Color Theory

Color Wheel:A color/hue circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Newton developed the first circular diagram of colors in 1666. Since then there are numerous variations of this concept. And a differences of opinion about the validity of one format over another depends on who one talks with, such as scientist, artist, architects, etc. In reality, any color circle or color wheel which presents a logically arranged sequence of pure hues has merit.

Hue: is the term for the pure spectrum colors commonly referred to by the "color names" - red, orange, yellow, blue, green violet - which appear in the hue circle or rainbow. Theoretically all hues can be mixed from three basic hues, known as primaries. When pigment primaries are all mixed together, the theoretical result is black.

Primary colors - red, yellow, blue: In traditional color theory, these are the 3 pigment colors that can not be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues.

Secondary colors: Green, orange and purple - These are the colors formed by mixing the primary colors.

Tertiary colors: Yellow-orange, red-orange, red-purple, blue-purple, blue-green and yellow-green - These are the colors formed by mixing the secondary colors.

Complements: are colors that are opposite one another on the color/hue circle. Opposite pairs can be compared in terms of their relative warmth and coolness. Warm-cool contrast of color/hue can cause images to appear to advance or recede.

Split Complementary: is made up of three colors - one basic color plus one from each side of its complement. Such as: Green, red orange, & red violet. Or blue violet, yellow and orange. Until one understands the use of saturation/value color arrangements, keep the same intensity and value of all colors the same for any one project.

Analogous: any three colors which are side by side on a 12 part color wheel.

Monchromatic: a color scheme made up of various tints, shades, and intensities - usually three - of a single color. Can be soothing or exciting depending on the intensities, shades, and tints used.

Triadic or triad: are made up of three colors forming an equilateral triangle on the color wheel - red, blue, and yellow; green, violet, orange; yellow green, blue violet, and red orange, etc.

Color Proportion: refers to the impact of the relative quantity of a given hue or value used in color compositions.

Color context: how color behaves in relation to other colors and shapes. Compare the contrast effects of different color backgrounds for the same red square. Red appears more brilliant against a black background and somewhat duller against the white background. In contrast with orange, the red appears lifeless; in contrast with blue-green, it exhibits brilliance. Notice that the red square appears larger on black than on other background colors.

Color Contrast: A color value that separates objects in space. (i.e. separate leaves from one and another in a picture), while gradation of value suggests mass and contour of a contiguous surface (i.e. it suggests the curves of leaves surfaces and of the whole form).

Color perception: Observing the effects colors have on each other is the starting point for understanding the relativity of color. The relationship of values, saturations and the warmth or coolness of respective hues can cause noticeable differences in our perception of color.

Color harmony: Harmony can be defined as a pleasing arrangement of parts, whether it be music, poetry, color, or even an ice cream sundae. As a visual component, harmony is something that is pleasing to the eye. It engages the viewer and it creates an inner sense of order, a balance in the visual experience. When something is not harmonious, it's either boring or chaotic. Color harmony delivers visual interest and a sense of order. In summary, extreme unity leads to under-stimulation, extreme complexity leads to over-stimulation. Harmony is a dynamic equilibrium.

Some Formulas for Color Harmony

• A color scheme based on analogous colors - Are any three colors which are side by side on a 12 part color wheel
• Such as yellow-green, yellow, and yellow-orange
• Usually one of the three colors predominates
• A color scheme based on complementary colors - Are any two colors which are directly opposite each other
• Such as red and green and red-purple and yellow-green
• These opposing colors create maximum contrast and maximum stability
• A color scheme based on nature - Nature provides a perfect departure point for color harmony
• Such as the leaves on trees during the Fall season - red, yellow and green create a harmonious design
• Regardless of whether this combination fits into a technical formula for color harmony

Color Illusions: Some of the effects of color occur only in the eye and brain of the viewer, and are not physical properties of light waves or pigment. Illusions are very powerful, and have enormous impact on our responses to color.

Psychological Implications of Color: Market researchers have done extensive studies exploring the emotional responses of people to color. Some of these responses seem to be powerful and fairly universal, while others are culturally biased. We know that cultural traditions endow colors with powerful meanings that can differ greatly from place to place. For example, in Europe and the United States, black is the color of mourning. In many tropical countries and in East Asia white is the color of death. On the other hand, white is the color worn by American brides, while brides in much of Asia wear red. The following associations are generally found to hold in Euro-American societies:

• Red is associated with blood, and with feelings that are energetic, exciting, passionate or erotic. Most colors carry both positive and negative implications. The downside of red evokes aggressive feelings, suggesting anger or violence
• Orange is the color of flesh, or the friendly warmth of the hearth fire. The positive implications of this color suggest approachability, informality. The negative side might imply accessibility to the point of suggesting that anyone can approach - a lack of discrimination or quality
• Yellow is the color of sunshine. This color is optimistic, upbeat, modern. The energy of yellow can become overwhelming. Therefore yellow is not a color that tends to dominate fashion for long periods of time
• Green In its positive mode, green suggests nature (plant life, forests), life, stability, restfulness, naturalness. On the other hand, green in some tones or certain contexts (such as green skin) might instead suggest decay (fungus, mold), toxicity, artificiality
• Blue suggests coolness, distance, spirituality, or perhaps reserved elegance. Some shade of blue is flattering to almost anyone. In its negative mode, we can think of the "blues" - the implication being one of sadness, passivity, alienation, or depression
• Violet is the color of fantasy, playfulness, impulsiveness, and dream states. In its negative mode, it can suggest nightmares, or madness

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© 2008 Melinda Cornwell