C O LO R B A S I C S
Color is the perceptual characteristic of light described by a color name. Specifically, color is light,
and light is composed of many colors—those we see are the colors of the visual spectrum: red,
orange, yellow, green, blue, and violet. Objects absorb certain wavelengths and reflect others
back to the viewer. We perceive these wavelengths as color.
DESCRIBING COLORS
A color is described in three ways: by its name, how pure or desaturated it is, and its value or
lightness. Although pink, crimson, and brick are all variations of the color red, each hue is distinct
and differentiated by its chroma, saturation, intensity, and value.
Chroma, intensity, saturation and luminance/value are inter-related terms and have to do with the
description of a color.
Chroma: How pure a hue is in relation to gray
Saturation: The degree of purity of a hue.
Intensity: The brightness or dullness of a hue. One may lower the intensity by adding white or
black.
Luminance / Value: A measure of the amount of light reflected from a hue. Those hues with a high
content of white have a higher luminance or value.
Shade and tint are terms that refer to a variation of a hue.
Shade: A hue produced by the addition of black.
Tint: A hue produced by the addition of white.
C O LO R S Y S T E M S
Available color systems are dependent on the medium with which a designer is working. When
painting, an artist has a variety of paints to choose from, and mixed colors are achieved through
the subtractive color method. When a designer is utilizing the computer to generate digital media,
colors are achieved with the additive color method.
SUBTRACTIVE COLOR.
When we mix colors using paint, or through the printing process, we are using the subtractive color
method. Subtractive color mixing means that one begins with white and ends with black; as one
adds color, the result gets darker and tends to black.
The CMYK color system is the color system used for printing.
Those colors used in painting—an example of the subtractive color method.
ADDITIVE COLOR.
If we are working on a computer, the colors we see on the screen are created with light using the
additive color method. Additive color mixing begins with black and ends with white; as more color
is added, the result is lighter and tends to white.
The RGB colors are light primaries and colors are created with light.
Percentages of red, green, & blue light are used to generate color on a computer screen.
C O LO R W H E E L
A color wheel (also referred to as a color circle) is a visual representation of colors
arranged according to their chromatic relationship. Begin a color wheel by positioning primary hues equidistant
from one another, then create a bridge between primaries using secondary and tertiary colors.
COLOR TERMINOLOGY
Primary Colors: Colors at their basic essence; those colors that cannot be
created by mixing others.
Secondary Colors: Those colors achieved by a mixture of two primaries.
Tertiary Colors: Those colors achieved by a mixture of primary and secondary
hues.
Complementary Colors: Those colors located opposite each other on a color
wheel.
Analogous Colors: Those colors located close together on a color wheel.
C O M P L E M E N TA R Y C O LO R S
We look at a color wheel to understand the relationships between colors. Analogous colors are
positioned in such a way as to mimic the process that occurs when blending hues. The colors that
are positioned opposite one another are complementary colors.
To call those hues in direct opposition to each other "complements of each other" is appropriate.
Complementary colors bring out the best in each other. When fully saturated complements are
brought together, interesting effects are noticeable. This may be a desirable illusion, or a problem
if creating visuals that are to be read.
C O LO R C O M B I N AT I O N S
Color combinations may pass unnoticed when pleasing, yet offend dramatically when compositions
seem to clash. One outcome we seek in the final form or composition is a successful use of color.
We determine whether or not we are successful by critically assessing the visual balance and
harmony of the final composition—balance and harmony are achieved by the visual contrast that
exists between color combinations. Planning a successful color combination begins with the
investigation, and understanding, of color relationships.
Using a color wheel and a template, the relationships between colors are easy to identify.
Monochromatic Relationship Colors that are shade or tint variations of the same hue.
Complementary Relationship Those colors across from each other on a color wheel.
Split-Complementary Relationship One hue plus two others equally spaced from its
complement.
Double-Complementary Relationship Two complementary color sets; the distance
between selected complementary pairs will affect the overall contrast of the final composition.
Analogous Relationship Those colors located adjacent to each other on a color wheel.
Triad Relationship Three hues equally positioned on a color wheel.
C O LO R & C O N T R A S T
Every visual presentation involves figure-ground relationships. This relationship between a subject
(or figure) and its surrounding field (ground) will evidence a level of contrast; the more an object
contrasts with its surrounds, the more visible it becomes.
Some combinations are difficult to read due to the low level of contrast between figure and
ground:
Yellow text on a white background. Blue text on a black background.
When we create visuals that are intended to be read, offering the viewer enough contrast between
the background (paper or screen) and the text is important. Text presentations ideally offer at
least an 80% contrast between figure and ground. (Black text on a white background is ideal.) If
there is not enough contrast between figure and ground, a viewer will squint to view the text,
causing eye fatigue.
SIMULTANEOUS CONTRAS T
Some color combinations can cause illusions when positioned together:
Red text on a blue background
An occurrence known as 'simultaneous contrast' (or chromostereopsis,) may happen when opposing
colors are placed in close proximity to each other. Text may appear to vibrate, or cast a shadow.
Eye strain and fatigue will result if a viewer focuses on a document displaying similar properties for
an extended time period.
COLORBLIND DEFICIENCIES.
The Design of visual documents or signage without thought to the overall contrast level between
figure and ground can be problematic for people with sight deficiencies. My first-hand experience
with this occurred years ago when visiting a hospital with a friend who was colorblind. The hospital
had creatively marked the floor with "road maps" to various areas like the lab, lobby, etc.
Unfortunately, they used red and green lines and my friend could not distinguish between the
colors. If a visual document uses color to relate important information, insure that no information
is lost, or potentially misunderstood, when the color is not available.
CHOOSING COMPLEMENTARY COLORS
When choosing complementary colors, fully saturated colors will offer the highest level of contrast.
Choosing from tints or shades within the hue family reduces the overall contrast of the
composition.