Lec 3 part 2

ART 251: Lecture 3, part 2
Color Theory:
Traditional Color Circle, Color Attributes,
and Color Schemes

Early color circles
Isac Newton, physicist and mathematician (1642‐1727).
Discovered color was in light: Additive color system

This is the basis for the TRADITIONAL COLOR WHEEL,
which organizes subtractive colors (paint and pigment)
Newton also
organized color
in a systematic
color wheel
following the
rainbow
spectrum in the
additive color
system.
Early color circles

Early color circles
Philip Otto Runge
(1770‐1810)
German painter.
Introduces
hue, value and saturation.
Created a spheric
Color model

Early color circles & systems

Early color circles & systems
Albert Munsell
Color theorist. (1858‐1955) Variation on Runge’s sphere.
Munsell wanted a color standard.
(1940s)

The star was a 2‐D version of Runge’s sphere but
also relating to Munsell’s model.
The star is essentially an exterior view of the color
sphere, cut apart and spread out 2‐dimensionally.
On the “equator” of sphere are pure hues, its inner
circles has tints gradating towards a white center,
and the outer points have incremental shades
toward black
Color star (1930s):
Johannes Itten’s color model
for value and intensity

Itten's color wheel model:
Center triangle 3 primary, surrounded by 3 secondary hues.
Tertiary placed with other 6 in outer circle
= Traditional 12 color wheel

Itten's color wheel model was slightly flawed

Some “adjustments” necessary..

Johannes Itten (1888‐1967)
• Swiss expressionist painter,
designer, teacher, writer and
theorist associated with the
Bauhaus school of design, crafts
and fine arts (1930s Germany).
• Continued work with Traditional
Color Circle in the steps of Runge
and Munsell.
• His color study addressed aspects,
attributes of color. Organized The 7
Contrasts of Color.

Itten’s “7 color contrasts”:
• Contrast of hue – primary and secondary
colors in same composition
• Contrast of light‐dark (value)
• Contrast of Saturation (intensity)
• Contrast of Warm‐Cool
• Complementary Contrast
• Simultaneous Contrast
• Contrast of Extension

Contrast of Value
MONOCROMATIC (as in our mosaic designs)

Contrast in Value:
Monochromatic areas of shades and tints

Adding white, black & grays affects
VALUE as well as INTENSITY

INTENSITY
(also Chroma, or saturation)

Adding a complimentary color also
changes intensity

Low intensity (grays added)…

..made into high intensity in Photoshop.
Which area has brightest/dullest intensity?

Contrast of Saturation (Intensity)

To change intensity you can
Add neutral (B, W or grey)to pure color (creates a tint, shade or, tone)
Mix hue with its compliment (chromatic neutral)
[Transparent layer of achromatic hues or compliments]

Contrast of Saturation (Intensity)
If the surrounding colors are duller,
the intensity of the pure hue increases

Warm color scheme
• Warm colors
protrude
• Represents
warmth, sun,
light, fire

Contrast of warm‐cool color
• The warm colors
protrude
• The cool color
contrast makes the
fork stand out
• By using the contrast
one adds interest or
drama in picture

3 of Itten’s 7 Contrasts:
•Contrast of light‐dark (value)
• Contrast of Saturation
(intensity)
•Contrast of Warm‐Cool

Assignment # 5
Masque Design

Show either one from the 2 of Itten’s 7
contrasts presented today
• Thumbnails of design. In your thumbnail:
Divide masque design in 2 sides, by either a horizontal or
vertical center line. Each side must represent one of the 2
contrast principles you have chosen – Contrast of Intensity or
Contrast of Warm/Cool.
Make several thumbnails before you decide on a final design.
• Create a simple template on Bristol board, using the one
provided or a freely designed template (encouraged, but not
required). Masque size must stay within a surface area no larger
than 9”W x 9”‐10”H. (Using tracing paper, laid over Bristol board
reversely, with pencil marks facing it and then are traced, helps)
• Basic elements are center line, eyes, nose, mouth, in a division
of horizontal thirds

Bristol board: 9” X 12”

Final template should look like this.
Cut out holes for eyes and nose if you like, but better to do it when you have placed
your design on top of the template.

Following your best thumbnail, sketch out design as a
whole, crossing the dividing line on your template.

Contrast of Intensity
(mix with black or a complimentary hue)

Contrast of Intensity
Mix with white (or lay over transparent white)

Lec 3 part 2

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Lec 3 part 2