Paschke Online
Designs Ink
Publishing Article Archive and Reference Library
Articles
by Chris A. Paschke, CPF GCF CMG
"The Essence of
Design: Color"
June 2000
How appropriate to
be discussing the element of color during the issue that concentrates on mat
design. Yes, there is color in moulding but it is the mat border that most
often determines the emotional feel or sets the mood of a framed piece of
artwork. And color is often responsible. Whether traditional or contemporary,
Victorian or Asian, the colors that are within the art
itself coupled with the stylings of a customer's home furnishings will together
guide the selection of the right colors, that will also work with the art to
best enhance and protect it.
THE NATURE OF COLOR
Color elicits the
greatest emotional and expressive response of all the design elements. It
arouses the most universal appreciation and the one to which we are most
sensitive. It directly and immediately stimulates an
emotional reaction, and the viewer never needs to rationalize that response.
Pleasing color rhythms and harmonies satisfy our aesthetic desires, for we are
naturally drawn to certain color combinations while rejecting others.
COLOR THEORIES
In order to understand the element of color in framing design and the
power of its creative uses we need to understand the basics of color theory.
There are numerous theories surrounding the principles of color whether
speaking of light, digitals or pigment, which often result in confusion. With
the onset of computerization and digital imaging, many of the theories behind
colors and color mixing have been challenged. Historically there have been two
basic theories, additive color
theory, which is color in relation to light, and subtractive color theory or color in relation to pigment.
There are three colors considered to be primaries in all theories. In
light they are red, green, blue (RGB); in printing and digital imaging they are
cyan, magenta, yellow (CMY); and in pigment they are red, yellow, blue. In all
cases these are colors from which all other colors within their spectrums may
be derived. Primary colors cannot be made any other way, they just are.
Additive color theory is that in relation to light. When speaking of
light it is the absorption of all wavelengths and reflection of a particular
wavelength that allows us to visualize a color. In order to see a red apple all
other wavelengths of light are absorbed into the apple, reflecting only the red
waves, so we see it as red. It is an additive color theory. The basic concept
of the additive color theory of light is based on three primaries of red,
green, blue (diagram 1) which when overlapped as three spotlights create
secondary colors of yellow, cyan, magenta.
The combination of all three when overlapped result in white space or
white light, meaning the absorption of all colors or the presence of all light
wavelengths.
Subtractive color theory is color in relation to pigment, or reflected
light (digital imaging). In this theory
the process is reversed, which is more familiar to us.
The primary colors in digital printing are cyan, magenta, yellow (diagram 2)
rather than red, yellow, blue. When overlapped they do not add color but
subtract light wavelengths we do not see. The eye detects color by registering
the reflected wavelength of a given color.
Pigmented white contains and reflects
all color wavelengths so the eye registers white or the presence of all colors.
Pigmented black absorbs all of the
light wavelengths and reflects none, hence no color is
visibly detectable. The resulting secondary colors appear like pigmented
primaries or the secondaries in diagram 1. When all six colors are overlapped
the result is black, or the absence of all color.
SUBTRACTIVE THEORY AND FRAMING
Subtractive color theory is also the standard for pigments and framing.
Colors obtained and produced by pigments react very differently than those by
light. The remaining discussion in this article will concentrate upon the color
theory originally developed by Herbert Ives in the eighteenth century.
Unlike light waves, no amount of color mixing of paint will ever produce
white. There are three primary pigment colors red, yellow, blue (diagram 3)
that when mixed together create black, muddy gray or brown. All pigmented colors when mixed in proper
proportions will create some form of middle gray. This version of the
subtractive color principle is what we learned as children in school.
PROPERTIES OF COLOR
Every color has three basic color properties: hue, value, and intensity.
Hue refers specifically to the
position of a color in the spectrum. The hue of a color will change only when
mixed with another pure color, for it remains a spectrum color.
The value of a color is the
quantity of light that a color actually reflects, hence its apparent lightness
or darkness. The value of an pure color is varied when
a spectrum color is mixed with a neutral. Neutrals are surface tones which do
not reflect any single wavelength of light but rather all of them at once. No single color is then noticed, but rather a
general sense of light or dark such as white, gray or black. The addition of
white creates a tint, adding gray a tone, and the addition of black creates
a shade.
Intensity, or chroma, is the quality of light (not the quantity as in color value)
in a specific color as pigments are mixed together. This quality translates
into the specific brightness or dullness of a color. You cannot change the
value of a color by tinting, toning, or shading it without changing the
intensity also.
