colour theory

week five topics

colourtheoryhistory
colourmatching/artistspectrum
reviewcolourcharts/hueasvalue
colourmatching/cmyk
colourcontrastwarmandcoolcolour
Everythingaboutcolour
hastodowithrelationships
why is colour value important?
10%
20%
30%
40%
50%
60%
70%
80%
90%
grayscale blue cyan green magenta red yellow
hues in even intervals of value
the spectrum can be illustrated as a chart showing six hues in equal intervals of equal value
each horizontal line show six hues equal in value
each vertical is a single hue in equal intervals of value
indicate what percentage value, is associated with each pure hue, on the the grayscale chart
pure hue 90% 40% 50% 70% 70% 10%
ERI CA / GREEn
Spacialeffects
value
lightcolourscomeforward
onadarkbackground
darkcoloursrecedeona
darkbackground
spacial effects
value
darkcolourscomeforward
onalightbackground
lightcoloursrecedeonalight
background
r
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v
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colourvalue
1 hue createdbymixing
primarycolours
2chromaadjustedbyreducing
theconcentrationbyadding
white
3valueadjustedbyaddingblack
and/orwhite
r
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v
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w
colourvaluescale
r
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v
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w
r
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v
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w
tints,shades&tones
Everythingaboutcolourhastodowithrelationships
r
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v
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w
tints,shades&tones
Everythingaboutcolourhastodowithrelationship
r
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v
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w
tints,shades&tones
Everythingaboutcolourhastodowithrelationship
historyofcolourtheory
1 Inabout1500,whatfamousartistnotedthatcertaincoloursintensified
eachother,discoveringcomplementary colours?
historyofcolourtheory
1 Inabout1500,whatfamousartistnotedthatcertaincoloursintensified
eachother,discoveringcomplementary colours?
Leonardo da Vinci
historyofcolourtheory
2Whenwasthefirst colour wheelcreatedandbywho?
historyofcolourtheory
2Whenwasthefirst colour wheelcreatedandbywho?
Sir Isaac Newton in 1700
historyofcolourtheory
2Whenwasthefirst colour wheelcreatedandbywho?
Sir Isaac Newton in 1700

whatothersignificantfindingsdidthisfamouscolourtheoristdiscover?
historyofcolourtheory
2Whenwasthefirst first colour wheelcreatedandbywho?
Sir Isaac Newton
whatothersignificantfindingsdidthisfamouscolourtheoristdiscover?
mixing complements neutralizes the colour
historyofcolourtheory
3AboutacenturylaterJohann Wolfgang von Goethedivided
allcoloursintotwogroups.Whatwerethey?
historyofcolourtheory
3AboutacenturylaterJohann Wolfgang von Goethedivided
allcoloursintotwogroups.Whatwerethey?
warm and cool colours
historyofcolourtheory
4 Goethebelievedthatascientificapproachalonedidnotenableone
tofullyunderstandcolourwhichleadhimtowhatconclusion?
historyofcolourtheory
4 Goethebelievedthatascientificapproachalonedidnotenableoneto
fullyunderstandcolourwhichleadhimtowhatconclusion?
colour's relationship to emotions
simultaneous contrast
isahumanperceptionanomalyinwhichcoloursareaffectedby
adjacentcolours
Historyofcolourtheory
BauhausmemberJohannes IttenfollowedGoetheleadanddelvedinto
thepsychologicalandspiritualaspectofcolour.
Histheoriesstillformthecoreofmostartschoolcolourinformation
colourwheelisbasedonaprimarytriadofred,yellowandblue
Ittenbelievedthatcolourharmonywassubjective,howeverhe
developedaseriesofdiagramsfortheconstruction of harmonious
colour combinations
Munsell'sAnatomyofColour
AlbertMunsell,aAmericancolourist(1858-1918)
broughtclaritytocolourcommunicationbyestablishing
anorderlysystemforaccuratelyidentifyingevery
perceptiblecolour.
isrecognizedaroundtheglobeasthestandardfor
colournotationintheworldsofart,business,science,
governmentandeducation.
theuniversallanguageofcolourcommunication.
CIE(CommissionInternationaldel'Eclairge)
Munsell'sAnatomyofColour
TheMunsellcolour-ordersystemisawayofprecisely
specifyingcoloursandshowingtherelationshipsamong
colours.
Everycolourhasthreequalitiesorattributes:
1 hue
2 chroma(saturation)
3 value(brightness)

