AN INTRODUCTION TO:

The Public is an activist design studio specializing in

changing the world.

This zine, a part of our Creative Resistance How-to

Series, is designed to make our skill sets accessible
to the communities with whom we work. We
encourage you to copy, share, and adapt it to fit
your needs as you change the world for the better,
and to share your work with us along the way.

Special thanks to Amanda (Ande) Benedict

from OCADU’s Design Program in Toronto, for
developing this zine on behalf of The Public.

For more information, please visit thepublicstudio.ca.

This work is licensed under the Creative Commons Attribution-

NonCommercial-ShareAlike 3.0 Unported License. To view a copy of this
license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/.

About our internship program

Contents
Introduction to colour theories 4
What is colour? 5

Colour as a science 6
Additive vs. subtractive colour modes 7
Colour blindness 7
Colour wheels 8

Colour histories 10
Timeline of western colour theories 10
Mayan colour theories 12

Physical properties of colour 14

Colour modes 14
Contemporary colour systems 15
Colour harmonies 16

Colour and us 20
Colour and accessible design 20
Colour and capitalism 23
Colour narratives 23

Resources 28
Books 28
Online 28
Introduction to colour theories
Colour is an expressive and important asset for anyone. In Western
design education, colour is taught as a form of theory, discovered and
continuously developed by various artists, scientists and theorists, then
passed down to us. As with any other principle of design, there is often
an emphasis on Western philosophies and histories. However evolved,
it’s important to remember that colour theory, is just that: a theory.
There are perhaps as many colour theories as there are answers to the
question, What is your favourite colour?

A general theory as to how colour What are Acrylics?

behaves can be useful to anyone
Acrylic paints were introduced
interested in creative expression,
intially as an alternative to
because it works together with
oil paints. Unlike oil paint,
other elements of design to
acrylics are fast drying and
create an engaging piece and more economically accessible
communicate an abstract or depending on how they are
specific idea. However, colour produced. There is a wide
selection and use can also be selection of acrylics available
very subjective, and is as linked to from expensively formulated
emotion and personal experience paints marketed towards
as it is to science and history. professionals, and the more
affordable paints marketed
This zine contains information towards students.
and activities that can be useful
If for some reason affordable
in order to explore and better
acrylic paints are difficult to
understand colour and colour
attain (as they were as recently
relationships. These activities can as the late 1990s) a good
be completed by purchasing a altenative is tempera paint, also
simple set of acrylic paints and a known as poster paint. Tempera
brush from your local dollar store. paint is often certified non-
Use a sheet of coated paper, such toxic and is therefore popular
as from a magazine as a palette, amongst elementary school
as coated paper is less likely to teachers. Tempera is generally
absorb paint. thinner than acrylic, but still
does the job!

-4-
What is colour?
Colour is usually described in two ways, by its physical properties and
also by its perception by humans. In the past, people have tended to
research one set of descriptors more than the other, but in design, it’s
useful to consider both. Production with colour can be very technical,
and knowledge of colour inks is useful, but it’s also important to
consider the emotional effects of colour. Understanding your audience
and your content will help you pick engaging colours, so make sure to
do your research!*

Different systems and authorities true when we look at the

on colour exist and not all Western history of colour
methods of viewing colour, even theories. Additionally there
on your computer screen, are is no one clear definition as
created equally. For example, to what the fields of “art” and
besides the default screen “science” are, and the definitions
calibration of your computer, commonly accepted and spread
many other calibrations exist, by educational institutions are
and different calibrations are not free from bias.
useful for different reasons. In
film, there are professionals called Calibration? Calibrations?
colourists whose job it is to adjust In computer hardware,
calibrations and many other calibration is how your monitor’s
variables in order to enhance the settings are adjusted to show
colour of the film itself. colour in a particular way. For
example, you can calibrate your
In art and design education, monitor to CIE RGB (explained
colour is often taught as a in detail on p.15), and see what
that does. You can experiment
“scientific” principle, related to the
with all the different calibrations
physics of light before making
on your screen just by typing
a segue into the application of “Screen Calibration Mac” or
colour creatively. This sometimes “Screen Calibration PC” into a
results in the construction of search engine. Usually the panel
an art vs. science binary, but it’s for adjusting your monitor
important to remember that can be is in the Settings or
the fields of art and science Properties section of your
overlap and inform one another computer’s operating system.
constantly and this is especially
* importance of research: See The Public’s
zine on Design Research for help on figuring out
how to communicate your message!

