Colour Theory
Colour Theory
1
The Colour Wheel
2
Primary Colours
2
Secondary Colours
2
Tertiary Colours
2
Stereotypes.
2
Colour Temperature
3
Using Colour
3
The Elements of Colour
4
Hue
4
Value
4
Saturation
4
Tints and Shades
5
Colour Palettes
5
Colour Scheme Types
5
Colour Composition
10
Spatial Effects Of Colour
10
Balance and proportion
10
Emphasis 10
Unity 10
Movement 11
Rhythm
11
Psychology of Colour
11
Colour Theory In Comics
11
Choosing a Colour Palette for Your Comic 12
Examples of Colour Psychology in Film (Because this helps relate it in comics) 13
The Colour Wheel
Colour wheels are a way of arranging colours side by side, in order of
colours that are similar to each other.
They are extremely useful in choosing colours that work together, and for
setting up your colour pallets.
Primary Colours
• Primary colours are the “base” colours from which all other colours
are derived.
• The standard colour wheel is built on a foundation of Red, Yellow
and Blue.
Secondary Colours
• Secondary colours are the colours created when any two primary
colours are mixed together.
• Each secondary colour is a complimentary colour to the primary it is
built from.
Tertiary Colours
• Tertiary colours are all the colours that do not fit in to Primary or
Secondary colours.
• These colours are created by mixing any secondary or primary colour
together.
Stereotypes.
• Super heroes - Pure Primary Colours = Red, Blue, Yellow (Mixing Primary Colour Scheme)
• Villains - Secondary and Tertiary Colours = Green, Purple, Orange (Mixing Secondary Colour
Scheme)
• Dark Heroes = Non Primary Colours
• Grey and Browns are complex colours that are good for backgrounds.
Colour Temperature
• Warm Colours pop off the page (Red,
Orange Yellow)
• Cool Colours Recede on the page (Blue)
• Purples and Greens can go either way,
deepening on how much of the warm
colour is in it compared to Blue/Cyan)
• Grey’s can be influenced to go either way
as well. Warm greys and cool greys
Using Colour
• Local color vs Representitive Colour
Local colors are hues that are associated with an object or subject as they appear under direct
white light. They are the stereotypes of the color world. Red apples, green leaves, blue sky.
Those are all objects with their local color association.
So those are the colors I use for those objects, right? Nope! The use of local colors can actually
be really tricky and make the image flat and lifeless. Your best bet is to study what makes that
apple look red or that grass look green. What other colors is in the blade of grass and how they
balance each other.
Notice how the image on the right has areas of blue and yellow added in to the highlights and
shadows. Local colors aren't BAD but can muddle down an art work by sheer accident.
• All Colour is Relative to the Environment - The colour of any object that exists in our world is
affected by the world that it exists in. All colours appear modified by the surrounding colours. A
warm light on a warm object accentuate the warmth of the local colour. A warm light on a cold
colour will subtract from its brilliance.
The Elements of Colour
Hue
• Hue represents what we commonly call the colour - for example Green is a hue.
Value
• Value represents the brightness of a colour.
• A high value colour is brighter and emits more light.
• A low value colour is duller, and seems to recede more into a background.
Saturation
• Saturation is a measurement of colour intensity, or how far from pure grey it is. The lower the
saturation, the closer to grey it is.
• Too many highly saturated colours makes a page seem too heavy, and flattens the image.
• Too many de-saturated colours make a page look too overexposed and washed out.
• If you use heavy colours in one section, try and balance it with de-saturated colours in another.
• Some very dark and saturated colours will mean line work will virtually disappear when printed.
Be aware of those colours and try to avoid using them.
Tints and Shades
• Tint and shade is a measurement of how much White (Tint) or Black (Shade) is in a colour.
• Do not get the Shade value confused with shadows. They are different. Shadows are an effect
of light, not of adding black to a colour.
Colour Palettes
Colour Scheme Types
Complementary Colours
• The complementary color scheme is made of two colors that are opposite each other on the
color wheel. This scheme looks best when you put a warm color against a cool color, for
example, red versus green-blue. The complementary scheme is intrinsically high-contrast.
When using the complementary scheme, it is important to choose a dominant color and use its
complementary color for accents. Using one color for the background and its complementary
color to highlight important elements, you will get color dominance combined with sharp color
contrast. • Complementary colour schemes are extremely vibrant, especially when the saturation of the
colours are high
• This type of colour scheme needs to be managed, or it can be visually jarring.
