44 Chapter 04 Colour Towards a New AgeDesign a New Graphic Towards watch TV or computerwatch TV monitor. eyes when of in coloured we second ismixing , of coloura in pigments used mixing use colours. is first The different ways by we which two at least that are there said Therefore, be mixed. it colour some are can cases in lights ways. pigments Sometimes of mixed, colours varied are in above situation entire colour the In used colours lights. are or computer on TV the image we mix acolourful we see When different pigments each of other.of colours Holi, we mix with each other. festival the with during Even mixed pigments are shade colourto get case of expected colours. the this In each other with mixed are paints oil on canvas, painting of colours, therefore isgoverned properties. While by these Experience properties. perceptual from apart properties demonstrate — physical properties colours that have varied Few more of examples everywhere. suchare situations will abovethe mentioned colours situations that one realises layered on are each other. from inks coloured Apart printing putcolours a calendar are over one another. printing While layers of transparent awaterIn colour painting, landscape to get effect. desired the mixed are coloured a theatre, In lights each events of of in these different. properties coloursthat are considered of colours. festival the as to note It isinteresting of Holi. festival powder Holi and is colours during painting, water colours landscape in colour transparent calendars, multi- printing performance, adramatic in coloured lights professionals. situations various such in used Colours as are other design by many and architects, designers, artists, Colour isstudied by used graphic and design. graphic in more acomprehensive on colour view its applications and to provide try chapter introduced. will This already been , colour intensity, colour value, colour etc. saturation have on Graphic basic Design, concepts of colour such colour as colour’, textbook standard ‘ colour’ XI on. so the and In we refer that ‘ by acolour experience like name visual combined together, isgenerated. the James Clark are bands of each of three the parts equal Green. When Red, Bluecolour called of and of bands light primary three are there additive per the colourAs theory Theory Additive Colour ‘Additive ‘Subtractive colour and theory’. colour theory’ of colourtheories as have developed. been known are These outcome an As ofexperience. scientific majortwostudies, studied by phenomenon scientists the to understand of colour different applicationsunderstand of colours. Colour is also comprehensive give theories of perspective colours help that to studyIt colour because these isimportant theories C C olour experience. It is the specific perceptual characteristic of Itcharacteristic perceptual experience. specific isthe olour component most isthe essential of visual T heories 45 Colour Maxwell recognised this phenomenon in the mid 1800s. This 46 gave birth to the Additive theory of colours. The additive theory describes how we perceive colour and how they are created. Essentially white light is a combination of three different colours, a continuum of wavelengths organised into bands which we label with names (, green, red etc). Red, green and blue are the primary colours of this theory. All three colours eventually will result into generation of white light, and the absence of all three will produce . When two primary colours of additive theory are added together, you get secondary colours that are brighter than either of its components. These are the “additive” combinations.

Red + Green = (Yellow is brighter than red and green)

Red + Blue =

Towards a New AgeDesign a New Graphic Towards (Magenta is brighter than red and blue)

Blue + Green = (Cyan is brighter than blue and green)

By combining varying amounts of red, green and blue lights you can create new colours. Combining these three primary red, green and blue lights, the entire spectrum of visible light can be created. A TV monitor uses principles of additive colour theory. In the computer monitor also pixels have sub-parts that can emit three colours; Red (R), Green (G) and Blue (B). In a monitor they are lit with appropriate intensity to produce colour effects. Therefore knowledge of additive colour theory is necessary to understand colour behaviour on TV screen or computer monitor. The term RGB has became popular among designers due to this theory.

