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designing color
of design through guided obser- examples in each chapter
vation and engaging activities. demonstrate how color is used
The visual approach of this text/ in a variety of media including
workbook provides a system advertising, animation, fashion,
of eye training for students who fine arts, graphic design,
aspire to become designers or illustration, industrial design,
artists. Part One of this two-part interior design and architec-
text presents color, the most ture, and photography.
immediately noticeable element
of design. Part Two follows with ■■ The appendix to Part One,
the elements and principles of Some Historical Background
with
design and demonstrates how on the Theory and Practice of
color and other design elements Color and Design, highlights
are combined in nature and key points in the understand-
the visual arts. Students have ing and application of color
opportunities to apply their from ancient to modern times.
learning in each chapter by com-
pleting four types of activities— ■■ Key terms and concepts
designing
warm-up, style, interest, and introduced in each chapter are
satellite—resulting in finished defined in a comprehensive
projects they can record with glossary.
color
photos preserved in their books
for future reference. ISBN: 978-1-56367-859-2
chris dorosz
™xHSLFQDy678592zv*:+:!:+:!
jr watson
with
concepts and applications
designing with color
Elizabeth Marotta
Preface | xi
Acknowledgments | xii
Introduction |1
Pa r t O n e C o l o r Pa r t T w o D e s i g n
Glossary | 285
Index | 293
vii
viii
Extended Contents
139 Figure and Ground and the Picture Plane 198 Optical Center
140 Cropping 204 Areas of Emphasis
149 Activities 205 Activities
ix
xi
xii
How a color is lit can drastically affect how it looks. With this in mind, we can further enhance the mood
Have you ever had to hold your socks up to a light already established by a design’s color palette or
to see whether the colors match? Without the clarity completely change it by dramatizing temperature
of sunlight, the local or true nature of a color can be through warm light effects and cool light effects.
deceiving. Even with the light from the sun, a color
might look warmer than it actually is. A house painted Here is a simple formula to help understand how to
light pink might work well in a clear sunny climate like observe the influence of light temperature on color:
the south of France but may not make sense in the
cool light of a prolonged winter in central Canada.
+ +
Local color Light temperature or its Value identity: highlight?
complement: warm? cool? midtone? shadow?
• cool light effects • local color • simultaneous contrast • warm light effects
• desaturate • saturate • value identity
110
2 2
3 3
table table
shadow shadow
1= + + 1= + +
2= + + 2= + +
3= + + 3= + +
table = + + table = + +
shadow = + + shadow = + +
white
yellow
orange
red
violet
blue
green
Virgin America has introduced mood lighting on its planes. The windows are tinted to
minimize strong daylight in the cabin, and in flight, the lighting also shifts and changes.
Here, cool light is used to relax and soothe passengers.
L i g h t T e m p e r at u r e
113
114
116
L i g h t T e m p e r at u r e
pictures?
121
196
Courtesy the artist, greengrassi, London and Galerie Daniel Buchholz, Cologne and “Boros Collection, Berlin” Ert, Tomma Abts, 2003.
horizontal edges, with converging
lines leading to the optical center.
design
198
Emphasis
simple figures on complex
patterned backgrounds.
199
200
DW.Ch.12.indd 201
Toronto. How many contrasts between the two styles can you name?
meet in this postmodern addition to the Royal Ontario Museum in
Old and new collide, creating a strong line of emphasis where they
201
Emphasis
9/13/10 6:52:40 PM
Linda Florence, detail of Morphus Damask from the Scratchcard Collection, 2005. © www.lindaflorence.co.uk.
Wall coverings and fabric patterns generally don’t have a focal point. They are meant to create
visual interest and harmony, but they also often serve to allow certain features of a room, such
as a fireplace, painting, or accent color, to be the focal point.
design
260
In the living room [left] Billy Baldwin designed for legendary fashion editor Diana Vreeland (she referred to it as her “Garden in Hell”), the non–focal
impulse is extended from the pattern of the walls and fabric into the mementos and clutter of the room to create a lived-in, slightly disorienting
experience. The use of vibrant red on nearly every surface does not provide a resting place for the eye. Though there is great variety in the types of
elements in the room, they are of similar size. There are areas of equal value contrast, but they repeat often enough to become a motif in this non–focal
In Vreeland’s bedroom [right], the fabric and wallpaper pattern is the same as in the living room, but in blue. Similar displays of mementos and small
objects follow the style of the living room.
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