Color Definitions
How are colors classified? What is a saturated color? Here is an explanation of the chromatic circle and definitions of color terms such as you have never had before!
Primary colors: Primary colors - red , yellow and blue - may not be created by mixing other colors. On the
contrary, they are mixed with one another to produce other colors. In printing and plastic arts, magenta (a pinkish red), yellow and cyan (a blue) are used as primary colors because they are better suited to mixing, and yield better balanced secondary colors. A mixture of the three primary colors produces black.
Secondary colors: They result from the mixing of two of the primary colors. Red (magenta) and yellow produce
orange, yellow and blue (cyan) produce green while red and blue (cyan) produce violet.
Intermediate colors: Mixing a primary and a secondary color produces an intermediate color such as
orange-yellow.
Complementary colors: Colors that are opposite one another in the chromatic circle are called complementary.
For example, green (resulting from the mixing of the primary colors yellow and blue [cyan]) is complementary to red. Orange (a mixture of yellow and red [magenta]) is complementary to blue, while violet (a mixture of blue [cyan] and red [magenta] is complementary to yellow.
Warm colors: Colors ranging between yellow to violet on the circle i.e. yellow, orange-yellow, red and
red-violet.
However, interaction between colors may cause a hue such as red-violet to appear warmer if it is placed next to a cold color, such as green, or colder if it is placed next to a warm color, such as orange.
Cold colors: Colors ranging between blue-violet and yellow-green on the chromatic circle i.e. blue-violet, blue,
blue-green, green, yellow-green.
However, interaction between colors may cause a hue such as yellow-green to appear colder if it is placed next to a warm color, such as red, or warmer if it is placed next to a cold color, such as blue.
Pale or clear colors: Hues containing more or less white. Dark colors: Hues containing more or less black.
Saturated or bright colors: Pure hues containing, theoretically, no white, black, gray or complementary colors.
However, this definition can be stretched to extend the range of complementary colors. For example, the range of saturated blues is not limited to pure blues. Blues containing white or black may still be considered saturated. On the other hand, orange containing black, even in small quantities, is considered unsaturated because it becomes brownish.
Unsaturated or gray-tinted colors: Hues containing more or less gray, or of their complementary color.
Theoreticians also use the expression "dull colors" to designate those colors. The expression does not carry a derogatory meaning.
Harmony: In decoration, harmony refers to a combination of colors that is pleasing to the eye.
The Voice of Color® has adopted definitions derived from the Munsell System of Color Notation. The Munsell System arranges colors in a three-dimensional space resembling a tree. The trunk (vertical axis) serves as a scale for neutral gray tones, black being at the bottom, white at the top. The horizontal axes, in variable lengths, represent a degree of saturation for each of the hues.
The world renowned Munsell System describes each color according to three attributes: hue, value and chroma (saturation), terms that allow all those interested in color to speak the same language.
Chromatic Circle
Hue: It is the quality that distinguishes one color from another. It is, for example, what differentiates blue from
yellow.
Munsell Value
Value: It refers to the position of a hue relative to the vertical gray scale. Value allows to qualify hues as pale or
The seven color contrasts:
The seven color contrasts, as described by Johannes Itten (The Art of Color), form the basis of almost every color effect used in interior design. The Voice of Color® provides a brief explanation. To find out how to transpose those notions into decorating, visit the Playing with Space page of the About Color section.
Pure color contrasts (hue)
They result from the juxtaposition of saturated colors that are clearly different. These contrasts are peak when the three primary colors are juxtaposed to one another.
Light-dark contrasts (value)
They are produced by the juxtaposition of a pale and dark color or of a clear and dark color. In a monochromatic palette, the use of such contrasts adds depth to the entire palette. In a palette made up of different colors, however, the absence of such contrasts, or the use of hues of equivalent lightness, help to link the different colors.
Warm-cold contrasts (temperature)
They result from the juxtaposition of warm and cold colors, which makes warm hues appear warmer, and vice versa. This type of contrast, which helps balance color schemes, can be found in many of the Harmony Collection™ palettes.
In AF-8, the yellow (warm) makes the greens look rather cold, whereas in AF-6, the blue (cold) makes them look warmer.
Complementary contrasts
They refer to the juxtaposition of diametrically opposed colors on the chromatic circle. Such contrasts contribute to the fundamental and natural balance of chromatic composition.
Quality contrasts (saturation)
They are the result of juxtaposing saturated and unsaturated colors, or bright and gray-tinted colors (to which gray or its complementary color was added). This contrast exists only if unsaturated colors are considerably dominant.
In this example, the red (232-7), relatively more luminous, contrasts with the other colors which are more attenuated.
Simultaneous contrasts
They flow from the juxtaposition of two colors that are not exactly complementary. In such cases, colors seem to repel one another and vibrate as the eye tries to bring them closer to their precise complementary colors. The use of such contrasts makes chromatic compositions livelier and more interesting.
Quantity contrasts (proportion)
They are the result of the juxtaposition of little and much, small and large. The surface devoted to each color influences their impact on compositions. Creating balanced compositions calls for more than devoting equal space to each color. The brightness and saturation of each hue must also be taken into account. The lighter a hue, the greater its impact and the lower its need for space. The more saturated or bright the color is, the more powerful is its effect.
Itten's Color Contrasts
Johannes Itten was one of the first people to define and identify strategies for successful color combinations. Through his research he devised seven methodologies for coordinating colors utilizing the hue's contrasting
properties. These contrasts add other variations with respect to the intensity of the respective hues; i.e. contrasts may be obtained due to light, moderate, or dark value.
The contrast of saturation (quality)
The contrast of light and dark (value)
The contrast of extension (quantity)
The contrast of complements
The contrast is formed by the juxtaposition of light and dark values and their relative saturation.
The contrast is formed by the juxtaposition of light and dark values. This could be a monochromatic composition.
Also known as the Contrast of Proportion. The contrast is formed by assigning proportional field sizes in relation to the visual weight of a color.
The contrast is formed by the juxtaposition of color wheel or perceptual opposites.
The contrast of hue (pure color)
The contrast of warm and cool (temperature)
Simultaneous contrast
The contrast is formed when the boundaries between colors perceptually vibrate. Some interesting illusions are accomplished with this contrast. The contrast is formed by the juxtaposition of different hues. The greater the distance between hues on a color wheel, the greater the contrast.
The contrast is formed by the juxtaposition of hues considered 'warm' or 'cool.'
Combining Colors
Color combination is really the most important part of color theory and designing with colors, and also the hardest-- It always comes down to your personal judgement and how you look at colors. There are, however, some guidelines that can be used to make a color combination that is interesting and pleasing to the eye.
