Presented by Robyn Spady
www.spadystudios.com
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(360) 204-6188
Taming of the Hue
Page 2
Taming of the Hue
By Robyn Spady
Primary Color – There is no single set of primary colors. In the world of art, the most
frequently defined set of primary colors is red, yellow, and blue. These are the three colors,
when blended in different combinations and amounts, produce all other colors. Blending other
colors cannot derive the art primaries of red, yellow, and blue.
The set of art primaries of red, yellow, and blue are considered
“subtractive” colors. When these primaries are combined in
different ways, the affect is to reduce light rays reflected from
the color. At the same time, the value of the color made by
blending primary colors has a higher value and appears darker.
The primaries of red, yellow, and blue are not the only set of primaries. The primaries for
lighting are red, green, and blue. The lighting primary red, when compared to the art primary
red, is really more of a red-orange. Similarly, blue is really more of a blue-violet. This model
was first discovered around the latter part of the 18th century.
Lighting primaries are “additive.” This means that through combining these colors, it adds the
light reflected from the surface. The value and intensity of the light is perceived as being
brighter. When all three are projected and overlapped, their specific wavelengths add together to
produce white light.
For a weaver producing an item that will be displayed, the properties of both of these color
primary systems needs to be considered. The woven item may have areas where threads of
different colors intersect. Because of this combination, the subtractive nature of art colors will
produce a different color and that color will appear darker (higher value). If the item is displayed
under lighting, the additive properties of the lighting primaries will affect its appearance. The
more balanced the lighting colors are, the whiter the light will appear and the more precise the
colors of the woven item will appear. The reflected appearance will also appear brighter (higher
intensity, lower value). Most lighting systems do not produce pure white light; therefore, the
color reflected will be slightly distorted from the true appearance. It is important for a weaver to
remember what is generated within the confines of a weaving studio may appear quite different
under different lighting. Other than the sun, the OTT-LIGHTâ, is probably the lighting system
available to the everyday layperson that is closest to pure white light.
The following are some additional designations of primary colors:
• Printing primaries – CMYK . . . cyan, magenta, yellow, and black. This four-color layering
process is commonly used in reproducing four-color images such as color photographs and
color silk-screens, like serigraphs. The combinations of these four primaries produce a nearinfinite number of colors. Another interesting detail is that the order in which the colors are
applied can dramatically affect the end result, especially if the color black is the first or last
layer.
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www.spadystudios.com
Taming of the Hue
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The Munsell System – In 1912, Albert Munsell defined a primary set based on five colors in
1912. These colors include green, blue, purple, red, yellow. The Munsell system also had
five “intermediates” (red plus yellow does not produce “orange,” but the intermediate
“yellow-red”) and a complete wheel of one hundred hues. Colors are described in terms of
hue, value, and chroma. The Munsell primary color system is generally accepted as the most
scientific of the systems in use and has become a standard method of designating color for
government agencies such as the National Bureau of Standards.
The Ostwald Color System – This color system, developed in 1916, is based on four
primaries (yellow, red, blue, green) with a total of twenty-four hues on a complete color
wheel. It was based largely on the work by Ewald Hering.
Secondary Color – Secondary colors are obtained by the blending of two primaries. By
blending two art primaries together, the following
secondary combinations are created: Red and blue make violet,
yellow and blue make green, and red and yellow make orange.
Lighting secondaries are magenta, yellow, and cyan. In areas
where only red-orange and blue-violet light is overlapped, the
result is magenta. In areas where only red-orange and green light
is overlapped, the result is yellow. Similarly, the overlapping of green and blue-violet produces
cyan.
Tertiary color – Tertiary colors are achieved when primary colors are blended with a secondary
color. In a twelve-hue color wheel, half of the colors are tertiary colors.
The following are the tertiary colors based on the art primaries
of red, yellow, and blue: red-orange, red-violet, blue-violet,
blue-green, yellow-orange, and yellow-green.
Color Schemes
Explain the following color schemes. Assemble two examples of each, using fabric or yarn, one
example (a) using pure hues (single hue for #1) and one example (b) using combinations of tints
and shades:
Monochromatic – Monochromatic color schemes are limited to the color and its variations from
a single hue. It can include colors in an image that are
identical in hue, value, and saturation. It can also include the
variations possible through change in value and/or saturation.
For example, a monochromatic color scheme may be created
from red without variations in value and/or saturation. It is
also possible to maintain a monochromatic color scheme by
combining variations of red, such as pinks and burgundy.
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www.spadystudios.com
Taming of the Hue
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Analogous – Analogous color schemes are the use of colors adjacent to one
adjacent to one another on a color wheel. Frequently,
analogous color schemes are limited to three colors, although
up to as many as five may be used.
