GB/Z 35473-2017Colour design system (English PDF)

Foreword

This guiding technical document was drafted in accordance with the rules given in GB/T 1.1-2009.

This guiding technical document was proposed by and is under the jurisdiction of the National Technical Committee on Colour of Standardization Administration of China (SAC/TC 120).

The organizations responsible for drafting this guiding technical document are the Beijing Leading Space Commercial Colour Research Centre, Beijing Aobotai Technology Co., Ltd. and the Technical Supervision Research Centre of the Building Materials Industry.

The participating drafting organizations are Zhonghe Fashion (Beijing) Culture Development Co., Ltd., Dongguan Pengbo Industrial Co., Ltd., Shenzhen Haichuan Industrial Co., Ltd., the National Specialized Laboratory of Colour Science and Engineering of the Beijing Institute of Technology, and Beijing Zhongjian Huaheng Engineering Testing Co., Ltd.

The main drafters of this guiding technical document are Lu Guang, Zhang Zhemin, Wang Huan, Sun Xiuru, Liu Haoxue, Liao Ningfang, He Weiping, Liu Yang, Xie Wenqi, Lu Mengyin, Lian Yusheng, Fang Gang, Yu Yang, Luo Yongdao, Li Yuxin, Yang Yongbo and Zhou Pengsheng.

Introduction

This guiding technical document has been drawn up in order to promote further the popularization and extension of the field of application of colour design, to establish a system for the communication and evaluation of colour language for quantified colour design, to raise the level of colour design and to achieve the standardization of quantified colour design.

Its purpose is to guide the solving of the following problems in colour design: the consistency of the language of communication in colour design; the standardization of quantified colour design; the construction of the forms of expression of the characteristics of colour combination and of the laws of visual harmony; and the unity of the expression of the colour design with the appeal of the theme.

1 Scope

This guiding technical document specifies the terms and definitions and the colour representation of the colour design system, and gives the guiding methods of colour design.

This guiding technical document applies to colour design and its application.

2 Terms and definitions

The following terms and definitions apply to this document.

2.1 colour design - the combination of two or more colours according to the basic laws of visual colour matching.

2.2 colour design system - a systematized method of quantified combination design of colours following the laws of colour design.

2.3 colour triangle - a triangular coordinate system made up of the three sides white value, black value and chroma value, used to express the coordinate position of a colour of a particular hue in the triangular coordinate system.

2.4 colour position - the coordinate position determined in the colour triangle by the white value, black value and chroma value of the colour.

2.5 white value (w) - the quantity of white sensation contained in a colour. In the colour triangle, colours arranged on a straight line parallel to the b-c side have an equal white value.

2.6 black value (b) - the quantity of black sensation contained in a colour. In the colour triangle, colours arranged on a straight line parallel to the w-c side have an equal black value.

2.7 chroma value (c) - the quantity of chromatic sensation contained in a colour. In the colour triangle, colours arranged on a straight line parallel to the w-b side have an equal chroma value.

2.8 equal colour position design - the combination design between colours of the same colour position but different hue.

2.9 black value harmonic method - the method of combining colours arranged on a straight line parallel to w-c in the colour triangle.

2.10 white value harmonic method - the method of combining colours arranged on a straight line parallel to b-c in the colour triangle.

2.11 chroma value harmonic method - the method of combining colours arranged on a straight line parallel to w-b in the colour triangle.

2.12 colour area proportion method - the method of combining and matching the dominant colour, the embellishment colour and the adjunctive colour in a definite proportion of area.

2.13 regional harmonic method - the method of combining colours situated in the same colour region of the colour triangle.

2.14 basic colour - the ten basic primary colours used for mixing to obtain all the other colours.

2.15 dominant colour - the colour occupying the largest area in a colour design combination, forming the theme colour of the design.

2.16 embellishment colour - the colour within the range of the complementary colour of the dominant colour that plays a decorative part in a colour design combination.

2.17 adjunctive colour - the colours other than the dominant colour and the embellishment colour in a colour design combination.

3 Colour representation

3.1 Method of colour representation. Colour is expressed by the combination of the hue code (H) and the colour position code (b/w) of the basic colours and their mixed colours.

