DOCSLIB.ORG

Color Theory & Reproduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Color Theory & Reproduction Graphic Production Process Control III Additive vs. Subtractive Additive Color is used in photography, television, and computer monitors. Subtractive Color is used with pigments, such as Color Theory & Reproduction paint or ink. by Dr. Jerry Waite UNIVERSITY of HOUSTON Communicating about Color Start at the Beginning Printers and buyers need to understand that Color comes from light. color systems impact the way a colored object – Without light there would be no color. appears. – If you doubt this, try viewing color in a room without light! Objects created using different color systems Objects do not “have” color. will look different – no matter what! – They can either reflect or absorb the light that strikes them. Sources of Light Natural Light All light originates from the sun. The sun gives off many different waves of “Natural” light comes directly from the sun. electromagnetic energy. “Artificial” light usually comes from the burning Humans can see, hear or feel waves of different of some solid or gas. lengths. The sun’s waves are arranged by length in the electromagnetic spectrum. Page ‹#› The Electromagnetic Spectrum Primary Colors of Light Red, Green and Blue – Blue waves are approximately 500 millimicrons in length – Green waves are approximately 540 millimicrons in length – Red waves are approximately 640 millimicrons in length Called the additive system – Addition of electromagnetic waves results in stronger heat, sound or light. This system is used in computer monitors, cameras and color scanners. Combining Combining Primary Colors of Light Primary Colors of Light Red + Green = Yellow Red + Blue = Magenta – Yellow is a “secondary” color of light – Magenta is a “secondary” color of light Combining Combining Primary Colors of Light Primary Colors of Light Blue + Green = Cyan Red + Green + Blue = White – Cyan is a “secondary” color of light ONLY natural light is white – Only when the atmosphere allows it to be. Page ‹#› What about Black? How Objects are “Colored” Black is when no waves of light are combined. Light strikes the object Black is the absence of all color. – Some waves of light are absorbed by the pigment in the object Does that mean that black objects aren’t really – Some waves of light are reflected by the object there? No object “has” color – it can only absorb or reflect color that is present in the light. Artificial Light Sources Measuring Color of Light Sources Natural Sunlight W hite + UV + IR NA Degrees Kelvin (˚K) Flourescent Cyan Room lighting “W hite” flourescent “W hite” Color viewing Sunlight at Noon 6000˚ Kelvin Black Light UV Dylux Cool White 4500˚ Kelvin (flourescent) Incandescent Yellow NA Fluorescent Metal Halides Blues Plates, proofs “White” Fluorescent 5000˚ Kelvin Quartz-Iodine Yellow Process camera Incandescent ± 2700˚ Kelvin Pulsed-Xenon “W hite” Color cameras Lasers Vary Laser printers Colored Phosphors Red, Green, Blue CRTs Liquid Crystals Red, Green, Blue LCD Displays Effect of Light Source on Object’s Effect of Light Source on Object’s “Color” “Color” An object can only reflect that which it receives. Color Rendition Demonstrator A picture of yellow object in red lighting Judgment of color needs to be done under appears red. controlled lighting A picture of blue object in yellow lighting – 5000˚K is commonly used in printing plants. appears black. – Some buyers want to view color under same circumstances as end-user. – No matter what, there must be standardization. Use of RHEM light indicator. Page ‹#› Printed (Subtractive) Color The Subtractive Colors Printing processes do not use light waves to The pigments are colors Yellow, Magenta, and create color. Cyan. – The additive primary colors of Red, Green, and Blue are not Yellow, Magenta, and Cyan are the Subtractive used. Primary Colors. Printing processes use pigments to “subtract” – Note that the subtractive primary colors are the additive color from a substrate. secondary colors. Subtraction of Colors Subtraction of Colors by Pigments by Pigments Yellow ink reflects red and green light waves. Magenta ink reflects red and blue light waves. – These separate waves combine in the brain so that the – These separate waves combine in the brain so that the viewer sees yellow. viewer sees magenta. Yellow absorbs (subtracts) blue. Magenta absorbs (subtracts) green. Whenever you see “yellow” you are “not Whenever you see “magenta” you are “not