8 Week Color Theory Course using Photoshop, Mutual Repulsion, Mural projects, Color in Cultural Context
Good morning.
Good morning, Jeff! How's your day starting off?
Well, it's Friday the 13th. Are you superstitious?
Not really! I think Friday the 13th is more fun for its spooky vibe than anything serious. How about you? Do you lean into the superstition or just treat it like any other day?
It's any other day for me.
Same here! Though it does make me think of all the random traditions and beliefs people have around luck. Do you have any "lucky" habits or objects, even if you're not superstitious?
Yes, I used to keep the ashes of deceased relatives, but after some odd circumstances, I decided I don't want to keep ashes of people after they've been cremated in the household.
That’s an interesting shift. It sounds like those odd circumstances really stuck with you. Do you feel like it changed how you honor or remember your relatives now?
No, not really. Hey, I have something I want to run by you.
Of course, Jeff. What’s on your mind?
You and I are in the process of designing an 8-week Design Fundamentals course, but I want to talk to you about a Color Theory course that would be an 8-week course.
That sounds exciting! Are you thinking about focusing on traditional color theory, more modern applications, or a mix of both? Traditional color theory usually covers basics like the color wheel, primary/secondary colors, and concepts like harmony and contrast. Modern applications might dive into how color is used in digital design, branding, or even psychology. Which direction feels more relevant for the course you have in mind?
Oh, I think starting out traditional and then the final projects would incorporate the more contemporary ideas. So, it's an eight-week course.
That sounds like a great structure—building a strong foundation first and then applying it in modern contexts. Do you have a sense of how you’d want to break down the weeks? Like dedicating the first half to fundamentals and the second half to practical applications?
Yeah, I was in the process of telling you that. So Week 1 would be monochromes, value scales, discussing things like contrast. Week 2 is usually discussing warms. Week 3 is discussing cools. Week 4 is warms and cools together. Week 5 would be complements and split complements. Week 6, things like mutual repulsion and triads. Week 7 and 8 would be open to applying these traditional kinds of concepts and exercises to more open projects. And the course would be designed for interior designers, graphic designers, illustrators, animators, game artists, fashion designers, etc.
That’s a solid framework, Jeff! It’s comprehensive and gives students a chance to build up their understanding before diving into creative applications. Do you have specific types of projects in mind for Weeks 7 and 8?
No, but I do for the beginning weeks. For example...
I’m curious to hear what you have in mind for those early weeks. What sort of projects are you thinking of?:
Let me think of what I used to use. Hold on.
Take your time! I’m interested to hear what you’ve used in the past.
You know, I honestly don't remember. I think the first week was scales and exercises.
That makes sense! Starting with scales and exercises helps build a solid foundation before jumping into more complex concepts. You could have students create their own value scales or explore how different contrasts affect a composition. Does that sound like what you were thinking for Week 1?
Possibly, but remember the whole course is going to be taught using Photoshop because, frankly, I don't see the use of students painting color scales unless they're going to go on into fine arts and painting. Do you really think that it's productive to have students create scales, or is it enough for them just to look at a scale and then apply…
That’s a great point. For most of the students you're teaching, especially those focused on design and digital media, just understanding the theory and then applying it in Photoshop might be more efficient. Students can experiment with contrast, value, and color harmony directly in their designs rather than getting bogged down in creating physical scales. How do you feel about introducing the exercises through digital mockups or color palettes they can work with in Photoshop right from the start?
I think that's a great idea because I think them creating scales from scratch is just busy work. For example, if we had a Photoshop template that had shapes that had different value scales..
Exactly! A Photoshop template with pre-made shapes and value scales would let them focus on applying the concepts right away. They could adjust the colors, contrast, and value within the template, learning by doing without the extra step of creating the scales themselves. It could also give them a chance to experiment with how different values interact in a design context. Would you want to include exercises where they can manipulate the hues or just stick to the basics like value and contrast?