-5-
Colour as a science
Colour vision differs from one species to another. In humans, what
we perceive as ‘colour’ is the result of a combination of the physical
characteristics of light interacting with the retina whose activity is then
processed by the brain. The light that is visible to us is part of the same
electromagnetic spectrum that also includes radio waves, microwaves,
infrared light, x-ray, gamma ray and ultraviolet light.

In the eye, the retina has two types of cells which are sensitive to
different types of light. Rod cells are located on the outer parts of the
retina for peripheral vision and are mostly responsible for night-vision
and other low-light settings. Cone cells are more active in colour
vision, being sensitive to red, green and blue spectra. Current scientific
research indicates that the human eye is capable of seeing 10 million
colours, all of which are perceived by the brain as being a combination
of red, green and blue. Below is a diagram of the retina, illustrating this.

Cross Section of the

Human Retina

Light

Nerve Fibres
Detect impulses as they pass through
the pupil

Ganglion Cells
Provide a relay point for information
as it passes through the eye

Bipolar Cells
Transfer information from cones and
rods to the ganglion cells.
After light is
understood
Receptors
through the Convert visible light into signals which
retina, it is then our brain understands as colour

sent to the brain

for processing via
Cone
Rod } the two varieties of receptors

optic nerves! Pigmented Cells

Shield the retina from excess light

-6-
Additive vs. colour blindness
subtractive modes Some people perceive colours
differently than others. The term
Colours produced by light-based
‘colour blindness’ is somewhat
sources, such as a projector
of a misnomer, because affected
or a computer screen are part
persons simply see colours in a
of the additive system, when
different way than the majority of
the primary colours of this
other people.
system (red, green and blue) are
combined in equal parts, they Colour blindness occurs
produce white. more often in people with a Y
chromosome (about 5–8%) than
Colours produced by material
people without one (roughly 1%).
based sources such as dyes and
There is also a spectrum of colour
paints are part of the subtractive
blindness, the most common
system, and its primaries (red, blue,
yellow), when combined in equal form being the inability to
perceive what most people see as
parts, will produce black. This is
red and green and the rarest form
explained in more detail on p. 14.
being where the only colours
perceived are on the greyscale.
‘Colour Vision’ is not a
universal term! There are currently no existing
medical methods of conforming
Nowadays, the ‘green’ you see
colour blind vision to what is
in traffic lights is actually more
perceived as ‘normal colour
of a greenish-blue, so as to be
vision’. But an early diagnosis
accessible to persons with red-
green blindness. But older traffic of colour blindness can allow
lights have stark green bulbs, those affected to learn about
presenting a potential hazard the possible dangers of a world
for drivers. Many colour blind designed largely by people who
people avert this by learning are not colour blind, if they
when to stop and go based on choose to.
which light is lit, the top means
stop, the bottom means go.
Ideally when we design systems
for public use that depend on
colour, we want everyone to be
able to use them safely!

-7-
colour wheels
In Western design practice, colour wheels are commonly used to
explain relationships between colours. It’s not a perfect system, there is
much dispute over it and there is certainly no one true colour wheel,
but when you look at the wheel below, do the colours seem placed
in the correct position? What changes would you make? Observe the
wheel below, then try to re-create it for yourself using paint. Take note
of what colours are easy to mix, and which ones are more difficult.

-8-
-9-
Colour histories
The following is a typical chronological timeline of Western colour
theorists. It also shows a trend in who was allowed to research and
produce art, and whose ideas were influential. Sir Isaac Newton’s
research was conducted during the Scientific Revolution, which saw a
shift away from theocracy in England. .

384–322 BCE
ARISTOTLE OR THEOPHRASTIS
• Connected colour to the mixing or absence of light
• Colours were linked to the time of day, red and yellow
representing the day and darker colours representing the night
• These notions were highly influential and prevailed throughout
the European middle ages

1672
SIR ISAAC NEWTON
• Passed a beam of sunlight through a prism, producing the
visible spectrum (see below)
• Determined that all colours are actually light

white light

1810
JOHANN WOLFGANG VON GOETHE
• Proposed a study of colour based on perception rather than as
a physical property of light
• Assigned colours to categories such as “radiant” and “gentle”

1831
MICHEL EUGÈNE CHEVREUL
• Recorded behavior of colours when placed side by side
• Art movements such as orphic cubism and neo-
impressionism were influenced by Chevreul’s work

