Colour and Composition

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Digital Learning Environment for Design - www.dsource.in
Design Course
Colour and Composition
Colour Composition in Design Framework
by
Ms. Nijoo Dubey
NID Campus, Bengaluru
Source:
http://www.dsource.in/course/colour-and-composi-
tion
1. Introduction
2. Module1 - Grey and Hue Scale
3. Module2 - Hue Compostion
4. Module3 - Noughts and Cross
5. Module4 - Colour Interaction
6. Module5 - Colour and Form
7. Module6 - Colour and Culture
8. Module7 - Colour Preference
9. Module8 - Colour and Space
10. Video
11. Contact Details
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Design Course Introduction

Colour Composition in Design Framework The course is explorative in nature and teaches the fundamentals of colour, relationship between colour and
form, colour interactions, colour composition etc. The course is taught within the Design framework.
by
Ms. Nijoo Dubey The topics covered under this course are outlined below:
NID Campus, Bengaluru • Colour Manipulation
• Colour Wheel
• Colour Contrast
• Colour Space
• Relationship between Colour and Culture
• The Psychology of Colour
Source: • Colour Effects
http://www.dsource.in/course/colour-and-composi- • Colour Harmony
tion/introduction
The course involves lectures, suggested reading, exercises and few small applied research assignments. The stu-
dents will learn how to use colour and form in the context of design.
1. Introduction Colour Basic:

• The colour imparted by an object is produced by the mixture of wavelengths reflected from the surface.
2. Module1 - Grey and Hue Scale • The perception of the colour of an object is dependent upon various factors as illumination, media, techniques,
3. Module2 - Hue Compostion quantity, relationship to other colours present, memory and culture.
4. Module3 - Noughts and Cross Colour Mixing and Colour Wheels:
5. Module4 - Colour Interaction Colour mixing happens according to three different systems:
6. Module5 - Colour and Form • Subtractive colour is the process of mixing pigments together as is seen in paintings.
7. Module6 - Colour and Culture • Additive colour is the process of mixing coloured light as in theatrical lighting or television.
• The partitive colour system is based on the viewer’s reaction to colours when they are placed next to each
8. Module7 - Colour Preference other. Normally colours are seen in relation to other colours rather than in isolation.
Colour wheels are arrangements or structures that enable the viewer/perceiver to organize and predict colour
10. Video reactions and interactions. Specific colour wheel choice depends on the effects of colour and imagery desired in
11. Contact Details the art medium employed. The painter uses both the subtractive and partitive wheels. The photographer uses
the additive and partitive wheels.
Types:
• Pigment Wheel:
The mixing or pigment wheel is the basis for working with subtractive colour; it imparts information about the
reactions colours have when they are actually mixed. In this system the primary colours are red, yellow, and blue,
which are used in combination to form the other hues.
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Design Course • Process Wheel:

The process wheel provides us with three basic primaries- yellow, magenta, and cyan and when these are mixed
Colour and Composition purer hues are created.
• Partitive Colour System:
by
The partitive colour system (known as Munshell wheel) is based on five primary hues or as they are known as five
Ms. Nijoo Dubey principal colours- yellow, red, green, blue, and purple.
• Light Wheel:
The light wheel system is based on the additive colour system and provides information concerning light rays
and transparent colour. In this system the primary colours are red, green, and blue. Other hues are created by
combining the primary colours which are basically coloured light.
Hue:
Source: The most important dimension of colour is hue. Hue is simply the kind or name of a colour. A hue without any
white, black, gray, or any complementary colour in it is termed a pure hue. The hue name is the term used to
tion/introduction
describe a particular wavelength. A broken hue, or a broken colour, is a combination of unequal proportions of
all the primary colours. Primary, secondary, and tertiary hues create different visual reactions when used. The
primary hues attract the eyes; they are the most stable; most easily recognizable; and they offer the greatest
1. Introduction contrast. Secondary hues are less stable than primary hues and are compatible with other colours. Tertiary col-
2. Module1 - Grey and Hue Scale ours are the least stable of the hues and they impart the least contrast. Hue dominance imparts tonality.
3. Module2 - Hue Compostion Value:
4. Module3 - Noughts and Cross Value refers to the lightness or darkness of a hue. Value creates space, turns shape into form, and delineates ob-
jects. Value clarifies space and form through shading, creating pattern and texture, imparting emotion, and giv-
ing definition and emphasis. Different values create contrast. A composition of few hues but with a wide range of
6. Module5 - Colour and Form values is always visually appealing.
Intensity:
8. Module7 - Colour Preference Intensity, also known as saturation, defines the degree of purity of a hue, or, termed differently, how bright or
9. Module8 - Colour and Space how dull a hue is. All pure hues are fully saturated. Pure hues are the brightest possible. Intensity affects spatial
10. Video feelings.
11. Contact Details Temperature:
Temperature refers to the warmth or coolness of a colour/ hue. Warm hues are those hues related to red and
cool hues are those which are related to blue. A colour or hue’s temperature changes depending on the warmth
or coolness of the adjacent hues and colours. The addition of black will warm a hue, white will cool a hue, and the
addition of the hue’s complementary will reverse the temperature.
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Design Course Module1 - Grey and Hue Scale