How many colors?
It is hard to give an exact answer to this question, but in general one can say that the risk of using too many colors is greater than the risk of using too few.
Too many colors will make the page feel too busy and it usually makes it harder for the viewer to find the information he or she wants. It is also more tiring to the eyes.
A page with too few colors, on the other hand, risks being seen as a bit boring, but this need not always be the case. One commonly used rule in these matters is to use three colors:
>> Primary color: This is the main color of the page. It will occupy most of the area and set the tone for the design as a whole. >> Secondary color: This is the second color on the page, and it is usually there to "back up" the primary color. It is usually a color that is pretty close to the primary color.
>> Highlight color: This is a color that is used to emphasize certain parts of the page. It is usually a color which constrasts more with the primary and secondary colors, and as such, it should be used with moderation. It is common to use a complimentary or split-complimentary color for this (see below).
Color Wheel
By now you should recognize the color wheel. If not, please read the section about Color Theory. As mentioned there, the color wheel is very useful when you want to combine colors in a way that is pleasing. Below I will demonstrate some of the most common ways to combine the colors in the color wheel.
Analog Colors
The analog colors are those colors which lie on either side of any given color. Often these are color schemes found in nature. A site that makes use of analogous colors usually feels harmonious. The secondary color, as described above, can often be an analogous color.
Complementary Colors
The complementary colors are the colors which are directly opposite from one another on the color wheel. Complementary colors are contrasting and stand out against each other. Often it is a good idea to use a complementary color as the hightlight color, as described above.
Other color combinations
Besides the color combinations described above, which are based on the position of the colors on the color wheel, there are also a few other ways of combining colors.
Monotone Chromatic
A monotone color scheme is just one single hue and its variations in terms of tints, shades and saturation. Using saturation and tint/shade variations of a color is always good. However, in most cases I would advise against using a fully monochromatic scheme, as there is a risk of monotony. Using it with pure white or black can be efficient, though.
Monotone Achromatic
Split Complementary Colors
Split complementary is a color and the analogous colors to its complement color. Using split complementary colors can give you a design with a high degree of contrast, yet still not as extreme as a real complementary color. It also results in greater harmony than the use of the direct complementary.
Triad Colors
Triad colors are three hues equidistant on the color wheel. When you want a design that is colorful and yet balanced, a triad color scheme might be the way to go.
Color Contrast
Now that we know how different colors can be combined, we just need to introduce one more important aspect of color theory, and that is contrast.
Simply put, contrast is the difference between two colors. On a web page, the amount of contrast required varies with different parts of the page. You usually want a high contrast between text and its background color. But too high contrast between design elementsmight give an unsettled and messy impression. Black and white create the highest contrast possible.
Please visit our Color Contrast Analyzer page to see if the colors you want to use have enough contrast.
Colors can contrast in hue, value and saturation, but there are many different types of contrasts that have been defined by color theorists throughout the years. Some of them are perhaps not directly applicable to web design, but let's look at a few of the most important.
Contrast of Hue
Contrast of hue is what relates most directly to the color wheel combinations described above. The further away from each other two colors are, the higher the contrast. This means that the complementary color combination has the highest contrast, while the analogous combination has the lowest. For text, a contrast of hue alone is usually not enough to make the text as legible as wanted. In that case, you might want to combine contrast of hue with some other form of contrast.
Contrast of Value
Contrast of value is very efficient in creating large contrasts. The biggest contrast of them all-- black and white-- can be said to be a contrast of value. In general, large differences in lightness are considered to be pleasant for the eye, but low contrasts of value can also be useful for more subtle differences-- for instance, in a background.
Contrast of Saturation
Contrast of saturation is often best for design aspects that do not require a lot of emphasis. A set of colors with different saturations set against a grey background can be interpreted as transperancy. This is something that can be used to interesting effect.
Simultaneous Contrast
This is a contrast effect that is created by our eyes' tendency to require a
complementary color. You can get this effect by combining two bright colors that are not complementary, or by using a single bright color against a grey background. This gives a feeling of instability and tension and should be used with caution.
Combination of Contrasts
While the contrasts above can be efficiently used one at the time, is is most common to use a combination of them-- especially for text where you need a high contrast. The top picture to the left shows blue and its split complementary color, orange. This is a combination that has a high contrast of hue. This gives a rather vibrant combination that can be tiring to the eyes. By changing the value and saturation as in the next picture you will get a combination which is much more pleasing to the eye, and more readable.
Colors and Text
As mentioned above, using the right contrast is especially important for text. Using the wrong colors can decrease the readability drastically, and it will quickly tire the reader's eyes. Black text on a white background has the highest readability. Black and yellow is another combination which usually has a high readability, as do blue and white. Green text on red and red text on green are particularly hard for many people to read. A combination of red and blue creates a vibrating effect that can also make reading very
©1998-2009 Janet Lynn Ford
This work is licensed under a Creative Commons License.
Art does not reproduce the visible; rather, it makes visible. — Paul Klee
Related Resources
Be sure to visit Resources for bibliographical references and links to additional sites.
Color Basics
Color is the perceptual characteristic of light described by a color name. Specifically, color is light, and light is composed of many colors—those we see are the colors of the visual spectrum: red, orange, yellow, green, blue, and violet. Objects absorb certain wavelengths and reflect others back to the viewer. We perceive these wavelengths as color.
A color is described in three ways: by its name, how pure or desaturated it is, and its value or lightness. Although pink, crimson, and brick are all variations of the color red, each hue is distinct and differentiated by its chroma, saturation, intensity, and value.
Chroma, intensity, saturation and luminance/value are inter-related terms and have to do with the
description of a color.
Chroma: How pure a hue is in relation to gray Saturation: The degree of purity of a hue.
Intensity: The brightness or dullness of a hue. One may lower the intensity by
adding white or black.
Luminance / Value: A measure of the amount of light reflected from a hue.
Those hues with a high content of white have a higher luminance or value.
Shade and tint are terms that refer to a variation of a hue. Shade: A hue produced by the addition of black.
Tint: A hue produced by the addition of white.
Continue tutorial, view: The Color Systems
The CMYK color system is the color system used for printing.
Those colors used in painting—an example of the subtractive color method.
The RGB colors are light primaries and colors are created with light.
Percentages of red, green, & blue light are used to generate color on a computer screen.
The Visible spectrum consists of billions of colors, a monitor can display millions, a high quality printer is only capable of producing Color deceives continuously.
