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first of our two-part series T omo Jesenicnik, on using color in the garden, azvan, R azvan, by internationally recognized R adu author and designer Tracy DiSabato-Aust. p erkins, rossco, atrina Järvinen, thomas K atrina m. Photos by (clockwise from u pp er left) It’s an understatement to say we garden- below). ers are fond of color; we’re often obsessed Analogous colors—orange and yellow, Hues that are close to being pure, such as with it. Many times it’s the feature that for example—are adjacent, or nearly so, this blue and red (top photo), can create sells us on a plant. Although a colorful gar- on the color wheel. Colors opposite each unappealing contrast when juxtaposed in den is eye-catching, it should be created other on the wheel, such as green and red, the garden. A more pleasing combination with consideration to all design elements. are complementary or contrasting colors. would be pink and blue (middle photo), Understanding a little color theory Pure spectral hues are uncommon in because the pink is a lighter value of red and some basic color principles can help nature because they don’t occur on the and the contrast with the blue is not us create harmonious and unified mixed flat, uniform surfaces we need to perceive as great. In the larger garden context, and gardens. Let’s start with the three dimen- them as such. Thus, garden combinations the spruce’s blue color works well with sions of color: hue, value and intensity. that contain only colors closest to pure greens, pinks and whites (bottom photo). hue you hues don’t work well because they’re too Heavenly Hues contrasty. For example, a bright-red flower Hue is pure color, containing no white, next to a blue spruce is glaring to the eye black or gray. The primary hues are red, because both plants contain pure hues. The yellow and blue. The secondary hues, combination will work much better if one each a combination of two primaries, or both hues are lightened or darkened, so are orange, green and violet (also called a pink flower would be better beside a blue purple). Mixing a primary and secondary spruce (see photographs at right) because hue creates a tertiary hue: red-violet, red- its color value is less pure and contrasts orange, yellow-orange, yellow-green, blue- more favorably with the spruce’s blue hue. green and blue-violet. The three primary, Every color has both a warm and cool three secondary and six tertiary hues make range. We usually perceive warmer colors up the 12-part color wheel (see illustration as being near and cooler colors as receding.

This 12-part color wheel differentiates colors into shades (inner ring), pure hues (middle ring) and tints (outer ring). Colors opposite each other, such as green and red, are complementary. Colors next to each other, or nearly so, are analogous. ADAMS IAN BY FLOWER P HOTOS TIMBER P RESS ; A ust D isabato- COURTESY T racy ILLUSTRATION Photos by

Reprinted with permission of Boulder County Home & Garden Magazine Because of this, blue flowers usually seem distant, while warmer orange or red flow- ers seem closer. By applying this principle in the garden, we can make a combination, border, or even an art element appear closer (hence more prominent) or more distant and less prominent by our color selections. Sound Values Value, color’s second dimension, refers to a color’s luminosity, or the amount of light reflected back from it. Lighter colors, or tints, of a color contain more white and have a higher value. Darker colors, or shades, con- tain more black and have a lower value. For example, pink is a high-value tint of red and maroon is a low-value shade of red. Every hue has differing values as well. Yellow, the lightest color in the spectral wheel, has the highest value of any pure hue, while the darkest color, violet, has the lowest value (see illustration below). Many different values—or areas of light and dark—are apparent in a single leaf, plant or flower combination, depending not only on the actual color value, but also on how light reflects off various parts of the plant. Light increases a color’s appar- ent value; shade decreases it. The contrast between light and shadow in the garden creates depth and interest. As you move from a sunny to a shady area, your eye perceives a value shift that it must adjust to. Too much value Above: This illustration demonstrates how the hue, value and intensity of a single balloon contrast can create an unsettling space, flower (Platycodon grandiflorus) are affected by the color of light, the type of light and while too little can be boring to the eye. the interaction between surrounding colors. Likewise, color values can appear more or less prominent, depending on their color

Below: This illustration of value scale and saturation of hues shows how intensity increases from left (grayer) to right (more saturated), while value decreases. T imber Press R enee Peters, courtesy tacey S tacey llustrations by I llustrations

Reprinted with permission of Boulder County Home & Garden Magazine A ust D isabato- T racy Photos by The combination of a dark orange with Early morning light a light blue (above) doesn’t work because (above) enhances this the natural order of the colors is wrong. garden’s depth and three- This blue and orange combination (below) dimensional nature, while is more effective, because the blue is dark backlighting (left) makes and the orange is light, almost peach, translucent plants glow. which is more in line with the natural Take advantage of lighting value order of the colors. conditions in your garden through strategic planting.

