1. COLOR THEORYCASSIE PYLEA&D 318 PROFESSOR PETRONIO BENDITOFALL 2007 PURDUE UNIVERSITY

2. TABLE OF CONTENTS INTRODUCTION TO COLOR 1 2 COLOR PROPERTIES INTRODUCTIONNeutral Color Properties 3Hue Distribution of Color4Chroma Distribution of Color 5Value Distribution of Color6 KOBAYASHIS INTRODUCTION7Natural Expression 8Light Expression 8Corporate Expression 9Energetic Expression 9 BIRRENS PRINCIPLES INTRODUCTION10Right Sequence 11Color / Tint / White 11Color / Shade / Black12Tint / Tone / Shade12Tint / Tone / Black13Shade / Tone / Black 13Color / White / Black14Tint / Tone / Shade / Gray 14 CHEVREULS PRINCIPLES15Harmony of Adjacents 16Harmony of Opposites 16Harmony of Split-Complements 17Harmony of Triads17Harmony of Dominant Tint 17 VISUAL MIX AND VIBRATION INTRODUCTION 18Mix and Vibration19 ALBERS COLOR REACTIONS20 IMAGE CREDITS 21 3. INTRODUCTION TO COLOR This semester was an introduction to color from Petronio Bendito. Professor Benditos major study is in color aesthetics, interactive systems, motion design, and visual literacy. He publishes his work nationally and internationally.This course is the foundations of interative multi-media design. It is a computer-based communications course that helps students become better visual communicators.This particular project aimed to recreate color studies with personal color compositions to demonstrate that study. The end result is a portfolio, which is a multi-page, layout-sensitive, composition that is comprised of personal studies and examples from the design world. Also included in this portfolio are mini color compositions created with a software called SoftCanvas, which was developed by Petronio Bendito himself. This portfolio demonstrates my new understanding of color design theory and concepts.After completing this project, I have found a new appreciation for color theory and design. I have a new sensitivity to color in the design world as well as the natural world. This project has allowed me to search the archives or the design world to find appropriate examples. I have benefited from this because I know how to find other designers in the design world and communicate with them if I need to.1 I understand that our time was limited for this project, but I wish to learn more about color design in relation to the fashion industry. I am also interested in learning more about color in relation to interior spaces and architecture. 4. The color properties are hue, value, chroma. Each color propertymakes up a color. Hue is the aspect of color that is given a namesuch as red, blue, yellow, etc. Value is the measure of wherea color lies on the lightness and darkness color scale. Chroma is theintensity or brightness of a color. For this thory, I studied theMunsell Color System. I created the following studies using hue,value, chroma, and the Munsell Color System for guidence. After exploring the color property theory, I was shocked I muchCOLOR PROPERTIESmore sensitive I became with color. I was able to look at a piece ofartwork or something in the real world and know where that colorscheme fell on the Munsell Color System. I now know how usingcontrasts and similarities in the color properties can enhance theoverall design. EXAMPLES OF HIGH HUE CONTRAST AND A LOW VALUE BASE COMPOSITION WITH A MAJOR CONTRAST.2 5. This study produced two studies. One of the studies was a gray-scale study which included a composition using the full range in the RGB cube, from black (N0) to white (N10). This compositions was then transformed into a multi-hue compostiton. The opposite happens when you start with a multi-hue composition and end with a gray-scale composition. I chose to use print advertising to show this theory.1GRAY SCALE & MULTI-HUE COMPOSITIONS