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Graphic Design Courses Amesbury
Font and colour are the most important aspects in graphic design. Graphic designers need to have a strong command on typography and understanding of colour theory to excel as graphic designers. This is why we pay extra attention on the above two aspects in our graphic design course.
Colour Theory is a set of rules and instructions that artists use to interact with consumers via beautiful colour schemes in visual interfaces. To choose the right colours each time, designers use a colour wheel and appeal to comprehensive knowledge of human optical capacity, psychology, history and more.
Categories of colour
Main (red, blue and yellow)
Secondary (primary hue mixes)
Tertiary (or intermediate-primary and secondary paint mixes)
Following Newton’s results, the colour analysis progressed to cover the properties of colour in its two forms—i.e., print/paint both screen/light—and in a number of areas, from painting to astronomy. The properties of the colour are:
Hue – The way it looks (e.g., “is green”).
Chroma – How pure it is: i.e. whether it has shades (black added), shades (white added) or shades (grey added).
Lighting – How pale or saturated it seems to be.
Using Colour Scheme and Colour Temperature for Harmony Design
In screen design, programmers use an additive colour model where the main colours are red, green and blue. Much when you need to strategically position photographs and other items in graphic design, your choice of colour can also maximise your user experience in appealing, highly functional interfaces. When beginning your design process, you might suggest using [DHM3] either of the following key colour schemes:
Monochromatic – Take one hue and create other elements from various tones and colours.
Analogous – Utilize three shades positioned next to each other on the colour wheel (e.g. orange, yellow-orange and yellow to indicate sunlight). A variant is to combine white with white to form a high-key” analogue colour scheme (e.g. flames).
Complementary – Utilize pairs of “opposite colour”—e.g. blue/yellow—to improve contrast.
Split-Complementary (or Compound Harmony)-Add colours on each side of the complementary colour pair to soften the contrast.
Triadic – Take three colours that are similarly distant on the colour wheel (i.e. 120° apart: e.g. red/blue/yellow). These shades may not be bright, but the system may be since it preserves unity and strong contrast. For this it is simpler to render physically pleasing projects than for a complementary scheme.
Tetradic – Take four colours and are two sets of compatible pairs (e.g. orange/yellow/blue/violet) and select one dominant hue. This makes for rich, fascinating designs. But watch the balance between warm and cold colours.
Square – A variation of tetradic; four colours are equally distributed on the colour wheel (i.e., 90° apart). Unlike tetradic, square patterns will perform better if you use all four colours equally.
Your colours must represent the goal of your design and the personality of your company. You can also implement colour theory in order to maximise the beneficial psychological effect on consumers.