- 10 -
1878
EWALD HERING
• Theorized a system of colour opponency where six primary
colours are coupled together, red-green, yellow-blue and
white-black
• This theory provided the foundation for the Natural Colour
System (NCS)

1910
WILHELM OSTWALD
• Introduced the notion of adding white as tinting and adding
black as shading
• Observed that some colours are more harmonious with one
another than others

1934
FABER BIRREN
• Theorized that warmer colours are more dynamic and
therefore of more use to the designer (compare the swatches
below and see if you agree with him)

warm cool

1961
JOHANNES ITTEN
• Taught design at the Bauhaus School
• Published The Art of Colour, based on a highly influential
12-section colour wheel

1963
JOSEF ALBERS
• One of Itten’s students
• Developed the illusionary effects of colour

- 11 -
Colour theories have been around directions on maps of their
for centuries before Sir Isaac making. They then assigned
Newton aimed light through a objects, events and resources
prism. Indigenous cultures in such as God, water, corn, plague,
Meso-America and Mesopotamia to these hues.
have been documenting their use
of colour for thousands of years.
The Mayans in particular assigned
their own primary colours to

mayan colour compass

N S

This diamond compass and some great monolithic entity–

its colours appear frequently different villages retained different
in Mayan art, clothing and colour customs. Furthermore,
architecture. In some cases, Mayan cultures are alive and are
certain colours were used constantly evolving like any other
symbolically, especially in culture. Despite brutal genocidal
construction. Religious spaces tactics of European colonizers,
were painted green-blue because today over seven million Mayans
It symbolized divinity, houses inhabit their ancestral lands, over
were painted yellow because thirty distinct Mayan dialects
ityellow represented the harvest exist, many of them relatively
and the hearth. This is not to say untouched by Spanish.
that say that ‘Mayan culture’ is
- 12 -
On that note, most academic their customs has often been
sources about Mayan cultures obtained with a severe lack of
both historical and current are respect. Frequently the words
examples of unethical, Western, ‘exotic’ and ‘ancient’ will appear in
anthropological traditions. Though academic texts and such attitudes
more often then not ignored in towards Indigenous peoples are
Western design education, when what aids in the continuance
they are included in curriculum of discrimination and violence
indigenous cultures are ‘othered’. towards these communities.
Moreover, what we know about

Physical properties of colour

Hue: generic name for any of several colours typically determined by a
dominant corresponding wavelength (e.g. red, blue, green)

these hues are produced by CMYk if you printed this zine, or

rgb if you’re viewing this zine on your computer

Saturation: refers to how pronounced or “faded” a particular hue is

within a certain colour

Desaturated saturated

Value: (sometimes called key): refers to the lightness or darkness of a

particular hue, altered by the addition or subtraction of black or white

high value low value

Primary Hues: “Pure” hues, or hues which cannot be created using

any other hues in a chosen colour system. Primary hues are mixed to
produce all other hues.
Secondary Hues: Produced when two primary hues are mixed
together in equal parts.
Achromatic Hues: refers to white, black and greyscale, which are
important to our understanding of light and dark.
Analogous Hues: refers to white, black and greyscale, which are
important to our understanding of light and dark.
Complementary Hues: Colours located across from one another
on the colour wheel are often deemed complementary. When used
together, complementary colours typically enhance one another.

- 13 -
colour modes
Additive
Light-generated colours, such as those generated by a computer
screen, television or photography. The primary colours of the additive
system are red, green and blue (RGB).

secondary hues
yellow
primary hues
magenta
red
cyan
green
blue

When you’re designing a computer based graphic such as a website

design, blog template, online brochure, online presentation, or working
with film or animation, it’s best to work with the additive system or work
in RGB.

Subtractive
Hues produced through the mixing of pigment, such as in paint and
ink are part of the subtractive colour system. There are two sets of
primaries in this system depending on medium. The traditional paint
system is based on red, blue and yellow (RBY) and the printer system
based on cyan, magenta, yellow and black (CMYK).

secondary hues
green
primary hues
red orange
yellow
blue violet
magenta
cyan

- 14 -
When you go to print:
If you work on a monitor and then go to print, you’ll be going from one
mode of colour to another (RGB to CMYK) so what you see isn’t always
what you get! As a general rule of thumb, colours when printed are
darker than they are on your screen, and while it’s rare that you’ll get a
completely different hue than what you want, it does happen. If doing a
colour test with your printer isn’t an option, work in CMYK because the
colours that print are more likely to be closer to what you saw when
you were working on a screen.

contemporary colour systems

CIE
Throughout the 20th century, several attempts have been made to
develop a standardize colour systems, and a few successes have
emerged. In the 1940s, the Commission Internationale de l’Eclairage
developed the CIE system. The CIE system eliminates the ‘problem’ of
human interpretation of colour, allowing designers to match colours
that to the human eye seem very similar and are easily confused.
The CIE system is the standard in the light industry.

