Color Theory

Color Theory




Basic Color Theory






Color theory encompasses a multitude of definitions, concepts and
design applications - enough to fill several encyclopedias. However,
there are three basic categories of color theory that are logical and
useful : The color wheel, color harmony, and the context of how colors
are used.

Color theories create a logical structure for color. For example, if
we have an assortment of fruits and vegetables, we can organize them by
color and place them on a circle that shows the colors in relation to
each other.

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The Color Wheel



A color circle, based on red, yellow and blue, is traditional in the
field of art. Sir Isaac Newton developed the first circular diagram of
colors in 1666. Since then, scientists and artists have studied and
designed numerous variations of this concept. Differences of opinion
about the validity of one format over another continue to provoke
debate. In reality, any color circle or color wheel which presents a
logically arranged sequence of pure hues has merit.

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Color Harmony



Harmony can be defined as a pleasing arrangement of parts, whether it be music, poetry, color, or even an ice cream sundae.

In visual experiences, harmony is something that is pleasing to the
eye. It engages the viewer and it creates an inner sense of order, a
balance in the visual experience. When something is not harmonious, it's
either boring or chaotic. At one extreme is a visual experience that is
so bland that the viewer is not engaged. The human brain will reject
under-stimulating information. At the other extreme is a visual
experience that is so overdone, so chaotic that the viewer can't stand
to look at it. The human brain rejects what it can not organize, what it
can not understand. The visual task requires that we present a logical
structure. Color harmony delivers visual interest and a sense of order.

In summary, extreme unity leads to under-stimulation, extreme
complexity leads to over-stimulation. Harmony is a dynamic equilibrium.




Some Formulas for Color Harmony



There are many theories for harmony. The following illustrations and descriptions present some basic formulas.



Complementary colors are any two colors which are directly opposite
each other, such as red and green and red-purple and yellow-green. In
the illustration above, there are several variations of yellow-green in
the leaves and several variations of red-purple in the orchid. These
opposing colors create maximum contrast and maximum stability.



Nature provides a perfect departure point for color harmony. In the
illustration above, red yellow and green create a harmonious design,
regardless of whether this combination fits into a technical formula for
color harmony.

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Color Context



How color behaves in relation to other colors and shapes is a complex
area of color theory. Compare the contrast effects of different color
backgrounds for the same red square.





Red appears more brilliant against a black background and somewhat
duller against the white background. In contrast with orange, the red
appears lifeless; in contrast with blue-green, it exhibits brilliance.
Notice that the red square appears larger on black than on other
background colors.


If your computer has sufficient color stability and gamma correction (link to Is Your Computer Color Blind?)
you will see that the small purple rectangle on the left appears to
have a red-purple tinge when compared to the small purple rectangle on
the right. They are both the same color as seen in the illustration
below. This demonstrates how three colors can be perceived as four
colors.




Observing the effects colors have on each other is the starting
point for understanding the relativity of color. The relationship of
values, saturations and the warmth or coolness of respective hues can
cause noticeable differences in our perception of color.




Illustrations and text, courtesy of
Color Logic and Color Logic for Web Site Design

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What's your favorite color? What does it mean to others?
Explore "The Meanings of Color" at Color Matters.




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