COLOR, DEPTH, AND SPACE

TYPES OF COLOR Color can have its own structural role to play in the

composition.

Warm colors are colors that have more yellow in them;

Cool colors have more blue. Green, purple and red can be warm or cool,

depending how close each is to blue or yellow. 2

Neutral

Cool

Warm

THE COLOR WHEEL

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A color 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, scientists and artists have studied and designed numerous variations of this concept.

Differences of opinion about the validity of one format over another continue to provoke debate.

In reality, any color circle or color wheel which presents a logically arranged sequence of pure hues has merit.

THE COLOR WHEEL

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The three primary colors (red, yellow and blue) are equidistant from one another on the color wheel.

Their complementary colors (green, violet/purple and orange respectively) are opposite of them on the wheel, as are the complementary of all the other colors, for example, yellow-green opposite violet-red.

COMPLEMENTARY COLORS

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Complementary colors are any two colors which are directly opposite each other, such as red and green and red-purple and yellow-green.

In the illustration, there are several variations of yellow-green in the leaves and several variations of red-purple in the orchid.

These opposing colors create maximum contrast and maximum stability.

MONOCHROMATIC COLORS

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The monochromatic color scheme uses variations in lightness and saturation of a single color.

This scheme looks clean and elegant. Monochromatic colors go well together, producing a soothing effect.

The monochromatic scheme is very easy on the eyes, especially with blue or green hues.

You can use it to establish an overall mood.

However, it can be difficult, when using this scheme, to highlight the most important elements.

Source: Color Wheel Pro

COLOR CONTEXT How color behaves in relation to other colors and

shapes is a complex area of color theory. 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

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COLOR MATTERS WEBSITE Use the following link to look at the Color

Matters for Kids and Fun Color Facts in the sidebar on the left.

http://www.colormatters.com/culturematters.html

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CHOOSING COLORS TO ENHANCE FIGURE-GROUND For maximum contrast, use:

Black on yellow Green, red, or blue on white White on blue Black on white Yellow on black

Cool colors = formal and distant; retreat Warm colors = informal, approachable;

advance

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DEPTH Depth is how deep or three-dimensional a

design or piece of artwork looks. Artists create depth and space with a

variety of techniques and tricks that fool the eye.

The illusion of space can be created using color, line, texture, and shape.

Western artists in the 16th century developed a mathematical system to create the illusion of depth called perspective. 10

DEPTH

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Depth is critical in facilitating the process of selection, because it has the potential to make elements in a visual stand out from each other.

Depth refers to three essential elements:

1. Scale – relative proportions of objects; comparisons of size

2. Dimension – shadows produce the illusion of depth in two-dimensional elements

3. Texture – creates depth, advances images

SPACE Space is an important tool for clarifying text.

Increases rate of reading Helps learners access more personally relevant

elements in the material Enables learners to discern the structure of the

document Space imparts a perception of timing –

elements that are farther apart communicate the perception of distance in time

Space helps balance images by using: Symmetry Asymmetry White space

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POSITIVE AND NEGATIVE SPACE Positive space is the part of a design that your eye

sees because something actually is there. There are several rules or guides to positive-negative

(or, figure-ground) relationships: Positive space/figure is where information (main

point of interest, elements) are, and negative space/ground is everything else.

Positive space/figure is usually smaller than negative space.

Figure has contour, ground does not. Figure and ground cannot exist independently. Figure usually occupies more space in the

composition than ground. Figure is usually perceived as being closer than

ground. 13

POSITIVE AND NEGATIVE SPACE

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Negative space is the empty space around shapes and forms.

In the photo, the black area is negative space and it serves to balance the area in which the marmot and rock occupy.

Areas of a picture that contain "nothing" are important visual elements that provide balance in an image.

TRAPPED WHITE SPACE

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If you don't intentionally push them to the middle, you can trap white space right in the middle of your page.

Why is this a problem? Your eye tends to fall in

the center of a page, and if there's nothing there, it looks like something's missing.

Solution: Reposition or resize elements to rework the negative space.

Here is an example of trapped white space, in which elements get gradually added to a page.

POSITIVE AND NEGATIVE SPACE Sometimes, positive and negative space

can be confused as the eye/brain try to make sense out of what is actually seen.

Let us look again at a familiar image:

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PROJECT

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Create an image and experiment with changing its appearance with depth, color, and space. See the examples below.