Munsell
Colour theorist Albert Munsell first developed his system in the early
1900s. Munsell extended the title of ‘primary’ to red, yellow, blue, green
and purple and used these to create 100 secondary colours, which he
then arranged according to hue, value and saturation. In 1941 it was
adopted by the United States Bureau of Standards, which still employs
it today

NCS
Based on Hering’s work, the Natural Colour System (NCS) emerged
from Sweden and focuses on the perception of colour by the human
brain. In the NCS, colour is defined according to darkness, saturation
and hue.

Pantone
In 1962 the Pantone Color Matching System was created in the United
States. Though it has become the standard for graphic designers and
printers, it differs from other colour systems in that it doesn’t contribute
a colour theory , but rather it exists entirely for profit. Pantone numbers
colours in order to identify them.

- 15 -
Colour harmonies
Broadly speaking, ‘colour harmonies’ are colour combinations that are
aesthetically pleasing. They are useful to a designer because humans
typically like to see balance and a harmony of colour is one of many
ways to achieve this balance. Additionally, harmony of colour can help
make a design feel unified and may encourage a viewer to engage with
the piece. The rules of colour harmonies are by no means set in stone.
There are exceptions to every rule and ‘unity’ is not necessarily always
sought after. Ultimately, it’s up to an individual designer or group of
designers working together on the same project to decide what colours
are appropriate to solve a particular problem.

Analogous harmony is created

when colours that are next to
one another on the colour wheel
are used in a composition. This
is particularly useful when a
designer is trying to use only cool
colours or only warm colours.

Complementary or dyadic
harmony is when colours that
are opposite of each other on the
colour wheel are used. Common
complementary harmonies are
blue-orange, purple-yellow,
green-magenta.

Triadic harmony relies on the use

of three colours that are equally
spaced on the colour wheel.
Triadic harmonies in particular
allow designers to create dynamic
compositions with a wide variety
of colour.

- 16 -
Achromatic harmony lacks
all hue, and so are composed
of black, white and greyscale.
Achromatic harmony is
commonly used in minimalism
and low-budget production.

Monochromatic harmony,
sometimes mistaken for being
achromatic harmony, refers to a
composition with only one colour,
with various tints, tones and
shades of that colour being used.
Similar to achromatic schemes,
playing with value can help
generate contrast.
Using Greyscale
These harmonies can provide a
Colour printing is universally
good starting point for creating
expensive! If your budget
unified compositions, but
doesn’t include room for
remember that you can create CMYK/colour printing, have
any number of effective colour no fear. You can use value to
combinations. create movement and focal
interest. Try experimenting with
try this! gradients and remember that
To start your experiments in greyscale is a spectrum unto
colour, try using paint or coloured itself. The Beehive Collective
pencils to start colouring in some (illustration below) works
of the images on the next page as extensively with greyscale.*
certain colour harmonies. Refer
to the colour wheel on p.8 if you
need help remembering where
colours are on the colour wheel.

* beehive collective IS AN ANONYMOUS,

ALL-VOLUNTEER GROUP OF COLLABORATIVE
CREATORS WHO WORK TOGETHER TO PRODUCE
STUNNING NARRATIVE GRAPHIC CAMPAIGNS.
SEE MORE AT BEEHIVECOLLECTIVE.ORG

- 17 -
complementary
harmony

analogous
harmony

- 18 -
monochromatic
harmony

achromatic
harmony

- 19 -
Colour and Us
colour and
accessibility
The freedom to design with Which of the two images below
many colours is great, but seems easier to read?

certain colours work better in

certain situations. Additionally,
some colours have specific accessibility
connotations that it’s good to be
aware of.