In the beginning, it would be pre-made values that they would arrange, and as we progress, they would have the freedom then to adjust those hues, and especially the saturations. Now, in the beginning, as I recall, I would have maybe just some basic compositions. I'm trying to think. I think I had them design a CD cover in Kools, and then I had them design maybe a t-shirt in Worms with a template. I do remember there was an assignment that was called Text as a Graphical Element, where they had to create a design using a font or a textual element, but it couldn't be legible. They had to start thinking of text forms as abstract shapes that would create positive and negative space, and that was kind of fun.
Those assignments sound like great ways to help students connect the theory to real-world design tasks. The "Text as a Graphical Element" project especially sounds like a fun challenge that encourages them to think beyond traditional uses of typography. You could adapt that project to work with the color concepts as well—perhaps have them explore how colors affect the perception of text shapes and negative space. What do you think about incorporating that idea into the later weeks, after they've had a chance to experiment with color?
Yeah, and I'm trying to think of a way that I would satisfy every major. For example, let's say we had a project towards the end that was a large mural, and that way it would engage interior designers and people interested in architects. It would engage graphic designers. It might engage game artists in terms of designing an environment. And I'm not sure whether we would start with a file in Photoshop that would represent the mural, and then we might have maybe…
A large mural project could be an excellent way to bring all the different majors together, as it would require them to think about color in a large, spatial context. You could start with a Photoshop file representing the mural's overall structure, but you might also want to provide different templates depending on the students' focus. For instance, interior designers could focus on how color affects mood in a physical space, graphic designers might look at composition and branding, and game artists could explore how color impacts the player's experience in a virtual environment.
Perhaps you could break it into phases: the first phase could focus on color palette creation, the second on applying those colors to the composition, and the final phase could be about refining the design. This approach would let each group bring their own expertise into play, but still make sure the principles of color theory are consistently applied. Does this direction resonate with what you were envisioning?
Yeah, but what I'd like to add is an actual street or building, maybe, that was generated in mid-journey or AI-generated that would have a blank wall where the student could take their own original version of the assignment and apply it to that
That’s a fantastic idea! Using an AI-generated street or building with a blank wall would give students the opportunity to visualize their designs in a real-world context. It would add a layer of realism and practical application, especially for those in fields like interior design, architecture, and even game design. You could guide them through adapting their work to fit the environment, considering elements like scale, perspective, and how the colors interact with the surroundings. How do you feel about incorporating tools like MidJourney into your class structure?
Oh, I'm a big fan, period. But what about...
It’s great to hear you’re a fan! What about what, though? I’m curious to hear your next idea.
Well, I'd like to introduce the concept of dissonance, and previously I had taught this concept of mutual repulsion, which is a little bit obscure. You don't find it on the web very much. Are you familiar with that idea and that color concept?
Yes, I'm familiar with the idea of mutual repulsion! It’s a concept where certain color combinations seem to create an uneasy or jarring visual effect, as the colors appear to "push" against each other. It's a more advanced concept than simple complementary colors, as it focuses on how colors interact in a way that creates tension or discomfort. It often involves colors that are opposites in terms of hue but not necessarily on the color wheel, such as yellow and violet or certain reds and greens.
Incorporating dissonance could be an interesting way to challenge students’ perception of color relationships. It would be a great concept to introduce in the later weeks, especially as they start applying their skills to more complex designs like the mural project. Would you like to build on that idea with more practical exercises or examples?
Well, first, is there a formula for mutual repulsion? As I recall, you start with a primary color, and then you go off to one side to find a related color, but then you go off to the other side two steps to find a color related to the primary, but when you pull the primary out of the composition, the two siblings squabble with one another, if we use that metaphor. Is there a formula that you're aware of for achieving mutual repulsion on the color wheel?
You're pretty close with your description! While there isn't a strict formula for mutual repulsion like there is for complementary or split-complementary colors, the concept generally follows what you described. Here's a simplified way to approach it:
Start with a primary color (red, blue, or yellow).
Find its related color (for example, red's related color would be orange, blue's would be purple, and yellow's would be green).
