JOURNEY THROUGH COLOR
JOURNEY THROUGH COLOR tori hinn
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EMOTIVE/ EXPRESSIVE
EMOTIVE
LIFE
LOVE
HATE
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PEACE/TRANQUILITY
HAPPY
SAD
LUMINOUS
NOBLE
EXPRESSIVE
HEAVY (WEIGHT)
LIGHT (WEIGHT)
LOUD (SOUND)
SOFT (SOUND)
SWEET (TASTE)
BITTER (TASTE)
SMOOTH (SURFACE)
ROUGH (SURFACE)
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PRIMARIES/ SECONDARIES/ TERTIARIES
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Neutral primary hues are created from respective warm and cool components (colors), then using those colors to create the secondary and tertiary hues.
PRIMARY HUES
rose tyrian + winsor red
brilliant yellow +
turquoise blue +
SECONDARY HUES
ultramarine + rose tyrian
winsor red + brilliant
turquoise blue +
TERTIARY HUES
green + yellow
green + blue
red + orange
yellow + orange
red + violet
blue + violet
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Complementary colors are across each other on the color wheel. These four geometric shapes can be placed over the wheel to provide different sets of 3 or 4 color combinations that result in color harmonies.
COLOR WHEEL
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COLOR WHEEL HARMONY
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Applied to compositions, color harmonies with light, warm and bright hues will emphasize colors and make them appear to come forward. Dark, cool, and dull colors recede into the background. Contract harmony occurs when complementary colors mix together to create grey. This physiological phenomenon (Goethe’s theory) happens when the eye focuses on a primary color for a few seconds and notices the appearance of its complement on a white piece of paper. The same applies to tertiary pairs, although theory suggest this harmony is a bit weaker.
TINTS AND SHADES
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COMPOSITIONS
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In each composition, one color is kept pure when the others are converted into tints and shades of the original color. In doing this, the pure color changes drastically depending on the shade or tint that surrounds it.
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POSITIVE/ NEGATIVE
ORNAMENT BITING
BROKEN
FROSTY
$$ $$$$$ $ $$$ $ $$$$$$ $ $ $ $ $ GREED $$$ $
$
$ $ $
$
PEOPLE WHO ARE ALLERGIC TO WOOL
T
$
SLEIGH
26 | ADDICTION
PUMPKIN SPICE
MITTENS
L
IG
HT S GATHERING
FLU
TANGLE
NEEDLES THIN ICE
DOUGLAS FIR
ICE SKATING
$
$$ $$ $
$ $ SWEATERS
ACCIDEN
$
$ $ $$$$$$ $$
FEAST
$ $ $ $$ $$ $ $$
GLUT TONY
GIFT
POSITIVE/NEGATIVE WINTER
Every color on the wheel has positive and negative associations that extend across cultural and geographical borders. For this project, I chose to explore something that usually has virtually zero negative associations in my head: winter. Growing up in the southern United States, I never experienced winter like the north did, no snowmen or sleigh rides. My ideas of winter were fantasies and mostly things I didn’t experience (wearing mittens, heavy sweaters, snowball fights). In this book, I focused on the positive and negative attributes of winter, with some of them being stranger than others. Pure colors with their shades and tints change appearance when their background colors change from black and white.
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SIMULTANEOUS CONTRAST
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light
medium
dark
light
medium
dark
light
medium
dark
Greyscale, monochromatic, and analogous colors with matching values throughout. These serve as the designated greys to demonstrate simulatenous contrast.
SIMULTANEOUS CONTRAST
A color’s hue is altered by placing it within another colored background. By doing this, a color can appear to look like a completely different color by absorbing or subtracting from its color ground — simultaneous contrast. Using only 1 shape throughout my book, I studied the effects of changing a color’s hue by exploring various background colors. By changing the appearance of a color’s value (the darkness or lightness), a color can appear to have the same value as another, although it’s only an illusion. By being separated with different background colors, a middle grey can appear to look the same as a light grey or a dark grey. To achieve the simultaneous contrast effect, “designated greys” need to be placed with a white and black field, both independently and simultaneously.
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FOUR COLOR SEPARATIONS
Subtractive
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Additive
FOUR COLOR SEPARATIONS The objective of this project is to study the effect that a given color can have on another color in each of three dimensions. Specifically, a contiguous (touching) color can influence the given color in direction (yellower, bluer, redder), in value (lighter, darker) and in intensity (brighter, duller). I chose the form of an owl to divide into equal sections horizontally. The left side of the owl is a warm color taken from the additive and subtractive color palettes (RYB/GOV, RGB/CMY) and the right is a cool taken from the same palette. The four compositions have changing background colors, and although the owl appears to change colors, it actually stays the same. After this is done, the entire composition is put through a four color, CMYK separation manually through illustrator. It is then put through InDesign’s automatic four color separation and printed in black/white.
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CMYK
PANTONE
CMYK
PANTONE
C M Y K
10 79 76.83 00
DS 77-2U @ 95%
C M Y K
10 79 76.83 00
166 U @ 94%
C M Y K
50 36.16 22.59 05.44
DS 213-2U @ 49%
C M Y K
50 36.16 22.59 05.44
DS 201-2U @ 92%
C M Y K
10.32 04.13 10.32 00
DS 308-8U @ 21%
C M Y K
10.32 04.13 10.32 00
313 U @ 100%
C M Y K
04.09 04.09 29.04 01.76
DS 3-1 U @ 29%
C M Y K
04.09 04.09 29.04 01.76
Warm gray 9 U @ 100%
C M Y K
60.42 80.56 80.56 05.44
504 U @ 70%
C M Y K
00 01.58 00 53.60
Cool Gray 11 U @ 79%
C M Y K
11.21 68.29 26.63 00
7426 U @ 64%
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HARMONIES IN NATURE
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One monochromatic color palette and one analogous color palette. These two palettes are then blended into each other in 8 steps. The entire color palette is turned into shades and tints in about 20 steps.
HARMONIES IN NATURE
USA FIRST CLASS
FOREVER
USA FIRST CLASS
FOREVER
USA FIRST CLASS
FOREVER
USA FIRST CLASS
FOREVER
Objects from nature provide colors in a broad range that appear to be in harmony together. The colors found on an abalone shell produced a soft, subdued color palette with cool and warm hues. From these two sets of three colors each, I expanded my color palette with shades, tints, and blends of the two sets. Using colors from this larger palette, I created three compositional postage stamps that incorporated the three color harmonies in nature (monochromatic, analogous, and complementary color palettes). Setting certain objects to a lower opacity and different transparency modes produced different spacial effects.
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USA FIRST CLASS
FOREVER
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USA FIRST CLASS
FOREVER
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USA FIRST CLASS
FOREVER
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USA FIRST CLASS
FOREVER
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This book was produced by Tori Hinn for Color with Aki Nurosi at the Rhode Island School of Design in Fall 2011. Set in Bell Gothic by Chauncey H. Griffith and Whitney by Hoefler & Frerer-Jones. Printed on EPSON Premium Presentation Matte paper on an EPSON Stylus Photo r1900.