sanoae #eda Tsay: d EE ad dh ( Np ; COLOUR is what the eyes see when light is reflected off an object. Color is the aspect of things that is caused by differing qualities of light being reflected or you have to have light. When light shines on an object emitted by them. To see color, some colors bounce off the object and others are absorbed by it. Our eyes only see the colors that are bounced off or reflected. White objects appear white because they reflect all colours. Black objects absorb all colours so no light is reflected.Colour Systems:- RGB- RGB (Additive Color System) the color system that uses light rather than pigment to create color. It is the system of digital media and computer screens. The additive primary colors are red, green, and blue and are often referred to by their initials RGB. It is called the additive color model because red, green and blue light are added together in various combinations to reproduce a broad array of colors. ~ RYB- RYB (red, yellow, blue) is also known as a painting color system often used in art education, especially in painting. It served as a foundation for the modern scientific color theory CMYK- The CMYK (cyan, magenta, yellow, and black) (Subtractive Color ).This color system is mostly used in the printed design. the color system uses pigments, dyes, inks, and paints but the ‘ primary colors are cyan (process blue), magenta (process red), and yellow. This CMYK system is widely used in the printing. ,Colour:- How a work of art or design looks and what we feel about it depends on a number of colour choices: 1-Colour relationship- are there similar, harmonious colours or very different, contrasting colours? 2-Colour temperature- how warm or cool are the colours used? 3-Strength of colour- are pure hues, lighter tints, darker shades or less vibrant tones used? 4-Emotional response- what moods or feelings do the colours suggest? : iHue- Hue is the name of a colour, such as red, blue, or yellow. Value- value is the ightness or darkness of a hue (colour). The value of a hue is adjusted by the addition of either pure black or pure white. Value is the measurement of the amount of black or white a pure hue has mixed. By adding black to the color, the value is made darker, resulting in what is referred to as a “shade”. When white is added to a color, the result is a lighter value. Lighter values are referred to as “tints”. All values can be measured using a value scale, which theoretically has an infinite number of values. Intensity- Intensity (also referred to as saturation or chroma) refers to the degree of purity of a color. A highly intense color is bright and a low-intensity color is more neutral or muted. Colors are at their purest when they are straight out of the tube, not mixed with another color. As soon as we mix in another color, we have lowered the intensity of both colors mixed. Intensity is the brightness or dullness of a hue (colour). Pure hues are igh-intensity colours. Dull hues are low-intensity colours. Intensity, deals with the amount of purity in the hue itself. It can also be referred to as “saturation”. Intensity is adjusted by adding additional colors to the pure hue. A color can be made less intense by adding gray to the color. HUE INTENSITYVALUE SCALE The term ‘value’ in the context of art refers to the lightness or darkness of a color. Value scale is a gray scale comprising of a series of spaces filled with various shades of a color. The shades range from the lightest to the darkest. Usually, white or the lightest shade starts from one side of the scale and slowly shifts to the darkest shade or black on the other end of the scale. A value scale serves as a guide to create a range of values., TERMINOLOGY:- ~ Color-blocking: is thought of as the exploration of taking colors that are opposites on the color wheel and pairing them together to make interesting and complementary color combinations. It originated from the artwork of Dutch painter, Piet Mondrian. The most important rule to remember when you're planning your colour blocking interion/fashion revamp is that there are no rules. In principle, you can colour block in any combination you like the look of. However, contrast is the key to pulling off this trend. In “traditional” colour blocking, complementary colours — those that lie opposite one another on the colour wheel — are viewed as the best pairings. Color Harmon’ Harmony can be defined as a pleasing arrangement of parts, whether it be music, poetry, color, etc 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. Undertone: