Fall 2009
Unit 2. Development
Module 10. Color, Depth, and
Space
Color
Color is more than filling in the drawing.
• Color can have its own structural role to play in the
composition.
• Generally, colors can be divided into warm, cool, and
neutral.
• Warm colors are colors that have more yellow in them;
• cool colors have more blue.
• So, yellow and orange are warm, blue is cool.
• Green, purple and red can be warm or cool, depending
how close each is to blue or yellow.
• For example, a warm red is one which leans toward
yellow (vermilion); a cooler red would be one which has
more blue or purple mixed in (alizarin crimson).
• Warm green has more yellow (cadmium green); cool
green has more blue (viridian).
• A warm purple contains more red (cobalt violet); a cool
purple contains more blue (mauve blue shade).
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Color
• It actually gets a little more complicated than it
seems, because by mixing more colors
together, you can get warm and cool browns,
grays, and other hues.
• Cool colors are thought to seem to recede in
space (as often the distant trees and hills seem
more blue than closer ones), so using cooler
colors in the distance in a landscape can
suggest depth.
• Color relationships are actually a very complex
and often unpredictable element, and benefit
from long experience and study.
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Chroma and Value
• Chroma – intensity (saturation) of color
 High chroma colors create contrast, advance
 Use less to do more
• Value – brightness of colors
 Dark colors stand out
 Light colors recede
The Color Wheel
• The three primary
colors (red, yellow and
blue) are equidistant
from one another on
the color wheel.
• Their complementary
colors (green,
violet/purple and
orange respectively)
are opposite them on
the wheel, as are the
complementaries of all
the other colors, for
example, yellow-green
opposite violet-red.
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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.
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Ananlogous Colors
• Analogous colors
are any three colors
which are side by
side on a 12 part
color wheel, such
as yellow-green,
yellow, and yelloworange.
• Usually one of the
three colors
predominates.
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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, 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.
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Monochromatic Colors
• 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.
Source: Color Wheel Pro
• You can use it to establish
an overall mood.
• However, it can be difficult,
when using this scheme, to
highlight the most important
elements.
Module 10. Color, Depth, and Space
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Color Schemes Based Upon
Nature
• Nature provides a
perfect departure
point for color
harmony.
• In the illustration,
red yellow and
green create a
harmonious design,
regardless of
whether this
combination fits into
a technical formula
for color harmony.
Module 10. Color, Depth, and Space
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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
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Research on Color and
Learning
• Pett and Wilson (1996) concluded that the effect of
color on learning is slight.
• Their research focused on the effects of color on
attention, search tasks, other objective and nonobjective measures of learning, and the use of color
for cathode ray tube (CRT) displays.
• Although the measurable effects of color may be
slight, colored materials are preferred and they are
used almost universally.
• Therefore, designers of instructional materials need
to use color wisely by paying attention to the
physiological and psychological effects of color
and the effect of color on learning.
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Research on Color and
Learning
• Lohr reports (pp.265-266) that some reseach
indicates that “the use of color facilitates
cognitive processes involved in learning, such
as memory support, recall of information, and
promotion of interaction between learners and
content.”
• Some findings indicate that color can be
distracting and inhibit performance.
• Some additional findings:
 Learners prefer color materials
 Color and help learners locate information
quickly
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Research on Color and Learning:
Physical Facilities
• Preschool and Elementary school prefer a
warm, bright color scheme that compliments
their natural extroverted nature .
• Cool colors are recommended for upper grade
and secondary classrooms for their ability to
focus concentration.
• Hallways can have more colored range than in
the classroom and be used to give the school a
distinctive personality.
• Libraries utilize a pale or light green creating an
effect that enhances quietness
• and concentration. (Engelbrecht, 2003)
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Instructional Functions of
Color
1. Labeling – differentiating
information
2. Identifying quantity and
Measurement – charts, graphs,
maps
3. Representing reality
4. Create aesthetic appeal
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To Use or Not to Use Colors
Pro:
Con:
• May be necessary for
meaning
• Research-based
values for using
colors in education
• May not be
necessary
• May be distracting,
particularly if not
functionally related to
the learning task
• Lack of access to
technology for
adequate access to
color
(Misanchuk, referenced on p.