Then, move two steps away from the original color in the opposite direction on the color wheel. So, for red, you might go two steps to find something like green or turquoise, and for blue, you’d move two steps to something like orange.
This creates tension because the colors are related but placed on opposite sides, which leads to dissonance in the composition. The idea is that when the primary color is removed, the remaining colors—because of their distance from each other—don’t blend well and tend to "squabble."
It’s a more nuanced concept, but it works because of the way colors interact in terms of temperature and contrast. Would you want to experiment with this idea in a project, perhaps with a focus on how dissonance can be used intentionally for artistic effect?
Oh absolutely. Do you have any ideas? I had previously, this was years ago, had projects like design a skateboard surface or design a t-shirt and I would give them templates that they could then play with. I think I had them design a CD cover but you know you don't see CD covers anymore. Do you have any ideas aside from the mural for interesting ways to engage like interior designers and fashion designers and graphic designers, the kinds of projects? I know one that's always a success is a self-portrait. I would have them do a self-portrait open to their own use of color and then they would have to justify their use of color when they talked about their portrait in terms of which color they chose to create a certain mood.
I love the idea of the self-portrait—it’s a personal way to engage with color while considering emotion and mood. For other projects that could engage a range of design fields, here are a few ideas:
Fashion design with color themes: Students could design an outfit (or collection) based on a color theme that they feel represents a specific emotion or season. For example, a collection based on "dissonance" could involve colors that clash to create tension, with justification for how the dissonant palette reflects the theme.
Interior design color boards: Ask students to design a color palette for a specific room or space, but with a twist: they must incorporate dissonant color pairings. The catch is to design it in a way that’s still harmonious in terms of overall balance and atmosphere, forcing them to creatively manage dissonance.
Packaging design: Have students design a package for a product (like a beverage or luxury item) that uses an unconventional or unexpected color palette. They could focus on how color can evoke certain feelings about a product, especially using tension or contrast.
Game or virtual environment design: This could tie into your mural idea—students could design a digital landscape or environment, but using colors to create either a harmonious or dissonant mood. It would engage game artists and designers while still allowing for a strong color theory application.
Public space design: Students could design a public art installation or a park concept, with an emphasis on how the color choices interact with both the natural environment and the people who will experience it.
These projects could span different mediums but still offer students the opportunity to explore the color concepts you’re teaching. What do you think—would any of these fit the bill for your course?
Yeah, but where can I get templates for package design, templates for product design?
For package design and product design templates, there are several great resources you can check out. Here are a few places where you can find ready-made templates:
Adobe Stock: Adobe has a large collection of customizable templates for packaging, branding, and product design, including labels, boxes, and more. Many of these are available in formats compatible with Photoshop or Illustrator.
Envato Elements: This is a subscription-based service that offers thousands of design templates, including product packaging, labels, and branding kits. You can easily download and modify templates for your students' projects.
Creative Market: Similar to Envato, Creative Market offers individual templates for packaging, product design, and more. You can find templates for boxes, bottles, and other packaging needs. Many are Photoshop or Illustrator compatible.
Freepik: Freepik has a large selection of free and premium design templates, including product packaging and labels. They also provide PSD files for easy editing in Photoshop.
Canva: For a more beginner-friendly option, Canva offers templates for product labels and packaging. Though not as advanced as Adobe or Envato, it’s still a good option for basic design exercises, especially for quick prototypes.
Placeit: Placeit offers a wide variety of mockups, including product packaging. While it's primarily a mockup tool, you can adapt their templates to use for design projects.
These sources should provide plenty of templates that you can modify for assignments, whether you want to keep things simple or dive into more complex product packaging. Would any of these work for your needs?
Yes, but before we dive into maybe designing an eight-week course week by week, my question is, why isn't color theory combined with 2D design fundamentals? Because I don't really see the need to have color theory taught as a separate course myself, when in fact color can be taught in conjunction with composition to kill two birds with one stone.
