8elaLlonshlp beLween llghL color

and vlsual merchandlslng concepLs

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rlmary colors
r|mary add|t|ve co|ors red green and b|ue (kG8) are the
pr|mary co|ors 1hey can not be created by any
comb|nat|on of other co|ors
Secondary add|t|ve co|ors 1he secondary co|ors are cyan
magenta and ye||ow
r|nt|ng |s based on CMk co|or the secondary co|ors of
cyan magenta ye||ow and b|ack (k)
HSB (Hue, Saturation and Brightness) - color can be defined by its hue
(wavelength), saturation (chroma, purity or intensity) and brightness (value)
Hue - is the color's name (orange, blue, etc.). t is located on the color wheel -
expressed as a degree between 0 and 360.
Saturation - is the purity of the color. Saturation is the amount of gray in
proportion to the hue - measured from 0% (gray) to 100% (fully saturated).
Brightness - is the relative lightness or darkness of the color -measured from
0% (black) to 100% (white).
B (Lab mode)
- the lightness component can range from 0 to 100.
a - is the green-red axis
b - is the blue-yellow axis. Both axis range from +128 to -128
Mlxlng of colors
Secondary colors
1erLlary colors
Warm colors
Cool colors
ConcepL of color mlxlng
Color values
ulfference beLween 1lnL and Shade
1IN1S
A 1lnL ls someLlmes called a aste|
lLs slmply any color wlLh whlLe
added
Shade
Shade ls slmply any co|or w|th
b|ack added Shades are deep
powerful and mysLerlous
1hey work well ln a mascullne
envlronmenL and are besL used as
dark accenLs
1CNLS
A 1one ls creaLed by addlng boLh
WhlLe and 8lack Any color LhaL ls
greyed down ls consldered a
1one
Pue
ue ls Lhe acLual color lL ls measured ln angular
degrees counLerclockwlse around Lhe cone sLarLlng and
endlng aL red 0 or 360 (so yellow 60 green 120
eLc)
- Saturat|on ls Lhe purlLy of Lhe color measured ln
percenL from Lhe cenLer of Lhe cone (0) Lo Lhe surface
(100) AL 0 saLuraLlon hue ls meanlngless
- 8r|ghtness ls measured ln percenL from black (0) Lo
whlLe (100) AL 0 brlghLness boLh hue and saLuraLlon
are meanlngless
Color wheel and relaLlonshlp
neuLral colors
neuLral (nCCLrul ) colors donL usually show up on
Lhe color wheel
neuLral colors lnclude black whlLe gray and
someLlmes brown and belge
1hey are someLlmes called earLh Lones"
1exLure
8elaLlonshlp beLween LexLure and
color
Analogues color scheme
Color psychology
lnLermedlaLe colors
MonochromaLlc colors
W onochromatic CoIor Scheme is created by taking one Hue and
repeating it in various Tints, Shades and Tones.
On the Color Wheel at right, you see Orange has been selected.
Wou might think Orange is too bright to use as the basis for decorating the
living room or even creating a painting. But look how many possibilities that
one color can give us.
