Colour Study Presentation
THE YELLOW OBJECT PLACED ON A MAGENTA COLOUR.
TONE - These two colours are almost opposite on the colour wheel, therefore making them near to complimentary colours
A high tonal contrast.
This is what we presented in our presentation to our group.
Then the other presented and this was their feedback from us and what they said about ours.
They are also used together in Colour Therapy to give balance. We need the balance of the electric/cool colours and the magnetic/warm colours for our wellbeing and smooth functioning of our bodies.
One short example: Green - Red
The opposite colour of green is red. They complement and harmonise each other. When our space is invaded (green) we might feel exhausted or angry (red). By surrounding us with green and connecting with the green in nature while taking a walk in the bush or spend time in the garden, we feel refreshed (green) and energised - ready to take action and getting back in to what we where doing (red), as our need for space has been balanced (green).
http://www.tigercolor.com/color-lab/color-theory/color-harmonies.htm
Blacks more knowledgeable
Any combination can work as long as there is contrast in tone.
3)Is it ever appropriate to use complimentary colours?
Two colors opposite one another on the color wheel, e.g., blue and orange, yellow and purple, red and green. When a pair of high intensity complements are placed side by side, they seem to vibrate and draw attention to the element Not all color schemes, based on complementary colors are loud and demanding -- if the hues are of low-intensity the contrast is not too harsh. Intensity can only be altered by mixing a color with its complement, which has the effect of visually neutralizing the color. Changing the values of the hues, adding black or white, will soften the effect.
It entirely depends on what you are trying to do, as this website explain the use of photography & complimentary colours very well.
http://www.feedthewant.com/blog/2012/10/23/complementary-colors.html
Fashion
www.academichic.com/2009/.../fashion-101-how-to-combine-colors/
When using it with design then you should choose a dominant color and use its complementary color for accents. Using one color for the background and its complementary color to highlight important elements, you will get color dominance combined with sharp color contrast.
4)How can colour theory be applied to metallic colours?
Metallic Pantone Swatch
http://shop.colourconfidence.com/product.php/3137/pantone-plus-premium-metallics-coated?gclid=CIfRyNuhpLUCFeTMtAodBBoACw
5)Should a different colour theory be used for screen?
The additive primaries red green and blue generate color by beginning with absence of color, black, to generate all colors. The three colors are projected onto a screen in various intensities to produce all colors. This principle generates color for televisions, computer monitors and movie screens, that is, all projected color. Color on television and monitors is produced by three color "guns" corresponding to each additive primary. These produce color intensity based on a voltage level, from 0 to 255. Obviously, 0, 0, and 0 will produce black, or absence of color, and 255, 255 and 255 will produce white. Other colors correspond to a specific voltage combination. Multiple 255 times 255 times 255 and how many color combinations do you get? More than 16.7 million, presuming your monitor is capable of showing that man.
Although when using colours on screen and design for web, they normal stick to around 200 colours so they don't use too rich colours so others with better screens can see the same as someone else without a very amazing screen.
Applied Colour
Monotone - 1 colour
Duotone - 2 colours
Triatone - 3 colours
Linen Tester
Good to test what method has been used to produce the print & how many colours has been used.
4 Plate Process (CMYK)
4 Plates layered on top of each other, C, M, Y & The Key plate is always the last to be stamped.
Monotone- Cheaper print.
It is created through dots per inch
Circles & Hexagons is how the plates are organised to allow you to see the different colours so your eyes can mix the colours optically mix it.
Formulae
One colour or two colour print process
Use this to limit the plates
Mixing pigments
We then went through printed material that he told us to bring in and used the linen tester to check the process they was printed through.
We found that most of them was printed through the 4 plate method rather than formulae colour.
When using One Plate process the tint of the colour is dependent on the dots per inch, The higher the tint the closer the dots are when less of the tint is when then dots are further apart.
When working in CMYK and you don't want to be paying extremes for printing you need to make sure you are only working in 1 plate therefore only using one of the C, M, Y, K.
Even if its 1% on the Y when its not suppose to be there you will have to pay for the full plate.
