OUGD404 - Design Principles - Systematic Colour - Q & A

My Answers to my own questions: 

1. How can I apply some of the rules about contrasts I’ve learnt towards graphic design? Eg. How can I use temperature to affect the colours I use?

You can't, but they are a consideration when designing. If something does not look right, then an explanation why can be found within these. 

2. What connotations are there about different colours?

In different cultures, different colours can hold different connotations. 

Red: 

 - In China this colour is used in many cultural ceremonies that range from weddings to funerals.

- In the Eastern cultures it signifies joy when combined with white.

- In the western world the colour is popular for Christmas and for Valentine's Day.

- Red represents all things intense and passionate.

- Warmth, excitement, energy, passion, desire, power, love, strength, shame, fire, blood, bloodshed, danger, stop, speed, war, aggression.

Yellow: 

- This is a sacred colour for Hindus.

- Yellow evokes optimism, happiness, idealism and imagination.

- Joy, happiness, optimism, idealism, imagination, dishonesty, cowardice, jealousy, covetousness, illness, hazardous.

Blue: 

- Interestingly this colour is associated with soap in Colombia and as a protective colour in the Middle East.

- Blue is the most popular colour. It conveys peace, tranquillity, harmony, trust and even confidence.  

- Positive, peace, tranquillity, stability, harmony, unity, trust, confidence, security, cleanliness, order, sky, water, cold, technology.

Orange: 

- In Ireland this has very strong religious and nowadays political significance.

- Orange is a warm colour evoking enthusiasm, vibrancy and expansiveness.

- Energy, warmth, enthusiasm, vibrant, expansive, flamboyant, attention-seeking. 

Green: 

- In China the significance of this colour is infidelity. Also, in both China and in France they are not keen on green packaging.
- In Ireland again the colour has religious connotations.

- Some tropical countries associate it with danger.
- In the western world it means that it's safe to go and environmental awareness.

- Green generates strong feelings when seen such as kindness, generosity, loyalty and intelligence

- Fertility, healing, food and ecology, nature, environment, healthy good luck, renewal, youth, vigour, spring, generosity, fertility, envy, jealousy, inexperience, misfortune, reptiles, insects and even bodily functions.

White:

- This is the colour of mourning in eastern cultures. Specifically in Japan this is associated with white carnations as well.

- Purity, simplicity, cleanliness, peace, humility, precision, innocence, youth, birth, winter, snow, cold, good, sterility, marriage, clinical and sterile.

Black: 

- In western cultures this is the colour of mourning and death. It's also the "cool" colour of not only the young but the fashion industry.

- This colour can be sophisticated and mysterious. It's a good technical colour.

- Power, sexuality, sophistication, formality, elegance, wealth, mystery, depth, style, sadness, remorse, anger, fear, evil, anonymity, unhappiness, death (western cultures)

3. "If you want to work with colour in design, it has to be systematic”

Is there a systematic process to chose a colour to work with in the first place?

The process in which you can use could be:

Generally, choose the hue you intend to work with, and consider if they work together, in the given area and space. Then systematically try out different tints, tones and shades systematically, in order to find the most successful outcome. 

4. Are there roughly any colours that tend to work well together?

This is entirely subjective. When working with body type, obviously you would want to work with a large contrast in colour, so legibility and readability aren't affected. When working with image or illustration, the differences could be much more subtle. 

Below are colour schemes that work well, but obviously they can be subjective. There is no rule of thumb. These colour schemes are for working with 6 colours, which is a rare number to work with. However, most of the colours within each scheme could work well as just a pair. 

5. Are Hue and Tone always linked?

Yes. The only time when tone exists on it’s own is when it’s monochromatic – each plate – CMYK, not just Key. This is through tints and a tonal shift.

6. In relation to tints and tones, how would you describes something’s tint?

A tint is simply a further shift towards white within a colour. Below are all different tint, separated vertically. 

7. Use a maximum of 3 fonts - How many colours is normally two many? 

Complimentary ratio theory?  In terms of different forms of information, more colours can seem confusing and communicate badly. Most reasons why we see things as “bad” design is due to too many colours. 

Aesthetic balance – colour information, as well as type image and stock.

