Color Harmony Workbook 2 ry cy n = rc) 2 4 A Workbook and Guide to Creative Color CombinationsCopyright © 1999 by Rockport Publishers, Inc, Ail rights reserved. No part of this book may be reproduced in any form without written permission of the copyright ‘owners, All images in this book have been reproduced with the knowledge and prior consent ofthe artists concerned and no responsiblity is accepted by producer, publisher, ‘or printer for any infringement of copyright or otherwise, arising from the contents ofthis publication. Every effort has ‘been made to ensure that credits accurately comply with information supplied. First published in the Us ‘of America by: Rockport Publishers, Inc 33 Commercial Street icester, Massachusetts 01930-5089 ‘ Telephone: (978) 282.9590 Facsimile: (978) 283-2742 URL: wiwrockpubscom ted States ISBN 1-56496-435-3 987654321 “est: Lesa Sawahata Color Harmony Workbook is based on Color Harmony 2. Guide to Creative Color Combinations Bride Whelan, Copyright 1994, 1-56496-066-8 Book Design: Laura Herrmann Design Cover Design: Elastic Design Back Cover Images (top to bottom): see pages 72, 8, 112 Manufactured in China4M Introduction How to Use This Book The Process of Choosing Color 1 Working With the Color Wheel 6M The Facets of Color B Hot H Cold = Warm © Cool Light ® Dark Pale 1 Bright Basic Color Schemes ‘Achromatic Analogous Complementary Clash Monochromatic Neutral Primary Secondary Split Complemen Tertiary Triad — Table of Contents 8M Creative Color Combinations 8 16 24 40 104 m2 120 128 136 144 152 160 168 176 Powerful Rich Romantic Vital Earthy Friendly Soft Welcoming Moving Flegant Fresh Traditional Refreshing Tropical Classic Dependable Calm Regal Magical Energetic Subdued Professional 184 Ml Color ConversionIntroduction — 1s his seminal 1963 book Interaction of Color, the influen tial German artist Josef Albers noted that while human audi tory memory is excellent—a melody is often repeatable after hearing it only once or twice—our visual memory, in particular the memory of color, is quite poor. Ironically, those who have the most apparent skill and ‘experience with color—including artists and designers of every type—ofien find them- selves beset by this frustrating perceptual frailty. The fact is, especially for those with a creative eve, color is layered with emotional, psychological, personal, and cultural meaning that can obscure objective reality. How to Use This Book Enter Color Harmony Workbook, a tool 3d Jend designed to end this frustration ongoing inspiration and support to anyone Who needs a precise command of color in al its delicious variety and moods. Color Harmony Workbook includes: 1 Basic color information A color wheel Themed color schemes 1 Color swatches for easy reference Armed with this information, color professionals (including graphic and interior designers, architects, artists, and crafts- people) can approach their particular project—whether a brochure, home interior, or painting—infused with new confidence and creativity. The Process of Choosing Color To begin: DEFINE the mood and goal of your project; CHOOSE the color you feel best expresses this mood; PLAY with the possibilities presented in the workbook’s color themes, using swatches to match fabrics, paints, papers, inks, ete; REFINE these color options down to the best possible color scheme,he ft may appa W tice A tint is a hue mixed with white ed is a hue, pinkisa tint A shade is a hue mixed with blac naroon is a shade of red! \ tone isa hue mixed with gray than pink or The value describes the lightness and brightness of a color, Pink has The color wheel is composed of twelve basic hues: three prima ME PRIMARY hues are red, blue Working With the Color Wheel SECONDARY hues (green, TERTIARY hues are made mixing a primary with secondary color—red-violet % cellow-orange, blue-green, blue-violet, yellow-green, and © COMPLEMENTARY color: are opposite on the color wheel and, when mixed, will P appear in the wide center band of . he color wheel (look at numbers 4, 12, 20, 28, 36, 44, 52, 60, 68, 76, 84, and 92). Colors found in the four interior bands are tints, with various quantities of white added to the original hue; while the three outer bands are shades, with various amounts of black udded to the original hue. The ‘numbering system allows easy location of large swatches in the back of CoThe Facets of Color ———_ he emotional and psychological effects of color are undeniable, and