To
test how subjective colour works, in pairs we picked an objects from
the colour wheel task that represented complimentary colours. (Violet
& Yellow).
Firstly
we placed a bright yellow washing up glove on a very neutral colour
card. This is so the colour of the glove was as un affected by its
surroundings as possible giving us a good idea of the true colour.
When
the yellow glove was placed onto a yellow background. Because they are
very similar shades of the same colour, there aren't really any
contrasts that apply.
TONE - These two colours are almost opposite on the colour wheel, therefore making them near to complimentary colours
A high tonal contrast.
HUE -These two colours are almost opposite on the colour wheel, therefore making them near to complimentary colours
A high hue based contrast.
A high hue based contrast.
SATURATION - The yellow object is more saturated than the magenta background, however both colours are still quite strong
a medium saturation contrast.
a medium saturation contrast.
EXTENSION -
from the angle at which this photo has been taken, I feel these colour
are quite balanced in its proportion. the magenta is dark, however there
is not as much of it as the yellow
medium extension contrast.
medium extension contrast.
TEMPERATURE - The magenta feels warmer than the yellow, causing the yellow object to saturate slightly
High temperature contrast.
High temperature contrast.
COMPLIMENTARY - These two colours are almost opposite on the colour wheel, therefore making them quite extreme in contrast
A high complimentary contrast.
A high complimentary contrast.
SIMULTANEOUS - When
looking at the contrast between these two colours for sometime i feel
that a slight violet hue starts to appear in the magenta background
High simultaneous contrast.
High simultaneous contrast.
YELLOW OBJECT ON GREEN BACKGROUND.
TONE - These two colours are very close on the colour wheel
A low tonal contrast.
A low tonal contrast.
HUE -These two colours are very close on the colour wheel
A low hue based contrast.
A low hue based contrast.
SATURATION - The yellow object is more saturated than the green background, however the green is also quite a saturated colours
a low saturation contrast.
a low saturation contrast.
EXTENSION - from the angle at which this photo has been taken, The green is the heavier colour but the yellow is quite light
medium/high extension contrast.
medium/high extension contrast.
TEMPERATURE - I
feel that the warmer colour is the yellow, but only just because it is
closer to the warmer colours on the colour wheel. The green is quite
cool
High temperature contrast.
High temperature contrast.
COMPLIMENTARY - These two colours are very close on the colour wheel
A low complimentary contrast.
A low complimentary contrast.
SIMULTANEOUS - I feel that the green is forcing the red from the yellow, but i think that the warmth of the yellow also contributes to this.
medium simultaneous contrast.
medium simultaneous contrast.
YELLOW OBJECT ON ORANGE BACKGROUND.
TONE - These two colours are very close on the colour wheel
A low tonal contrast.
A low tonal contrast.
HUE -These two colours are very close on the colour wheel
A low hue based contrast.
A low hue based contrast.
SATURATION - The blue background is more saturated than the yellow object which i feel is stronger
a high saturation contrast.
a high saturation contrast.
EXTENSION - from the angle at which this photo has been taken, The yellow is the heavier colour but the blue card is quite light
high extension contrast.
high extension contrast.
TEMPERATURE - I feel that the warmer colour is the yellow and the saturated blue is very cool high temperature contrast.
COMPLIMENTARY - These two colours are nearly opposite on the colour wheel
A high complimentary contrast.
A high complimentary contrast.
SIMULTANEOUS - I feel that the yellow is forcing the yellow is forcing violet onto the blue because it is the strongest colour
high simultaneous contrast.
high simultaneous contrast.
YELLOW OBJECT ON BLUE BACKGROUND.
TONE - These two colours are quite opposite on the colour wheel
A medium tonal contrast
HUE -These two colours are quite opposite on the colour wheel
A low hue based contrast.
A medium tonal contrast
HUE -These two colours are quite opposite on the colour wheel
A low hue based contrast.
SATURATION - The yellow object is more saturated than the more de-saturated blue background - a medium saturation contrast.
EXTENSION - from the angle at which this photo has been taken, The orange is the heavier colour but the yellow is quite light
medium/high extension contrast.
medium/high extension contrast.