UNDERSTANDING COLOR SCHEMES
Color schemes are the use of colors in patterns according to their
placement an the color wheel (diagram 4). Related
color schemes are those that are relatively quiet, and restful. Strong
contrasts and high intensities are avoided here. Monochromatic
colors are those of only one hue (color).
Any one color from the wheel presented as a tint, tone or shade would
all be of the same color family. Analogous
colors are three to five colors that touch each other on the wheel: red, red-violet, violet.
Contrasting color schemes are those
utilizing portions of the entire wheel, and are used often in framing. Complementary colors are those opposite
each other on the wheel: red/green, yellow/purple, blue/violet. Double-complementary colors are one of
two colors next to the complement and its opposite: orange/red-orange to
blue/blue-green. Split-complementary
colors are the two colors either side of the direct complement of a color on
the wheel: red, yellow-green,
blue-green. Triads are any three
colors on the wheel spaced evenly apart: red, yellow, blue. Tetrads are any four colors evenly
spaced on the wheel: red, yellow-orange, green, blue-violet.
COLOR IN FRAMING
In framing, color is used to accent or harmonize with the art to assist
in creating an overall mood, visual effect or response through the use of
colored mat boards, moulding, fabrics and surface design. Color should never be
used solely for its own character or emotive reaction, but always in relation
to the image or object being framed.
As mentioned in April's discussion of line, many principles of design are
ultimately woven together into successful unified designs. This remains quite
evident when color is integrated into a double matted project where different
colored mats are used. This readily becomes the use of two design principles,
line and color, for any narrow inner liner mat will in essence be creating
a line (photo 1).
Last month the basic "given" design was established as a single
mat with a rectangular opening and traditional wood frame. The mat can be any
monochromatic color base, not necessarily a neutral, but as soon as a second
color is introduced regardless of whether it's a liner mat, panel design or
contrasting creative metal or wood moulding, then color must be counted as an
additional principle used in the total presentation. The goal is to limit the
use of elements and principles to a total of no more than three to five. Use of more than one color will not count as
more than one additional element (photo 2).
THE EMOTION OF COLOR
A large use of design comes from the use of color in an emotional or
psychological way by somewhat manipulating the viewer. Warm colors such as red,
orange and gold are considered emotionally stimulating, passionate and often
appeal to the senses like a sunset or fire. Warm colors also generally advance,
meaning a double matted picture will pull a red liner out towards the viewer
away from the image while a cooler mauve or blue liner will recede into the
picture (photo 3). Use of color as an
element may occur within the matting or the frame. The bright metal moulding
upper left makes a large statement and even if the same color had not be used
with the mats this moulding would remain a dominant use of color over-riding
the given (photo 4).
Cool colors are often equated to air, sky and water, are much more
passive, isolated, relaxing and open in nature and as mentioned will visually
sink or recede to the back ground more. In interior design, a good example of
color to control a situation would be using soft, light, cool colors for
furniture fabrics and carpets to enlarge the feeling of a small room, the same
goes for framing images and objects.
Note the samples of matted calligraphy. Although the lettering and
placement are identical in each the color of the paper creates an optical
illusion of them being different in size, plus the paper has a tendency to
attempt to move in front of and behind the lettering (photo 5). The darker
paper dwarfs the lettering more making it the framer's problem to open up the
image in a visual way. In the diamond shaped free form design the upper dark
bark paper mat open the art, while in contrast, the lower light colored rice
paper mat closes it in.
SIMULTANEOUS CONTRAST
It is important to mention that surrounding colors may also alter the
degree of warm and cool colors. Whenever two different color tones come into
contrast with each other, as in the liners of a double mat or surface panel
design, the contrast will intensify the differences between them. This is most
recognizable with colors directly contrasting in hue but also occurs if colors
have a specific relationship. For example, if a yellow-green liner is topped
with a green mat the liner will appear more yellow than if it were topped with
a yellow mat making it appear greener. This occurs often with metallic golds
(red based vs. yellow based) and neutrals tinted or toned from a base red,
yellow or blue primary. Be very careful with matboard and moulding selection
not to unintentionally mix different bases.
The intensity (brightness) and value may also vary in relation to the
proximity of additional colors. A grayed blue (blue tone) appears brighter
against a gray, but the same color looks grayer against blue. Also a warm color
will always appear warmer against a cool and vice-versa.
COLOR AS A DESIGN TOOL
Color has a number of fairly specific purposes in design. Obviously,
emotions may be stimulated by the use of color, and warmth or coolness may be
created, but there is more. I've already stated never to use color for its own
sake, but always to use it as a tool for creating a total feeling.