Subtractive Colour Theory Light is the source of all colours. White light has all the colours according to Newton’s theory; from red to . The central concept of the subtractive colour theory is that pigments of paints or inks absorb certain rays of light and reflect other rays of light. Combination of these reflected rays create the experience of colour that is perceived by eyes. When we see a white object, all the rays of light are reflected. No ray of light is absorbed as per the theory. When we see a yellow object then only rays of light which create yellow colour are reflected. It means that rest of the rays of light are absorbed violet, and other secondary as well tertiary colours are colours are tertiary well as other secondary violet, and orange made up Similarly, are ofVeridian green different materials. and Chrome light green, green Poster materials. different of made up are red or red Indian Lake Poster and red colours. For instance, primary notare produced by mixing colours, isahuge of there colours range provided. Colours water and paints oil or in inks printing in practically So colours. to get or chemicals particular different material shades. Therefore,with isapractice there of using comparatively. dull are magenta case and isthe Same cyan of Similarly, shades mixing expected. the of violet after than duller yellow are magenta and shades by mixing of orange reduced luminosity. with always is for the So instance, colour resultant the and luminosity loose their they mixed subtractive colourissues theory. with colours the Since are outstanding many at end. the are There dark a brownish co resultant of colours colours is lost purity the the and go on mixing that one should expected it is the colour.get (K) Black finally fashion, colours this in colours. one If secondary goes on mixing colours of these pigments we get or inks system. we mix When colours of this supposed(M), Yellow primary are the to be (Y) colours of (C), subtractive theory. Cyan Magenta primary the as taken are colours of additive theory the secondary the of colours. theory Additive Therefore in discussed already colours demonstrates opposite exactly of that behaviour of Subtractive colours theory white light. the from certain have to absorb properties or materials, subtract being inks, subtractive the colourusing method. pigments The and process, we are printing or the dyes in inks printing the have colours own. of their to get white yellow light the the from colour. Objects do not =yellow. +green red additive per theory, the as discussed already rays.green As rays object. isabsorbed by the object The and reflected has red of above ayellowthe case object, colour the blue white from white colour combination.and their Now isproduced in with colours blue primary and the red, green are additive theory As per white sunlight. the or subtracted original the from However, it never happens you because reality as in colours colour using pigments, we mix When or through Therefore, blue object absorbed by the rays are or subtracted lours become dull and muddy.lours and become dull one gets reality In Cyan +Magenta =Blue Cyan +YellowCyan =Green Magenta +Yellow =Red in printing.in popular become has ‘CMYK’ term the Therefore, results. better get to mixed also is colour (K) ofblack dyes pigments/inks/ printing In 47 Colour 48 Towards a New AgeDesign a New Graphic Towards

not produced by mixing primary colours. They are produced from different materials that reflect light rays that produce a particular shade of colours. These two theories came into existence primarily because behaviour of light is different when light is mixed and behaviour of light is different when it is absorbed by the substance and we perceive only the reflected light. Since colour is a perceptual experience it is bound to be highly subjective in nature. Graphic designer is mainly concerned with the visual impact of the colour in their designs. The response of the viewer varies from person to person since colour experience is subjective. Graphic designer’s task, therefore, is quite complex. Graphic designer needs to understand various perspectives on colour and then through trial and error, one needs to develop one’s own strategies to use colours that will result in maximum impact for majority of the target viewers. traditionally, the colourtraditionally, the to used generate wheel isbeing and regard this In understanding. to follow traditional the nomenclatures, respective and beneficial it ispractically of colour range agreement on certain isan since there asimplein manner. designer’s graphic the From perspective, black as well colour colour as various pigments schemes. in absence of colours. However, designers graphic use white as colours black the a combination and isconsidered of all as viewpoint scientific white is the from supposedof that be to blackwhite and colours. as point specific The of concern is adebate been has there colours. about Also status of the of nomenclatures of standardisation on opinion of difference been always has There on this. may vary perspective nomenclature by the ‘Red’,recognised for Scientific instance. upon of colour designers arange graphic agree hues is that and nomenclatures. the given and Therefore, artists all upon havecolour specific and agreed hues sensitivity visual have used their artists Traditionally, designers graphic and values. their and specific hue to standardise difficult very red, blue, yellow, popular, violet, and are green orange, it is generated. nomenclatures these of Although colours such as, colours are combined, colours are tertiary the secondary and primary colours. nearby considered the When secondary as colours. colour the Violet In Green wheel and Orange, are secondary the gets one proportions equal in colours primary the combining colours. After Blue considered are primary as colour wheel on colours isbased twelve where Red, Yellow and colour wheel have made, been but useful most and the popular of basic easiest the way.an variations many years, the Over find out relationshipany of colour other onein with colour of behaviour colours later systems on. to explain their others have developed many and Munsell Ogden Rood, Albert isacombinationwhite light of seven colours. Goethe, Chevreul, that 1666 in wheel Isaac Newton designed to explain by Sir was colourschemes their interactions. and The first such colour colourand relationships. colour helps It understanding also in arrangements, classification, colour of principles fundamental for understanding manner acircular in organised colours are colourThe wheel or where device colour isabasic circle visual C designers graphic study and it. artists However, capability, due explanatory to its simplicity and colourThe wheelsystem. system ascientific isnot strictly simple basic the conceptsto understand of colour behaviour. ‘colourthe wheel’, designers ismore and practiced by artists of of colourtheory pigments Scientifically, Traditional thebut behaviour the explains Subtractive the theory Interestingly of behaviour coloursthe used. when colour are lights olour The colourThe wheel such is designed in one a way that can to know isrequired of theory Understanding Additive The issue of standardisation of resolved issue be coloursThe of cannot standardisation W heel 49 Colour understand various colour combinations that happen to be 50 visually pleasing. There are a number of colour combinations that are considered especially pleasing. These combinations are also called colour harmonies. The twelve-colour wheel is sufficient to generate most important and frequently used colour harmonies. For more detailed combinations one can use the twenty-four colour wheel also. Following is the most popular twelve-colour wheel.

