Theory of Colour Colour theory evolves around three basic families of Primary Colours.
Depending on the application and environment they fall into three categories:
RGB (red– green – blue)
CMYK (cyan – magenta – yellow – black)
YRB (yellow – red – blue)
Visible Spectrum
What we perceive as the colour of an object is actually the reflection of light of certain wavelength off the surface, as this reflection is received by the retina of the eye and perceived by the brain. It does not “belong” to an object itself. The wavelength that humans can see (only a tiny fraction of electromagnetic radiation) is collectively referred as the VISIBLE SPECTRUM
Colour Wheel
Centuries ago, Sir Isaac Newton proposed that the ends of Visible Spectrum could be joined and made into circular of colour relationships that we now call the COLOR WHEEL
Primary Colours
Primary colours in REFRACTED light are: red–green-blue. If you examine colour television picture very closely you will see that it is composed entirely of dots of these three hues. There is no yellow in tv transmission. Yellow is here one of the secondary colours (mixture of red and green)
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Primary Colours
CMYK is a subtractive colour model used in color printing.
The mixture of ideal CMY colours is subtractive (cyan, magenta, and yellow printed together on white result in black). CMYK works through light absorption.
CMYK (cyan – magenta – yellow – black)
In CMYK, magenta plus yellow produces red, magenta plus cyan makes blue and cyan plus yellow generates green.
Primary Colours
Primary colours in REFLECTED light are: red-blue-yellow Reflected hues are those that result when light is reflected from a pigmented surface that absorbs all wavelengths except those that we see. The secondary colours are: orange, green and purple.
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Johannes Itten’s The 12-hue Colour Circle
Johannes Itten Itten was a master color theorist whose teachings and books on color and design are still used today. "Johannes Itten was one of the first people to define and identify strategies for successful color combinations. Through his research he devised seven methodologies for coordinating colors utilizing the hue's contrasting properties. These contrasts add other variations with respect to the intensity of the respective hues; i.e. contrasts may be obtained due to light, moderate, or dark value."
The contrast of saturation
The contrast is formed by the juxtaposition of light and dark values and their relative saturation.
The contrast of light and dark
The contrast is formed by the juxtaposition of light and dark values. This could be a monochromatic composition.
The contrast of extension
Also known as the Contrast of Proportion. The contrast is formed by assigning proportional field sizes in relation to the visual weight of a color.
The contrast is formed by the juxtaposition of hues considered 'warm' or 'cool.'
The contrast of warm and cool
The contrast is formed by the juxtaposition of color wheel or perceptual opposites.
The contrast of complements
The contrast is formed when the boundaries between colors perceptually vibrate. Some interesting illusions are accomplished with this contrast.
Simultaneous contrast
The contrast is formed by the juxtaposition of different hues. The greater the distance between hues on a color wheel, the greater the contrast.
The contrast of hue
Colour Combinations
analogous colour scheme
complementary colour scheme
triadic colour scheme
Colour Harmony
A colour scheme based on analogous
colours Analogous colours are any three colours which are side by side
on a 12 part colour wheel, such as yellow-green, yellow, and
yellow-orange. Usually one of the three colours predominates.
Colour Harmony
analogous colour harmony
Colour Harmony
A colour scheme based on complementary colours Complementary colours are any two colours which are directly opposite each other, such as red and green and red-purple and yellow-green. In the illustration below, there are several variations of yellow-green in the leaves and several variations of red-purple in the orchid. These opposing colours create maximum contrast and maximum stability.
Colour Harmony
Colour Harmony
Colour Context How colour behaves in relation to other colours
and shapes is a complex area of colour theory. Compare the contrast effects of different colour 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 colours.
Colour Context
Different readings of the same colour
In illustration below you can see that the small purple rectangle on
the left appears to have a red-purple tinge when compared to the
small purple rectangle on the right. They are both the same colour
as seen in the illustration below. This demonstrates how three
colours can be perceived as four colours.
Colour Context Different readings of the same colour
Observing the effects colours have on each other is the starting point for understanding the relativity of colour. The relationship of values, saturations and the warmth
or coolness of respective hues can cause noticeable differences in our perception of colour.
Colours always live with other colours.
Colours look different depending on what others colours surround them.
Colour Combinations
The distance between colours on a colour wheel has a predictable effect on how harmonious they will be if placed together.
There are several common patterns of colour combinations. They apply to any set of colours.
Such orderly relationships do not exhaust the possibilities but provide a basic framework for some designers’ colour choices.
Perceptual Opposites
Without a colour wheel, it is still possible to find the opposite of a colour and this is due to a phenomenon of our eyes. Due to the physiological differences between individuals, everyone's perceptions do vary—the complements shown next are own perceived opposites:
When you stare at red, your eyes and brain absorb that colour. Your brain tries to balance out the total absorption of red with red’s complement, which is green (you may see green or green-blue). This phenomenon is called ‘simultaneous contrast’ which means that your eyes and brain simultaneously create green, the complementary of colour red.
Colour Contrast
The seven colour contrasts as identified by Johannes Itten (Bauhaus teacher) are:
- Hue
- Light and Dark
- Cool and Warm
- Complementary
- Simultaneous Contrast
- Saturation
- Proportion
The Contrast of Hue
If you decrease the percentage of the pure hue you will decrease the contrast, and therefore, the dimension of the blocks.
