By Leatrice Eiseman

I once heard someone say that you need to learn the rules before you get to have the fun of breaking them. Since color has such impact on the response to visual messages and the color wheel is one of the most important design basics, this excerpt from Leatrice Eiseman's book is a must read - PaperSpecs.

When divided into 12 "pie slices," the classic color wheel can provide inspiration for many color combinations. Utilizing the wheel as a guide, there are several categories of color schemes.

The dominant color(s), such as the warmer reds, yellows and oranges or cooler blues, blue greens, greens and violets (purple) will suggest the temperature of the intended theme or mood.

Even within a color family, a difference in undertone can change the perception of warm vs. cool. For example, in the red family, blue reds are cooler than yellow reds.

Purple and green are the most adaptable to changes in perceived temperatures as they are seen as the bridge between warm and cool colors. As purple moves closer to red, it not only appears hotter, but more psychologically connected to red. As the hue moves closer to blue, the reverse is true in that purple is then seen as cooler and calmer. The same is seen for variations of green.

Obviously, general concepts about color temperature do prevail, but color must always be thought of in terms of positioning in combinations.

Monochromatic schemes are varying shades of the same color, such as powder blue, slate blue and navy blue. (Fig. 1)

Analogous or neighboring combinations emanate from immediately adjacent portions of the wheel, for example, yellow green chartreuse, deeper foliage green and a blue green turquoise. Both monochromatic and analogous combinations carry a very specific psychological message, as one color family and all of its implied meanings become the predominant theme. They are also harmonious because of their close proximity on the wheel and very effective in suggesting a specific color temperature. (Fig. 2)

Complementary or contrasting color schemes utilize opposites on the color wheel, providing maximum contrast. For example, a dramatic and exuberant dandelion yellow and vivid violet, with metallic gold and lilacs added to the mix for some interesting variation. (Fig. 3)

Double Complementary combines two variations of a color family that are opposites on the wheel, for example, the yellow and violet mentioned above coupled with yellow orange and blue violet. This arrangement of related color placed with their related complements would further emphasize the drama and complexity of the message. (Fig. 4)

Complementary Variations
Complementaries need not be blatantly bright. Primary or secondary opposites may be lightened or darkened, yet still intensify each other. For example, a primrose pink and mint green or mocha brown (a variation of orange) and its complement of sea blue. The real meaning of the term "complementary" is that each member of the pair visually completes the other. (Fig. 5, 6)

Yellow will appear ever more yellow when it is juxtaposed against purple; greens will appear even greener when coupled with reds and pinks and the same holds true for contrasting tones of blue and orange. (Fig. 7)

Split Complementary produces a threesome by using one hue with the colors flanking its opposite. For example, combining a blue with red orange and a yellow orange. This makes for a somewhat more complex and intriguing combination. (Fig. 8)

Triad
Employing three equidistant colors on the wheel forms a triad, which is primary, secondary or tertiary. The primary triad is more "simplistic,"while the secondary and tertiary are more complex and sophisticated. (Fig. 9)

Tetrads include four colors equidistant on the wheel that are actually two diverse complementary pairs, for example persimmon and navy used with lime green and a red violet. This produces a rather unique and complicated scheme that would need a strong hierarchy of color-one dominant color with the others becoming more gradually subordinate. However, if the goal is to create "cacophony,"more equal amounts will represent more discord. (Fig. 10)

Adventurous Analogous
Combinations need not be strict interpretations of any of the above. For example, the blue, violet and red violet skips a space which would have made it "perfectly" analogous, but it still represents a harmonious combination, yet a bit more "adventurous." (Fig. 11) 

Tweaked Triad
Red, blue green and yellow is not quite a primary triad, but by tweaking a true green to a blue green, an interesting new dimension is added. (Fig. 12)

Flickering Effects
Contrasting, vivid blue and radiant, orange yellows viewed side by side create instant attention. However, these strong contrasts can also cause a flickering visual effect. If this illusion is not desired, separating the colors with a neutral gray will ease the visual contrast between the two brights. (Fig. 13)

Lively, Monochromatic And Analogous Schemes
While brighter complementary combinations offer maximum contrast, harmonious monochromatic and analogous schemes can offer a similar verve. For example, yellow, yellow green and true green are a lively group of citrusy shades with plenty of bite. (Fig. 14)

Value And Saturation In Schemes
The value (degrees of light and dark) and saturation (the amount of color within a hue) of selected colors and the proportions in which they are used make for a broad variety of possibilities. For example, a dominant red orange used with a deep blue violet and a lighter yellow green provides a study in contrasts in both light and dark, as well as in the mix of hues. (Fig. 15)

It is important to know that color combinations need not be strict interpretations of each of the above. They simply offer possibilities, but do not have to be rigidly followed.

Copyright 2006 Hand Books Press. Reprinted with Permission.

This excerpt is from "Color: Messages and Meanings: A Pantone Color Resource" by Leatrice Eiseman. The book is available at www.amazon.com.

1/23/08