TEMPERATURE - I feel that the warmer colour is the yellow and that the blue is very cool
low temperature contrast.
low temperature contrast.
COMPLIMENTARY - These two colours are very close on the colour wheel
A low complimentary contrast.
A low complimentary contrast.
SIMULTANEOUS - I feel that the yellow is forcing the violet onto the blue, this is enhanced by the closeness on the colour wheel
medium simultaneous contrast.
medium simultaneous contrast.
This is what we presented in our presentation to our group.
Then the other presented and this was their feedback from us and what they said about ours.
Joe & Dan
Temperature- good & made sense.
Liquid study needed both to be transparent to work due to it going dark due to no light been able to pass through. But we knew what you was trying to say.
Sarah & Sam
Good presentation very good to say was done on day.
Caitlin & Melissa
What they said about it is that need to find the difference between tone & hue.
Then we had to think of 10 question that we wanted answering:
1)What is the difference between tone & hue?
Tone and Hue are terms that are used in
colours. Tone and hue have their own preferences. When decorating homes,
paintings, art works, buying rubies or stones, tones are hues are taken
into consideration. Even when dyeing the hair or the skin, people use
Hue and tone according
to their tastes. For example, hues would be nice when used in a
child’s play room or in advertisements whereas tones are used for light
shades. While Hue is the purest form of colour, Tone is a mixed one.
Hue colours are the purest as well as the
brightest ones. Hues are colours that are not toned or that contain no
shade or tint. The hue colours form the full spectrum of colours. Any
colour like red, orange, blue, yellow in its true form are called Hues.
Hues are considered to be very bold, exciting and cheerful colours.
Hues can be called as colours that can be clearly distinguished from one to the other like red from green or red from yellow.
Tones are colours that are made from
mixing colours. Tone colours can be produced by adding white or black
colours to other colours. Tones are either light or dark in colour and
not the actual Hue colour. Tones can be called as greyed down colours.
Unlike the Hues, Tones can be called as subtle, complex and
sophisticated.
When compared to Hues, tones are very
pleasing to the eye as they are lighter in shade. Unlike Hues, tones
have a pinch of shade or tint. Tones are normally used for interior
decorations. Tones are also known to work with all colour schemes.
2)Whats the difference between saturation & hue?
I liked this: We might use hue to tell the difference between ripe bananas and ones that aren't so ripe. Or, we might use saturation to help us tell the difference between your glass of chocolate milk and the chocolate milk for your friend. Brightness can help us tell the difference between bread and toast, especially burnt toast.
Difference between Hue and Saturation. If you look at the color wheel, you'll notice that the color is pure at the outer edges, and turns to white toward the middle. This is Saturation. As the color progresses toward the center, the less Saturated it is. As it moves out toward the outer edge of the circle, it is said to be more saturated, until it reaches it's pure form. All the above numerical values for the colors found on the Color Wheel are for the pure form of the color. I used white at the center and formed a gradient between the two.
As for Hue? Well that's an easy one. It's simply another name for Color. They are entirely interchangeable.
What does this all mean? well, not much yet, except that it gives you a basis to work from. If you can understand the Color Wheel, you are one step closer to finding a good way to combine colors.
The above illustration shows the relationship between Hue and Saturation on the Color Wheel.
There is still a lot more to explore before we can successfully combine the colors together. In a future tutorial, I will look at some other aspects of Color and show how Color is 3 dimensional.
http://www.labnol.org/home/hue-saturation-luminosity/20104/
I liked this: We might use hue to tell the difference between ripe bananas and ones that aren't so ripe. Or, we might use saturation to help us tell the difference between your glass of chocolate milk and the chocolate milk for your friend. Brightness can help us tell the difference between bread and toast, especially burnt toast.
Difference between Hue and Saturation. If you look at the color wheel, you'll notice that the color is pure at the outer edges, and turns to white toward the middle. This is Saturation. As the color progresses toward the center, the less Saturated it is. As it moves out toward the outer edge of the circle, it is said to be more saturated, until it reaches it's pure form. All the above numerical values for the colors found on the Color Wheel are for the pure form of the color. I used white at the center and formed a gradient between the two.