— Josef Albers
Color on the Web
The Web brings a level of constraint regarding the use of color; not only is there a difference in monitor quality and resolution, but there are only 216 'browser safe colors.' This is thought of as a concern of the past as statistics reveal that 65% of computers browsing the Web today display 16,777,216 different colors, but handheld devices are still limited to 256 colors. Read more about Browser Statistics at: www.w3schools.com
For more information, read "Death of the Web safe Color Palette?" at Webmonkey
Color Systems
Available color systems are dependent on the medium with which a designer is working. When painting, an artist has a variety of paints to choose from, and mixed colors are achieved through the subtractive color method. When a designer is utilizing the computer to generate digital media, colors are achieved with the additive color method.
Subtractive Color. When we mix colors using paint, or through the printing process, we are using the
subtractive color method. Subtractive color mixing means that one begins with white and ends with black; as one adds color, the result gets darker and tends to black.
Additive Color. If we are working on a computer, the colors we see on the screen are created with light
using the additive color method. Additive color mixing begins with black and ends with white; as more color is added, the result is lighter and tends to white.
Working With Systems
©1998-2009 Janet Lynn Ford
This work is licensed under a Creative Commons License.
Reproducing color can be problematic with regard to printed, digital media, because what we see is not what is possible to get. Although a monitor may be able to display 'true color' (16,000,000 colors), millions of these colors are outside of the spectrum available to printers. Since digital designs are generated using the RGB color system, colors used in those designs must be part of the CMYK spectrum or they will not be reproduced with proper color rendering. Working within the CMYK color system, or choosing colors from Pantone© palettes insures proper color rendering.
Continue tutorial, view: Color Wheel
A color wheel (also referred to as a color circle) is a visual representation of colors arranged according to their chromatic relationship. Begin a color wheel by positioning primary hues equidistant from one another, then create a bridge between primaries using secondary and tertiary colors.
All colors are the friends of their neighbors and the lovers of their opposites. — Marc Chagall
For Further Review
The color wheel is an invention credited to Sir Isaac Newton (1706). Read more about Newton's color circle at: Handprint.com
Artists use a traditional color wheel based on the Red/Yellow/Blue model with secondary colors of orange, green and purple. Read more at: Wikipedia
Color Wheel
These terms refer to color groups or types:
Complementary colors make a strange pair. They are opposite, yet they require each other. They incite each other to maximum vividness when together; and annihilate each other when mixed. — Johannes Itten
Mixing Complements
As stated by Johannes Itten, complementary colors annihilate each other when mixed to create dark neutrals:
Complementary Colors
We look at a color wheel to understand the relationships between colors. Analogous colors are positioned in such a way as to mimic the process that occurs when blending hues. The colors that are positioned opposite one another are complementary colors.
To call those hues in direct opposition to each other "complements of each other" is appropriate. Complementary colors bring out the best in each other. When fully saturated complements are brought together, interesting effects are noticeable. This may be a desirable illusion, or a problem if creating visuals that are to be read.
Note that
Vibrating Boundaries
may occur when opposing colors are brought together. (Notice the illusion of highlighted edges and raised text.)Perceptual Opposites. We learn from the relationships displayed by a color wheel that every color has an
opposite. Every color has both a color wheel opposite as well as a perceptual opposite. Without a color wheel, it is still possible to find the opposite of a color and this is due to a phenomenon of our eyes. Due to the physiological differences between individuals, everyone's perceptions do vary—the complements shown below are my own perceived opposites:
source >> result
©1998-2009 Janet Lynn Ford
This work is licensed under a Creative Commons License.
Learn more about perceptual opposites. Continue the tutorial and view: After Images
Primary Colors: Colors at their basic essence; those colors that cannot be created
by mixing others.
Secondary Colors: Those colors achieved by a mixture of two primaries.
Tertiary Colors: Those colors achieved by a mixture of primary and secondary hues.
Complementary Colors: Those colors located opposite each other on a color wheel.
Analogous Colors: Those colors located close together on a color wheel.
The color wheel can be divided into ranges that are visually active or passive. Active colors will appear to advance when placed against passive hues. Passive colors appear to recede when positioned against active hues.
The Painter's color triangle consists of colors we would often use in art
class—those colors we learn about as children. The primary hues are red, blue and yellow.
The Printers' color triangle is the set of colors used in the printing process. The
primaries are magenta, cyan, and yellow.
Nine-part harmonic triangle of Goethe begins with the printer's primaries; the
secondaries formed are the painter's primaries; and the resulting tertiaries formed are dark neutrals.
Advancing hues are most often thought to have less visual weight than the receding hues. Most often warm, saturated, light value hues are "active" and visually advance.
Cool, low saturated, dark value hues are "passive" and visually recede.
Tints or hues with a low saturation appear lighter than shades or highly saturated colors. Some colors remain visually neutral or indifferent.
Color relationships may be displayed as a color wheel or a color triangle.
©1998-2009 Janet Lynn Ford
This work is licensed under a Creative Commons License.
Who would believe that so small a space could contain all the images of the universe. — Leonardo da Vinci (referring to the eye.)
More about the Eye
Visit the Exploratorium to learn more about After Images Bird in a Cage
Learn more about Color Vision at HowStuffWorks.com
Read more about the Eye at:
BiologyMad.com and
WebExhibits.org
After Images
Color is light and colored objects absorb and reflect different wavelengths. Light & color are seen by the human eye because of the two types of photoreceptor cells - rods and cones - located in the retina of the eye. Rods are sensitive to light and dark; cones are sensitive to red, green & blue light and responsible for color vision. These photoreceptors convey the color of light to our brain. (Learn more about rods and cones, at BiologyMad.com)
When our eyes are exposed to a hue for a prolonged period, the rods & cones become fatigued. You might notice this if you are reading something on colored paper, and then look away—you often see the inverse, or complement, of the image. This occurrence can be advantageous if you are seeking the opposite, or contrast, of a color. This may be dismaying to a viewer if presented with prolonged exposure to colored screens or reading materials.
Every color has an opposite, and although individual's perceptions do vary, the range of after images seen is consistent.
Take the After Image Test
Stare at this image for at least 20 seconds. When finished, click on the image or the link below to proceed to the next page.
Learn more about perceptual opposites. Continue the tutorial and view: After Images
Monochromatic Relationship Colors that are
shade or tint variations of the same hue.
Complementary Relationship Those colors
across from each other on a color wheel.
Split-Complementary Relationship One hue plus
two others equally spaced from its complement.
Double-Complementary Relationship Two
complementary color sets; the distance between selected complementary pairs will effect the overall contrast of the final composition.
Analogous Relationship Those colors located
adjacent to each other on a color wheel.
Triad Relationship Three hues equally positioned
on a color wheel.
