Black and White Are Colors TOO!: Color Theory

CHAPTER FOUR

IN THIS CHAPTER

Pigment and Light

Tints, Shades, and Tones

Interpreting Color

Black and White

Study Words

A whole chapter on color! Why, you may ask … you just want to learn how to build scenery. Well, if you want to work in any of the departments in a theater, you need to know about color. The scene shop doesn’t just build the scenery and props, they also paint them. The costume shop deals with color in the fabrics and threads and accessories. The lighting department uses gel. And don’t even get me started on the makeup department, where it is all about color! We think we know all about color from the moment we open our eyes and begin to see. Yeah, you know all about color—the grass is green, the sky is blue. Big deal, right? Right!

Color helps us to perceive, distinguish, and recognize everything in the world around us. If you look at something in the distance, you may recognize it by its color long before you can actually “see” what it is. In fact, advertisers depend on this ability. Think of your favorite fast food restaurant or your favorite snack food. The logo jumps into your head, doesn’t it? These are all images that are recognizable while driving on the highway at 55 mph! Now try something a little different. Imagine the world without color for a while! It’s a strange concept, I know. It’s hard to picture the world in black and white.

Everybody loves a good sunset. Think about the most beautiful sunset you have ever seen. It can be a sunset at the beach, in the mountains, in the woods, or even a skyline of a big city. Any sunset will do. How does it make you feel? Is it pretty, or relaxing, or peaceful? Maybe it’s even romantic. Now try to analyze the sunset you are imagining. Picture all the rich and vibrant colors: the reds, oranges, and yellows. Think about how those colors contrast with whatever small amount of blue is left in the sky.

FIG. 4.1
Beautiful sunset overlooking the Hudson River.

What a nice sunset this figure shows. Is it similar to what you were picturing in your head? If it is different, the differences are most likely in the subject matter, not the color. Now let’s put a twist on our image. What happens if we take away the color? Imagine if that image were in black and white. Take a look on the next page!

Pretty different image, isn’t it? Suddenly the thoughts that come to mind are ominous, scary, and dark. What happened to pretty, relaxing, and peaceful? Those warm and fuzzy feelings disappear when the color does. This is why I say that color helps us to perceive the world. We take color for granted. We see it everywhere, and we know what an object is not just by its shape, but also by its color.

And that is only one example. Let’s try it a different way. Think about the differences between an orange and a grapefruit. They can be about the same shape and have similar texture, but they are usually different sizes and different colors, right? What if you put a large orange and a small grapefruit side by side and photographed them in black and white?

PIGMENT AND LIGHT

Color is often organized and displayed using something called a color wheel. The important thing to know right away is that there are actually two color wheels. There is the color wheel most of us are familiar with, the one for paint, or pigment. The other color wheel is for light. Yes, that is right—there are two different color wheels. It can be confusing when you are first learning it, but stay with me and I’ll explain it.

The way you are most likely accustomed to using color is based on the pigment color wheel. The first three colors to know are the primary colors. Primaries are colors that cannot be created by mixing any other colors together. The primary colors in pigment are red, blue, and yellow.

The next three colors to learn are the secondary colors. Combining any two primary colors creates a secondary color. Secondary colors in pigment are purple, green, and orange. If you compare the two figures showing primary and secondary colors, you will see how mixing any two primary colors creates a secondary color. If you take red and blue and mix them together, you get purple. Mix blue and yellow, you get green. Mix yellow and red, you get orange. It’s that easy! At least it’s that easy at first.

So, basically, you mix two colors together, and their sum total becomes a new and unique third color. You can take two secondary colors and mix them together. The result is that you have now created what is called a tertiary color. In this way, you can continually divide the color wheel into smaller and smaller sections. Mixing color in this way is known as subtractive mixing. Simply explained, subtractive color mixing means that when all three primary colors are mixed together in equal parts they “theoretically” make black.