A color’s undertone is a hint of a the color a diffe! is yellow. different color present in the color-This helps to make rent hue than its mass tone. For example, the undertone of olive greenyColor theory : Color theory is a framework that informs the use of color in art and design, guides the curation of color palettes, and facilitates the effective communication of a design message on both an aesthetic and a psychological level. Color Clashes: Clashes or discords describe two colors of equal intensity, which cause visual discomfort. Designers and artists sometimes make use of this effect to create a disturbance and give the color scheme an "edge". Color clashes were most famously used in the rebellious 1960s - bright orange and shocking pink, for instance Accent colors: colors that are used for emphasis in a color scheme. These colors can often be bold or vivid and are used sparingly, to emphasize, contrast or create rhythm. The 60-30-10 Rule: If three colours are chosen, then we should devote 60 to the primary color, 30 percent to the secondary and 10 percent to the accent color.Primary colors: The three primary colors are red, yellow, and blue. These are the only colors that cannot be mixed or made from any other colors. All other colors come from these three primary colors. Secondary colors: The three secondary colors are orange, green, and violet. Each is made from mixing equal amounts of two different primary colors. Intermediate Colors: When a primary color is mixed with an adjacent secondary color, an intermediate color is formed. For example, blue (a primary) and violet (a secondary) combine to make blue-violet, an intermediate. There are 6 intermediate colors (red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet), and they bridge the gaps between the primary and secondary colors on the color wheel. rt Complex colors: Complex colors are colors made from mixing secondary colors. These are ot two types: tertiary and quaternary. Atertiary color comes from mixing two secondary colors, such as mixing green and violet. A quaternary color comes from mixing two tertiary colors together.Primary Colours: vecow = CS Secondary Colours Results from mixing the Primary Colour with each other. WT ee. = YELLOW = OHANGES veow + [RESTS - Sos - - . Intermediate Colours Mixing one Primary Colour + One Secondary makes a intermediate colour. ORANGE = =| REDORANGE S| ee - violet Wea YELLOW + ORANGE = DEEP YELLOWQUATERNARY COLOURS:- PRIMARY © a 8 z z 2 ine PLUM OLWE SAME Cosi) (opi Ces)“TINT: is created when we add white to create a lighter version of the colou. *SHADE: is created when we add black to a colour to darken it down. *TONE: Is created when we add grey to a colour.EEE ETO ECHOES COLORS GREEN = GREEN (Tentions) Croton) CSecandony) Es A color wheel or color circle is an abstract illustrative organization. of color hues around a circle, which shows the relationships between primary colors, secondary colors, intermediate colors etc. The color wheel or color circle is the basic tool for combining colors. The first circular color diagram was designed by Sir Isaac Newton in 1666.Primary colour scheme:- Basic colours like red ,yellow and blue are used for making primary colour scheme.SEE EEE EEE TECH EDEE Secondary colour scheme:- Colours like orange, green and violet makes the secondary colour scheme.a intermediate colour Colours like red-orange, yellow -orange, yellow -green, blue- green, blue- violet and red -violet makes sub-secondary, tertiary, intermediate colour scheme.ANALOGOUS COLOUR SCHEME:- Analogous colour schemes use colours that are next to each other on the colour wheel.they usually match well and create serene and comfortable designs.~~. @weuwerer? ee ee eel UL Complementary color scheme :- Colors that are opposite each other on the color wheel are considered to be complementary colors (example: red and green).The high ‘contrast of complementary colors creates a vibrant look especially when used at full saturation. This color scheme must be managed well is not jarring. yClash complementary colour scheme:- The clash complementary colour scheme is a variation of the complementary color scheme. In addition to the base color, it uses any one colour from the two colors adjacent to its complement.Split-Complementary color scheme:- The split-complementary color scheme is a variation of the complementary color scheme. In addition to the base color, it uses the two colors adjacent to its complement This color scheme has the ggcheme, has less tension.RECTANGLE (TETRADIC) COLOR SCHEME OR DOUBLE SPLIT or COMPLIMENTARY COLOUR SCHEME:- THE RECTANGLE OR TETRADIC COLOR SCHEME USES FOUR COLORS ARRANGED INTO TWO COMPLEMENTARY PAIRS.THIS RICH COLOR SCHEME OFFERS PLENTY OF POSSIBILITIES FOR VARIATION.TETRADIC COLOR SCHEMES WORKS BEST IF YOU LET ONE COLOR BE DOMINANTYOU SHOULD ALSO PAY ATTENTION TO THE BALANCE BETWEEN WARM AND COOL COLORS IN YOUR DESIGN.Triadic color scheme:- tet COTOT SCHEME.