Color Review & Johannes Itten
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Color theory document discusses: 1) The basics of color including that color is a property of light, objects reflect wavelengths, and light is made of all colors. 2) Color mixing including the additive and subtractive systems, primary/secondary/tertiary colors, and complimentary colors. 3) Properties of color including hue, value, and intensity. 4) Additional color concepts like warm/cool colors, visual mixing, color schemes, color discord, and Johannes Itten's 7 color contrasts.
Color Review & Johannes Itten
- 1. Color Theory
- 2. The Essentials • Color is a property of light. • Objects have no color of their own, they just reflect a particular wavelength from the color spectrum. (For example a blue object absorbs all of the wavelengths, EXCECPT for blue. The remaining wavelengths enter our eyes and this is what we see.) • Light is made of all colors • White reflects all the wave lengths of the color spectrum. • Black absorbs all the wave lengths of the color spectrum.
- 3. Color Mixing Additive System – Color is created from projected light. (Computer art, photography, interior design…) Subtractive System – Color is created from pigments, (Painting, drawing, etc…) Color Wheel – most common organization for color Primary Colors: – Red – Blue – Yellow (The primary colors mix to create white in an additive system. )
- 4. Color Mixing Complimentary Colors – opposite on color wheel • Red-Green, • Blue-Orange, • Yellow-Purple Tip: • Placing 2 complimentary colors side by side creates a brighter image. • Mixing 2 complimentary colors creates gray Andy Warhol - Mao
- 5. Color Characteristics Light and Color Perception • Color is a product of light. • Color changes with light. • Colors are different during different times of the day. Color Constancy or Constancy Effect As humans we want to think of an object as being a particular color. However, objects change color with light, Claude Monet. and weather. season, Poplars. 1891. Oil on canvas, 3’ 3 3/8” x 2’ 1 5/8” (100 x 65 cm). Philadelphia Museum of Art. canvas, 35.9 50 cm. Museo Morandi,
- 6. The 3 Properties of Color Hue Value Intensity
- 7. Properties of Color: Hue Hue - The name of the color • Example: Pink, scarlet, maroon and crimson are all a hue of Red. • There are not many hues but there are many colors. • The same hue or color can have many different names. The twelve-step color wheel of Johannes Itten.
- 8. Color Wheel The most common organization for the relationship of the basic colors is the color wheel. (It comes from the early 18th century.) 3 Secondary Colors - mixtures of the primary colors. – Orange – Green – Violet 6 Tertiary Colors - mixtures of a primary and a secondary color. Munsell color wheel. Courtesy of Gretag Macbeth, New Windsor, New York. The twelve-step color wheel of Johannes Itten.
- 9. Properties of Color: Value Value - Lightness or Darkness of a hue Tint - adding white to a hue Shade - adding black to a hue “Most people can distinguish at least 40 tints and shades of any color.” “Normal” Color Value Differ • “Not all the colors on the color wheel are shown at the same value.” Value scales for blue, gray, and yellow with equal visual steps.
- 10. Properties of Color Changing Color Value • When working with paint you can thin a color by adding medium. • You can also alter the value by mixing hues. • Value, just like color, is changed by its surroundings. The same color will appear to change in value, depending upon the surrounding color.
- 11. Properties of Color: Intensity/Complementary Colors Intensity = brightness of a color (also called chroma or saturation.) 2 ways to lower intensity: (or make a color duller) • Mix with Gray • Mix with Complement New York. Edgar Degas. After the Bath, Woman Drying Herself. c.1896. Oil on canvas, 2’ 11” x 3’ 9 2/3” (89 x 116 cm). Philadelphia Museum of Art (Purchased, Estate of the late George D. Widener, 1980-6-1).
- 12. Intensity/Complementary Colors To Make Brighter use: • Simultaneous contrast – when 2 compliments are next to each other they increase the visual brilliance of each other • Afterimage effect – when you stare at an intense color and then look away you will see the complementary color Casanova Table and Side Chairs. Domus Design Collection, New York.