interaction with surrounding plants (see der—imply lightness or fragility; shades “top illustration on opposite page.) of colors—dark blue and maroon—imply All garden elements are affected by weight or solidity. Thus, we can make value, including hardscaping materials. So a smaller garden seem larger by plant- making the color value of your maintenance ing tints (and cooler colors and finer path similar to the plantings around it will textures) in the background of a border make the path appear less conspicuous. or at the far end of the garden or path. Tints of colors—peach, pink and laven- Conversely, planting shades (and warmer colors, stronger contrasts and bold forms) in the background can make a larger gar- den appear smaller and more intimate. A simple rule is to keep lights light and darks dark. It’s more pleasing to com- bine tints of lighter colors with shades of darker colors than shades of lighter colors with tints of darker colors. The “color guishes the colorful from the dull. I like to police” have forever told us that pink and think of intensity, or color saturation, in orange shouldn’t be used together, and this way: picture a sponge or rag soaking now we know why. up as much paint as it can—it will be fully To balance colors in the garden, you saturated. A pure hue, without the addi- generally need more of a darker color than tion of another color, has the highest satu- a lighter color if both are at full intensity. ration. Yellow and red grab our attention For proper proportion, use about two- because they are more highly saturated These two spring-flowering plants thirds blue flowers (darker hue), for exam- than purple, blue or green. charmingly complement each other. The full ple, and one-third orange flowers (lighter The addition of white makes a pure form of the daffodils adds weight to the hue), if both are fairly pure in color. hue a tint, the addition of black makes composition and contrasts nicely with the a pure hue a shade, and the addition phlox’s open form, as do their complementary Intense Information of gray makes a pure hue a tone. If we colors. The daffodils’ bright white appears Color’s third dimension, intensity, refers plant less saturated (grayed) hues in the more brilliant in this partially shaded to the tone (or relative brightness or background, with saturated hues nearby, location because of its higher color value. grayness) of a color. Tone is what distin- the gray-hued plants will recede into

Reprinted with permission of Boulder County Home & Garden Magazine A ust D isabato- T racy Photos by

The cooler colors of this classic, romantic early-summer This yellow flower’s high color value is enhanced combination are relaxing and appealing. Different flower shapes by a darker background, while the sensual forms of add interest, and the peony flowers’ weight and mass help to these two plants add contrast. anchor this lighter mix of textures. the distance, creating a feeling of depth. dimensional nature. Backlighting causes Texture and form also affect color. Vivid Conversely, placing saturated colors in translucent objects to glow, while front colors in soft, airy textures have less impact the background reduces depth. Low-satu- lighting makes them appear flat and than the same colors in bolder, heavier tex- rated colors are apparent in bricks, stones, two-dimensional. As gardeners, we can tures (see above-left photo). Bold flower mulch and gray-foliaged plants, which are capitalize on different lighting by strate- or leaf forms have more surface area, and good backgrounds for our plantings. gically placing certain plants to take best therefore carry more color impact, than For good proportion and color balance, advantage of these conditions. delicate shapes of the same color. Fine-tex- combine two-thirds lower-toned colors Color interactions are another important tured flowers and leaves will make colors with one-third intense colors. consideration when designing the garden. appear mixed at a distance more so than For example, in a yellow border, includ- coarse-textured ones. Bolder leaves will ing small areas of violet flowers (which is show more distinct colors at a distance, Colorful Factors opposite yellow on the color wheel), cre- which can be important in certain mixed Light, associations among colors, textures ates dramatic relief and bright focal areas border situations. and forms, time of day, and the distance that are more stunning than a sea of yellow Balancing color in a garden takes from which it is viewed all affect the way alone. In the same way, green foliage in a time and practice, and spring is the per- color appears in the garden. red garden (also opposites on the wheel) fect time to put these principles to work In average daylight, red, yellow and is a ready-made brightening contrast. in your garden. So dig in, and have fun orange are most apparent, followed by Surrounding a color with neutrals, such as with the process. green, blue and purple. In dusk’s blue- grays or browns, or with less saturated col- ors, is another way to dramatize a color. Tracy DiSabato-Aust is violet light, red darkens while the color an award-winning gar- For example, splashes of of blue flowers may appear heightened. den designer and owner In sunny situations, vividly colored flow- gray foliage will enliven of Horticultural Classics ers and foliage shine, while pastel colors a purple garden. and Consultations, a gar- appear washed out. Surrounding a color den design, installation and maintenance com- It’s worth noting that many pastel-col- with analogous colors— those adjacent to it on the pany. She is an intettrna- ored flowers are naturally more adapted tionally recognized hor- to shady sites (which suit their true color), color wheel—will decrease ticulture author whose while most richer-colored flowers require the color’s brightness, as books include The sunny sites for best growth. Because of will surrounding it with Well-Tended Perennial Garden and The Well- their higher value, whites, pastels and yel- more highly saturated col- ors. Placing flowers against Designed Mixed Garden lows are more brilliant in shade than are (Timber Press), from

a darker background will D ebra Goff deeper colors. which this piece was lighten the flower’s color In early morning, late afternoon and adapted. Look for value, while placing them weak winter light, contrast is reduced, her article on creat- against a lighter background ing color schemes for enhancing the garden’s depth and three- Photo by dr. will darken the color value. the garden in the next issue. Reprinted with permission of Boulder County Home & Garden Magazine