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Color Theory
1. COLOR
THEORY
CASSIE PYLE
A&D 318 PROFESSOR PETRONIO BENDITO
FALL 2007 PURDUE UNIVERSITY
2. TABLE OF CONTENTS
INTRODUCTION TO COLOR 1
2
COLOR PROPERTIES INTRODUCTION
Neutral Color Properties 3
Hue Distribution of Color 4
Chroma Distribution of Color 5
Value Distribution of Color 6
KOBAYASHI’S INTRODUCTION 7
Natural Expression 8
Light Expression 8
Corporate Expression 9
Energetic Expression 9
BIRREN’S PRINCIPLES INTRODUCTION 10
Right Sequence 11
Color / Tint / White 11
Color / Shade / Black 12
Tint / Tone / Shade 12
Tint / Tone / Black 13
Shade / Tone / Black 13
Color / White / Black 14
Tint / Tone / Shade / Gray 14
CHEVREULS PRINCIPLES 15
Harmony of Adjacents 16
Harmony of Opposites 16
Harmony of Split-Complements 17
Harmony of Triads 17
Harmony of Dominant Tint 17
VISUAL MIX AND VIBRATION INTRODUCTION 18
Mix and Vibration 19
ALBERS COLOR REACTIONS 20
IMAGE CREDITS 21
3. INTRODUCTION TO COLOR
This semester was an introduction to color from Petronio Bendito.
Professor Bendito’s 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.
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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 property
makes up a color. Hue is the aspect of color that is given a name
such as “red”, “blue”, “yellow”, etc. Value is the measure of where
a color lies on the lightness and darkness color scale. Chroma is the
intensity or brightness of a color. For this thory, I studied the
Munsell 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 much
COLOR PROPERTIES
more sensitive I became with color. I was able to look at a piece of
artwork or something in the real world and know where that color
scheme fell on the Munsell Color System. I now know how using
contrasts and similarities in the color properties can enhance the
overall 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.
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GRAY SCALE & MULTI-HUE COMPOSITIONS
NEUTRALS
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1_MARC JACOBS PRINT 2_ ADEURO ART AD
2
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 show
2_ THIS SOFT CANVAS
COMPOSITION USES SIMILAR
HUES AS IN THE PRINT
EXAMPLE TO SHOW A LOW
HUE CONTRAST.
2_ MUI MUI PRINT AD
2
HIGH AND LOW HUE CONTRAST
HUE DISTRIBUTION
1_DIGITAL IMAGING 1_ THIS SOFT CANVAS
1 COMPOSITION USES
SIMILAR HUES AS IN THE
PRINT EXAMPLE TO SHOW
A HIGH HUE CONTRAST
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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 ARTWORKS
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HIGH AND LOW CHROMA CONTRASTS
CHROMA DISTRIBUTION
2
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1_ THIS SOFT CANVAS
COMPOSITION USES LOW
CHROMATIC COLORS WITH A
LOW CONTRAST IN CHROMA
2_ THIS SOFT CANVAS
COMPOSITION USES HIGH
CHROMATIC COLORS WITH A
LOW CHROMA CONTRAST
8. LOW VALUE BASE-MAJOR CONTRAST/ HIGH VALUE BASE- MAJOR CONTRAST
This activity produces studies that reflect levels of
similarities and contrasts in value. The 1st print example uses a
composition with a high value base with a high contrast in value.
The 2nd print examples uses a composition with a low value base
and a high contrast in value. Both examples create dynamic
compositions with features that stand out from one another
because of the high contrast.
1_ DP PORTFOLIO 2_ BRAND NU PORTFOLIOSHOWCASE PUBLICATION
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VALUE DISTRIBUTION
1_ THIS SOFT CANVAS
COMPOSITION USES A HIGH
VALUE BASE WITH A MAJOR
CONTRAST IN VALUE.
2_ THIS SOFT CANVAS
COMPOSITION USES A LOW
VALUE BASE WITH A MAJOR
CONTRAST IN VALUE.
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9. NATURAL AND LIGHT
COLOR EXPRESSION
KOBAYASHI’S 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.
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WINE BOTTLE IS AN
EXAMPLE OF A CORPORATE
EXPRESSION AND THE
COLOR STUDY IS AN
EXPRESSION OF AN
ENERGETIC COLOR
EXPRESSION
10. NATURAL & LIGHT COLOR EXPRESSIONS
In Kobayashi’s Color Expression Model, the natural and light color
expressions are situated next to one another.