Color Combinations
Color combinations may pass unnoticed when pleasing, yet offend dramatically when compositions seem to clash. One outcome we seek in the final form or composition, is a successful use of color.
We determine whether or not we are successful by critically assessing the visual balance and harmony of the final composition—balance and harmony are achieved by the visual contrast that exists between color combinations. Planning a successful color combination begins with the investigation, and understanding, of color relationships.
Using a color wheel and a template, the relationships between colors are easy to identify.
Continue tutorial, view: Color & Contrast
Colors, like features, follow the changes of the emotions. — Pablo Picasso
Check Your Own Compositions
See how your images appear to someone with a color deficit. Visit: Vischeck
Note: They offer a free filter for use with PhotoShop.
Color & Contrast
Every visual presentation involves figure-ground relationships. This relationship between a subject (or
figure) and its surrounding field (ground) will evidence a level of contrast; the more an object contrasts with its surrounds, the more visible it becomes.
When we create visuals that are intended to be read, offering the viewer enough contrast between the background (paper or screen) and the text is important. Text presentations ideally offer at least an 80% contrast between figure and ground. (Black text on a white background is ideal.) If there is not enough contrast between figure and ground, a viewer will squint to view the text, causing eye fatigue.
Yellow text on a white background or blue text on a black background, are difficult to read due to the low level of contrast between figure and ground.
An occurrence known as 'simultaneous contrast' (or chromostereopsis,) may happen when opposing colors
are placed in close proximity to each other. Text may appear to vibrate, or cast a shadow. Eye strain and fatigue will result if a viewer focuses on a document displaying similar properties for an extended time period.
Some color combinations, such as red text on a blue background, cause illusions when positioned together.
Sensitivity to Colorblind Deficiencies. The Design of visual documents or signage without thought to the
overall contrast level between figure and ground can be problematic for people with sight deficiencies. My first-hand experience with this occurred years ago when visiting a hospital with a friend who was colorblind. The hospital had creatively marked the floor with "road maps" to various areas like the lab, lobby, etc. Unfortunately, they used red and green lines and my friend could not distinguish between the colors. If a visual document uses color to relate important information, insure that no information is lost, or potentially misunderstood, when the color is not available.
When choosing complementary colors, fully saturated colors will offer the highest level of contrast.
Choosing from tints or shades within the hue family reduces the overall contrast of the composition.
Continue tutorial, view: Itten's Contrasts
The contrast is formed by the juxtaposition of light and dark values and their relative saturation.
The contrast is formed by the juxtaposition of light and dark values. This could be a monochromatic composition.
Also known as the Contrast of Proportion. The contrast is formed by assigning proportional field sizes in relation to the visual weight of a color.
Colour is life; for a world without colours appears to us as dead. — Johannes Itten
Itten & other Color Mentors
Bauhaus Museum on Itten Johannes Itten by Froebel Web Johannes Itten at the artists.org The Bauhaus by Chris Snider Albers at the artists.org
Itten's Color Contrasts
Johannes Itten was one of the first people to define and identify strategies for successful color combinations. Through his research he devised seven methodologies for coordinating colors utilizing the hue's contrasting properties. These contrasts add other variations with respect to the intensity of the respective hues; i.e. contrasts may be obtained due to light, moderate, or dark value.
The contrast of saturation
The contrast of light and dark
The contrast of extension
The contrast is formed by the juxtaposition of color wheel or perceptual opposites.
The contrast is formed when the boundaries between colors perceptually vibrate. Some interesting illusions are accomplished with this contrast.
The contrast is formed by the juxtaposition of different hues. The greater the distance between hues on a color wheel, the greater the contrast.
The contrast is formed by the juxtaposition of hues considered 'warm' or 'cool.'
Continue tutorial, view: Proportion & Intensity
The contrast of complements
Simultaneous contrast
The contrast of hue
The contrast of warm and cool
Dominant color Sub-dominant colors Accent Dominant color Sub-dominant colors Accent
The relation of color and the relation of proportion are both based on the relation of position. — Piet Mondrian
Masters of color & proportion Yaacov Agam
Masterworks Fineart
Google Images: Yaacov Agam
Wassily Kandinsky
Google images: Wassily Kandinsky
Henri Matisse
Google Images: Henri Matisse
Piet Mondrian
Google Images: Piet Mondrian
Pablo Picasso
Google images: Pablo Picasso
Architects: Luis Barragán
Google Images: Luis Barragán
Ricardo Legorreta
Google Images: Ricardo Legorreta
Proportion & Intensity
When colors are juxtaposed, our eyes perceive a visual mix. This mix will differ depending on the proportions of allocated areas.
The color with the largest proportional area is the dominant color (the ground). Smaller areas are subdominant colors.
Accent colors are those with a small relative area, but offer a contrast because of a variation in hue, intensity, or saturation (the figure).
Placing small areas of light color on a dark background, or a small area of dark on a light background will create an accent.
If large areas of a light hue are used, the whole area will appear light; conversely, if large areas of dark values are used, the whole area appears dark.
Alternating color by intensity rather than proportion will also change the perceived visual mix of color.
Dominant color Sub-dominant colors Accent Dominant color Sub-dominant colors Accent
©1998-2009 Janet Lynn Ford
This work is licensed under a Creative Commons License. Continue tutorial, view: Contrast & Dominance
Low contrast
Low contrast compositions use colors within a narrow range of luminosity or brightness levels.
Moderate contrast
moderate contrast compositions use colors within a moderate range of luminosity or brightness levels.
High contrast
High contrast compositions colors range from very light (high-luminosity) to very dark (low luminosity).
Simple colours can affect the intimate feelings with all the more force because they are simple. — Henri Matisse
Contrast & Dominance
When creating a composition—either something freeform, or a more text based layout, a determination for the final impact of the whole presentation needs to be identified. Is your intent to craft a vibrant, attention grabbing ad, or a presentation with a low, or more moderate level of contrast? These decisions concern what is known as the dominant elements of the design.
The dominant element may be classified as either "contrast dominant" or "value dominant." Designs that evidence contrast dominance or value dominance are then sub-divided into low, moderate, and high contrast, or light, medium, and dark value categories. The choice of colors will enhance or minimize the overall impact.
It is easiest to understand the difference between dominant elements in the following compositions from a distance, or by squinting your eyes a bit. If the proximity between the neighboring hues is less apparent when you squint, the overall composition a displays lower contrast level; if the overall composition appears light, it has a light value. Conversely, if distinctions between hues are very apparent, the contrast is high, and if the overall composition appears dark, the value level is dark. Understanding how the relationships between the colors of a chosen palette will affect the final outcome of an overall composition is integral to mastering the use of color.
