Chapter 1


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Chapter 1

  1. 1. Understanding Color:An Introduction for DesignersAn Introduction for Designers Chapter 1: An Introduction to Color Study
  2. 2. Color is stimulating...
  3. 3. calming...
  4. 4. expressive...
  5. 5. disturbing...
  6. 6. impressional...
  7. 7. cultural...
  8. 8. exuberant...
  9. 9. symbolic.
  10. 10. Forms, colors and their arrangement are the foundation elements of design, and color is the most powerful.
  11. 11. A skilled colorist understands what color is, how it is seen, why it changes, its suggestive power, and how to apply that knowledge to enhance the marketability of a product.
  12. 12. Whether the product is a graphic design...
  13. 13. an item of apparel...
  14. 14. an interior...
  15. 15. automobile...
  16. 16. toaster...
  17. 17. garden...
  18. 18. or anything else, good coloring can determine its success or failure in the consumer marketplace.
  19. 19. Color is, first, a sensory event.Colors are true sensations, not abstractions or ideas.Colors are true sensations, not abstractions or ideas.
  20. 20. The beginnning of every color experience is a physiological response to a stimulus of light.
  21. 21. Colors are experienced in two different ways:
  22. 22. Colors on a monitor or screen are seen as direct light. direct light.
  23. 23. The colors of the physical world - of printed pages, objects, and the environment - are seen as reflected light. reflected light.
  24. 24. The perceptionof colored light is astraightforward experience: light reachesthe eye directly from a light source.
  25. 25. The experience of real-world color is a more complex event.
  26. 26. Real-world colors are seen indirectly, as light reflected from a surface
  27. 27. For tangible objects and printed pages, light is the cause ofcolor, colorants (like paints or dyes) are the means used togenerate color, and the colors that are seen are the effect.
  28. 28. Cause LightMeans ColorantsEffect Colors Seen
  29. 29. All colors, whether they are seen as direct or reflectedlight, are unstable. Every change in light or medium has the potential to change the way a color is perceived.
  30. 30. In addition, not everyone sees or interprets colors in quite the same way.
  31. 31. These differences in perception are hard to defineexcept in the cases of extreme visual disfunction (as in color blindness). Normal Red/Green Color Blindness
  32. 32. Colors are understood at different levels of awareness.
  33. 33. Environmental color, whether natural or man-made, is all-encompassing.
  34. 34. Yet we are often unaware of the color around us - even though the color can affect our mood or disposition.
  35. 35. The separateness of an object allows the viewer to focus on a single entity and single color idea.
  36. 36. Graphic colors are the colors of images: painted, drawn, printed, or on-screen.
  37. 37. Colors on a monitor screen are seen as direct light.
  38. 38. But objects are seen as reflected light.
  39. 39. Since nearly all design today is done on a monitor screen whichuses direct light, careful consideration must be made of how the designed product will look in reflected light.
  40. 40. Color has many uses:
  41. 41. It can increase ordecrease availablelight.
  42. 42. It can modify the perception of space, creating illusions of size,nearness, separation, or distance. It can also increase or decrease available light.
  43. 43. It can be used to create continuity between separated elements in design...
  44. 44. establish emphasis or create focus in a composition.
  45. 45. Color can express mood or emotion.
  46. 46. Colors can be used to alert, to warn, or to providediscrimination between objects of similar form and size.
  47. 47. It can be nonverbal language; communicating ideas without words.
  48. 48. A color-order model, or color system, is a structured model of color relationships.
  49. 49. Technical-scientificsystemsmeasure colorunder limitedconditions, andmost deal withthe colors oflight.
  50. 50. Commercial color-ordersystems are systematicarrangements of colorsmeant to assist the user inselecting colors from alimited palette.
  51. 51. Intellectual-philosophical systems explore the meaning and organization of color.
  52. 52. True color systems attempt to illustrate all colors andinclude the option of adding colors beyond those illustrated.
  53. 53. Color collections offer a fixed and limited number ofcolors to help the user in making a selection within a single product or group of related products.
  54. 54. Color study focuses FIRST on learning todiscriminate objective attributes of color:
  55. 55. Hue
  56. 56. Value
  57. 57. Saturation
  58. 58. The SECOND focus of color study is color control. color control.
  59. 59. Color control is the ability to use color skillfully tofacilitate the idea or meaning the designer is trying to create.
  60. 60. Color study also provides guidelines for creating effective color combinations.
  61. 61. Many color courses are based on the writings of Albert Munsell (1858-1918)
  62. 62. Munsell’s system is based on formal progressions of hue, value, and saturation.
  63. 63. The color experiments of Josef Albers (1888-1976) also inform students of color.
  64. 64. Albers stressed the power of eye-training exercises.
  65. 65. In this course, we will learn about bothartists’ systems and how to use them in design.