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04 Design Colors

The document discusses the importance of color selection in design, emphasizing how colors can influence emotions and consumer choices. It covers various color models, theories, and harmonies, including the significance of cultural perceptions of color. Additionally, it provides guidelines for creating balanced color schemes and the meanings associated with different colors.

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وسام عوكل
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16 views46 pages

04 Design Colors

The document discusses the importance of color selection in design, emphasizing how colors can influence emotions and consumer choices. It covers various color models, theories, and harmonies, including the significance of cultural perceptions of color. Additionally, it provides guidelines for creating balanced color schemes and the meanings associated with different colors.

Uploaded by

وسام عوكل
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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The Islamic University of Gaza

Faculty of Information Technology 04

Design Colors

By: Ibrahim S. Alfayoumi


AN INTRO
PAY ATTENTION WHEN
CHOOSING COLORS
The most important way to grab your viewers attention is trying
to corporate a perfect color scheme
Colors express the viewer's emotion in a positive or negative way
according to the use it.
IT’S TRUE
Specific colors can influence the choices of consumers.
Color can affect the brain’s emotion sensors in many ways.
It can call attention, inspire emotions, give assurance, or tap into nostalgia.
YELLOW is not always happy and creative, sometimes, it’s sickly and pale
The yellow in it is VERY STRONG. It catches your attention and makes you feel
empowered.
COMBINING this yellow with an image of a roaring lion makes an even stronger
impact.
CHOOSE COLOR BY CULTURE
The CULTURE of a people or a nation, their customs and traditions,
clearly affect the use of colors.

WESTERN -> Conveys intensity or energy

CHINESE -> Good luck color

SOUTH AFRICAN -> Color of mourning

RUSSIAN -> Associated with communism


COLOR THEORY
COLOR MODELS

CMYK (subtractive color) stands for Cyan, Magenta, Yellow and Key (Black).
• The CMYK color model visualizes how colors are mixed together with
pigments.
• These include the inks used for printing any type of marketing material, like
flyers, brochures, merchandising, T-shirts, magazines, etc.

RGB (Additive color) stands for Red, Green and Blue.


• The RGB color wheel visualizes how colors overlap on screens.
• The primary colors in RGB are not pigments, but colored light.
PRIMARY COLORS are colors which cannot be created by mixing any other two
colors. In fact, they form the basis for all the other colors.
SECONDARY COLORS are created from the mix of two primary colors. In the
color wheel, these are visualized in between the primary colors.
TERTIARY COLORS Tertiary colors are the six colors created from a mix of one
primary color and one secondary color. These only apply to colors that are next
to each other in the color wheel.
THE NUANCES OF COLOR
THE NUANCES OF COLOR

PURE COLOR / HUE


What both these color wheels have in common are pure colors.
A pure color is any of the primary, secondary or tertiary colors without any
added white, grey, or black. These are located at the outer edges of the wheels
and the color picker. Pure colors are also called hues.
Pure colors/hues can change with value and saturation.
THE NUANCES OF COLOR

SATURATION
A very important term to understand the nuances of digital color is saturation,
which defines the brightness or dullness of any color.
A pure color is always at normal saturation. It can be desaturated with white,
grey, or black to make duller versions of itself.
In digital programs, colors can be over-saturated as well. Over-saturating makes
details disappear and isn’t generally a great effect.
THE NUANCES OF COLOR

TINTS
When white is added to any pure color, it becomes a tint. These are commonly
called pastel colors and are softer and paler than pure colors. A tint can be so
light that it almost resembles white.

Shades
When black is added to any pure color, it becomes a shade. This technique is
used to create a darker or dulled-down version of any color.
THE NUANCES OF COLOR

TINTS
When white is added to any pure color, it becomes a tint. These are commonly
called pastel colors and are softer and paler than pure colors. A tint can be so
light that it almost resembles white.

Shades
When black is added to any pure color, it becomes a shade. This technique is
used to create a darker or dulled-down version of any color.
COLOR HARMONIES
To visualize the warm and cool groups of colors, the color wheel is separated
with a straight line through the center.
WARM COLORS are yellow, orange, and red, while the COOL COLORS are blue,
green, and violet.
If most of the colors on your design are cool, you can use a warm call to action
so that it stands out.
The general rule of thumb
is to use around 80% of
one color and 20% of the
other.
If the balance is 50/50, the
visual shock will be too
strong and will make your
graphics hard to look at.
Complementary colors are
usually one warm color
and one cool color.
A well-balanced color
harmony with
complementary colors can
be inviting and interesting
to look at.
If you think about it, analogous
colors are reminiscent of how
color appears in nature, like
leaves, flower petals, and
gradient colors in the sky.
An analogous color scheme is
generally calming and
controlled. It’s a good idea to
use an analogous palette when
your visual graphics need to
transmit a sense of knowledge,
but not too much excitement.
Give one of the three colors
dominance and use the other
two as accents. Make sure there
is enough visual
difference between each
color so they don’t blend or
compete with each other.
Monochromatic color
harmony is made up of
various shades and tints of
the same hue.
Using a balance of shades
and tints of just one color
can make a really
interesting composition of
light and dark areas.
The triadic color scheme has
either two warm colors and
one cool, or two cool colors
and one warm.

The triadic color scheme you


should choose depends on
your goal.
For digital graphics, the
tertiary and secondary triads
might not be a good idea.
They are way too dark and
moody and are more suited
for fine artists. Stick to the
primary triads in varying
shades and tints.
In this harmony, there is
one color on one side and
two colors directly across it
on each side of the
complementary.
Split complementary color
schemes are generally very
pleasing. When you follow
the rule of 80/20 with a
dominant color, the final
result can be a great-
looking graphic.
For more depth, add a
lighter variation of one of
the two accent colors.
These are generally quite
difficult to balance—using
four colors together can often
make your graphic look over-
saturated.
But when a tetradic color
scheme is well-balanced with
shades, tones, and tints, it
can look really appealing.
From a marketing point of
view, this color harmony
needs lots of testing to find
out what works with a
particular brand and its
audience.
Be careful, just a little bit too
much of one color or another
and the entire mood of the
image can change.
Like the tetradic harmony,
the square color scheme
can also be visually
powerful and
overwhelming at times.
It’s really important to
follow the 80/20 rule of
dominant and accent
colors. Both of these color
harmonies also work well
in gradient designs.
CREATING A BALANCED
COLOR SCHEME
CREATING A BALANCED
COLOR SCHEME
Remember that for every color scheme, there should always be some BLACK AND
WHITE to help balance it out.

FOR EXAMPLE, the text on your website should be black or dark gray, while the
background should be white or have a very pale tone.
This combo of dark text on a light background is an industry-standard for a reason.
It creates good CONTRAST that makes your content both visually appealing and
easy to read.
COLOR MEANINGS AND
SYMBOLISM

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