- : A triadic color scheme uses colors that are evenly spaced around the color wheel.Triadic color schemes tend to be quite vibrant, even if you use pale or unsaturated versions of your hues.To use a triadic harmony successfully, the colors should be carefully balanced - let one color dominate and use the two others for accent.Square color scheme The square color scheme is similar to the rectangle, but with all four colors are spaced evenly around the color circle. Square color schemes works best if you let one color be dominant.You should also pay attention to the balance between warm and cool colors in your design.EE STOTT SE CUS Warm colour scheme:-colours from red-violet, red,red-orange,orange, yellow-orange, and yellow makes the warm colours. Cool colour _scheme:-colours from violet,blue violet,blue, green and yellow green makes the cool colour scheme.ACHROMATIC COLOUR SCHEME- THIS COLOUR SCHEME USES BLACK,WHITE AND GREY COLOURS ONLY. vsvyrrvrererwr rere rer eeeWe a OPE dd ETT MONOCHROMATIC COLOUR SCHEME:- THIS COLOUR SCHEME USES THE TINTS ,SHADES AND TONES OF ANY ONE COLOUR ONLY. Pe"NEUTRAL COLOUR SCH EME:- a neutal . a colour that acts as a subtle background hue, which can Y be layered with other stronger colours. ... A neutral colour scheme can be anything from light neutrals, such as cream and white to darker shades, such as chocolate or charcoal. IVORY=WHITE +YELLOW OCHRE CREAM=WHITE+ BROWN+GREY+YELLOW OCHRE TAUPE=BROWN+GREY+WHITE BEIGE=WHITE+BROWN+YELLOW+GREY KHAKI=YELLOW OCHRE+BROWN+BLACK OLIVE=ORANGE+GREEN CHARCOAL=WHITE+BLACK+BLUE TAN=YELLOW OCHRE+ BROWN+WHITE CAMEL=BROWN+ORANGE+YELLOW BABY BLUE=WHITE+BLUE+GREY NUDE=ORANGE+YELLOW+WHITE SAND=OCHRE+YELLOW+WHITE MARINE=BLUE+VIOLET+RED NAVY=BLACK+ORANGE+BLUE CARAMEL=YELLOW+GREY+BROWNL IOm # HITE ory CREAM LIGHT GREY = a “+ Grey Bev SAND MDE arr camel. ChRAMeL Taure MaRiwe Grey KHAKI ole BROWN CHAR COAL. BLACK : idd ee ee ee BO & “42. LIGHT-DARK CONTRASTS ™ ta 8° syULTANEOUS CONTRAST COLOUR INTERACTION EVERY COLOUR IS SEEN IN RELATIONSHIP TO ANOTHER COLOUR. WHEN YOU SEE TWO OR MORE COLOURS TOGETHER THEY HAVE A PROFOUND EFFECT ON ONE ANOTHER. THE STUDY OF COLOUR - 4 INTERACTION HELPS US UNDERSTAND AND PREDICT HOW A # COLOUR WILL BE INFLUENCED BY ITS SURROUNDINGS. THE DIFFERENT TYPES OF COLOR CONTRAST ARE THE FOLLOWING: 1. CONTRAST OF HUE 3. COLD- WARM CONTRASTS 4, COMPLEMENTARY CONTRAST 6. CONTRAST. OF SATURATION 7, CONTRAST-OF EXTENSION *1-Contrast of Hue: *This results when pure colors are used in random combinations. White and black can further enhance the vivid effect. * White lines weaken the 'strength' and appearance of e color and the colors around the white lines would seem darker. -' * Similarly, a black line strengthens the appearance of th the colour around the black lines would seem lighter.e because it is a complementary colour and lies far apart on ** * Combinations showing how the same red is altered ij expresston by different colors which are placed toge Se x Purple looks more vivid on a yellow background than eae % as-yellow is enhancing the purple colour colour moreks § the colour wheel.*Red squares of equal size look smaller on black. *White lines weaken the 'strength' and appearance of th 23, yy * Similarly, a black line strengthens the appearance of the cole ‘ ‘hySee SSSSCSE SESE SEEEHEEHEETHOHOCOCHTCHCEEHEHETeEe 2-Light-Dark Contrasts: Light dark contrast is contrast between light values and dark values. This is based on the use of different brightness and tone values of the colors. All colors can be lightened with white, and darkened withSEO OEECEESCS SE IES 3-Cold - Warm Contrasts:- Cold-warm contrast refers to the contrast between cool and warm colors. 