Does this colorful necklace by Camille Young have a predominantly warm or cool color palette? Or neither? Read on and then determine it for yourself. I’ll confirm the answer shortly.

How goes your color mixing adventures? My adventures have been less about color and more about traversing the landscape of grief my sister is dealing with as well as the landscape of Colorado and I tried to return home this past week. Plans to leave the Denver area through the usual I-70 corridor went up in smoke as fires shut down my usual path through the Rockies. This forced me to take a southerly and slightly longer route which turned out to be, strangely enough, just what I needed. I went through some gorgeous country I’d not visited in a while and it was an absolute boon to the soul. I stopped and savored and took it all in.

I’m hoping your color mixing adventures have been similar in that you may have ended up going in directions you didn’t plan but found some wonderful new colors to work with. Since we oftentimes return to the same preferred palettes, favorite pre-mixed colors, or comfortable combinations over and over again, the discovery of new colors and new combinations often has to be purposefully sought after. However, color mixing explorations can often result in the discovery of enticing new colors which can also push you to try new combinations. But the question then becomes, how do you determine what colors go with your new found color finds?

You may think I’m leading into a discussion about color palettes and, originally, that’s what I was going to do but as I wrote this article, I realized that, in the chaos of this last month, I neglected to write the article about one last set of terms you’ll need before we can jump full on into creating intentional color palettes. It’s a simple concept that can really inform contrast and the relationships in your color palettes and can be a great place to start when choosing color combinations. It’s the concept of color temperatures.

Warm or Cool

So, just what is color temperature? Well, colors actually appear either cool or warm to us, so much so that being in a room painted in a cool color will literally feel much cooler than one painted in a warm color even if they are the exact same temperature.

Warm colors are those that represent fire, heat, sunshine, and other hot and warm things. So, of course, red, orange, and yellow are warm but so are magenta and yellow-green. They just happen to be on the edge of the warm range. The warm colors are also all on one half of the color wheel, right? So that’s the one half of the color wheel that feels warm to us.

Cool colors are those that we associate with ice, water, shade, and other cool and refreshing things. These would include violet, blue, cyan, and green. And, as you will note, those are all on the other side of the color wheel, the cool half.

Now, why is temperature in color important? Well, warm colors and cool colors not only have us react to the associated temperature but they also act different visually. Warm colors advance while cool hues recede. Warm colors also have a lot more energy visually than cool colors which is one of the reasons they pop out at us so readily.

Take a look at this pendant by Dan Cormier. What pops out at you first? Red, right? It doesn’t take much since red is so high energy and it visually advances. (Dan will be releasing a self-study online course for the techniques used in this pendant next month. Sign up on his website to get in on it here.)

You might have noticed that red in particular is often used in the form of a dot, slash, or other very small accent of color to draw the eye and create contrast. The warm temperature, the color’s high energy, and the way that color comes visually forward allows for it to be used in a very small amount while still drawing a tremendous amount of attention. In addition, you might also note that these red accents are usually a dark red and rarely a pale red because darker colors also advance so being red as well as a deep rich version makes for quite the attention getter.

On the other hand, blues are quite commonly used in large swaths and as backgrounds due to how much they recede, our association with the vastness of the blue sky, and blue’s relatively low and calming energy can then be contrasted with higher energy in the foreground or in images or marks an artist would like to advance visually.

Warm and cool color categories also have an emotive and psychological tendency in the same way individual colors do. Predominantly warm color palettes will be associated with heightened emotions and energy while cool color palettes will feel relatively relaxed, calm, or refreshing.

Although cool colors have a calmer energy, they are not without vitality. Violet and green combinations, such as the one seen here in this piece by Cecilia Button (Mabcrea), are well-loved and don’t lack energy due to the contrast between them—they are on the far ends of the cool color half of the color wheel. So instead of cool and calm, this color combination is more cool and refreshing with added energy from the lines and texture. It’s also a split complimentary combination if you recall what that is from the Color relationship post.

Although cool colors have a calmer energy, they are not without vitality. Violet and green combinations, such as the one seen here in this piece by Cecilia Button (Mabcrea), are well-loved and don’t lack energy due to the contrast between them—they are on the far ends of the cool color half of the color wheel. So instead of cool and calm, this color combination is more cool and refreshing with added energy from the lines and texture. It’s also a split complimentary combination if you recall what that is from the Color relationship post.

Look around you at the color schemes in various decorated objects, photos, artwork, etc. Try to identify the dominant temperature of the color schemes, if there is one. There are times that the color scheme is neither predominantly cool nor warm. There are other times where they are simply hard to identify due to the range of color, like in the opening piece. That is predominantly warm, by the way. The cool colors are not as abundant and work more as calming accents in a piece that is busy and bright and could use a few visual “brakes”.