Considerations for using color as a tool:
Ÿ
Color gives special quality
to a pictorial field, creating interest through a counterbalance of
forward/backward eye movement between the frame and inner art.
Ÿ
Color creates a mood which
may reinforce, stimulate or symbolize ideas represented in the framed art.
Ÿ
Color is a vehicle for a
framer's interpretive expression. This will often be a
collaboration between the framer and the client in relation the item
being framed.
Ÿ
Color attracts and directs
the viewers attention by giving organization and
totality to a composition, this will be discussed further in Part Ten: Emphasis
and Placement.
Ÿ
Color accomplishes aesthetic
appeal by a system of well ordered color relationships as found in conjunction
with the color wheel.
All color has hue, value and intensity and anytime color is integrated
into a framing design in any way it becomes an element of design, which must be
counted.
COLOR IN SUMMARY
When using color in relation to framing it is important to interrelate, interweave
and balance the selected colors. Warmth and coolness, subtlety and brashness,
lightness and darkness are all potential applications and they must work
together toward a unified whole. A single stroke of color contrast such as a
bold 1/8" liner mat may make the difference between a mediocre design and
a masterpiece. A sandstone hand painted
panel design (texture) with accented ¼" French stripes may transform a
crude or boring design into a distinguished presentation (photo 7). This panel
design showcases three elements of line, color and texture...the last one being
the topic for my August column on THE ESSENCE OF DESIGN.
Physicists tell us about the make-up of color composition, psychologists
explain how the human eye perceives a given color and color stylists tell us
how color affects us physically and emotionally. It is up to framing designer to then
assimilate all of this information and sell it to the client in the most
dynamic and price effective solution possible.
END
COLOR SCHEMES
ANALOGOUS: Any two colors adjacent to a key
color on a color wheel.
COMPLEMENTARY: Directly
opposite on wheel; most enhancing.
MONOCHROMATIC: One hue with various values added of white, gray, and
black.
PRIMARY: Red,
yellow, blue; make up the rest of the wheel.
SECONDARY: Orange, green, purple; mixture of
two primaries.
SPLIT COMPLEMENTARY: Color
combined with one on either side of the complement.
TETRAD: A
double complementary contrast forming a rectangle on the wheel.
TRIAD: Three
colors evenly spaced on the wheel forming a triangle.
PHOTO 1
Once the givens
have been established, the most commonly used form of color as an element is as
an accented or contrasting liner mat. This photo illustrates both line and color
in the red pin striped (blue-green) tiered top mat against the gray-green liner
mat.
PHOTO 2
The under tiered
stripes of black, sand and gray against the pink liner mat will still only
count as one use of color and line each, for two elements.
PHOTO 3
The softer mauve
mouldings would not require being counted as an additional element since they
remain subdued and more subtle. The 1/8" liner mat still moves out toward
the viewer while the cooler ¼" middle mat appears more to recede. The red
in the photo is also drawn forward maintaining a positive visual movement.
PHOTO 4
The hot attention
getting red metal moulding upper left both draws the
innermost liner mat out, but also makes a bold statement in its own right. Even if no red matting was used in the
project the moulding would be counted as an additional element beyond the
traditional given.
PHOTO 5
The color of the
paper and lettering impacts the optical space. The lettering visually pulls
forward when darker and recedes when lighter making the two pieces feel
different in size and placement, when they are identical.
PHOTO 6
The matching bark
paper outer mat opens the image, while in contrast the lower light colored rice
paper outer mat confines and restricts it.
PHOTO 7
This hand painted
surface panel design integrates line and color on the top white mat with a
supportive color liner mat of blue-gray, counting as two elements. But the
added texture of the panel itself also introduces a third element, texture for
an accurate count of three elements.
Photos from this
article may not still be available.
For more articles
on design see the Design Series under Articles by Subject.
Additional
information on mounting basics is found in The Mounting and Laminating
Handbook, Second Edition, 2002, and The
Mounting And Laminating Handbook, Third Edition, 2008. Creative
Mounting, Wrapping, And Laminating, 2000 will
teach you everything you need to know about getting the most from your dry
mount equipment and materials as an innovative frame designer. All books are
available from Designs Ink Publishing through this website.
For live
consultations with Chris Paschke, CPF GCF call Designs
Ink, 661.821.2188. A flat fee of $25 will be charged for each new technical
problem. Unlimited calls or emails are allowed for each established mounting
problem.
Chris A Paschke,
CPF GCF
Designs Ink
Designs Ink
Publishing
785 Tucker Road,
Suite G-183
Tehachapi,
CA 93561
661.821.2188
info@designsinkart.com