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Principles of Visual Design LCC 2720 Lecture 3 Color

Principles of Visual Design LCC 2720 Lecture 3 Color. Color Wheel. Primary Colors. Secondary Colors. Tertiary Colors. Primary, Secondary and Tertiary Colors. Primary, Secondary and Tertiary Colors. Standard 12-Color Wheel. Three Characteristics of Color. Hue Saturation Value.

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Principles of Visual Design LCC 2720 Lecture 3 Color

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  1. Principles of Visual Design LCC 2720 Lecture 3 Color

  2. Color Wheel

  3. Primary Colors

  4. Secondary Colors

  5. Tertiary Colors

  6. Primary, Secondary and Tertiary Colors

  7. Primary, Secondary and Tertiary Colors

  8. Standard 12-Color Wheel

  9. Three Characteristics of Color Hue Saturation Value

  10. Hue, Saturation and Brightness (Value)in the Photoshop/Illustrator Color Picker

  11. Hue, Saturation and Brightness (Value)in the Photoshop/Illustrator Color Picker

  12. The First Color Wheel Sir Isaac Newton created the first color wheel resulting from his experiments with refracting light.

  13. Modern Color Theory

  14. Color Theory Overview According to color theory, harmonious color combinations use: Any two colors opposite each other on the color wheel. Any group of colors next to each other on the color wheel. Any three colors equally spaced around the color wheel forming a triangle. Color schemes remain harmonious regardless of the rotation angle.

  15. Color Theory Overview Any four colors forming a rectangle. The split of one color’s compliment. Monochromatic combinations. Color schemes remain harmonious regardless of the rotation angle.

  16. Monochromatic Monochromatic color schemes are guaranteed to be harmonious as they are a single color with variations of value and saturation. They have the highest degree of harmony, but the lowest degree of contrast. Since they grab your attention less than any other color combination they’re usually used for more reserved, corporate, expensive, or nostalgic types of designs.

  17. Monochromatic Design However, as all rules are there to be broken, the laid back color scheme of this design makes it extremely appealing to the eye. The uniformity and subtlety of color is balanced with a huge upside-down alphabet and strange collage of iconography. If the colors contrasted each other with hue we wouldn’t notice the strange imagery as much.

  18. Monochromatic Design Because of the emphasize on the iconography in monochromatic designs this is actually a very common technique among designers today.

  19. Complementary Colors Any two colors 180 degrees opposite on the color wheel.

  20. Complementary Colors Complementary Colors have the highest contrast (in terms of hue, not value). Because of this they are as bold of a combination as possible. Color compositions based on them usually work, however can become tiring to look at due to the high hue contrast.

  21. Expansion of Color Theory Standard color theory doesn’t take color value into account. So, according to color theory, these two compositions are technically the same as the complimentary colors of magenta and green. Therefore you can adjust the value of the hue and lower the punch-factor of these colors.

  22. Complimentary Colors Using Compliments as a basis for a color scheme, but slightly branching out to include variances of value, will widen the breadth and make compositions that are pleasing for longer periods of time. + =

  23. Artists Mix Complimentaries to Achieve Rich Vibrant Grays, Browns, and Neutral Colors…

  24. Analogous Colors These are any number of colors that are adjacent on the color wheel.

  25. Analogous Colors

  26. Analogous Colors These combinations have an extremely high degree of harmony but low degree of contrast.

  27. These can seem very drab. A complimentary color could be added here for an accent that add dynamism to the design Analogous Colors

  28. These can seem very drab. A complimentary color could be added here for an accent that add dynamism to the design Analogous Colors

  29. Triadic Colors Triadic colors are any colors 120 degrees (one third of a 360 degree circle) apart on the color wheel.

  30. The Triad of the Three Primary Colors are the most energetic and balanced color combination possible. Together, they draw intense visceral interest.

  31. The Triad of the Three Primary Colors are the most energetic and balanced color combination possible. Together, they draw intense visceral interest, as such, they are appealing to children. Due to the commercial forces of marketing, we’ve learned to associate this Triad with children.

  32. Split Complimentary This is a combination of two colors next to the opposite of the first color.

  33. Split Complimentary Colors This is structure is dynamic enough to hold interest, but not with an excess of intensity of hue contrast from which the eye tires so easily.

  34. Split Complimentary This combination balances the interests of harmony and contrast, neither dominating the composition

  35. Split Complimentary This combination balances the interests of harmony and contrast, neither dominating the composition

  36. Split Complimentary This combination balances the interests of harmony and contrast, neither dominating the composition

  37. Analogous with a Single Complimentary This usually is pretty striking combination as the analogous colors are of the strongest harmony, but the compliment of the center color punches the composition with a dramatic accent.

  38. Double Complimentary Double complimentary combinations are almost on the verge of breaking down into simply a panoply of color without any structure. However, since we can still intuitively grasp the structure of this combination it will retain a (weakened) harmony.

  39. Double Complimentary

  40. Double Complimentary may be referred to as ‘Tetrads’

  41. Invent New Color Combination Structures ? Of course, you can always invent new combinatory structures. You could call this one a “Missing Tetradic”.

  42. Invent New Color Wheels Many Crafts such as Floral Arrangement and Furniture Craft have their own Color Wheels. Individual artists often devise their own color wheels to limit their color palettes with a concrete reference in an intuitive way.

  43. LIMITYOURCOLOR PALETTE The All Important Fact You Should Remember from Color Theory is to define your color palette and stick with it. If you find a color you feel just has to go into your composition, you should rethink your palette altogether and possibly start over.

  44. A Tip for Nice Color Combinations 1) Get a photo with some colors you like. 2) Open it in Photoshop and tweak/exaggerate the colors Using “Curves”. 3) Use the eyedropper, get some colors off it and paint some swatches.

  45. Color Balancing Different colors have different levels of influence on drawing the eye. For example…

  46. Color Balancing Different colors have different levels of influence on drawing the eye. For example…

  47. Color Balancing The yellow is screaming for attention while the blue patiently waits for your eye.

  48. Color Balancing So this is an unbalanced color composition.

  49. Color Balancing So how can we balance this composition out?

  50. Color Balancing We could try this.

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