Link

based on mixing primary colours - Red, Blue, Yellow, a visual representation of colour theory

Focused on Contrasts between light and dark. Such as the cold warm contrast, with the red-yellow color range as warm and the blue-green range as cool

Link
http://www.chrissnider.com/academic/bauhaus/pages/people.html

"Johannes Itten's contribution to visual communication was in the area of color, his book The Art of Color was subtitled A treatis on the color system. He said of color, "He who wants to become a master of color must see, feel, and experience each individual color in its many endless combinations with all other colors. Colors must have a mystical capacity for spiritual expression, without being tied to objects." (Itten, p.6) Despite Itten's mystical slant, his color research is valuable to visual design for its theoretical framework. In his treatis, Itten included color plates, to show the effects of colors next to, and on top of each other." Link

"Johannes Itten wrote several books regarding theories of color. The most influencial was The Art of Color. The book deals with contrast, saturation, hue and just about any other aspect of color. Itten bases his theory on science and techniques of the masters. He created color wheels, stars, triangles and spheres to support his points.(Itten, p.4-93) The color wheel was later incorporated into many systems including computer operating systems, which organize color. Itten established a structural approach to the study and use of color based primarily on the light-dark opposition. The cold-warm contrast is probably the most important. The red-yellow color range is warm and the blue-green range is cool. Itten also cites complementary and simultaneous contrasts. A visual statement can be sharpen by these statements in color." Link

Link
http://www.bauhaus.de/english/bauhaus1919/unterricht/unterricht_itten.htm
His main point was the recognition and creation of contrasts which were elaborated in the most diverse forms and materials, whereby the reciprocal influence of two elements had to be accounted for. Itten considered that the contrast between light and dark was one of the most valuable and expressive means of creation.

Johannes Itten - Colour Harmony

Link
http://www.humboldt.edu/~rq1/undercolor/pioneers.html

His theories reflect the relationships that he saw between music and color. Following his theme of music and color, Itten developed "color chords" that were analagous to music chords. He developed a series of color harmonies, using his twelve member colorwheel as the basis for his demonstrations.

Any two complemenetary colors, any three colors(triads) that form an equalateral or isosceles triangle, and all four color combinations (tetrads) forming squares or rectangles are harmonious.

Harmonic Colour chords - by Johannes Itten

http://www.tranceform.nl/English/Portfolio/Color/kleuraccoorden.html

Harmonic two sounds: are opposite to eachother in the colour cicle

Harmonic three sounds: are being connected in the colour circle by a equilateral or equilangular triangles

Harmonic four sounds: are being connected by a square or a rectangle

The geometric figures shown may be rotated anywhere in the circle, and the resulting color combinations will remain harmonious.

By color harmony, Itten refers to "the craft of developing themes from systematic color relationships capable of serving as a basis for composition." In addition to his color harmonies, Itten developed a systematic approach to contrasts. His now famous Seven Contrasts include Hue Contrast, Light and Dark Contrast, Warm and Cool Contrast,Complementary Contrast, Contrast of Saturation, Simultaneous Contrast andContrast of Extension. Jump to the "Real Books" page for a listof books that elaborate on Iten, Munsell, Newton and various color topics.

Colour as contrast

Color against color contrast.
Light – dark contrast.
Cold – warm contrast.
Complementary contrast.
Quality contrast: saturated colors or not.
Quantity contrast; how much of a color opposite another color.
Simultaneous contrast: on the edge of two colors they both want to find the complement and change in that direction. (in the eye) this happens also if you use a little spot of a color in a big field of another color.
Successive contrast: a color want to find the complement (in the eye).

Good Site that illustrates in particular examples of Ittens Colour as Contrast Theories
http://www.worqx.com/color/itten.htm

based on eye primary colours - Red, Green, Blue, a perceptual colour system

Frans Gerritsen, a famous Dutch scientist, who does research on colors, states in his book ‘Het femomeen licht’ (The phenomenon of light) that white light consists of some wavelengths which can be divided into three groups.
1.the short-wave light is changed through our eyes into blue;
2. middle-length wave light into green;
3. and long wave light gives us the color sensation of red

Site that provides software to try out various harmonious colour schemes
http://www.color-wheel-pro.com/

http://www.color-wheel-pro.com/color-wheel-types.html

Traditionally, artists used a color wheel composed of the primary colors red, yellow, and blue. Currently, the mixing color wheel is commonly accepted as a visual representation of color theory. This color wheel was invented by Johannes Itten, a German color and art theorist. According to Itten, the primary use of his color wheel is for mixing pigments. However, many artists use this color wheel to create visually harmonious color combinations.

