color process book 2011

JOURNEY THROUGH

COLOR

JOURNEY THROUGH COLOR tori hinn

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EMOTIVE/ EXPRESSIVE

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LIFE

LOVE

HATE

PEACE/TRANQUILITY

HAPPY

SAD

LUMINOUS

NOBLE

EMOTIVE

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HEAVY (WEIGHT)

LIGHT (WEIGHT)

LOUD (SOUND)

SOFT (SOUND)

SWEET (TASTE)

BITTER (TASTE)

SMOOTH (SURFACE)

ROUGH (SURFACE)

EXPRESSIVE

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PRIMARIES/SECONDARIES/ TERTIARIES

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Neutral primary hues are created from respective warm and cool components (colors), then using those colors to create the secondary and tertiary hues.

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PRIMARY HUES

SECONDARY HUES

TERTIARY HUES

rose tyrian + winsor red

ultramarine + rose tyrian

green + yellow

yellow + orange

turquoise blue +

turquoise blue +

blue + violet

brilliant yellow +

winsor red + brilliant

green + blue red + orange

red + violet

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Complementary colors are across each other on the color wheel. These four geometric shapes can be placed over the wheel to provide different sets of 3 or 4 color combinations that result in color harmonies.

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COLOR WHEEL

COLOR WHEEL HARMONY

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Applied to compositions, color harmonies with light, warm and bright hues will emphasize colors and make them appear to come forward. Dark, cool, and dull colors recede into the background.

Contract harmony occurs when complementary colors mix together to create grey. This physiological phenomenon (Goethe’s theory) happens when the eye focuses on a primary color for a few seconds and notices the appearance of its complement on a white piece of paper. The same applies to tertiary pairs, although theory suggest this harmony is a bit weaker.

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TINTS AND SHADES

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COMPOSITIONS

In each composition, one color is kept pure when the others are converted into tints and shades of the original color. In doing this, the pure color changes drastically depending on the shade or tint that surrounds it.

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POSITIVE/NEGATIVE

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FROSTY

BITING

ORNAMENT

BROKEN

GIFT

$ $$$

$ $

$ $$$$$

$$$$$ $

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$ $$$$$ $

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$ $$

$ $$ $$ $$$$$ $$$$ $$ $

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$$$$ $$ $GREED$

FEAST

GLU

TTO

NY

$ SLEIGH

ACCIDENT

SWEATERS

PEOPLE WHO ARE ALLERGIC TO WOOL

PUMPKIN SPICE

ADDICTION

MITTENS

LI G H T S

TANGLE

FLUGATHERING

DOUGLAS FIR

NEEDLES

ICE SKATING

THINICE

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Every color on the wheel has positive and negative associations that extend across cultural and geographical borders. For this project, I chose to explore something that usually has virtually zero negative associations in my head: winter. Growing up in the southern United States, I never ex-perienced winter like the north did, no snowmen or sleigh rides. My ideas of winter were fantasies and mostly things I didn’t experience (wear-ing mittens, heavy sweaters, snowball fights). In this book, I focused on the positive and negative attributes of winter, with some of them being stranger than others.

Pure colors with their shades and tints change appearance when their background colors change from black and white.

POSITIVE/NEGATIVE WINTER

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SIMULTANEOUS CONTRAST

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Greyscale, monochromatic, and analogous colors with matching values throughout. These serve as the desig-nated greys to demonstrate simulatenous contrast.

light

light

light

medium

medium

medium

dark

dark

dark

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A color’s hue is altered by placing it within another colored background. By doing this, a color can appear to look like a completely different color by absorbing or subtracting from its color ground — simultaneous contrast.

Using only 1 shape throughout my book, I studied the effects of changing a color’s hue by exploring various background colors. By changing the appearance of a color’s value (the darkness or lightness), a color can appear to have the same value as another, although it’s only an illusion.

By being separated with different background colors, a middle grey can appear to look the same as a light grey or a dark grey. To achieve the simultaneous contrast effect, “designated greys” need to be placed with a white and black field, both independently and simultaneously.

SIMULTANEOUS CONTRAST

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FOUR COLOR SEPARATIONS

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Subtractive

Additive

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The objective of this project is to study the effect that a given color can have on another color in each of three dimensions. Specifically, a contiguous (touching) color can influence the given color in direction (yellower, bluer, redder), in value (lighter, darker) and in intensity (brighter, duller).

I chose the form of an owl to divide into equal sections horizontally. The left side of the owl is a warm color taken from the additive and subtractive color palettes (RYB/GOV, RGB/CMY) and the right is a cool taken from the same palette.

The four compositions have changing background colors, and although the owl appears to change colors, it actually stays the same. After this is done, the entire composition is put through a four color, CMYK separation manually through illustrator. It is then put through InDesign’s automatic four color separation and printed in black/white.

FOUR COLOR SEPARATIONS

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C 10M 79Y 76.83 K 00

CMYK PANTONE CMYK PANTONE

C 50M 36.16Y 22.59 K 05.44

C 10.32M 04.13Y 10.32 K 00

C 04.09M 04.09Y 29.04 K 01.76

C 60.42M 80.56Y 80.56 K 05.44

C 11.21M 68.29Y 26.63 K 00

C 10M 79Y 76.83 K 00

C 50M 36.16Y 22.59 K 05.44

C 10.32M 04.13Y 10.32 K 00

C 04.09M 04.09Y 29.04 K 01.76

C 00 M 01.58Y 00 K 53.60

DS 77-2U @ 95%

DS 213-2U @ 49%

DS 308-8U @ 21%

DS 3-1 U @ 29%

504 U @ 70%

166 U @ 94%

DS 201-2U @ 92%

313 U @ 100%

Warm gray 9 U @ 100%

Cool Gray 11 U @ 79%

7426 U @ 64%

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HARMONIES IN NATURE

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One monochromatic color palette and one analogous color palette. These two palettes are then blended into each other in 8 steps. The entire color palette is turned into shades and tints in about 20 steps.

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Objects from nature provide colors in a broad range that appear to be in harmony together. The colors found on an abalone shell produced a soft, subdued color palette with cool and warm hues. From these two sets of three colors each, I expanded my color palette with shades, tints, and blends of the two sets. Using colors from this larger palette, I created three compositional postage stamps that incorporated the three color harmonies in nature (monochromatic, analogous, and complementary color palettes). Setting certain objects to a lower opacity and different transparency modes produced different spacial effects.

HARMONIES IN NATURE

FOREVER

USA FIRST CLASS

FOREVER

USA FIRST CLASS

FOREVER

USA FIRST CLASS

FOREVER

USA FIRST CLASS

48 | FOREVER

USA

FIRS

T CL

ASS

| 49FOREVER

USA

FIRS

T CL

ASS

50 | FOREVER

USA

FIRS

T CL

ASS

| 51FOREVER

USA

FIRS

T CL

ASS

This book was produced by Tori Hinn for Color with Aki Nurosi at the Rhode Island School of Design in Fall 2011.

Set in Bell Gothic by Chauncey H. Griffith and Whitney by Hoefler & Frerer-Jones.

Printed on EPSON Premium Presentation Matte paper on an EPSON Stylus Photo r1900.