lupton & phillips - color

8/8/2019 Lupton & Phillips - Color

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Basic Color TheoryIn 1665 Sir lsaac Newton discoveredthat a prism separates ight intoth e spectrum of colors: red, orange,ye l l ow, g reen , b lue , nd igo , andv io l e t . He o rgan i zed he co lo r saround a whee l ve ry much l i ke heon e art ists use today to describe her e l a t i onsh ip s mong co lo r s . l

Wh y is the color wheel a usefulde s ign oo l ? Co lo r s ha t s i t neareach other on the spectrum or closetogether on the co lo r whee l a r eana logous . Us ing hem togetherp rov ide s min ima l co lo r con t r a s t andan innate harmony, because eachco lo r ha s some e l emen t n commonwith others in the seouence.

Analogous colors also have a relatedcolor temperature. Tw o cotorssi t t ing opposite each other on th ewhee l a r e comp lemen t s . Each co lo rcontains no element of the other, andthey have opposing temperatures(warm versus cool) . Deciding o useana logous o r con t r a s t i ng o lo r saffects he visual energy and mood

of any compos i t i on .

1. On b a s i c co l o r t h eo r y an d p rac t i c e , s e e To n rFraser a n c l Ad a m B an ks , De s ig n e r ' s C o lo rManual lSan Fr a nc i s co : Ch ro n i c l e Bo oks , 200 ,1

Complementary an d Analogous ColorsThis diagram hows combinat ions fpr imary, econdary, nd er t ia ry olors .R. r l le r t ewrs , N4FA trrd io .


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Hue is the place ofthe color within hespectrum. A red hueca n look brown ata low satura t ion, rp ink at a pa l e va lue .

Aspects of ColorEvery color can be described nrelation o a range of attributes.Understanding hese characteristicscan help you make color choicesand bui ld o lor ombinat ions . s ingcolors with contrasting alues endsto bring orms nto sharp ocus,whi le combining o lors ha t a reclose n value softens he distinctionbetween lements.

Shade s a variationof a hu e produced bythe addi t ion of black.

' l ' int is a variation ofa hue produced ythe addi t ion of whi te .

Saturation (alsocal led hroma) s herelative purity of thecolor as it neutralizesro gray.

These colors areclose n value andintensity, an d us tslightly differentin hue.

These colors arec lose n hue andvalue but differentin intensity.

Intensity s the b rightness or dullnessof a color. A color s made du l l e r bvadding b lack or whi te , a s wel l as byneutralizing t toward gray (lowering tssatu ation .

Value s the light or dark character of thecolot a lso cal led ts um inance, r ightness ,

lightness, or tone. Value s independent ofthe hue or intensity of the color. When yo uconvert a color image to black and white,yo u eliminate ts hue but preserve ts tonalrelationshios.


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Golor ModelsSurfaces bsorb ertain ight wavesand reflect ack others onto

hecolor eceptors cones) n our eyes.Th e ight reflected ack s he lightwe see. The ru e primaries f visiblel ightare ed, green , nd blue . helight system s called additive"because he hree primaries ogethercrea te l l he hues n he spect rum.

In heory, ombining ed andgreen ain t hould roduce el low.In practice, owever, hese pigmentscombine nto a blackish rown. hisis because igments bsorb moreI ight han hey ref lec t , making anymix of pigments arker han tssource olors .As more colors aremixed, ess ight s reflected. hu spigment-based

olor sys tems recalled subtractive."Offset nd desktop rinting

methods use CMYK,a subtractivesystem. Nonstandard olors areused because he ight reflected ffcyan and magenta igmentsmixesmore pure ly nto new hues han helight eflected ff of blue and redpigments .

l + l = II + - l

+ f = lf + f + - l

GYMK s used n th e pr int ing process . Whilepainters se he basic olor wheel as a guidefo r mixing paint , pr in t ing nk uses a di fferent

set of colors: cyan, magenta, yellow, an dblack,which are deal or reproducing herange of colors ound n color photographs .C, M, Y and K are known as he "processcolors ," and ul l -color r in t ing s cal led

"four-color process." nk-iet an d color laserpr inters se CMYK,as does he commercia loffset printing equipment used o print bookssuch as his one.

In pr inciple , , M, and y shouldproduce black, ut he resul t ing mix is not

rich enough to reproduce color images witha ful l onal range. hus black s needed ocomplete he our-color rocess .