NEUTRALS31_MARC JACOBS PRINT 2_ ADEURO ART AD2 1_ THIS IS A MULTI-HUE COMPOSITION. I REACREATED THIS HUE COMPOSITON WITH THE GRAY-SCALE SOFT CANVAS SOFTWARE.2_ THIS IS A GRAY-SCALE COMPOSITION. I RECREATE THIS HUE COMPOSITION WITH THE MULTI-HUE SOFT CANVAS 6. This activity produces studies that reflect levels of similarities and contrasts in hue. These compositions used a solid or gradual hue base and its supporting colors to demonstrate a low or high contrast of hue. I used colors that were near eacher on the color wheel to demonstrate a low hue contrast and color that were far from eachother on the color wheel to demonstrate a high hue contrast. I chose images from editorial print advertising show2_ THIS SOFT CANVASCOMPOSITION USES SIMILARHUES AS IN THE PRINTEXAMPLE TO SHOW A LOWHUE CONTRAST. 2_ MUI MUI PRINT AD 2HIGH AND LOW HUE CONTRAST HUE DISTRIBUTION 1_DIGITAL IMAGING 1_ THIS SOFT CANVAS1COMPOSITION USES SIMILAR HUES AS IN THE PRINT EXAMPLE TO SHOW A HIGH HUE CONTRAST4 7. This activity produces studies that reflect levels of similarities and contrasts in chroma. The low chroma low contrast composition uses less chromatic hues with minor chroma contrast. I used print advertising to show this concept. The high chroma compositions uses highly chromatic hues with minor chroma contrast. Both create a feeling of blending.Print advertising was also used to demonstrate this concept. 1_ AXL BOX ARTWORKS 2_ AXL BOX ARTWORKS1 HIGH AND LOW CHROMA CONTRASTS CHROMA DISTRIBUTION 2 5 1_ THIS SOFT CANVAS COMPOSITION USES LOW CHROMATIC COLORS WITH A LOW CONTRAST IN CHROMA2_ THIS SOFT CANVAS COMPOSITION USES HIGH CHROMATIC COLORS WITH A LOW CHROMA CONTRAST 8. LOW VALUE BASE-MAJOR CONTRAST/ HIGH VALUE BASE- MAJOR CONTRASTThis activity produces studies that reflect levels ofsimilarities and contrasts in value. The 1st print example uses acomposition with a high value base with a high contrast in value.The 2nd print examples uses a composition with a low value baseand a high contrast in value. Both examples create dynamiccompositions with features that stand out from one anotherbecause of the high contrast.1_ DP PORTFOLIO 2_ BRAND NU PORTFOLIOSHOWCASE PUBLICATION1 VALUE DISTRIBUTION 1_ THIS SOFT CANVASCOMPOSITION USES A HIGHVALUE BASE WITH A MAJORCONTRAST IN VALUE. 2_ THIS SOFT CANVASCOMPOSITION USES A LOWVALUE BASE WITH A MAJORCONTRAST IN VALUE.6 2 9. NATURAL AND LIGHT COLOR EXPRESSION KOBAYASHIS COLOR EXPRESSION Shigenobu Kobayashi a Japonese color theoriest and a leader in research in color physchology. He explores color in architecture, design, an the environment. He has developed many image and color scales and models to help communicate his theories. In Pentranio Benditos class we used his model, which was adapted from the Kobayashi Color Model. This model helps enhance my understanding of color expression and allows me to visualize color relationships.After starting my own color studies of color expression, I found that I have a tendancy to the natural color palette. Each color expression has a different feeling attached to them and each evoke a differnt memory. I believe using color expression in design is a very successful was to communicate a mood to the viewer. 