it is in the facets ‘of color that the feeling produced by color has its strongest impact. On a cold day, we the ing red flames of a fir long for the k mere sight of a blue-green pool is refreshing, So we are constantly caught in the play of color and feeling, as ‘outlined below. COLD ‘To understand cold colors thnk of ce, wth ts combined has ‘of blue Blue-green. and gicen. These colors hve the mindlbody eft of slowing metabolism someone in ‘wainanA vital color scheme is an excellent choice for any art or design project in which an Asian flavor is desired. A vibrant ci red, combined with its complement or neutral gray and black, is particularly appropriate. GENERAL COLOR TIPS FOR COLOR SCHEMES ile. A vital color scheme is a natural Both inviting and attention-grabbing, a vital color scher An instant sensation of warmth is e works well for posters, mailers, and packa produced when a vital color scheme is used in interior design, making it woven clothi hese vivid, uncom particularly when a youthful, mood is desired, an ideal choice for cool or gloomy plicated colors show off simple forms | climates. to advantage. GRAPHIC DESIGN INTERIOR DESIGN FINE ARTANALOGOUS SPLIT COMPLEMENTARY MONOCHROMATIC TERTIARY COMPLEMENTARYaneIn graphic design, earthy colors are effectively used in projects that deal with ecology and the environment, relaxation and leisure activities, or hint at ancient or aboriginal civiliza- tions—Minoan, Mayan, Native American, etc GRAPHIC DESIGN INTERIOR DESIGN The relaxed, warm, embracing feeling of earthy colors is used to advantage in residential interiors, particularly in open kitchen/dining rooms and restful bedrooms. GENERAL COLOR Using undyed, un-slick natural mate rials—wood, bamboo, rice paper, hemp, raffia, canvas—enhances the relaxed energy of the earthy color scheme in interior and graphic design. TIPS FOR COLOR SCHEMES Fine artists will find the earthy color scheme a natural starting place in rendering desert landscapes and other exotic, or arid, locations. Quick: drying, matte acrylic paints work well for this palette.ANALOGOUS MONOCHROMATIC SECONDARY minh SPLIT COMPLEMENTARY ‘COMPLEMENTARYA natural sense of humor—even clowning— is projected by the friendly color-scheme; use it for any poster, invitation, advertising, or packaging that requires a light- hearted, humorous feeling. GRAPHIC DESIGN eRIENDLY TPS 55 INTERIOR DESIGN People often feel attracted to, and more sociable in, an orange-hued room; so a dining room, guest bed- room, ar bathroom is the perfect place for inviting pumpkin-colored walls or linens. GENERAL COLOR Any product or project destined for the table—including food packaging, menu designs, ceramic tableware or linens—benefits from the use of a friendly color scheme. TIPS FOR COLOR SCHEMES Fine and applied artists will find that there's a spring-like, just-bloomed freshness to the friendly palette; it’s good for floral paintings, hand-made greeting cards, and illustrations for children’s books.ation of gentle pastel tints verging on the neutral creates a soft color scheme, Most ofte a soft color scheme contains peach, a tint th ‘combines the purity of white with the openness and sociahility of orange. The feeling produced by a soft color scheme i and relaxing makes it almost invisible. Peach is a luscious, active, easy on the eye, and flawering to most skin tones. The silky, sybaritic generally pleasing; calm, inviting, with an understated quality that quality of @ soft color scheme makes it one frequently employed in decorating day spas, hair salons, retail stores, and restaurants, aswell as residential and hotel interiors. The implication of quiet luxury and elegance give the soft color scheme almost limitless possibilities in terms of graphic and interior design. The nuance af romance evoked by a soft color scheme is aptly used by fine and applied artists in crea ing still life and floral designs. Whether used for invitations, personal or business stationery, shopping bags, textiles, interiors, or paintings, the soft color scheme produces a soothing, unhurried, and open appeal. 