Colour Composition in Design Framework Exercise - 1:
by Exploration and Exercises - Grey and Hue Scale:
Ms. Nijoo Dubey
NID Campus, Bengaluru Duration:
1 day, Individual Exercise.
Objective:
Other than increasing the response threshold of the observer the exercise has a good measure of skill also
thrown into it. Part of the objective was to link up the exercise to a real life situation where a furniture and interi-
or designer has to juxtapose not just various colours, but materials as well.
Source:
http://www.dsource.in/course/colour-and-composi- Mode:
tion/module1-grey-and-hue-scale • Make 16 or more distinct shades of gray using paints and brushes, fabric, gateway paper, OHP sheets, cello
phane tape, or any other medium.
• Mount each of them on a rectangle of size 5X7 cm.
1. Introduction • Cut each the 5X7 cm rectangle into a square of 5X5 cm and a rectangle of 5X2 cm.
• Put together the squares to form a composition.
• Arrange the rectangles in a gray scale
4. Module3 - Noughts and Cross Materials:
Found objects, ivory sheet, glue, mount board.
6. Module5 - Colour and Form Discussion in the Class:
7. Module6 - Colour and Culture Gray- Applications and implications in design, The Weber Fetchner Law, Colour & Composition.
8. Module7 - Colour Preference Observations:
9. Module8 - Colour and Space Students explored a variety of materials such as fabrics, foam board, threads, aluminium sheet, different kinds of
paper, thermocol etc. Having arranged the materials in a scale of gray, the gaps were hand painted.
10. Video
11. Contact Details The challenge was to find the correct position of highly reflective surfaces, for instance an aluminium or O.H.P.
sheet. To resolve this, for the purpose of the exercise the viewing angle of the composition was fixed as right in
front of the person and then the position allocated.
In most of the compositions there was a transition from the darkest shades to lightest. This could happen diag-
onally across the composition or laterally from top to bottom or vice versa. The next common approach was to
arrange the shades in some sort of symmetrical manner across one axis. Though at the comprehension level the
students did very well the execution left a lot to desire.
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1. Introduction
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1. Introduction
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Design Course Module2 - Hue Compostion

Colour Composition in Design Framework Exercise-2:
by
Exploration and Exercises - Hue Composition:
Ms. Nijoo Dubey
Objective:
Different hues behave in their own way to addition of a different colour. The exercise was designed to sharpen
the student’s sensitivity to a very perceptual quality of color: “Brilliance” and in turn make the student receptive
Source: to shading.
tion/module2-hue-compostion
Mode:
Replicate the composition made in Exercise-1 in one hue out of the following-Poster red, lemon yellow, Prussian
blue, light green, orange, violet, yellow ocher, pink (341), peacock blue, poster green, vermillion, flesh tint, burnt
1. Introduction sienna, chrome yellow (085).
Materials:
Paint and Brush
5. Module4 - Colour Interaction Discussion in the Class:
6. Module5 - Colour and Form Simultaneous contrast
7. Module6 - Colour and Culture Observations:
8. Module7 - Colour Preference Once the intention was clearly defined to the students they were quick to grasp the concept and apply it to their
9. Module8 - Colour and Space respective compositions.
10. Video
There were two typical ways in which the students carried out the exercise:
11. Contact Details • Develop shades and tints of the pure hue and then replicate the composition done in Exercise-1.
• The second approach was to first find that specific shade/tint of gray from the gray scale that matched the
pure hue in brilliance. And then develop appropriate number of shades or tints required. For instance the stu-
dent would be making more shades than tints in a pure yellow composition or in the case of purple the number
of tints would be more.
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Design Course Module3 - Noughts and Cross