In the examples below, the overall contrast level of a composition changes with the range of luminosity between chosen hues.
In the examples below, the overall value of each composition changes with the incorporated hues' relative saturation.
Examples of Contrast Dominance
Examples of Value Dominance
Light value
A composition made up of tints, displays an overall light value.
Medium value
A medium value composition is made up of a balance between tints, saturated hues, and shades.
Dark value
A dark value composition displays mostly shades.
©1998-2009 Janet Lynn Ford
This work is licensed under a Creative Commons License. Continue tutorial, view: Shades & Tints
Blue is the only color which maintains its own character in all its tones. Take blue in all its nuances, from the darkest to the lightest — it will always stay blue. — Raoul Dufy
Images Used in Examples
While enrolled in a color class at the U of MN, our professor, Marian Ortolf-Bagley, encouraged us to use abstract images so as to focus on the color within the composition rather than a subject. Our task began with a contour drawing of a tree. From there we 'poured' complementary colors into the voids, and then removed any linear elements.
Contour drawing of tree
Colors poured into voids (mouse over image)
Cropped for exercises
Using a color wheel divided into various shades and tints is one method of identifying possible options for color schemes. The split
complementary relationship shown in this example presents many possible combinations. By varying the saturation and experimenting with shades and tints within the hue relationship, you can achieve quite a variety of palette options. (Click on the wheel at the left to view a larger image.)
Moderately-high
contrast, medium value, composition using fully saturated hues.
High contrast, medium value, composition using shades, tints & various saturation levels.
Moderately-low contrast, medium-light value, using tints & various saturation levels.
Moderate contrast, medium value, using shades, tints & various saturation levels.
Moderately-low contrast, medium-dark value, using shades & various saturation levels.
Low contrast, medium value, using shades, tints & various saturation levels.
Moderately-high
contrast, medium value, using shades, tints & various saturation levels.
High contrast, light value, using shades, tints & various saturation levels.
Color Shade and Tints
Colors of a complementary relationship assigned equal proportion.
Colors reassigned with proportions allocated to dominant and
subdominant areas.
Color intensity and proportion modified. Using tints and shades of the original colors results in a moderate level of contrast and medium value.
Colors applied to composition. Color and I are one.
— Paul Klee
Recommended reading from Amazon.com
Notan: The light-dark principle of design - Dorr Bothwell
The Art of Color - Johannes Itten
Review more books about color theory!
Color Studies
Colors of a complementary relationship.
Colors of a triad relationship assigned equal proportion.
Colors reassigned with proportions allocated to dominant, subdominant, and accent areas.
Color intensity and saturation modified - the whole area displays a moderately-high contrast level.
Colors applied to composition.
Color intensity and saturation modified - the whole area displays a moderately low contrast level.
Colors applied to composition.
Color intensity and saturation modified - the whole area displays a medium/dark value.
Colors applied to composition.
Color intensity and saturation modified - the whole area displays a light value,
Colors applied to composition.
Colors of a triad relationship.
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O P T I C A L E F F E C T S
A room painted in a light color will seem larger than that same room painted in a dark color. This is because light colors tend to recede while dark colors advance. Warm colors seem closer while cool colors seem farther away. A long narrow room will seem more in proportion if its far wall is dark and its side walls are light. A room with a low ceiling painted white will seem higher than a ceiling painted dark.
Colors are often said to be warm or cool in temperature and thus all colors are classified in one of these two families that create strong and different impressions.
Warm colors such as red, orange, and yellow, are associated with sun and fire, and therefore create a sensation that a space is several degrees warmer than actuality. Warm colors appear to advance toward its viewer as well as excite and cause a sense of aggression.
Cool colors such as blue, violet and green, are associated with air, sky and water, and thus, are naturally cool and soothing. Cool colors tend to recede in a space and can create feelings of passiveness and calmness.
Note that there can be cool shades of red and warm shades of blue that are determined by mixtures of hues. In addition, the quality of warmth and coolness in a color may be altered by its neighboring hues. For example, when a warm hue is in contrast with a cool hue, the warm hue appears warmer and the cool hue appears cooler.
The rule of Simultaneous Contrast is the effect of one hue upon another. Whenever two different hues come into direct contact, the contrast intensifies their differences. The greatest contrast occurs with complementary colors. For example, red seems brightest next to green, as green seems brightest when seen with red. There is an effect with closely related colors, for example, a yellow-green surrounded by yellow-green appears yellowish, but surrounded by yellow, the yellow-green seems more noticeably green.
The contrast can be in value or intensity as well as in hue. A gray-blue looks brighter when placed against a gray background; however, the same gray-blue Simultaneous Contrast
Warm Colors vs. Cool Colors
C H A P T E R C O N T E N T S I N T R O D U C T I O N H I S T O R Y C O L O R A N D E M O T I O N C O L O R P R E F E R E N C E S C O L O R A N D L I G H T O P T I C A L E F F E C T S B A S I C C O L O R T H E O R Y C O L O R S C H E M E S A P P L Y I N G C O L O R I N FA C I L I T I E S
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B A S I C C O L O R T H E O R Y
Successful color selection in interior design is a combination of experience, schooling and talent. Developing the ability to properly apply color begins with studying the basic principles of color theory.
The properties of color are based on three dimensions; hue, value and intensity. Hue is the name of a color, such as red, blue and yellow.
Value is the lightness or darkness of a color that indicates the quantity of light reflected.
Intensity is the saturation or strength of a color determined by the quality of light reflected from it. A vivid color is of high intensity; a dull or muted color, of low intensity.
Hues are defined and organized by the color wheel which is made up of the following twelve colors, each at their full intensity:
Primary Colors: Red, Yellow, Blue Secondary Colors: Orange, Green, Violet
Tertiary Colors: Red-orange, Orange-yellow, Yellow-green Green-blue, Blue-violet, Violet-red Hue and the Color Wheel
The Three Dimensions of Color
C O L O R
T O N E
G R A Y
B L A C K W H I T E
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The primary colors are red, blue, and yellow. When the three primaries are mixed in pairs, or all together in equal or unequal amounts, all possible colors can be produced
Secondary colors are created by combining two primary colors: Red + Yellow = Orange
Red + Blue = Violet Blue + Yellow = Green
Primary Colors Secondary Colors
Value is the relative lightness or darkness of a color that is determined by the amount of black or white present in a color.
A “tint” is created when white is added to lighten a color. This also gives a color a high value.
A “shade” is created when black is added to darken a color. This also gives a color a low value.
