Color and Design
Designing with Color helps
F e at u r e s
readers develop an understand-
■■
With more than 700 fullcolor photos and illustrations,
of design through guided obser-
examples in each chapter
vation and engaging activities.
demonstrate how color is used
The visual approach of this text/
in a variety of media including
workbook provides a system
advertising, animation, fashion,
of eye training for students who
fine arts, graphic design,
aspire to become designers or
illustration, industrial design,
artists. Part One of this two-part
interior design and architec-
text presents color, the most
ture, and photography.
designing color
ing of color and the principles
immediately noticeable element of design. Part Two follows with
■■
dorosz watson
The appendix to Part One,
the elements and principles of
Some Historical Background
design and demonstrates how
on the Theory and Practice of
color and other design elements
Color and Design, highlights
are combined in nature and
key points in the understand-
the visual arts. Students have
ing and application of color
opportunities to apply their
from ancient to modern times.
with
learning in each chapter by com■■
Key terms and concepts
warm-up, style, interest, and
introduced in each chapter are
satellite—resulting in finished
defined in a comprehensive
projects they can record with
glossary.
photos preserved in their books for future reference.
ISBN: 978-1-56367-859-2
™xHSLFQDy678592zv*:+:!:+:!
designing color with
pleting four types of activities—
concepts and applications
chris dorosz jr watson
designing with
color
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designing with
color concepts and applications
Chris Dorosz | JR Watson Academy of Art University Fairchild Books
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|
New York
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Vice President & General
Cop yeditor:
Copyright © 2010 Fairchild
Manager, Fairchild Education &
Nancy Reinhardt
Books, a Division of Condé Nast
Con ference Di vision:
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Ancill aries Editor:
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Executive Editor:
Olga T. Kontzias
book covered by the copyright
Carolyn Eckert
hereon may be reproduced or used in any form or by any means—
Cover Art:
graphic, electronic, or mechanical,
© Beverly Au, VA-Photography
including photocopying, recording,
Editorial D evelopment D irector:
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Text Design:
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Development Editor:
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Barbara Barg Medley
retrieval systems—without written permission of the publisher. Library of Congress Catalog Card Number: 2008940707
Director, Sales & Mar ketin g:
ISBN: 978-1-56367-859-2
Brian Normoyle
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Photo Researcher:
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taping, or information storage and
Text Comp osition:
Creative Director:
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All rights reserved. No part of this
Cover Design:
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Publications.
Printed in China Unless otherwise credited,
TP15
all illustrations are courtesy of Production Director:
Ginger Hillman
JR Watson and Chris Dorosz.
Senior Production Editor:
Elizabeth Marotta
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For M J , L P, and G J W | JR W
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For Cliff, Ruth, and Mike
| CD
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contents Preface | xi Acknowledgments | xii Introduction
|1
Pa r t O n e C o l o r
Pa r t T w o D e s i g n
1 Local Color vs. Symbolic Color | 6 2 The Color Wheel | 22 3 Value, Saturation, and Temperature | 38 4 Analogous Colors | 64 5 Complementary Colors | 78 6 Color Proportion | 96 7 Light Temperature | 110
8 Two-Dimensional Space | 138 9 Three-Dimensional Illusion | 152 10 Three-Dimensional Form | 168 11 Unity and Variety | 184 12 Emphasis | 196 13 Balance | 208 14 Movement | 222 15 Rhythm | 234 16 Non–Focal Point Design | 250 17 Message of Color and Shape | 266
App e n d i x t o P a r t O n e :
Some Historical Background on the Theory and Practice of Color and Design | 124
