monochromatic version?
    54. 54. Warm Cool Temperature – Refers to the heat that a color generates, both physically and psychologically.
    55. 55. Color Wheel Hue – Is the name of a specific color. Value – The lightness or darkness of a hue. Intensity – The brightness or dullness of a color.
    56. 56. Q: WHERE DO SECONDARY, TERTIARY, AND ALL OTHER HUES COME FROM?
    57. 57. A: COLOR MIXING & EXPERIMENTATION Value 1.We add black and white to a color to get tints and shades. Tone and Intensity 1.We add compliments to each other to get muddy colors 2. e can mix more and less of other colors to get millions of color variations.
    58. 58. Color Wheel Hue – Is the name of a specific color. Value – The lightness or darkness of a hue. Intensity – The brightness or dullness of a color.
    59. 59. Color Wheel Hue – Is the name of a specific color. Value – The lightness or darkness of a hue. Intensity – The brightness or dullness of a color.
    60. 60. A: COLOR MIXING & EXPERIMENTATION Value 1.We add black and white to a color to get tints and shades. Tone and Intensity 1.We add compliments to each other to get muddy colors 2. e can mix more and less of other colors to get millions of color variations.
    61. 61. There are two ways to lower the value of a color. Value - The relative lightness or darkness of a color. Which creates…
    62. 62. Tint – A hue that has been mixed with white. Shade – A hue that has been mixed with black.
    63. 63. A: COLOR MIXING & EXPERIMENTATION Value 1.We add black and white to a color to get tints and shades. Tone and Intensity 1.We add compliments to each other to get muddy colors 2. e can mix more and less of other colors to get millions of color variations.
    64. 64. Color Wheel Hue – Is the name of a specific color. Value – The lightness or darkness of a hue. Intensity – The brightness or dullness of a color.
    65. 65. A: COLOR MIXING & EXPERIMENTATION Value 1.We add black and white to a color to get tints and shades. Tone and Intensity 1.We add compliments to each other to get muddy colors 2. e can mix more and less of other colors to get millions of color variations.
    66. 66. From color mixing experimentation. Value 1.We add black and white to a color to get tints and shades. Tone and Intensity 1.We add compliments to each other to get muddy colors 2. We can mix more and less of other colors to get millions of color variations.
    67. 67. Mixing a color with it’s compliment to creates different tones.
    68. 68. 1.From color mixing experimentation. Value 1.We add black and white to a color to get tints and shades. Tone and Intensity •We add compliments to each other to get muddy colors •We can mix more and less of other colors to get millions of color variations.
    69. 69. Monochromatic – Color scheme based on variations of a single hue.
    70. 70. Analogous – A color scheme based on hues that are adjacent to each other on the color wheel.
    71. 71. FRANK LLO YD WRIGHT
    72. 72. Complimentary – Hues that oppose one another on the color wheel. When paired in a composition, complimentary colors create contrast; when mixed, complimentary colors produce a wide range of browns.
    73. 73. Marshall Arisman Maxfield Parrish
    74. 74. Triadic harmony – A color scheme based on three colors which are equidistant on a color wheel.
    75. 75. Piet Mondrian Frank Lloyd Wright

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