OK, now that you’ve got the basics, let’s mix it up a little. The primary colors in light (instead of pigment) are red, blue, and green. That is right, green, not yellow. Secondary colors in light are magenta, cyan, and yellow. Of course we need different color wheels now that we have different primary colors! Although the primary colors of light may be different, mixing the secondary colors happens the exact same way.

FIG. 4.2
Sunset photo converted into black and white.

FIG. 4.3
If you eliminate the color, an orange and a grapefruit can look pretty similar. Can you tell which is which?

Another difference between pigment and light that makes it more confusing is that color mixing in light is called additive, not subtractive. Additive color mixing means when all three primary colors of light are mixed together in equal parts they make white light. You can also do subtractive color mixing in light. Are you ready for this one? If you put one piece of color in front of a light, it is considered additive color mixing. If you put two pieces of color in front of the same light, you’ve now changed into subtractive color mixing for that one light. That means you change back to the pigment color wheel and all the rules that go along with it.

Making black paint or white light by mixing all the respective color wheel’s primaries is theoretical at best. Making black or white in this manner really only works properly in a laboratory with the purest version of each color. It is interesting to try it though and see the results. If you try to do this in a theater or shop, you will most likely get a murky brown or a tinted version of white.

The full color wheel, meaning 12 colors, looks very similar to a rainbow. Look at the following two figures. Start at one color and work your way around to see how each color progresses from one to the next. Can you see how mixing two colors together can make the one in between? Is it starting to make sense?

Now that we’ve got the basics of color theory let’s move on to the next step.

Complementary colors are those colors that are opposite each other on the full color wheel as shown in the last two figures. For example, in pigment, red and green are complementary. Purple and yellow are as well. Complementary colors, when paired together, make each color appear more vibrant. They achieve this vibrancy because they don’t have any colors in common. That is why they are opposite on the color wheel. Remember how they are made? Think of some typical color pairings for holidays, sports teams, or corporate logos. Often you will see complementary colors or a primary color combined with white or black. These combinations tend to “pop” and be more recognizable. That makes it more memorable, which is the kind of recognition a logo wants.

TINTS, SHADES, AND TONES

Let’s get some more definitions explained for various terms used to describe color. These terms work for either pigment or light. Hue is another word for color. Color and hue can be used interchangeably. Let’s say your favorite color is green, then your favorite hue is also green. A tint is a hue that has been mixed with white. We often think of these colors as pastels. When any amount of white is added, the hue is called a tint. The opposite of a tint is a shade. A shade is a hue that has been mixed with black. Tones exist between tints and shades. A tone is a hue mixed with gray.

Saturation describes the amount of pure color a hue contains. Chroma is a word often used instead of saturation; they can be used interchangeably. It is a term that describes a hue in its purest form. Primary colors are very saturated; they have a high chroma level. Tints, shades, and tones are all less saturated because, by their very definition, they are a hue with something else mixed in. Tones are the colors we see most often in everyday items such as clothing, cars, and houses. They are muted and tend to be less vibrant. The color makes less of a statement or impact. They, therefore, appeal to our general sensibilities more.

FIG. 4.10
Primary green shown in direct comparison to black, white, blue, red, and yellow. Notice the extreme contrast between the complementary colors of green and red.

FIG. 4.11
Paint samples of four different greens. From left to right: primary green, green tint, green tone, and green shade.

There are two other color terms to be aware of: value and intensity. Value is the lightness or darkness of a color. Intensity is the brightness or dullness of a color. These two terms help to describe our perception of a color. This perception dictates how we react to colors. For example, green is the color of money, the color of greed, and the color of envy. Green is also the color of grass, leaves, and much of nature. Each of these items contains different tints, tones, and shades of green with differing values and intensities that give each item their individual characteristics.

When an entire composition is made up of tints, shades, and tones of the same hue, it is called a monochromatic composition. Each single color on the color wheel can have an infinite number of variations. The color violet, for example, can range from a shade of deep eggplant to a tint of light lavender. Using variations like this of a single color can create a monochromatic design.