Glossary | 285 Index | 293
vii
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extended contents Preface | xi Acknowledgments | xii Introduction | 1 1 The Purpose of This Book 1 How to Use This Book 2 Learning through Activities 2 Gathering Supplies 3 Taking Photos 3 Creating Your Own Color and Design Resource Pa r t O n e C o l o r
1
Local Color vs. Symbolic Color | 6 6 Vocabul ary and Key Concepts 7 Objective and Subjective Uses of Color 10 How the Eye Sees Color 19 Activities 2 The Color Wheel | 22 22 V o c a b u l a r y a n d K e y C o n c e p t s 22 Primary Colors 24 Subtractive Color 24 Additive Color 25 Secondary Colors
26 Tertiary Colors 27 The Structure of the Color Wheel 35 Activities 3 Value, Saturation, and Temperature | 38 38 V o c a b u l a r y a n d K e y C o n c e p t s 39 Value 42 Value Creates Form 45 Value Creates Composition and Focal Point 46 Value Creates Mood 47 Saturation 50 Temperature 51 Mixing Colors 61 Activities 4 Analogous Colors | 64 64 V o c a b u l a r y a n d K e y C o n c e p t s 75 Activities 5 Complementary Colors | 78 78 V o c a b u l a r y a n d K e y C o n c e p t s 78 Vibrating Boundaries 80 Desaturation 82 Simultaneous Contrast 84 Optical Mixing 93 Activities
viii
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Color Proportion | 96 96 V o c a b u l a r y a n d K e y C o n c e p t s 96 Dominant Colors 97 Accent Colors 98 Analogous Split-Complementary Palette 107 Activities 7 Light Temperature | 110 110 V o c a b u l a r y a n d K e y C o n c e p t s 121 Activities App e n d i x t o P a r t O n e :
Some Historical Background on the Theory and Practice of Color and Design | 124 124 Ancient Greece 125 Rome and the Middle Ages 126 The Renaissance 129 The Science of Color 129 Sir Isaac Newton 129 J. C. Maxwell 130 Michel Eugène Chevreul 131 A Break with the Past 132 Color-Matching Systems 132 Albert Munsell 133 Pantone Pa r t T w o D e s i g n
8
Two-Dimensional Space | 138 138 V o c a b u l a r y a n d K e y C o n c e p t s 139 Figure and Ground and the Picture Plane 140 Cropping 149 Activities
9
Three-Dimensional Illusion | 152 152 V o c a b u l a r y a n d K e y C o n c e p t s 152 Ways to Create the Illusion of Deep Space 154 Position on the Picture Plane 154 Perspective: Diminishing Scale and Overlapping 154 Use of Diagonals 154 Atmospheric Perspective 155 Dividing the Picture Plane into Three Zones 156 Applying the Method of Creating ThreeDimensional Space 165 Activities 10 Three-Dimensional Form | 168 168 V o c a b u l a r y a n d K e y C o n c e p t s 168 Volume and Mass 170 Texture and Surface Quality 170 Designer’s Use of Texture and Surface Quality 170 Varieties of Surface Quality 181 Activities 11 Unity and Variety | 184 184 V o c a b u l a r y a n d K e y C o n c e p t s 193 Activities 12 Emphasis | 196 196 V o c a b u l a r y a n d K e y C o n c e p t s 196 Contrasts 198 Optical Center 204 Areas of Emphasis 205 Activities
Extended Contents
6
ix
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13
16
Non–Focal Point Design | 250 250 V o c a b u l a r y a n d K e y C o n c e p t s 250 Ways to Create a Non–Focal Point Design 252 Repitition 252 Motif 252 Tessellation 252 Ambiguity 253 Approaches to Positive and Negative Space 253 Clear-cut Positive/Negative 253 Positive/Negative Reversal 253 Interspace 263 Activities 17 Message of Color and Shape | 266 266 V o c a b u l a r y a n d K e y C o n c e p t s 268 Creating Associations 281 Activities Glossary | 285 Index | 293
Extended Contents
Balance | 208 208 V o c a b u l a r y a n d K e y C o n c e p t s 208 Balance and Symmetry 209 Symmetry 209 Near-Symmetry 209 Radial Symmetry 210 Asymmetry 210 The Focal Point 210 Central Focal Point 210 Law of Thirds 211 Golden Ratio 219 Activities 14 Movement | 222 222 V o c a b u l a r y a n d K e y C o n c e p t s 231 Activities 15 Rhythm | 234 234 V o c a b u l a r y a n d K e y C o n c e p t s 234 Visual Rhythm 234 Line Quality 247 Activities
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preface It happens every semester: after a few weeks of
Unlike other books and curriculums on color and
school, just before midterm usually, students will
design, the first seven chapters comprising Part One
come to class and excitedly report that they’ve started
focus on the basics of color and color schemes.
dreaming in color.