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The value of color is graded on the gray value scale with white as the highest value, black as the lowest value, and several tints and shades of gray in between. If a black and white photograph were taken of a room full of colors, their equal values could be compared with the gray value scale. Note: Black and white printers and black and white copiers do not give the same effect as black and white photography.
White
High light Yellow
Yellow-Orange Light Yellow-Green
Orange Low Light Green
Red-Orange Medium Blue-Green
Red High dark Blue
Red-Violet Dark Blue-Violet
Violet Low dark
Black Color Value Scale
Intensity, or the saturation of color, is determined by the amount of gray added to a color. The “pure” color of red will have a strong intensity while a muted color of red will have a low intensity.
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The successful use of color is dependent upon a clear understanding of color relationships. A single color retains a certain character, but adding other colors to its surrounding may change its characteristics. Colors may be closely related or in contrast. The greatest contrast occurs with complementary colors, two colors that appear directly opposite each other on the color wheel. For example, red and green are complementary colors just as violet and yellow, and blue and orange are complementary colors.
Complementary Colors (extreme contrast) Split Complementary Colors
A split complementary system involves a color with two colors on either side of its complement. This results in a variation that has less contrast because of the short interval between colors on the color wheel.
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There is less contrast when three colors are spaced equally apart on the color wheel and used together. The first group is called the primary triad which consists of red, yellow and blue. This triad provides the most striking contrast.
Primary Triad (vibrant contrast)
The secondary triad, composed of orange, green and violet, has the same interval between hues, yet gives a softer contrast.
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Analogous colors appear next to each other on the color wheel, and because they have the shortest interval between them, they have the most harmonious relationship.
Analogous Colors (Close relationships)
Our fascination with color has resulted in the development of a number of color systems. The most widely used system for identifying color was
developed in the early 1900’s by the American artist, Albert Munsell. Munsell’s system shows the relationships between color, tints and shades. The system was used to give names to the many varieties of hues that result from mixing different colors with each other or mixed with the neutral colors black and white. In 1943, American industry adopted the Munsell system as its standard for naming colors. The United States Bureau of Standards in Washington, D.C. also adopted this system.
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The Munsell system has five basic colors: red, yellow, green, blue and purple (violet). Intermediate colors are created by the mixture of any two of the basic colors that are adjacent on the color wheel. For example, the mixture of red and yellow is the intermediate color red-yellow. Other intermediate hues include green-yellow, blue-green, purple-blue, and red-purple.
Munsell devised a three-dimensional color system that classifies the variations of colors according to the qualities of hue, value, and intensity.
Each hue is indicated by the notation found on the inner circle of the color wheel – R for red, Y for yellow, G for green, B for blue, and P for purple. The intermediate or tertiary colors are described with two letters such as RP for red-purple. The value number of a color follows the hue designation. For example, YG/7 is a yellow-green with a value matching step 7 of the gray scale. The intensity number comes last; thus, YG/7/4 indicates a yellow-green hue at a value of 7 and intensity of 4.
C O L O R S C H E M E S
There are several color schemes; some simple while others are very complex. |As expected, the more complex a color scheme the more skill is required to achieve a successful design. The concept of harmony lies behind the development of each color scheme.
Neutral (monotone) Color Schemes
A neutral or monotone color scheme consists of various tints and shades of a neutral color such as black, white, gray, beige, tan or taupe. A neutral scheme is easily composed by selecting a neutral then building upon several values of that neutral. This scheme is often used as a backdrop for a striking accent color or for non-competing backgrounds when an important element is displayed, such as artwork. Neutral color schemes can become monotonous if not accented properly; however, a successful scheme can be considered sophisticated, elegant, and refined. They are used when a soft but formal space is desired, such as a hotel, bank or museum.
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Monochromatic Color Schemes
The monochromatic color scheme consists of one chosen hue with several values and intensities of that hue used to create depth and interest. Spaces with a single color can look dramatic, but this scheme my create monotony. The monochromatic color scheme works well in spaces where we don’t spend a great deal of time, for example, a private hotel suite or an upscale retail store.
Analogous Color Schemes
Using colors that are adjacent on the color wheel have close relationships and create analogous color schemes. Blue-green, blue, and blue-violet make up an analogous scheme. This scheme easily creates harmony, is usually vibrant, and works well in spaces that encourage high energy such as daycare centers and sports facilities.
Complementary Color Schemes
Colors that are located across from each other on the color wheel are complementary and thus make up a complementary color scheme. For example, red and green, yellow and purple, and blue and orange are complements. Complements have the greatest intensity when seen together and can be extremely pleasing. When designed correctly, the scheme brings feelings of energy and cheerfulness. However, it can be difficult to succeed at this scheme for it can become too bright or garish if the colors are not properly balanced.
Fast food restaurants often use complementary color schemes. The result is an interior that exudes high energy, but also does not make the customer too comfortable. The effect is that many are attracted, but at the same time there is the high turnover necessary to achieve profit.
Complementary Color Schemes Analogous Color Scheme Monochromatic Color Scheme
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Split Complementary Color Schemes
The split complementary color scheme consists of one hue with the two hues adjacent to its complement. The two adjacent hues are harmonious while the complement adds a vibrant contrast. When used together, the palettes of yellow-green, red, and blue-green, will create a split complementary color scheme.
Blue-Green Yellow-Green
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Triad Color Scheme
The triad color scheme incorporates three hues that are equally spaced on the color wheel. The most common triad scheme is used with the primary colors -red, yellow and blue in energetic spaces such as schools, sports arenas, and movie theaters. Varying the values of triad hues can create a sophisticated look, but this is difficult to master without creating harshness and confusion within a space.
Tetrad Color Schemes
The tetrad color scheme incorporates four hues that are equally spaced on the color wheel. Vivid tones give a lively feeling, while muted tones bring a subtler mood. Tetrad color schemes are rare and difficult to produce since they often create harsh and confusing spaces.
A P P L Y I N G C O L O R I N F A C I L I T I E S
The basics of incorporating color apply to every type of interior space. Yet, many variables interact with color (e.g., location, the size of the space, and natural and artificial lighting). The Federal Standard 595B color fandeck may be used as a reference when selecting colors. The fandeck may be ordered from the General Services Administration (GSA) catalogue, stock #7690-01-162-2210.
The following generalizations are suggested for each space type. Offices – General
The objective for designing an office is to create an environment that promotes productivity for the many users who work long hours. Color plays an
important role in stimulating productivity without creating distraction. Bright warm colors work best in areas where physical tasks take place, and calmer, cooler colors work best where visual and mental tasks are performed. Livelier colors should be applied in limited areas with related quiet tones in larger spaces. In multi-floor or large offices, each floor or department can possess an identifying color tonality, with strong colors in lobbies, corridors, and entrance points, while related softer hues are used in the general office areas.
