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BCIS 5130: Foundations of Business Presentation Design

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BCIS 5130: Foundations of Business Presentation Design

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    1. Dr. Dan Peak, UNT BCIS 5130: Foundations of Business Presentation Design Introduction to Color

    2. Dr. Dan Peak, UNT

    3. Dr. Dan Peak, UNT

    4. Dr. Dan Peak, UNT

    5. Dr. Dan Peak, UNT

    6. Dr. Dan Peak, UNT The Visible Color Spectrum

    7. Dr. Dan Peak, UNT Primary Color Model (artist’s or painter’s primaries): Red, Yellow, Blue

    8. Dr. Dan Peak, UNT But, Technology Uses other Color Models Engineers developed the “Red, Green, Blue” (RGB) model for early color television screens Printers developed the “Cyan, Yellow, Magenta, blacK” (CYMk) model for early color printing These two models are still heavily used today ….

    9. Dr. Dan Peak, UNT Additive Color Model: Red, Green, Blue (RGB)

    10. Dr. Dan Peak, UNT Additive (RGB) Colors A large percentage of the visible spectrum can be represented by mixing red, green, and blue (RGB) colored light in various proportions and intensities. Where the colors overlap, they create cyan, magenta, and yellow.

    11. Dr. Dan Peak, UNT Additive (RGB) Colors Because the RGB colors combine to create white, they are also called additive colors. Adding all colors together creates white—that is, all light is reflected back to the eye. Additive colors are used for lighting, video, and monitors. Your monitor, for example, creates color by emitting light through red, green, and blue phosphors.

    12. Dr. Dan Peak, UNT Monochromatic Display

    13. Dr. Dan Peak, UNT Monochromatic Display

    14. Dr. Dan Peak, UNT Monochromatic Display

    15. Dr. Dan Peak, UNT Polychromatic (color) Display

    16. Dr. Dan Peak, UNT 8-Bit Color = 256 Table Choices Color table has maximum of 256 color settings (0 - 255) Intermediate colors are created by illusion (e.g., dithering)

    17. Dr. Dan Peak, UNT Limited Colors and Dithering Choices

    18. Dr. Dan Peak, UNT 8 bits + 8 bits + 8 bits = 24 bit Color

    19. Dr. Dan Peak, UNT JPG Undithered Photo versus GIF Dithered Photo

    20. Dr. Dan Peak, UNT 8-bits = 1 Color Channel 3 RGB Channels = 1 Color Image

    21. Dr. Dan Peak, UNT Color Absorption and Reflection

    22. Dr. Dan Peak, UNT Subtractive Color Model: Cyan, Magenta, Yellow, Black (CMYk)

    23. Dr. Dan Peak, UNT Subtractive (CMYk) Colors The CMYK model is based on the light-absorbing quality of ink printed on paper. As white light strikes translucent inks, part of the spectrum is absorbed and part is reflected back to your eyes.

    24. Dr. Dan Peak, UNT Subtractive (CMYk) Colors In theory, pure cyan (C), magenta (M), and yellow (Y) pigments should combine to absorb all color and produce black. For this reason these colors are called subtractive colors.

    25. Dr. Dan Peak, UNT Subtractive (CMYk) Colors Because all printing inks contain some impurities, these three inks actually produce a muddy brown and must be combined with black (K) ink to produce a true black. (K is used instead of B to avoid confusion with blue.) Combining these inks to reproduce color is called four-color process printing.

    26. Dr. Dan Peak, UNT Physical Limitations of Displaying and Printing Color

    27. Dr. Dan Peak, UNT Colors and Complements The subtractive (CMY) and additive (RGB) colors are complementary colors. Each pair of subtractive colors creates an additive color, and vice versa.

    28. Dr. Dan Peak, UNT Fundamental versus Generative Complementary Colors Fundamental Complements are opposite each other on the artist’s color wheel, and sum to gray or a neutral hue Generative Complements are opposite on the additive color wheel, and sum to white or black (e.g., Blue + Yellow [Green + Red] = White Generative complements are an artifact of the RGB engineering design of computer displays

    29. Dr. Dan Peak, UNT Twelve-Color Wheel Colors are referenced in equidistant groups of three, called triads. Additive and subtractive triads are symmetrically positioned on the wheel.

    30. Dr. Dan Peak, UNT Twelve-Color Wheel Colors that appear next to each other on the wheel are adjacent colors. Three adjacent colors, analogous colors are visually compatible.

    31. Dr. Dan Peak, UNT Twelve-Color Wheel Primary and complementary colors are opposite each other on the color wheel. Complementary pairs contrast because they share no common colors. Complementary colors seem to vibrate when placed side by side.

    32. Dr. Dan Peak, UNT Adding Black for Gradation (< Luminance)

    33. Dr. Dan Peak, UNT Adding White for Gradation (> Luminance)

    34. Dr. Dan Peak, UNT Mixing Fundamental Complementary Colors When mixed together, fundamental complements make a neutral gray. You can make a color less bright and intense by blending in a small amount of its complement.

    35. Dr. Dan Peak, UNT Complementary Colors in Shadow

    36. Dr. Dan Peak, UNT Complementary (and Vibrating) Colors

    37. Dr. Dan Peak, UNT Complementary (and Vibrating) Colors By placing brilliant orange flowers against a bright blue background, Vincent van Gogh's painting buzzes with visual energy.