seeing” blue. seeing” green. Subtraction of Colors Subtraction of Colors by Pigments by Pigments Cyan ink reflects blue and green light waves. Black ink reflects no light waves. – These separate waves combine in the brain so that the Black absorbs (subtracts) red, green and blue. viewer sees cyan. Whenever you see “black” you are “not Cyan absorbs (subtracts) red. seeing” any color. Whenever you see “cyan” you are “not seeing” red. No light is reflected, so no color is seen. Page ‹#› Combining Subtractive Colors Combining Subtractive Colors Printing yellow ink on white paper results in Printing magenta over yellow results in red. yellow. White - blue - green = red. White - blue = yellow. Combining Subtractive Colors Combining Subtractive Colors Printing cyan over yellow results in green. Printing magenta over cyan results in blue. White - blue - red = green. White - red - green = blue. Printing Colors on a Press Another Color Sequence "Black" "Black" Page ‹#› Another Color Sequence Reproducing Other Colors Halftone dots For example, orange is red + yellow Using ink, red is composed of yellow + magenta. "Black" To make orange using halftone dots, you need twice as large yellow dots as magenta dots – 2Y + M Proofing Color Kinds of Proofs Internal Control Digital preproof – to check for job’s color, image accuracy, and registration – Made from electronic files. External Control – OK for some internal control – for submittal to a client for approval – Does not accurately represent press sheet The goal of proofing is to accurately represent Contract proof what the press-sheet will look like. – Made from the same films as plates – The goal of a proof is NOT to look good. – More accurate representation of press sheet Digital Preproofs Digital Preproofs Softproof Black & White or Color Xerographic Prints – Computer monitor – Toner is not ink » Uses additive rather than subtractive system. – Resolution won’t match press » Monitors can be adjusted to change colors – Paper may or may not match press sheet Color Ink Jet Proofs – Inks do not match printing standards – Resolution doesn’t compare to press – Paper may or may not match press sheet Page ‹#› Digital Preproofs Contract Proofs Thermal Wax Single-color – Wax does not look like ink – May be used for internal or external control – Resolution doesn’t compare to press – OK for single-color work – Paper may or may not match press sheet – OK to check image position and accuracy Dye Sublimation – May be used to check color breaks – No halftoning effect – continuous-tone proof – Not acceptable to check accuracy of color – Paper doesn’t match press sheet Types – Velox-type photographic prints – Diazo-type “bluelines” – Polymer-type (Dylux) “bluelines” » can show color breaks Contract Proofs Overlay Contract Proofs Multiple-color Require a separate plastic overlay for each color – May be used for internal or external control Advantages – OK to check image position and accuracy – Available from many manufacturers – Shows color breaks – Relatively inexpensive & quick – May not be able to reproduce non-process colors, such as – Can be placed on actual press sheet PANTONE. – Can be used as a “progressive” proof Disadvantages Types – Overlays add a sheen to the press sheet – Overlay-type – Overlays add density to press sheet – Single-sheet type – Not all spot colors are available – May appear out-of-register – Colorants are NOT ink Single-Sheet Contract Proofs Press Contract-Proofs Each separate image is built on one base sheet The best proof Advantages – It not only resembles a press sheet, it is a press sheet – Available from many manufacturers Advantages – May appear on actual press stock – looks like a press sheet – Colorants may match ink color standards – Same exact stock as press run – No overlays to appear out-of-register or add density – Same inks as press run – May build-in press characteristics – Builds-in press variables such as dot gain and effects of water-in-ink. Disadvantages – Costly Disadvantages – Spot colors may not be available – Press is probably not the same as actual press run – Cannot be used as a progressive proof » May have different characteristics – Colorants are NOT ink – Very costly & time-consuming Page ‹#› Proofing Problems to Consider Color model employed by proofing system Screening technique (or lack of) Do the colorants used by system match ink colors? Available colors Prediction of press characteristics Does the proof demonstrate dot-gain? – If not, the proof will look lighter than the press sheet. Page ‹#›.
