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TimothySamaraGraphic designfundamentals

TIMOTHY SAMARA

Graphic designfundamentals

Color

Graphic designfundamentals

TIMOTHY SAMARA

Graphic designfundamentals

Overview

Color

Become familiar with color identityUnderstand color relativityEstablish palettes and color systemsUse color for meaning

Is it blue, blue,or blue?

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Graphic designfundamentals

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Graphic designfundamentals

Is it blue, blue,or blue?Defining color’sidentity

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Graphic designfundamentals

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Graphic designfundamentals

Hue A distinction between color identities as defined by their wavelengths

Saturation The relative dullness or brightness of a color

Temperature A color’s perceived warmth or coolness

Value Whether a color appears light or dark

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Graphic designfundamentals

TERTIARY

TERTIARY

TERTIARYTERTIARY

TERTIARY

TERTIARY

PRIMARYPRIMARY

PRIMARY

SECONDARY

SECONDA

RYSECONDARY

Hue

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Graphic designfundamentals

Saturation

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Graphic designfundamentals

Value

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Graphic designfundamentals

Temperature

Chromaticconversations

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Graphic designfundamentals

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Graphic designfundamentals

ChromaticconversationsCreating colorrelationships

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Graphic designfundamentals

RED-ORANGE

YELLOW-GREEN

ORANGE

YELLOW

YELLOW-ORANGE

RED-VIOLET

BLUE-GREEN

VIOLET

BLUE

BLUE-VIOLET

RED

GREEN

The Color Wheel

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Graphic designfundamentals

Hue Relationships

Analogous Complementary Triadic Extension

Simultaneous Contrast

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Graphic designfundamentals

Saturation Relationships

Simultaneous Contrast

Analogous Diametric Opposition Extension Split Opposition

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Value Relationships

Simultaneous Contrast

Progressive Analogous RhythmicExtension

Boundary Blur

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Temperature Relationships

Simultaneous Contrast

Closed Analogous Progressive Extension

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Graphic designfundamentals

P I C T U R E P L A N E

Spatial Relationships

Color familiesTIMOTHY SAMARA

Graphic designfundamentals

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Graphic designfundamentals

Color families

Palettes and systems

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Graphic designfundamentals

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Graphic designfundamentals

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Graphic designfundamentals

Hue Value, saturation, and temperature analogous

SINGLE-VARIABLE SYSTEMS

Value Hue, saturation, and temperature analogous

Saturation Hue, temperature, and value analogous

Temperature Hue, saturation, and value analogous

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Graphic designfundamentals

MULTIPLE-VARIABLE SYSTEMS

Hue and Value Saturation and temperature analogous

Hue and Saturation Temperature and value analogous

Hue and Temperature Value and saturation analogous

Temperature and Value Hue and saturation analogous

Temperature and Saturation Hue and value analogous

Saturation and Value Hue and temperature analogous

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Graphic designfundamentals

Pure Complement

Near ComplementCool

AnalogousSame saturation

AnalogousSame value

AnalogousTemperature shift:cool

ComplementSame value,saturation shift

Near ComplementWarm

AnalogousDifferent saturation

AnalogousDifferent value

AnalogousTemperature shift:warm

Near ComplementSaturation and value shifts

Split Complement

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Graphic designfundamentals

Color Halftone Duotone/Tritone Tonal CurveAdjustments

CMYK Quadtone

Not just pretty,but smart too

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Graphic designfundamentals

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Graphic designfundamentals

Not just pretty,but smart tooUsing color formeaning

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Graphic designfundamentals

TIMOTHY SAMARA

Graphic designfundamentals

This vibrant color 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.

Violet is sometimes perceived as compromising—but also as mysterious and elusive. The value and hue of violet greatly affect its communication: deep violets, approaching black, connote death; pale, cooler vio-lets, such as lavender, are dreamy and nostalgic; red-hued violets, such as fuchsia, are dramatic and energetic; plumlike hues are magical.

With the shortest wavelength, green is the most relaxing color 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.

A mixture of red and yellow, orange engenders feelings similar to that of its parent colors—vital-ity and arousal (red) and warmth and friendliness (yellow). Orange appears outgoing and adven-turous but may be perceived as slightly irresponsible. Deeper orange induces salivation and a 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.

The ultimate neutral, gray may be perceived as noncommittal, but can be formal, dignified, and au-thoritative. Lacking the emotion that chroma carries, it may seem aloof or suggest untouchable wealth. Gray may be associated with technology, especially when presented as silver. It suggests precision, control, competence, sophistication, and industry.

In a subtractive color model, white represents the presence of all color wavelengths; in an additive model, it is the absence of color. Both of these models help form the basis for white’s authoritative, pure, and all-encompassing power. As the mixture of all colors of light, it connotes spiritual wholeness and power. Around areas of color activity in a composition—especially around black, its ulti-mate contrast—white appears restful, stately, and pure.

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 depend-able. Statistically, blue is the best liked of all the colors.

Associated with the Sun and warmth, yellow stimulates a sense of happiness. It appears to advance spatially in relation to other colors and also helps to enliven surrounding colors. Yellow encourages clear thinking and memory retention. A brighter, greener yellow can cause anxiety; deeper yellows evoke wealth.

The association of brown with earth and wood creates a sense of comfort and safety. The solidity of the color, because of its organic connotation, evokes feelings of timelessness and lasting value. Brown’s natural qualities are perceived as rugged, ecological, and hard working; its earthy con-nection connotes trustworthiness and durability.

Unknowable and extreme, black is the strongest color in the visible spectrum. Its density and contrast are dominant, but it seems neither to recede nor to advance in space. Its indetermi-nate quality reminds viewers of nothingness, outer space, and, in Western culture, death. Its mys-tery is perceived as formal and exclusive, suggesting authority, superiority, and dignity.

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Graphic designfundamentals

Q U I E T

Q U I E T

Q U I E T

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Graphic designfundamentals

Refreshing African Art Nouveau Teens Bath [traditional]

Artificial South American Art Déco/Streamline Young Adults Electronics/Gaming

Organic Middle Eastern Post-War/Baby-Boomer Mature Adults Eco-Friendly Laundry Products

Elegant Japanese Swinging 1960s Mod Mass-Market Cosmetics Automotive [sporting]

Romantic Spring 1960s Folk/1970s Earthy Men’s Grooming Consumer Health Care

Comical Summer New Wave Pop Women’s Luxury Apparel Pharmaceuticals

Friendly Autumn New Age Millenial Men’s Business Apparel Financial Services

Urban Winter Internet Futurism Women’s Fragrance Telecommunications