26/09/2021
15 Ways to change your perception of colour theory in web design.
In the ever-evolving universe of colour, a web designer’s journey commences with the understanding that colour transcends mere visual appeal. It is a profound emotional experience, a tapestry woven with threads of science and perception. In this exploration, we dive deep into the structured symphony of colours, a timeless voyage that unveils the enchantment of hues. Colours, in their varying brilliance, offer passages through time, reminding us that contentment lies in life’s simplest pleasures.
The starting point of comprehending colour captivating lies in observing their interaction with one another. The relativity of colour, influenced by values, saturations, and the warmth or coolness of hues, brings forth nuances in our perception. The age-old query, “Do we all see colours the same way?” lingers as a testament to colour’s multifaceted nature, a phenomenon we often take for granted, yet one that paints our world with unparalleled beauty.
*All graphics crafted by Alex Mango.
01. The Mystery of Colour Vision
What is colour? In 1666, Sir Isaac Newton unravelled the secrets of colour by slicing white light into a rainbow using a glass prism. Physics tells us that colour is a unique wavelength of electromagnetic radiation in the spectrum. Humans perceive colour through photoreceptor cells in our retinas that absorb photons and transmit electrical signals to our brains. These photoreceptors detect different ranges of light, allowing us to differentiate colours based on their frequency. The RGB spectrum, a combination of red, green, and blue light, forms the foundation of our colour perception.
02. Colour is light
According to physicists colour is an intrinsic property of light itself and is not contingent upon human perception. Photoreceptor cells within our eyes serve as the instruments for this phenomenon, absorbing photons and transmitting electrical impulses along our optic nerve. These photoreceptors come in distinct varieties, attuned to different segments of the light spectrum - short, medium, and long wavelengths. They then process these signals, which often overlap with varying sensitivities. Our visual system subsequently discerns individual colours based on the frequency of these signals. Our perception of colour is a fusion of the RGB spectrum, comprising three fundamental types of light - red, green, and blue, with myriad combinations forming the full spectrum of hues.
03. Catagorising Colour
Building upon his earlier discoveries in point 1, Sir Isaac Newton introduced the first colour wheel in 1666. This concept can be deconstructed into distinct categories: primary, secondary, and tertiary.
- Primary Colours - In traditional paint pigments, primary colours encompass three hues that cannot be produced by any combination and are irreplicable.
- Secondary Colours - The amalgamation of two primary colours yields these secondary hues.
- Tertiary Colours - These shades emerge from the fusion of a primary and a secondary colour. This is why their nomenclature typically consists of two words, such as “blue-green,” although they can be informally referred to as standalone colours like “turquoise.”
04. Color Harmony
Once we create a complete wheel housing all the colours perceivable by the human eye, we can visually discern their positioning relative to one another. At this juncture, it becomes apparent that the interaction of colours is a structured scientific process governed by order. This colour chart is akin to analyzing the fretboard of a musical instrument in music theory; when you grasp the locations of all the notes, you can deduce which notes harmonize based on a systematic approach.
05. Complementary
Complementary colour schemes use two colours opposite each other on the wheel. The stark contrast between these hues creates impactful and maximalist pairings.
06. Split Complement
A split complement utilises the same contrast as the complementary method by choosing one base colour in addition to two colours that sit on either side of the direct complement.
07. Analogous
For a harmonised selection of colours, an analogous scheme relies on a sequential combination. The overall theory is that if the hues are next to each other on the wheel, then they can sit next to each other with a nice level of consistency.
08. Triadic
Triadic colours are equally spaced around the wheel, creating vibrant contrasts and harmonious compositions that make individual elements stand out while enhancing the overall image.
09. Square
Square colour pallettes consist of four evenly spaced hues on the wheel. This method introduces four highly contrasting colours in one space, eliminating room for softer pairings.
10. Saturation
Saturation determines a color’s intensity. Increasing saturation deepens the color, while reducing it lightens and fades the hue. Terms like “light purple” or “dark purple” describe variations in saturation.
11. Are Black + White colours?
The answer to this question is intriguingly complex and somewhat dependent on whether you consider findings in physics or chemistry, rendering it somewhat subjective. When we contemplate colour in terms of CMYK pigments or molecular colourants, black results from the combination of all three primary colours, namely red, yellow, and blue. In contrast, white represents the absence of colour, akin to the negative space on a page.