Load more

Recommended publications
  • Know the Color Wheel Primary Color
    Introduction to Color/Hue Theory With Marlene Oaks Color affects us psychologically in nature, clothing, quilts, art and in decorating. The color choices we make create varying responses. Being able to use colors consciously and harmoniously can help us create spectacular results. Know the Color Wheel Primary color Primary color Primary color The color wheel is the basic tool for combining colors. The first circular color diagram was designed by Sir Isaac Newton in 1666. Primary, Secondary and Tertiary Colors Color theory in regards to light says that all colors are within white light—think prism, and black is devoid of color. In pigment theory, white is the absence of color & black contains all colors. We will be discussing pigment theory here. The primary colors are red, yellow and blue and most other colors can be made by various combinations of them along with the neutrals. The three secondary colors (green, orange and purple) are created by mixing two primary colors. Another six tertiary colors are created by mixing primary and secondary colors adjacent to each other. The above illustration shows the color circle with the primary, secondary and tertiary colors. 1 Warm and cool colors The color circle can be divided into warm and cool colors. Warm colors are energizing and appear to come forward. Cool colors give an impression of calm, and appear to recede. White, black and gray are considered to be neutral. Tints - adding white to a pure hue: Terms about Shades - adding black to a pure hue: hue also known as color Tones - adding gray to a pure hue: Test for color blindness NOTE: Color theory is vast.
    [Show full text]
  • Several Color Appearance Phenomena in Color Reproduction
    2nd International Conference on Electronic & Mechanical Engineering and Information Technology (EMEIT-2012) Several Color Appearance Phenomena in Color Reproduction Qin-ling Dai1,a, Xiao-zhou Li2*,b, Ai Xu2 1 School of Materials Engineering (Southwest Forestry University), Kunming, China 650224 2 Key Laboratory of Pulp & Paper Science and Technology (Shandong Polytechnic University), Ministry of Education, Ji’nan, China, 250353 [email protected], bcorresponding author: [email protected] Keywords: color reproduction, color appearance, color appearance phenomena Abstract. Color perceived performance was influenced by various color appearance phenomena caused by varying viewing conditions in color reproduction process. It is necessary to do some research on the color appearance phenomena to represent the color appearance models qualitatively and quantitatively and accurate color reproduction easily. Only the phenomena were studied thoroughly, could the color transmission and reproduction be well performed. The color appearance and common color appearance phenomena of color reproduction were analyzed in this paper. And the basic theory of color appearance in color reproduction was also studied. Introduction High fidelity digital printing plays an important role in high fidelity color transmission and reproduction and it is one of the most important techniques to perform high fidelity color reproduction. High fidelity digital printing helps to perform accurate color reproduction of the original which can’t be performed because of paper and ink in traditional printing process [1]. In color printing, the color difference caused by paper, ink and viewing conditions is various. The difference is not only colorimetric difference but also different color appearance phenomena. While the different color appearance phenomenon is the leading factor to influence the color vision perceived.
    [Show full text]
  • "He" Had Me at Blue: Color Theory and Visual
    Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/LEON_a_00677 by guest on 30 September 2021 general article “He” Had Me at Blue: Color Theory and Visual Art Barbara L. Miller a b s t r a c t Schopenhauer and Goethe argued that colors are danger- ous: When philosophers speak Blue is the colour of your yellow hair of colors, they often begin Red is the whirl of your green wheels to rant and rave. This essay addresses the confusing and ing effects. It can leave an intolera- —Kurt Schwitters treacherous history of color the- ble and “powerful impression” and ory and perception. An overview result in a type of visual incapaci- of philosophers and scientists Color Mad tation that, he suggests, “may last associated with developing for hours” [3]. Exposure to blazing theories leads into a discussion of contemporary perspectives: A friend and colleague once confided that she hated yellow light—“red” or “white” light, as the flowers: “I can’t,” she blustered, “have them in my garden.” Taussig’s notion of a “combus- fictional character cries—in real tible mixture” and “total bodily “You sound like a scene from a Hitchcock movie!” I teased, life can result in blinding after- activity” and Massumi’s idea of and Tippi Hedren as Marnie flashed before my eyes. effects; for example, walking out an “ingressive activity” are used of a dark corridor into a bright, sun- as turning points in a discussion Marnie: “First there are three taps.” of Roger Hiorns’s Seizure—an Thunder claps. Marnie swoons, wailing: “Needles .
