BY
KRIS
OCA
I. Additive ▤ ▤ ▤ RGB
Red, green, and blue colors (collectively called RGB) that televisions and computer monitors mix in various intensities to create all other colors. These are the actual (and not reflected) colors seen by the eye.
—businessdictionary.com
II. Subtractive ▤▤▤▤ CMYK
When we mix colors using paint, or through the printing process, we are using the subtractive color method. Subtractive color mixing means that one begins with white and ends with black; as one adds color, the result gets darker and tends to black.
—worqx.com
III. Theory of Color
Primary
In theory, the Primary Colors are the root of every other hue imaginable. The primary pigments used in the manufacture of paint come from the pure source element of that Hue. There are no other pigments blended in to alter the formula.
—color-wheel-artist.com
Secondary
When you combine any two of the Pure Primary Hues, you get three new mixtures called Secondary Colors.
—color-wheel-artist.com
Tertiary
- yellow-orange
- red-orange
- red-violet
- blue-violet
- blue-green
- yellow-green
When you mix a Primary and its nearest Secondary on the Basic Color Wheel you create six new mixtures called Tertiary colors.
—color-wheel-artist.com
IV. Color Models
Analogous
Analogous color schemes use colors that are next to each other on the color wheel. They usually match well and create serene and comfortable designs.
Analogous color schemes are often found in nature and are harmonious and pleasing to the eye.
—tigercolor.com
Monochromatic
The monochromatic color scheme uses variations in lightness and saturation of a single color.
—color-wheel-pro.com
Triadic
A triadic color scheme uses colors that are evenly spaced around the color wheel.
Triadic color harmonies tend to be quite vibrant, even if you use pale or unsaturated versions of your hues.
—tigercolor.com
Complementary
Colors that are opposite each other on the color wheel are considered to be complementary colors (example: red and green).
The high contrast of complementary colors creates a vibrant look especially when used at full saturation. This color scheme must be managed well so it is not jarring.
—tigercolor.com
V. Examples of Color Psychology and Symbolism
Red
Being the longest wavelength, red is a powerful colour. Although not technically the most visible, it has the property of appearing to be nearer than it is and therefore it grabs our attention first. Hence its effectiveness in traffic lights the world over. Its effect is physical; it stimulates us and raises the pulse rate, giving the impression that time is passing faster than it is. It relates to the masculine principle and can activate the "fight or flight" instinct. Red is strong, and very basic. Pure red is the simplest colour, with no subtlety. It is stimulating and lively, very friendly. At the same time, it can be perceived as demanding and aggressive.
—colour-affects.co.uk
Orange
Since it is a combination of red and yellow, orange is stimulating and reaction to it is a combination of the physical and the emotional. It focuses our minds on issues of physical comfort - food, warmth, shelter etc. - and sensuality. It is a 'fun' colour. Negatively, it might focus on the exact opposite - deprivation. This is particularly likely when warm orange is used with black. Equally, too much orange suggests frivolity and a lack of serious intellectual values.
—colour-affects.co.uk
Yellow
The yellow wavelength is relatively long and essentially stimulating. In this case the stimulus is emotional, therefore yellow is the strongest colour, psychologically. The right yellow will lift our spirits and our self-esteem; it is the colour of confidence and optimism. Too much of it, or the wrong tone in relation to the other tones in a colour scheme, can cause self-esteem to plummet, giving rise to fear and anxiety. Our "yellow streak" can surface.
—colour-affects.co.uk
Green
Green strikes the eye in such a way as to require no adjustment whatever and is, therefore, restful. Being in the centre of the spectrum, it is the colour of balance - a more important concept than many people realise. When the world about us contains plenty of green, this indicates the presence of water, and little danger of famine, so we are reassured by green, on a primitive level. Negatively, it can indicate stagnation and, incorrectly used, will be perceived as being too bland.
—colour-affects.co.uk
Blue
Blue is the colour of the mind and is essentially soothing; it affects us mentally, rather than the physical reaction we have to red. Strong blues will stimulate clear thought and lighter, soft blues will calm the mind and aid concentration. Consequently it is serene and mentally calming. It is the colour of clear communication. Blue objects do not appear to be as close to us as red ones. Time and again in research, blue is the world's favourite colour. However, it can be perceived as cold, unemotional and unfriendly.
—colour-affects.co.uk
Violet
The shortest wavelength is violet, often described as purple. It takes awareness to a higher level of thought, even into the realms of spiritual values. It is highly introvertive and encourages deep contemplation, or meditation. It has associations with royalty and usually communicates the finest possible quality. Being the last visible wavelength before the ultra-violet ray, it has associations with time and space and the cosmos. Excessive use of purple can bring about too much introspection and the wrong tone of it communicates something cheap and nasty, faster than any other colour.
—colour-affects.co.uk
Black
Black is all colours, totally absorbed. The psychological implications of that are considerable. It creates protective barriers, as it absorbs all the energy coming towards you, and it enshrouds the personality. Black is essentially an absence of light, since no wavelengths are reflected and it can, therefore be menacing; many people are afraid of the dark. Positively, it communicates absolute clarity, with no fine nuances. It communicates sophistication and uncompromising excellence and it works particularly well with white. Black creates a perception of weight and seriousness.
—colour-affects.co.uk
White
Just as black is total absorption, so white is total reflection. In effect, it reflects the full force of the spectrum into our eyes. Thus it also creates barriers, but differently from black, and it is often a strain to look at. It communicates, "Touch me not!" White is purity and, like black, uncompromising; it is clean, hygienic, and sterile. The concept of sterility can also be negative. Visually, white gives a heightened perception of space. The negative effect of white on warm colours is to make them look and feel garish.
—colour-affects.co.uk