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Presentation on theme: "C OLOR E LEMENTS OF D ESIGN P RINCIPLES OF D ESIGN."— Presentation transcript:


2 D EFINE illusion—an image that fools the eye. hue—a specific color that can be identified by name, such as green, red, or blue-violet. value—the lightness or darkness of a color. shade—a darker color created by adding black to a hue.

3 tint—a lighter color created by adding white to a hue. intensity—the brightness or dullness of a color. color schemes—color combinations that look good together. emphasis—the technique of drawing attention where you want it.

4 proportion—the way one part of a design relates in size to another part and to the whole.

5 U NDERSTANDING C OLOR : Hue is the specific name of a color. Examples: red, blue, yellow Value is the lightness or darkness of a hue that is created by adding white or black to a hue. Black and white are neutral colors that don’t appear on the color wheel. However, they can be used to change the value—the lightness and darkness--of a hue.

6 Intensity describes a hue’s brightness or dullness. Tints are created when white is added to a hue to create a tint. Examples: pastel colors such as pink and lavender. Shades are created when black is added to a hue. It is darker in value. For instance, burgundy is a shade of red.

7 An illusion is an image that fools the eye. Blue, because a one-color outfit gives the illusion of added height. A person appears taller. Clothing with sharp contrasts—either hue, value, or intensity-- might make a person look shorter. Black or dark colors can make a person look slimmer. Light colors may make a person look larger.

8 Color schemes help you choose color combinations that look good together. Example of a complementary color scheme: Green and red or yellow and violet. Primary colors—red, yellow and blue are the basic colors. All other hues—hundreds of them— come from mixing the primary colors.

9 Secondary colors—orange, green, and violet—are formed by mixing equal amounts of two primary colors. Orange is a mixture of red and yellow. It appears on the color wheel halfway between those hues. Intermediate colors—such as yellow-orange—are a mixture of a primary color and a secondary color.

10 C OLOR S CHEMES : Monochromatic—Uses tints and shades of a single color. Complementary—Uses colors directly across from one another on the color wheel. Analogous—Uses two or more colors that are next to each other on the color wheel.

11 Triadic—Uses any three colors that are an equal distance apart on the color wheel. Split-complementary—Uses one color, plus the two colors on either side of its complementary color. Because of the tones in a person’s skin, hair, and eyes, certain colors will look better on the person than other colors.

12 P RINCIPLES OF D ESIGN These set artistic guidelines that help you look your best or create housing designs that look the best. Emphasis—the technique of drawing attention where you want it; that point is known as the focal point. Emphasis is created by using color, line, texture, design details, and trims. You can draw attention away from figure traits you want to minimize and toward those you want to highlight. Proportion—the way one part of a design relates in size to another part and to the whole design. Designers know that unequal proportions are the most pleasing to the eye. Choose clothing that is in proportion to your own size.

13 Balance—giving equal weight to the spaces on both sides of an imaginary center line. The two sides don’t have to be identical for the design to appear balanced. Balance helps create a feeling of stability. Rhythm—the eye is carried through a regular pattern of design elements. Ex: On a blazer, the bottom of a pocket might have the same curve as the bottom of the front opening. Sometime when an outfit (room) doesn’t look “right”, it is because it lacks rhythm.

14 E LEMENTS OF D ESIGN Line--`As you look at a line, your eye tends to follow its direction: vertically (up and down), horizontally (across or side-to-side), or diagonally (slanted) (A line can be used to make a person appear taller because the eye follows an unbroken vertical line, giving a sense of height.) Lines may be straight, curved, or zigzag. All lines have different effects. Straight—crisp, more formal look Curved—softer effect Zigzag—drama Vertical—strength Horizontal—restfulness Diagonal—excitement, movement

15 Lines and Illusion—emphasis or camouflage (hide); vertical—height; horizontal—width. Shape—outline of a garment of furniture; defines how the wearer looks or the shape in relation to the whole room design. Will be several shapes in the whole of the design. Ex: top of pant tubular while bottom may be flared.

16 Space—refers to the area within the outline of a garment or outfit or room. Space can be divided parts (seams, pockets) of a garment or furniture and accessories in a room (pictures, lamps, or even furniture). Ex: Simple black dress with a high neckline and no waistband as opposed to same dress with large patch packets and a contrasting belt.

17 Texture—the way a fabric looks and feels. Some textures are associated with a certain feel. Casual wear or furniture—denim, corduroy and bulky. Smooth finish of a more formal fabric such as satin. Designers can use texture to create illusions. In general, nubby and bulky fabrics make a person or a piece of furniture look larger. Fabrics with a dull finish, such as denim and flannel, usually make the person or furniture look smaller. Fabrics with shine draw attention. Color—People usually notice color first.


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