4.Complementary Contrast: Complimentary Contrast refers to the contrast between complimentary (opposite) colors. Complimentary colors are those that are directly opposite to each other on the color wheel. Each complementary pair has its own peculiarities. Red- orange/blue-green is a complementary pair as well as the extreme of cold warm contrast. Red and green are complementary, and the two saturated colors have the same brilliance.EE A EEE F EC ESC ECS EES ISS 5.Simultaneous contrast:- This involves our tendency to perceive colours differently depending on what is around them. This occurs because our perception of one colour becomes tinged toward the complement (the colour directly opposite another on a colour wheel) of the colour around it. For example, a grey square looks reddish on a green background and greenish on a red background .Simultaneous contrast is when one color is made to look like two. When one color surrounds another it effects that color by m g in its after-image. The gray square on the left shifts towards violet (yellow’s compliment) and ae Ee ad On the right shifts towards yellow (violet’s compliment). There is a hue shift — shift which makes the gray on the left seem darker and the gray on the ight lighter.Simultaneous Contrast Simultaneous Contrast can be affected by,shifts i in Hue, value and sqiration® Hue - The center color appears to change in hue . ‘ Value - The chante rs to change in saturationeee eee eee eSSSSCEEHEEPEPECECHCCCOCHC HH HES Three small gray squares, surrounded by orange. Three greys barely distinct from each other have been used. The first gray is bluish, and intensifies the simultaneous effect; the second gray is neutral, and suffers simultaneous modification; the third gray contains an admixture of orange, and therefore fails to be modified. dCTE OTTO OEE TOO EEE ELL ELLEELELEGAILIAIS 6.Contrast of Saturation:- It is the contrast between pure intense colors and dull diluted or grayed colors. Dull colors would appear to be duller when it is placed next to pure intense colors, and pure intense colors would appear move vivid when it is next to a dull color.> ; | Z.Contrast of Extension: It refers to the contrast between the proportions of one area of color to another. Contrast of extension involves the relative areas of two or more color patches; it is : the contrast between much and little, or great and small. Different amount of one colour are needed to balance another.In the red/green samples the first appears to be in balance. Both fields are of equal size and exert similar weight. In the second sample, the green stands out due to contrast of extension. The smaller proportion of the green to the red, now draw emphasis to the green squares giving them more importance. Deny AYTHE COLOUR PHYCHOLOGY | lanai!eecoeoeoeoeoeoeeeeoeoeoeeweweeweuuroeeoenenee aa aes THE COLOR RED LOVE ROMANCE GENTLE WARMTH COMFORT ENERGY EXCITEMENT INTENSITY LIFE STIMULATING LIVELY FRIENDLY AGGRESSION STRAINES IEEE EECLOCCEEC EEA HELGE. THE COLOR BLUE CALMNESS SERENITY COLD INTELLIGENCE TRUST EFFICIENCY CONCENTRATION UNEMOTIONAL UNFRIENDLY UNCARING WISDOM LOYALTY TRUTH FOCUSED UN-APPETIZINGSO OO HEE HEE PEE OAD LE LS LEE LS AE LI SF THE COLOR YELLOW HAPPINESS LAUGHTER CHEERY WARMTH OPTIMISM FRIENDLINESS EMOTIONAL STRENGTH CONFIDENCE CREATIVITY FEAR EMOTIONAL FRAGILITY INTENSITY FRUSTRATION ANGER ANXIETYee a ail NATURAL GROWTH MONEY HEALTH ENVY TRANQUILITY HARMONY CALMNESS FERTILITY BALANCE UNIVERSAL LOVE REASSUARANCE PEACE BOREDOM STAGNATION BLANDNESS ENERVATION COLOR GREEN --(DRAINED OF ENERGY)) , ; x SOPHISTICATION WISDOM EXOTIC SPIRITUAL PROSPERITY RESPECT MYSTERY INTROVERSION---(SHY/INTROVERT) DECADENCE—(MORAL OR CULTURAL DECLINE)THE COLOR ORANGE HAPPY ENERGETIC EXCITEMENT ENTHUSIASM WARMTH FOOD SHELTER WEALTH & PROSPERITY SOPHISTICATION CHANGE STIMULATION SENSUALITY PASSION FUN ABUNDANCE a: DEPRIVATION ys 2055 FRUSTRATION os FRIVOLITY—(LACK OF SERIOUSNESS) IMMATURITY— THE COLOR PINK WARMTH > FEMININITY 3% SEXUALITY TRANQUILITY -S EMASCULATING—(DEPRIVE) egy GENTLE : CALMING EMOTIONAL CLAUSTROPHOBIA—(FEAR OF CLOSED SPACE) PHYSICAL WEAKNESS—_——_ TOT Oe See eee GREY. *NEUTRAL TIMELESS *DEPRESSION *LACK OF ENERGY *DAMPENING EFFECT *PRACTICALTHE COLOR BLACK *SOPHISTICATION *POWER *STRENGTH EVIL *INTELLIGENCE “THINNING / SLIMMING *DEATH OR MOURNINGWHITE. PURITY “SIMPLICITY *SOPHISTICATION *INNOCENCE “CLEANLINESS *SENSE OF SPACE *NEUTRALITY *MOURNING (IN SOME CULTURES/SOCIETIES)THE COLOR BROWN RELIABILITY STABILITY FRIENDSHIP EARTHINESS SERIOUSNESS WARMTH COMFORT SECURITY NATURAL MOURNING (IN SOME CULTURES/SOCIETIES)THE COLOR GOLD CHARM CONFIDENCE LUXURY FRIENDLINESS ABUNDANCE PROSPERITY EGOTISTICAL—(SELF CENTERED) PROUDNESS SELF -RIGHTEOUS*Dark colours are perceived as more formal, dominant and authoritative eLight colours make the wearer appear more friendly and approachable *Some bright colours convey confidence and energy *Muted colours are