3.2 Basic colours. 3.2.1 Composition of the basic colours. The basic colours are composed of ten representative colours: the eight chromatic basic colours red (R), orange (O), yellow (Y), rose (K), green (G), cyan (T), blue (B) and purple (P); and the two achromatic basic colours black (b) and white (w). The diagram of the basic colours is Figure 1.

3.2.2 Representation of the basic colours and their chromaticity coordinates. The hues of the chromatic basic colours are expressed as R100, O100, Y100, K100, G100, T100, B100 and P100 respectively, and the achromatic basic colours as Nb00w100 and Nb100w00 respectively. The values of the basic colours displayed on a typical sRGB display and the corresponding chromaticity coordinates are given in Table 1: red R100, RGB 203, 0, 52, XYZ 26.53, 13.50, 3.28; orange O100, RGB 255, 101, 0, XYZ 48.62, 31.58, 2.65; yellow Y100, RGB 255, 229, 0, XYZ 73.79, 78.42, 9.00; rose K100, RGB 177, 213, 32, XYZ 45.01, 57.57, 8.10; green G100, RGB 0, 134, 58, XYZ 9.79, 17.35, 5.33; cyan T100, RGB 0, 165, 166, XYZ 19.95, 29.28, 30.87; blue B100, RGB 0, 165, 254, XYZ 28.67, 32.98, 74.41; purple P100, RGB 118, 0, 135, XYZ 11.37, 5.50, 17.55; black Nb100w00, RGB 4, 4, 4, XYZ 0.12, 0.12, 0.10; white Nb00w100, RGB 252, 252, 252, XYZ 93.87, 97.34, 80.30.

3.3 Hue circle. 3.3.1 The eight chromatic basic colours are arranged clockwise on the hue circle, the angle between the hues of two adjacent basic colours differing by 45 degrees. Between every two basic colours there are 100 steps, one colour being taken every 10 steps, so that there are 80 hues in all, the angle between two adjacent hues differing by 4.5 degrees. The hue codes of the basic colours are R100, O100, Y100, K100, G100, T100, B100 and P100; the remaining 72 hues are expressed by a code made up of the symbols of the two adjacent basic colours and the step values, the sum of the two step values in the code being equal to 100. The hue circle is Figure 2. 3.3.2 The hue circle takes the P-K line as the boundary between the warm and cool regions: the upper half of the P-K line is the warm region and the lower half the cool region. In the ordinary case the different regions of the hue circle represent different psychological and emotional feelings and states, as described in the text of Figure 2.

3.4 Colour position triangle. In the colour triangle, a colour of a particular hue is expressed by the black value b, the white value w and the chroma value c. The ranges of b, w and c are each 0 to 100, each of 100 steps, and the sum of b, w and c is set at 100; the colour triangle is shown in Figure 3. In the ordinary case, colours situated in the different regions of the colour triangle represent different degrees of psychological feeling, as described in the text of Figure 3.

3.5 Colour coding. 3.5.1 Coding of chromatic colours. The hue code (H) and the colour position code (b/w) of a colour combine into a complete chromatic colour code. The hue code of a chromatic basic colour is expressed by the hue symbol and the number 100; the hue codes of colours other than the chromatic basic colours are expressed by the symbols of the two adjacent basic hues and the corresponding step numbers, the sum of the step numbers being equal to 100. The colour position components are the black value b, the white value w and the chroma value c; in the colour position code the chroma value c is not expressed but is represented by the black value b and the white value w and their corresponding step numbers, the colour position total being set at 100, that is b + w = 100 - c. Example: a chromatic colour with a cyan proportion of 21, a blue proportion of 79, a black value of 25 and a white value of 49 is expressed by combining the hue code T21B79 and the colour position code b25w49 as T21B79 b25w49, as shown in Figure 4.

3.5.2 Coding of achromatic colours. A complete achromatic colour code is formed by combining the letter N, which denotes an achromatic colour, with the colour position code (b/w). The colour position code is expressed by the black value b and the white value w and their corresponding step numbers, the sum of b and w being set at 100. Example: a colour with a black value of 3 and a white value of 97 is expressed by combining the letter N with the colour position code b03w97 as Nb03w97, as shown in Figure 5.

