Null

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

b DW.FM.indd 1

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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

9/13/10 7:57:16 PM

Vice President & General

Cop yeditor:

Copyright © 2010 Fairchild

Manager, Fairchild Education &

Nancy Reinhardt

Books, a Division of Condé Nast

Con ference Di vision:

Elizabeth Tighe

Ancill aries Editor:

Noah Schwartzberg

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:

Jennifer Crane

Text Design:

Carolyn Eckert

Development Editor:

Sylvia L. Weber

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

GST R 133004424

Photo Researcher:

Avital Aronowitz

taping, or information storage and

Text Comp osition:

Creative Director:

Carolyn Eckert

All rights reserved. No part of this

Cover Design:

Assistant Acquisitions Editor:

Amanda Breccia

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

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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

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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

110

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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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