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The Elements of Color
• Color immediately attracts attention. When
  presented with a collection of bottles filled
  with liquid in various colors, very young
  children will group the objects by color
  rather than size or shape.
Color Theory

• The art and science of color interaction and
  effects.
Color Interaction
• The way colors influence one another

• Colors are never seen in isolation. The blue sheet of paper
  we examine in an art supply store reminds us of the blue
  sky, the ocean or the fabrics in a clothing store.

• Lighting also affects out perceptions. Incandescent light
  creates a warm orange glow, while standard fluorescent
  lights produce a bluish ambiance.

• When the blue paper is added to a design, it is profoundly
  affected by the surrounding colors.

• This effect is called simultaneous contrast.
Defining Color
• Hue: is the name of a color. Red, blue, green, yellow, and
  so forth are all hues.
• There have been numerous systems to organize hues.
• Johannes Itten’s 12-step color wheel is a clear and simple
  example

• Red, blue and yellow are the primary colors in the center.
• These colors can be mixed to produce many other colors.

• The secondary colors of green, orange, and violet follow.
• These colors are mixed from the primary colors.

• Next are the tertiary colors that complete the wheel.
• The mixture of a secondary color and the adjacent primary
  color creates a tertiary color.
The Color Wheel
Value
• Value refers to the relative lightness or darkness
  of a color.
• By removing the hue from the equation we can
  create a simple value scale the shifts from white to
  black through the shades of gray.
• Despite a wide variety of hues all colors have
  essentially the same hue.
• By using a wide variety of values you can create a
  convincing representation of reality.
• Limited value can be used to create mood in a
  composition.
Value Scale
Basic Variations in Value
Color Schemes

• Guiding principles for pleasing color effects or
  color harmonies.

• Color harmonies: Combinations of colors that are
  pleasing.

• Colors each have their own mood or emotional
  response, but that mood can change based on the
  other surrounding colors.
Complementary and Split
  Complementary Color Relationships
• Complementary Colors

  – Colors that are opposite
     on the color wheel.

  – Create the greatest
     contrast.
Continued
• Split Complementary

  – A color and two colors
     on both sides of the
     complement.

  – Has slightly less contrast
Triadic Color Relationships
• 3 equally spaced colors on the color wheel.

• Primary Triad

• Less contrast
   between colors.
Triadic Cont.
• Secondary Triad
  – Use of secondary colors on
     the color wheel.

  Has softer contrast and
   less intense colors.
Triadic Cont.
• Intermediate Triad
  – Created with the
     tertiary colors.

     Softest contrast and least
      intense of all.
Tetrad
• 4 Equally spaced colors on the color wheel. A
  color, its complements and complementary
  tertiary hues.

• Short interval between
   colors which becomes harmonious.

• Has a common hue.

• Variations in value and
   intensity adds variety.
Analogous and Monochromatic
      Color Relationships
• 4 Colors next to each other on the color wheel.

   – Shortest interval between
       colors and therefore
       extremely harmonious.


   – Always a common hue
       in the group of colors.


   – Can change in intensity
       and value to add visual interest.
Cont.
• Monochromatic

  – Uses only one hue.


   Explores tints, tones and shades.

  – Potentially the most monotonous.
Emphasis

• Gives prominence to part of a design. A
  focal point is a compositional device used to
  create emphasis. Both of these are used to
  attract attention and increase visual and
  conceptual impact.
Emphasis by Isolation

• Anomaly, or break from the norm, tends to
  stand out. Because we seek to connect the
  verbal and visual information we are given,
  a mismatched word or an isolated shape
  immediately attracts our attention
Emphasis by Placement

• Every square inch of a composition has a
  distinctive power. As a result, placement alone
  can increase the importance of a selected shape.

• The compositional center is especially potent.
Emphasis Through Contrast

• Contrast is created when two or more forces
  operate in opposition.

• Static/dynamic; small/large; solid/textured;
  curvilinear/rectilinear.
Applying the Knowledge

•   Which will work better in your design, a limited number or wide range
    of hues?

•   What proportion of warm and cool colors best communicates your
    idea?

•   What happens when you combine low-intensity colors with high-
    intensity colors?