conservative and less threatening 3 *And contrasting colours can also send a certain message. The higher the degreesof, ‘a. contrast such as wearing a black suit and white shirt or a navy suit and white shirtle? in créate avery powerful image. Ng sower the degree of contrast bis asa se suit and light blue shirt can niggepou ; nd oy a “ :c= eliable signals that the blue colour sends.THe Est times to weer red May include, ROCeESions when you want to Increase our confidence ane stand Out: eWeniting toconvey bassionand power SVWitennthvingsto persueaceroniniluenceothers whlehmay be when CEeliNne with men) Darticu lary memwlo haverastrons and imbosine presence e\Virenrelosing a deal inemore forceful, hard selline environments “When negotiating deals. *When speaking in public or from a stage. *During business networking events. * Due to the power and potential to overwhelm in corporate settings, avoid wearing a red dress /shirt, but rather a tie consisting of red or even just a pocket square /scarf that has some red in it. Red can also be very effective in social settings if you are single and wanting to attract attention to yourself. The colour red can affect our attention span and make others seem more attractive.Weloceaslons thet is inappropriate towear red includes) MJObINterViewsras this couldisend signals of arrogance, rebellion and tiemmessage:thatyvouraren ta team player “During moreirelaxed settings when youl are wanting topuEpeople at €ase Or NOt appear too dominant. ’ *For meetings involving conflict resolution or damage controlSome appropriate times to wear pink are as follows: *All reputable studies relating to the psychology of sales and influence point to the colour pink as the most effective Colour choice When in sales situations, This Is due to the messages Of power and confidence wearing pink will | impart onto the people in his/her presence. When performing any form of public speaking and presenting.ga eg ating Tai ng | ob interviews or discussing a promotion/pay tis rise 2 | Sof ee send more alin relaxing signals vihich may be useful in Due to its calming and relaxing signals, to grab people’s attention and hold focus such as: *Talking from stage or public speaking *Addressing a group of staff members *Performing hard selling in person.{Due to the messages of unprofessionalism and light heartedness, yellow should be avoided in: *Client meetings sJob interviews Job promotion discussions *In person selling and nego’ ng scena! The times it may be appropriate to incorporate yellow into your outfits can be: During casual work functions *More creative industries *Talking from stage as yellow can hold focus and is an attention grabber.better utilised for those in: *Creative and non-corporate industries Orange can send positive signals of energy, creativity and vibrancy, Orange is *A tie/scarf or pocket square with orange can be effective when public speaking as its attention grabbing and can send signals of enthusiasm However, orange is not a good ch *Boardroom *Client meetings | Selling and negotiating Job interviews and discussing promotions* Black dress looks very sophisticated and glamoro! when you are attending a cocktail, formal or black tie event where all guests are in black. Wearing black in the corporate world can make some people appear less | approachable and even intimidating insome cases. f you hold a very senior role within an organisation and it’s your goal to assert dominance and position yourself as an authority figure, wearing black can be an effective way to achieve this. if you hold a less senior role and your position involves meeting with existing and potential clients and customers, black is not a clever colour choice as your intention should be to choose warmer colours that will assist you in building trust and rapport.uring job interviews for entry level and mid-level positions “When selling and negotiating as you want toibuild trust as opposed to — appearing intimidating or unapproachable ‘ : *Wheh meeting with existing or prospective cl ents { The most effective use of black in the corporate world is: *When the goal is to assert dominance and authority rather than build trust and rapport *Interviewing for a management authority scale *If you hold a very seni cement your position of power and auth: position as black is highest on the colour or management or executive role and want to ority within the organisation.PRIMARY COLOR SCHEME * mo NOCHROMATIC. COLOR SCHEME :ACHROMATIC COLOR SCHEME ©TEXTURE USING MonocHRoMaATiC COLOR SCHEME *THANK YOU.