In practice, the CMYK definition of black can be disregarded, as achieving the absolute hexadecimal code of #000000 is unattainable in this medium. Based on the research expounded in this article, especially Isaac Newton’s theory that colour is an attribute of light and the RGB spectrum, an intriguing proposition emerges: Black may not be classified as a colour, as its existence arises from the absence of light. Conversely, white could be unequivocally regarded as a colour, as it results from the combination of all colours present in the spectrum.
12. Shade, Tint & Tone
The depth or luminosity of a colour is influenced by the quantity of light that permeates the pigment. This interplay of light and colour can be finely tuned using the concepts of shade, tint, and tone.
Tint: A tint is created by introducing white to a base hue. This addition of white softens the hue, making it appear lighter and less saturated. For example, when white is blended with red, it results in a tint of red, often seen as pink. This process imbues the colour with a delicate and airy quality.
Shade: Conversely, a shade is the result of introducing black to a base colour. Black deepens and darkens the hue, making it more intense. When black is added to red, for instance, it produces a shade of red known as burgundy. Shades evoke a sense of richness and depth.
Tone: The concept of tone involves adding both white and black to a base hue. This dual addition achieves a balanced effect, resulting in a tone of the original colour. For instance, when both white and black are mixed with red, it yields a toned red, often in the form of various shades of grey. This approach offers a more subdued and muted appearance compared to the pure hue.
13. Psychology & Colour
Colours have a profound impact on our emotions, influencing our moods in subtle yet significant ways. Let’s break it down:
Warm Colours (e.g., Red, Orange, Yellow): These hues typically evoke a sense of warmth and comfort. Psychologists believe that warm colours can stir a range of emotions, from the fiery intensity of red to the enthusiastic and energetic nature of orange. Yellow, associated with brightness and happiness, can uplift spirits but may lead to anxiety if used excessively.
Cool Colours (e.g., Blue, Green): Cool colours, such as serene blue and natural green, tend to create feelings of calm and relaxation. Blue, in particular, is known for its soothing qualities, while green often signifies health, life, and freshness.
It’s important to note that while these associations are commonly accepted, individual perceptions of colour can vary based on personal experiences and cultural backgrounds. Therefore, when using colours in design, it’s crucial to consider your target audience’s unique perspectives and sensitivities.
14. Colour + Culture
Colour is a language that speaks volumes, but its meaning is far from universal. Instead, it’s a coded system intricately woven into the tapestry of different societies, each with its own interpretations and traditions. Let’s explore how culture shapes our perception of colour:
Contextual Significance: Stripped of its context and history, colour loses its meaning. In essence, it’s a chameleon, taking on various connotations depending on where you are in the world. This inherent subjectivity encourages us to embrace a nomadic curiosity, perpetually inspired by the kaleidoscope of cultures.
Cultural Interpretations: Cultural traditions often dictate how we perceive and employ colours. For instance, in China, the colour red is a symbol of luck, joy, and happiness. It’s the traditional hue worn by brides, believed to ward off evil and ensure a prosperous union. Meanwhile, in North-West Africa, women don black dresses after seven days of marriage, signalling a changed status to the world.
Symbolism in Japan: Japan adds a unique twist to the colour narrative. Here, pink carries a masculine association. The term ‘hanami,’ used to describe the viewing of the pink and white blossoms on cherry trees, symbolizes the samurai, young warriors who fell in battle like the delicate blossoms.
These examples illuminate the rich tapestry of cultural interpretations of colour. It’s a reminder that our perception of colour is not just personal; it’s a reflection of the intricate stories and traditions that shape our world.
15. What is reality?
Take a look at the image below, and you might think you’re seeing red strawberries. However, in this mind-bending illusion created by the inventive Japanese researcher Akiyoshi Kitaoka, those strawberries are actually grey. This optical trickery relies on a fascinating phenomenon known as colour constancy.
Colour Constancy Revealed: Colour constancy challenges the idea that an object’s colour remains fixed, no matter the lighting conditions. Instead, it shows us that our perception of colour is highly influenced by context and lighting.
The Astonishing Implications: Kitaoka’s creation isn’t just an optical spectacle; it’s a reminder of the intricate relationship between our eyes, brain, and the world of colour. It prompts us to question the fundamental nature of reality and highlights the complexity of our perception.
In the end, it’s a mesmerising reminder that the world of colour can be deceiving—a place where reality bends and twists, leaving us in perpetual wonder.