colourattributes
1. huethequalitybywhichwedistinguishonecolour
fromanother,asaredfromagreen
2. chroma / saturationthepurityorstrength
ofaspecificcolour.orconverselythedilutionor
weaknessofaspecificcolour
3. Value / brightnessthequalitybywhichwe
distinguishalightcolourfromadarkone
1 hue createdbymixingprimarycolours
2 Chroma / saturation
adjustedbyreducingtheconcentrationby
addingwhite
3 Value / brightness adjustedbyaddingblack
and/orwhite
fi rst name / last name
RED
BLUE
GREEN
CYAN
YELLOW
MAGENTA
aDDi ti Ve COlOUr sYstem rGB
P
r
i
m
a
r
i
e
s
s
e
C
O
n
D
a
r
i
e
s
WHI TE
3
P
r
.
CYAN
YELLOW
MAGENTA
RED
BLUE
GREEN
sUBtraCti Ve COlOUr sYstem CmYK
P
r
i
m
a
r
i
e
s
s
e
C
O
n
D
a
r
i
e
s
BLACK
3
P
r
.

colourmanipulation
vocabularyofcolour
Colouriscalledbythename
ofitsmostobviousor
dominant hue

vocabularyofcolour
Colouriscalledbythename
ofitsmostobviousor
dominant hue
Everycolourbelongstoafamily
ofrelatedhues

vocabularyofcolour
Colouriscalledbythename
ofitsmostobviousor
dominant hue
Everycolourbelongstoafamily
ofrelatedhues
Nearlyallcoloursamplesinclude
morethanonehue

vocabularyofcolour
Colouriscalledbythename
ofitsmostobviousor
dominant hue
Everycolourbelongstoafamily
ofrelatedhues
Nearlyallcoloursamplesinclude
morethanonehue
But one hue is dominant
andotherarepresentinsmaller
proportions

vocabulary of colour
Butone hue is dominant
and other are present in smaller
proportions
cyan, magenta or yellow

tint, tone or shade?
tint reduce saturation
shade add black
tone reduce saturation & add
black

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connecttothefacultyserver
1 locatemyfolderPATRICIAMUNRO
2locateyourclassfolderGRA160-colour
3locatetodays'classfolderweek05
4dragthisfoldertotheworkdriveicononyourdesktop
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5opentheindesignfile
andsaveas:
4-LASTNAME-first



colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue that will be used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample,
you are attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of
each of the process colours that were
required to duplicate the colour

Indicate % of each colour used.
2 1
3
5
dominant hue
FI RST NAME / LAST NAME
secondary hue
new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

i
n
c
l
a
s
s

colourmatching
recreatethecolour
ofyourpapersampleusing
thecmykcolourmodel
fi rst name / last name
RED
BLUE
GREEN
CYAN
YELLOW
MAGENTA
aDDi ti Ve COlOUr sYstem rGB
P
r
i
m
a
r
i
e
s
s
e
C
O
n
D
a
r
i
e
s
WHI TE
3
P
r
.
CYAN
YELLOW
MAGENTA
RED
BLUE
GREEN
sUBtraCti Ve COlOUr sYstem CmYK
P
r
i
m
a
r
i
e
s
s
e
C
O
n
D
a
r
i
e
s
BLACK
3
P
r
.
colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue that will be used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample,
you are attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of
each of the process colours that were
required to duplicate the colour

Indicate % of each colour used.
2 1
3
5
dominant hue
FI RST NAME / LAST NAME
secondary hue
new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

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s

colourmatching
recreate the colour
of your paper sample using the
cmyk colour model
1 fillsquarenumberonewiththe
dominantcolourfoundin
thepapersample:
cyan,magentaoryellow
dominant hue
FI RST NAME / LAST NAME
secondary hue new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample, you are
attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of each of the
process colours that were required to duplicate the colour
5
2 3 1
dominant hue
FI RST NAME / LAST NAME
secondary hue new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample, you are
attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of each of the
process colours that were required to duplicate the colour
5
2 3 1
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s

colourmatching
recreate the colour
of your paper sample using the
cmyk colour model
2fillsquarenumbertwowiththe
otherprimarycolourpresentin
thesample,inasmaller
proportion:
cyan,magentaoryellow
dominant hue
FI RST NAME / LAST NAME
secondary hue new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample, you are
attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of each of the
process colours that were required to duplicate the colour
5
2 3 1
dominant hue
FI RST NAME / LAST NAME
secondary hue new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample, you are
attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of each of the
process colours that were required to duplicate the colour
5
2 3 1
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colourmatching
recreate the colour
of your paper sample using the
cmyk colour model
3createanewcolourswatch
bymixingthetwocolours
Fillsquarenumberthree
withthiscolour
dominant hue
FI RST NAME / LAST NAME
secondary hue new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample, you are
attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of each of the
process colours that were required to duplicate the colour
5
2 3 1
dominant hue
FI RST NAME / LAST NAME
secondary hue new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample, you are
attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of each of the
process colours that were required to duplicate the colour
5
2 3 1
i
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colourmatching
recreate the colour
of your paper sample using the
cmyk colour model
4fillsquarenumberfourwith
blackreducetheintensityto
matchthevalueofthepaper
dominant hue
FI RST NAME / LAST NAME
secondary hue new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample, you are
attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of each of the
process colours that were required to duplicate the colour
5
2 3 1
i
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s

