Color for Designers: Exploration, Theory, & Application
Lesson 7 of 20
Interaction of Color Practice - Part 1
Interaction of Color Practice - Part 1
And then we have beautiful colors and it's just so this by the way, this app has been out for a few years and there's a new version that was released about a year ago in this corresponds to his book and um what it allows you to do is basically take his experiments and make your own versions and you can look at his experiments for reference but then make your own, which is kind of cool so I'm just gonna bring up a few that I worked on last night so if khun don't if you concede at the top it says the color has many faces and that's sort of what he's talking about and now he'll show you his version which you can kind of see in the book and the idea is to use a single color one color against two different fields in just to see how different it is just as a proof I did a few of these and that's kind of what you're doing right now except you're doing it with one color. So the next thing for you to do is to try to do it with two different grounds now it's a very different because you're looki...
ng for something in the middle that's just going to look dramatically different on these two different ground so why don't you go ahead and try that christine if you want to work on the up yeah, there you go. You consider my position here and you know how to do this. So you this is your color palette, so you tap that thing in the corner and that brings it up and then he can basically dragged these colors out and you have these little things out here and if you want that color, go away, tap on the ex. Yeah, and when you're ready to apply it to a field he's basically dragged over like this and it'll go into the background and the same thing with the foreground dragon in the foreground and I'll go in there like that, and it fills both at the same time because that's, what you're trying to do, ok? And if you wanted to go away, double click and then you'll be able to see the whole thing, all right and double click back and you can always undo things are just going to this, okay? Okay, okay, so try a different color in the centre. It doesn't really even matter. You're not trying to reciprocate this time. You're just trying to find colors look dramatically different on those grounds here. We're going for matt maximum effective difference. So focus your attention on the distinctions of these colors you looking for one color that looks dramatically different on the grounds and also feel free to change the grounds right always remember that with these albert's things, you have total control over the inside colors and the outside colors and everything is in flux constantly when you get into these different color backgrounds still continue to think about the subtraction concept now you're subtracting light in dark, but you're also subtracting the hue that's a little bit trickier well, bit more complex what does it mean to subtract yellow from a color when you subtract yellow from green, you're taking the yellow out, making it look cooler, you know, making her look more blue when you subtract purple from that same green it's also a matter of light and dark was a purple but darker than the yellow purple is ah harder it's harder to imagine what you're subtracting from green, but essentially you're taking out the purple, probably shifting and more turned yellow, and if you look at this, you kind of get that sense, right? So this definitely looks darker yellow, lighter, it's a little bit yellow er yeah, science to this and that using your color that compliments or contrast or isn't near it on the color wheel is gonna have a different effect for is it really when actually when we get to using complimentary grounds, you're kind of using complimentary grounds, right? So maybe the next step for you is to try to imagine what the middle color is between yellow and purple so what mixed your color? Yeah um if you try to remember back too with the complimentary mixtures so look for a chromatic gray that's either purple or yellow and see what happens when you put those on top so there we see some pretty dramatic effects happening we'll end up looking very different. What color would you say that you chose there in the center? Well, I was trying to think what's in between red and blue so I tried to go for a kind of a purplish shooting and then, uh this one seems to have a little more slightly more saturation than this one. And so I also tried to line that up that I went through a couple where they were or it was like to lighter too dark and so it was almost kind of trying to get those contrast that you talked about mine. So maybe let's everyone now shift toward, um two complimentary background colors so purple and yellow, red and green uh orange and blue and when you're using these background colors uh just a secu to based on my experience try different levels of saturation one that's very, very vivid and one that's not so vivid may be dull, so vivid and dull backgrounds and then that trying to find that middle color and that mixture color now think back to it makes your color is going to be some kind of ah a bit of a neutral with some chromatic value so perhaps a grey it has a little like in this case if it's yellow and purple either a little yellow in it are a little purple in it and see what happens so try making this local this green little bit darker and see what happens actually what you khun dio is just click on this and moving destruction like that so now it looks almost the same right and as we move through this is a great way to just fine variances just quickly kind of moved through it's like changing the background very quickly definitely very different um let's try moving onto to compliments so red and green uh uh yellow and purple or blue and orange and then try to look for a middle color that is a mixture color so a chromatic gray of some kind put that down and see what happens. So what do you think? Yeah uh squinting definitely helped when I squint really it does seem like these these were different. This one seems a lot brighter than this one definitely so the light and dark is definitely the latent darkest of working what about thie reciprocation in terms of the colors the hughes uh yeah this one it's very slight but yeah, it looks like this one is sucking the yellow out of the gray square track and so yeah yeah and then vice versa for here and this is starting to look like that but this is not starting to look like that so keep looking for a middle color where you get that reciprocation happening so this definitely looks like that getting closer that's tougher part yeah try a slightly darker green in the background and see what happens and we might have to lighten this up a little bit. I don't know if we're ever gonna reach that pink though that's right price you're actually an app designer interactions so how if you use color in in that sense you discover that you know using paper except it's very different to using digital color it is different obviously and working with your hands but it's similar in that you do want to think about how the colors they're going together what's the hero color that you kind of based everything around and then what complementary colors or other kinds of colors do you want to go with it? You know, this is actually really good already you did it. So I'm gonna move this toe white and just see what it looks like right? It's better do you usually have a preference like when you like white or black or it doesn't move me, it definitely makes a difference you have to kind of try it on both
Our response to color comes from the place in our brain where trust, loyalty, behavior, and decision occur – every successful project relies on a designer making smart choices about color.
In Color for Designers: Exploration, Theory, & Application, Richard Mehl will give you a foundational understanding of color theory principles and demonstrate how to apply them. Richard has studied alongside design legends, Paul Rand, Bradbury Thompson and Herbert Matter and in this class he’ll share insights gleaned from 12 years of teaching and writing about color in design.
Richard takes an accessible approach to the serious study of color theory for designers. You’ll be exposed to a relevant series of ideas and skills by exploring a range of analog and digital projects. Richard will discuss:
- Color terminology and meaning
- How to view color in context
- Contrast grids and color illusion
- Tips for creating harmonious color palettes
In Color for Designers: Exploration, Theory, & Application you’ll develop a new awareness and sensitivity to color that will bolster your confidence in your personal and professional design work.