Melissa Laird Prof. Petronio Bendito A&D 318 Fall 2007 Purdue University
Contents 3
Introduction
4
Color Properties
4
Neutrals and Hues
5
Hue Distribution
6
Value Distribution
7
Chroma Distribution
8
Visual Mix and Vibration
9
Alber’s Color Interaction
10
Birren’s Principles of Color
11
Chevreul’s Elements of Harmony
11
Adjacents and Opposites
12
Split-Complements and Triads
13
Kobayashi’s Color Expression
14
Free Studies
15
References
3
Introduction This portfolio contains a collection of color studies created for A&D 318 at Purdue University. vThroughout the course I learned about various principles of color, and created compositions using Bauhaus Softcanvas to demonstrate those principles. I also collected real-world examples of color schemes through advertisements, magazines, photography, and the Internet that demonstrate those principles. The exercises, studies, and research completed in this course have given me a better understanding of color, and the different meanings they convey in different situations. I will be able to use this information throughout my future in design.
Color Properties
4
Neutrals and Hues Albert Munsell developed a system in which color can be divided into hue, value, and chroma. Hue can be described as the name of the color family, such as red, blue, or green. The examples on this page demonstrate neutrals and hues with similar value structures.
This composition uses a neutrals color scheme ranging from black to white.
These two images demonstrate similar values in neutrals and hues.
This is the same composition using a single hue along with a similar value structure.
5
Hue Distribution The name of a color family is its hue, such as red, yellow-red, or yellow-green. Colors that lie close to each other on the color wheel have a low contrast in hue, while colors that are farther apart have a high contrast in hue. These color studies demonstrate these contrasts.
This magazine advertisement demonstrates a high contrast of hues.
This composition demonstrates a high contrast of hues.
This composition demonstrates a minor contrast of hues by using colors that lie close to each other on tehecolor wheel.
6
Value Distribution Value is how dark or light a color is in relationship to the gray scale. A color with a low value is darker, while a color with a high value is lighter. Contrasts in value can be created by combining low values with high values, as demonstrated in these color studies.
This composition has a low value base combined with high values, which creates a major contrast of values.
This is an example of a composition with a low value base that contrasts with other mid and high values.
This composition deomstrates a minor contrast of values by combining a high value base with other high values.
7
Chroma Distribution Chroma is defined as the intensity of a color. Low chromas appear washed out, while high chromas are brighter and more vibrant. Contrasts in chroma can be created by combining low chromas with high chromas, which is demonstrated in these color studies.
This composition demonstrates a high chroma contrast by combining a low chroma base with high chromas.
This composition demonstrates a low chroma contrast by combining a low chroma base with other low chromas.
This magazine ad demonstrates a chroma contrast by using a low chroma base that contrasts with higher chromas.
Visual
8
Mix and Vibration The use of a visual mix or visual vibration can catch the viewer’s attention in two very different ways. A visual mix is created by using hues of similar values. Those colors appear to blend, or mix together. A visual vibration is created by using colors of high hue contrast. While a visual mix creates a sense of unity, a visual vibration creates a feeling of chaos.
This composition demonstrates a visual mix. If you squint your eyes, the colors seem to blend together.
This magazine ad demonstrates a visual vibration, which catches the reader’s attention.
This composition is a visual vibration. The contrast between hues makes the colors seem to vibrate as you look at it.
Alber’s
9
Color Interaction Albers found that when certain colors are placed next to other colors, it can create the illusion of a change in either hue, value, or chroma. A change in hue can be created by placing a color by its neighbor on the color wheel. A value change can be created by placing a mid value against a lighter or darker value. A chroma change can be created by placing a color against another with high contrast. These changes are demonstrated in the following color studies.
Hue Change
Value Change
Chroma Change
This interaction composition demonstrates a change in value. The light blue appears to change values when placed against a light green and a dark blue.
Birren’s
10
Principles of Color Birren’s principles of color are based on tints, shades, and tones. A tint is a color mixed with white, a shade is a color mixed with black, and a tone is a color mixed with gray. The following color studies demonstrate some of these principles.
This t-shirt design includes color, shade, tint, black, and white.
This composition uses shade, tone, and white.
This composition uses color, tint, and white.
Chevreul’s Elements of Harmony
11
Adjacents & Opposites Chevreul found that using certain colors together can create harmony. The following color studies demonstrate the harmony of adjacents and the harmony of opposites. Adjacent colors are those that lie next to each other on the color wheel, while opposites lie across from each other on the color wheel. Both of these color schemes are commonly found in nature. The color studies below demonstrate these harmonies.
This logo for Super Bowl XLI demonstrates the harmony of opposites by using orange and blue.
This composition demonstrates the harmony of adjacents. Below shows these adjacents on the color wheel.
This composition demonstrates the harmony of opposites. Below shows opposites on the color wheel.
12
Split-Complements & Triads Chevreul also found harmony in split-complements and triads. A color’s split-complements are the two hues that lie next to its opposite on the color wheel, such as yellow-orange, blue, and violet, as seen below. Triads are three colors that are spaced equal distance apart on the color wheel, such as red, blue, and yellow.
The Superman logo is an example of the harmony of triads.
This composition demonstrates the harmony of split-complements. This is demonstrated on the color wheel below.
This composition demonstrates the harmony of triads, also shown on the color wheel below.
Kobayashi’s
13
Color Expression Kobayashi found that certain colors used together tend to create certain feelings, such as earthy, or energetic. He said that colors found in the upper part of the color triangle are light, casual, and relaxing, while the colors in the lower part are heavy, formal, and serious. The colors in the right half of the triangle are energetic, active, dynamic, and flamboyant. These color studies demonstrate these ideas.
A real world example of people wearing clothes that demonstrate an earthy color scheme.
This composition demonstrates an earthy color scheme.
This composition demonstrates an energetic color scheme.
These brightly colored flowers give off an energetic feel.
14
Free Studies After studying these different principles and theories, I have learned a great deal about color and how to use it. These free studies demonstrate what I have learned and some of the different messages color can communicate.
This color scheme creates a feeling of busyness and chaos.
This color scheme provides a modern and relaxing feel.
This color scheme creates a feeling of warmth and anger.
15
References
page 4 www.flickr.com/photos/blackvelvet
page 10 Fergie gomedia.us
page 5 Crystal Light Glamour Magazine
page 11 Super Bowl XLI Logo
page 6 Cross Association Simpson Gainsborough aiga.org
page 12 Superman Logo
page 7 Cover Girl Glamour Magazine
page 13 Glamour Magazine
page 8 Havaianusus Glamour Magazine
page 13 www.flickr.com/photos/nienien