Complementary – Complementary color schemes are based on two colors that are directly
opposite from one another on a color wheel. The effective use of
complementary color schemes to create images that are pleasing to
the eye can be a challenge for many people. When complementary
colors are used together in areas that will cause them to blend
together, they will create a color that is very muddy. If the
complementary colors will be used in a way that keeps them
from blending together, they can actually end up intensifying one
another to the point of being obnoxious and/or irritating. By varying values and intensities of the
combined colors, beautiful and very pleasing images can be created. Even though the
combination of red and green may not be considered appealing to many people, few would ever
consider a red rose with its green foliage disagreeable.
Split complementary – Split complementary color schemes utilize three colors
from a color wheel. First, one color is selected. Second, the
colors that are located on either side of its direct complementary
make up the color scheme. Use of the split complementary
color scheme may be preferable over a complementary color
scheme to many people, especially those that are just starting to
experiment with color. The strong contrast is possible, but the
intensity that can be overpowering by using complementary colors is reduced.
Triad – Triadic color schemes are developed from three colors on a color wheel
that are an equal distance from each other. It is possible to show a
triad color scheme on a color wheel with an equilateral triangle.
There is a possibility of four triads on a 12-hue color wheel.
Similar to the split complementary color scheme, high contrast
is possible while minimizing the intensity of the difference.
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www.spadystudios.com
Taming of the Hue
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Color Terms
Red
Blue
Green
Hue - the color (blue, green, red, etc.).
Chroma - the purity of a color (a high chroma
has no added black, white or gray)
Saturation - refers to how strong or weak a
color is (high saturation being strong).
Tint - created by adding white to a color,
making it lighter than the original.
Shade - created by adding black to a color,
making it darker than the original.
Tone - created by adding gray to a color,
making it duller than the original.
Value – the lightness or darkness of a
particular color.
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Taming of the Hue
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Value
Value – what is it? Value refers to the relative lightness or darkness of a certain area. Value can
be used for emphasis. Variations in value are used to create a focal point for the design of a
picture. A light figure on a dark background will be immediately recognized as the center of
attention, similarly for a dark figure on a mostly white background. Gradations of value are also
used to create the illusion of depth.
Value is one of many ways of describing the qualities of a color. It refers to the relative amount
of dark or light. By changing the value of a color, the color takes on new traits. For example, by
adding white, the lowest value possible, the value of red is reduced and it changes its appearance.
Add enough white and red becomes pink, a form of red with a low value. By increasing the
value of red by adding black, red takes on a darker form and can start to appear burgundy.
Value Scale
Determining the value of a particular color can be tricky since colors in their purest state can
possess very different values. For example, yellow as a pure hue, looks appropriate in a color
wheel with other pure hue colors even though it has a significantly lower value. No color can
have a value as dark as black or as light as white. There are a couple of ways to confirm the
value of a color. One way is to make a black and white photocopy of the image and convert
colors into black, white, and shades of gray. Another way is to look at the image through red
cellophane.
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Taming of the Hue
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Getting acquainted with value
1. Print the value scale
2. Using a hole punch, punch a hole in one end of each value
3. Hold the value scale over the color (e.g., fabric, yarn, etc.) you want to
assess the value of placing the hole you think is the closest in value
4. Hold a piece of clear red plastic over the hole and observe what happens to
the color underneath
a. It blends in with the value scale means you have chosen the correct
value
b. The hole appears darker means the value is higher
c. The hole appears lighter means the value is lower
Copyright © 2001-2017 Robyn Spady
www.spadystudios.com
Taming of the Hue
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Color Contrast and Color Shift
Color can be transformed through its relation in size, shape, proximity, etc. to other colors.
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www.spadystudios.com
Taming of the Hue
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Intensity
Intensity or saturation is the brightness of a color or put another way, it's the force of the color.
In Itten’s The Elements of Color, a summary of Johann Wolfgang von Goethe’s (1749-1832)
conjecture is summarized that proposes that pure colors possess different “light values” or
intensities. For example, in his calculations, yellow is three times as intense as its
complementary, violet. As a result, in order to achieve harmonious proportion in color, there
needs to be three times as much violet as yellow. von Goethe’s model on proportional color
harmony is supported by this sample.
von Goethe’s Light Values
Yellow
Orange
Red
Violet
Blue
Green
9
8
6
3
4
6
Evenly proportioned
Adjusted for von Goethe’s light values intensity
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www.spadystudios.com
Taming of the Hue
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Proportion
The Golden Ratio - The Golden Ratio is a ratio based on a phi, which is 1.618033988749895…
The Golden Ratio is the ratio of the sum of the quantities to the larger quantity is equal to the
ratio of the larger quantity to the smaller one. It appears in nature, geometry, art, architecture
and other areas and is considered to be pleasing to the eye. The Golden Ratio may also be
referred to as the Golden Section, Golden Mean and Divine Proportion.
