Texture & Color

GIT 135 - Module 3

Texture and color

the sensory dimensions of design that imbune surfaces with “Sensuality and significance”

Color

• serves as a powerful, albeit subjective, tool that can convey mood, codify information, and manipulate focus by highlighting or hiding specific elements

• serves to differentiate and connect, to highlight, and to hide.

RGB model

for screens, the additive used to examine the mechanics of color theory

CMYK process

for print, the additive used to examine the mechanics of color theory

Interaction of color

Investigation causes hue to shift based on their surrounding context.

Texture

• the tactile or optical grain of a surface that establishes a sense of physical presence and mood

• both physical and virtual in design

• adds detail to an image, providing an overall surface quality as well as rewarding the eye when viewed up close

Poignant juxtapositions

• Contrast | like fuzzy/smooth, prickly/soft, sticky/dry,

Innate optical texture

typography generates this through the interaction of letter form attribute, stroke weights, and spacing

Garamond italic text

will have a delicately irregular appearance

Universe Roman text

will appear optically smooth with even tonality

A smart counterpart

when a design places one texture in relation to its opposite to amplify the unique formal properties of each one.

Concrete Texture

the physical quality resulting from repeated slicing, burning, marking, and extracting surfaces to add robust appealpp

The essence of design

lies in linear structures and tonal relationships (drawing and shading), not in fleeting optical effects (hue, intensity, luminosity) according to classical tradition

Previous design understanding

as an abstract armature that underlies apperancep

Previous color understanding

was seen as subjective and unstable, in contrast to the other

Color perceptions

• depends not solely on the pigmentation of physical surfaces, but also on the brightness and character of ambient light

• It is also in relation to others around it

Color wheel

1665 Sir Isaac Newton organized this after discovering that a prism splits light into colors

Color wheel colors

red, orange, yellow, green, blue, indigo, and violet

Analogous colors

• They sit next to each other on the color wheel

• They have minimal contrast and innate harmony when used next to each other

• They have an element in common

• They have a related temperature

• Often softens the distinction between elements

Complimentary colors

• They sit opposite each other on the color wheel

• They contain no element of the other

• They have opposing temperatures

• tends to bring forms into sharp focus

Using analogous or contrasting colors

• affects the visual energy and mood of any composition

Primary colors

• Red, yellow, blue

• they can be mixed from other colors

• they create all the other colors

Secondary colors

• Orange, purple, green

• they consist of two mixing primary colors

Tertiary Colors

• such as red orange, yellow green,

• they consist of missing 1 primary color and 1 secondary color

Hue

• The placement of the color within the spectrum

  • A red hue can look brown at low saturation and pink at a pale value

Intensity

• The brightness of dulness of a color

  • A color is made duller by adding Black or White as well as neutralizing it toward grey (lowering the saturation)

Value

• The light or dark character of the color

• Also called its luminance, brightness, lightness, or tone

  • Its independent of hue or intensity

Making a color image black and white

removes the hue but retains the tonal replationships

Shade

a variation of hue produced by the addition of black

Tint

a variation of a hue produced by the addition of white

Saturation

• the relative purity of the color as it neutralizes to grey

• Also called the chroma

Graduated color wheel

• Each color hue is shown with progressive values

• The greatest saturation is NOT the same for each hue

  • Yellow is more intense toward the lighter end, while blue is more intense toward the darker zone.

Cones

he color receptors of the eye

Additive color mode

• The light color system

• The three primary colors together create all the hues in the spectrum

• Combining all together makes a blackish brown

• Colors combining absorb more light than they reflect

  • Mixing more colors = less light is reflected

Subtractive color mode

• The pigment color system

CMKY

• A subtractive system

• used in offset and desktop printing

• Nonstandard colors are used because the light reflected off cyan and magenta pigments mixes more purely into new hues than off blue and red

• known as process colors

four-color process

• full-color printing used by inkjet printers, color laser printers, and commercial offset printing equipment, used to print books

• cyan, magenta, yellow, and black

RGB color mode system

• Additive system

• used for designing on screen

• different percentages of red, green, blue light combinations to generate the spectrum

• White is when all are full strength

• Black is when 0 light is emitted

Transparent ink

Printers inks are transparent, so color mixing color show through each other.

Color mixing is performed optically when the image is broken down into tiny dots of varying size.

Resulting colors are mixed by the eye

Transparent light

• The medium of light is also transparent

• The colors of an emitted image are generated when different colors of light mis differently, as well as tiny adjacent pixels combine optically

Optical Color mixing

• Flecks of color mix together optically

• Up close viewing shows the pattern of dots

• Adding a darker color creates and overall darker effect

• Adding a lighter color creates an overall lighter effect

• Known as the Bezold Effect

Vibrations and Value

When two colors are very close in value, a glowing, luminous, unstable effect occurs.

With a strong value difference, colors can appear darker or sharper.