6 Md xanalogous MONOCHROMATIC SPLIT COMPLEMENTARY = Cy COMPLEMENTARY Lh iThe restrained warmth of soft colors gives them an almost utilitarian usefulness in graphic design. A soft peach isa good starting point for any stationery, brochure, poster, or packaging requiring an understated elegance. GRAPHIC DESIGN Sorrmirs 63 Because of their undemanding nature, soft colors are extremely livable over the long-term, making them ideal for home interiors. INTERIOR DESIGN GENERAL COLOR FINE ART When using the soft color scheme, keep all colors used at the same low level of chroma and contrast; adding a stronger color is simply jarring, TIPS FOR COLOR SCHEMES Soft colors evoke the fleshiness of a painting by Reubens; fine artists will find this palette useful in portraiture, ‘owing to its subtle combinations of peach and pink, beige and gold.Welcoming A welcoming color scheme is one that includes the ge, also called amber connotation, rfl Buddhist monks. warm glow of expressive, neat, and intellectual f orange and the si los, Open, hones, and cl color scheme has a. classic: appeal nentary and mono- which convey an age-old 1 expansive nature of theSPLIT COMPLEMENTARY MONOCHROMATIC TERTIARY COMPLEMENTARYHsvi> wainanof the welcomin, color scheme makes it very flexible for graphic design; it's great for the “caring” professions, including The classic natu nursing, therapy, and bodywork, and is also a good choice for food and dei GENERAL COLOR packaging that conveys an inviting elegance. e Welcoming A welcoming color scheme paired with a script-like typeface can create effects ranging from homey and In home interiors, a welcoming color scheme may include blond wood or rattan for an overall amber glow. It is well suited to family rooms, living rooms, and dining rooms. modest to traditional and elegant— Artists instinctively use a yellow- orange hue to create a warm, sunlit, approachable feeling in paintings. good for press kits, stationery, GRAPHIC DESIGN INTERIOR DESIGN FINE ART invitations, and shopping bags.ation, intellect, and attention to detail. In Moving around the lightestANALOGOUS MONOCHROMATIC PRIMARY SPLIT COMPLEMENTARY ‘COMPLEMENTARYangs Hsvi> wainan,For a sense of pure, uncomplicated warmth and energy, nothing beats a yellow hue in its clash and comple- ‘mentary palettes. And nothing looks lighter than yellow—the lightest of hhues—against blue, the darkest of hues. GENERAL COLOR e Moving Because of its quality of motion, a moving color scheme works well in Yellow is a great color for spaces ‘where intellectual clarity and detail Because the eye follows yellow, artists can use a moving color scheme to direct the viewer's eye around a painting design oriented towards sports or sporting goods. GRAPHIC DESIGN orientation is required—for example, INTERIOR DESIGN FINE ART in a home office.Desgrnpes Gabe and Asocots ‘a Tal Halide shopping bog ag manufachrer Wright Pecloging translucent quality to the elegant color schemes it hints of china and fine crystal, opulent sheer drapes, and whisper-thin linen, Intell are projected by this color scheme, the ultimate in a graceful melding of the faintest tints, suffused with the warmth of palest yellow. In this tint, the active nature of yellow is mollified with white nt color scheme is which creates a creamy color that isthe hands-down classic for interior wall; it has a reflective, expansive olden light. (Classis in fashion—pearls, cashmere sweaters, even be AYEOR. quality that seems to cast a room in a pale blond hair—are often found in the understated pastels of the elegant color scheme. There's a Ss ‘Ann ember °EEL LPP bie Wn ae rn Dnt Th PEE TIEWhether used in interior design, graphic design, or fine arts, metallic gold lends an added touch of elegance that never seer 3s too flamboyant with this color scheme. Just a touch—a gold frame, a gold-embossed business card—adds impact. GENERAL COLOR Elegant In the absence of much color, texture becomes a primary consideration. Fabrics, paints, and papers should have a fine visible texture to add tactile appeal Fine artists will want to maintain the clarity of elegant colors by using thin washes of translucent watercolors; oil pastels are also a good choice, if not overworked When using an elegant color scheme, think translucent. That means sheer fabrics, glass, and Lucite furniture and accessories for interior design. GRAPHIC DESIGN INTERIOR DESIGN FINE ARTFresh evolves around the univer with healing, harmony, tranquillity rebirth, This lovely hue strikes a balance between warm and cool, and conveys the extroverted yellow with the peaceful, in fresh color scheme is restful to theANALOGOUS SPLIT COMPLEMENTARY MONOCHROMATIC SECONDARY COMPLEMENTARY‘wainan,Graphic designers will find this color scheme excellent for projects involving ecolog) GRAPHIC DESIGN nd nature. INTERIOR