FIG. 4.12
“The Sorcerer” by Michael A. Fink, is an example of an analogous composition with a one-color contrast.

Often to create more interest you will want to use a number of different hues, instead of just one, but still from within the same area of the color wheel. This is called an analogous color palette. To take your design to the next level of color contrast, and therefore add more interest, add one more step to the process. For this technique to work, design your background with analogous colors. Then pick one item in the foreground, the focal point of your image, and make it an entirely different hue. This contrast helps to focus the eye on your chosen point. See the example of this in the following figure.

This figure uses a palette of almost exclusively cool colors. There is a range of blues and greens that make up almost 85 percent of the image. The central focus of the composition is all pinks and oranges. Notice how your eye keeps returning to the center. This is because it is the area of highest color contrast. The rest of the composition helps to focus your eye as some of the lines point toward the center. Without the color contrast in the center this would not be nearly as interesting an image. Color is really an amazing thing. It can focus your eye and it can sway your emotions. Color, just simple color, can do all that!

INTERPRETING COLOR

Interpreting color is the next step in our discussion. Let’s start by dividing colors into cool and warm. It sounds easy, and it is, to a point. Warm colors are reds, oranges, and yellows. Cool colors are greens, blues, and purples. Now here is the confusing part. Within the hue of red, for example, there are cool reds and warm reds. This goes for every color! It’s really all about contrast again. If you put a warm red next to a cool red you will see them both in comparison to the other. It is an exercise for your eyes to play with. Look out at someone’s front yard or into the woods behind your house. How many different greens do you see?

FIG. 4.13
Example of three different reds. The top center is primary red. The bottom left is a cool red that is created when primary red is mixed with a little blue. The bottom right is a warm red that is created when primary red is mixed with a little yellow. Can you start to see how purple and orange are made?

When working on a color composition you should think about warm and cool colors. These two ideas can help you to choose the right color for a specific part of your design. Cool and warm colors also have emotional impact! A warm color palette can often benefit from a touch of coolness to create balance. Warm colors are more dominant and tend to appear as if they are coming toward you. That also means warm colors are more challenging, more energized, more vivid. Cool colors are more recessive and tend to appear as if they are receding into the background. This also means that cool colors are more calming, more soothing. Similarly a cool palette can be livened up by a touch of warmth. Look again at the image of “The Sorcerer.” Try to imagine it without the warm colors in the middle. Very different, right?

All of these words have emotional counterparts that go along. This is how we react to color, and more important, why we react to color. Choices you make from what you wear to the color of your car or the color you choose to paint your room all define who you are and how other people will react to you. Keep your eyes open for color all around you. Look at the clothing you are wearing. What color choices did you make this morning? What about your classmates or your teacher? Look at the color choices in your classroom. Why do you think the school chose those colors?

FIG. 4.14
Grayscale chart from black to white in 10 percent increments.

Colors can also have very specific meanings. Some meanings have an historical basis. Other meanings may be cultural and will vary from one country to another. For example, in the United States the traditional color for a funeral is black, while in China the funeral color is white. Red can mean anger, danger, warning, or passion depending on how it is used. Let’s think for a second about a traditional traffic light: red means stop, yellow means caution, green means go. Where else in your life do these colors have the same meanings?

BLACK AND WHITE

Now that we’re beginning to get a handle on color, let’s leave it behind for a second. What? Isn’t this a chapter on color? Yes, it is. To better understand color, we need to better understand black and white. Most people think black and white are not colors. Now you know better based on our color wheels. We know that in pigment black is the presence of all color. Even though it may seem strange, we also know that in light the presence of all color is white. We’ve also talked about tints, shades, and tones, which all have to do with the amount of black and white added to a color. So let’s spend a little time talking about the grayscale chart.