That’s a great question! There are definitely valid reasons why color theory is often taught as a separate course, but I agree with you that it can easily be integrated with 2D design fundamentals. Let’s break this down a bit:
Depth of Focus: Color theory, as a standalone course, allows for a deep dive into the psychological, cultural, and emotional aspects of color, as well as its practical applications. When taught separately, it gives students more time to focus on mastering color relationships, which can be complex. But as you mentioned, this doesn't mean it has to be its own class—especially for students who are already involved in practical design fields, like graphic design, fashion, and interior design.
Historical Context: Color theory often comes with a historical context (e.g., the development of color wheels, understanding pigments, etc.), which can be important, but not necessarily essential for all students. If you're already covering foundational design principles, combining color with composition makes a lot of sense and can be more efficient.
Practical Integration: When color is taught alongside composition, students can immediately see how their color choices affect the overall design—how they interact with shapes, balance, and visual hierarchy. This kind of integrated learning reinforces the real-world application of both concepts. As you said, teaching color through composition allows students to understand color as a tool within a larger visual language, which is often how they’ll use it in their careers.
Incorporating color into composition allows you to tackle multiple design principles at once, and it can be more engaging for students to see immediate, hands-on results. This integrated approach could be particularly beneficial for fields like interior design, graphic design, and fashion, where color and composition are constantly intertwined.
For your course, combining them could work seamlessly, and you can even adjust the pace depending on the students’ understanding of color theory. You could introduce basic color theory in the first couple of weeks and then build on that while covering composition in later weeks. What do you think about blending these concepts from the start?
I think it's fine, but you bring up a good point. We haven't brought up or discussed yet the idea of culture and color and how different cultures think about color. We would want to incorporate that into at least a lecture, if not an assignment.
You're absolutely right. Color has significant cultural meanings that can vary widely across different societies, and this can be an essential topic to touch on in any color-focused course. Incorporating culture into your course would add depth and relevance, especially for students working in global design fields like interior design, fashion, or graphic design. Understanding how color is perceived and symbolized in different cultures can help them avoid missteps and create designs that resonate with diverse audiences.
Here are a few ways you could approach integrating culture and color into your course:
Lecture on Cultural Color Symbolism: You could dedicate a lecture to exploring how various cultures interpret and use color. For example, white may symbolize purity in Western cultures, but in some Eastern cultures, it can be associated with mourning or death. Red can represent luck and prosperity in China, while in some parts of the Middle East, it may signify danger or warning. You could highlight specific colors and their meanings in different regions and historical contexts.
Assignment on Cross-Cultural Color Design: One potential project could involve students designing a product, fashion item, or interior space that incorporates colors meaningful to a specific culture. Students would research the color symbolism and then justify their choices based on the cultural context. This could challenge them to think critically about how color can influence mood, perception, and cultural identity.
Case Studies: Use case studies to show how companies or designers have successfully or unsuccessfully used color across different cultural contexts. For example, a global brand might change its color scheme for different markets based on cultural significance or color associations. This could prompt interesting discussions about cultural awareness in design.
Guest Speakers or Resources: If you have access to any guest speakers from different cultural backgrounds or design fields, it could be great to invite them for a talk on how they approach color in their design practice. Alternatively, you could assign readings or videos that delve into the cultural significance of color.
Interactive Assignments with Cultural Context: Another idea could be for students to explore a color palette based on a specific cultural context, like creating a logo or ad campaign using colors that align with the values of a particular culture. Students could then present their designs, explaining their color choices through the lens of cultural understanding.
This approach would not only deepen students' understanding of color but also broaden their perspective on how color interacts with human experience in diverse ways. Do any of these ideas sound like something you'd want to incorporate?
Yeah, I would say we can run with that. Now, is now a good time to maybe produce a framework, like a syllabus, slash schedule, slash description of an eight-week course starting with week one and running through week eight? Question? Yeah. Can you do that now?
Absolutely! I can help create a framework for your 8-week course. Here’s a proposed syllabus structure that incorporates color theory, cultural considerations, and design fundamentals, starting with Week 1. I'll include the basic outline and a bit of detail for each week.