For example, one of the first rules

of typography is that your type accessibility
should be legible.* Colour can
have a huge effect on whether or
not type is legible.
*See The Public’s zine on Typography for tips on
how to make your type accessible!

left: one way

of making
white type sure your type
is legible in
almost any
outlined in black situation, the
black stroke

is HIGHLY readable around the

white letters
pushes the type

on most backgrounds forward, so

that it appears
to be sitting
atop the image.

INCLUDING GREYSCALE

- 20 -
There have been attempts by • A
 im for a 70% difference
some institutions to create in the value of the colour
accessibility standards within of the type and the
graphic design. Some of the colour of the background
standards might seem obvious,
for example, a book printed in a not quite 10%

very small font size would likely

be difficult for anyone to read. there you go 70%

But we should try to think outside • T ry testing your

our personal limitations or what completed designs
we might consider as ‘the norm’ by printing them in
of physical limitations when we’re greyscale, if you have
trying to create accessible design. difficulty reading your
What may seem perfectly fine type, or if objects on
for one person, may create an the page seem to meld
obstacle or danger for another. together, you need more
contrast, which refers to
Though we should be wary of how brightness makes
attempts to ‘standardize’ design, two or more objects in
because we rely so much on the same field of view,
individuality to create our designs, appear separate from
it’s best to have as many informed each other.
(either by education, experience, • Using complimentary
or both) opinions as possible if we colours is normally a
are to create the most accessible good way to achieve
design we can. strong contrast of hues,
but if the saturation and
In Canada, The Association of value of the colours are
Graphic Designers of Ontario too similar, simultaneous
with support from their provincial contrast (shown below)
government produces Access will occur, causing an
Ability: A Practical Handbook optical illusion that
on Accessible Graphic Design. makes the colours
The handbook is available free appear to vibrate and put
of charge on the RGD website a strain on the eye.
and outlines steps for graphic
designers to take in order for
their designs to be accessible. Its
SIMULTANEOUS
section on the colour outlines
the following tips for creating
CONTRAST
accessible design:

- 21 -
Most municipalities have specific guidelines for designers creating
objects for public space. There are usually very specific rules about
how much space an object can occupy, what kinds of objects can be
installed within a designated area and yes, what colours and textures
are appropriate. Since public space is typically used by a vast amount of
people, all with different abilities and experiences, it’s good to observe
what types of public design are effective.

Try taking a walk down your street or around your community, jot
down some answers to the following questions:

What colour are the street signs?

What colours do you see most often in signage?

What colours are the hardest to read?

Do you like these colours? What alternatives would you use? Why?

- 22 -
COLOUR AND CAPITALISM
In some ways, standardization is a good thing. Standard systems
allow people with different experiences and abilities to use the same
products in the same way. Often times, this lowers cost. For example,
purchasing a Pantone book means that you can know exactly how your
colours will turn out after you print them, and you can save money on
colour tests in the long run. While this is useful, Pantone also charges
a lot of money for their colour swatches has a number of corporate
partnerships with other companies. This begs the question, why does
Pantone have the right to own colours? We should also be critical of
standardization, or globalization of design, because of its ties to Western
capitalism. When Pantone “standardized” colour, they established
themselves as an authority, as a ruling power. Anyone who wants
access to the system has to purchase their books, curated by their
staff. For whose benefit is this? The designer? The artist? Or the select
few who can afford annual Pantone books. The question has become
urgent as more and more design firms and client require the use of
Pantone’s system.

We have to ask ourselves who is doing the standardizing, and

furthermore, what is the standard? Who is considered “standard”.
Inevitably, there are people who fall outside of the “standard”. For
example the “standard” test that people write if they want to become
a pilot discriminates against people with colour blindness. Of course
there are concerns surrounding a person’s ability to pilot an aircraft, but
can we really call something “standard” if it’s exclusive only to a certain
group of people (like Pantone’s customers?), even if that group happens
to be the majority?

COLOUR narratives

From a very early age we receive messages from the world around
us about what certain colours mean. Depending on where you live
of course, colours mean different things. With some exceptions, street
lights almost everywhere in the world use green for go and red for
stop. Environmental organizations are drawn to green because green in
nature is a symbol of birth, new life and health.

