Color theory in visual design

Color theory studies color mixing and color combinations. It is one of the first things that marked a progressive design approach.^[7] In visual design, designers refer to color theory as a body of practical guidance to achieving certain visual impacts with specific color combinations. Theoretical color knowledge is implemented in designs in order to achieve a successful color design.^[10]

• Color harmony

Color harmony, often referred to as a "measure of aesthetics",^[10] studies which color combinations are harmonious and pleasing to the eye, and which color combinations are not.^[8] Color harmony is a main concern for designers given that colors always exist in the presence of other colors in form or space.^[10]

When a designer harmonizes colors, the relationships among a set of colors are enhanced to increase the way they complement one another. Colors are harmonized to achieve a balanced, unified, and aesthetically pleasing effect for the viewer.^[8]

Color harmony is achieved in a variety of ways, some of which consist of combining a set of colors that share the same hue, or a set of colors that share the same values for two of the three color characteristics (hue, saturation, brightness).^[8] Color harmony can also be achieved by simply combining colors that are considered compatible to one another^[8] as represented in the color wheel.

• Color contrasts

Color contrasts are studied with a pair of colors, as opposed to color harmony, which studies a set of colors. In color contrasting, two colors with perceivable differences in aspects such as luminance, or saturation, are placed side by side to create contrast.

Johannes Itten presented seven kinds of color contrasts: contrast of light and dark, contrast of hue, contrast of temperature, contrast of saturation, simultaneous contrast, contrast of sizes, and contrast of complementary.^[8] These seven kinds of color contrasts have inspired past works involving color schemes in design.^[8]

• Color schemes

Color schemes are defined as the set of colors chosen for a design. They are often made up of two or more colors that look appealing beside one another, and that create an aesthetic feeling when used together. Color schemes depend on color harmony as they point to which colors look pleasing beside one another.^[10]

A satisfactory design product is often accompanied by a successful color scheme. Over time, color design tools with the function of generating color schemes were developed to facilitate color harmonizing for designers.^[11]

Use of color in visual design

• Color is used to create harmony, balance, and visual comfort in a design^[10]
• Color is used to evoke the desired mood and emotion in the viewer^[5]
• Color is used to create a theme in the design^[8]
• Color holds meaning and can be symbolic. In certain cultures, different colors can have different meanings.^[5]
• Color is used to put emphasis on desired elements and create visual hierarchy in a piece of art^[12]
• Color can create identity for a certain brand or design product^[12]
• Color allows viewers to have different interpretations of visual designs. The same color can evoke different emotions, or have various meanings to different individuals and cultures^[5]
• Color strategies are used for organization and consistency in a design product^[9]
• In the architectural design of a retail environment, colors affect decision-making, making which motivates consumers to buy particular products^[12]

Similarly, stars in a constellation connected via imaginary lines are a natural example of using lines in a composition

Types of shapes

Geometric shapes or mechanical shapes are shapes that can be drawn using a ruler or compass, such as squares, circles, triangles, ellipses, parallelograms, stars, and so on.^[5] Mechanical shapes, whether simple or complex, produce a feeling of control and order.^[14]

Organic shapes are irregular shapes^[5] that are often complex and resemble shapes that are found in nature.^[14] Organic shapes can be drawn by hand, which is why they are sometimes subjective and only exist in the imagination of the artist.^[5]

Curvilinear shapes are composed of curved lines and smooth edges. They give off a more natural feeling to the shape. In contrast, rectilinear shapes are composed of sharp edges and right angles, and give off a sense of order in the composition. They look more human-made, structured, and artificial. Artists can choose to create a composition that revolves mainly around one of these styles of shape, or they can choose to combine both.^[5]

Uses of texture in design

• Texture can be used to attract or repel interest to an element, depending on how pleasant the texture is perceived to be.^[14]
• Texture can also be used to add complex detail into the composition of a design.^[5]
• In theatrical design, the surface qualities of a costume sculpt the look and feel of a character, which influences the way the audience reacts to the character.^[5]