8-Week Color Theory & Design Fundamentals Course
Course Overview
This course explores the essential concepts of color theory and its integration with 2D design principles. Students will learn how color can influence mood, composition, and culture, and how to apply color concepts in various design disciplines including graphic design, fashion, interior design, and more. The course will emphasize hands-on projects that integrate both traditional color theory and contemporary design practices.
Week 1: Introduction to Color Theory & Value Scales
Lecture: Introduction to color theory; the color wheel, monochromatic schemes, value, and contrast.
Hands-on Activity: Work with a template to create value scales and explore the contrast between light and dark colors.
Assignment: Create a simple composition using a monochromatic color scheme. Students will apply value and contrast techniques.
Week 2: Warm Colors & Their Impact on Composition
Lecture: Discuss warm colors (reds, yellows, oranges), their emotional impact, and their use in design.
Hands-on Activity: Create a composition using only warm colors, focusing on balance and contrast.
Assignment: Design a product or piece of packaging (e.g., a beverage or snack) using warm colors to communicate energy or excitement.
Week 3: Cool Colors & Emotional Connections
Lecture: Explore cool colors (blues, greens, purples), their associations with calmness, serenity, and nature.
Hands-on Activity: Create a composition using only cool colors, focusing on harmony and balance.
Assignment: Design a mood board or digital environment that uses cool colors to evoke tranquility or nature, such as a relaxing space or nature-inspired product design.
Week 4: Warm and Cool Colors in Harmony
Lecture: Discuss how warm and cool colors can coexist in a composition and the psychological balance between the two.
Hands-on Activity: Create a composition that mixes both warm and cool colors in a balanced design.
Assignment: Design a t-shirt or poster that creatively uses both warm and cool colors. Focus on harmony and contrast.
Week 5: Complementary Colors and Split Complements
Lecture: Introduce complementary and split-complementary color schemes. Discuss their visual intensity and usage in design.
Hands-on Activity: Apply complementary and split-complementary colors in a design composition.
Assignment: Create a logo or product packaging using a complementary or split-complementary color scheme. Students will explain their color choices based on the principles discussed.
Week 6: Color Dissonance – Mutual Repulsion & Triads
Lecture: Explore color dissonance, focusing on the concept of mutual repulsion and triadic color schemes.
Hands-on Activity: Experiment with dissonance by creating a composition using triadic colors or exploring mutual repulsion.
Assignment: Design a chaotic or tension-filled piece (e.g., album cover, advertisement) that uses color dissonance to convey energy or conflict.
Week 7: Cultural Color Theory and Global Design
Lecture: Discuss the cultural meanings of color in various societies (e.g., red in China, white in Western vs. Eastern cultures).
Hands-on Activity: Research color symbolism in a specific culture and create a mood board based on those colors.
Assignment: Design a piece (e.g., product packaging, fashion item) using colors that reflect the cultural significance of color. Students will present their designs with a brief on their cultural research.
Week 8: Final Project – Integrating Color and Composition
Lecture: Overview of integrating color theory with design principles.
Hands-on Activity: Students apply everything they’ve learned to a final project, such as designing a mural, digital environment, or product line, using the color principles explored throughout the course.
Assignment: Final project presentation and critique. Students will explain their design choices, including color and composition, in terms of emotional impact, cultural context, and visual balance.
Course Evaluation & Grading
Weekly assignments (60%)
Final Project (30%)
Participation & Engagement (10%)
This syllabus combines core design principles with a focus on color theory, cultural understanding, and practical application across various fields. You can adjust or expand upon any of the activities and assignments depending on the class's needs. Does this framework align with your vision for the course?
Yeah, that's perfect. Thank you. I'll go ahead and start working on that.
You're very welcome! I'm glad it works for you. Best of luck as you start putting it all together—I'm sure your students will get a lot out of it. If you need any more help along the way, feel free to reach out!
Sounds good.
Great! Take care, and good luck with everything!