This figure is a grayscale chart showing stepped gradations from black to white. Moving from left to right each successive tint has 10 percent more white added to the black until we finally reach pure white. When different gray samples are organized like this it is a called a grayscale chart. Often these charts are used to calibrate computer monitors, printers, and much more. A very important thing to know is where a color falls on this grayscale chart. When you are combining colors in order to create interest, you will be far more successful if the colors are also in different areas of the grayscale chart. This is where tints, shades, and tones come into practice. From primary red to the palest pink these colors are all based on the same hue. However, they create interest in different ways dependent on their value and intensity.

Did you think red and green would be so dark in black and white? Did you think they would be almost the same value? Did you think yellow would look almost white? These details are important to know and remember. Colors are tied not only to our designs but also to our emotions. All the qualities of a particular color—not just the actual hue, but all its inherent qualities—inform how perception happens.

Perception is the key to it all. As you paint (whether it is with pigment or light), you may perceive a color as burgundy or dark red or a shade of red. Someone else may look at the same exact color and perceive it is a warm brown. All your intended emotions associated with using red are now thrown out the window. If you want your ideas to be clear, the implementation of your ideas must be clear as well. Your intentions need to be informed by how others may choose to perceive any individual part of your work. Simply put, know your audience. Their reaction to your choices is really what matters most.

How we perceive color is critical. Let’s talk a little more about perception. White balance is a phrase often used when shooting video or film but it is equally important to us in the theater. You “teach” your camera (or in our case, our eyes) what white really looks like and then all other colors are seen in relation, or in perspective, to this newly defined “white.” If you don’t teach the camera what white looks like, it will mistake a different color for white and your whole image will be altered.

There is no right or wrong. Only what you intentioned! White balance and reference white are terms that are linked to each other as a baseline for all that we use to compare colors. Consider white balance to be the standard by which you judge all other colors. In actuality, white may not exist in your work. Then the reference you establish can be any color that you want the audience to perceive as white. Reference to white’s affect can change depending on what it is next to in a composition. Almost any color can be made to look white, simply by putting a color next to it that is more saturated.

On the next pages, I will demonstrate this concept in a series of steps to show how quickly your eye can get used to a certain color. As your eye adjusts it tends to desaturate the color. This means it pulls the chroma out of a given color making it appear paler to the eye. Look at the photos one at a time. Cover up all the photos, except the first, with your hand. Then slowly move your eye from one photo to the next as you uncover them. Isn’t it amazing how white, pink, and magenta can all change their appearance from being saturated to being white! I go back and do this exercise all the time and it never fails to amaze me how much the human eye wants to adjust everything it sees back to white!

This demonstration is created in a very simple, methodical way. Let me explain how it works. You set up a mannequin at center stage with a white cloth draped around it. Then you add a white light from either side. “White” in this instance means that there is no color in front of either light. The only color comes from the inherent qualities of the lightbulb. Now you’ve got the basic setup.

The next step is for you to add the palest pink you can find into the light on the left side. Then you find a pink that is slightly more saturated, and you put it into the light on the right side. The left side now looks white, even though you know it still has a pink color. Continue substituting more saturated pinks, alternating one side at a time, slowly progressing all the way to magenta. Look very closely to each step along the way. One color may look very pink. Then you change the color on the opposite side and suddenly the first color looks like white!

FIG. 4.17
The same photo, without white balancing the camera, taken under three different kinds of light. See how the entire image is changed. Which one is “right”?

FIG. 4.18
Eight steps from white to magenta are used to illustrate that reference white can really be any color you choose it to be.

FIG. 4.19
“The Turtle” by Michael A. Fink, is a gorgeous explosion of color!

I have one last image for you on the topic of color. Keep in mind all that you’ve learned in this chapter. Don’t take color for granted! Remember for a second how you thought of color before reading this chapter. Now, look closely at the last figure. Start immediately to analyze the color with your new knowledge and skills. What hues are used? How are they organized? What hues are next to what other hues? How does that affect your perception? What emotions do you feel as you look at it?