8. We all see colour differently, so do we see contrast differently?  

There is no way of measuring this, and potentially no answer. Why do people see colour differently, is it physiological? – due to rods and the cones – eg red, green colour blindness – cones don’t work, so you have to rely on rods. Certain colours have the same tonal value, so they are seen the same. Can you train a group of people to see the same thing? This control is needed in order to answer the question. COLOUR IS SUBJECTIVE.

9. How do you choose between different hues of grey?

There is very little difference. In general, you should use a grey which relies on just tints and shades, as a grey with a slight hue in it can appear as dirty, due to the eye seeing many colours in it. 

10. What colours should be used for body copy?

Once again, there is no rule of thumb. The most obvious is black and white, as they both hold alot of clarity. Colours can be used, as long as there is a large contrast of tone between them. Bodycopy and background with a little contrast merge together, this is the same with any other contrast. 

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Our group questions. answered by another group: 

 1. How can colour assist hierarchy in text?

You can use extreme eneds of the spectrum for headings, midtones for bodytext. Hue: Use a more yellowy yellow as a header, and a lighter colour for bodytext.

2.  Max or Min amount of colours to use when designing?

No fixed answer. Research says use a maximum of 3. 60 percent primary, 30 percent secondary, and 10 percent tertiary. Depends on the brief, and print process. Budget too.

 3. How can I apply rules of contrast such as temperature towards my design?

Too many tones of a temperature can affect the piece.

If colours are too close they blend together, which is something you do not want to achieve. If you want something that is overall warm, then you shouldn’t use colours that are similar in temperature, you should use a neutral colour, so you maintain control over how the hue is perceived.

4. What colours appeal to different audiences? Connotations?

Different cultures have connotations. Blue is the fave for men and women, due to calming. Green is restful. This bypasses gender, since it’s a subjective response. Eskimos find it difficult to respond emotionally to green, since it’s limited within their cultural reference point.

5. What’s the best combination of colours for body type that isn’t black and white?

Colour reduces the contrast. Bold fonts work in different colours. You should always use black and white with body text. Contrast in tone?

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As a group, answer we had to answer the following questions from another group:

1. Whats the maximum amount of colours to use when designing?

There are four – CMYK.

 2. Should colour be chosen in natural light or what is the most appropriate context it would be used in?  

Consistent lighting is needed, meaning unnatural light. Natural light is unpredictable and inconsistent.

3. Is it ever appropriate to use complimentary colours? 

Yes. Some seem to work, such as orange and blue. Others not so well, such as green and red. 

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 4.  How can colour theory be applied to metallic colours?

There is a Pantone metallic swatch system called the  “Metallic Formula Guide”

5. Should a different colour theory be used on screen? 

Not if you’re still using a pantone system and working in CMYK. You can also use a hex code system, which is similar to the Pantone Swatch System. 

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We then sorted our printed design work into different categories:

- 1 Colour Print - Monotone

- 2 Colour Print - Duotone

- 3 Colour Print - Tritone

- 4 Colour Print - Quadtone

- Infinite (CMYK)

Notes on Presentation: 

Linen Tester – Used to identify how many colours/ method of production.

Why is it important to use these as a graphic designer?

You pay per plate – 4 plates are used to create a blend – CMYK

If you work with monotone, you’re only dealing with one plate – cheaper. Anything captured as one colour has to be created on one plate.

4 Colour Process Guide – 4 plates have been used – composed of dots of CMYK (dots per inch)

Moriet – slightly offset dpi to see all colours so they are optically mixed – appropriate dpi to be used to ensure no weird pattern occurs.

CMYK – works on optical mixing.

Formula – Physically mixed pigment. If you were specifying one or two colour print processes, formula can be used to limit the number of plates.

Go through the things brought in, and what uses what process?

Cyan, Magenta, Yellow and Key are all Formula colours.

Our eye fools us into thinking the colour is lighter. There is a subtle difference made from the use of light exposed through the size of dots.

If something is very light on a plate, it may hold lots of Key when in CMYK.

The use of a subtractive colour mode.

Light grey – small dots  that look composed of just Key – lower dot pitch

- Colour Value: C: 29, M; 23, Y: 23 K: 0 – why? The colours are balanced.

On screen – a mix of blue/grey

When printed – a monotone

To turn into a monotone – turn to grey scale.

8 bit, 16 bit, 32 bit – colour information – HD, some printers work at different bits – if you produce something at 32 bit and the printer is 8 bit, the quality is reduced.

Start looking at different print methods – monotone/ high - end print.