Upload
dinhnhi
View
218
Download
0
Embed Size (px)
Citation preview
TimothySamara
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?
TIMOTHY SAMARA
Graphic designfundamentals
TIMOTHY SAMARA
Graphic designfundamentals
Is it blue, blue,or blue?Defining color’sidentity
TIMOTHY SAMARA
Graphic designfundamentals
TIMOTHY SAMARA
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
TIMOTHY SAMARA
Graphic designfundamentals
TERTIARY
TERTIARY
TERTIARYTERTIARY
TERTIARY
TERTIARY
PRIMARYPRIMARY
PRIMARY
SECONDARY
SECONDA
RYSECONDARY
Hue
TIMOTHY SAMARA
Graphic designfundamentals
Saturation
TIMOTHY SAMARA
Graphic designfundamentals
Value
TIMOTHY SAMARA
Graphic designfundamentals
Temperature
Chromaticconversations
TIMOTHY SAMARA
Graphic designfundamentals
TIMOTHY SAMARA
Graphic designfundamentals
ChromaticconversationsCreating colorrelationships
TIMOTHY SAMARA
Graphic designfundamentals
RED-ORANGE
YELLOW-GREEN
ORANGE
YELLOW
YELLOW-ORANGE
RED-VIOLET
BLUE-GREEN
VIOLET
BLUE
BLUE-VIOLET
RED
GREEN
The Color Wheel
TIMOTHY SAMARA
Graphic designfundamentals
Hue Relationships
Analogous Complementary Triadic Extension
Simultaneous Contrast
TIMOTHY SAMARA
Graphic designfundamentals
Saturation Relationships
Simultaneous Contrast
Analogous Diametric Opposition Extension Split Opposition
TIMOTHY SAMARA
Graphic designfundamentals
Value Relationships
Simultaneous Contrast
Progressive Analogous RhythmicExtension
Boundary Blur
TIMOTHY SAMARA
Graphic designfundamentals
Temperature Relationships
Simultaneous Contrast
Closed Analogous Progressive Extension
TIMOTHY SAMARA
Graphic designfundamentals
P I C T U R E P L A N E
Spatial Relationships
Color familiesTIMOTHY SAMARA
Graphic designfundamentals
TIMOTHY SAMARA
Graphic designfundamentals
Color families
Palettes and systems
TIMOTHY SAMARA
Graphic designfundamentals
TIMOTHY SAMARA
Graphic designfundamentals
TIMOTHY SAMARA
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
TIMOTHY SAMARA
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
TIMOTHY SAMARA
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
TIMOTHY SAMARA
Graphic designfundamentals
Color Halftone Duotone/Tritone Tonal CurveAdjustments
CMYK Quadtone
Not just pretty,but smart too
TIMOTHY SAMARA
Graphic designfundamentals
TIMOTHY SAMARA
Graphic designfundamentals
Not just pretty,but smart tooUsing color formeaning
TIMOTHY SAMARA
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.
TIMOTHY SAMARA
Graphic designfundamentals
Q U I E T
Q U I E T
Q U I E T
TIMOTHY SAMARA
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