    [Show full text]
  • Color Constancy and Contextual Effects on Color Appearance
    Chapter 6 Color Constancy and Contextual Effects on Color Appearance Maria Olkkonen and Vebjørn Ekroll Abstract Color is a useful cue to object properties such as object identity and state (e.g., edibility), and color information supports important communicative functions. Although the perceived color of objects is related to their physical surface properties, this relationship is not straightforward. The ambiguity in perceived color arises because the light entering the eyes contains information about both surface reflectance and prevailing illumination. The challenge of color constancy is to estimate surface reflectance from this mixed signal. In addition to illumination, the spatial context of an object may also affect its color appearance. In this chapter, we discuss how viewing context affects color percepts. We highlight some important results from previous research, and move on to discuss what could help us make further progress in the field. Some promising avenues for future research include using individual differences to help in theory development, and integrating more naturalistic scenes and tasks along with model comparison into color constancy and color appearance research. Keywords Color perception • Color constancy • Color appearance • Context • Psychophysics • Individual differences 6.1 Introduction Color is a useful cue to object properties such as object identity and state (e.g., edibility), and color information supports important communicative functions [1]. Although the perceived color of objects is related to their physical surface properties, M. Olkkonen, M.A. (Psych), Dr. rer. nat. (*) Department of Psychology, Science Laboratories, Durham University, South Road, Durham DH1 3LE, UK Institute of Behavioural Sciences, University of Helsinki, Siltavuorenpenger 1A, 00014 Helsinki, Finland e-mail: [email protected]; maria.olkkonen@helsinki.fi V.
    [Show full text]
  • Primary and Secondary Colors Secondary and Primary Science Language Arts Camouflaging Colors
    Science Primary and Secondary Colors Name Red, yellow, and blue are primary colors. Orange, green, and purple are secondary colors. A secondary color is created by mixing together two primary colors. By adding the color white, you can make all of these colors a shade lighter. Color each paint splotch with water-based markers. Make sure you color the whole splotch. What new colors did you create? 1. Yellow and Blue 2. Red and Yellow Color: Color: 3. Red and Blue 4. Red, Orange, Yellow, Green, Blue, Purple Color: Color: Now color these splotches with the following crayons: 5. Blue and White 6. Red and White Answers: 1. green 2. orange 3. purple 4. black 5. light blue 6. pink 6. blue light 5. black 4. purple 3. orange 2. green 1. Answers: © Learning Resources, Inc. Language Arts Camouflaging Colors Name Being camouflaged is a good way to stay safe. Many animals can change their colors, or camouflage themselves, to blend in with their surroundings. Chameleons and frogs are good examples of animals that are hard to find in their habitats. Think about where Carl Chameleon might live. Add in his surroundings, and then use your crayons to camouflage him in his environment. What color would he be? Think about how you would camouflage yourself in your bedroom. What kinds of clothes or face paint would you have to wear? © Learning Resources, Inc. Language Arts Color Matching Name Match the object to its color. Then use crayons to color each picture. 1. white 2. pink yellow 3. 4. red 5.
    [Show full text]
  • OSHER Color 2021
    OSHER Color 2021 Presentation 1 Mysteries of Color Color Foundation Q: Why is color? A: Color is a perception that arises from the responses of our visual systems to light in the environment. We probably have evolved with color vision to help us in finding good food and healthy mates. One of the fundamental truths about color that's important to understand is that color is something we humans impose on the world. The world isn't colored; we just see it that way. A reasonable working definition of color is that it's our human response to different wavelengths of light. The color isn't really in the light: We create the color as a response to that light Remember: The different wavelengths of light aren't really colored; they're simply waves of electromagnetic energy with a known length and a known amount of energy. OSHER Color 2021 It's our perceptual system that gives them the attribute of color. Our eyes contain two types of sensors -- rods and cones -- that are sensitive to light. The rods are essentially monochromatic, they contribute to peripheral vision and allow us to see in relatively dark conditions, but they don't contribute to color vision. (You've probably noticed that on a dark night, even though you can see shapes and movement, you see very little color.) The sensation of color comes from the second set of photoreceptors in our eyes -- the cones. We have 3 different types of cones cones are sensitive to light of long wavelength, medium wavelength, and short wavelength.