7WINE BOTTLE IS AN EXAMPLE OF A CORPORATE EXPRESSION AND THE COLOR STUDY IS AN EXPRESSION OF AN ENERGETIC COLOR EXPRESSION 10. NATURAL & LIGHT COLOR EXPRESSIONSIn Kobayashis Color Expression Model, the natural and light colorexpressions are situated next to one another.The natural color expression is situated in the central area ofthe model. The light color expression is situated in theupper portion of the model. Both expressions show a wide rangein value, hue, and chroma. These compositions are supposedto envoke emotion or expression into its viewer. Natural colorschemes are usually found in nature and light color expressionsare found in compositions that want to have a casual attitude.1_ DP PORTFOLIO 2_ AMANDA GRADDYPACKAGING DESIGN2. THIS PACKAGING DESIGNSHOW A RELAXED AND LIGHT 1_ THIS PHOTOGRAPH COLOR EXPRESSION. THE SOFT DEMONSTRATES THE NATURAL CANVAS COMPOSITION USES COLOR EXPRESSION IN TRUE A SIMILAR, BUT SLIGHTLY NATURAL FORM. THE SOFT DIFFERENT COLOR SCHEME CANVAS COMPOSITION USESTHAT ALSO SHOWS A LIGHT SIMILAR COLOR EXPRESSION.COLOR EXPRESSION 8 1 2 11. CORPORATE & ENERGETIC EXPRESSIONS In Kobayashis Color Expression Model, the corporate and energetic color expressions are situated in different areas of the color model and evoke completely different expressions. The corporate color scheme has a very professional and formal feeling to it. Corporate color schemes tend to have colors of low to mid value with little chroma. Energetic color expressions on the other hand usually have colors with a wide range of value with a mid to high chroma. The energetic color expression evokes a sense of activity and flamoyancy. 1_ VECTOR FUNK SERIES2_ GRAMA INDIE MUSIC ALBUM DESIGN 11_ THIS PRINT SERIES HAS AN ENERGETIC COLOR SCHEME. 2 THIS EXAMPLE HAS A LOT OF SPUNK TO IT AND MAKES A 9 STATEMENT2_ THIS CD DESIGN HAS AVERY FORMAL ANDPROFESSIONAL FEEL TO IT.IT UTILIES THE CORPORATECOLOR SCHEME. 12. WHITETINT GRAY TONE COLOR BIRRENS PRINCIPLES OF COLOR SHADE BLACK Faber Birren was someone I was not familiar with before I wasintroduced to him and his studies in Pentronio Benditos class.I found these color sequences to be the most complicated tounderstand. I also had a hard time finding examples in the realworld to demostrate the color sequence I was talking about. Eachcolor sequence is unique and creates a different feel.Some sequences create a more dynamic feeling, while otherscreate a light and natural feeling. I found the color, black, and white sequence to be the sequence Iwas most interested in. I now understand how a pure color can beenhanced against black and white. This sequence will be good to10use if my client has a restrictive budget, but still wants to create adynamic piece.1_IMAGE EXAMPLE OFTINT / TONE / SHADECOLOR SEQUENCE 2_ DIAGRAM OFBIRRENS PRINCIPLES OFCOLOR 13. 21_ THIS WORK SHOWS THERIGHT SEQUENCE 2_ THIS DIGITAL IMAGINGEXAMPLE SHOWS THEPRINCIPLE OF COLOR / TINT / RIGHT SEQUENCEWHITE 1 COLOR / TINT/ WHITE1_ TANUSHREE COROFLOT PORTFOLIO2_ AXL BOX IMAGESRIGHT SEQUENCEBirrens believes there is a harmony in white, gray, black.11He believes these three colors have a natural relationship toeachother. The beauty is in the natural product of good order.This sequence creates stability within the design. The sequenceis either black-gray-white or white-gray-black.WHITEPURE COLOR / TINT / WHITEBirrens believes ther is also a harmony in color, tint, and white. TINTHe believes this is the simplest and perhaps most charmingsequences on the color triangle. This arrangement is found moreoften than any other in man-made designs and patterns.This sequence is also commonly found in natural flowers.The painting schools of Impressionism andNeo-Impressionism were devoted to this sequence.TONECOLOR 14. COLOR / SHADE / BLACKBirrens believes there is a harmony in color, shade, and black.He believes there is a depth and richness when no white or pastelsis used. Rembrandt commonly used this color sequence. TINT / TONE / SHADEBirrens believes ther is also a harmony in tint, tone and shade.Birrens said, thereis little doubt that this is the most refined,subtle, and eloquent sequence on the color triangle. This isthe famous chiaroscuro style of painting color technique. COLOR / SHADE / BLACK 1 1_ PHOTOGRAPHY AND DIGITAL IMAGING 2_ INTERIOR OF THE NEW CHANEL CLOTHING STORE & HEAD TO TAIL BAR B Q PACKING DESIGN1_ THIS WORK SHOWS THETINT / TONE / SHADE WITHTHE A RANGE OF HUES.THE SOFT CANVAS EXAMPLESHOWS THE SAME PRINCIPLE,BUT WITH THE BLUE-GREENHUE. TINT / TONE / SHADE 2_ THIS PHOTOGRAPHYSHOWS HOW COLOR,SHADE, AND BLACK CAN BEFOUND EASILY IN THE REAL-WORLD. THE SOFT CANVASEXAMPLES USES 2 COLORSAND THEIR SHADE ALONG2 WITH BLACK. 