DESIGN In residential interiors, a fresh color scheme is good for bedrooms and bathrooms, owing to its sense of renewal and rela tion, GENERAL COLOR FINE ART Because of their inviting nature, fresh colors work wonderfully well for ceramic tableware, fine china, tablecloths and napkins, ete TIPS FOR COLOR SCHEMES ee For fine artists, afresh palette is an obvious choice for creating a spring- like mood. Because green tends to recede, consider adding a small amount of its complementary red hue to add energy to a painting or drawing,yet precious, aspect t0 th implies safety, inherited There is also a rather m scheme. Beyond the use of dark greens uniforms, the more jewel-like traditi in men’s silk ties, the only Traditional eee Even in their complementary and clash aspects, Traditional color schemes, with their deep, rich | traditional colors blends shades and 1s, evoke a sense of history—it'sas if | creating a pleasant backdrop that never calls arkened with age, have come straight to itslf, as inthe textiles and of medieval tapestry. The shaded greens that h designer William Morris, ¢, 1900, It is a ancho black with the prosperous, his color scheme combine the stability of |} classically “tasteful” color scheme tive aspect of green, evokin forests, These shaded greens are “the color of money"—which decorated in bottle green. There is a conservative, Wilma Wethington Devign and Photo: Boker FurieANALOGOUS SPLIT COMPLEMENTARY MONOCHROMATIC SECONDARY COMPLEMENTARY if aeands HsWI> WwainanIn graphic design, ati color scheme implies for brokerage firms, traditional restaurants, booksellers, ete GRAPHIC DESIGN INTERIOR DESIGN When combined with dark polished wood floors, furniture, or wainscoting, traditional colors give an interior the feeling of a hereditary manor— excellent for formal dining rooms, libraries, banks, etc. The inherent mellowness of tradi tional colors allows them to blend with harmonious richness in carpets, text ss, and wallpaper. GENERAL COLOR Fine artists will find this palette useful in creating work that implica the ancient calm of nature, and for any ‘work that requires a sense of history. = < ZzDesigner Frogrncs cqua di Gi shopping bog bathrooms, bedrooms, and patios. Blue-green is considered to be one of the most healing colors Particularly in combina on with its complementary | red-orange hue, teal suggests a desert oasis. When combined with white, it suggests an Aegean island, Tike Santorini efreshing tie alr wea Sc It is frequently seen in design for sportswear A refreshing color scheme always includes the clear, | (especially swimwear), cosmetic products for the energetic color blue-geeen. An auspicious, youthful | bath, and glassware. The works of artists David color, bl (also known as teal o aqua) has | Hockney, Helen Frankenthaler, and Richard the calming, relaxing effect of blue but stil contains | Diebenkorn are identified with a refteshing palette a warm touch of yellow. Refreshing colors imply physical fitness, health, and mental clarity. As the rname implies, aqua always suggests cool water, and in fact blue-green is the color of swimming pools This is an expansive, happy color scheme, ideal for | Design ond Photo: Bedroom by CasingANALOGOUS SPLIT COMPLEMENTARY i MONOCHROMATIC TERTIARY ‘COMPLEMENTARYands Hswi> ‘WwainanAdvertising, packaging, and shopping bags for bath, body. and other “home spa” products are naturally appealing in refreshing colors. z 2g a g z = ¢ = ® INTERIOR DESIGN In designing bathrooms, kitchens, and outdoor areas, glazed ceramic tiles in refreshing colors can add a year-round feeling of summertime relaxation. GENERAL COLOR FINE ART ‘There's an uncloying exoticism to refreshing colors, which hint at the art of Islam, Oceania, and Native America. In the fine and applied arts, refreshing, colors—particularly teal—imply warm ‘weather and water. Unlike most blues, blue-green doesn’t recede, but has a distinctive and noticeable presence.Tropical The tropical color scheme differs from the refreshing color scheme in the addition of white; the resultant pastels imply brillant sunshine reflecting off water flowers, and sandy beaches, with a feeli of light and transparency. These serene tints suggest island life at its most relaxing, filled with f frosty drinks imbibed in view of the oce Leisure and travel are certainly implied by the tropical color scheme; these are the exterior colors seen in n + includ caribbean hot spots and the Art Deco hotels of