    38. Dr. Dan Peak, UNT Colors in Context

    39. Dr. Dan Peak, UNT Colors in Context Red in different contexts Three colors appear as four

    40. Dr. Dan Peak, UNT Adjacent Colors Influence Each Other

    41. Dr. Dan Peak, UNT Adjacent Grays Influence Each Other

    42. Dr. Dan Peak, UNT Café Wall Illusion

    43. Dr. Dan Peak, UNT Basic color properties Hue: color Saturation: purity Luminance: brightness Chrominance: combination of hue and saturation Gradation: gradual shift in color

    44. Dr. Dan Peak, UNT Complementary Colors can Occur Naturally due to Eye Strain

    45. Dr. Dan Peak, UNT Color can be Deceptive Color seldom appears visually as it physically is supposed to, for color is perceived in relation to the total environment, rather than by itself. Color can even deceive the eye, for it has the ability to change or influence other colors.

    46. Dr. Dan Peak, UNT Color Context Guidelines Use colors that are appropriate for the context. Consider how color perception changes depending upon the physical and psychological setting: Colors shift relative to their backgrounds: a green looks more yellow on blue, more blue on yellow. Similar colors next to each other will have soft edges that blur. Saturated complementary colors next to each other will have hard edges that vibrate. Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors. Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors.

    47. Dr. Dan Peak, UNT Color Context Guidelines Ambient and reflected light alters color perception. Psychological associations with different colors are situation specific. These effects can work for you or against you depending upon your intent. Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors. Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors.

    48. Dr. Dan Peak, UNT Color Context Choices Matter

    49. Dr. Dan Peak, UNT Color Context Choices Matter

    50. Dr. Dan Peak, UNT Color Context Guidelines Color consistency influences your message. Be consistent in your use of color throughout your design. If you want to be disruptive, be consistent in the disruptive use of color when context requires it. Color influences appearance. Consistency provides impression of professionalism and stability. Be sensitive to the colors of the client logo, etc. Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors. Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors.

    51. Dr. Dan Peak, UNT

    52. Dr. Dan Peak, UNT

    53. Dr. Dan Peak, UNT IBM is “Big Blue”

    54. Dr. Dan Peak, UNT NU is “Big Red”

    55. Dr. Dan Peak, UNT UNT is “Mean Green”

    56. Dr. Dan Peak, UNT Artist’s Color Wheel Based on Artist’s Primary colors (R, B, Y) This theory of color preceded both RBG, CMYk, and others

    57. Dr. Dan Peak, UNT Color Context Guidelines Color associations Warm colors for energetic or bold themes Cool colors for low-key or soothing, calm themes Analogous colors (3 colors side by side in a 12-part color wheel) for harmonious themes Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors. Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors.

    58. Dr. Dan Peak, UNT Color Context Guidelines Color associations Complementary colors (opposite in a color wheel) for maximum contrast or stability Monochromatic colors for limiting conflict Also, may be “boring” Triadic (set of 3 related colors) for limiting conflict Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors. Lighting Conditions Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a car. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. Photographers capitalize on this by "bouncing" different types of light onto their subjects. Even the color of your clothes can change the colors you perceive, or the complexion others perceive you to have. Psychological Associations People make all sorts of associations with certain colors, and artists and designers use them all the time, but these associations are highly contextual. For example, in one context a magenta may seem "happy" or "festive"; in another it may seem "fruity". Or consider associations with blue: feeling blue, a financial balance in the blue, cool blue water, blue suit executives, a blue corpse and blue movies have few connotations in common. Across cultures common associations with color are even more variable. Be careful of applying cliched meanings to colors.

    59. Dr. Dan Peak, UNT Associative Color Red: is associated with battle, blood, fire, passion, love and excitement. Historically it represents royalty, majesty, and triumph. Orange: symbolizes friendliness, pride, ambition, warmth, and relaxation and is stimulating to the appetite. Yellow: symbolizes sunlight and is associated with springtime, cheerfulness, and optimism. Yellow also connotes safety because it is easy to see.

    60. Dr. Dan Peak, UNT Associative Color Green: represents nature and the feeling of calmness, friendliness, and freshness. Blue: stands for the truth, honesty, loyalty, and integrity. It also is associated with coolness, repose, and formality. Purple or violet: is the color of royalty and has religious significance

    61. Dr. Dan Peak, UNT Associative Color: The Green Hue

    62. Dr. Dan Peak, UNT Associative Color: The Green Hue

    63. Dr. Dan Peak, UNT The Limits of Color Theory Color theory must be understood by designers Color Theory is based on the realization that your color-perception is Sensitive Relative for most people (not “perfect”) Easily fooled, misled, confused, or overwhelmed Easily exhausted

    64. Dr. Dan Peak, UNT Some Examples of Visual Illusion

    65. Dr. Dan Peak, UNT Twisted Cord Illusion

    66. Dr. Dan Peak, UNT Hermann Grid

    67. Dr. Dan Peak, UNT Hermann Grid, Reversed

    68. Dr. Dan Peak, UNT Filling-In Illusion

    69. Dr. Dan Peak, UNT Who are those guys?

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