•   Is there a dominant shape in your composition? If so, is it the shape
    you most want to emphasize?

•   Is there a focal point in your composition? If not, should there be?

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Color

  • 2. • Color immediately attracts attention. When presented with a collection of bottles filled with liquid in various colors, very young children will group the objects by color rather than size or shape.
  • 3. Color Theory • The art and science of color interaction and effects.
  • 4. Color Interaction • The way colors influence one another • Colors are never seen in isolation. The blue sheet of paper we examine in an art supply store reminds us of the blue sky, the ocean or the fabrics in a clothing store. • Lighting also affects out perceptions. Incandescent light creates a warm orange glow, while standard fluorescent lights produce a bluish ambiance. • When the blue paper is added to a design, it is profoundly affected by the surrounding colors. • This effect is called simultaneous contrast.
  • 5. Defining Color • Hue: is the name of a color. Red, blue, green, yellow, and so forth are all hues. • There have been numerous systems to organize hues. • Johannes Itten’s 12-step color wheel is a clear and simple example • Red, blue and yellow are the primary colors in the center. • These colors can be mixed to produce many other colors. • The secondary colors of green, orange, and violet follow. • These colors are mixed from the primary colors. • Next are the tertiary colors that complete the wheel. • The mixture of a secondary color and the adjacent primary color creates a tertiary color.
  • 7. Value • Value refers to the relative lightness or darkness of a color. • By removing the hue from the equation we can create a simple value scale the shifts from white to black through the shades of gray. • Despite a wide variety of hues all colors have essentially the same hue. • By using a wide variety of values you can create a convincing representation of reality. • Limited value can be used to create mood in a composition.
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  • 12. Color Schemes • Guiding principles for pleasing color effects or color harmonies. • Color harmonies: Combinations of colors that are pleasing. • Colors each have their own mood or emotional response, but that mood can change based on the other surrounding colors.
  • 13. Complementary and Split Complementary Color Relationships • Complementary Colors – Colors that are opposite on the color wheel. – Create the greatest contrast.
  • 14. Continued • Split Complementary – A color and two colors on both sides of the complement. – Has slightly less contrast
  • 15. Triadic Color Relationships • 3 equally spaced colors on the color wheel. • Primary Triad • Less contrast between colors.
  • 16. Triadic Cont. • Secondary Triad – Use of secondary colors on the color wheel. Has softer contrast and less intense colors.
  • 17. Triadic Cont. • Intermediate Triad – Created with the tertiary colors. Softest contrast and least intense of all.
  • 18. Tetrad • 4 Equally spaced colors on the color wheel. A color, its complements and complementary tertiary hues. • Short interval between colors which becomes harmonious. • Has a common hue. • Variations in value and intensity adds variety.
  • 19. Analogous and Monochromatic Color Relationships • 4 Colors next to each other on the color wheel. – Shortest interval between colors and therefore extremely harmonious. – Always a common hue in the group of colors. – Can change in intensity and value to add visual interest.
  • 20. Cont. • Monochromatic – Uses only one hue. Explores tints, tones and shades. – Potentially the most monotonous.
  • 21. Emphasis • Gives prominence to part of a design. A focal point is a compositional device used to create emphasis. Both of these are used to attract attention and increase visual and conceptual impact.
  • 22. Emphasis by Isolation • Anomaly, or break from the norm, tends to stand out. Because we seek to connect the verbal and visual information we are given, a mismatched word or an isolated shape immediately attracts our attention
  • 23. Emphasis by Placement • Every square inch of a composition has a distinctive power. As a result, placement alone can increase the importance of a selected shape. • The compositional center is especially potent.
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  • 25. Emphasis Through Contrast • Contrast is created when two or more forces operate in opposition. • Static/dynamic; small/large; solid/textured; curvilinear/rectilinear.
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  • 30. Applying the Knowledge • Which will work better in your design, a limited number or wide range of hues? • What proportion of warm and cool colors best communicates your idea? • What happens when you combine low-intensity colors with high- intensity colors? • Is there a dominant shape in your composition? If so, is it the shape you most want to emphasize? • Is there a focal point in your composition? If not, should there be?