4 Colour design

4.1 General rules of design. The purpose of the design is achieved through the combination of colours and the matching of their proportions.

4.2 Design methods. 4.2.1 Classification of the design methods. According to the equal colour position visual characteristic, the linear visual characteristic and the regional visual characteristic of colours, the colour design methods are divided into four kinds: the equal colour position design method, the linear design methods, the regional harmonic design method and the contrast harmonic design methods. Among these, the linear design methods include the black value linear design method, the white value linear design method and the chroma value linear design method; the contrast harmonic design methods include the hue contrast harmonic design method, the colour position contrast harmonic design method and the colour area proportion method. For design cases see Annex A.

4.2.2 Equal colour position design method. Two or more hues are chosen on the hue circle and one colour position is chosen on the colour triangle, combining several colours of different hue and the same colour position; this method embodies the equal colour position visual characteristic. The diagram of equal colour position design is Figure 6. Example: three hues G30T70, T50B50 and P20R80 are chosen on the hue circle and the colour position b20w40 is chosen on the colour triangle, combining three colours of different hue and the same colour position: G30T70 b20w40, T50B50 b20w40 and P20R80 b20w40.

4.2.3 Linear design methods. 4.2.3.1 Black value linear design method. In the hue circle the same or similar hues are chosen; in the colour triangle a colour combination is selected that is arranged on a straight line parallel to w-c or within a range of 10 levels above and below that line. This method embodies the black value linear visual characteristic. The diagram of black value linear design is Figure 7. Example: all the colours from b05w90 to b05w05 contain the same proportion of black value. 4.2.3.2 White value linear design method. In the hue circle the same or similar hues are chosen; in the colour triangle a colour combination is selected that is arranged on a straight line parallel to b-c or within a range of 10 levels above and below that line. This method embodies the white value linear visual characteristic. The diagram of white value linear design is Figure 8. 4.2.3.3 Chroma value linear design method. In the hue circle the same or similar hues are chosen; in the colour triangle a colour combination is selected that is arranged on a straight line parallel to w-b or within a range of 10 levels above and below that line. This method embodies the chroma value linear visual characteristic. The diagram of chroma value linear design is Figure 9. Example: all the colours from b05w90 to b90w05 contain the same proportion of chroma value.

4.2.4 Regional harmonic design method. 4.2.4.1 Division into regions. According to psychological feeling, the colour design area is divided into seven colour regions: the one-colour region, the two-colour region, the three-colour region, the four-colour region, the five-colour region, the six-colour region and the seven-colour region. 4.2.4.2 One-colour region. The triangular region determined by the three points w100, b0w50 and b50w50 is a region of high lightness and low chroma, representing a comparatively soft colour feeling; it may generally be used for the expression of themes such as tender, gentle and relaxed. The colour position range of the one-colour region is shown in Figure 10. 4.2.4.3 Two-colour region. The triangular region determined by the three points b100, b50w50 and b50w0 is a region of low lightness and low chroma, representing a comparatively settled colour feeling; it may generally be used for the expression of themes such as profound, mature and serious. The colour position range of the two-colour region is shown in Figure 11. 4.2.4.4 Three-colour region. The triangular region determined by the three points b50w50, b50w0 and b0w50 is a region of medium lightness and medium chroma, representing a comparatively moderate colour feeling; it may generally be used for the expression of themes such as reserved, comfortable and rich. The colour position range of the three-colour region is shown in Figure 12.

4.2.4.5 Four-colour region. The triangular region determined by the three points b0w50, b50w0 and b0w0 is a region of medium lightness and high chroma, representing a comparatively intense colour feeling; it may generally be used for the expression of themes such as stimulating, exciting and vivid. The colour position range of the four-colour region is shown in Figure 13. 4.2.4.6 Five-colour region. The trapezoidal region determined by the four points b25w75, b75w25, b25w50 and b50w25 is a region of medium lightness and low chroma, representing a comparatively mysterious colour feeling; it may generally be used for the expression of themes such as gentle, reserved and mature. The colour position range of the five-colour region is shown in Figure 14. 4.2.4.7 Six-colour region. The trapezoidal region determined by the four points b0w75, b0w25, b25w25 and b25w50 is a region of medium to high lightness and medium chroma, representing a comparatively bright colour feeling; it may generally be used for the expression of themes such as relaxed, comfortable and exciting. The colour position range of the six-colour region is shown in Figure 15. 4.2.4.8 Seven-colour region. The trapezoidal region determined by the four points b25w0, b75w0, b25w25 and b50w25 is a region of medium to low lightness and medium chroma, representing a comparatively mature colour feeling; it may generally be used for the expression of themes such as solid, rich and vivid. The colour position range of the seven-colour region is shown in Figure 16.

