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The Color Wheel
This color wheel is a chart that shows how colors are related and sorted.
It has Primary Colors, Secondary Colors, and Tertiary Colors and shows
their relationship to each other.
Traditionally, artists use a color wheel of 12
colors based on the RYB model.
It has Primary Colors of Red, Yellow
and Blue, Secondary Colors of Orange,
Green, and Purple (which are created by mixing the Primary Colors in
equal amounts), and six Tertiary Colors
which are created by mixing a Primary and a Secondary Color.
For colors created using light, such as on computer
monitors, a Color Wheel based on the RGB model
is used. The RGB wheel encompasses the
CMY model as well since Cyan, Magenta, and Yellow are the Secondary
Colors for Red, Green, and Blue. (Conversely the Secondary Colors for
Cyan, Magenta, and Yellow are Red, Green, and Blue.)
The Color Wheel below represents the
RYB Color Model. This model is largely
used for traditional reasons because Red and Blue are approximations
for Magenta and Cyan respectively.
Sir Isaac Newton developed
the first circular diagram of colors in 1666.
PRIMARY COLORS
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The colors Red, Yellow and Blue are the
Primary colors of the color wheel.
In traditional color theory, these 3 pigment colors CAN NOT
be made by mixing any combination of the other colors. They
are used to create all the other colors.
SECONDARY COLORS
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Orange, Green and Purple are the Secondary
colors. A Secondary Color is created by mixing two Primary
Colors.
- Orange from Red and Yellow
- Green from Yellow and Blue
- Purple from Blue and Red
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TERTIARY COLORS
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The combination of a Primary Color
with a Secondary Color creates a Tertiary Color.
Tertiary colors are also known as Intermediate Colors.
They are:
Yellow-orange, Red-orange, Red-purple, Blue-purple, Blue-green
and Yellow-green.
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ANALOGOUS COLORS
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Analogous Colors (Analogous means "related") are right next
to each other on the color wheel (consecutive).
They blend well and and look pleasant
together because they are closely related. Although
they might not provide enough contrast by themselves they can
be enhanced by including a Complementary Color.
Example: Yellow, Yellow-Green, and Green.
Use analogous colors when you want just enough variation
in color to separate your elements without straying too far
from your main color theme.
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COMPLEMENTARY COLORS
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Complementary colors are directly across from each other
on the color wheel. They contrast because they share no
common colors. They are Colors that will produce a strong contrast.
Some examples are:
- Red and Green
- Blue and Oranges.
- Yellow and Purple
Complimentary colors offer high contrast
and should be used with care and in moderation. Since
they are opposite each other on the color wheel, this creates
a marked difference in tone and hue which can eye catching.
But, if overused or used improperly, they can give an "eyesore"
effect to your design.
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SPLIT COMPLEMENTARY COLORS
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| Split Complementary colors are those on either
side of a Complementary Color. These colors contrast,
but not as strongly as complementary colors.
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COOL COLORS
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| Cool colors have a Blue
undertone, and include Purples (Violets), Blues, Aquas,
and Greens. Cool colors give the impression
of moving away from you. They express coolness,
detachment, stability, and calmness. Cool Colors are do well
for conveying a lower key message. They give a soothing impression
of calm and seldom overpower the main content of a page.
With a complimentary font color, they offer an effective combination
of contrast and color variation.
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WARM COLORS
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| Warm colors have a Yellow
undertone and include Red, Orange and Yellow. They
remind you of warm things and express comfort and energy.
These colors tend to make things stand out and
give the impression of advancing towards
you from the page or screen. Warm colors are best suited
for Websites that utilize an energetic or bold theme. The vivid
nature of these colors coupled with the right background can
create an excellent contrast. Be cautious when using this color
group so you do not overwhelm your content with their eye catching
hues.
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MONOCHROMATIC COLORS
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| These are Shades and Tints of the same color.
Tints and Shades
The color wheel is based on "pure" colors. For
each color there are also darker and lighter versions.
Darker versions are produced by adding
black or removing light, and are called
Shades. They can also
be referred to as "Deep" or "Dark" colors. Dark shades of Yellow,
Orange, and some Reds are called Browns.
Lighter versions are produced by adding
white or more light, and are called
Tints. They can also
be referred to as "Pale" or "Light" colors. Very
light tints are often called "Pastels". Light tints of
some Reds, Oranges, and Yellow are called Tans.
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NEUTRAL COLORS
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Black, Whites, and Grays are Neutral Colors. Also, Browns,
Beiges and Tans are usually considered to be neutrals.
Neutral colors are intended to send no
message but integrate well with other colors. They
are usually considered as colors "off the Color Wheel".
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TRIADIC COLORS
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| Triadic Colors are any 3 colors on the wheel
that are 120 degrees apart. The Triadic Color scheme uses
three colors equally spaced around the color wheel. This
color scheme is popular among artists because it offers strong
visual contrast while retaining harmony and color richness.
The Triadic scheme is not as contrasting as the Complementary
scheme, but it looks more balanced and harmonious.
The Primary Colors are Triadic
and so are the Secondary Colors.
Triadic colors give your page a sense
of balance and could be considered a "middle of the road"
approach to color coordination.
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COLOR HARMONY
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Harmony is a pleasing arrangement of parts. This can
occur with architecture, music, poetry, color, or even food.
Harmonious colors are colors that
work well together and produce a color scheme that looks attractive.
There is no "Single Solution" for color Harmony, but there are
endless combinations that can give harmonious results.
Harmony is something that is pleasing to the eye. It
visually interesting and creates a sense of order and balance.
When something is not harmonious, it is either boring and does
not engage the viewer or is chaotic and the viewer does
not enjoy looking at it.
Extreme unity leads to under-stimulation and extreme complexity
leads to over-stimulation. Harmony is
an equilibrium between the two extremes.
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