Think of the dials for temperature control in an automobile. How

strange and disorienting would it be if red was used as the symbol for

- 23 -
cold by accident? It’s not written But colour narratives, specifically
anywhere in stone that blue is those spread about cultures
for cold and red is for hot, and outside of non-Western
yet we accept this as ‘normal’ cultures are also dangerous and
convention. We use colour to contradictory to what we’re trying
label and understand our world. to achieve when we design for
accessibility. Statements like “In
It’s also important to remember Chinese culture, red is a symbol
that colour isn’t always a neutral of luck,” are hugely reductive,
force, it can and is highly even if they do convey some
politicized in certain contexts granule of the truth. This is a
and as designers this is relevant common tactic of design firms
to our work. Sometimes clients who try to brand products with
will ask that you avoid certain “cultural symbolism” and end up
colours so as to avoid certain watering down entire cultures.
connotations, same as with when We should ask, who is delivering
we avoid certain imagery because the statement? Why do we talk
it’s weighted and carries along its about cultures as though they are
own meanings regardless of how artifacts? In fact, China’s history
you use it. For example, because spans several millennia and it’s
of the coupling of Christianity hard to imagine that we can make
and capitalism in Western society, any one static observation about
even non-Christians will associate its culture. Additionally, being
the colours red, green and white home to over a billion people and
with Christmas. spawning a massive world-wide
diasporic population, who’s to say
Sometimes common associations that there is one dominant culture
can be useful. For example, if you that presides over all people who
are designing an ad campaign for identify as ethnically Chinese or of
Christmas retail, you can’t really Chinese descent? It’s best to avoid
go wrong colour-wise if you use
red, green, white and gold, and
that’s okay. And it would probably Politicized Colours
be ill-advised and possibly even Colours are often used to
unsafe if designing infographics symbolize political parties or
to assign red to mean cold and ideologies (think of The Green
blue to mean heat, so it’s good to Party, or the importance of red
be aware of the connotations of to communism) so be aware
certain colour narratives. of this especially when doing
community work!

- 24 -
making such huge generalizations toe burning crosses or images of
about something as deeply ‘dirt’ and ‘soot’ being eliminated
personal as culture, especially with the use of Pears Soap in
when it’s not one’s own. Design the Victorian Era of England are
choices that are grounded in complicit in the use of colour
reductive racial stereotypes, narratives to oppress people.
perpetuated by Western
institutionalized education are try this!
harmful. We should strive instead Get to know your own sense
to listen and learn from our of colour narratives. Fill out the
experiences and the experiences colour charts on the following
of others. Unlike other species pages with associations that you
of animals, humans possess have to colour. Write whatever
empathy–we can imagine comes to mind, then reflect on
ourselves into the situations of why you’ve made the associations
others. This doesn’t mean that we that you have. Try comparing
should appropriate other peoples’ your charts to someone else’s,
experiences, but rather, be and see if you have any colour
sensitive to experiences that differ associations in common.
from our own in order to make
smart design choices that still
reflect an ability to think outside
of ourselves.

Another widely perpetuated

colour narrative that spans most
of our history as a human race is
the light/dark dichotomy, where
lightness or whiteness represents
the forces of good, whereas
darkness or blackness is evil
or bad. You don’t need to look
farther than the history of graphic
design and advertising in the
United States and Britain to see
this colour narrative racialized and
circulated amongst the public.
Disturbing images for example, in
the deep southern United States
of Ku Klux Klan members dressed
in all white from head to toe

- 25 -
Colour Associations
red

orange

- 26 -
yellow

green

- 27 -
 blue

purple

- 28 -
grey

white

- 29 -
Sources
Books
Colour and Two-Dimensional Design, by Glenn McArthur,
OCAD University Press, Toronto, 2011
Color Index, by Jim Krause, HOW Design, Cincinatti, 2002
Golden domes and silver lanterns: a Muslim book of colours, by
Hena Khan, illustrations by Mehrdokht Amini, Chronicle Books, 2012.

Here Comes Holi: The Festival of Colours by Meenal Atul Pandya.

MeeRa Publications. 2003.

The Art of Color: The Subjective Experience and Objective Rationale, by

Johannes Itten, John Wiley & Sons, New York, 1997

ONLINE
ColorCombos (for trying out colour schemes for web applications)
www.colorcombos.com/index.html

Genopal (recolours your graphics)

www.genopal.com

Registered Graphic Designers’ Handbook on Accessible Graphic Design

www.rgd.ca/database/files/library/RGD_AccessAbility_Handbook.pdf

The Affirmations Colouring Book

A thoughtful, alternative colouring book for adults, containing quirky
and thoughtful pages that encourage self-love.
Purchase at: www.etsy.com/ca/shop/SarahMangle

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