As for Hue? Well that's an easy one. It's simply another name for Color. They are entirely interchangeable.
What does this all mean? well, not much yet, except that it gives you a basis to work from. If you can understand the Color Wheel, you are one step closer to finding a good way to combine colors.
There is still a lot more to explore before we can successfully combine the colors together. In a future tutorial, I will look at some other aspects of Color and show how Color is 3 dimensional.
http://www.labnol.org/home/hue-saturation-luminosity/20104/
3)When judging the exstention do you use the temperature as a differentiation?
4)When finding simultaneous colours is it the complimentary colour that is brought out or can it be secondary colours as well?
Simultaneous contrast is most intense when the two colors are complementary colors. Complementary colors are pairs of colors, diametrically opposite on a color circle: as seen in Newton’s color circle, red and green, and blue and yellow. Yellow complements blue; mixed yellow and blue lights generate white light.Impressionist interest in color and light is influenced in part by the research of scientists like Michel Chevreul. Specifically, the idea that an object of any given color will cast a shadow tinged with that of its complementary color and tinting neighboring colors in the same manner influences Impressionists.
Simultaneous contrast is most intense when the two colors are complementary colors. Complementary colors are pairs of colors, diametrically opposite on a color circle: as seen in Newton’s color circle, red and green, and blue and yellow. Yellow complements blue; mixed yellow and blue lights generate white light.Impressionist interest in color and light is influenced in part by the research of scientists like Michel Chevreul. Specifically, the idea that an object of any given color will cast a shadow tinged with that of its complementary color and tinting neighboring colors in the same manner influences Impressionists.
5)If something is saturated can it be high & low saturated or is it just saturated & desaturated?
A very low saturation normally turns the image black and white with no colour, however a high saturation makes the image colours extremely vivid.
Or can be desaturated.
A very low saturation normally turns the image black and white with no colour, however a high saturation makes the image colours extremely vivid.
Or can be desaturated.
6)When there is not much tonal contrasts does that mean no other contrasts can be found either?
When no tonal contrasts that means they are very close within the colour wheel and therefore very similar in contrasts therefore no contrasts. So depends how close they are on the wheel although it will be a minimal contrast if any.
When no tonal contrasts that means they are very close within the colour wheel and therefore very similar in contrasts therefore no contrasts. So depends how close they are on the wheel although it will be a minimal contrast if any.
7)Is there a minimum/maximum amount of colours that can be used in one design?
When
you pick a colour
scheme for your, you are in a balancing act between too bland
and too busy. You want your design to be memorable, but you don’t want
your audience to be confused or overwhelmed. You want to improve your
design, but you
don’t want to sacrifice simplicity.
How many colors should you
pick for your design?
Remember that three main colors are often
ideal. Too few colours is always better
than too many. Many designs agree that picking three major colours – and colours
that match – is a great place to start. If you are going for a more minimalist
design, two colours is a great choice.
Know the 60-10-30 rule. Many web designers use a primary colour, a secondary
colour, and an accent colour. The primary colour is used about 60 percent of the
time, while the secondary colour is used 30 percent of the time. The accent
colour is used sparingly – about ten percent of the time.
Add shades and tones for more depth and
complexity. If you have lots of design
elements you may need more than three colours. In
these cases, consider using different shades and tints of your three main
colours.
I researched further into what an accent colour was as we
haven't learnt this term as of yet. Heres the definition i found:
Accent colours are colours that are used for emphasis in a colour scheme. These colours can be bold or vivid and are used sparingly, to emphasize, contrast or create rhythm. Using
a very bright or warm colour like red or yellow on a large piece of
furniture can be overwhelming if not done right. Not everyone can
balance out a very bold colour, but a they can be judiciously used as
accent colours.
I also found websites that strengthen this ideology:
The 60-30-10 rule seems to come up quite often when i
researched the question. And using tone & shades of the chosen
colours in the palette helps to enhance the design without it looking
very tacky. Three seems to be a popular number of colours to use
although it does depend on what you are designing.
This website shows the kuler programme which created the colour palettes for design.
This website explains it in indepth detail and uses diagrams to show the triadic color scheme.