    [Show full text]
  • Geography 222 – Color Theory in GIS Mike Pesses, Antelope Valley College
    Geography 222 – Color Theory in GIS Mike Pesses, Antelope Valley College Introduction Color is a fundamental part of cartography. We have conventions that we learn early on in school; water should be blue, vegetation should be green. At the same time, we do not want to limit ourselves. While a magenta ocean may be a bit much, we can experiment with alternatives to convey a certain feeling for the map. Conventional light blue and tan world maps can feel a bit dull, whereas an “earthier” color scheme can get us thinking about exploration and piracy. A slight change in color can have major results. Color may seem like a simple enough concept, but its reproduction on paper, a television, or on a computer screen is an incredible science. To properly use color from a design standpoint, we must have at least a basic understanding of how it is produced. Color Systems Red, Green, Blue or RGB is the color system of televisions and computer screens. By simply mixing the proportions of red, green, and blue lights in screens, we can display a wealth of colors. We call this an additive system in that we add colors to make new ones. For example, if we mix red and green light, we get yellow. Mixing green and blue will produce cyan. Red and blue will make magenta. Red, green, and blue mixed together will produce white. Keep in mind that this is different from when you mixed paints in kindergarten. Mixing red, green, and blue paint will get you ‐1- Geog 222 – Color Theory in GIS, pg.
    [Show full text]
  • My Art Adventure Rv 2
    Understanding The Color Wheel What is a color wheel? A color wheel is a painting tool artists use to help understand the relationships between individual colors and how to best use them. By name, each color is as follows: red, red-purple, purple, blue-purple, blue, blue-green, green, yellow-green, yellow, yellow-orange, orange, and orange red. Sometimes, colors have more common names like “turquoise” for blue-green, and “magenta” for red-purple. Primary Colors Primary colors are the building blocks that make all the other colors on the wheel. Here on our color diagram we can see the 3 primary colors. We know them as red, yellow, and blue. Fun fact:Did you know that you can create ANY color you need from mixing red, yellow, or blue paint? The primary colors on the color wheel are the most powerful colors. Yellow is the brightest color on the wheel while red and blue have been known as “power colors”. That’s why fast-food restaurants like McDonald’s use red and yellow in its logo - so you can see it from far away! Secondary Colors A secondary color is a combination of 2 primary colors. There are 3 secondary colors on our wheel - green, orange and purple. Here is a summary of how to create the secondary colors: Tertiary Colors Tertiary colors are the last addition to our wheel. Tertiary colors are a mixture of a primary color and a secondary color. Each tertiary color is named from a combination of the primary and secondary colors, like yellow- green.
    [Show full text]
  • Analysis of Umberger's Theory for Subtractive Color Reproduction
    Rochester Institute of Technology RIT Scholar Works Theses 11-1-1990 Analysis of Umberger's theory for subtractive color reproduction Paul R. Bartel Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Bartel, Paul R., "Analysis of Umberger's theory for subtractive color reproduction" (1990). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ANALYSIS OF UMBERGER'S THEORY FOR SUBTRACTIVE COLOR REPRODUCTION by PAUL R. BARTEL B.S. Warsaw Polytechnic (1981) A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the Center for Imaging Science in the College of Graphic Arts and Photography of the Rochester Institute of Technology November 1990 Signature of the Author_P_a_u_I_R_"_B_a_rt_e_I _ Center for Imaging Science Accepted by ---'--'M..:.:e::..:n..:.:d:..:.;i'-'V:...:a;;..:eo;::z:....-R:..;.a:::..v.:..;a:..:.;n...:.;iC-.- __ Coordinator, M.S. Degree Program COLLEGE OF GRAPHIC ARTS AND PHOTOGRAPHY ROCHESTER INSTITUTE OF TECHNOLOGY ROCHESTER, NEW YORK CERTIFICATE OF APPROVAL M.S. DEGREE THESIS The M.S. Degree Thesis of Paul R. Bartel has been examined and approved by the thesis committee as satisfactory for the thesis requirement for the Master of Science degree Peter G. Engeldrum, Thesis Advisor Leonard M. Carreira Dr. Roy S. Berns Date ii THESIS RELEASE PERMISSION ROCHESTER INSTITUTE OF TECHNOLOGY CENTER OF GRAPHIC ARTS AND PHOTOGRAPHY Title of Thesis ANALYSIS OF UMBERGER'S THEORY FOR SUBTRACTIVE COLOR REPRODUCTION I, PAUL R.
