Week 6, MM1B03, McMaster University



Colour
   & Typography
                   From L.A. White Elements of Graphic Desig...
Colour as design component
Hues are pure colours like red, yellow, blue
•
    Tints are hue + white, reducing saturation.
•
    Shades are hue + blac...
Colour




Complementary      Analogous             Triadic
    Colours          Colours           Harmonies
 are Opposite...
Colour




             Monochromatic Colour
     is a single hue with tints and shades.
Colours + Associations
According to Swiss psychologist Max Luesche,
colours have particular associations, tempered by
cont...
Colour Space




    RGB Model          CMYK Model
  Additive Colour.   Subtractive Colour.
   White Light by      White c...
Kundalini Yoga




Colours associated with power centres in the body.
Colour Composition
• Colours that are used together create a
    colour composition: a group of colours
    meant to be se...
Ground and Carried Colours
• The background of a colour composition is
    its ground.
    Colours laid on a ground are ca...
What is the
ground
colour of this
painting?
What is the
ground
colour of the
subject
depicted?
Ground and Graphic Quality
• Graphic quality is the “readability” of a
  composition, or how clearly images can be
  seen ...
Scale of design
• The distance from which something is
  experienced is an important factor in design. ie
  magazine vs wa...
Colour printing as example
                  • Four-colour
                    commercial
                    printing is
...
Vibration
• Vibration occurs strongly with complementary
  colours.
• The struggle to focus on edge, added to the
  strugg...
Transparency and Illusion
• True transparency can be illustrated by the fact
  that coee in a pot is very dark but when sp...
Transparency and Illusion
Spacial Eects of Colour
An object can be made to appear larger, smaller,
nearer, or farther away by making change in its
h...
Spacial Eects
       All of the circles are the same size,
       but the bright yellow circle appears
       to be larger...
Spacial Eects




   The middle blue is pushed to look like
   two dierent blues depending on the
             background ...
Typography
    from R. Landa, Elements of Graphic Design
    and Internet Sources
Typography      Coursepack pages 81-89




Nomenclature
• Type Family: Weight, Width, Elaboration
• The Typographic Font: ...
Typography


Vertical Heights
Typography     Coursepack pages 97-98




Spacing
    Letterspacing: The space between letters.
•
    Wordspacing: Space b...
Typography     Coursepack pages 110 - 114




Designing with Type
As a designer, one must concentrate on more
than just th...
06 Mm1 B03
06 Mm1 B03
06 Mm1 B03
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06 Mm1 B03

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06 Mm1 B03

  1. 1. Week 6, MM1B03, McMaster University Colour & Typography From L.A. White Elements of Graphic Design L. Holtzsch, Understanding Colour R. Landa, Elements of Graphic Design and Internet Sources
  2. 2. Colour as design component
  3. 3. Hues are pure colours like red, yellow, blue • Tints are hue + white, reducing saturation. • Shades are hue + black, reducing saturation. • Tones are hue + grey, reducing saturation. • Value is the lightness or darkness of a colour • Saturation the the brightness/dullness. •
  4. 4. Colour Complementary Analogous Triadic Colours Colours Harmonies are Opposites are next to each are three colours on the other on the that are Colour Wheel Colour Wheel equidistant
  5. 5. Colour Monochromatic Colour is a single hue with tints and shades.
  6. 6. Colours + Associations According to Swiss psychologist Max Luesche, colours have particular associations, tempered by context and application. Blue is dignified • Violet is Meditative • Green is persistent • Black is Surrender • Red is Assertive • Gray is a Barrier • Brown is Passive •
  7. 7. Colour Space RGB Model CMYK Model Additive Colour. Subtractive Colour. White Light by White created adding Red Green when no ink is and Blue. added.
  8. 8. Kundalini Yoga Colours associated with power centres in the body.
  9. 9. Colour Composition • Colours that are used together create a colour composition: a group of colours meant to be sensed as a whole. A group of colours selected for use • together is called a palette, a colourway, a colour story, depending on the industry or design discipline.
  10. 10. Ground and Carried Colours • The background of a colour composition is its ground. Colours laid on a ground are carried colours. • Ground established the visual reference • point for carried colours and is determined by composition not by colour. Visual cues and the arrangement of forms • determine which parts of a composition are image or pattern and which part is understood as background.
  11. 11. What is the ground colour of this painting? What is the ground colour of the subject depicted?
  12. 12. Ground and Graphic Quality • Graphic quality is the “readability” of a composition, or how clearly images can be seen against their background. • Dierences in value -- contrasts between light and dark -- separate images from their background. Black+white most value contrast. • High contrast images are not always desirable.
  13. 13. Scale of design • The distance from which something is experienced is an important factor in design. ie magazine vs wallpaper vs highway billboards. • In graphic design, “image” is a picture, “pattern” is an image or motif repeated against a ground. • Optical mixes result when images or motifs converge to create a new colour or texture. • Whether a design is seen as an image, pattern, or texture depends on the scale of its design elements relative to viewing distance.
  14. 14. Colour printing as example • Four-colour commercial printing is achieved through optical mixing. • Dots of ink on paper merge in the eye to create a colour image.
  15. 15. Vibration • Vibration occurs strongly with complementary colours. • The struggle to focus on edge, added to the struggle to reach equilibrium can be a tough visual experience. • Vibration can also result from poor scale in a pattern relative to viewing distance. “Op art” is an aesthetic experiment in vibration causing visual distortion.
  16. 16. Transparency and Illusion • True transparency can be illustrated by the fact that coee in a pot is very dark but when spilled in a saucer is light coloured. Josef Albers describes this as “volume colour.” • Perceptual transparency is the phenonmenon of seeing one surface behind another. • When a small portion of a transparent surface is observed, neither the surface colour, nor the fusion colour is perceived, but only the colour resulting from the fusion of that of the transparent surface and that of the background.
  17. 17. Transparency and Illusion
  18. 18. Spacial Eects of Colour An object can be made to appear larger, smaller, nearer, or farther away by making change in its hue value or saturation. In general: • Warm colours advance relative to cool ones. • Brilliant colours advance relative to muted ones. • Objects in light colours appear larger than the same objects in dark colours.
  19. 19. Spacial Eects All of the circles are the same size, but the bright yellow circle appears to be larger because it is a light hue that is highly saturated. The yellow also appears to be closer, or expanding, to the viewer than the other colors.
  20. 20. Spacial Eects The middle blue is pushed to look like two dierent blues depending on the background color.
  21. 21. Typography from R. Landa, Elements of Graphic Design and Internet Sources
  22. 22. Typography Coursepack pages 81-89 Nomenclature • Type Family: Weight, Width, Elaboration • The Typographic Font: Capitals, Lower Case, Small Caps, Ligatures, Dipthongs, Swashes, etc. Letterform Terms: Vertical Metrics, serifs, • counters, stems, spines, etc. Type Specifications: point size, leading, • style elements, alignment. Classifications: Roman, Serif, San Serif, • Italic, Script etc.
  23. 23. Typography Vertical Heights
  24. 24. Typography Coursepack pages 97-98 Spacing Letterspacing: The space between letters. • Wordspacing: Space between words. • Leading: Space between lines of type. • Kerning: the process of adding space • between letter. Tracking: adding space between letters on • a more universal level. One should always judge letterspacing • optically.
  25. 25. Typography Coursepack pages 110 - 114 Designing with Type As a designer, one must concentrate on more than just the literal meaning of words. These things must also be considered: Type as form. • Type as a direct message — as primary meaning. • The secondary meaning (connotation). • Graphic impact. •

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