There are few visual stimuli as powerful as color; it is a profoundly useful communication tool. The mechanism of color perception is one of few things that is universal among humans. What we do with it once we see it is another thing altogether, and controlling it for the sake of communication depends on understanding how its optical qualities behave.
The Identity of Color
Hue is the result of how we perceive light being reflected from objects at particular frequencies. On the other hand, a color's saturation describes its intensity. A saturated color is very intense or vibrant. Colors that are dull are said to be desaturated. A color's value is its intrinsic darkness or lightness. Yellow is perceived as being light; violet is perceived as being dark. The temperature of a color is a subjective quality that is related to experiences. Colors that are considered "warm" make us feel a sense of heat; colors that are considered "cool" make us feel a sense of coldness.
Chromatic Interaction
A color model helps a designer see relationships for planning color ideas; for example, the color wheel. Designers can create interaction between different hues, independent of their saturation or value, according to where they lie on the color wheel. The closer together the colors appear on the wheel, the more similar their optical qualities and, hence, the more harmonious or related. The further apart the colors are on the wheel, the more their optical qualities contrast. Regardless of their specific hues, the colors selected for a palette will have relationships of darkness or lightness. Saturation relationships may occur independently of hue relationships, but will usually have an effect on value or temperature. Designers can establish relationships within a color palette based on relative temperature.
Color Systems
Within a complex visual environment, color can help distinguish different kinds of information, as well as create relationships among components or editions of a publication. The various parts of a system need to be distinguishable from each other while maintaining a clear family appearance; in this way, the color coding not only helps a viewer separate the components from each other quickly, but also continues to enhance the unity of the system.
Following are first drafts of some of my compositions from my Color Theory project:
The above composition is exploring simultaneous contrast.
The above composition is exploring non-boring primary/secondary using tints.
The above compositions are 2 split complimentary color schemes; one using three colors, and one using tints, tones, and shades of those three colors. The composition on the top is using tints, tones, and shades, and the composition on the bottom is using the natural 3 colors.
The above compositions are 2 triadic color schemes; one using three colors, and one using tints, tones, and shades of those three colors. The composition on the top is using the natural 3 colors, and the composition on the bottom is using tints, tones, and shades.
I hope you enjoyed hearing about color theory and more importantly I hope you enjoy my personal projects.
Until next time,
Kels
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