colourmatching
Is it a tint, tone or shade?
5workingwiththepurehueyou
havecreatedwiththeprimaries,
createanewswatch,
makingallnecessaryadjustments
tochromaand/orvalue
hold the shift key and drag
toreducethesaturationwithout
distortingtheoriginalpurehue
colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue that will be used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample,
you are attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of
each of the process colours that were
required to duplicate the colour

Indicate % of each colour used.
2 1
3
5
dominant hue
FI RST NAME / LAST NAME
secondary hue
new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

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colourmatching
Is it a tint, tone or shade?
6savenewswatchand
indicatethepercentagesofeach
oftheprocesscolours
requiredtoduplicatethecolour
dominant hue
FI RST NAME / LAST NAME
secondary hue new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample, you are
attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of each of the
process colours that were required to duplicate the colour
5
2 3 1
i
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s

colourmatching
Is it a tint, tone or shade?
ifyouchangedtheproportions
ofyournewpurehue,
whenreducingchroma,
gobackandadjustthevalues
ontheoriginalswatch
dominant hue
FI RST NAME / LAST NAME
secondary hue new pure hue
cyan = %
magenta = %
yellow = %
black = %
4
colour as value
black= %
new colour
cyan = %
magenta = %
yellow = %
black = %

colour matching
Recreate the colour of your paper sample, using
the cmyk colour model
1 Fill square #1 with the dominant colour found in the paper
sample.Indicate which colour : cyan, magenta or yellow.
2 Fill square #2 with the other primary colour present in the
sample, in a smaller proportion.
Indicate which colour : cyan, magenta or yellow.
3 Create a new colour swatch, by mixing 100% of the dominant
hue and a lesser % of the secondary hue, attempting to mix
the pure hue used to create the tint, shade or tone,
represented in your paper sample.

Fill square #3 with this colour and indicate % of each colour.
4 Fill square #4 with black and reduce the intensity until you
match the value of the colour of the paper sample, you are
attempting to reproduce.
Indicate % of each black used.
5 Fill square #5 with the new pure hue you have created with the
primaries (box #3), and start making all necessary adjustments
to chroma and value, in an attempt to recreate the colour on
your sample.
If you notice have to adjust the proportion of original hues, to
match your sample, make sure you refect these changes in the
new pure hue box (#3}
6 Save new swatch and indicate the percentages of each of the
process colours that were required to duplicate the colour
5
2 3 1
colourcontrast
differencesperceivedbetween
twocolours
types of contrast
lightdarkcontrast
colourcontrast
differencesperceived
between
twocolours
types of contrast
lightdarkcontrast
coldwarmcontrast
containelementssuggesting
nearnessanddistance
distanceobjectsalwaysseem
colderincolourbecauseof
theinterveningdepthofair
history of colour theory
3AboutacenturylaterJohannWolfgangvonGoethedividedallcolours
intotwogroups.whatwerethey?
warm and cool colours
colourcontrast
differencesperceivedbetween
twocolours
types of contrast
lightdarkcontrast
coldwarmcontrast
warm and cool colours
video clip
colourcontrast
differencesperceivedbetween
twocolours
types of contrast
lightdarkcontrast
light colours
dark colours
colourcontrast
differencesperceivedbetween
twocolours
types of contrast
lightdarkcontrast
coldwarmcontrast
cool colours warm colours
colourcontrast
differencesperceived
between
twocolours
types of contrast
lightdarkcontrast
coldwarmcontrast
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light colours
dark colours
light colours
dark colours
lecture notes
labelyourdiagramwithcolour
names and indicate the position of
warm and cool colours
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connect to the faculty server password = SCA
1 locate my folder PATRICIA MUNRO
2 locate your class folder GRA160-colour
3 locate today's' class folder week 06
4 drag this folder to the work drive icon on your desktop
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5 open the InDesign
file
and save as:
5-LASTNAME-first