lne and composlLlon
lnes used ln dlsplay
ComposlLlon
compos|t|on ls Lhe placemenL or arrangemenL
of vlsual elemenLs or lngredlenLs ln a work of
arL as dlsLlncL from Lhe sub[ecL of a work lL
can also be LhoughL of as Lhe organlzaLlon of
Lhe elemenLs of arL accordlng Lo Lhe prlnclples
of arL
SymmeLrlcal and asymmeLrlcal balance
?ou obLaln symmeLrlcal balance when you
arrange |dent|ca| e|ements |n the same
pos|t|on on e|ther s|de of an |mag|nary centra|
ax|s ln oLher words you dlvlde Lhe space ln
Lwo and arrange ob[ecLs ln Lhe same way on
each slde so LhaL Lhey are a m|rror |mage of
each oLher
8alanced dlsplay
SymmeLrlcal balanced dlsplay
AsymmeLrlcal balance
AsymmeLrlcal balance br|ngs |nto
equ|||br|um e|ements that have the
same v|sua| we|ght but are d|fferent |n
shape s|ze co|our and texture Lhey're
equ|va|ent but not |dent|ca|
AsymmeLrlcal balance dlsplay
8adlal balance
ln radlal balance you arrange e|ements
around a centre po|nt 1he elemenLs can face
lnwards Lowards Lhe cenLre or ouLwards from
Lhe cenLre
An example of radlal balance ls a round dlnlng
Lable wlLh chalrs around lL or a splral sLalrcase
When a composlLlon ls arranged ln radlal
balance Lhe cenLral elemenL becomes Lhe
focal polnL of Lhe composlLlon
8adlal balance can provlde lnLeresLlng
arrangemenLs ln a room
8adlal balance dlsplay
uomlnance of color
Colour domlnance ls Lhe prlnclple of a
composlLlon LhaL causes Lhe vlewer Lo be
lnlLlally aLLracLed Lo Lhe emphaslzed colour
Lvery colored arL composlLlon porLrays colour
domlnance ln some way 1here are several
dlfferenL ways LhaL a colour can be domlnanL
whlch lnclude Lhe followlng a colour ls used ln
Lhe mosL promlnenL area of a composlLlon a
colour ls nexL Lo oLher colours whlch causes
Lhe mosL conLrasL a colour ls Lhe mosL vlbranL
or a color occuples Lhe mosL area ln a
composlLlon lke regular domlnance color
domlnance can have a domlnanL subordlnaLe
and accenLual colors
Dslng conLrasLlng elemenLs ln dlsplay
Contrast ls Lhe dlfference ln vlsual properLles LhaL makes an ob[ecL
(or lLs represenLaLlon ln an lmage) dlsLlngulshable from oLher ob[ecLs
and Lhe background
roporLlon
roport|on ls Lhe comparaLlve harmonlous
relaLlonshlp beLween Lwo or more elemenLs ln
a composlLlon wlLh respecL Lo slze color
quanLlLy degree seLLlng eLc le raLlo
Lmphasls
WLmphasls ls Lhe creaLlon of vlsual lmporLance Lhrough Lhe use of selecLlve
sLress
W 1hrough Lhe use of emphasls a deslgner can cause one elemenL or area of a
plece Lo be Lhe mosL lmporLanL parL of Lhe page
W1hls polnL ls usually called Lhe 'focal polnL' 8y uslng conLrasLlng color slze
LexLure eLc a deslgner can use emphasls Lo draw a vlewers eye Lo Lhe focal
polnL of Lhe plece
WConLrasL lsolaLlon locaLlon convergence and Lhe unusual can all be used Lo
creaLe emphasls
MovemenL
MovemenL descrlbes Lhe way Lhe eye Lravels on a plece 1he sequence ln whlch
Lhe vlewer sees Lhe parLs of a work of arL and Lhe relaLlve lmporLance of each ls
conLrolled by emphasls
repeLlLlon
8epeLlLlon develops a rhyLhm wlLhln Lhe plece
1hrough repeLlLlon slmllarlLles ln a work are accenLed Lo
creaLe an uncompllcaLed unlform appearance Lhrough
organlzaLlon of lmages colour (monochromaLlc or
analogous) shape (repeLlLlon of relaLed shapes) and space
(equal space beLween ob[ecLs)
rhyLhm
khythm and un|ty are Lhe deslgn prlnclples
LhaL brlng everyLhlng LogeLher
8y repeLlLlons of a vlsual lmage rhyLhm lmparLs
a sense of organlzaLlon LhaL brlngs a graphlc
LogeLher
1he deslgn prlnclple of unlLy dlcLaLes LhaL
everyLhlng on Lhe page ls vlsually [olned Lo
someLhlng else Lhus glvlng Lhe work a feellng
of wholeness or oneness"
Concluslons
IM and ueslgn elemenLs
ueslgn elemenLs llghL and color ln IM
dlsplay
lghL and color ln IM dlsplay
1hank ?ou