Timothy Samara Timothy Samara Graphic design fundamentals - - PowerPoint PPT Presentation

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Timothy Samara Timothy Samara Graphic design fundamentals - - PowerPoint PPT Presentation

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Timothy Samara Timothy Samara Graphic design fundamentals TIMOTHY SAMARA Graphic design fundamentals Color Graphic design fundamentals TIMOTHY SAMARA Graphic design fundamentals Overview Become familiar with color identity

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Timothy Samara

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Timothy Samara Graphic design fundamentals

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Graphic design fundamentals

Color Graphic design fundamentals

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Graphic design fundamentals

Overview Color

Become familiar with color identity Understand color relativity Establish palettes and color systems Use color for meaning

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Is it blue, blue,

  • r blue?
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Graphic design fundamentals

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Graphic design fundamentals

Is it blue, blue,

  • r blue?

Defining color’s identity

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Graphic design fundamentals

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Graphic design fundamentals Hue

A distinction between color identities as defined by their wavelengths

Saturation

The relative dullness or brightness of a color

Temperature

A color’s perceived warmth or coolness

Value

Whether a color appears light or dark

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Graphic design fundamentals

TERTIARY TERTIARY TERTIARY TERTIARY TERTIARY TERTIARY PRIMARY PRIMARY PRIMARY SECONDARY SECONDARY SECONDARY

Hue

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Graphic design fundamentals

Saturation

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Graphic design fundamentals

Value

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Graphic design fundamentals

Temperature

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Chromatic conversations

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Graphic design fundamentals

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Graphic design fundamentals

Chromatic conversations Creating color relationships

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RED-ORANGE YELLOW-GREEN ORANGE YELLOW YELLOW- ORANGE RED-VIOLET BLUE-GREEN VIOLET BLUE BLUE- VIOLET RED GREEN

The Color Wheel

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Hue Relationships

Analogous Complementary Triadic Extension Simultaneous Contrast

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Saturation Relationships

Simultaneous Contrast Analogous Diametric Opposition Extension Split Opposition

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Value Relationships

Simultaneous Contrast Progressive Analogous Rhythmic Extension Boundary Blur

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Temperature Relationships

Simultaneous Contrast Closed Analogous Progressive Extension

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P I C T U R E P L A N E

Spatial Relationships

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Color families

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Color families Palettes and systems

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Hue Value, saturation, and temperature analogous SINGLE-VARIABLE SYSTEMS Value Hue, saturation, and temperature analogous Saturation Hue, temperature, and value analogous Temperature Hue, saturation, and value analogous
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MULTIPLE-VARIABLE SYSTEMS Hue and Value Saturation and temperature analogous Hue and Saturation Temperature and value analogous Hue and Temperature Value and saturation analogous Temperature and Value Hue and saturation analogous Temperature and Saturation Hue and value analogous Saturation and Value Hue and temperature analogous
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Pure Complement Near Complement Cool Analogous Same saturation Analogous Same value Analogous Temperature shift: cool Complement Same value, saturation shift Near Complement Warm Analogous Different saturation Analogous Different value Analogous Temperature shift: warm Near Complement Saturation and value shifts Split Complement
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Color Halftone Duotone/Tritone Tonal Curve Adjustments CMYK Quadtone

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Not just pretty, but smart too

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Graphic design fundamentals

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Graphic design fundamentals

Not just pretty, but smart too Using color for meaning

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This vibrant color is among the most noticeable. Red stimulates the autonomic nervous system to the highest degree, invoking the “fight or flight” adrenaline response, causing us to salivate with hunger, or causing us to feel
  • impulsive. Red evokes feelings of
passion and arousal. Violet is sometimes perceived as compromising—but also as mysterious and elusive. The value and hue of violet greatly affect its communication: deep violets, approaching black, connote death; pale, cooler vio- lets, such as lavender, are dreamy and nostalgic; red-hued violets, such as fuchsia, are dramatic and energetic; plumlike hues are magical. With the shortest wavelength, green is the most relaxing color of the spectrum. Its association with nature and vegetation makes it feel safe. The brighter the green, the more youthful and energetic. Deeper greens suggest reliable economic growth. More neutral greens, such as olive, evoke
  • earthiness. However, green, in
the right context, can connote illness or decay. A mixture of red and yellow,
  • range engenders feelings similar
to that of its parent colors—vital- ity and arousal (red) and warmth and friendliness (yellow). Orange appears outgoing and adven- turous but may be perceived as slightly irresponsible. Deeper
  • range induces salivation and a
feeling of luxury. Brighter orange connotes health, freshness, quality, and strength. As orange becomes more neutral, its activity decreases, but it retains a certain sophistication, becoming exotic. The ultimate neutral, gray may be perceived as noncommittal, but can be formal, dignified, and au-
  • thoritative. Lacking the emotion
that chroma carries, it may seem aloof or suggest untouchable
  • wealth. Gray may be associated
with technology, especially when presented as silver. It suggests precision, control, competence, sophistication, and industry. In a subtractive color model, white represents the presence
  • f all color wavelengths; in an
additive model, it is the absence
  • f color. Both of these models
help form the basis for white’s authoritative, pure, and all- encompassing power. As the mixture of all colors of light, it connotes spiritual wholeness and power. Around areas of color activity in a composition— especially around black, its ulti- mate contrast—white appears restful, stately, and pure. The power of blue to calm and create a sense of protection
  • r safety results from its short
wavelength; its association with the ocean and sky account for its perception as solid and depend-
  • able. Statistically, blue is the
best liked of all the colors. Associated with the Sun and warmth, yellow stimulates a sense of happiness. It appears to advance spatially in relation to other colors and also helps to enliven surrounding colors. Yellow encourages clear thinking and memory retention. A brighter, greener yellow can cause anxiety; deeper yellows evoke wealth. The association of brown with earth and wood creates a sense of comfort and safety. The solidity
  • f the color, because of its organic
connotation, evokes feelings of timelessness and lasting value. Brown’s natural qualities are perceived as rugged, ecological, and hard working; its earthy con- nection connotes trustworthiness and durability. Unknowable and extreme, black is the strongest color in the visible spectrum. Its density and contrast are dominant, but it seems neither to recede nor to advance in space. Its indetermi- nate quality reminds viewers of nothingness, outer space, and, in Western culture, death. Its mys- tery is perceived as formal and exclusive, suggesting authority, superiority, and dignity.
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QUIET QUIET QUIET

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Refreshing African Art Nouveau Teens Bath [traditional] Artificial South American Art Déco/Streamline Young Adults Electronics/Gaming Organic Middle Eastern Post-War/Baby-Boomer Mature Adults Eco-Friendly Laundry Products Elegant Japanese Swinging 1960s Mod Mass-Market Cosmetics Automotive [sporting] Romantic Spring 1960s Folk/1970s Earthy Men’s Grooming Consumer Health Care Comical Summer New Wave Pop Women’s Luxury Apparel Pharmaceuticals Friendly Autumn New Age Millenial Men’s Business Apparel Financial Services Urban Winter Internet Futurism Women’s Fragrance Telecommunications