8)What colours appeal to different audience?
http://ne14design.co.uk/articles/colour.htm
http://www.3sixty.co.uk/our-thinking/design/colour-theory-and-web-design
Green
Internationally recognised as 'Go' in traffic lights and electrical machinery, freshness, refreshment, harmony, balance, rest, nature, environment, natural, eco-friendly, money, growth, fertility, tranquility, envy, reassurance.Blue
Hygiene, calming, water, sky, trust, efficiency, authority, reliability, dignity, peace, loyalty, integrity, cold. Blue is the most liked of all colours and is widely used on websites, software packages, operating systems, etc.Red
'Stop' - traffic lights and emergency stop buttons, danger, life, blood, vitality, fire, heat, warmth, courage, anger, strength, energy, stimulation, excitement, aggressiveness, passion, speed, grabs our attention more than other colours.Yellow
The Sun, positive energy, growth, optimism, confidence, friendliness, happiness, creativity, fear, cowardice.Orange
Food, warmth, security, fun, abundance, autumn, determination, comfort, good for encouraging impulse purchases.Purple
Richness, royalty, quality, truth, spiritual, religion, mystery, luxury, commonly used on chocolate packaging.Pink
Femininity, innocence, love, nurture, softness, tranquility. Pink is used on toy packaging for young girls and in girls fashion.Black
Sophistication, elegance, glamour, efficiency, up-market, menace, death, night, neutral. As a neutral 'colour', it can be used in combination with any other colour.White
Hygiene, purity, sterility, clarity, simplicity, sophistication, contemporary, cold, light, neutral.Brown
Nature, earthiness, organic, warmth, reliable, subtle richness. The colour associations listed above have both positive and negative qualities and should not be taken too seriously. The designer needs to know how to effectively combine colours to communicate the right message. Successful use of colour is more to do with tonal relationships than the choice of any particular hue. There needs to be harmony and balance for a colour combination to work effectively.http://ne14design.co.uk/articles/colour.htm
http://www.3sixty.co.uk/our-thinking/design/colour-theory-and-web-design
9)How can colour assist hierachy in type?
The conscious use of color to create hierarchy, dominance, and balance in a design can be very effective. If one simply applies and changes colors randomly on a page/slide (which is often the case), one can confuse the viewer and degrade the design's intended message.
Remember that color is useful for achieving a more unified and organized design. But to do so one must be consistent with the use of color on a page. Consistency is easier to achieve if the designer (i.e., you) limits the use of color choices to just a few. Using many colors in a single design would be like using many different font types — this inevitably leads to a messy and confusing piece of work. Make your color choices at the beginning of the design process rather than at the end. Leaving color choice to the end will likely end up leading to a superficial application of color. Color, like good design in general, is not cosmetic or veneer. Color choice is fundamental.
Good color usage can help you guide the viewer's eyes through the design. Color can be used to emphasize. For example, darker type is noticed first. Color (say, red on a white page with black body text) can be used to highlight elements on a page which are most important. Color can also provide direction. Warm colors bring elements forward; cool colors move elements back. Alexander White suggests using graduated tints since there are no flat colors found in nature. When it comes to color use, however, one thing is quite clear: The benefits of color usage quickly diminish when color highlights are used too much or too many colors are applied to a design.
http://www.garrreynolds.com/design/basics.html
The conscious use of color to create hierarchy, dominance, and balance in a design can be very effective. If one simply applies and changes colors randomly on a page/slide (which is often the case), one can confuse the viewer and degrade the design's intended message.
Remember that color is useful for achieving a more unified and organized design. But to do so one must be consistent with the use of color on a page. Consistency is easier to achieve if the designer (i.e., you) limits the use of color choices to just a few. Using many colors in a single design would be like using many different font types — this inevitably leads to a messy and confusing piece of work. Make your color choices at the beginning of the design process rather than at the end. Leaving color choice to the end will likely end up leading to a superficial application of color. Color, like good design in general, is not cosmetic or veneer. Color choice is fundamental.
 |
Good color usage can help you guide the viewer's eyes through the design. Color can be used to emphasize. For example, darker type is noticed first. Color (say, red on a white page with black body text) can be used to highlight elements on a page which are most important. Color can also provide direction. Warm colors bring elements forward; cool colors move elements back. Alexander White suggests using graduated tints since there are no flat colors found in nature. When it comes to color use, however, one thing is quite clear: The benefits of color usage quickly diminish when color highlights are used too much or too many colors are applied to a design.
http://www.garrreynolds.com/design/basics.html
10)How do you balance complimentary colours?