The natural color expression is situated in the central area of
the model. The light color expression is situated in the
upper portion of the model. Both expressions show a wide range
in value, hue, and chroma. These compositions are supposed
to envoke emotion or expression into its viewer. Natural color
schemes are usually found in nature and “light” color expressions
are found in compositions that want to have a casual attitude.
1_ DP PORTFOLIO 2_ AMANDA GRADDYPACKAGING DESIGN
2. THIS PACKAGING DESIGN
SHOW 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 USES THAT ALSO SHOWS A LIGHT
SIMILAR COLOR EXPRESSION. COLOR EXPRESSION
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1 2
11. CORPORATE & ENERGETIC EXPRESSIONS
In Kobayashi’s 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 SERIES 2_ GRAMA INDIE MUSIC ALBUM DESIGN
1
1_ THIS PRINT SERIES HAS AN
ENERGETIC COLOR SCHEME.
2
THIS EXAMPLE HAS A LOT OF
“SPUNK” TO IT AND MAKES A
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STATEMENT
2_ THIS CD DESIGN HAS A
VERY FORMAL AND
PROFESSIONAL FEEL TO IT.
IT UTILIES THE CORPORATE
COLOR SCHEME.
12. WHITE
TINT
GRAY
TONE
COLOR
BIRREN’S PRINCIPLES OF COLOR
SHADE
BLACK
Faber Birren was someone I was not familiar with before I was
introduced to him and his studies in Pentronio Bendito’s class.
I found these color sequences to be the most complicated to
understand. I also had a hard time finding examples in the real
world to demostrate the color sequence I was talking about. Each
color sequence is unique and creates a different feel.
Some sequences create a more dynamic feeling, while others
create a light and natural feeling.
I found the color, black, and white sequence to be the sequence I
was most interested in. I now understand how a pure color can be
enhanced against black and white. This sequence will be good to 10
use if my client has a restrictive budget, but still wants to create a
dynamic piece.
1_IMAGE EXAMPLE OF
TINT / TONE / SHADE
COLOR SEQUENCE
2_ DIAGRAM OF
BIRREN’S PRINCIPLES OF
COLOR
13. 2
1_ THIS WORK SHOWS THE
RIGHT SEQUENCE
2_ THIS DIGITAL IMAGING
EXAMPLE SHOWS THE
PRINCIPLE OF COLOR / TINT /
RIGHT SEQUENCE
WHITE
1
COLOR / TINT/ WHITE
1_ TANUSHREE COROFLOT PORTFOLIO 2_ AXL BOX IMAGES
RIGHT SEQUENCE
Birren’s believes “there is a harmony in white, gray, black”.
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He believes these three colors have a natural relationship to
eachother. The beauty is in the natural product of good order.
This sequence creates stability within the design. The sequence
is either black-gray-white or white-gray-black.
WHITE
PURE COLOR / TINT / WHITE
Birren’s believes ther is also a harmony in color, tint, and white.
TINT
He believes this is the simplest and perhaps most charming
sequences on the color triangle. This arrangement is found more
often than any other in man-made designs and patterns.
This sequence is also commonly found in natural flowers.
The painting schools of Impressionism and
Neo-Impressionism were devoted to this sequence.
TONE
COLOR
14. COLOR / SHADE / BLACK
Birren’s believes “there is a harmony in color, shade, and black”.
He believes there is a depth and richness when no white or pastels
is used. Rembrandt commonly used this color sequence.
TINT / TONE / SHADE
Birren’s believes ther is also a harmony in tint, tone and shade.
Birren’s said, “thereis little doubt that this is the most refined,
subtle, and eloquent sequence on the color triangle. This is
the famous chiaroscuro style of painting color technique.
COLOR / SHADE / BLACK
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1_ PHOTOGRAPHY AND
DIGITAL IMAGING
2_ INTERIOR OF THE NEW CHANEL
CLOTHING STORE & HEAD TO TAIL BAR B Q PACKING DESIGN
1_ THIS WORK SHOWS THE
TINT / TONE / SHADE WITH
THE A RANGE OF HUES.
THE SOFT CANVAS EXAMPLE
SHOWS THE SAME PRINCIPLE,
BUT WITH THE BLUE-GREEN
HUE.
TINT / TONE / SHADE
2_ THIS PHOTOGRAPHY
SHOWS HOW COLOR,
SHADE, AND BLACK CAN BE
FOUND EASILY IN THE REAL-
WORLD. THE SOFT CANVAS
EXAMPLES USES 2 COLORS
AND THEIR SHADE ALONG
2 WITH BLACK.
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COLOR
SHADE
TINT
TONE
BLACK
15. 2
1_ ARTIST SHOWCASE EVENT POSTER 2_ VO5 HAIRCARE ADVERTISING
TINT / TONE / BLACK
1_ THIS SHOWS HOW 2_ THIS ADVERTISING
TINT, TONE, AND BLACK CREATES A MAJOR CONTRAST
1 CAN CREATE A BOLD WITHIN THE COMPOSITION
SHADE / TONE / BLACK
DESIGN BY CREATING A AND BRINGS YOUR
CONTRAST ATTENTION TO THE
PRODUCT.
