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 Understand color relativity Establish palettes and color systems Use color for meaning Color
TIMOTHY SAMARA Graphic design fundamentals Is it blue, blue, or blue?
TIMOTHY SAMARA Graphic design fundamentals Is it blue, blue, or blue? Defining color’s identity
TIMOTHY SAMARA Graphic design fundamentals
TIMOTHY SAMARA Graphic design fundamentals Hue Saturation Temperature Value A distinction between The relative dullness or A color’s perceived Whether a color appears color identities as defined brightness of a color warmth or coolness light or dark by their wavelengths
Hue TIMOTHY SAMARA Graphic design fundamentals PRIMARY TERTIARY TERTIARY SECONDARY SECONDARY TERTIARY TERTIARY SECONDARY PRIMARY PRIMARY TERTIARY TERTIARY
Saturation TIMOTHY SAMARA Graphic design fundamentals
Value TIMOTHY SAMARA Graphic design fundamentals
Temperature TIMOTHY SAMARA Graphic design fundamentals
TIMOTHY SAMARA Graphic design fundamentals Chromatic conversations
TIMOTHY SAMARA Graphic design fundamentals Chromatic conversations Creating color relationships
TIMOTHY SAMARA Graphic design fundamentals RED RED-VIOLET RED-ORANGE VIOLET ORANGE The Color Wheel BLUE- YELLOW- VIOLET ORANGE BLUE YELLOW BLUE-GREEN YELLOW-GREEN GREEN
Hue Relationships TIMOTHY SAMARA Graphic design fundamentals Simultaneous Contrast Analogous Complementary Triadic Extension
Saturation Relationships TIMOTHY SAMARA Graphic design fundamentals Simultaneous Contrast Analogous Diametric Opposition Extension Split Opposition
Value Relationships TIMOTHY SAMARA Graphic design fundamentals Simultaneous Contrast Progressive Analogous Rhythmic Boundary Extension Blur
Temperature Relationships TIMOTHY SAMARA Graphic design fundamentals Simultaneous Contrast Closed Analogous Progressive Extension
Spatial Relationships TIMOTHY SAMARA Graphic design fundamentals E N A L P E R U T C I P
TIMOTHY SAMARA Graphic design fundamentals Color families
TIMOTHY SAMARA Graphic design fundamentals Color families Palettes and systems
TIMOTHY SAMARA Graphic design fundamentals
TIMOTHY SAMARA Graphic design fundamentals
TIMOTHY SAMARA Graphic design fundamentals SINGLE-VARIABLE SYSTEMS Hue Value, saturation, and temperature analogous Value Hue, saturation, and temperature analogous Saturation Hue, temperature, and value analogous Temperature Hue, saturation, and value analogous
TIMOTHY SAMARA Graphic design fundamentals 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
TIMOTHY SAMARA Graphic design fundamentals Pure Complement Complement Same value, saturation shift Near Complement Near Complement Cool Warm Near Complement Split Complement Saturation and value shifts Analogous Analogous Same saturation Different saturation Analogous Analogous Same value Different value Analogous Analogous Temperature shift: Temperature shift: cool warm
TIMOTHY SAMARA Graphic design fundamentals Color Halftone Duotone/Tritone Tonal Curve CMYK Quadtone Adjustments
TIMOTHY SAMARA Graphic design fundamentals Not just pretty, but smart too
TIMOTHY SAMARA Graphic design fundamentals Not just pretty, but smart too Using color for meaning
TIMOTHY SAMARA Graphic design fundamentals
TIMOTHY SAMARA Graphic design fundamentals This vibrant color is among the The power of blue to calm and Associated with the Sun and The association of brown with Unknowable and extreme, black most noticeable. Red stimulates create a sense of protection warmth, yellow stimulates a earth and wood creates a sense of is the strongest color in the the autonomic nervous system or safety results from its short sense of happiness. It appears comfort and safety. The solidity visible spectrum. Its density and to the highest degree, invoking wavelength; its association with to advance spatially in relation of the color, because of its organic contrast are dominant, but it the “fight or flight” adrenaline the ocean and sky account for its to other colors and also helps connotation, evokes feelings of seems neither to recede nor to response, causing us to salivate perception as solid and depend- to enliven surrounding colors. timelessness and lasting value. advance in space. Its indetermi- with hunger, or causing us to feel able. Statistically, blue is the Yellow encourages clear thinking Brown’s natural qualities are nate quality reminds viewers of impulsive. Red evokes feelings of best liked of all the colors. and memory retention. A brighter, perceived as rugged, ecological, nothingness, outer space, and, in passion and arousal. greener yellow can cause anxiety; and hard working; its earthy con- Western culture, death. Its mys- deeper yellows evoke wealth. nection connotes trustworthiness tery is perceived as formal and and durability. exclusive, suggesting authority, superiority, and dignity. Violet is sometimes perceived With the shortest wavelength, A mixture of red and yellow, The ultimate neutral, gray may be In a subtractive color model, as compromising—but also green is the most relaxing color of orange engenders feelings similar perceived as noncommittal, but white represents the presence as mysterious and elusive. The the spectrum. Its association with to that of its parent colors—vital- can be formal, dignified, and au- of all color wavelengths; in an value and hue of violet greatly nature and vegetation makes it ity and arousal (red) and warmth thoritative. Lacking the emotion additive model, it is the absence affect its communication: feel safe. The brighter the green, and friendliness (yellow). Orange that chroma carries, it may seem of color. Both of these models deep violets, approaching black, the more youthful and energetic. appears outgoing and adven- aloof or suggest untouchable help form the basis for white’s connote death; pale, cooler vio- Deeper greens suggest reliable turous but may be perceived as wealth. Gray may be associated authoritative, pure, and all- lets, such as lavender, are dreamy economic growth. More neutral slightly irresponsible. Deeper with technology, especially when encompassing power. As the and nostalgic; red-hued violets, greens, such as olive, evoke orange induces salivation and a presented as silver. It suggests mixture of all colors of light, such as fuchsia, are dramatic and earthiness. However, green, in feeling of luxury. Brighter orange precision, control, competence, it connotes spiritual wholeness energetic; plumlike hues the right context, can connote connotes health, freshness, sophistication, and industry. and power. Around areas of are magical. illness or decay. quality, and strength. As orange color activity in a composition— becomes more neutral, its activity especially around black, its ulti- decreases, but it retains a certain mate contrast—white appears sophistication, becoming exotic. restful, stately, and pure.
TIMOTHY SAMARA Graphic design fundamentals QUIET QUIET QUIET
TIMOTHY SAMARA Graphic design fundamentals 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 1960 s Mod Mass-Market Cosmetics Automotive [sporting] Romantic Spring 1960 s Folk/ 1970 s 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
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