Fibonacci-Inmathematics,theFibonaccinumbersarethenumbersinthefollowingsequence:
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144 . . . .
The first two Fibonacci numbers are 0 and 1, and each subsequent number is the sum of the
previous two. Some sources omit the initial 0, instead beginning the sequence with two 1s.
Fibonacci and the Golden Ratio are interrelated. The Fibonacci number sequence follows the
same proportions as the Golden Ratio’s diagram. See below.
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www.spadystudios.com
Taming of the Hue
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Rule of Thirds – This is a basic principle in design . . . especially photography
• The rule of thirds helps to compose an image or place important objects on a canvas.
• Consider your design image and divide it in thirds horizontally and vertically.
• Position important objects at the intersections of the lines.
60/30/10 Rule – A basic rule/guidelines in interior design, which helps create professional grade
color solution for a given space. It's a good starting point for creating even complicated color
schemes.
• 60% of a dominant color
• 30% of a secondary color
• 10% of an accent color
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www.spadystudios.com
Taming of the Hue
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Color Weight
Colors can project a perception of weight. Basically, dark colors give the impression of being
heavier than lighter colors.
Copyright © 2001-2017 Robyn Spady
www.spadystudios.com
Taming of the Hue
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Color Trends
Color Marketing Group - http://www.colormarketing.org
• Interpret, create, forecast and select colors to enhance the function, salability and quality
of manufactured goods
• Identify the direction of color and design trends
• CMG's Color Forecasts are color directions not directives
Pantone Color Forecast – www.pantone.com
2017 Color of the Year
Pantone® color schemes using Greenery, the 2017 Color of the Year
Copyright © 2001-2017 Robyn Spady
www.spadystudios.com
Taming of the Hue
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The following on-line resources are a few of the multitude of resources available to assist you
with exploring color
Colour Lovers - http://www.colourlovers.com/
Paletton - http:/http://www.paletton.com/
Color Wizard - http://www.colorsontheweb.com/colorwizard.asp
Easy RGB – http://www.easyrgb.com/index.php?X=HARM
Color Blender - http://meyerweb.com/eric/tools/color-blend/
Adobe Color - https://color.adobe.com
Tartan Designer - http://www.tartandesigner.com/
Tartan Generator - http://www.tartanmaker.com/
House of Tartan’s Interactive Weaver –
http://www.house-of-tartan.scotland.net/interactive/weaver/index.html
Generating Stripes – Sometimes the greatest challenge in designing stripes is to come up with
something new and exciting. Keep an eye out for examples of stripes you like. Also, there are
some resources available on-line that can help you play with generating stripes.
http://www.biscuitsandjam.com/stripe_maker.php
http://www.stripegenerator.com/ and http://www.stripemania.com/
Barcode generator - http://www.barcodesinc.com/generator/index.php
Copyright © 2001-2017 Robyn Spady
www.spadystudios.com
Taming of the Hue
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References
Albers, J. Interaction of Color - Revised. New Haven, CT: Yale University Press, 1975.
Birren, F. Principles of Color. New York: Van Nostrand Reinhold, 1969.
Couch, T. Elements and Principles of Design videotape. Aspen, CO. Crystal Productions,
1989.
Itten, J.The Elements of Color. New York: Van Nostrand Reinhold, 1970.
Justema, D. and Justema, W. Weaving & Needlecraft Color Course. New York: Van Nostrand
Reinhold, 1971.
Lambert, P., Staepelaere, B., and Fry, M.G. Color and Fiber. West Chester, PA: Schiffer, 1986.
Liebler, B. “Color Excitement.” Handwoven, March 1985.
Menz, D., Color Works The Crafter's Guide to Color, Loveland, CO: Interweave Press, 2004.
Menz, D., “Color Concepts .” Handwoven, Mar/April 2000.
Parramon, J. M. Color Theory. New York: Watson-Guptill Publications, 1989.
Weigle, P. Color Exercises for the Weaver. New York: Watson-Guptill, 1976.
Wertenberger, K. “Designing with Color.” Handwoven, September 1981.
Wertenberger, K. “Tools of the Designer.” Handwoven, September 1981.
iPad Apps
Exploratortium’s Color Uncovered - http://www.exploratorium.edu/explore/apps/coloruncovered
Palettes and Palettes Pro - http://www.maddysoft.com/iphone/palettes/
Color Companion - Analyzer & Converter
Color Designer and Analyzer for iPad
ColorDesign
Visual Design
Josef Albers’ Interaction of Color
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www.spadystudios.com