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Transparent nk Printer's nk s ar e ransparent,so color mixing occurs as colors showthrough each other. Color mixing is alsoperformed pt ical lywhen he image sbroken down into tiny dots of varying size.Th e resulting colors are mixed by the eye.

f + l =l + J = f f il + l = Il + l + l = f l

RG B s the addi t ive system used ordesigning on screen. Different percentagesof red, green, and blue ight combine ogenerate he colors of the spectrum. Whiteoccurs when al l hree colors are at fu l ls t rength . Black ccurs when zero ight andthus zero color) s emit ted.

An y given color ca n be described withboth CMYK and RGB alues , s wel l as withother color models . Each model cal leda "color space") uses numbers o convevcolor nformat ion niformlyaround he globeand across media . Differentmoni tors , r in t ingconditions, an d paper stocks al l affect heappearance f the f inalcolor, s does he ightin he environment where he color s v iewed.Colors ook different nder luorescenr,incandescent , nd natural ight . Colors are lytranslate perfectly ro m on e space o another.

Transparent ight Th e medium of l ight isalso transparent. The colors of an emittedrmage are generated when different olorsof light mix directly, as well as when tinvadjacent ixels ombine opt ical ly.


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One Color, Different Effects The neutral tonepassing hrough these three squares of color

is the same n each nstance. t takes on aslightly different hue or value depending onits context.

Bezold Effest Johann Friedrich Wilhelm vonBezold was a German physicist workingin the nineteenth century. Fascinated withl ight and color, he a l so was

an amateurrug maker. He not iced hat by changing acolor that interwove with other colors ina rug, he could create entirely differentresults. Adding a darker color to the carpetwould create an overall darker effect, whileadding a l ighter one yie lded a l ighter carpe t .This effect s known as optical mixing.

Vibration and Value When two colors ar every close in value, a glowing effect occurs;on the left he green appears uminous an d

Interaction of ColorJosef Albers, a painter nd designerwho worked at the Bauhaus eforeemigrating he United States,studied olor n a rigorous mannerthat nfluenced enerations f arteducators.2 ivinghis studentspreprinted sheets of colored paperwith which o work, he ed hemto analyze nd experience owthe perception f color changes nrelation o how any given color sjuxtaposed with others.

Colors are mixed n the eye aswell as directly n the painter 's aletteor the printing press. This ac t affectshow designers reate atterns nd

textures, nd t is exploited n digitaland mechanical rintingmethods,which use small lecks f pure hue obuild up countless olorvariations.

Designers uxtapose colors ocreate pecific limates nd qualities,us ing ne color o d iminish rintensify nother. Understanding owcolors nteract elps designers ontrolthe power of color and systematicallytest variations f an dea.


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N e u t r a l a r t h o n e sc o m b i n e o m a k e aq u i e t o v e r a l l a t t e r n ,whi le a pale t te withs t rong contras ts fv a l u e n d h u e y i e l d sa more inear effect .

B y c h a n g i n g h ecolors of backgrounda n d o r e g r o u n delements , omplete lynew forms appeara n d d i s a p p e a r.

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C o l o r s l o s e n va l u ebut d i fferent n huecreate vibrant yetsoft effect. Th e effectbecomes ve n sof terw h e n a n a l o g o u scorors re useo.

Select ive Emphasis hese s tudies uset y p o g r a p h i c a t t e r n o e x p l o r e o w c o l o ra ters not ust he mood of a pat tern , utt h e w a y t s s h a p e s n d i g u r e s r e p e r c e i v e d .Co or affects o th he par ts

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E x p e r i m e n t s i t h h u e , v a l u e , n d s a t u r a t i o n ,as wel l as wi th analogous, omplementary,and near complementary olor uxtaposi t ions ,affect he way the pat terns eel and behave.T h r o u g h

e l e c t i v e m p h a s i s , o m e e l e m e n t spul l orward and others ecede. . - , , : : : : : : : r : : : , : .. : : : , : l : , : ' i ' I . : - : : ::- : : ' i , : li i i : : . - ' ; : : . . '


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Passion, Palettes, and Products Whatbegan as a love for Portuguese ile patternson a trip to Lisbon evolved nto an intensiveinvest igat ion nt o pat tern, orm, and color,manifesting tself n an MFA hesis projectan d now an onl ine business .

Textile designers often create numerouscolor ways or a s ingle pat tern, l lowing hesame print ing plates or weaving emplatesto generate diverse patterns. Different color

oalettes make different elements of theoat tern come forward or recede. *ss ;caFi ar. l*'lF.a. t*,;l *.


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lupton & phillips - color

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