- 13. Visual Color Mixing Techniques that suggest light: • Pigment just can’t reproduce the luminous and brilliant quality of light • Its very hard to get a pure color from mixing 2 colors Visual Color Mixing Techniques: Visual Mixing = Optical Mixing • Attempt to create a color by placing 2 pure colors next to each other rather then mixing them on a board. • The viewer’s eye mixes them together at a certain distance Chuck Close. April. 1990-1991.Oil on canvas, 8’ 4” x 7’. Courtesy Pace Wildenstein, New York.
- 14. Visual Mixing in Art and TV Styles and Techniques that use Visual Mixing • Post-Impressionists, Seurat and Van Gogh used Visual Mixing • Pointillism – technique using small bits of color next to each other to produce a color. • TVs • Mosaics • Weavers • Printing Presses • We use this technique all the time. (Think Pixels!)
- 15. Cool/Warm Colors Identifying colors with the senses Warm Colors: – Red, – Orange, – Yellow • Warm colors advance • Represents – Fire, Sunlight • Implies – Happy energy • An artist many use warm and cool color relationships to create depth and volume. • It can also create a feeling of light. Chicago History Museum. Childe Hassam. The Breakfast Room, Winter Morning. 1911. Oil on canvas. © Worcester Art Museum, Massachusetts/The Bridgeman Art Library.
- 16. Cool/Warm Colors Cool Colors – – Blue, – Green, – Purple • Cool colors recedes • Represents – Sky, Water, Grass, Plants • Implies – Sadness, Depression, Night Archibald J. Motley Jr. Getting’ Religion. 1948. Oil on canvas, 2’ 7 7/8” x 3’ 3 1/4”. Collection Archie Motley and Valerie Gerrard Browne, Evanston, Illinois. Chicago History Museum.
- 17. Color as Emphasis Color Dominance • “Areas of emphasis in a work of art create interest and naturally have been carefully planned by the artist, color can dominate and provide a focal point.” Color is so strong a visual element that it will dominate other devices to establish emphasis.
- 18. Color as Emphasis • Color as attention grabber – An odd or bright color can be used to grab attention, either in art, fashion, or advertising “Music.” P&G ﾑ Glide Dental Floss Campaign. Saatchi & Saatchi, New York. Creative Director: Tony Granger, Jan Jacobs, Leo Premutico. Art Director: Menno Kluin. Copywriter: Icaro Doria. Photo: Jenny van Sommers.
- 19. Color and Balance Achieving balance within asymmetrical composition • Asymmetry – based on concept of using different objects on either side of the center axis • To create visual balance, the objects must have equal weight, interest, appeal, or attraction • Color is often used to do this. Joan Miré. The Birth of the World. Montroig, summer 1925. Oil on canvas, 8’ 2 3/4” x 6’ 6 3/4” (250.8 x 200 cm). The Museum of Modern Art, New York (acquired through an anonymous fund, the Mr. and Mrs. Joseph Slifka and Armand G. Erpf funds, and by gift of the artist, 262.1972).
- 20. Color and Space Color’s Spatial Properties • Color creates depth • Intense, warm colors come forward, cool colors go back. Atmospheric Perspective As things go back into the distance dust in the air makes them fade to blue- gray. Asher B. Durand. Kindred Spirits. 1849. Oil on canvas, 3’ 8” x 3’. Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas.
- 21. Color and Space Using color to Emphasize Flatness • Color can also be used to flatten space David Hockney. Mulholland Drive: The Road to the Studio. 1980. Acrylic on canvas, 7’ 2” x 20’ 3” (218.44 x 617.22 cm). Los Angeles County Museum of Art (purchased with funds from the F. Patrick Burns Bequest).
- 22. Color Schemes Color harmonies - a harmony or combination of particular color based on the color wheel. A color schemes. Monochromatic - The use of just one hue in an image. (You can use black and white to add variety though.) Analogous - A picture that uses several (often 3) colors that are right next to each other on the color wheel. Mark Tansey. Forward Retreat. 1986. Oil on canvas, 7’ 10” x 9’ 8” (2.4 x 2.9 m). Collection of Eli Broad Family Foundation, Santa Monica, California. Courtesy Gagosian Gallery, New York.
