BASIC COLOR THEORY

RED ORANGE YELLOW GREEN BLUE VIOLET

COLOR PROPERTIES

HUE VALUE INTENSITY

PROPERTIES OF COLOR

1.HUE-NAME OF THE COLOR

2.VALUE-LIGHT OR DARK

3. INTENSITY-BRIGHT OR DULL

COLOR SPECTRUM- THE WAVELENGTHS OF LIGHT WE CAN

SEE

HUE-NAME OF THE COLOR

THERE ARE 12 HUES ON THE COLOR WHEEL

SHADES

VALUE- HOW LIGHT OR DARK

A COLOR IS

VALUE IS A RANGE FROM WHITE TO BLACK

OR

A RANGE FROM LIGHT TO DARK Tints

SHADES

VALUE- HOW LIGHT OR DARK

A COLOR IS

TINT- LIGHT VALUE, ADDING WHITE

SHADE- DARK VALUE, ADDING BLACK

TONE- MIDDLE VALUES, ADDING GRAY

Tints

INTENSITY- HOW BRIGHT OR DULL

A COLOR IS

• INTENSITY IS CHANGED BY ADDING THE OPPOSITE COLOR.

• ADDING THE OPPOSITE COLOR MAKES THE

COLOR DULLER.

• MIXING OPPOSITES CREATES NEUTRAL

BROWNS AND GRAYS

COLOR SCHEMESA PLAN FOR USING COLORS, A SPECIFIC GROUP OF

COLORS

COLOR WHEEL BASIC SCHEMES

PRIMARY SECONDARYINTERMEDIAT

E

Primary +Primary = SECONDARY

PRIMARY + SECONDARY = INTERMEDIATE

INTERMEDIATES AND TERTIARIES ARE THE SAME.

THIS COLOR WHEEL SHOWS THE RELATIONSHIPS BETWEEN THE

COLORS VERY CLEARLY.

FROM HERE, WE CAN BEGIN TO USE THE WHEEL AS A MAP FOR

CHOOSING MORE ADVANCED COLOR SCHEMES.

TRIAD3 COLORS THAT ARE

EVENLY SPACED.

CREATES A HARMONIOUS FEELING. PICK ONE AS THE

MAIN COLOR.

WARMSREDS, ORANGES, AND

YELLOWS

WARM COLORS ADVANCE TOWARD YOU

COOLSBLUES, GREENS, VIOLETS

COOL COLORS GO BACK/RECEDE IN SPACE

ARTISTS PLAN COLORS

TRIAD

MARILYN MONROE, 1964

ANDY WARHOL

WARM

SUNFLOWERS, 1888

VINCENT VAN GOGH

COOL

THE BLUE FLOWER, 1887

GEORGIA O’KEEFE

MONOCHROMATIC

USING TINTS AND SHADES OF ONE COLOR

USING A RANGE OF VALUES OR CHANGES IN INTENSITY.

CREATES HARMONY

GUERNICA, 1937PABLO PICASSO

ANALOGOUS

COLORS THAT ARE NEXT TO EACH OTHER ON THE COLOR

WHEEL

ONE COLOR RELATES THE COLORS TO EACH OTHER

COMPLEMENTS

COLORS THAT ARE OPPOSITES

THEY ARE ACROSS FROM EACH OTHER ON THE COLOR

WHEEL.

COMPLEMENTS CREATE CONTRAST

USE THE COMPLEMENT TO CHANGE A COLOR’S

INTENSITY.

SPLIT COMPLEMEN

T

A COLOR AND TWO COLORS ON EACH

SIDE OF ITS COMPLEMENT.

CREATES CONTRAST AND HARMONIOUS

VARIETY.

ARTISTS PLAN COLORS

ANALOGOUS

NO. 5 IN GOLD, 1928

CHARLES DEMUTH

COMPLEMENTSREVENGE OF THE GOLDFISH,

1979

SANDY SKOGLUND

SPLIT COMPLEMENT

GLASS BEADS, 1997

LAUREN GRIMSHAW