Types of texture

Tactile texture, also known as "actual texture", refers to the physical three-dimensional texture of an object. Tactile texture can be perceived by the sense of touch. A person can feel the tactile texture of a sculpture by running their hand over its surface and feelings its ridges and dents.^[5]

• Painters use impasto to build peaks and create texture in their painting.^[14]
• Texture can be created through collage. This is when artists assemble three dimensional objects and apply them onto a two-dimensional surface, like a piece of paper or canvas, to create one final composition.^[5]
• Papier collé is another collaging technique in which artists glue paper to a surface to create different textures on its surface.^[5]
• Assemblage is a technique that consists of assembling various three-dimensional objects into a sculpture, which can also reveal textures to the viewer.^[5]

Visual texture, also referred to as "implied texture", is not detectable by our sense of touch, but by our sense of sight. Visual texture is the illusion of a real texture on a two-dimensional surface.^[5] Any texture perceived in an image or photograph is a visual texture. A photograph of rough tree bark is considered a visual texture. It creates the impression of a real texture on a two-dimensional surface which would remain smooth to the touch no matter how rough the represented texture is.^[14]

In painting, different paints are used to achieve different types of textures. Paints such as oil, acrylic, and encaustic are thicker and more opaque and are used to create three-dimensional impressions on the surface. Other paints, such as watercolor, tend to be used for visual textures, because they are thinner and have transparency, and do not leave much tactile texture on the surface.^[5]

Pattern

Many textures appear to repeat the same motif.^[5] When a motif is repeated over and over again in a surface, it results in a pattern.^[14] Patterns are frequently used in fashion design or textile design, where motifs are repeated to create decorative patterns on fabric or other textile materials. Patterns are also used in architectural design, where decorative structural elements such as windows, columns, or pediments, are incorporated into building design.

Methods

• Perspective: sense of distance between elements.
• Similarity: ability to seem repeatable with other elements.
• Continuation: the sense of having a line or pattern extend.
• Repetition: elements being copied or mimicked numerous times.
• Rhythm: is achieved when recurring position, size, color, and use of a graphic element has a focal point interruption.
• Altering the basic theme achieves unity and helps keep interest.

Types of balance in visual design

The top image has symmetrical balance and the bottom image has asymmetrical balance

• Symmetry
• Asymmetrical balance produces an informal balance that is attention attracting and dynamic.
• Radial balance is arranged around a central element. The elements placed in a radial balance seem to 'radiate' out from a central point in a circular fashion.
• Overall is a mosaic form of balance which normally arises from too many elements being put on a page. Due to the lack of hierarchy and contrast, this form of balance can look noisy but sometimes quiet.

Similar environment

There are several ways to develop a similar environment:^[9]

• Build a unique internal organization structure.
• Manipulate shapes of images and text to correlate together.
• Express continuity from page to page in publications. Items to watch include headers, themes, borders, and spaces.
• Develop a style manual and adhere to it.

Contrasts

• Space
  • Filled / Empty
  • Near / Far
  • 2-D / 3-D
• Position
  • Left / Right
  • Isolated / Grouped
  • Centered / Off-Center
  • Top / Bottom
• Form
  • Simple / Complex
  • Beauty / Ugly
  • Whole / Broken
• Direction
  • Stability / Movement
• Structure
  • Organized / Chaotic
  • Mechanical / Hand-Drawn
• Size
  • Large / Small
  • Deep / Shallow
  • Fat / Thin
• Color
  • Grey scale / Color
  • Black & White / Color
  • Light / Dark
• Texture
  • Fine / Coarse
  • Smooth / Rough
  • Sharp / Dull
• Density
  • Transparent / Opaque
  • Thick / Thin
  • Liquid / Solid
• Gravity
  • Light / Heavy
  • Stable / Unstable

Movement is the path the viewer’s eye takes through the artwork, often to focal areas. Such movement can be directed along lines edges, shape and color within the artwork, and more.