Visual (red-green-blue) color wheel As opposed to the mixing version of the color wheel, the visual color wheel is based on the primary colors red, green, and blue. The RGB primaries are used for computer monitors, cameras, scanners, etc. The secondary (subtractive) triad of the RGB wheel is CMY (cyan, magenta, yellow), which is a standard in printing. Also, the human eye contains RGB receptors. Because of this fact, many artists believe that the visual RGB color wheel should be used instead of the traditional RYB wheel to create visual complements.

From site http://www.colorsystem.com/projekte/engl/14goee.htm

Goethe's Original Drawing

Goethe proesented a circular diagram in which the three primary colours of red, blue and yellow alternate with the three secondary colours of orange, violet and green. The semi-circle from green, through yellow to red is known as the plus side; its opposite is the minus-side

Goethe referred to the part of his circle running from yellow to red as the plus side and its continuation into blue as the minus side, and arrived at the following arrangement: the yellow was associated with "effect, light, brightness, force, warmth, closeness, repulsion"; and blue with "deprivation, shadow, darkness, weakness, cold, distance, attraction". It is suggested that Goethe's intention was mainly to ascertain the "sensual-moral" effect of individual colours "on the sense of the eye ... and the eye's imparting on the mind". He understands colours mainly as "sensual qualities within the content of consciousness" and thus transfers his analysis into the area of psychology. The colours on the plus side "induce an exciting, lively, aspiring mood". Yellow has a "splendid and noble" effect, making a "warm and comfortable" impression. The colours on the minus side, however, "create an unsettled, weak and yearning feeling". Blue "gives a feeling of coldness".

With his insight into the sensual-moral effect of colours, Goethe comes nearer to his initial objective: namely, to bring order to the more chaotic, aesthetic aspects of colour. He places colouration within the separate categories of "powerful", "gentle" and "radiant", and propounds the following ideas: the powerful effect will arise if yellow, yellow-red and purple predominate, with the gentle effect mainly being determined by blue and its neighbours. If "all colours are in equilibrium", an harmonious colouration will arise which can produce radiance and also pleasantness.

The first case shows the series of primary colours (1.1), secondary colours (1.2) and tertiary colours (1.3); in the second case, we give an impression of what, from the "sensual-moral" point of view, Goethe explained as force (2.1), sanguineness (2.2) or melancholy (2.3). The third case emphasises the three axes of the complementary colours: red (3.1), yellow (3.2) and blue (3.3). Finally, we accentuate brightness (4.1) and intensity (4.2).

more on comparing to Newton, small extract taken here

The essential complementarity of both colour theories becomes evident when we consider the role of the subject — the human being. While Goethe, as a matter of course, views the human being as central, Newton omits him totally. Here, two complementary truths meet: Goethe presents the direct truth of sensuary perception as a counterbalance to the remote truth of Newton's science; Newton distances himself from a notion of the world ("the pure human sense" as Goethe would have it). Indeed, Goethe expressively employs such a notion to obtain clarity about the nature of colours. Something troublesome arises here, creating a certain tension. The opposite of one deep truth (in this case from Newton) is not something which is wrong; it is another deep truth (that of Goethe).

Sir Isaac Newton

Link http://www.colorsystem.com/projekte/engl/08newe.htm
http://www.colorsystem.com/

After Newton had used a prism to separate daylight and count seven individual colours, it appeared to him that, when considering colour-hue, this was a closed system. By taking the violet end of the spectrum and linking it to the red start-point, he thus created a convincing circle of colours. With Newton’s circular shape, the transition between the one- and two-dimensional colour-system is complete. It is helpful to realise that although this step was made by a physicist, it actually has little to do with physics; it is our brain that, out of the straight line of physics, makes the circle first drawn by Newton ...

Let us now examine other details in Newton's colour circle. Its colours are allocated to segments, the sizes of which are proportional to their respective colour's intensity in the spectrum. Using this segment size, and the varying sizes of the light corpuscles, it was possible to calculate a type of concentration point for the circle — marked as Z by Newton — and mark it in. The straight line, which connected the white colour centre O and this centre of concentration Z, intercepted the circle at Y. ...

Newton's colour circle will remain inadequately explained if we ignore its inventor's belief that the propagation of both light and sound are comparable, and that they should therefore be treated harmonically in an identical way. Newton selected his seven colours because an octave displays seven sound intervals. He allocated segments to them in accordance to their value in the Dorian musical scale. The individual sound tones associated with this scale coincide with the borders between the colour grades: D, for example, with the border between violet and red; A with the border between green and blue. This mathematical-musical appropriation of colours makes it difficult for many to understand Newton's system which, with its seven (instead of five) primary colours, has more of an aesthetic basis than a scientific one.