The top row, which displays the purest form of the hues appears in front of the other two rows, which recede because of their lesser hues.
The Contrast of Light and
Dark
Dark colours come forward; light colours recede. And the reverse is true depending how much light and dark are used in a design.
As seen in the squares, the contrast of light and dark works with both black and white, and colour.
Contrast of Cool and Warm
Cool colours relax us and make us feel at ease.
By contrast Warm colours jump forward.
The use Cool or Warm colours alone can create subliminal feelings. When used together, Cool and Warm colours create powerful contrast and dimension.
Contrast of Complements
Take a look at the top row of the colour blocks, which show how 100% pure complementary colours create contrast and dimension. As with the contrast of hue, the lesser percentage of colours, the less contrast and dimension they make.
Contrast of Saturation
Saturated colours create very subtle and sophisticated contrast. Saturated tones echo real-life colours. Look at the world around you. Varying shades of colour add to the dimension to our world.
Proportion
Contrast of proportion refers to the relative size, area, and proportion of colour and its relationship to the other colour on the page.
The red squares in this illustration are smaller than the large green square. But they stand out in front of the green because of the extreme contrast in size.
Warm and Cool Colours
In addition to our perception of colours as having certain emotional qualities, we also associate degree of heat or cold with them .
Reds and Yellows are generally considered WARM colours, like those of fire
Blues and Greens are considered COOL, like icy water
Colour Temperature
warm cold
Warm and Cool Colours
Pablo Picasso
The Old Guitarist, 1903/04
Warm and Cool Colours
Josef Albers - Homage to the Square Paul Klee - poster
Warm and Cool Colours
It may seem strange to identify a sensation of temperature with the visual realm of colour sensation. However, experiments have demonstrated a difference of five to seven degrees in the subjective feeling of heat or cold between a work-room painted in blue-green and painted in red-orange. That is, in the blue-green room the occupants felt that 59F was cold, whereas in the red-orange room they did not feel cold until the temperature fell to 52F. Objectively, this meant that blue-green slows down the circulation and red-orange stimulates it.
Warm and
Cool Colours
Emotional value of colour
Emotional value of colour
Emotional value of colour
Emotional value of colour
Emotional value of colour
Emotional value of colour
Colour and flavour
Colour Symbolism
colour
This vibrant colour is among the most noticeable. Red
stimulates the autonomic nervous
system to the highest degree, invoking the
“fight or flight” adrenaline response, causing us to salivate
with hunger, or causing us to feel impulsive.
Red evokes feelings of passion and arousal.
colour
The power of blue to calm and create a sense
of protection or safety, results from its short
wavelength; its association with the
ocean and sky account for its perception as solid
and dependable. Statistically, blue is the
best-liked of all the colours.
colour
Associated with the sun and warmth, yellow stimulates a sense of
happiness. It appears to advance spatially in
relation to other colours and also helps to enliven
surrounding colours. Yellow encourages clear
thinking and memory retention. A brighter,
greener yellow can cause anxiety; deeper yellows
evoke wealth.
colour
The association of brown with earth and wood
creates a sense of comfort and safety. The solidity of the colour, because of its
organic connotation, evokes feelings of
timelessness and lasting value. Brown’s natural
qualities are perceived as rugged, ecological, and hardworking; its earthly
connection connotes trustworthiness and
durability.
colour
Unknowable and extreme, black is the strongest
colour in the visible spectrum. Its density and
contrast are dominant, but it seems to neither to
recede nor to advance in space. Its indeterminate
quality reminds viewers of nothingness, outer space,
and, in Western culture, death. Its mystery is
perceived as formal and exclusive, suggesting
authority, superiority, and dignity.
colour
Violet is sometimes perceived as
compromising –but also as mysterious and elusive.
The value and hue of violet greatly affects its
communication: deep violets, approaching black,
connote death; pale, cooler violets, such as
lavender, are dreamy and nostalgic; red-hued
violets, such as fuchsia, are dramatic and
energetic; plum-like hues are magical.
colour
A mixture of red and yellow, orange engenders feeling similar to that of its parent
colours –vitality and arousal (red) and warmth and
friendliness (yellow). Orange appears outgoing and
adventurous but may be perceived as slightly
irresponsible. Deeper orange induces salivation and feeling
of luxury. Brighter orange connotes health, freshness,
quality, and strength. As orange becomes more
neutral, its activity decreases, but it retains a
certain sophistication, becoming exotic.
colour
With the shortest wavelength, green is
most relaxing colour of the spectrum. Its association
with nature and vegetation makes it feel
safe. The brighter the green, the more youthful
and energetic. Deeper greens suggest reliable economic growth. More neutral greens, such as olive, evoke earthiness. However, green, in the
right context, can connote illness or decay.
Visual message and colour variations
Visual message and colour variations
Visual message and colour variations
Visual message and colour variations
THE 10 COMMANDMENTS OF COLOUR THEORY
THE 10 COMMANDMENTS OF COLOUR THEORY
Visual message and colour variations
