Inspiring editorial from MIX Magazine
Colour theory and perception are ubiquitous in art and design. Yet the way they are taught is far from standardised and scientists and specialists are increasingly questioning traditional theories. Here, Sally Angharad discusses the aspects of colour education that need to adapt and evolve.
Colour theory should reflect recent seismic technological advancements and digital processes if it is to equip students and designers with practical solutions in line with contemporary practices. Combining contemporary colour mixing methods with practical and psychological influences offers a more informed approach to colour application.
Remaining central to all colour education, the colour wheel is still the go-to tool for artists and designers. This wheel includes three primary, three secondary, and six tertiary colours. Original iterations of the colour wheel, from Newton to Goethe, gradually morphed into what is recognisable as the artist’s colour wheel, later refined by Johannes Itten, who focused on three primary colours, red, yellow and blue. The circular chart helps us understand colour relationships, for example complementary colours sit directly across from each other.
Johannes Itten | Farbenkugel in 7 Lichtstufen und 12 Tönen (Color Sphere in 7 Light Values and 12 tones), 1921 | Published in Utopia: Dokumente der Wirklichkeit (Utopia: Documents of Reality) | Written and designed by Johannes Itten (Swiss, 1888–1967) | Published by Utopia Verlag (Weimar, Germany) | Lithograph on paper | Smithsonian Libraries
While this tool supports some of our interactions with colour, the rise of the digital age has helped to highlight contradictions in this most traditional of models. Interestingly, the red-yellow-blue triad of primary colours is credited with directing the way we use language to describe colour categories, but in fact should not be used as the basic colours to mix with. Cyan, magenta and yellow are now debated as the correct colours for mixing instead, much like the inks in a colour printer.
Now though, emphasis is placed on digital processes. The most used three-dimensional colour system today is RGB (red, green, blue) combined with CMYK (cyan, magenta, yellow, black) and HSB (hue, saturation, brightness). Moving away from the traditional model, this colour tool aims to improve digital literacy.
The basics that are taught at primary school can still be useful to introduce the ideas of colour theory, but at advanced stages of colour education, these ideas almost need to be forgotten. Instead, it is the physical and emotional aspects of colour that enrich our knowledge and offer a more informed approach. It’s fair to say that traditional colour theory education can be limited, with too much focus on formulas as opposed to a combination of creative intuition and science.
When developing a palette from concept to creation, it is essential to explore real-world applications to ensure its success. A selection of colours might appear harmonious or fit for purpose during design development, but elements like composition, scale, proportion and finish all need to have a relationship with the colours chosen. Students need to remember that colour research should be embedded throughout a project and should never be considered in isolation.
MIX Magazine is a print and digital publication by our creative agency, Colour Hive and is available as part of the PIONEER subscription of In Colour.
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