warm colour cyan middle value cool colour
warm colour blue middle value cool colour
warm colour magenta middle value cool colour
warm colour red middle value cool colour
warm colour yellow middle value cool colour
warm colour green middle value cool colour
fi rst name / last name
warm and cool colours
create a transition from warm to cool colours for each of the primary & secondary hues
1 set up the swatches palette to include only cmy primary & secondary colours and position in the middle square of each row
2 mix hues to create a gradual transition from warm t to cool hues for each row (no tints, shades or tones)
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colourswatches
set up your colour swatches
to include cmyk primary and
secondary hues
name colours
warm colour cyan middle value cool colour
warm colour blue middle value cool colour
warm colour magenta middle value cool colour
warm colour red middle value cool colour
warm colour yellow middle value cool colour
warm colour green middle value cool colour
fi rst name / last name
warm and cool colours
create a transition from warm to cool colours for each of the primary & secondary hues
1 set up the swatches palette to include only cmy primary & secondary colours and position in the middle square of each row
2 mix hues to create a gradual transition from warm t to cool hues for each row (no tints, shades or tones)
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colourswatches
gradualtransitionbetweenprimary
andsecondarycolours
5 steps, in increments of 17%
magenta





red
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colour temperature
adjustthecolourtemperature
foreachofthepurehues,
fromcooltowarmineven
increments
1 startbyfillingtheentirerow
withthepurehueindicated
2createnewswatchesfromeach
huebyaddingtheadjacent
colourfromthecolourwheel
inevenincrements