TINT / TONE /BLACK WHITE
This sequence creates a luminous effect. This color
combination is easily mixed and creates a
TINT
dynamic compositon .
SHADE / TONE / BLACK
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This sequence creates a composition that
has a lower hue value overall which gives the
composition a rich feeling. A tone with a high chroma
TONE
COLOR
could be used, like in the VO5 example to create
a contrast.
SHADE
16. WHITE
TINT
1_THIS PRINT DESIGN
SHOWS HOW COLOR BLACK
AND WHITE CAN CREATE A
COMPOSITION WITH AN
GRAY 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
THEORY
COLOR / 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 FASHION
1
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2
17. 1
3 4
1_ DOMINANT TINT 2_ ADJACENTS 3_ OPPOSITES 4_ TRIAD
Chevreul founded the art of color harmony. His studies seemed
elementary at first glance, but as I looked into the principles I found
more dynamic solutions. As a child, I was taught using a basic
color wheel and learned my
complimentary, analogous, etc color sequences, but that was a
far as it went. Before this class, I found these color sequences to
be somewhat basic and boring. Since the start of this class, I now
understand that you can still have a triad color sequence, but by
using a color’s tint or shade.
2 Now I find these color combinations to be simple, but
elegant in nature.
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CHEVREUL’S PRINCIPLES OF COLOR
18. HARMONY OF ADJACENTS
Adjacent or analogous colors have an emotional quality. They either
favor the warm or the cool side of the color wheel. These colors are
next to eachother on the color wheel. This print example shows an
analogous color scheme using orange, red-orange,
and yellow-orange.
HARMONY OF OPPOSITES
This combination creates a very lively optical effect. These colors
tend to highten the intensity of the other. This magazine cover
example shows a red and green combination.
1_ THIS PACKAGING DESIGN
EXAMPLE DISPLAYS HOW
OPPOSITES CAN CREATE
2
A DYNAMIC
CONTRASTING PIECE.
2_ THIS MAGAZINE COVER
PRESENTS FISH IN ADJACENTS
COLORS.
+ BOTH EXAMPLES ARE
SHOWN WITH THEIR SOFT
CANVAS ABSTRACTIONS.
1
1_STATIONARY DESIGN 2_ SEE MAGAZINE COVER
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HARMONY OF ADJACENTS & OPPOSITES
19. 1_ THIS BAG DEMONSTATES
THE USE OF A TRIAD
SEQUENCE.
2_ THIS PRINT AD SHOWS A
SPLIT-COMPLEMENT SEQUENCE
3_ THIS PHOTOGRAPHY EX-
AMPLE SHOWS A DOMINANT
TINT SEQUENCE.
1
+ ALL EXAMPLES ARE PAIRED
WITH THEIR ABSTRACTION
COMPOSITION.
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,
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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 PHOTOGRAPHY
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HARMONY OF SPLIT COMPLEMENTS, TRIADS,
& DOMINANT TINT
20. VISUAL MIX VISUAL 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.
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21. 1_ COLLABORATIVE IMAGERY
2_ EYE CANDY PHOTOGRAPHY
MIX AND VIBRATION
1
1_ THIS PHOTOGRAPHY
EXAMPLE SHOWS A VISUAL
MIX OR BLEND OF COLORS.
TO THE RIGHT OF IT IS A SOFT
CANVAS EXAMPLE
2_ THIS PHOTOGRAPHY
2 EXAMPLES SHOWS A SIMILIAR
VISUAL VIBRATION COLOR
SCHEME THAT IS BEING USED
IN THE SOFT CANVAS EXAMPLE
ON 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.
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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.
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ALBERS COLOR REACTIONS
23. REFERENCES
PAGE
2
NOTCOUTURE.COM 2
COMMUNICATION ARTS MAGAZINE
3
VOGUE MAGAZINE 3
COMMUNICATION ARTS MAGAZINE
VOGUE MAGAZINE 4
APPLIED ARTS ANNUAL
4 BEHANCE NETWORK GALLERIES.COM 5
COROFLOT.COM 6
5 BEHANCE NETWORK GALLERIES.COM 7
COROFLOT.COM
COROFLOT.COM 8
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BEHANCE NETWORK GALLERIES.COM 9
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