• Desks and work surfaces – light toned neutral desks and work surfaces are good choices since neutrals are not distracting, and their low brightness contrast (glare) minimizes eye fatigue. Light gray, tan, beige, taupe and ivory are soft colors that work well and have a light reflectance of approximately 30%.
Child Development Center Hanscom Air Force Base, Massachusetts
Gossick Leadership Center Renovation Arnold Air Force Base, Tennessee
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• Walls and panels – a light reflectance range of 40% - 60% is suggested for walls and panels. An accent wall, in a soft hue, can be added for interest and to relieve monotony. Deep colors may be used behind a desk, or in frontal view, but should not be used on a window wall due to the high contrast. • Ceilings – bright ceilings of white are functional for good light reflectance. • Corridors – bright, bold, and contrasting colors may be added to corridors
for visual stimulation.
• Doors – various colors for doors can be used anywhere.
• Private offices and conference rooms – variations of colors may be used in private offices and conference rooms. Avoid use of dark colors in spaces with low light levels. However, dark hues, when balanced with lighter hues, complement spaces that have an abundance of natural and artificial light.
Industrial Plants
Color is important in the industrial setting to reduce fatigue, annoyance, and to promote efficiency and safety. Certain colors in these settings also reduce absenteeism, and improve labor morale.
Colors may offset problem areas, for example, the use of cool blues and greens are desirable in a space with excessive heat. Conversely, reds and oranges warm a cold space or can compensate for the lack of natural light. Incorporating soft hues, especially tints of green, may calm noisy spaces.
• General surfaces – brightness contrasts are to be considered; glossy surfaces that produce glare should be avoided.
• Walls – colors should be in light hues; however, a tinted accent hue with a reflectance of 25% - 40% may be used on an end wall to reduce monotony and lessen eye fatigue.
• Upper walls – should have a light reflectance between 50% - 70%.
• Ceilings – white should be used on ceilings to provide maximum light reflectance. Building 32 Rehabilitation
Wright-Patterson Air Force Base, Ohio
Air Mobility Command Design Center Scott Air Force Base, Illinois
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• Colors and safety – various colors have been adopted for safety purposes in industrial settings. Green is the choice color for machinery and equipment. Yellow marks potential hazard areas while red indicates fire-safety equipment, containers of dangerous materials, and control switches and buttons on machinery. Blue indicates electrical controls and repair areas, and white indicates trash containers, drinking fountains, and food-service locations. Black striping indicates traffic areas, aisles, and stairways.
Schools
Studies have shown that the proper use of color in schools plays an important role in the performance of students. This is especially true in the early years of children. A warm brighter, color scheme not only offers positive affects on the academics of students, but their behavior as well.
One of the most important interior elements in schools is illumination. A goal of effectively controlling illumination with color is to keep eyestrain and glare to a minimum. The way to accomplish this is to keep the brightness ratios somewhat consistent.
Walls, floors, furniture and equipment - these areas should be painted in mild color schemes with a 50-60% light reflectance. A stronger color painted end wall can add interest. Gray or green chalkboards can seem less drab when surrounded by contrasting colors.
• Ceilings – white or off-white ceilings should be installed for maximum light reflectance.
• Auditorium – several hues of warm tones are suggested, including tints of green.
• Shops, and art rooms – light hues are appropriate and work well in these spaces.
• Gymnasium – luminous tones work well in gyms, while colors that reflect flattering light, such as coral, work best in locker and dressing rooms. • School facilities such as libraries, offices and teachers lounges, should be
designed with subdued tones.
• Corridors and stairways – bolder colors may be used to offer stimulation in these transition spaces.
Child Development Center United States Air Force Academy, Colorado
Air Force Senior Commissioned Officer Academy
Gunter Annex, Maxwell Air Force Base, Alabama
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Hotels
A hotel design should present a welcome, pleasant experience for its guests. The climate and customs of the region can add to the characteristics of the chosen color schemes and style. For example, brightly colored tiles and fabrics combined with white walls may suggest a tropical location.
• Lobby and lounge – the front lobby and reception desk can accept strong use of color that creates lasting impressions. Warm colors in lobbies and lounges provide comfort for people who will occupy these spaces for long periods. Dark woods and marbles suggest solidity and tradition, whereas bright saturated colors imply a casual and playful atmosphere.
• Guestrooms – colors may vary, as suggested above, to reflect climate and region. However, the chosen color scheme should promote comfort and relaxation. • Corridors - a lively color scheme is suggested for the corridors, incorporating
a dark color at one end to give interest when walking down a long hallway. Medical and Healthcare Facilities
The interest of the patient is the primary concern when designing medical and healthcare facilities. Research studies suggest that the environmental ambience plays a significant role in the rate of patient recovery. Visual contact with the out-of-doors, natural materials such as wood, and warm colors contribute to a faster rate of recovery. Warmer colors in hospital rooms flatter users’ skin tones when reflected in mirrors.
Cooler colors offer a calming ambience and are appropriate for intensive care units. Bluish-green is a standard for operating rooms because it provides visual relief of personnel from the red tones of blood and tissue. Cooler colors, which calm, are appropriate for examination rooms, while warmer tones are used in areas such as dermatology and obstetrics. However, color should be restrained to avoid the possibility of environmental color reflection interfering with patient diagnosis.
Food Service
Many studies have been provided by the food service industry regarding color and the physiological responses to food and its atmosphere. For example, the color red was found to stimulate the appetite.
In general, warm tones are comforting in restaurant settings. Colors to avoid include black, dark gray, cold gray, strong tones of blue and violet, and yellow-green.
Area Dental Lab Peterson Air Force Base, Colorado
Iditarod Dining Facility Elmendorf Air Force Base, Alaska
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The style of each food service area should be taken into consideration when applying color. Fast food establishments and cafeterias incorporate bright colors to promote a faster pace. Fine restaurants and traditional eating establishments are typically designed in subdued colors to promote leisurely dining. In each case, the color of floor coverings should be selected to conceal soiling. The color scheme should be versatile with bright lighting at lunchtime and softer lighting at dinner.
Traditional associations of color are appropriate when serving various styles of cuisine. Mexican, Indian and Spanish foods are associated with bright cheerful colors, Greek with blue and white, and Italian with red, green and white. Colors of table settings should complement the food to be served. Care must be taken so that the space does not become a cliché.
Supermarkets apply bright colors in various areas; however, white is preferred in the dairy section, and lighter blues and blue greens are used at the meat counter to complement red meats. Colorful cans and other merchandise are nicely displayed when seen against a neutral background.