Primary, secondary and tertiary colours are as follows: Primary colours – Red, Yellow and Blue Secondary colours – Orange, Green and Violet Tertiary colours – Reddish-Orange, Orangish-Yellow, Yellowish-Green, Greenish-Blue, Bluish-Violet and Violetish-Red Colour wheel is a wonderful visual device. With the help of a colour wheel you can understand the nature of colours, their associations with other colours as well as colour schemes.

Towards a New AgeDesign a New Graphic Towards Warm and Cool Colours This is the most simplest classification of colours. All the visible colours can be divided into two basic categories— warm colours and cool colours as shown in the figure alongside. Normally, warm colours are considered as aggressive and active colours while the cool colours are considered as passive and receding colours. A range of colour hues from redish-violet to yellowish-green is considered as warm colours. On the other hand hues ranging from green to violet are considered as cool colours.

Colour Harmonies or Colour Schemes With the use of the colour wheel many colour schemes can be generated. However, there are few colour schemes that are well-established. In the following description, whenever a colour scheme is mentioned it is assumed that the colours in the said colour scheme can be used as pure hues or with its all possible tints, tones, and shades to generate colour harmonies. Normally in any colour scheme, two or three colours are used, of which one colour is used as a dominant colour and the rest of the colours are used as sub-dominant colours or supporting colours. The dominant colour in the colour scheme is responsible for creating the mood or the impact of the colour scheme. It is very difficult to handle more than three colours in a colour scheme. Only experienced graphic designers can handle more number of colours successfully in a colour scheme. the viewers. the attention becauseadvertisements contrast the captures of colour schemes. appropriately, used When good for are they imapact of the use contrast complementary onewants can oneschemes carefully. Whereever must very handled be of Red. Green Suchit case and the isevident colour in side used are by side. they effect if create avibrant Especially effects. pleasing produceand visually tones, tints, shades, and their complement they each other not put rendered close to and each adesign other with in ‘hueas contrast’ or ‘colour contrast’. colours these are When known isalso colours. of This contrasting pairs the also are of colours suchpairs red-green, as blue-orange, yellow-violet when degrees put close to each other.varying For instance each other. produce colours Complementary also contrast of consideredtherefore are complementary colours they as of opposite are green to eachand other on colour the wheel and colours. For contrasting example, red called also are They consideredare complementary to be colours to each other. oppositeColours are that to each other on colour the wheel scheme colour Complementary cool acool result colour colour in hues scheme. will colour scheme. warm Similarly, acolourcalled scheme using acolourhues in used scheme colour are that then scheme is colours. some When of these warm colour wheel iscalled that mentioned, of colour already isarange there huesAs on the schemes colour cool and Warm Many a times high contrast of complementary colours high atimes Many they produce a jarring effect. ajarring produce they since texts reading the for good all at not are schemes colour Complementary 51 Colour Analogous colour scheme 52 When any three colours that are next to each other on the colour wheel are used in the colour scheme it is called Analogous colour scheme. Such colours match visually well with each other and create serene and pleasing effects. Analogous colour schemes are abundantly found in nature and are very pleasing to the eyes. While using analogous colour scheme one has to take care that one of the three colours should be used predominantly and out of the remaining two colours, one should be a sub-dominant. The remaining colour adds beauty. It is needless to say that these colours should be used with all their tints, tones and shades.

Triadic colour scheme A triadic colour scheme is a colour scheme that uses three colours that are evenly spaced on the colour wheel. Such colour schemes are vibrant but not very aggressive. While using such Towards a New AgeDesign a New Graphic Towards

colour schemes one should take care that only one colour should Activity 1 dominate and other two colours should be sub-dominant.