Link
Harmony and proportions

Like the golden rules about proportions used in the theory of forms and composition, we can also use this well in the color theory. In case you come to the point of determining how large parts of color tones in relation to each other should be, in order to become harmonized. A well known series, based on the golden rules is the relation: yellow-orange-red-green-blue-violet = 3 : 4 : 6 : 8 : 9.

This guideline counts for colors with equal value, brightness and saturation. If these are different, this relationship needs lots of instinctive changing. The problem of the everyday flower arranging is how to find a good balance, the best proportion and harmony in our flower arrangement. Of course there are many different views and possibilities. Many can be good although they are totally different. The personal feeling plays a great role in this, as well by the designer as by the one who's looking.

Monochrome harmonies
These are color combinations consisting of one color tone and a few nuances of this tone. We call this; ton sur ton, still a very popular combination in Holland. Choose color nuances, which are not too close; this can be very ugly.

Polychrome harmonies Color combinations of more than one color tone like the previous mentioned two-, three-, four-, and multi tones. They have a polychrome character. A refined color feeling is needed here in order to get good results.

Warm and cold colors We can also talk about warm and cold colors. This has to do with our feeling. Colors can have the idea to advance or to repulsive. Warm colors are: red/magenta, orange, yellow and green. Cold colors are: blue, purple, violet, blue green, purple.

Most commonly used color chords (color schemes)

White; only white nuances.
Hue; one or more colors.
Black; only black nuances.
Three dimensions of color in a spaceful diagram. Between white and black are the gray-values.

2-tone When we have a combination of two color tones, which are facing each other in one circle, we call this a regular complementary two-tone (yellow - ultramarine blue). This combination will look quite strong.

3-tone When we choose 3 colors out of the circle which are on a regular distance of each other, in example cyan, green and red.

4-tone In the same way a four-tone is a harmony which is chosen often. The base for this is formed by 4 tones out of the circle, which are on a regular distance of each other; green, orange, magenta and blue.

Multi-tones If we work with more different color tones we call them multi-tones. An example of such a multi-tone is a mixed mille fleur. The word mille fleur means a thousand colors.

Monochromatic; ton sur ton We use one color in several nuances.

Adjacent colors When colors are closely together, but not so close as by monochromatic. The colors have a relationship.

Describing Colour

From Colour Basics http://www.worqx.com/color/color_basics.htm

A colour is described in three ways:

• by its name
• how pure or desaturated it is
• and its value or lightness.

Although all reds - pink, red, and brick are different hues distinguished by their chroma, intensity, saturation, and value.

Chroma, intensity, saturation and luminance are inter-related terms and have to do with the description of a colour.

• Chroma: How pure a hue is in relation to grey
• Intensity: The brightness or dullness of a hue. One may lower the intensity by adding white or black.
• Saturation: The degree of purity of a hue.
• Luminance / Value: A measure of the amount of light reflected from a hue. Those hues with a high content of white have a higher luminance or value.

Shade and tint are terms that refer to a variation of a hue

• Shade: A hue produced by the addition of black.
• Tint: A hue produced by the addition of white.

Colour Systems

Available colour systems are dependent on the medium with which a designer is working. When painting, an artist has a variety of paints to choose from, and mixed colours are achieved through the subtractive colour method. When a designer is utilizing the computer to generate digital media, colours are achieved with the additive colour method.

Digital media presents some problems when attempting to reproduce compositions in a printed format. Since digital designs are generated using the RGB colour system, colours used in those designs must be part of the CMYK spectrum or they will not be reproduced with proper colour rendering.

Subtractive Colour

When we mix colours using paint, or through the printing process, we are using the subtractive colour method. Subtractive colour mixing means that one begins with white and ends with black; as one adds colour, the result gets darker and tends to black. The CMYK colour system is the colour system used for printing and is an example of the subtractive colour method. The colours used in the printing process during reproduction are cyan, magenta, yellow, and black.

The colors red, green, and blue are classically considered the primary colors because they are fundamental to human vision. Light is perceived as white by humans when all three cone cell types are simultaneously stimulated by equal amounts of red, green, and blue light. Because the addition of these three colors yields white light, the colors red, green, and blue are termed the primary additive colors.