12 COLORSHADE TINT TONE BLACK 15. 21_ ARTIST SHOWCASE EVENT POSTER 2_ VO5 HAIRCARE ADVERTISING TINT / TONE / BLACK1_ THIS SHOWS HOW 2_ THIS ADVERTISINGTINT, TONE, AND BLACK CREATES A MAJOR CONTRAST1 CAN CREATE A BOLD WITHIN THE COMPOSITIONSHADE / TONE / BLACK DESIGN BY CREATING AAND BRINGS YOURCONTRASTATTENTION TO THEPRODUCT. TINT / TONE /BLACKWHITE This sequence creates a luminous effect. This color combination is easily mixed and creates aTINT dynamic compositon .SHADE / TONE / BLACK 13 This sequence creates a composition that has a lower hue value overall which gives the composition a rich feeling. A tone with a high chromaTONECOLOR could be used, like in the VO5 example to create a contrast.SHADE 16. WHITETINT 1_THIS PRINT DESIGN SHOWS HOW COLOR BLACK AND WHITE CAN CREATE A COMPOSITION WITH ANGRAY ACCENT COLOR.TONE COLOR 2_ THIS PHOTOGRAPHY OF A COAT SHOWS A TINT, TONE, SHADE, AND GRAY. THE SOFT CANVAS EXAMPLES USES THE SAME COLOR TO SHOW THE THEORYCOLOR / WHITE / BLACK SHADE COLOR / WHITE / BLACK This sequence makes a bold statement. The black and white create a BLACK base for the color to stand out. I have found this sequence in 2 color prints, where the designer uses the pure color as an accent in the design.TINT / SHADE / TONE / GRAY This sequence is commonly found in nature and suggests a soft, mellow atmosphere. This color sequence creates a sense of harmony.TINT / SHADE / TONE / GRAY 1_ PRINT DESIGN 2_ LAROK FASHION1 142 17. 1 3 41_ DOMINANT TINT 2_ ADJACENTS 3_ OPPOSITES 4_ TRIADChevreul founded the art of color harmony. His studies seemedelementary at first glance, but as I looked into the principles I foundmore dynamic solutions. As a child, I was taught using a basiccolor wheel and learned mycomplimentary, analogous, etc color sequences, but that was afar as it went. Before this class, I found these color sequences tobe somewhat basic and boring. Since the start of this class, I nowunderstand that you can still have a triad color sequence, but byusing a colors tint or shade.2 Now I find these color combinations to be simple, butelegant in nature.15CHEVREULS PRINCIPLES OF COLOR 18. HARMONY OF ADJACENTSAdjacent or analogous colors have an emotional quality. They eitherfavor the warm or the cool side of the color wheel. These colors arenext to eachother on the color wheel. This print example shows ananalogous color scheme using orange, red-orange,and yellow-orange. HARMONY OF OPPOSITESThis combination creates a very lively optical effect. These colorstend to highten the intensity of the other. This magazine coverexample shows a red and green combination.1_ THIS PACKAGING DESIGNEXAMPLE DISPLAYS HOWOPPOSITES CAN CREATE2A DYNAMICCONTRASTING PIECE. 2_ THIS MAGAZINE COVERPRESENTS FISH IN ADJACENTSCOLORS. + BOTH EXAMPLES ARESHOWN WITH THEIR SOFTCANVAS ABSTRACTIONS.1 1_STATIONARY DESIGN 2_ SEE MAGAZINE COVER 16HARMONY OF ADJACENTS & OPPOSITES 19. 1_ THIS BAG DEMONSTATESTHE USE OF A TRIADSEQUENCE. 2_ THIS PRINT AD SHOWS ASPLIT-COMPLEMENT SEQUENCE3_ THIS PHOTOGRAPHY EX-AMPLE SHOWS A DOMINANTTINT SEQUENCE.1+ ALL EXAMPLES ARE PAIREDWITH THEIR ABSTRACTIONCOMPOSITION. HARMONY OF SPLIT COMPLEMENTS This type of color combination creates an advanced type of contrast. A key color is combined with the two hues that lie next to its exaxt opposite. This example shows a blue-green, red and orange. 