ESCUELA DE ARTE MIGUEL MARMOLEJO DEPARTAMENTO DE INGLES GRAPHIC ADVERTISING MA Escobar

GRAPHIC DESIGN PRINCIPLE # 6

Colour: Notions

There are many schemes for organizing colours and navigating the relationships among them. Entire books are devoted to the display of "working" colour combinations, and graphic designers consult them regularly. Most schemes are based on colour wheels (such as the Munsell Hue Circuit, shown here). A few simple principles, such as those on the following pages, describe how to use these wheels when choosing color combinations. Colour wheels organize colors around three psychologically significant attributes: Hue: Corresponding to the colour's dominant wavelength. Hue varies as one travels around the wheel. It is our primary means of distinguishing colours. Value: Corresponding to brightness. Value varies as one travels from the inside of the circle (high values) to the outside (low values). The white circle at the center of the wheel indicates whiter mixes of the colours on the wheel; the heavy black circle around the outside indicates progressively blacker mixtures. Chroma: Corresponding to purity or saturation of colour. To vary the chroma, a colour may be mixed with varying amounts of the same value of gray. Lighting and, psychologically, adjacent colours, affect perceived saturations. Most colour wheels and colour schemes differ from one another only in the choice of the primary colours: the colours from which all others are mixed. These differ when mixing light or mixing pigments.

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When complementary colours (opposite each other on the colour wheel) are juxtaposed, both colours appear brighter. When analogous colours (next to each other on the colour wheel) are juxtaposed, they tend to blend visually, and it may be difficult to separate them. Split complements of a colour are the colours to either side of the complement. Monochromatics of a colour are the colours of the same hue, but with values closer to the center or to the edge of the color wheel. The most general principle of colour balance says that colour combinations become less dynamic, eye-catching, visually demanding and mentally challenging as one considers, in order: complements, split complements, analogous, and finally monochromatic colours.

Colour balance is easier to achieve when these dynamics are minimized.

Glossary: Value: Hue: Chroma:

Brillo. Tono. Saturacin o pureza de color.

ESCUELA DE ARTE MIGUEL MARMOLEJO DEPARTAMENTO DE INGLES GRAPHIC ADVERTISING MA Escobar

GRAPHIC DESIGN PRINCIPLE # 7 Consider the Idiosyncrasies of Colour Contrast Colour combinations are probably the most difficult design elements to manage. (Indeed, black and white photographers remove this element entirely, leaving only surface elements such as tone, contrast and shading.) The difficulty with colour is that individual choices may appear changed when contrasted with the other colours of a design. Trial and error is inevitable when choosing colours, and designers often work with books of "working" combinations that help to simplify the process. As a basis, however, an understanding of the psychological idiosyncrasies associated with colour combinations is essential for creating well-considered overall designs. A few are illustrated on the following images.

Regarding the perception of size: Light colours appear larger than dark colours on the same background. This is compounded by the "advance" of the lighter colour. For elements of similar shape and size but of different colour, this effect is relatively easy to balance, since the lightening of an element's colour, increasing its perceived size, simultaneously lowers its chromatic "weight".

Regarding the perception of value: The same colour looks lighter against a dark background than it does against a light background. This effect can be managed if the designer is willing to reconsider the relative values of individual hues once they become integrated into a larger design.

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Regarding the perception of hue, two principles are basic: 1. Similar hues appear more like complements when juxtaposed

Yellow-Green Green

2. Two-pixel squares of primary colours influence one another, so the red takes on a bluish cast and the blue takes on a reddish cast. This creates a very strong simultaneous-contrast effect.

Red (#FF0000) Blue (#0000FF)

Finally, regarding the perception of chroma, we can notice that the interaction of the chroma levels of adjacent colours results in the following chroma-contrast effects, which affect our perception of hue and chroma.

Two grids of coral pink (#FF6699) appear to be different hues, because of the influence of chroma levels of the background colours crimson (#FF3366) and Siberian amethyst (#660099). The grid on the left appears lighter and duller, while that on the right appears darker and more brilliant.

ESCUELA DE ARTE MIGUEL MARMOLEJO DEPARTAMENTO DE INGLES GRAPHIC ADVERTISING MA Escobar

GRAPHIC DESIGN PRINCIPLE # 8 Use Colours to Create Moods Warm colours (yellow, orange, red) evoke pleasant, often dynamic, reactions. Cool colours (green, blue, purple) evoke a quieter mood, and are considered less outgoing than the warm colours. The "temperature" of colours can also indicate action levels and priorities: warm colours advance from the background and imply a required reaction, while cool colours recede and imply rest or background status. In any hue, single colours, free of dynamic interactions with other colours, are more appealing and memorable when presented against a background of neutral gray.
Mark Rothko Untitled 1952 The cool and cotemplative (receding) blue field at the optical center of this painting is framed by the exuberant and outgoing (advancing) orange field below. The combination evokes a thoughtful mood; simultaneously calm, content, and optimistic.

Mark Rothko Untitled 1970

The emotional effect of the lack of colour can also be intense. Here, in a painting found in Rothcos studio after his suicide, the large black field literally crushes the lower valued gray below.

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GRAPHIC DESIGN PRINCIPLE # 9 Save Bright or Saturated Colours for Special Uses Bright or saturated colors draw immediate attention, but only if used in limited amounts. They are useful for error messages, annotations, urgent commands, and, when simultaneously emphasized by a font change or special placement, key words. Used together, saturated colors (especially saturated complements) are extremely fatiguing, causing the eye to constantly refocus. The effect produces after-images. Except for unusual circumstances where visual vibration may be desired, combinations of bright or saturated colors should be avoided.

Green, blue, red Ellsworth Kelly Here Kelly has deliberately violated the principle by contrasting saturated colours of high chroma and complementary hues with the red background. The result is a distinct vibration at the boundaries between the positive and negative elements.

After Kelly Rene Parola Contrasting colours of low chroma and similar hue produce less dynamic interaction with the saturated yellow background. Notice, however, that yellow varies from warm to cool when contrasted with the warm and cool positive elements, respectively