Select two of Split-Complementary colour scheme contemporary artists based This colour scheme is a kind of variation on the complementary on the colour scheme colour scheme. While choosing complementary colour scheme analyse the mood of the one has to choose any colour on the colour wheel as a base paintings. colour first. Then the opposite colour on the colour wheel is the complementary colour of the base colour. In the split- colours colour. of base the colour) base consideredthe are split-complementary the as colours sides on the both of colour the (complementary red of twothe colourandadjacent base green is figure, following the effective. In equally and colour to handle easy scheme isvery complementary colour scheme, This but less distracting. has colours. sub-dominant as act coloursconsidered colour other the two dominant and the as of complementary colour. the Normally, colour base the is adjacentscheme colour two base the the has and colours the sides of opposite the colour chosen. colour the are So opposite colour colour, of base the adjacent colours on both complementary colour scheme, instead of the choosing This colour scheme has strong contrasting impact as the colour impact the as schemeThis contrasting strong has A analogous colours. analogous using design a create finally and artwork unite to used are how they analyse and colouranalogous schemes two identify will Students ct ivi t y 2 53 Colour Tetradic colour scheme 54 Choose two complementary colours on the colour wheel, C1 and C2. Then choose split-complementary colours of C1 and C2. Let us call these as S1C1 and S2C1 for the colour C1 and S1C2 and S2C2 for colour C2. Then the colour scheme using S1C1, S2C1 and S1C2, S2C2 is called the tetradic colour scheme. It uses two pairs of split-complementary colours. Normally pairs of adjacent colours of complementary colours as shown in the figure are used to develop this colour scheme. This colour scheme offers rich possibilities of variations but it is equally difficult because this colour scheme uses four colours. The real challenge in this colour scheme is of choosing the right dominant colour and striking an appropriate balance between warm and cool colours since this colour scheme has two pairs on opposite sides of each other. Towards a New AgeDesign a New Graphic Towards

Square colour scheme The square colour scheme is variation of the previous tetradic colour scheme, where all four colours are spaced evenly around the colour circle. All the challenges and qualities of this colour scheme are similar to the above.

Colour Interactions As already seen in the previous section, colour combinations generate colour harmonies. Colour harmonies are possible because when number of colours with their appropriate tints, tones, and shades are organised in a composition they create collective impact on the viewer’s mind. Colour harmonies are the simpler examples of colour interactions. However, there are more specific interactions of colours that cause peculiar visual effects as well as create illusory effects sometimes. All such combinations of colours are studied under the area called ‘colour interactions’. discussed here.discussed phenomenon however, after-image, called have they not been effects due to a visual other of possibilities creating are There hue the by in colours. of anear change as well value as colours; nearby Interactions grey and the due in to change colours;of nearby Interactions hue the due in of to change interactions: value Interactions grey the due in to change regard. this in contribute greatly responsible of form may the also impact. Size to create this colour. Mostly, colour value hue of colours grey and are or recedes, on background depending the forward coming effect or vibrations. cause distracting they other. active that so to be appear they some At other instance each with or blurring mixing to be appear they that indistinct put colourstwo are together, so be can colour boundaries sense. when Sometimes objective certain as well as in environment. its perception colour interpretation of any and dependsvisual on situations. specific colours in behave that saysHe strangely Therefore, there are three major types of possible major colour types Therefore, three are there colour looks aparticular in aform painted Sometimes Colour subjective interactions combinations are their and ateacher was Josef at that Bauhaus, the Albers he realised interaction of colours) interaction smooth (For value. grey of equal yellow light and colour green Light colours) of interaction vibrating (For side. by side colours red and Green 55 Colour Grey looks darker because grey value of yellow is very high 56 as compared to grey.

Grey looks lighter because the grey value of yellow is very low as compared to the grey. Towards a New AgeDesign a New Graphic Towards

In the case of hue contrast many striking effects are possible as follows: Contrasting Hues Create Vibrating Effects When two contrasting or complementary colours are put together, they create distracting or vibrating effect. The following example shows that there is an illusion of shadow of the text because of the hue contrast.

Another vibrating effect with contrasting hues symbolism becomes relevant at this stage. becomes relevantsymbolism at this colour the Colour experience. with associated some meaning there to find is outif try you sometimes Then experience. also the to capture use words and to understand or language attempt isan it it. describe is adescription. But This still toappropriate find reaction. words you intuitive Then to try and isamost natural This words experience. the to describe vast do blue the notsee and overwhelmed you have sky are theperson a colour reacts to intuitively.first, whenLike you multipleeyes, are there reactions colour to the At experience. one When perceives experience. acolour sensation through mentioned,already colour isabasic component of visual of study.areas However, controversial. As equally are they colourColour and quite psychology symbolism fascinating are C islow. colours of text thereforenearby the and readability the low two contrast between isvery there cases the both In hue contrast. isaminimal there examples following the In olour S ymbolism background awhite on Yellow text background ablue on text Red warning of asymbol as used often is Red background ablack on text Blue 57 Colour 58

Colour symbolism is mostly culture specific. Meaning of colour changes from culture to culture. However, to some extent, origins of meaning can be traced back to physical and biological levels. For instance, colour red is considered as a symbol of danger. If you see blood you immediately start thinking about an accident or a mishap. If one tries to understand the association of red colour with danger then it appears to be quite natural because the colour of blood is red. Therefore the association of colour red with danger