Starting with color intention in design, moving on to the color wheel and the three components of color
Almost everyone eagerly testifies to developing a
(value, saturation, and temperature), we then continue
visual awareness and sensitivity to seeing color
with color schemes and color proportion, ending Part
beyond the classroom—in formal designs on a cereal
One with a look at light temperature. The appendix to
box, the latest Lady Gaga video, or in serendipitous
Part One briefly surveys the historical development
street scenes like a woman in a red coat walking in
of color theory and systems of color identification.
front of a green billboard.
After this introduction to color, Part Two begins with three chapters that discuss color in two- and three-
Why not take things a step further, then, and create
dimensional space. Next, this part presents the five
a textbook with activities that develop this excitement
principles of design—unity and variety, emphasis,
and awareness of the everyday world with the study of
balance, movement, and rhythm—with a chapter for
color and design?
each, along with a chapter on nonfocal point design. The final chapter summarizes color theory and design
What makes this book unique is that, from the
principles, exploring the expressive power of shape
very start, it focuses on color, with the intention of
and color.
stimulating the reader and demystifying the initially intimidating theory behind it. The foundation color
Even though we envision this book as providing a
and design course continues to be the basis of
complete course that any color and design teacher
a student’s knowledge of color in all succeeding
could adopt, it could also supplement an already-
classes. We hope to continue this tradition but also
existing curriculum or simply serve as a fun, informative,
to expand upon it by making it relevant and exciting to
and valuable resource for the casual reader.
today’s student by consistently presenting examples from a wide range of visual- and applied-arts majors. xi
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acknowledgments First, thanks to the team
Linda Davisson, Art Institute of
at Fairchild Books for their
Washington; Betsy Gabb,
expertise: Bria Duane, Olga
University of Nebraska; Elizabeth
Kontzias, Sylvia Weber, Erin
Hart, Savannah College of Art
Fitzsimmons, Carolyn Eckert,
and Design; Sally S. Hawthorne,
Barbara Barg Medley, Avital
Art Institute of York; and Carolyn
Aronowitz, Elizabeth Marotta,
Rotertson, FIDM-Los Angeles.
Ginger Hillman, and Noah Schwartzberg. Thank you for
Thanks to the following, who
seeing the potential in our concept
test drove the assignments,
for this book and supporting our
the results of which appear
vision along the way.
on the workbook pages: Paule Dubois-Dupuis, Christine Kirouac,
We also appreciate the
Gary Markle, Val Nelson, Katje
recommendations of the following
Richstatter, Scott Saraceno, Thom
reviewers of our proposal and
Sevalrud and Kevin Taylor. Also
manuscript, selected by the
thanks to Cliff Edwards and Katje
publisher: Wendy Beckwith,
Richstatter for proofreading and
LaRoche College; Catherine
editorial assistance.
Darlington, IADT-Chicago;
xii
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designing with
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7 light temperature How a color is lit can drastically affect how it looks.
With this in mind, we can further enhance the mood
Have you ever had to hold your socks up to a light
already established by a design’s color palette or
to see whether the colors match? Without the clarity
completely change it by dramatizing temperature
of sunlight, the local or true nature of a color can be
through warm light effects and cool light effects.
deceiving. Even with the light from the sun, a color might look warmer than it actually is. A house painted
Here is a simple formula to help understand how to
light pink might work well in a clear sunny climate like
observe the influence of light temperature on color:
the south of France but may not make sense in the cool light of a prolonged winter in central Canada.
+ Local color
+ Light temperature or its
Value identity: highlight?
complement: warm? cool?
midtone? shadow?
Vocabul ary and Key Concepts
• cool light effects
• local color
• simultaneous contrast
• desaturate
• saturate
• value identity
• warm light effects
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1
2
1
3
2
3
table
table shadow
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shadow
1=
+
+
1=
+
+
2=
+
+
2=
+
+
3=
+
+
3=
+
+
table =
+
+
table =
+
+
shadow =
+
+
shadow =
+
+
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Light Temperature Influence neutral
yellow
orange
red
violet
blue
green
white
yellow
orange
red
violet
blue
green
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Thinking about warm and cool is the key to understanding the
effect of light temperature. Even though local colors are not evident in this 1960s travel poster, the use of different color palettes and values for the two halves of day and night sell the qualities of the light Las Vegas is best known for . . . warm evening.
