Thursday, 24 January 2013

OUGD404 Colour Theory Part 4

Task:
Come up with static pure colours, explore how that colour shifts when you make it cross a whole series of different colours. Does it shift or change?
Individually create studies/ecperiments of your understanding of the colour theory
10 Images within each Study (10 studies alltogether)

Group Task
Devise 1 demonstration showing what happen
 
Colour Theory experiment Green on Green
7 Contrasts
Tone
Hue
Saturation
Extension
Complimentary
Temperature
Simulataneous

In our experiment we realised that Hue and Tone were similar in meaning and we got the same results for both. Tone is formed by the juxtaposition of light and dark values. Pipecleaner and lid are most recognizable and readable out of the set due to the larger contrast in colour to the tone of the paper. The tone of the products are the furthest away from the tone of the paper on the colour wheel. (Greyscale image the light values and almost the same) The Candle and tag are less readible because they are closer to the tone of the paper on the colour wheel.

 
Hue: Juxtaposing of different hues. Place the items on the card of darkest hue to lighter. The greater the distance of hues on the colour wheel the bigger the contrast.
Saturation: Juxtaposing of light and dark values and their relative saturations. When we placed the candle upon the paper, the dull olive tone saturates and makes the green paper stronger. The paper that was once saturated by the candle is now de-saturated by the tag because the tag is of a more spectral green then the paper.
 



Extension: Formed by the assignment of proportional fields sizes in relation to the visual weight of a colour. When placing the paper pipe cleaner on the paper even though it is a small object it still has an impact because it has the heaviest weight out of the set of objects, proportionally although the candle is much larger then the pipe cleaner the contrast in weight is much less because the weight is lighter then the weight of the pipecleaner.

Complimentary Contrasts: Formed by juxtaposing complimentary colours. The paper brings out the yellow in the paper because the pipe cleaner is darker and so far away from yellow on the colour wheel, therefore accentuates the yellow in the paper.

Temperature: Juxtaposing hues that can be considered warm or cold. When placing the lid on the paper the paper appears cooler, because the lid is warmer. The lanyard however makes the paper seem warmer and the lanyard is colder.

Simultaneus contrast: Formed when boundaries between colours perceptually vibrate. The colour that is placed on the paper wants its complimentary colour in its surroundings. The pipe cleaner, lid and pen are most obvious, when staring at them an orangey red ring appears around the objects. Simultaineous contrast is less obvious. When placing the tag on the paper, you can see an orangey red but its less obvious because the tone of the tag and paper are both light.
 

10 questions I want to know about Colour theory.
1. What is the difference between tone and hue?
2. Is colour changes when you take a photo?
3. How do you find out that a colour is that  colour when you change the lighting?
4. Can you use a pantone swatch correctly if light is ever changing?
5. How do you judge a colour when there are shadows or a shine to it?
6. Can you get a different tones/hues of white, that would still be classed as white or is it just a standard flat white?
7. Why when using yellow on white background so hard to see?
8.  Is there a limit as to how many colours you should use when designing before it starts to look to be over the top ?
9.  If a colour isnt always a flat colour are you guarenteed to find it on a swatch?
10.Is there a colour wheel that has every colour/tone/hue on?

Most common questions within my group.
1. What is the difference between 'tint' and 'shade' and tone and hue?
2. Is it possible that colours exist that we cant percieve?
3. How crucial is it to learn/master colour theory when creating graphic design in the industry?
4. Is colour theory learnt or instinct (for example when colours go or not)
5. Do you percieve a colour the same if you look through one eye or two?

Other groups most common questions with answers.
1. When contrast of extension is balanced, is it high or low contrast?
It is dependant on the colours you use, if you used green and a small part of red the red would stand out which equals a high contrast however the same goes for purple and a small piece of yellow then the yellow would stand out aswell quite highly. If theres too much of both colours then it results in it not being balanced.
2. Does contrast of extension apply to colours that are not complimentary?
 Yes you can apply this theory to secondary colours, but you have to know there value which is derived from there hue.
3. Do terrtiory colours have complimentary colours too?
No i do not think so. Cant be sure though.

4. How does artificial/ natural light effect the perception of colour? When natural or artificial light is shining on a colour you can see the different shades.

 

5. How does the chromatic value or white stock effect the colour of a print?

6. Does tone effect the temperature of a cold?
7. Is it possible for a colour to be warm if it is de-saturated?
8. Can complimentary colour be balanced? (contrast of extension?
9. How would simultaneous contrast be used?
10. How do you make gold and silver?

Task
Putting printed graphic design into the piles of how many colours:
1 colour- 2 items
2 colours- 2 items
3 colours- 12 items
4 colours- 5 items
5 colours- 1 item
10+ colours- 17 items

Optical mixing- means colours placed next to eachother to make us see a different colour
Physical mising- means colours are already mixed

Looking through a Linen tester
-Dots of different colours is optical mixing
-Printing methods some may be flat.

Optical mixing with linen tester
Process guide pantone- you see lots of dots. See CYMK dots in swatches

When printing you see cyan, magenta, yellow and black, if they were layered on top of eachother you would just see the last colour thats on top which would be black, which is why when printing the plates are rotated so they are out of sync, which is what creates the colour. Looking through the linen test at solid coated.
Physically mixed colours
Although you may find swatches that are similar in both processes, however they are different because of the process.
4 rollers, 4 sets of ink, paying for set up and plates, off set into production
Flood colour- flat colour- 1 plate 25% of costs

When you get to a block colour, you can barely see the dots, however when you see a colour that isnt black the dots are spread further from eachother
4 formular colour using flood colour ink when colours are dense we cannot see the dots
In less dense colours the dots are further apart.

Linen tester and tint book: Optically creating a series of tints through using of formular colour (primary)
Colour theory is the bass of graphic design when printing.
CYMK printed colour sheets
Lightest grey-black dots, furthest apart
Darkest grey- black dots spread close together
C-29% Y- 23% M-23% K-0%, No black yet the printer gave out black dots. When in print it would cost a fortune because you are printing from 3 plates. If you had changed it to grey scale would be considerably cheaper as you are just using 1 plate

Keeping it simple when designing because being random with colours would cost you a fortune.
Light will always affect the way colours look,  never in a constant lighting. When printing it is fixed in that lighting once you move then the  end product will have changed.









 



 

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