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Colour Combination Techniques of Colour Combination Techniques In visual acuity, a colour rarely appears as it physically is. This is a characteristic that makes colour the most essential standard in art (Sawahata, 2008). Therefore, in order to make use of colour efficiently, it is crucial to know that colour deceives recurrently. However, according to Gage (1995), colours play several roles when they are applied on various surfaces. Based on the thoughts of Gage (2000), they can be used to set the state of the mind, draw attention, or highlight a statement.

The choice of the precise colour format could result into a feel of elegance, harmony, or a figure of an active youthfulness. The aim of this paper is to analyze colour combination or application techniques based on three images (Foo Fighters Wasting Light Album cover, SMH Fletcher Jones advertisement and Interior).Considering the given images, several techniques of colour combination or scheme are evident. The first picture (Foo Fighters) indicates an extensive use of analogous-complementary colour scheme.

This combination technique combines colours that are primarily comparable in hue by adding a small fraction of contrasting colour (Feisner, 2000). In the said image “Foo Fighters”, colours that are primarily comparable in hue are red-purple-green. These complementary colours contrast and due to their full saturation on the image, they create a vibrant look (Nita, 2008). According to Livingstone (2002), this design can be enhanced by initiating a warm brogue color flanking a cool corresponding colour.

Alternatively, a cool accent color can be merged with a warm colour. This analogy is evident in the image where the accent colours harmonize the designs (Ryan and Conover, 2004).The second image (SMH Fletcher Jones advertisement) is an example of a monochromatic colour combination technique. This technique is characterized by one single color or varying intensities of a particular color such as taupe and light taupe (Albers, 1963). Compared with other colour combination techniques, the effect of this technique on the given image is extremely quieting.

This effect is apparent because of the dark background featured on the image. Despite this evaluation, this technique is considered by many as the easiest (Delamare and Guineau, 2000). However, for advertising purposes this technique is not recommended because it hardly catches the attention of people. It can find meaningful application in movie theatres.The third picture (Interior) is characterized by use of hue-similarity combination technique. In this image, the seats, coffee table and the curtains draw our attention through contrast of hue (Kuehni and Schwarz, 2008).

The colour of choice for the image signifies a peaceful, calm, relaxing environment and above all it makes the image conspicuous. Additionally, monotone colour combination technique is evident in this image. In this image, the technique has been brought about by the ability of the characteristic colours to display similar tonal value over a wide range of varied hues (Porter and Mikellides, 2009). Undoubtedly, this is what makes the image noticeable as opposed to the first two images (Itten, 1961).

For this reason, this technique is suitable for advertisements.ReferencesAlbers, J. (1963). The Interaction of Color. New Haven, NY: Yale University Press. Delamare, F., & Guineau, B. (2000). Colour: Making and Using Dyes and Pigments. London: Thames & Hudson.Feisner, E. A. (2000). Colour: How to Use Colour in Art and Design. London: Laurence King. Gage, J. (1995). Colour and Culture. London: Thames & Hudson. Gage, J. (2000). Colour and Meaning: Art, Science and Symbolism. London: Thames & Hudson. Itten, J. (1961).

The Art of Color (Revised edition, 1973). New York: John Wiley. Kuehni, R. G., & Schwarz, A. (2008). Color Ordered: A survey of Colour Order Systems from Antiquity to the Present. Oxford: Oxford University Press. Livingstone, M. (2002). Vision and Art: The Biology of Seeing. New York: Abrams.Nita, L. (2008). Confident Color: An Artists Guide to Harmony, Contrast and Unity. London: North Light Books.Porter, T., & Mikellides, B. (2009). Colour for Architecture Today. London: Taylor & Francis. Ryan, W. E., & Conover, T.E. (2004), Graphic communications today.

Clifton Park New York: Delmar LearningSawahata, L., & Kiki, E. (2008). Complete Color Harmony Workbook: A Workbook and Guide to Creative Color. Beverly Massachusetts: Rockport Publishers Inc.