• Complementary colour schemes are most useful when trying to make something stand out.
• Never use a complementary colour scheme for text.
• Pros: The complementary color scheme offers stronger contrast than any other color scheme,
and draws maximum attention.
• Cons: This scheme is harder to balance than monochromatic and analogous schemes,
especially when desaturated warm colors are used.
• Tips:
• 1. For best results, place cool colors against warm ones, for example, blue versus orange.
• 2. If you use a warm color (red or yellow) as an accent, you can desaturate the opposite cool
colors to put more emphasis on the warm colors.
• 3. Avoid using desaturated warm colors (e.g. browns or dull yellows).
• 4. Try the split complementary scheme; it is similar to the complementary scheme but offers
more variety.
Analogous Colours
• Colours that sit next to each other on a colour wheel (for example, red, orange and yellow). The
analogous color scheme uses colors that are adjacent to each other on the color wheel. One
color is used as a dominant color while others are used to enrich the scheme. The analogous
scheme is similar to the monochromatic one, but offers more nuances
• Analogous schemes are useful to create serve and comfortable designs.
• This type of scheme is often found in nature and is harmonious and pleasing to the eye.
• Be careful to use enough contrast when using this type of colour scheme.
• Choose one colour to dominate, a second to support, and the third colour to use as an accent.
• Pros: The analogous color scheme is as easy to create as the monochromatic, but looks
richer.
• Cons: The analogous color scheme lacks color contrast. It is not as vibrant as the
complementary scheme.
• Tips:
• 1. Avoid using too many hues in the analogous scheme, because this may ruin the
harmony.
• 2. Avoid combining warm and cool colors in this scheme.
Triadic Colours
• Three colours spaces equally apart on the colour wheel. The triadic color scheme uses three
colors equally spaced around the color wheel. This scheme is popular among artists because it
offers strong visual contrast while retaining balance, and color richness. The triadic scheme is
not as contrasting as the complementary scheme, but it looks more balanced and harmonious.
• Triadic colour harmonies tend to be vibrant, even when desaturated versions of the colour are
used.
• The best way to use a Triadic colour scheme is to let one colour dominate and use the other
two colours for accent.
• Pros: The triadic color scheme offers high contrast while retaining harmony.
• Cons: The triadic color scheme is not as contrasting as the complementary scheme. • Tips:
• 1. Choose one color to be used in larger amounts than others.
• 2. If the colors look gaudy, try to subdue them.
Split Complement Colours
• A colour and the two colours next to it’s complement on the colour wheel. The split
complementary scheme is a variation of the standard complementary scheme. It uses a color
and the two colors adjacent to its complementary. This provides high contrast without the
strong tension of the complementary scheme.
• This colour scheme has the same strong visual contrast of a complementary colour scheme,
but is much less jarring to look at.
• This is another example of where one colour should dominate, and the other colours would
be used to accent.
• Pros: The split complementary scheme offers more nuances than the complementary scheme
while retaining strong visual contrast.
• Cons: The split complementary scheme is harder to balance than monochromatic and
analogous color schemes.
• Tips:
• 1. Use a single warm color against a range of cool colors to put an emphasis on the warm
color (red versus blues and blue-greens, or orange versus blues and blue-violets).
• 2. Avoid using desaturated warm colors (e.g. browns or dull yellows), because this may ruin
the scheme.
Tetradic (Double Complementary) Colour Scheme
• This is the most varied scheme because it uses two complementary colour pairs. The tetradic
(double complementary) scheme is the richest of all the schemes because it uses four colors
arranged into two complementary color pairs. This scheme is hard to harmonize; if all four
colors are used in equal amounts, the scheme may look unbalanced, so you should choose a
color to be dominant or subdue the colors.
• This scheme is hard to harmonise; if all four hues are used in equal amounts, the scheme may
look unbalanced, so you should choose a colour to be dominant or subdue the colours.
• You also need to be careful of the balance between warm and cool colours with this colour
scheme.
• Pros: The tetradic scheme offers more color variety than any other scheme.
• Cons: This scheme is the hardest scheme to balance.
• Tips:
• 1. If the scheme looks unbalanced, try to subdue one or more colors.
• 2. Avoid using pure colors in equal amounts.