    [Show full text]
  • Subtractive Color Mixture Computation
    By Dennis Jarvis [CC BY-SA 2.0], via Wikimedia Commons (cropped) Subtractive Color Mixture Computation by Scott Allen Burns, Urbana, IL Published March 10, 2015; last updated May 3, 2015 Note: This is a PDF version of the web page http://scottburns.us/subtractive-color-mixture/ Overview I present an algorithm for computationally mixing screen colors (RGB colors) subtractively. The question it addresses is, "Given two colors specified by their RGB triplets, what RGB triplet should be used to represent the color that would arise if the two colors were mixed like paint colors, i.e., mixed subtractively?" The only way I can think of doing this in a rigorous way is to employ the math behind how a stimulus (a continuous spectral power distribution) enters our eyes and is transformed into a three-dimensional color sensation by our brain. Once this process has been adequately modeled, subtractive color mixture follows directly. The approach I present here is to convert the RGB colors to spectral reflectance curves, mix the curves using the weighted geometric mean, and then convert the result back to RGB. A Disclaimer The algorithm described here provides a representative model for subtractive color mixture. The way actual paints mix, for example, is highly dependent upon the particular pigments being used, as well as many other factors. Be aware that you can mix a blue and a yellow paint to get green in one case, and then mix another blue (that appears IDENTICAL to the first blue and has the same RGB value) and another yellow (appearing IDENTICAL to the first yellow, with the same RGB value) and get brown or some other color as a result! There is no way to differentiate between these two different outcomes based on the RGB values of the source colors.
    [Show full text]
  • Blinded by the Light
    Islands in the Stream 2002: Exploring Underwater Oases Blinded by the Light FOCUS 1 piece of blue color filter or plastic wrap Reflection, absorption, and scattering of light in the 1 piece of green color filter or plastic wrap ocean 1 piece of magenta* filter 1 piece of cyan* filter GRADE LEVEL 1 piece of yellow* filter 9-12 (Physical Science) 1 red marker 1 blue marker FOCUS QUESTION 1 green marker How is it possible for a fish to look one color in deep water and a different color above the water 1 yellow marker in bright sunlight? 8” x 11” white copy paper, 3 pieces per group of students LEARNING OBJECTIVES 1 red apple Students will recognize that the colors they see are 1 green apple a result of the reflection of light and that other col- 1 banana ors of light are absorbed. 1 blueberry 1 lime Students will predict what color an object will Any other colored fruit/object appear when light of different colors is shined upon * If you do not have access to these filters in it. your physics laboratory, they can be purchased from Arbor Scientific, POB 2750, Ann Arbor, MI Students will predict what color(s) will be produced 48106-2750, 1.800.367.6695 (Product ID 33- when different colors of light are mixed. 0190, Category Light and Color, Color Filters Kit, Students will identify the three primary colors and $12.00) three secondary colors of light. A/V MATERIALS ADDITIONAL INFORMATION FOR TEACHERS OF DEAF STUDENTS None Words listed as key words have no formal signs in American Sign Language and many are difficult to TEACHING TIME lipread.
    [Show full text]
  • Color Schemes Are Combinations of Colors
    Color is the reflection of light off of an object into our eyes. Our eyes then read the speed of the light and tell us which color that object is. There are two major categories under the heading of color, they are: 1. Neutrals 2. Colors Neutrals are (combinations of) black and white and all grays Colors consist of: Primary colors Secondary colors Intermediate colors also known as Tertiary colors Primary Colors: are the basic colors that you cannot make by mixing. They are natural colors found in nature. They are red, yellow, and blue. Secondary Colors: are made by mixing any two secondary colors. The secondary colors are orange, violet and green. Intermediate Colors: are made by mixing a primary and a secondary color. The secondary colors are, red-violet, blue-violet, blue-green, yellow-green, yellow-orange and red-orange. Color schemes are combinations of colors. There are many different types of color combinations, however, only four of the most basic are included here. They are: • Complementary colors • Analogous colors • Warm & Cool colors • Monochromatic colors Complementary Colors: are any two colors that are opposite each other on the color wheel. Analogous Colors: are any two colors that are adjacent to (or next to) each other on the color wheel. Warm & Cool Colors: warm colors are those colors that contain combinations of red and yellow. There are six. To help you remember what a warm color is, think of the sun or fire. Cool colors are those colors that contain green and blue. There are six of these too.
    [Show full text]