by Exploration and Exercises - Noughts and Crosses
Ms. Nijoo Dubey
Objective:
An exercise combining form, colour, composition and principles of foreground and background, the objective was
to understand the behaviour of colours against two starkly different backgrounds, in this case black and white.
Source: Mode:
http://www.dsource.in/course/colour-and-composi- • Given a xy cm paper, and three geometrical shapes: a square, a triangle and a circle.
tion/module3-noughts-and-cross • Compose a ‘colour arrangement’ using these three shapes, where the colour assigned to each shape remains
the same, but its position differs (remember playing noughts and crosses?).
• The colours to be used are red, blue and yellow.
1. Introduction • Apply stroke and fill separately, against two different backgrounds – white and black.
2. Module1 - Grey and Hue Scale • Choose which background to apply in either case.
• The size of the circle and triangle, are to be dictated by the square, whose sides measure 20cm.
5. Module4 - Colour Interaction Brushes, paints (Poster red, Prussian blue, Lemon yellow), coloured paper, A-1 size black/ white sheets.
6. Module5 - Colour and Form Discussion in the Class:
7. Module6 - Colour and Culture Trichromacy Theory, Lightness/Brightness, Contrast, Background.
8. Module7 - Colour Preference Observations:
9. Module8 - Colour and Space Though the overall perceptions varied from student to student, the role of yellow being very crucial was admit-
10. Video ted by all, as the behaviour of yellow varies drastically against black and white.
11. Contact Details Though the student was asked to carry out the exercise in an abstract manner, keeping in mind only the visual
qualities like weight, shape, colour volume etc. in mind, for ease of articulation the students tried to relate the
composition to an object or familiar forms/objects.
Going forward the same exercise can be done a little differently, as in, the student may be exposed to all the
options possible (the work done by students this year could be used for this purpose) and then asked to analyze
these alternatives using the parameters of brilliance, foreground, background etc. and then come up with an
option that they feel works the best.
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Design Course
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Design Course Module4 - Colour Interaction

by Exploration and Exercises - Colour Interaction:
Ms. Nijoo Dubey
Objective:
An exciting exercise, it simultaneously exposes the student to three most important phenomena of Optical mix-
ture, Colour interaction and Bezold effect. It also fine tunes the student’s composition making capabilities.
Source:
http://www.dsource.in/course/colour-and-composi- Mode:
tion/module4-colour-interaction • Make a composition using colored paper as background and 2 differently coloured ribbons.
• Make the same composition as above by replacing 1 of the 2 used ribbons colours in the first composition with a
different hue of ribbon.
Or
1. Introduction • By changing the colour of the background paper.
3. Module2 - Hue Compostion Materials:
Satin ribbons, glue, coloured paper.
6. Module5 - Colour and Form Impressionism, Optical Mixture, Bezold Effect
8. Module7 - Colour Preference Observing the discussion in the class it was very evident that the exercise provided an excellent opportunity of
9. Module8 - Colour and Space collective learning as the work of each student demonstrated atleast two of the three above mentioned phe-
nomena.
10. Video
11. Contact Details As the coloured paper available in the market is in limited shades the alternative to the pre painted coloured pa-
per provided by the studio was that the student could use poster colours and paint the background on their own.
The coloured background paper provided by the NID-Asian Paints Colour Research Studio reduced the time taken
doing the exercise and eliminated the errors made due to skill in painting.
An alternative to the ribbons could be pre-cut paper strips.