Monochromatic Colours
• Hues of a Single Colour. The monochromatic color scheme uses variations in lightness and
saturation of a single color. This scheme looks clean and elegant. Monochromatic colors go
well together, producing a soothing effect. The monochromatic scheme is very easy on the
eyes, especially with blue or green hues. You can use it to establish an overall mood. The
primary color can be integrated with neutral colors such as black, white, or gray. However, it
can be difficult, when using this scheme, to highlight the most important elements.
• Pros: The monochromatic scheme is easy to manage, and always looks balanced and
visually appealing.
• Cons: This scheme lacks color contrast. It is not as vibrant as the complementary scheme.
• Tips:
• 1. Use tints, shades, and tones of the key color to enhance the scheme.
• 2. Try the analogous scheme; it offers more nuances while retaining the simplicity and
elegance of the monochromatic scheme.
Other Types of Colour Schemes
• Grayscale - Intensity of black
• Clash Colour Scheme - These palettes combine a colour with a colour to the left or right of it’s
complement
• Neutral Schemes - These schemes rely on colours that have been “neutralised” by adding
ether black or its complement to it.
• Primary Schemes - A scheme that uses only Primary colours. (Red, Blue and Yellow)
• Secondary Schemes - A scheme that uses only Secondary colours (Green, Violet and
Orange)
Tips From The Professionals
• Marvel Comics - Marvel like to base their pallets on a “sunset” light - playing Reds, Yellows and
Oranges playing off lighter blues. This creates a warm pallet that is usually seen as being
inviting.
• Tim and Greg Hildrebrant - Play complementary colors off each other with their lighting - blues/
purples vs yellows/oranges are classic Hildebrant.
Classic Colour Combinations, And Why they Work
Orange and Green - Why it works: Found in Nature - especially in fruit and flowers
Blue and Green - Why it Works: Classic cool colours, also found in nature.
Blue and Yellow - Why it Works: Found in nature - the sun in the sky etc.
Purple and Green - Why it Works: Cool Colours, also very natural.
Red and Purple - Why it Works: Discord colours, Great for getting attention, and one colour and it
is analogous.
• Pink and Green - Why it Works: Pink is a tint of Red (compliment of Green), it is also found in
nature.
• Pink and Purple - Why it Works: Classic “girly” combination. Somewhat Analogous as well.
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• Purple and Blue - Why it Works: Cool Colours. Somewhat Analogous as well.
• Yellow and Green - Why it Works: Natural (Flowers, bananas etc), Somewhat Analogous as well.
Colour Composition
Spatial Effects Of Colour
Such as, hues that are lighter at maximum saturation (yellows, oranges) appear larger
than those that are darker at maximum saturation (e.g., blues and purples).
When a color expands visually, it may also seem closer to the viewer than those that
seem to contract, leading to the common statement that warm colors appear closer and
cool colors fall back.
Artists can bring any color forward or push it back, depending on what other spatial tricks
they use. In addition, a large shape or form appears to be heavier than a small shape.
Several small shapes or forms can balance on large one.
An object with a complicated contour is more interesting and appears to be heavier, than
one with a simple contour. A small complex object can balance a large, simple object.
Remember that saturation is the relative brilliance or vibrancy of a color. The more
saturated a color, the less black it contains.
Use highly saturated or high-intensity colors (a pure hue with no other colors mixed in) or
busily detailed areas to draw attention and therefore give the appearance of carrying
more weight than less saturated, low-intensity or visually simpler areas.
Balance and proportion
Generally speaking, highly saturated or busily detailed areas will draw attention and
therefore seem to carry more weight than less saturated or visually simpler areas.
Balance - the two types of balance are formal (symmetrical) and informal (asymmetrical).
Proportion - the size relationship of one part to the whole and one part to another.
Emphasis An area in a work of art that attracts the viewers attention first. The element noticed first is
called dominant; the elements noticed later are called subordinate.
Unity Allows the viewer to see a combination of elements, principles, and media as a whole.
Unity is created by harmony, simplicity, repetition, proximity, and continuation. For
example, you could use the repetition of a color scheme to unify a composition. Another
way to unify a composition is to simplify the color scheme by allowing one color to
dominate the work. This is called tonality. Tonality does not have to be monochromatic,
however, the overall effect appears to be of one color.