- 23. Color Schemes 5 Basic Color Schemes 1. Monochromatic – uses only one hue plus shades and tints 2. Analogous – several hues that sit next to each other on a color wheel 3. Complementary – Opposite colors on the color wheel 4. Split Compliment – Uses the 2 colors on either side of the compliment 5. Triadic – Uses 3 hues equal distance on the color wheel Vincent van Gogh. The Yellow House. 1888. Oil on canvas, 72 x 91.5 cm. © Van Gogh Museum, Amsterdam, The Netherlands/The Bridgeman Art Library.
- 24. Planning Color Schemes • The use of deliberate color schemes is most common in interiors, posters, and packaging. • But, knowing these harmonies can help both painters and designers consciously to plan the visual effects they want a finished piece to have. Jan Vermeer. Girl with a Pearl Earring. c. 1665- 1666. Oil on canvas, 1’ 5 1/2” x 1’ 3 3/8” (44.5 x 39 cm). Royal Cabinet of Paintings, Mauritshuis, The Hague.
- 25. Color Discord and Vibrating Colors Unexpected Combinations • Color Discord – opposite of color harmony. • Can be disturbing. • They do not balance each other. • Mild discord can be exciting or eye-catching. Wolf Kahn. Color/Tree Symphony. 1994. Oil on canvas, 4’ 3 1/2” x 4’x 8 1/2”. Grace Borgenicht Gallery, New York. Art © Estate of Wolf Kahn/Licensed by VAGA, New York, New York.
- 26. Color Discord and Vibrating Colors • Using Discord to add Interest – Discord – implies immediate negative impression – In the past certain color combinations were not done, however now color coordinating is much more free
- 27. Color Discord and Vibrating Colors Colors in Conflict • Certain color parings are almost difficult to look at • Our eyes experience conflict trying to look at them • They look as though they are vibrating • Vibrating Colors – Colors that create a flickering effect at their border. This effect is usually dependent on an equal value relationship and strong hue contrast Annie Mae Young. Quilt. c. 1965. Cotton stiff material: corduroy sheeting, polyester dress and pants material, wool, 7 ﾕ 7 ﾓ 6 ﾕ 9 ﾓ . By permission of the artist.
- 28. Color Use There are 3 basic ways to use color in painting. 1. Local Color (or Objective)- painting the object the color that it is in normal daylight. 2. Optical Color - Depicting an objects color as it might be seen under various or different light. 3. Subjective Color - Is the arbitrary use of color, where the artist picks colors based on design, aesthetics, or emotional response. (Heightened color is the use of color Paul Gauguin. Allés et Venues, Martinique (Coming and Going). 1887. Oil on canvas, 2’ 4 that is intensified or 1/2” x 3’ 1/4” (72.5 x 92 cm). ｩ Carmen exaggerated.) Thyssen-Bornemisza Collection on loan to the Museo Thyssen-Bornemisza (CTB.1979.88).
- 29. Johannes Itten • 1888 – 1967 • Swiss Expressionist Painter, educator, color theorist • Associated with the Bauhaus Movement • Began his career as an elementary teacher, but joined the Bauhaus as a color theorist emphasizing an art education based on fundamental knowledge of art: color, composition and materials. • Developed a 12-step color wheel
- 30. 7 Color Contrasts • Itten was on of the first to define and identify strategies for successful color combinations. • He devised seven methodologies for coordinating colors utilizing the hue's contrasting properties: • Contrast of Hue • Contrast of Light-Dark • Contrast of Cool-Warm • Contrast of Complements • Simultaneous Contrast • Contrast of Saturation • Contrast of Extension
- 31. Contrast of Hue • Illustrated by the undiluted colors in their most intensity. • Red/Blue/Yellow…This represents the extreme instance of contrast of hue. The intensity of the contrast of hue diminishes as hues are removed from the three primaries. • At least 3 differentiated hues are required. • Here is where complementary colors have the greatest contrast. If you need more than two colors, you can use three colors that form a triangle or four that form a square around the color wheel. • Very interesting studies are obtained when one hue is given a principal role and others are used in small quantities.