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Ms. Nijoo Dubey
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Design Course Module5 - Colour and Form

by
Exploration and Exercises - Colour and Form:
Ms. Nijoo Dubey
2 days, Individual Exercise.
Objective:
The exercise was an introduction to abstraction of forms and the implications of colour on a form.
Source: Mode:
Select a state of mind or emotion and paint the cube in 3 or more colours.
tion/module5-colour-and-form
Materials:
Surface development of cube 11cmX11cm, paints, brushes.
1. Introduction
2. Module1 - Grey and Hue Scale Discussion in the Class:
Impressions and expressions of colour.
4. Module3 - Noughts and Cross Observations:
5. Module4 - Colour Interaction The most difficult part of the exercise was to abstract the emotion. The next being to apply the same to a given
6. Module5 - Colour and Form volume while retaining the essence.
7. Module6 - Colour and Culture Originally planned to be done in one and a half days this exercise took nearly two and a half days to complete
8. Module7 - Colour Preference eventually.
10. Video It took a lot of deliberation on the student’s part and extensive time was spent with each student individually by
the faculties to arrive at a satisfactory concept.
11. Contact Details
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Design Course Module6 - Colour and Culture

by Exploration and Exercises - Colour and Culture:
Ms. Nijoo Dubey
2 days, Group Exercise.
Objective:
Colour inspirations can come form the most unexpected places and can be derived from various sources both
internal and external. To equip the learner with a “colour inspiration tool”, the exercise entailed the students
Source: to experience a culturally rich space, capture it through photographs and cull it out in key emotions, words and
http://www.dsource.in/course/colour-and-composi- images. In the final stage a colour palette for each space was made.
tion/module6-colour-culture
Mode:
Study any of the below listed “Public Space” having a coherent character.
For Eg.
1. Introduction A street (residential or commercial), a temple complex, institutional complex and capture the essence of that
2. Module1 - Grey and Hue Scale space in a collage (photographs, material samples, any other interesting materials).
3. Module2 - Hue Compostion • Law garden (Clothes market - At Night)
4. Module3 - Noughts and Cross • Sunday Market
5. Module4 - Colour Interaction • Rani no Hajeero
• Manek Chowk (fruit and vegetable market)
• Jhoolta Minara
7. Module6 - Colour and Culture • Sarkej Roza
8. Module7 - Colour Preference • Municipal Market
9. Module8 - Colour and Space This leads to a colour palette/ family reflecting the essence of that space.
10. Video
Materials:
11. Contact Details Camera, Print outs, Material samples.
Discussion in the Class:
11 colour cultural set, colour inspirations.
Observations:
The process of external inspiration was taken very positively by the students. Ideally this should lead to some sort
of design solution but due to lack of time this exercise was not taken to the level of application.
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Design Course Module7 - Colour Preference

by
Exploration and Exercises - Colour Preference:
Ms. Nijoo Dubey
2 hours, Individual Exercise.
Objective:
Associations play an important role in determining the attitude towards a colour. Associations can tell us objects
and experiences connected with them.
Source:
A simple tool developed at the colour studio, was used as a preparatory exercise for the last exercise which was
tion/module7-colour-preference
to deal with the application of colour in a space.
Mode:
1. Introduction • The student was asked to arrange the cards in the order of their preference of colours along with written rea-
2. Module1 - Grey and Hue Scale sons for the most liked/ disliked colour.
• They are then given the colour stimulus and asked to point out the exact variant of the colour liked or disliked.
5. Module4 - Colour Interaction Work sheet, Visual stimuli
Discussion in the Class:
7. Module6 - Colour and Culture Order of merit, 11 colour cultural set, Object and Emotional associations of colours.
9. Module8 - Colour and Space Observations:
10. Video Favored colours, in the order of most to least:
11. Contact Details 1. WHITE 4 people
2. BLACK 3 people
3. BLUE 2 people
4. ORANGE 2 people
5. RED 1 person
6. GREEN 1 person
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Design Course The following were the association students made with each of the 11 colours in the set:
Colour and Composition WHITE:

Colour Composition in Design Framework Snow, milk-crystal peak, ice cream, apple laptops, friendship, perfection, sonnet, lily, peace, cotton, soft, pure, com-
by fortable, marble, paint, peace, spatial, done, serenity-cotton wool.
Ms. Nijoo Dubey
NID Campus, Bengaluru BLACK:
A dark room/ space, concentration, meditation-100% black, hair, dark, night, sky at night, tunnel, hair, burkha,
death, blank, dead end, end, shoe polish, paint, mysterious, elegant-carbon copy.
BLUE:
Sky, vast, cool, sea, sky after rain, calmness, soothing, sky, calmness, peacefulness.
Source:
http://www.dsource.in/course/colour-and-composi- BROWN:
tion/module7-colour-preference Earth, Calm, Natural, Subtle, Colour of the bark, Rich, Pride, Dignified, Mud, Terracotta, Earthy.
PURPLE:
Graphs, rich fabric, royal, rich, flower, cool, joyful, happy, dusk, energetic, royal.
1. Introduction
2. Module1 - Grey and Hue Scale GREY:
3. Module2 - Hue Compostion Concrete steel, cold, concrete, plaster, dull, unfinished, cement, sophistication.
PINK:
5. Module4 - Colour Interaction Flowers, lotus, sweet, color of my room, yawar, sweet, girly, frock, feminine, cute, pink dollop.
7. Module6 - Colour and Culture RED:
8. Module7 - Colour Preference Letter box, ambulance, danger, to get attention, rose, blood, signs, love anger attraction, loud, apple, dynamic.
9. Module8 - Colour and Space GREEN:
10. Video Grass, eye soothing, colour of the chinar leaf, rich, deep thought, fields, farms, freshness.
11. Contact Details
ORANGE:
Orange, mirinda, orange sun, flowers.
YELLOW:
Sunflower, vibrant-summer yellow, sun, bright, earth, sand, traditional, earthy.
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Design Course Module8 - Colour and Space

by
Exploration and Exercises - Colour and Space:
Ms. Nijoo Dubey
3 days, Group of 2.
Objective:
A culmination of the learning from all the previous exercises, in addition to the associations of colour and emo-
tion and form this exercise develops the understanding of scale.
Source:
Mode:
tion/module8-colour-and-space
• Select a time period from the following:
2-5 pm, 5-8 pm, 8-11 pm, 11 pm-2 am, 2 am, 5-8 am, 8-11 am, 11 am-2 pm.
• Brainstorm on the happenings of that time and derive a theme.
1. Introduction • Select a piece of furniture appropriate for the theme and design the given space.
Materials:
Paints, Brushes, Canvas mounted on frames to simulate corner of a room.
6. Module5 - Colour and Form Form, Colour and Light.
8. Module7 - Colour Preference • The large surface to work with was very exciting experience for the students.
9. Module8 - Colour and Space • The comprehension of abstraction of the furniture piece onto the background was achieved fairly well.
10. Video
11. Contact Details
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Design Course Video:

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tion/video
Color and Texture-Process and Techniques Color and Texture-More Details
1. Introduction
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11. Contact Details
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Design Course Contact Details:

Colour and Composition This documentation for the course was done by
Ms. Nijoo Dubey at NID R&D Campus, Bengaluru.
by
Ms. Nijoo Dubey You can get in touch with her at
NID Campus, Bengaluru http://www.nid.edu/people/faculty/nijoo-dubey.html
You could write to the following address regarding

suggestions and clarifications:
Helpdesk Details:
Source: Co-ordinator
http://www.dsource.in/course/colour-and-composi- Project e-kalpa
tion/contact-details R & D Campus
National Institute of Design
#12 HMT Link Road, Off Tumkur Road
1. Introduction Bengaluru 560 022
2. Module1 - Grey and Hue Scale India
3. Module2 - Hue Compostion Phone: +91 80 2357 9054
4. Module3 - Noughts and Cross Fax: +91 80 23373086
5. Module4 - Colour Interaction Email: dsource.in[at]gmail.com
10. Video
11. Contact Details

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D’source 1

Digital Learning Environment for Design - www.dsource.in

Design Course Introduction

1. Introduction Colour Basic:

Design Course • Process Wheel:

Design Course Module1 - Grey and Hue Scale

Design Course Module2 - Hue Compostion

Design Course Module3 - Noughts and Cross

Design Course Module4 - Colour Interaction

An alternative to the ribbons could be pre-cut paper strips.

Design Course Module5 - Colour and Form

Design Course Module6 - Colour and Culture

Design Course Module7 - Colour Preference

Colour and Composition WHITE:

Design Course Module8 - Colour and Space

Design Course Video:

Design Course Contact Details:

You could write to the following address regarding

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