Virgin America has introduced mood lighting on its planes. The windows are tinted to minimize strong daylight in the cabin, and in flight, the lighting also shifts and changes.
Here, cool light is used to relax and soothe passengers. L i g h t T e m p e r at u r e
[left] TWA Las Vegas poster, 1960s. Illustrator David Klein, Library of Congress, Prints & Photographs Division. [right] Virgin America.
sunny days and the cool neon lights of
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In her installation, Glow House, artist
Kelly Mark has placed 50 televisions throughout a house all set to the same channel. Reflected light from the flickering televisions gives the impression that the house has been gutted to create a vast illuminated space. The color of light changes depending on the program playing. For instance, horror movies pulse a blue light whereas adult movies pulse pink. Commercials produce
color
Glow House © Kelly Mark, www.kellymark.com
the effect of fireworks!
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Consideration in lighting fashion and clothing not
only applies to advertising like this store window, runway shows and print ads, but is also a basic consideration in choosing fabrics for a garment. Understanding light temperatures informs these choices, as a textile looks different under the different lighting conditions where the garment may be worn. For instance, a gown will most likely be seen in the evening, usually under indirect and artificial light, while a bathing suit will probably be worn in the direct, warm light of the sun. What kinds of fabrics and colors are usually
© Saks Fifth Avenue New York, December of 2008.
found in garments made for dancing or wearing to nightclubs? How does this relate to light temperature? In this window display, the influence of warm light is clearly seen on the environment, while a cooler violet light accentuates the mannequin and dress, also enhancing the mood.
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Lighting is the finishing touch to any room, and sometimes may
In the Madrid Airport [opposite page], artificial lighting enhances the
be the starting point. Under the influence of natural light, the
textures and materials, giving dimension to a modern arrangement of
traditional surfaces of wood and oil paintings come to life in this Madrid
color
industrial club.
polished marble, glass, and steel.
[this page] imagebroker /Alamy. [opposite page] Paul Prescott /Alamy.
116
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L i g h t T e m p e r at u r e 117
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activities
Try on sunglasses. Try
fridge light, streetlight, flashlight,
lenses with different
spotlight, stage light, nightlight,
tints—warms like oranges, browns,
theatrical/nightclub lights,
and pinks, and cools like blues
candlelight, firelight, sunrise, or
and greens. How does the world look?
Purchase a colored
sunset? Take pictures of how
light bulb at your local
at least four of these examples
hardware store. Think of the
influence local color.
psychological associations of
Find an object in your
a picture of your room, desk, or
neighborhood like a tree
other area in your home. Then,
or mailbox that is surrounded by
at a time of day without strong
the light-colored pavement of a
sunlight, or at night, try the colored
sidewalk or road (even better, if
bulb in the same area where you
Which of these lighting
it is winter, surrounded by snow).
took the picture before. Use the
conditions might apply
Take a picture including the
With the different glasses on,
colored light bulb as your only
to your (potential) major—sunlight,
object, cast shadow, and ground
look at your color wheel. What
light source. What has happened
moonlight, TV light, digital display
at sunrise, midday, sunset, and
happens to the warm and cool
in terms of VST? Take a picture.
light, fluorescent light, headlights,
dusk. What color would you
colors when viewed through the
assign to the light for each of
different lenses?
these times? How do the local colors change? Describe the effects of simultaneous contrast. Are they captured in your pictures?
L i g h t T e m p e r at u r e
[top right and left] Photos: Christine Kirouac.
Which temperature do you prefer?
color in making your choice. Take
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your projects attach your snapshots here
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12 emphasis There are always “colorful” characters riding the
Contrasts
bus or subway. You may have even taken public
Here are some common examples of
transportation today to get to class or work and
contrast (see chart on facing page):
have a story to tell: a woman with a pink Mohawk
large—small
or a man talking extremely loudly. These people
flat—3D
would have caught your attention because they
thick—thin
were in contrast to the less-colorful and quieter
many—few
people around them.