Movement Color can create a sense of movement. When the values in a work jump quickly from very
high-key to very low-key, a feeling of excitement and movement is created. When all of
the values are close together the work seems much calmer. When you want to create
movement with color remember to use values of pure hues as well as those of tints and
shades. Movement creates the illusion of action or physical change in position.
Rhythm
The use of repeated elements to create the illusion of movement. Visual rhythm is
perceived through the eyes, and is created by repeated positive spaces separated by
negative spaces. There are five types of rhythm: random, regular, alternating, flowing, and
progressive.
Psychology of Colour
The psychology refers to moods that can be set by using certain colours. Some basics are • Red = Anger, Lust, Passion, Hot, Intensity, Strong, Fire
• Yellow = Joy, Sunshine, Cowardice, Cheerfulness, Intellect, Energy
• Orange = Warm, Stimulating, Enthusiasm, Happiness, Creative, Autumn
• Green = Nature, Money, Prosperity, Clean, Growth, Fertility, Healing, Safety
• Blue = Calm, Quiet, Clean, Stability, Trust
• Purple = Sensual, Royal, Prestigious, Wealth, Ambition, Mysterious
• Gray = Conformist, Dull, Logical
• Dark Colours (Low Key Value) = Oppressive Gloom
• Light Colours (High Key Value) = Lightness and Careless Freedom
There are many, many more examples. Spent time studying these, and it can go along way
towards helping you create mood in a piece.
Colour Theory In Comics
If you look at Golden Age comics through the early 1980’s you’ll notice certain patterns.
Ever notice that to this day, heroes tend to be dressed in primary colors? Red, blue,
yellow? Villains tend to be wearing secondaries. Orange, green, purple. Civilians tended to
be wearing other dark colors—Prussian blue, magenta, brown, blue-green….
Colorists colored the main characters dark. They colored the backgrounds pastels. The
main characters were usually in the foreground. They stood out. Instant depth. Dark
foreground elements, light background elements, the most common value progression,
dark/bold to light/pale. Bingo.
In modern times, the coloring is done like a painting, usually on a computer which means
there are unlimited colors at the colorist’s disposal. But still, the same underlying principle
applies. THE JOB IS TO CREATE DEPTH, THE KEY TO CLARITY. In these advanced times, you don’t have to do pastel backgrounds and characters’ colors
according to formulae. But, still, you should be trying to create depth. Clarity. I've heard people say, "Well, but that wall would really be a certain color, and it doesn’t
work with your depth thing." Yeah? Well, look at the wall here. It is a certain color, it has
been painted a certain color. But look at where the light is hitting it and where it’s less well
lit. Same wall, same paint, what's the difference? Light. You've got more light hitting it here
so it looks lighter, you got less light hitting it there so it looks darker. Fine, then you've got a
30 percent differential, and you're still honest. You got 30 percent artistic license.
When Ditko drew Spider-Man against an open sky, the non-red parts of his costume were
mostly black. When he drew Spider-Man against a darker background, he “opened” the
non-red parts so they were mostly blue. Get it? And I loved when he would show only the
red in blackout situations.
Choosing a Colour Palette for Your Comic The colour palette or color scheme is the collection of colours which are used in your scenes to
add interest to it. This is one of the biggest differences between professional and amateur art. By
choosing the colour palette carefully, it will be much easier to make sure that your scene looks as
good as it possibly can, as well as conveying information about the mood and what is happening in
a the scene.
The following is a series of steps that will help you select colour palettes for each scene you colour.
Most scenes will have their own color palettes based on the mood and action of the scene.
Sometimes entire books will have one palette, other times each location may have a color palette,
it is important to experiment and see what works for you.
Step 1: Understanding the Color Scheme
The color scheme is very important for your comic as it combines the colors included in the scene.
The colors are used in the background, clothing, props, scenery, and lighting. Everything in your
scene will have a color, and it's important that these work together well.
Step 2: Deciding on the Color Scheme
It is important to decide on the color scheme that you want to use for your comic before you even
launch photoshop. This is important because it will make producing the book much easier. You
must also stick to the color schemes you have decided on when you colour your comic.
By sticking to the chosen color scheme, it will be much easier to create a seamless and
professional looking scenes.
