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    $C%C #C C!CCC CCCC!CCCCC C#CC C C C C CCC C&C!C C C C C' C& (CCC C CC C!!CCCCC!CCC!C

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    Canduman Nhs
    The document discusses color theory and the color wheel. It explains that the color wheel is made up of 12 colors - the 3 primary colors of red, yellow and blue, the 3 secondary colors formed by mixing two primary colors, and the 6 tertiary colors that fall between the primary and secondary colors. It also discusses the concepts of tints, shades, and compound colors.

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    $C%C #C C!CCC CCCC!CCCCC C#CC C C C C CCC C&C!C C C C C' C& (CCC C CC C!!CCCCC!CCC!C

    Uploaded by

    Canduman Nhs
    30 views4 pages
    The document discusses color theory and the color wheel. It explains that the color wheel is made up of 12 colors - the 3 primary colors of red, yellow and blue, the 3 secondary colors formed by mixing two primary colors, and the 6 tertiary colors that fall between the primary and secondary colors. It also discusses the concepts of tints, shades, and compound colors.

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    Original Title

    Colour Theory

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    The document discusses color theory and the color wheel. It explains that the color wheel is made up of 12 colors - the 3 primary colors of red, yellow and blue, the 3 secondary colors formed by mixing two primary colors, and the 6 tertiary colors that fall between the primary and secondary colors. It also discusses the concepts of tints, shades, and compound colors.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    30 views4 pages

    $C%C #C C!CCC CCCC!CCCCC C#CC C C C C CCC C&C!C C C C C' C& (CCC C CC C!!CCCCC!CCC!C

    Uploaded by

    Canduman Nhs
    The document discusses color theory and the color wheel. It explains that the color wheel is made up of 12 colors - the 3 primary colors of red, yellow and blue, the 3 secondary colors formed by mixing two primary colors, and the 6 tertiary colors that fall between the primary and secondary colors. It also discusses the concepts of tints, shades, and compound colors.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 4

    COLOUR THEORY

    The 12 part colour wheel below is based on the three primary colours ( Red, Yellow and Blue ) placed evenly
    around a circle.
    Between the three primaries are the secondary colours (Green, Orange and Violet) which are mixtures of the two
    primaries they sit between.
    The tertiary colours fall between each primary and secondary. Between yellow and orange, for example, is yellow
    orange, between blue and violet is blue violet and so on.
    All these colours around the outside of the colour wheel are called saturatedcolours. They contain no black, no
    white and none of their complimentary or opposite colour.
    NB. Some books will refer to tertiary colours as a mixture of the three primaries and only break the colour wheel
    into six colours (primaries and secondaries). I prefer the theory based on Johannes Itten's 12 part colour wheel, as
    it offers a much better understanding of the interaction of colours
    Compound colours are colours containing a mixture of the three primaries. All the browns, khakis and earth
    colours are compound colours



    In order to mix pigments into
    clean saturated colours it is
    necessary to include a warm
    and cool of each of the
    primaries in your palette.
    There is no such thing as a
    pure primary pigment, so
    when mixing green for
    example, choosing a cool blue
    such as phthalo and a cool
    yellow such as lemon ensures
    there is no trace of red in the
    green. Using a warm yellow
    like cadmium or a warm blue
    such as ultramarine would
    introduce a slight trace of red
    into the green resulting in a
    compound colour.




    In this illustration the
    compound mixtures between
    red and green are shown, as
    are tints and shades of the
    colour wheel. Tints are made
    by adding white to a colour,
    shades are made by adding
    black


    Imagine a colour wheel filled in with all the compound mixtures between all the complementary colours. If this
    colour wheel is placed in the middle of a cylinder with progressively darker shades of all those colours below and
    progressively lighter tints above, the cylinder would contain every possible colour!



    % PRINCIPL$ OF D$IGN
    BALANCE
    Balance in design is similar to balance in physics

    A large shape close to the center can be balanced
    by a small shape close to the edge. A large light
    toned shape will be balanced by a small dark toned
    shape (the darker the shape the heavier it appears to be)
    GRADATION
    Gradation of size and direction produce linear perspective. Gradation of of colour from warm to cool and
    tone from dark to light produce aerial perspective. Gradation can add interest and movement to a shape.
    A gradation from dark to light will cause the eye to move along a shape.

    REPETITION
    Repetition with variation is interesting, without variation repetition can become monotonous.

    The five squares above are all the same. They can be taken in and understood with a single glance.

    When variation is introduced, the five squares, although similar, are much more interesting to look at.
    They can no longer be absorbed properly with a single glance. The individual character of each square
    needs to be considered.
    If you wish to create interest, any repeating element should include a degree of variation.
    CONTRAST
    Contrast is the juxtaposition of opposing elements eg. opposite colours on the colour wheel - red / green,
    blue / orange etc. Contrast in tone or value - light / dark. Contrast in direction - horizontal / vertical.
    The major contrast in a painting should be located at the center of interest. Too much contrast scattered
    throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and
    confusion are what you are seeking, it is a good idea to carefully consider where to place your areas of
    maximum contrast.
    HARMONY
    Harmony in painting is the visually satisfying effect of combining similar, related elements. eg.adjacent
    colours on the colour wheel, similar shapes etc.
    DOMINANCE
    Dominance gives a painting interest, counteracting confusion and monotony. Dominance can be applied to
    one or more of the elements to give emphasis

    UNITY
    Relating the design elements to the the idea being expressed in a painting reinforces the principal of
    unity.eg. a painting with an active aggressive subject would work better with a dominant oblique direction,
    course, rough texture, angular lines etc. whereas a quiet passive subject would benefit from horizontal
    lines, soft texture and less tonal contrast.
    Unity in a painting also refers to the visual linking of various elements of the work.

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