warm colour cyan middle value cool colour
warm colour blue middle value cool colour
warm colour magenta middle value cool colour
warm colour red middle value cool colour
warm colour yellow middle value cool colour
warm colour green middle value cool colour
fi rst name / last name
warm and cool colours
create a transition from warm to cool colours for each of the primary & secondary hues
1 set up the swatches palette to include only cmy primary & secondary colours and position in the middle square of each row
2 mix hues to create a gradual transition from warm t to cool hues for each row (no tints, shades or tones)
w a r m c o l o u r c y a n m i d d l e v a l u e c o o l c o l o u r
w a r m c o l o u r b l u e m i d d l e v a l u e c o o l c o l o u r
w a r m c o l o u r m a g e n t a m i d d l e v a l u e c o o l c o l o u r
w a r m c o l o u r r e d m i d d l e v a l u e c o o l c o l o u r
w a r m c o l o u r y e l l o w m i d d l e v a l u e c o o l c o l o u r
w a r m c o l o u r g r e e n m i d d l e v a l u e c o o l c o l o u r
f i r s t n a m e / l a s t n a m e
w a r m a n d c o o l c o l o u r s
c r e a t e a t r a n s i t i o n f r o m w a r m t o c o o l c o l o u r s f o r e a c h o f t h e p r i m a r y & s e c o n d a r y h u e s
1 s e t u p t h e s w a t c h e s p a l e t t e t o i n c l u d e o n l y c m y p r i m a r y & s e c o n d a r y c o l o u r s a n d p o s i t i o n i n t h e m i d d l e s q u a r e o f e a c h r o w
2 m i x h u e s t o c r e a t e a g r a d u a l t r a n s i t i o n f r o m w a r m t t o c o o l h u e s f o r e a c h r o w ( n o t i n t s , s h a d e s o r t o n e s )
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WARM COLOUR CYAN MIDDLE VALUE COOL COLOUR
WARM COLOUR BLUE MIDDLE VALUE COOL COLOUR
WARM COLOUR MAGENTA MIDDLE VALUE COOL COLOUR
WARM COLOUR RED MIDDLE VALUE COOL COLOUR
WARM COLOUR YELLOW MIDDLE VALUE COOL COLOUR
WARM COLOUR GREEN MIDDLE VALUE COOL COLOUR
YI NG YI CUI
WARM AND COOL COLOURS
CREATE A TRANSITION FROM WARM TO COOL COLOURS FOR EACH OF THE PRIMARY & SECONDARY HUES
1 set up the swatches palette to include only cmy primary & secondary colours and position in the middle square of each row
2 mix hues to create a gradual transition from warm to cool hues for each row (no tints, shades or tones)
W A R M C O L O U R C Y A N M I D D L E V A L U E C O O L C O L O U R
W A R M C O L O U R B L U E M I D D L E V A L U E C O O L C O L O U R
W A R M C O L O U R M A G E N T A M I D D L E V A L U E C O O L C O L O U R
W A R M C O L O U R R E D M I D D L E V A L U E C O O L C O L O U R
W A R M C O L O U R Y E L L O W M I D D L E V A L U E C O O L C O L O U R
W A R M C O L O U R G R E E N M I D D L E V A L U E C O O L C O L O U R
Y I N G Y I C U I
W A R M A N D C O O L C O L O U R S
C R E A T E A T R A N S I T I O N F R O M W A R M T O C O O L C O L O U R S F O R E A C H O F T H E P R I M A R Y & S E C O N D A R Y H U E S
1 s e t u p t h e s w a t c h e s p a l e t t e t o i n c l u d e o n l y c m y p r i m a r y & s e c o n d a r y c o l o u r s a n d p o s i t i o n i n t h e m i d d l e s q u a r e o f e a c h r o w
2 m i x h u e s t o c r e a t e a g r a d u a l t r a n s i t i o n f r o m w a r m t o c o o l h u e s f o r e a c h r o w ( n o t i n t s , s h a d e s o r t o n e s )
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colourcomposition
select one of the hues
1 selectandassignwarmand
coolcoloursofthesamehue
tocompositionwithaclear
focalpoint
warm colour cyan middle value cool colour
warm colour blue middle value cool colour
warm colour magenta middle value cool colour
warm colour red middle value cool colour
warm colour yellow middle value cool colour
warm colour green middle value cool colour
fi rst name / last name
warm and cool colours
create a transition from warm to cool colours for each of the primary & secondary hues
1 set up the swatches palette to include only cmy primary & secondary colours and position in the middle square of each row
2 mix hues to create a gradual transition from warm t to cool hues for each row (no tints, shades or tones)
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GRAYSCALE COMPOSTON
focal point
1 select one shape as a focal point in the
composition and fll with white
2 make the remainder of the shapes recede by
flling with tints of black
COLOUR COMPOSTON
pure hues
1 select one of the six hues to create a
monochromatic compositions
2 assign the warmest hue to your focal point
3 make the remainder of the shapes recede by
flling with progressively cooler hues
(no tints, tones or shades}
COLOUR COMPOSTON
pure hue and shades
1 copy your monochromatic composition
2 leave the warmest hue to your focal point
3 add various amounts of black, to each of the
other colour areas within your composition
in an attempt to make these areas recede
further back from the focal point
4 submit InDesign fle to my inbox, before end
of todays class
Select one horizontal line of colours from
the opposite page to use in the abstract
composition on this page
GRAYSCALE COMPOSTON
focal point
1 select one shape as a focal point in the
composition and fll with tint of black that
matches the value of your warmest hue in the
colour line you have selected
2 make the remainder of the shapes recede by
flling with either lighter or darker tints of black
to create a strong focal point
3 set outline stroke to none
COLOUR COMPOSTON
pure hueS
1 assign the warmest hue to your focal point
2 make the remainder of the shapes recede by
flling with progressively cooler hues
(no tints, tones or shades}
3 set outline stroke to none
COLOUR COMPOSTON
pure hue and ShadeS
1 reference your grayscale composition and
adjust your colours to maximize the focal point
2 leave the warmest hue to your focal point, as a
pure hue
3 use either tints or shades (not both) of the
other colour areas within your composition,
in an attempt to make these areas recede
further back from the focal point
4 set outline stroke to none
5 submit InDesign fle to my inbox, before end
of todays class
name: fi rst / last
WARMCOLOUR CYAN MIDDLE VALUE COOL COLOUR
WARMCOLOUR BLUE MIDDLE VALUE COOL COLOUR
WARMCOLOUR MAGENTA MIDDLE VALUE COOL COLOUR
WARMCOLOUR RED MIDDLE VALUE COOL COLOUR
WARMCOLOUR YELLOWMIDDLE VALUE COOL COLOUR
WARMCOLOUR GREEN MIDDLE VALUE COOL COLOUR
FI RST NAME / LAST NAME
WARM AND COOL COLOURS
CREATE A TRANSITION FROM WARM TO COOL COLOURS FOR EACH OF THE PRIMARY & SECONDARY HUES
1 set up the swatches palette to include only cmy primary & secondary colours and position in the middle square of each row
2 mix hues to create a gradual transition from warm t to cool hues for each row (no tints, shades or tones)
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1 focal point: the headline
(all words treated the same)
2nd importance:
bottle illustration (the label)
3rd importance:
subhead & text
2 assign a grayscale value to:
headline, subhead and background
(dark/light contrast - may use black
and/or white)
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1 focal point: the headline
(all words treated the same)
2nd importance:
bottle illustration (the label)
3rd importance:
subhead & text
2 combine both:
warm/cool colours and
dark light contrast to
strengthen composition
only use pure hues plus shades
and/or tints
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1 focal point: the headline
(all words treated the same)
2nd importance:
bottle illustration (the label)
3rd importance:
subhead & text
2 assign pure hues to: headline,
subhead and background
(warm/cool contrast) - no black
white or grayscale)