4.2.5 Contrast harmonic design methods. 4.2.5.1 Hue contrast harmonic design method. In the hue circle, four grades - low contrast, medium contrast, high contrast and strong contrast - are distinguished according to the range of the difference in hue angle between two colours: a) low contrast - the hues of the two colours differ by any angle from 0 to 45 degrees; b) medium contrast - the hues differ by any angle from 45 to 90 degrees; c) high contrast - the hues differ by any angle from 90 to 135 degrees; d) strong contrast - the hues differ by any angle from 135 to 180 degrees. Hue contrast is shown in Figure 17; according to the grade of hue contrast, the colour combination is chosen in the corresponding region.

4.2.5.2 Colour position contrast harmonic design method. 4.2.5.2.1 Colour position contrast harmonic method. In the colour triangle, four grades are distinguished according to the difference in the steps of the black value b, the white value w or the chroma value c of the two colours: a difference of any 0 to 25 steps is low contrast, of any 25 to 50 steps medium contrast, of any 50 to 75 steps high contrast, and of any 75 to 100 steps strong contrast. 4.2.5.2.2 Black value contrast harmonic method. A difference in the black value b of two colours of any 0 to 25 steps is low black value contrast; a difference of any 25 to 50 steps is medium black value contrast; a difference of any 50 to 75 steps is high black value contrast; and a difference of any 75 to 100 steps is strong black value contrast, as shown in Figure 18. According to the requirement on the grade of black value contrast, the corresponding colour combination is chosen on the colour triangle.

4.2.5.2.3 White value contrast harmonic method. A difference in the white value w of two colours of any 0 to 25 steps is low white value contrast; a difference of any 25 to 50 steps is medium white value contrast; a difference of any 50 to 75 steps is high white value contrast; and a difference of any 75 to 100 steps is strong white value contrast, as shown in Figure 19. According to the grade of white value contrast, the colour combination is chosen in the corresponding region. 4.2.5.2.4 Chroma value contrast harmonic method. A difference in the chroma value c of two colours of any 0 to 25 steps is low chroma value contrast; a difference of any 25 to 50 steps is medium chroma value contrast; a difference of any 50 to 75 steps is high chroma value contrast; and a difference of any 75 to 100 steps is strong chroma value contrast, as shown in Figure 20. According to the grade of chroma value contrast, the colour combination is chosen in the corresponding region.

4.2.5.3 Colour area proportion method. The dominant colour, the embellishment colour and the adjunctive colours are matched sensibly in colour area; the requirement of the theme is expressed by a dominant colour of large area (not including the background colour), and several adjunctive colours and one or two embellishment colours are chosen, so as to achieve the purpose of the thematic colour design. The matching of colour area proportions is shown in Figure 21.

Annex A (informative) Colour design cases

A.1 Steps of colour design. Step one: the design theme is made clear. Step two: in the hue circle, the keywords related to the theme are found. Step three: in the colour triangle, the keywords related to the expression of the theme are found. Step four: the colour proportion design is completed. Step five: the colour scheme and the colour design coding are completed. The diagram of the steps of colour design is Figure A.1.

A.2 Case of equal colour position design. The case of equal colour position design is shown in Figure A.2, Figure A.3 and Figure A.4. In the case, the colour position b15 w45 c40 is fixed in the colour triangle and several hues are chosen on the hue circle, giving the colour scheme R80O20 b04w48, R10O90 b04w48, O20Y80 b04w48, Y40K60 b04w48 and K20G80 b04w48, which is then applied to the colour proportion layout of dominant colour, adjunctive colours and embellishment colour and to the finished product.