properties of color

8/8/2019 Properties of Color

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HueValue

Intensity


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HUE

Name or color identity by which it is

distinguished in the color spectrum

Not a property of , and its For the sensation of hue, it is necessary for

some of the elements to be absorbed while

others are reflected.


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HUE

Can be:

1. Warm (R-O-Y)

REDor is dominant

Cheerfulness, aggressiveness, exctement &

comfort

Calmness, resfulness & depression


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vs.


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vs.

Henri de Toulouse-Lautrec - The Kiss -

1892 -Vincent Van Gogh - Starry Night -

1889 -


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Value

also called notan or tones

Relative lightness or darkness of a color

=

BLACK= Lowest value, darkest value

In raising or lowering the value, every hue may be lightenedalmost to white or darkened to black.

Gives solidity, distance, illusion of depth


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Intensity

Chroma or saturation

Relative purity of hues in comparison to their

appearance in the spectrum

Brightness or dullness

HIGH saturation= reflection of the color in its most

vivid form of the spectrum

LOW saturation= hue can scarcely be distinguished;

nearly neutral


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Intensity (Saturation)

L

OW NORMAL HIGH


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Harmony of:

1. Related colors

2. Contrasting colors


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Har mony of related colors

One color is used

color is extended to its tints

value above and shades

below the normal

the lightness and darkness ofa color

Tamara de Lempicka - Marquis

Sommi - 1925 -


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colors that contain a

common hue and are found

next to each other on the

color wheel, e.g., violet, red-

violet, and red

Har mony of related colors

Claude Monet - Water-

Lilies -1914 -


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Combination of 2

opposite colors in the

color chart together with

their values and

intensities


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Henri Matisse - Woman with the Hat,

Paris 1904


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Combination of 2opposite colors in

the color chart

together with their

values and intensities


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Claude Monet - Houses of Parliament,

London, Sun Breaking Through Fog -

1904 -


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3 colors, together

with their values

and intensities, are

in the color chart

Begin with a

primary


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Frederick Carl Frieseke - Through the

Vines - 1908 -


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Combination of any two (2) sets

colors of split complimentary that

lie together with their values and

intensities, are in the color chart

Six colors are involved


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three (3) colors together with

their values and intensities

Primary : Red + Yellow + Blue

Secondary: Orange + Violet +

Green

Intermediate:

1st set: YO + RV +BG

2nd set: YG + RO + BV


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Henri Matisse - Le bonheur de vivre (The

Joy ofLife) - 1905-06 -


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Based on elementary laws of optics


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Linear Perspective

As objects move away from the viewer they appear to grow

smaller and converge toward a vanishing pointat the horizon line.

The effective use of linear perspective creates this illusion of

diminishing size by treating the edges as converging parallel lines.


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Aerial Perspective

color gradually fading to a bluish gray and

details blurring and pale, imitating the way

distant objects appear to the human eye


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Principle of Proportion is called the

law of relationship

the size relationship of one part to the

whole and one part to another

Space refers to the distance or area

between, around, above, below, or

within shapes and forms found

within a composition.


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1. Place together elements which are similar incharacter or have some feature in common.

2. Create major and minor areas in the design, as equal

parts can quickly become monotonous and boring.3. Arrangement of space should be in such a way that

the eye does not perceive a standard mathematicalrelationship.

4.H

armony is an agreement between the shapes thatstresses the similarities of all parts.

the shape of one part should "fit" the shape of theadjoining elements.


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Examples:


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Emphasis & Subordination

stressing of a particular area of focus, at the same

time, eyes must be lead to travel from the

principal to the minor unit.

One way of achieving emphasis is by creatingcenter of interest, a.k.a. afocal point.

A focal point is created by making one area of

element of the painting dominant, or most

important visually with all other areas

contributing but subordinate.


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The second way to create emphasis is bycontrasting the primary element with its

subordinates, or emphasis can be createdby a sudden change in direction, size,shape, texture, color, tone or line.

Emphasis is necessary, but a goodcomposition is one in which all theelements work together for a unifyingeffect.


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Texture

Actual

Kind of experience which involves actual physical

touch

Simulated

Through decorative patterns of color, tone and

line contrast, a smooth surface may appear

broken, rough, wrinkled, or spotted


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Rh

yt

hm

controlled or measured flow of

movement usually produced by an

arrangement of differing elements ofthe medium concerned.

C

an be achieved in two (2) ways:1. Formal Rhythm / measured movements

Movements recur in exact regularity

Mechanical in nature

2. Informal Rhythm

Not mechanically determined

Demand on the users keen sense of

distribution


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Repetition

Common way of achieving rhythmicmovement; it is done by:

1. Alternation Motif may have a beat of 1-2, 1-2 or a small object followed

by a big one, then a small object and a big object

2. Sequence

Motif is repeated from the center or towards it3. Parallelism

Motifs are distributed with exact regularity and equaldistance from each other

4. Progression

Increase or decrease in size; uses runs in a straight line

5. Continuous Line Movement Motifs are properly placed; eye is led to look at one unit to

another unobstructed

Rh

yt

hm


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- an agreement between the shapes that

stresses the similarities of all parts.

The shape of one part should "fit" the shape of the

adjoining elements.


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Grouping shapes and colors around a center insuch a way that there are equal attractions oneach side.

1. Formal balance

Objects on each side of the center is identical or

exactly2. Informal/occult/aplicatedssymetric balance

Variety in arrangement


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The use of asymmetry in designallows for more freedom of creativity,because there are unlimited

arrangements that may be devisedusing asymmetrical balance.

The way to use asymmetry is bybalancing two or more unequalcomponents on either side of the

fulcrum by varying their size, value ordistance from the center.

properties of color

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