Exam 2 Study Guide Design Principles Ch 13 Color color visual perception of certain wavelengths of light by retina of eye things have no color of their own reflect particular wavelength from spectrum it absorbs all colors except for the one that it is spectrum created by passing white light through a prism reds greens blues are primary colors of light colors of light mix according to additive process red green blue overlap and make white white reflects black absorbs pigments are subtractive mixing more pigments blended less light reflected process pigment primaries magenta cyan yellow can t be mixed from other colors color constancy effect even though the colors of things are changing constantly based on light our mind still insists something is the color we know it to be grass is green even though throughout the day it has many shades colors Munsell Color Order System true standardization system pure hues are on equator of sphere 5 on value scale is not perfect sphere because not all hue families have same number of colors 1 describe color 2 specifically identify color 3 color relationships defines color by 1 hue colors of spectrum color wheel 5 hues red blue yellow green purple infinite amount of colors minor hues orange green yellow blue green purple blue red purple achromatic white black grey 2 value relative lightness or darkness of a color tints add white shades add black lightness darkness of any given color can be measured according to grayscale black 0 white 10 3 intensity chroma relative saturation of hue perceived in color brightness or dullness determined by amount of pigment changed by mixing a color with its complement primary colors red yellow blue secondary violet green yellow tertiary 6 mix primary and adjacent secondary red orange yellow orange yellow green blue green blue violet red violet warm colors vivid energetic advance in space red orange yellow cool colors calm soothing blue green purple recede neutral white black gray temperate red violet yellow green color harmony joint effect of 2 or more colors combining colors to create visual effects puts you in control of your design harmony and complementary are opposites complementary colors opposite from each other on color wheel blue and orange afterimage effect stare at area of intense color for a minute then look at white and see color result of retinal fatigue split complementary a hue and the hues on each side of complement orange green purple analogous colors right next to each other on wheel and share a color red purple red purple tonality dominance of a single color despite the presence of other colors color discord opposite of harmony visually disturbing may add interest vibrating color effect two colors side by side have a vibrating edge when looked at pure red and cyan local color identifying the color of an object under ordinary daylight natural objective color color that we know objects are blue sky green grass heightened color intensified and exaggerated colors from visual reference emotional color color references to feelings feeling blue saw red green with envy Color and Surroundings use color as emotional element same color will appear to change in value depending upon surrounding color change within context amounts of color and repetition of color are also critical factors color contrast can intensify the colors of neighboring areas make them appear more saturated ex complementary color induction makes neutral areas look a little like complementary color of surround ing area color assimilation changes hue of colored objects in direction of surrounding color when they are tightly interwoven ex yellow looking reddish next to red and bluish next to blue JPEG images result in a reduction in the number of colors due to compression visual color mixing optical mixture place two pure colors side by side so that at a cer tain distance viewer s eyes will do the mixing pointillism small bits of juxtaposed color to create an image color can be used to create balance in a composition Classic Color Schemes monochromatic single color analogous colors adjacent on wheel one is dominant others enrich complementary opposite on wheel high contrast split complementary color and two colors on either side of its complement triadic 3 colors equally spaced around color wheel triangle tetradic 4 colors 2 complementary pairs rectangle square color scheme place square on color wheel 4 colors evenly apart In Fashion designers may choose a signature color may be inspired by an art movement culture historic period may want to feature garment s construction or emphasize texture silhouette Roberto Cupucci concept of haute couture as an art form Color Theory colors have associations yellow most energetic of warm colors hope happy joy blue denotes responsibility commands respect corporate calm depth stability loyalty purple luxury wealth playful royalty wisdom black elegant power mystery death formality red fire blood energy danger passion love strength orange joy sunshine tropics enthusiasm creativity catch attention highlight green nature growth harmony freshness safety money white light goodness innocence purity positive cleanliness Value and Intensity value present in all design relative lightness or darkness of an object regardless of color objects of same value create a static design varying values are more dynamic more value range can create more space depth intense colors are fresh and vivid while low intensity colors are quiet and understated analogous colors create disappearing boundaries brights clearest most vivide palette used pastels white added midtones in between brights and pastels jeweltones royal colors muted dusty midtones with gray earth tones colors of the earth sand rust brown natural sequencing values go in gradation unnatural irregular sequencing values do not go in gradation architectural order light to dark typographical order dark to light Color Contrast Johannes Itten from Bauhaus swiss expressionist painter designer teacher writer theorist identified strategies for successful color combinations devised 7 methodologies for coordinating colors pure color hue contrast pure color in random combinations black and white insertion adds dynamic light dark contrast value cold warm contrast greatest with blue green red orange complementary contrast opposite on color wheel when mixed they almost extinguish each other contrast of quality saturation intensity of color subdued vs luminous subdued with addition