color
DESCRIPTION
TRANSCRIPT
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The Elements of Color
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• Color immediately attracts attention. Whenpresented with a collection of bottles filledwith liquid in various colors, very youngchildren will group the objects by colorrather than size or shape.
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Color Theory
• The art and science of color interaction andeffects.
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Color Interaction• The way colors influence one another
• Colors are never seen in isolation. The blue sheet of paperwe examine in an art supply store reminds us of the bluesky, the ocean or the fabrics in a clothing store.
• Lighting also affects out perceptions. Incandescent lightcreates a warm orange glow, while standard fluorescentlights produce a bluish ambiance.
• When the blue paper is added to a design, it is profoundlyaffected by the surrounding colors.
• This effect is called simultaneous contrast.
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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.
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The Color Wheel
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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 toblack through the shades of gray.
• Despite a wide variety of hues all colors haveessentially the same hue.
• By using a wide variety of values you can create aconvincing representation of reality.
• Limited value can be used to create mood in acomposition.
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Value Scale
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Basic Variations in Value
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Color Schemes
• Guiding principles for pleasing color effects orcolor harmonies.
• Color harmonies: Combinations of colors that arepleasing.
• Colors each have their own mood or emotionalresponse, but that mood can change based on theother surrounding colors.
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Complementary and SplitComplementary Color Relationships
• Complementary Colors
– Colors that are oppositeon the color wheel.
– Create the greatestcontrast.
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Continued
• Split Complementary
– A color and two colorson both sides of thecomplement.
– Has slightly less contrast
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Triadic Color Relationships
• 3 equally spaced colors on the color wheel.
• Primary Triad
• Less contrastbetween colors.
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Triadic Cont.
• Secondary Triad– Use of secondary colors on
the color wheel.
Has softer contrast andless intense colors.
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Triadic Cont.
• Intermediate Triad– Created with the
tertiary colors.
Softest contrast and leastintense of all.
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Tetrad
• 4 Equally spaced colors on the color wheel. Acolor, its complements and complementarytertiary hues.
• Short interval betweencolors which becomes harmonious.
• Has a common hue.
• Variations in value and intensity adds variety.
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Analogous and MonochromaticColor Relationships
• 4 Colors next to each other on the color wheel.
– Shortest interval betweencolors and thereforeextremely harmonious.
– Always a common huein the group of colors.
– Can change in intensityand value to add visual interest.
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Cont.
• Monochromatic
– Uses only one hue.
‒ Explores tints, tones and shades.
– Potentially the most monotonous.
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Emphasis
• Gives prominence to part of a design. Afocal point is a compositional device used tocreate emphasis. Both of these are used toattract attention and increase visual andconceptual impact.
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Emphasis by Isolation
• Anomaly, or break from the norm, tends tostand out. Because we seek to connect theverbal and visual information we are given,a mismatched word or an isolated shapeimmediately attracts our attention
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Emphasis by Placement
• Every square inch of a composition has adistinctive power. As a result, placement alonecan increase the importance of a selected shape.
• The compositional center is especially potent.
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Emphasis Through Contrast
• Contrast is created when two or more forcesoperate in opposition.
• Static/dynamic; small/large; solid/textured;curvilinear/rectilinear.
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Applying the Knowledge
• Which will work better in your design, a limited number or wide rangeof hues?
• What proportion of warm and cool colors best communicates youridea?
• 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 shapeyou most want to emphasize?
• Is there a focal point in your composition? If not, should there be?