Towards a New AgeDesign a New Graphic Towards appears to be most obvious. When you see a red signal on the road, you tend to stop. However, when you see a green signal you understand that there is ‘no danger’ you need not stop on the road. The road is clear. In this case, it is very difficult to justify association of green colour with clear road or ‘no danger’. It is just because of the convention that we understand the meaning of green colour in this way. Symbolic meaning of colours is accepted in the society or culture by convention. It is not always possible to find out the origin of the symbolic meaning of colours. Probably, from the graphic design point of view red stands for danger and on the colour wheel green is on the opposite side of the red colour therefore, intuitively green is considered symbol that suggests ‘no danger’. Other possible justification would be that green colour creates feeling of freshness and soothing effect therefore, from psychological point of view green is considered as the symbol of clear road. However, this kind of justification is not possible in case of other colours. Colour symbolism is studied at three levels: Physical/Biological; Psychological and Symbolic levels. Physical and Biological experiences lead to create deeper level impression in our psyche and then these impressions are translated into colour symbolism. Following is the description of few basic colours and their associated symbolic meaning. White: White is considered as the symbol of light (moonlight as well as sunlight), reverence, purity, truth, peace, innocence, cleanliness, simplicity, security, humility, life. Black: Black symbolises absence, mystery, evil, death, fear, emptiness, darkness, seriousness, conventionality, rebellion, anarchism, sorrow. Grey: Grey is a combination of white and black. It stands for, humility, respect, reverence, stability, subtlety, old age or simplicity, friendliness, and dependability. and friendliness, simplicity, steadfastness, wholesomeness, earth, roughness, poverty, fascism, boredom, anachronism, heaviness, filth, dullness, rusticity,organisms, richness, nature, stability, tradition, Brown: romanticism. and pride, cosmos,wealth, ceremony, mystery, enlightenment, wisdom, royalty, nobility, envy, sensuality, Violet: spirituality, creativity, intelligence. creative harmony, and balance, health, stability, calming, growth, abundance, sincerity, natural renewal, earth, eternity life, prosperity, good luck, vigour, generosity, coldness, grass, forest), fertility, money, youth, spring, wealth, environment, Green: desire. and playfulness, sun), heat, (rising enthusiasm, fire, balance, flamboyance, orange), are costumes ofhappiness, asanyasi energy Orange: helps and intuition. rest, the cooling serenity. It iscalming, it of and invokes sea, feeling colour the the is the and of sky dependable trustworthy, as of commitment. asymbol It and Blue: friendship. summer, hope, wonder, liberalism, sociability, gladness, and (), intelligence,optimism, spirituality, idealism, wealth Yellow: blood, war, anger, revolution, radicalism. and ambition, leadership, power, courage, masculinity, danger, energy, love,sex, fire, excitement, romance, arrogance, heat, Red: urbanity, neutrality, mourning, and formality. boredom, hair, pessimism, grey decay, pollution, dullness, E 6. 5. 4. 3. 2. 1.

Red symbolises passion, strength, aggression, desire, aggression, passion, strength, symbolises Red Blue creates a feeling of overwhelmingness. ItBlue isseen of creates overwhelmingness. afeeling some heavy machinery and why? and machinery heavy some for advertisement an making would you while colours choose What colours? of by symbolism you do understand What international? is audience your if target your in you colour design How choose will colours. some of associations universal the Discuss adesign. of mood the setting in help scheme colour appropriate of use the How does context. socio-cultural the in especially your in surroundings colours different of symbolism traditional the about out Find theory? colour subtractive and additive between difference the is What Violet isacombination blue. of and red It symbolises xer Yellow typically symbolises sunlight, joy, sunlight, symbolises Yellow happiness, typically Brown symbolises calm, boldness, depth, natural boldness, depth, calm, natural symbolises Brown Green symbolises intelligence, nature (green intelligence, (green nature Green symbolises Orange typically symbolises sacrifice (especially (especially sacrifice symbolises typically Orange c ise A support the chosen Rasa support should colours and shapes of geometric shapes. Selection and organic using 2D design Shāntam heroism; heroism; Bhayānakam Bībhatsam Fury; Hāsyam- ( states nine one rasa Select Green symbolises environment symbolises Green ct rasas Kārunyam Shringāram ivi - peace.) Create a Laughter Adbhutam or nine emotional emotional nine or - disgust, t - horror; Vīram horror; - y out of the out of the - compassion, compassion, - 4 , Raudram, - Love; Love; - - wonder; wonder; - . - 59 - Colour