soft—hard smooth—rough
Similarly, we use contrast in design to draw the
light—heavy
viewer’s attention to a particular place, called the
motion—rest
focal point or area of emphasis, which catches
value: high—low
the eye and engages the viewer. It is possible to
saturation: bright—muted
have more than one area of emphasis, although
temperature: warm—cool
they usually vary with diminishing contrast as will
translucent—opaque
be discussed in the next few chapters.
shape: organic—geometric chromatic—achromatic
On this page is another way to create a focal
line
point or area of emphasis, by breaking a pattern.
direction
Vocabul ary and Key Concepts
• area of emphasis
• contrast
• focal point
• optical center
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large–small
flat–3D
thick–thin
many–few
soft–hard
smooth–rough
light–heavy
motion–rest
value: high–low
saturation: bright–muted
temperature: warm–cool
translucent–opaque
shape: organic–geometric
chromatic–achromatic
line
direction
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Optical Center
A viewer will naturally look first in the center of
a design or of any picture plane, like a blank piece of paper or television or movie screen. Painter Tomma Abts places the focal point horizontal edges, with converging
design
lines leading to the optical center.
Courtesy the artist, greengrassi, London and Galerie Daniel Buchholz, Cologne and “Boros Collection, Berlin” Ert, Tomma Abts, 2003.
equidistant from the vertical and
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As a chip in a tiled floor is immediately obvious,
to create an area of emphasis. Animation artist Michel Ocelot draws the viewer’s attention to particular areas of a scene with simple figures on complex patterned backgrounds.
Emphasis
© Photos 12/Alamy.
breaking a pattern is another way
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[below] Quick recognition of
location, roads, and movement are crucial in developing a clear GPS system (especially one to use while driving). A driver’s location and path are usually represented in bright red as this color will advance, whereas secondary road systems are denoted
[above] In this
with cool colors to recede visually.
photograph, all components of color, value, saturation, and temperature are contrasted in the area of emphasis. In addition to size and shape contrasts, we as viewers tend to look at a human presence in an image before that of an inanimate object—even though
design
this is a doll!
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Emphasis
[opposite page, top] Courtesy Jean-Pierre Khazem Llama 5 from Llama project, 2000. [opposite page, bottom] SIRIUS Travel Link™ Navigation system in the 2010 Lincoln MKZ. [this page] Royal Ontario Museum (ROM), designed by Daniel Libeskind. Photo © Oleksiy Maksymeno, 2007.
Old and new collide, creating a strong line of emphasis where they meet in this postmodern addition to the Royal Ontario Museum in
Toronto. How many contrasts between the two styles can you name?
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Wall coverings and fabric patterns generally don’t have a focal point. They are meant to create visual interest and harmony, but they also often serve to allow certain features of a room, such
design
as a fireplace, painting, or accent color, to be the focal point.
Linda Florence, detail of Morphus Damask from the Scratchcard Collection, 2005. © www.lindaflorence.co.uk.
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impulse is extended from the pattern of the walls and fabric into the mementos and clutter of the room to create a lived-in, slightly disorienting experience. The use of vibrant red on nearly every surface does not provide a resting place for the eye. Though there is great variety in the types of elements in the room, they are of similar size. There are areas of equal value contrast, but they repeat often enough to become a motif in this non–focal point interior. In Vreeland’s bedroom [right], the fabric and wallpaper pattern is the same as in the living room, but in blue. Similar displays of mementos and small objects follow the style of the living room.
Non–Focal Point Design
Photographs by Richard Champion. © 1977 Condé Nast Publications.
In the living room [left] Billy Baldwin designed for legendary fashion editor Diana Vreeland (she referred to it as her “Garden in Hell”), the non–focal
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[left] All-over non–focal
design
point balance is used to
[top] The mid-century
modern style of illustrator
varying degrees in the animation of
Charley Harper frequently uses
Lars Arrhenius, where he explores
the concepts of motif and
ideas of navigation through city
repetition to set up rhythm and a
systems. In this animated short,
strong graphic quality. Notice here
non–focal point balance is well
how he creates a positive/negative
suited to some scenes as the
reversal with equally weighted
multiple narratives of residents
light and dark trees to play with
from an apartment block overlap.
and de-emphasize the hidden owl.
[left] © Lars Arrhenius still 2 of 13 from Habitat 2003. [right] Bark Eyes, Charley Harper, 1985.
262
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