2 HARMONY OF TRIADS This combination has a universal distinct impression. It also uses a wide spectrum of colors from the color wheel. This example uses red,3 yellow, and blue.HARMONY OF DOMINANT TINT This is a combination of color that shows how many color in nature are seen under tinted lighting. All the colors in a dominant tint grouping will have an overall mellow tone. You can create this effect by choosing a normal color combination and washing a tint over the whole thing. 1_ PACKAGING FOR EXTREMITY SPECIALTY SHOPS 2_ PRINT AD 3_ FOCUS POCUS CHILD PHOTOGRAPHY17 HARMONY OF SPLIT COMPLEMENTS, TRIADS, & DOMINANT TINT 20. VISUAL MIXVISUAL VIBRATION VISUAL MIX & VISUAL VIBRATION Visual mix and vibration are both combinations that create unique and dynamic compositions. Both create interesting effects if put together properly. I found it hard to achieve these color combinations without a lot of experimentation. Once achieved these combination could be used to create a piece that stand out or blends in. Visual vibration creates a feeling of energy and high spirit. Visual mix creates a feeling of calming and subdued atmosphere.18 21. 1_ COLLABORATIVE IMAGERY 2_ EYE CANDY PHOTOGRAPHY MIX AND VIBRATION11_ THIS PHOTOGRAPHYEXAMPLE SHOWS A VISUALMIX OR BLEND OF COLORS.TO THE RIGHT OF IT IS A SOFTCANVAS EXAMPLE 2_ THIS PHOTOGRAPHY2 EXAMPLES SHOWS A SIMILIARVISUAL VIBRATION COLORSCHEME THAT IS BEING USEDIN THE SOFT CANVAS EXAMPLEON THE RIGHT VISUAL MIX This activity created compositions and examples that use colors of similar value and chroma. The color tend to blend and when you squent your eyes, it may appear to be one color. 19 VISUAL VIBRATION This activity created compostions and examples that are high in chroma or high hue contrast against eachother. Proportions are important to create this effect. This sequence may be hard to look at for a long period of time. 22. CHROMA CHANGE This activity shows a change in chroma. The chroma is the intensity or the brightness of the color. In this example the red on the left side of the study appears to have a lower chroma than the red on the right side of the study. I achieved this effect by placing the reds on their complements and then darking that compliment to increase the chroma on the right side of the study. HUE CHANGE This activity shows how a color can change a color family depending on its background color. In this example the purple on the left side of the study appears to be a part of the blue-violet family and the purple on the right side of the study has jumped to the red-violet family. This can create an interesting effect within a composition. It may look as if though you are using more colors than you actually are. VALUE CHANGE This activity shows how a color can go up or down on the value scale depending on which color it is placed on. This change is created by placing a color on either a lighter or darker background. The orange on the left side of the study appears to have a lower value than the orange on the right side of the study.20ALBERS COLOR REACTIONS 23. REFERENCESPAGE 2NOTCOUTURE.COM2COMMUNICATION ARTS MAGAZINE 3VOGUE MAGAZINE3COMMUNICATION ARTS MAGAZINE VOGUE MAGAZINE4APPLIED ARTS ANNUAL4BEHANCE NETWORK GALLERIES.COM 5 COROFLOT.COM65BEHANCE NETWORK GALLERIES.COM 7COROFLOT.COM COROFLOT.COM8 6BEHANCE NETWORK GALLERIES.COM 9 7 8 9 24. 10 PAGE 11BEHANCE NETWORK GALLERIES.COM 10 COROFLOT.COM11BEHANCE NETWORK GALLERIES.COM 12 NOTCOUTURE.COM12BEHANCE NETWORK GALLERIE.COM 13COROFLOT.COM13BEHANCE NETWORK GALLERIES.COM NOTCOUTURE.COM14 14BEHANCE NETWORK GALLERIES.COM COROFLOT.COM1515 COROFLOT.COM16 COROFLOT.COM17BEHANCE NETWORK GALLERIES.COM 16NOTCOUTRURE.COM 18BEHANCE NETWORK GALLERIES.COM 17 18