Retail Outlets
Retail outlets display their merchandise in the most attractive setting to achieve high sales volumes. Color has a strong impact on consumer reactions to products including impulse buying.
The general rule of thumb is to use bright colors in low cost, rapid turnover shops, and more subtle sophisticated color schemes in higher priced and leisure shops. Discount stores often use bright colors to stimulate customers; however, a low-end rack outlet may use white walls and gray floors to give the effect of a discount image.
Men’s clothing shops tend to have natural wood and brown tones to promote a club-like atmosphere. Women’s shops usually retain soft, warm tones, possibly pastels. Bright colors used with metallic, white, black, or gray, tend to promote electronics and other high tech products. Avoid strong color on display
backdrops and shelves that may distract from the merchandise. Light grays and tans are good choices. Expensive jewelry and small gift items sparkle against conservative colors.
C O N C L U S I O N
Along with man’s sensitivity to time and space is sensitivity to color. Color can affect perception of size just as it can affect mood. It is important to wisely and Air Force Senior Commissioned
Officer Academy Gunter Annex, Maxwell Air Force Base, Alabama
BXTRA Open Air Mall Hickam Air Force Base, Hawaii
2DIS / Parsons Ian Hughes
Defining Color: Hue, Value, Saturation
In the first part of the semester, we will attempt to isolate each of the defining attributes of color–hue, value, saturation–in order to see how each operates. You will be responsible for knowing and demonstrating an understanding of each of these attributes. You will have the opportunity to apply what we’ve learned during the rest of the semester.
Defining Hue
• The identity of a color as it relates specifically to the spectrum. The generic names of spectral colors are: red, orange, yellow, green, blue, and violet.
If we want to identify a color by its hue, we look for its specific relationship to the spectrum of pure colors refracted through a prism. We ask, "is it red or red-orange...is it blue, or is it more violet?"
The words “color” and “hue” are not synonymous. Hue is a specific attribute of color.
Reddish brown, for example, is the color brown with a red hue. Black is a color with no hue. The hue of a given color is altered only when mixed with another hue.
Organizing Hue
The spectral hues are often organized along a 360º circle, called a hue circle. Yellow is at the top (0º), and violet is at the bottom (180º). Most hue circles have at least 6 parts: 3 primaries and 3
secondaries. The colors in between are called intermediary colors. PRIMARY
Colors that cannot be broken down into other colors and are the building blocks for all other colors.
SECONDARY
The middle mixtures of two primary colors.
ANALOGOUS
The colors that are next to each other on the spectrum or hue circle.
COMPLEMENTARY
Colors that are opposite,as defined by the afterimage of any given color. When mixing pigments or inks, the secondary color of two primaries produces the complement of the third primary (for example, red and yellow make orange, which is the complement of blue.) Complementary relationships are crucial to the understanding of color harmony.
TERTIARY
The mixture of two complements. Also called neutral color.
Temperature: Warm Vs Cold
Temperature is an attribute of color related to hue. Generally speaking, colors that gravitate
towards the red-yellow half of the circle are considered warm, and colors that gravitate towards the green blue are considered cool. This is mostly by psychological association (i.e., fire =
Mixing Color: Additive vs. Subtractive
Mixing colored light and mixing colored pigments yield two very different, indeed opposite, results. An understanding of why this happens is important to understanding how we perceive color and how color interacts with our environment.
MIXING LIGHT:ADDITIVE
Natural light is a mixture of all the hues in the spectrum, naturally! As easily demonstrated with a prism (or a rainbow), the spectrum can be broken down to reveal its component colors, which are actually electromagnetic waves of different lengths. Our eyes and brain are
designed to interpret these different wavelengths as different colors. Because of how our eyes are designed, the colors of the spectrum can be further reduced to three primary colors: red, blue and green. All the other colors of the spectrum result from what happens when these colors are combined in our eyes and brain as follows:
Primaries: R, G , B Secondaries: Y (R+G) , Cyan (G+B) , Magenta (R+B) If a single color is extracted from the spectrum, the leftover light waves combine to produce its complement. Similarly, if more than one color is broken out of the spectrum, the resulting combinations produce complementary pairs. Complementary pairs combine to produce white light. This phenomenon establishes the organizing principle of complementary colors.
Whenever colored light is mixed, the resulting color is always lighter than the parent colors, because light is being added. This is why mixing light waves is called additive. No absorption is taking place. If all the colored light waves of the spectrum are brought back together, the result is white light, which to our eyes appears colorless. Black is the absence of light. MIXING COLORANTS: SUBTRACTIVE
The exact opposite happens when we mix colorants like paint or ink. All the colors of the spectrum combine to produce black (or dark grey). That’s because light rays are being absorbed, or subtracted.
Light waves that are not absorbed are reflected back to our eyes and perceived as color. A surface appears red, for example, because only the red light waves are reflecting back; all the other colored light waves are being absorbed. Our experience of color is most often a result of subtractive mixing.
Notice that the true primaries of subtractive mixing (C, M, Y) derive from the true secondaries of additive mixing.
Defining Value (synonyms: luminance, brightness)
•The lightness or darkness of a color.Black, white, and gray are colors of pure value and have no hue.
Assessing Valu
eValue can actually be measured as a percentage of reflected light from 100% (white, total reflectance) to 0% (black, total absorption). A true middle gray is literally 50/50 (i.e., 50% reflectance, 50% absorption.)
In the visual arts we are concerned with perception and not so concerned with physical measurements of reflected light (except perhaps when setting up for a staged photograph.) Accordingly, we use visual comparison within a given context to determine if a color is lighter or darker than its neighbor:
! If two colors of analogous hue share an edge, you can tell they are close in value if the edge is soft and far apart in value if the edge is hard.
! If two colors of opposite hue share an edge, you can tell they are close in value if the edge “vibrates” or shimmers and far apart in value if the edge is hard.
Relative Value
A color’s value can also be assessed by its specific relationship to the value scale (the range of grays from white to black, also known as the gray scale.) This is known as its relative value. All colors, including pure hues, have a relative value. A pure yellow is close to white in its reflectance. Pure red and green are closer to middle gray. Keep in mind that a color’s value, or reflectance, is also influenced by surface textures.
Manipulating Value
Doing one of the following alters the value of a color, but not its hue: ! Tinting (adding white)
Ex: if red is tinted with white, the result is a pink of the same hue (red). ! Shading (adding black)
Ex: if red is shaded with black, the result is a brown of the same hue (red). Value is not altered if a color is mixed with another color or gray of the same value.