266)
• Learners prefer color
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Choosing Color for Instruction
SELECTION
• Colors that fall in the middle spectrum (yellow,
green, white, and blue) are associated with greater
acuity and perception
• Warm colors (yellows, reds, and oranges) tend to
advance – useful in figure-ground applications
• Cool (blues, greens, violets) colors tend to recede
• Darker colors tend to stand out more than lighter
colors
• Black, white, and gray facilitate selection
• Use darker background colors when the overall area
is small
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Choosing Color for Instruction
ORGANIZATION
• Choose color that can create hierarchy
• Facilitated by creating separate categories or layers
for discrimination and recognition
INTEGRATION
• Color can tie complex information together
aesthetically, organizationally, and psychologically
• Color can help the learner see “the big picture”
(gestalt)
• Four color schemes contribute to the learner’s sense
of gestalt:
1.
2.
3.
4.
Color based on the color wheel
Color based on inspiration from nature and art
Color based on color palettes in templates
Color based on psychological associations
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Choosing Color for
Instruction:Final Thoughts
• Color can influence moods
• Color also has cultural implications
• Interesting web sites for more information
concerning implications of color and culture:
 http://www.princetonol.com/groups/iad/lessons/
middle/color2.htm
 http://webdesign.about.com/library/weekly/aa07
0400a.htm
 http://www.colormatters.com/culturematters.html
 http://faculty.ed.umuc.edu/~dgriggs/instructional
_activities/color/color.htm
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Choosing Colors to Enhance
Figure-Ground
• For maximum contrast, use:
 Black on yellow
 Green, red, or blue on white
 White on blue
 Black on white
 Yellow on black
• Cool colors = formal and distant; retreat
• Warm colors = informal, approachable; advance
Depth
• Depth is how deep or three-dimensional a
design or piece of artwork looks.
• Artists create depth and space with a variety
of techniques and tricks that fool the eye.
• The illusion of space can be created using
color, line, texture, and shape.
• Western artists in the 16th century
developed a mathematical system to create
the illusion of depth called perspective.
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Depth
• Depth is critical in facilitating the
process of selection, because it has
the potential to make elements in a
visual stand out from each other.
• Depth refers to three essential
elements:
1. Scale – relative proportions of objects;
comparisons of size
2. Dimension – shadows produce the
illusion of depth in two-dimensional
elements
3. Texture – creates depth, advances
images
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Space
• Space is an important tool for clarifying text.
 Increases rate of reading
 Helps learners access more personally relevant
elements in the material
 Enables learners to discern the structure of the
document
• Space imparts a perception of timing – elements
that are farther apart communicate the
perception of distance in time
• Space helps balance images by using:
 Symmetry
 Asymmetry
 White space
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Positive and Negative Space
• Positive space is the part of a design that your eye
sees because something actually is there.
• There are several rules or guides to positive-negative
(or, figure-ground) relationships:
 Positive space/figure is where information (main
point of interest, elements) are, and negative
space/ground is everything else.
 Positive space/figure is usually smaller than
negative space.
 Figure has contour, ground does not.
 Figure and ground cannot exist independently.
 Figure usually occupies more space in the
composition than ground.
 Figure is usually perceived as being closer than
ground.
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Positive and Negative Space
• Negative space is the
empty space around
shapes and forms.
• In the photo, the black
area is negative space
and it serves to balance
the area in which the
marmot and rock
occupy.
• Areas of a picture that
contain "nothing" are
important visual
elements that provide
balance in an image.
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Trapped White Space
Here is an example of trapped white space, in which
elements get gradually added to a page.
• If you don't intentionally
push them to the middle,
you can trap white space
right in the middle of
your page.
• Why is this a problem?
• Your eye tends to fall in
the center of a page, and
if there's nothing there, it
looks like something's
missing.
Solution:
Reposition or resize
elements to rework the
negative space.
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Positive and Negative Space
• Sometimes, positive and negative space can be
confused as the eye/brain try to make sense
out of what is actually seen.
• Let us look again at a familiar image:
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References and Resources
• Articles about culture and color on the Web:
http://webdesign.about.com/lr/color_symbolism/2298
5/1/
• Color Wheel Pro (Adobe) – 30-day preview
download: http://www.color-wheelpro.com/index.html
• Engelbrecht, K. (2003). The impact of color on
learning.
http://www.coe.uga.edu/sdpl/HTML/W305.pdf
• Mike’s SketchPad
http://www.sketchpad.net/basics6.htm
• Prett,D., & Wilson, T. (1996). Color research and its
application to the design of instructional materials .
Educational Technology Research and
Development. 44, 19-35.
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