Palm Beach, This color scheme works well in virtually any inter oo, particularly when combined with the freshness of white, Soft, sensuous, and uncomplicated, this is a palette favored by artists who create optimistic work with large, cheerful forms; Henri Matisse’s famous cut-out stencils were often executed in ppiness, and carefree romance are also conveyed by the tropical color scheme. Ants, Prodi Wie, Al mg 8 GooPes DUVWOXHONOW ii EL ANVLNaWaTaWOD ASVINaWaIaWOD AnasGraphic designers will find tropical colors the natural choice for clients with travel and leisure businesses or massage therapists, aestheticians, and other “hands-on” clients. GRAPHIC DESIGN ‘TROPICAL tis 319 INTERIOR DESIGN Commercial interiors for casual, relaxed restaurants, sportswear boutiques, and hair salons or day spas are lightened by soothing tropical colors. GENERAL COLOR FINE ART ‘The lightness and transparency of tropical colors call out for translucent design materials: sheer see-through papers (perhaps printed in subtle half-tones) and loosely woven fabrics. TIPS FOR COLOR SCHEMES Fine artists may find the delicious clarity of tropical colors most inspir- ing for collages, woven wall hangings, and color field paintings.Classic Chssic color schemes imply power. They generally include the depth and intensity of a royal blue hue This beaut color is sober, strong, and spiritual. It implies a search for inner truths. Blue isthe darkest of colors; its dense pigmentation suggests depth of personality and reserves of integrity, authority poise, and di national f said to inspire devotion. The expression “true blue ity Itis interesting to note how many s contain this color of blue, which is illuminates the virtues of stability, faithfulness, and responsibility considered to be projected by this hue. Royal blue still contains a hint of making it more active and less heavy th: a purer blue hue. Classic color schemes project a sense of contemy tive calm and tradition: they are therefore a good choice for decorating bedrooms, especially the master bedroom—the “seat of power.” In the fine royal blue is a color associated with shadow and twilight, frequently seen in the work of American illustrator Maxfield Parrish. This color icheme adds reserve and dignity to graphic desi THE J J Cy <> Joann A. BalingerANALOGOUS MONOCHROMATIC PRIMARY SPLIT COMPLEMENTARY ‘COMPLEMENTARYsw WwainanThe primary color scheme is a true classic for decorating children's bedrooms, and for books, toys, or other designs geared towards young children. GENERAL COLOR TIPS FOR COLOR SCHEMES Fine artists and illustrators can create the illusion of deep shadows by using, royal blue; its complementary and split complementary hues of orange, red-orange, and yellow-orange will create the sense of light. Posters, packaging, and advertising that should project a sense of trust worthiness, tradition, and stability can benefit from a classic color ‘The durable, livable nature of a classic color scheme makes it practical GRAPHIC DESIGN INTERIOR DESIGN scheme. for residential interiors.ANALOGOUS SPLIT COMPLEMENTARY MONOCHROMATIC PRIMARY COMPLEMENTARY5 HsvI> ‘TWwuinanWhite accented with navy blue is a great color scheme; it has a fresh, approachable quality that makes it wonderful for daily-use items like dishes, tablecloths, towels, and sheets. GENERAL COLOR TIPS FOR COLOR SCHEMES A dependable color scheme is a useful starting place for artists who want to create images that exemplify the nautical. Blues absorb light; hints of complementary orange will enliven a predominantly blue canvas. Dependable interior color schemes should include a substantial propor: tion of lighter, brighter, or pastel colors to keep them looking rich, as opposed to oppressive In graphic design, a dependable color scheme will appeal to an older, more soher auidience—good for annual reports, in advertising for the legal or medical professions, etc. GRAPHIC DESIGN INTERIOR DESIGNTuner Design Foxy Doo Stems compote identi flow of water, the cyclical nature of tides, and the te blue of a country sky are implied when a calm color scheme is used. Painting a bedroom pale blue can enhance its restful qualities; it can also whoever sleeps there. The complementary and split By) C a m complementary hues of orange, yellow-orange and red-orange, lightened into tints with white, add more determined, earthy strength to pale blue Pale blue is a cooling, soothing tint and the basis of the calm color scheme, Blue