They are also used together in Colour Therapy to give balance. We need the balance of the electric/cool colours and the magnetic/warm colours for our wellbeing and smooth functioning of our bodies.
One short example: Green - Red
The opposite colour of green is red. They complement and harmonise each other. When our space is invaded (green) we might feel exhausted or angry (red). By surrounding us with green and connecting with the green in nature while taking a walk in the bush or spend time in the garden, we feel refreshed (green) and energised - ready to take action and getting back in to what we where doing (red), as our need for space has been balanced (green).
http://www.tigercolor.com/color-lab/color-theory/color-harmonies.htm
Then we was put into groups and had to find 5 most common questions that wanted to be answered in out groups & other group answered:
1)How can colour assist hierachy in type?
Brightness captures attention.
Hue - Headline more brighter hue than body text.
Brightness captures attention.
Hue - Headline more brighter hue than body text.
2)Is there a minimum/maximum amount of colours to use when designing?
All about balance
3 colours - (60-30-10 rule)
Tints & tones instead of using further colours.
See my answer below for more indepth
All about balance
3 colours - (60-30-10 rule)
Tints & tones instead of using further colours.
See my answer below for more indepth
3)How can I apply rules such as temperature towards my design?
Subjective- depends on spacial perception & emotional values. Uses associations and semiotics with the rules. Cooler colours tend to reseed & contract where as warm colours can collide.
Subjective- depends on spacial perception & emotional values. Uses associations and semiotics with the rules. Cooler colours tend to reseed & contract where as warm colours can collide.
4)What colour appeals to different audiences?
Colour appeals for different audiences
Tends to bypass gender.
Blue - men & women favourite (calming)
Green - Growing & environment (restful)
Colour appeals for different audiences
Tends to bypass gender.
Blue - men & women favourite (calming)
Green - Growing & environment (restful)
5)What is the best combination for body copy apart from black & white?
Blacks more knowledgeable
Any combination can work as long as there is contrast in tone.
Then we passed on the questions to next group and we got another groups questions we had answer:
1)Whats the maximum number of colours you can use in design?
When
you pick a colour
scheme for your, you are in a balancing act between too bland
and too busy. You want your design to be memorable, but you don’t want
your audience to be confused or overwhelmed. You want to improve your
design, but you
don’t want to sacrifice simplicity.
How many colors should you
pick for your design?
Remember that three main colors are often
ideal. Too few colours is always better
than too many. Many designs agree that picking three major colours – and colours
that match – is a great place to start. If you are going for a more minimalist
design, two colours is a great choice.
Know the 60-10-30 rule. Many web designers use a primary colour, a secondary
colour, and an accent colour. The primary colour is used about 60 percent of the
time, while the secondary colour is used 30 percent of the time. The accent
colour is used sparingly – about ten percent of the time.
Add shades and tones for more depth and
complexity. If you have lots of design
elements you may need more than three colours. In
these cases, consider using different shades and tints of your three main
colours.
I researched further into what an accent colour was as we
haven't learnt this term as of yet. Heres the definition i found:
Accent colours are colours that are used for emphasis in a colour scheme. These colours can be bold or vivid and are used sparingly, to emphasize, contrast or create rhythm. Using
a very bright or warm colour like red or yellow on a large piece of
furniture can be overwhelming if not done right. Not everyone can
balance out a very bold colour, but a they can be judiciously used as
accent colours.
I also found websites that strengthen this ideology:
The 60-30-10 rule seems to come up quite often when i
researched the question. And using tone & shades of the chosen
colours in the palette helps to enhance the design without it looking
very tacky. Three seems to be a popular number of colours to use
although it does depend on what you are designing.
This website shows the kuler programme which created the colour palettes for design.