Another area that can be hard to read the color temperature of is with metallics. If something is predominately gold or copper, is that warm or cool? If you think in terms of their key hue, you’d recognize that those are warm colored metals since the underlying hues are yellow and orange. How about silver? Most people would say that silver has a cool color temperature but, in reality, silver is a gray and, gray can go either way.

Temperature Bias?

Which brings us to the brief discussion of color temperature in terms of color bias. I think I mentioned, in the July 12th post on color bias, that some people have learned color bias using the terms of cool and warm. In other words, a red could be a cool red or a warm red but that simply means that that the red leans towards magenta (moving closer to the cool side of the color wheel) or towards orange (leaning and staying within the warm side of the color wheel.) I think the use of the cool/warm terms for color bias causes too much useless mental gymnastics (telling yourself things like “the red leans towards orange, orange is a warm color, therefore the red is a warm red”) when we can simply identify which color it leans towards, giving us the precise information we need to both color mix and color match.

However, the terms are useful when talking about grays. Since gray represents an absence of saturation and the complete absence of saturation theoretically means the complete absence of hue, you wouldn’t think that a gray would have a color bias. But in the real world, most grays do have a color bias (as do most whites actually) but it’s much harder to identify a specific hue with so much color information missing. So, it’s a lot simpler, and just as informative, to say a gray is warm or cool. Put a gray next to your color wheel and see if the undertone of that gray matches more of the warm colors or more of the cool colors. If the gray has a blue, violet, or even green undertone, it’s a cool gray. If it seems to have a bit of red or orange, anything leaning towards brown, then it is a warm gray.

And yes, it is important to know if it gray is warm or cool, just as it is with any other color, because that can help you match up a color palette by intentionally picking similarities or contrasting differences between colors and grays based on their color characteristics. I don’t suggest you bother with temperature for whites because, to be honest, most whites in artist’s materials are a pretty good pure white or become warm (yellowing) plus they are heavily influenced by reflected color coming from surrounding surfaces so they can appear warm in one setting and cool in another. If you are picking wall paint, however, warm versus cool whites can really change the feel of a room. But that’s a whole other can of worms (or paint!)

So, now, I hope you will start looking at color combinations in terms of the warm/cool relationship. This is a really easy way to start thinking about color relationships which is the basis of creating color palettes and you are just looking at one aspect for now. The whole process of developing color palettes will rely on all the information that you read up to this point so I’m going easy on you this week!

If you’re feeling a little out of the loop because you haven’t caught up in all the posts, or if you feel like you are starting to forget some of the terminology we talked about early on, take this next week to catch up or refresh your understanding of color terminology because when we get into palettes next week, it’s going to be all about identifying characteristics by the terminology I’ve been giving you. I know it doesn’t sound particularly sexy or exciting, using terminology to determine color, but once you get the hang of it, you will be amazed at how easy it will be for you to successfully combine colors in beautiful ways that also support your intentions.

Here’s a quick review of terminology you will want to be sure to know as we move forward into developing color palettes:

• Hue–the name of the pure, key color under which we categorize all colors like it. This breaks up the full spectrum of color into a manageable set of names we can use to describe colors. If you think of colors in terms of 3 primaries, 3 secondaries, and their 6 tertiary hues, you will have 12 hues to categorize under.
• Value—how light or dark a color is.
• Saturation—how pure and bright a color is.
• Shade—the addition of black that darkens a color.
• Tint—the addition of white that lightens a color.
• Tone—the addition of a complementary color or gray that neutralizes or tones down a color.
• Color bias—the primary or secondary color on the color wheel that a pigment color leans towards if not an absolute hue.
• Temperature—the sense of warmth or coolness in a color or color combination.
• Complementary — colors that are opposite each other on the color wheel.
• Analogous — colors that are next to or near each other on the color wheel.
• Split Complementary — colors that are one step over on the color wheel from a color’s direct complement.

Does that all sound familiar? If not, re-read the posts for June, July, and August as a refresher if you have the time. Otherwise, I would suggest spending this week playing with color mixing some more and identifying colors that are warm versus cool as well as warm and cool color palettes, especially in decorative objects, patterned fabrics, intentionally designed rooms, etc. And, of course, create! Color is only one part of designing and creating, albeit a really wonderful part! But more important than learning the stuff is actually doing the work, creating from your heart and the essence of your being.

My essence will continue to rest up and recover and dream of more time in the mountains. It was so great to be out just hiking, taking photos, chatting it up with a friendly marmot or campsite cow (yes, my campsite had a herd of black cows and calves handing around), and falling asleep to a view of a zillion of stars out the back window of my yet-to-be-fully-converted camper van. Refueling the soul is much needed for us all right now, isn’t it?

Do get out among the trees or put your toes in the sand, or just drive and get a fresh view of the world if you can. You’ll gather color and design inspiration wherever you go. Times may be hard but the world is still an amazingly beautiful place.

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