actually reduces blood pressure and pulse, and respiration rates; arthritis, sullerers, when exposed to blue light, found that their pain abated. The purity of white and the honesty and steadfastness of blue combine to form a blue tint that is considered to be a meditative color, one that communicates deep spiritual und standing and a soft-spoken integrity. The gentle Design: Claro Hayes Borat Donna evnsone Photo Sieve Vor Seoton Sie 1MONOCHROMATIC ANALOGOUS ‘SPLIT COMPLEMENTARY COMPLEMENTARY PRIMARY eo |The calm color scheme is appealing for advertising and packaging involy ing high-end, relaxed clothing and soothing, therapeutic effects of GRAPHIC DESIGN INTERIOR DESIGN Split complementaries are a sophisti- fresh combination with many uses in interior or graphic design. GENERAL COLOR | | Calm colors provide a fine palette for | portraits. A tender hack of blue causes peachy advance from the picture plane. FINE ARTANALOGOUS SPLIT COMPLEMENTARY MONOCHROMATIC TERTIARY COMPLEMENTARYunas Hv wainanFor graphic design, the richest papers—particularly those that include fleck of metal—support the saturation of a regal color scheme well GRAPHIC DESIGN INTERIOR DESIGN Remember that painting a room blue- violet will diminish the contrast of its architectural details and make it seem darker—a blue-violet room should contain plenty of natural light. GENERAL COLOR White, gold, and blue violet are n elegant, authoritative color combination whether used in interiors, graphic design, or fine or applied arts TIPS FOR COLOR SCHEMES For paintings that vibrate with deep emotional impact, the regal color scheme in split complementaries is unparalleled. It was a favorite of Van Gogh,Magical Rare, unpredictable, and fascinating are the colors ‘of the magical scheme. A powerful violet hue, which combines the passion of red with the spiritual openness of blue, is a central hue w the magical pales considered the most fortunate of colors, conveying In China, deep violet —known as preple—is the power to attract fortune, rank, and nobility. In soteric literature, violet or purple is identified with the Third Eye, seat of intuitive knowledge. There is an active, childlike openness to violet, and magical color schemes capitalize on this sense of fan; when paired with split complementaries like yellow: orange or yellow-green, this childlike quality becomes broader and mote clown-like Yellow is the true complement to violet, adding freshnessand a sense of balance. The two hues bring ‘out the beauty in each other, like the violet and yellow of a lovely iris. The offbeat combinations Of the magical color scheme add a sense of the fantastic to any art, design, oF interior Recklord Heals Stems Life totalehoiey Zook Designs Wilmo Jane Badennnn) DULYWOXHONOW ‘AuvANOD’S 2 f inds HSwID ‘wainan,Magical colors, particularly in their more unusual analogous combinations, are well used in design advertising festive events—Mardi GRAPHIC DESIGN Gras, fiestas, ete INTERIOR DESIGN A sophisticated spin on magical col- ‘ors can be achieved by using textiles that combine magical hues against walls with the palest touch of violet. GENERAL COLOR Whimsy is instantly conveyed with a magical color scheme. TIPS FOR COLOR SCHEMES Ethereal, otherworldly visuals are most easily created (via paint, ink, pencil, or software) with magical colors.Energetic ‘movement in a pa~~ ANALOGOUS —— ‘SPLIT COMPLEMENTARY MONOCHROMATIC TERMARY COMPLEMENTARY I7 : iGRAPHIC DESIGN care pack features ene black background. colors useful for packaging tar at youn, . for example, ofien etic hues against a Graphic designers will find energetic d impulsive audiences; hair INTERIOR DESIGN In interior design, energetic colors must be used cleverly to be livable. Pale yellow or green walls stand up to fuchsia, while ton: and black helps to ground e GENERAL COLOR \ humorous, youthful, sporty message is conveyed whenever an energetic color scheme is used, TIPS FOR COLOR SCHEMES Energetic colors imply speed and activity; fine artists can add a moving ality to paintings with a few gestural dashes of magenta and chartreuse oil stick.Joseph Rattan Design The Dallos Childrens Theotr magenta, it is a soft and retiring color, which g H “E conveys a bit of wistful longing. Perhaps that is why wey Victorian widows wore black for one yar ater thet i } (tm 9) Vag spouse’s death and, subsequently, adopted mauve. When combined with its complementary green and yellow tones, mauve takes on a more