Additive Colour

If we are working on a computer, the colours we see on the screen are created with light using the additive colour method. Additive colour mixing begins with black and ends with white, meaning that as more colour is added, the result is lighter and tends to white. The RGB colour system is an example the light primaries and creates colour with light. Percentages of red, green, & blue light are used to generate colour on a computer screen.

The complementary colors (cyan, yellow, and magenta) are also commonly referred to as the primary subtractive colors because each can be formed by subtracting one of the primary additives (red, green, and blue) from white light. For example, yellow light is observed when all blue light is removed from white light, magenta forms when green is removed, and cyan is produced when red is removed. The color observed by subtracting a primary color from white light results because the brain adds together the colors that are left to produce the respective complementary or subtractive color.

From Adobe Technical Guides
http://www.adobe.com/support/techguides/color/colormodels/rgbcmy.html

More precisely, additive color is produced by any combination of solid spectral colors that are optically mixed by being placed closely together, or by being presented in very rapid succession. Under these circumstances, two or more colors may be perceived as one color. This can be illustrated by a technique used in the earliest experiments with additive colors: color wheels. These are disks whose surface is divided into areas of solid color. When attached to a motor and spun at high speed, the human eye cannot distinguish between the separate colors and sees them instead as a composite of the colors on the disk:

Kodak Guide
http://www.kodak.com/US/en/digital/dlc/book3/chapter2/index.shtml

3 properties of colour

HUE, SATURATION, LIGHTNESS

Link

The significance of color
While examining the scientific nature of color and the aesthetic considerations of color harmony, we've seen that perception plays a large part in the effective use of color. Beyond the mechanics of perception and the recognition of balanced color palettes lies the intangible, visceral reaction that humans have to color. Colors evoke strong physiological and emotional responses both positive and negative. When you develop your color palette, make sure that the colors you select elicit the appropriate response.

Physiological reactions
Although there has not been a great deal of conclusive evidence linking colors to specific responses, research suggests that certain colors do evoke physical responses. Red, for instance, is a very stimulating color and has been shown to produce increased heart and respiratory rates. Thus, red works as an excellent attention grabber and accent but could easily overstimulate when used as a background color. Similarly, yellow also demands attention, but since it is highly reflective, it creates eye fatigue and aggravation. On the other hand, the color blue has a relaxing effect on the nervous system, and some studies have shown that it increases productivity when used as a background color. However, don't use blue in your color scheme if your product is food-related, as blue is a natural appetite suppressant.

The symbolism of color
The symbolic meaning associated with colors sometimes has precedent in nature. For instance, the color of the sky or the sun creates certain fairly universal associations. However, the underlying meaning that we derive from most colors is based on cultural-specific elements--politics, religion, mythology, and other shared social structures--that may shift over time and across geographical boundaries. Be careful when designing and marketing sites specifically for audiences outside of your cultural reference, since a color that has a positive connotation in one culture may have a negative connotation in another. In addition, most colors have both positive and negative associations. You can emphasize certain meanings over others by using variations of value and saturation, or by using colors that combine two hues.

Common color connotations in Western cultures:

• Red: passion, romance, fire, violence, aggression. Red means stop or signals warning or forbidden actions in many cultures.
• Purple: creativity, mystery, royalty, mysticism, rarity. Purple is associated with death in some cultures.
• Blue: loyalty, security, conservatism, tranquility, coldness, sadness.
• Green: nature, fertility, growth, envy. In North American cultures, green means go, is associated with environmental awareness, and is often linked to fiscal matters.
• Yellow: brightness, illumination, illness, cowardice.
• Black: power, sophistication, contemporary style, death, morbidity, evil.
• White: purity, innocence, cleanliness, truth, peace, coldness, sterility. White is also the color of death in Chinese culture.

Link

Symbolic colors From way back, mankind has used symbolic value to flowers and plants, and also to colors. In magic, color plays an important roll, as token of worship and festivities, nature played the central part. Later, as man developed society, colors needs because different and serve multiple functions. Particularly in religion, color still plays an important role. Some examples of symbolism may encourage you to study this in greater detail. It is important to remember that the meaning of symbolism can vary from country to country and their cultures. Some examples of European / Dutch color symbolism White: birth of the new moon, birth, purity Black: mourning, death, earth, seriousness Red: fight, love, passion Orange: warmth, wealth Yellow: warmth, happiness, cowardice, betrayal, hatred Green: color of spring, young life Blue: sincerity, loyalty, melancholy, heavenly Violet: seriousness, dignity Purple: power, high-ranked priest, dignity Pink: happiness, tenderness, love Gold: super-terrestrial, richness, royal power Silver: strong confidence