This website explains it in indepth detail and uses diagrams to show the triadic color scheme.
2)Should colour be chosen in natural light or the most appropriate context it would be used in?
Colour should not be chosen in natural light, even if this is the lighting it is intended to be viewed in when printed/ on show to the audience. This is because natural light is inconsistent and so the colour will constantly be in different contexts. It is best to view colour in none-natural light with no interference of other lights, and ideally, a bill over a matte-finish screen to ensure that the colour shown is the colour that will print. A note of a pantone colour will ensure that no matter what screen you are looking at, you can refer to the printed copy to envision what the printed version will definitely look like.
Colour should not be chosen in natural light, even if this is the lighting it is intended to be viewed in when printed/ on show to the audience. This is because natural light is inconsistent and so the colour will constantly be in different contexts. It is best to view colour in none-natural light with no interference of other lights, and ideally, a bill over a matte-finish screen to ensure that the colour shown is the colour that will print. A note of a pantone colour will ensure that no matter what screen you are looking at, you can refer to the printed copy to envision what the printed version will definitely look like.
3)Is it ever appropriate to use complimentary colours?
Two colors opposite one another on the color wheel, e.g., blue and orange, yellow and purple, red and green. When a pair of high intensity complements are placed side by side, they seem to vibrate and draw attention to the element Not all color schemes, based on complementary colors are loud and demanding -- if the hues are of low-intensity the contrast is not too harsh. Intensity can only be altered by mixing a color with its complement, which has the effect of visually neutralizing the color. Changing the values of the hues, adding black or white, will soften the effect.
It entirely depends on what you are trying to do, as this website explain the use of photography & complimentary colours very well.
http://www.feedthewant.com/blog/2012/10/23/complementary-colors.html
Fashion
www.academichic.com/2009/.../fashion-101-how-to-combine-colors/
When using it with design then you should choose a dominant color and use its complementary color for accents. Using one color for the background and its complementary color to highlight important elements, you will get color dominance combined with sharp color contrast.
4)How can colour theory be applied to metallic colours?
Metallic Pantone Swatch
http://shop.colourconfidence.com/product.php/3137/pantone-plus-premium-metallics-coated?gclid=CIfRyNuhpLUCFeTMtAodBBoACw
5)Should a different colour theory be used for screen?
The additive primaries red green and blue generate color by beginning with absence of color, black, to generate all colors. The three colors are projected onto a screen in various intensities to produce all colors. This principle generates color for televisions, computer monitors and movie screens, that is, all projected color. Color on television and monitors is produced by three color "guns" corresponding to each additive primary. These produce color intensity based on a voltage level, from 0 to 255. Obviously, 0, 0, and 0 will produce black, or absence of color, and 255, 255 and 255 will produce white. Other colors correspond to a specific voltage combination. Multiple 255 times 255 times 255 and how many color combinations do you get? More than 16.7 million, presuming your monitor is capable of showing that man.
Although when using colours on screen and design for web, they normal stick to around 200 colours so they don't use too rich colours so others with better screens can see the same as someone else without a very amazing screen.
Applied Colour
Monotone - 1 colour
Duotone - 2 colours
Triatone - 3 colours
Linen Tester
Good to test what method has been used to produce the print & how many colours has been used.
4 Plate Process (CMYK)
4 Plates layered on top of each other, C, M, Y & The Key plate is always the last to be stamped.
Monotone- Cheaper print.
It is created through dots per inch
Circles & Hexagons is how the plates are organised to allow you to see the different colours so your eyes can mix the colours optically mix it.
Formulae
One colour or two colour print process
Use this to limit the plates
Mixing pigments
We then went through printed material that he told us to bring in and used the linen tester to check the process they was printed through.
We found that most of them was printed through the 4 plate method rather than formulae colour.
When using One Plate process the tint of the colour is dependent on the dots per inch, The higher the tint the closer the dots are when less of the tint is when then dots are further apart.
When working in CMYK and you don't want to be paying extremes for printing you need to make sure you are only working in 1 plate therefore only using one of the C, M, Y, K.
Even if its 1% on the Y when its not suppose to be there you will have to pay for the full plate.
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