- 32. Henri Matisse, “Le Collier d’Ambre”
- 33. Contrast of Light-Dark • Strongest expressions of light and dark are the colors white and black. • This could be a monochromatic composition. • The effects of of black and white are in all respects opposite, with the realm of of grays and chromatic colors between them. • Difference between level of brilliance and illumination. Obscured v. Revealed. • Yellow and Violet have the strongest light – dark contrast.
- 34. Rembrandt, “Man in Golden Helmet”
- 35. Francisco de Zurbaran, “Lemons, Oranges and Rose”
- 36. Contrast of Cool-Warm • Contrast that is both physical and psychological. • Research has shown that people will perceive rooms to be cold at different temperatures, depending on what color the room is painted (a blue-green room is thought cold at 59 degrees, while a red-orange room isn’t thought cold until it is 54 degrees). • Color juxtaposition affects warmth and cold perception: a red-violet next to a blue will look warm, but the same red-violet next to red will look cool.
- 37. Contrast of Cool-Warm • The narrow red bars advance toward the viewer, while the cooler blue recedes. • Red-Orange is the warmest, and Blue-Green is the coldest • This contrast can be executed at any level of tonality (value), but medium brilliance is the most effective. • The variation of hue should go no further than four successive steps of the 12-step color wheel. • This is most effective when light-dark differences are absent (again, medium brilliance)
- 39. Complementary Contrast • Complements incite each other to maximum vividness when adjacent…they annihilate each other, to chromatic grey when mixed. • The eye requires any given color to be balanced by the complementary, and will spontaneously generate the latter if it is not present.
- 40. Simultaneous Contrast • Results from the fact that for any given color, the eye simultaneously requires the complementary color, and generates it spontaneously if it is not already present. • The simultaneously generated complementary color occurs as a sensation in the eye of the beholder, and is not objectively present. • It cannot be photographed.
- 43. Contrast of Saturation • Contrast between pure, intense colors and dull, diluted colors. 1. Mixed with White…color appears somewhat colder. 2. Mixed with Black 3. Mixed with White and Black 4. Mixed with its Complementary Color • The effect of “dull-vivid” contrast is relative. A color may appear vivid beside a dull tone, and dull beside a more vivid tone (Simultaneous Contrast) • You MUST eliminate light-dark contrast!
- 44. Contrast of Extension • Involves the relative areas to two or more color patches. It is the contrast between much and little, or great and small. • This has to do with how you use the color—particularly how much of each color. Research has shown that different combinations of complementary colors become balanced when used in different proportions. Itten and other color theorists list those as shown in the following illustration:
- 45. • Contrast of extension requires these proportions of the complementary colors to achieve a harmonious or balanced amount of color: 3:1 for yellow to violet 2:1 for blue to orange 1:1 for red to green • Varying the proportion greatly for these combinations results in a more expressive image, while maintaining these proportions gives you a harmonious, quiet, and possibly static image.
- 46. Which one is Emphasized?
- 47. Other Things to Ponder… • The more you understand about what you are trying to say within an artwork, the quicker you understand how to make Itten’s rules work for you. • Contrast = Drama/Conflict • The more “conflicting” elements there are in your color choices the more your eyes will continue to bounce repeatedly off of that surface. It creates tension, movement, and excitement. • If you are looking to make a quiet piece– stick to a more harmonious palette.
- 48. Even More Things to Ponder… • To evaluate a design’s contrast while it’s still in the design stage, use an image manipulation tool, such as Photoshop, and view the design in grayscale versus RGB/CMYK. • Type must always contrast sharply with background colors to be readable, but not too sharp to ease the impact on readers eyes. • The specific definition of color contrasts are not as important as making sure you include appropriate contrast as part of your design process. This will allow viewers, no matter how they interpret colors, to read and enjoy your design. Just as choosing the correct color combinations when you were a child would help your picture stand out in a sea of your classmates’ work, choosing correct color combinations when you design will allow your work to stand out in the world of graphic design.