Basic Color Theory
Color
theory encompasses a multitude of definitions, concepts and design
applications - enough to fill several encyclopedias. However, there
are three basic categories of color theory that are logical and
useful : The color wheel, color harmony, and the context of how
colors are used.
Color
theories create a logical structure for color. For example, if we
have an assortment of fruits and vegetables, we can organize them by
color and place them on a circle that shows the colors in relation to
each other.
The Color Wheel
A
color circle, based on red, yellow and blue, is traditional in the
field of art. Sir Isaac Newton developed the first circular diagram
of colors in 1666. Since then, scientists and artists have studied
and designed numerous variations of this concept. Differences of
opinion about the validity of one format over another continue to
provoke debate. In reality, any color circle or color wheel which
presents a logically arranged sequence of pure hues has merit.
There are also definitions (or categories) of colors based on the color wheel. We begin with a 3-part color wheel.
Primary
Colors:
Red, yellow and blue
In traditional color theory (used in paint and pigments), primary colors are the 3 pigment colors that can not be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues.
In traditional color theory (used in paint and pigments), primary colors are the 3 pigment colors that can not be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues.
Secondary
Colors:
Green, orange and purple
These are the colors formed by mixing the primary colors.
Tertiary Colors: Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green
These are the colors formed by mixing a primary and a secondary color. That's why the hue is a two word name, such as blue-green, red-violet, and yellow-orange.
These are the colors formed by mixing the primary colors.
Tertiary Colors: Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green
These are the colors formed by mixing a primary and a secondary color. That's why the hue is a two word name, such as blue-green, red-violet, and yellow-orange.
Color Harmony
Harmony
can be defined as a pleasing arrangement of parts, whether it be
music, poetry, color, or even an ice cream sundae.
In visual experiences, harmony is something that is pleasing to the eye. It engages the viewer and it creates an inner sense of order, a balance in the visual experience. When something is not harmonious, it's either boring or chaotic. At one extreme is a visual experience that is so bland that the viewer is not engaged. The human brain will reject under-stimulating information. At the other extreme is a visual experience that is so overdone, so chaotic that the viewer can't stand to look at it. The human brain rejects what it can not organize, what it can not understand. The visual task requires that we present a logical structure. Color harmony delivers visual interest and a sense of order.
In summary, extreme unity leads to under-stimulation, extreme complexity leads to over-stimulation. Harmony is a dynamic equilibrium.
In visual experiences, harmony is something that is pleasing to the eye. It engages the viewer and it creates an inner sense of order, a balance in the visual experience. When something is not harmonious, it's either boring or chaotic. At one extreme is a visual experience that is so bland that the viewer is not engaged. The human brain will reject under-stimulating information. At the other extreme is a visual experience that is so overdone, so chaotic that the viewer can't stand to look at it. The human brain rejects what it can not organize, what it can not understand. The visual task requires that we present a logical structure. Color harmony delivers visual interest and a sense of order.
In summary, extreme unity leads to under-stimulation, extreme complexity leads to over-stimulation. Harmony is a dynamic equilibrium.
Some
Formulas for Color Harmony
There
are many theories for harmony. The following illustrations and
descriptions present some basic formulas.
1. A color scheme based on analogous colors
Analogous
colors are any three colors which are side by side on a 12 part color
wheel, such as yellow-green, yellow, and yellow-orange. Usually one
of the three colors predominates.
2.
A color scheme based on complementary colors
Complementary
colors are any two colors which are directly opposite each other,
such as red and green and red-purple and yellow-green. In the
illustration above, there are several variations of yellow-green in
the leaves and several variations of red-purple in the orchid. These
opposing colors create maximum contrast and maximum stability.
3.
A color scheme based on nature
Nature
provides a perfect departure point for color harmony. In the
illustration above, red yellow and green create a harmonious design,
regardless of whether this combination fits into a technical formula
for color harmony.
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Color Context
How
color behaves in relation to other colors and shapes is a complex
area of color theory. Compare the contrast effects of different color
backgrounds for the same red square.
Red
appears more brilliant against a black background and somewhat duller
against the white background. In contrast with orange, the red
appears lifeless; in contrast with blue-green, it exhibits
brilliance. Notice that the red square appears larger on black than
on other background colors.
Different readings of the same color
If
your computer has sufficient color stability and gamma correction
(link to Is
Your Computer Color Blind?)
you will see that the small purple rectangle on the left appears to
have a red-purple tinge when compared to the small purple rectangle
on the right. They are both the same color as seen in the
illustration below. This demonstrates how three colors can be
perceived as four colors.
Observing the effects colors have on each other is the starting point for understanding the relativity of color. The relationship of values, saturations and the warmth or coolness of respective hues can cause noticeable differences in our perception of color.
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