Step 3: Choosing the Background
The first thing that you need to do is choose the background and scene colors. This is important
because everything else will be based around this. Try to choose one dominant color that you want
to use. Step 4: Choosing the Prop Colors
Next, you need to choose the colors of props and scenery. Choose a complementary color with the
background. This is exactly the same as when decorating a room. Try to make everything fit and
work together well.
Step 5: Choosing the Costume Colors
Clothing colour should also complement other colours used in other parts of the comic. This will
make it much easier to create a coherent flow throughout your book.
Examples of Colour Psychology in Film (Because this helps relate it in
comics)
Emotions
Positive Emotions - Warmer colours appear more often in happy scenes. Magenta, Red, Orange
and Yellow are the most common colours in these kind of scenes.
Tender Feelings - Boosting yellow highlights and the blue in shadows coverts tender feelings. This
is not always the case - yellow highlights always seem to be boosted in these clips, but not
necessarily the blue.
Melancholy - Pastel blues and greens in the highlights, and pale blues in the shadows will help
convey a Melancholy feeling. Blacks will normally by higher too.
Negative Emotions - Blue is the dominant tone for negative emotion in film.
Discomfort - Discomfort can be associated with many colours, Red as defiant and anxious,
Orange as exotic and toxic, Green as corrupt and poisonous.
Genres
Horror Movies - Very often heavily de-saturated in a Blue/Grey/Neutral Colour Space. Red is
often used as a story telling device, because is jumps of the Blue/Grey Colour Space. (Examples Sweeney Todd, Sleepy Hollow, Dreamcatcher, Don’t Look Now) Whites will balanced to cool
blues, or purples. Skin tones normally become pale and sickly. Hard shadows will appear are
saturated blacks. Almost every colour is heavily denatured except Red (Blood), which can be so
saturated it is almost black on occasion. (The Ring, Nightmare on Elm Street, Saw, 30 Days of
Night, The Last Exorcism)
Apocalyptic Action/Drama - Tend to be grey/brown/yellow/paste (earth tones) and very
desaturated sometimes bordering on Black and White, making everything look distant and
decrepit. Light will be strong and directional, making shadows hard and precise. (examples - Book
of Eli, Terminator: Salvation, Death Race, Daybreakers, The Road)
“The Priest” - A combination of Apocalyptic and Horror. Day time scenes are fairly standard
apocalyptic scenes, but he scenes wight he vampires switch up to pretty standard horror palettes.
“Children of Men” - A combination of Apocalyptic with some of the furtristic/Sci-Fi green tinge to it.
Futuristic/Alternate Reality - Often use a realistic colour scheme with a mono-chromatic green or
blue to make things seem “not wrote right” (Example - The Matrix - when they are int he
computers, everything is greenish, Star Wars, Blade Runner, Minority Report, Soldier, Aeon
Flux) All these movies seem to be fairly normal tonally, but always a single, more exuberant colour
distributed through out the film.
Sci-Fi - Sci-fi is often tinges blue and greens to echo space.
Hollywood Blockbusters - Teal and Orange reign
supreme. Nearly all skin tones all live in an orange
colours space, teal/blue is the complementary colour
for Orange, and since pretty much every hollywood
block buster has the star (or stars) in pretty much
every scene, it makes the skin tones (and there fore
the actors) pop off the screen. It does make skin tones
look very unnatural at times because the colour
grading tends to increase the orange in skin tones to
increase the screen pop. (Pick what ever you like Transformers 2 and Iron Man 2 are good examples)
60’s and 70’s Themes - Browns and Oranges.
This is mainly because there are two colours that
are often associated with the fashion of the era.
Desert Movies - Yellowish Brown and Ochre tones.
(The Good, The Bad and The Ugly)
Old Time Movies - Black and White or Sepia Tones with booted contrast and lower saturation.
(Gangs of New York, Schindler’s List, Good Night and Good Luck, The Good German))
Fantasy - Tends to have high amounts of Cyan and Purple, but still rely heavily on the Teal and
Orange themes of block busters. Interestingly, Fantasy also seems to make more use of green
than other common genres.
Romance - Romance often uses a lot of Red and Yellow hues.
“Traffic” - Makes use of warm golden tones for scenes shot in Mexico, and cooler blueish tones
for scenes in the US.
“Gladiator” - Blueish tones is the cold German landscapes, Brown and Golds when back in the
warmer mediterranean.
“The Sixth Sense” - Uses red to indicate something is going to happen.