lively aspect. There is a faintly retro feeling to mauve, whether it is used in art or design, It calls up the Art Deco Subdued colors are those that are muted with the | period of the 1920s and "30s, as well as the more addition of neutral gray and/or white. Subtlety is | recent Post Modern design of the 1980s. the they are low in contrast, and the emotional impact of their original hues is damp. cened. These are the colors beloved of Impressionist painters of the 19th century, including Berthe Morisot and Mary Cassatt, for they seem to hint delicately at shape, light, and movement. Mauve is. the color most often seen in a subdued color scheme; a grayed tonal aspect of passionate Fomala G. Aue Design and Photo: Bedroom by Cossina The Coming of Wine 7 soonANALOGOUS SPLIT COMPLEMENTARY MONOCHROMATIC TERTIARY ‘COMPLEMENTARY = = —Subdued colors are rather feminine: a good choice for a woman's personal | stationery or business card. GRAPHIC DESIGN SUNDUED TPs 175 INTERIOR DESIGN The grayness of subdued colors, particularly mauve, can be unflatter- ing to many skin tones; if using mauve in interior design, be sure the lighting has a compensatory warmth Subdued colors are rather withdrawn, Whenever they are used, remember that complementary and split com- plementary combinations keep mauve from becoming too passive. GENERAL COLOR & {|_ Fine artists will find that using Z subdued colors adds a quality of | longing to paintings or drawings.ee Plone! Design Co nmmpere tie itanciocy ofthe coy EAMES and is in fact instantly identifiable as the color e scheme used in posters and graphics since the early < to take on additional vibrancy. In the fine atts, the a sober, no-nonsense neutral that communicates that 2 the wearer is willing to give up an ego-driven sense z of self to be mi" It is anony > und on which to ly other, biliant ° sional color scheme, making it a popular interior 3et ee Bim Pil PP Oe Pent Pilitl- We,One compelling reason to use the professional color scheme in graphic design? Ie is inexpensive, as it usually involves black and white with a single color. GRAPHIC DESIGN PROFESSIONAL TIPS 183 INTERIOR DESIGN While the professional color scheme is excellent for environments that should be “clean” and unemotional — a design studio, a living room — it may be too cold and hard-edged for a bedroom or bathroom. R professional colors can be used to showcase brilliantly colored items. Try ng them on walls, backgrounds, and backdrops. ise of their inherent neutrality, GENERAL COLOR These colors recall the heroic look of Russian Constructivist paintings and Professional colors imply the indus- trial, mechanical, and “modern.” | the Machine Age. g = ZzProcess Color Conversion Chart Color Cyan Magenta Yellow Black Color Cyan Magenta Yellow Black Color Cyan Magenta Yellow Black No. c M ¥ K No. c M Y K No. c M ¥ mi 0 100 100 = 37 m 73 100 90 0 2 0 100-100 38 “a 100 90 0 m3 0) 100100 39 75 100 90 0 m4 0 100100 40 76 100 90 0 5 0 85 70 m4 7 85 80 0 m6 0 65 50 42 78 ce 65 0 m7 0 45 30 43 a 79 60 0 8 0 20 10 44 = 80 45 0 mo 0 90 80 45 mal 80 100 0 10 0 90 80 46 82 80 100 0 gu 0 90 80 47 @ 83 80 100 0 mi 0 90 80 48 m 384 80 100 0 1B. 0 70 65 m 49 © 385 65 85 0 = 14 0 55 50 50 86 55 65 0 m 15 0 40 35 @ 51 m 87 40 50 0 16 0 20 20 m 52 88 25, 30 0 a7 0 60 100 m 53 @ 389 40 100 0 18 0 60 100 54 90 40 100 0 m 19 0 60 100 m 55 a1 40 100 0 = 20 0 60 100 56 92 40 100 0 @ 21 0 50 80 mw o57 93 35 80 0 22 0) 40 60 58 94 25 60 0 23 0 25 40 59 95 20 40 0 24 ) 15 20 = 60 96 10 20 0 25 0 40 100 m 61 97 0 0 0 26 0 40 100 mw 62 98 0 0 0 27 0 40 100 = 63 99 0 0 0 mB 28 0 40 100 64 100 0 0 0 = 29 0 30 80 m 65 10L 0 0 0 ~ 30 0 25 60 © 66 102 ) 0 0 55 31 0 15 40 103 0 0 0 65 32 0 10 20 104 0 0 0 75 m 33 0 0 100 m 105 0 0 0 85 m 34 0 0 100 m 106 0) 0 0 100 35 0 0 100 @ 36 0 ) 100er ee Color Harmony Workbook A Workbook and Guide to Creative Color Combinations ENTER THE WORLD OF COLOR. This workbook is a practical, visual guide that takes the guesswork out of choosing and using color combinations. Colors and color schemes are matched to specific moods, to help you select the best color combination for any design project, whether graphic design, interior design, crafts, or fine art. Large, tear-out swatches of each color combination let you mix, match, and test different hues in your designs. An essential tool for all who design with color. LARGE, TEAR-OUT SWATCHES 1400 CoLor COMBINATIONS CoLor CONVERSION CHART FOR PROCESS CoLoRS