A Guide to Color Theory

As a designer, you have the privilege of working with COLOR. While others work with spreadsheets or documents, you shape the visible spectrum into something expressive and beautiful. Where they write memos, you compose messages in leaf and petal. Truth is, your job is amazing.

At Design Master, we love what we do. That is why we created this guide — a quick look into the fascinating world of color. While it is not just about our industry-leading color sprays (though we would not mind if you gave them a try), our main goal is to support your creativity.

Understanding color is essential if you want professional, striking results. Remember: true success does not come from following every rule — it comes from trusting your creative instincts. As you explore the information in this guide, keep one idea at the center: Express yourself.

Here are the topics we will cover in this post — click to go directly to each topic.

The Color Wheel

Describing a Color

Classic Color Harmonies

Color Interactions

Glossary of Color Terms

The Color Wheel

The traditional color wheel is based on three primary colors: red, yellow, and blue. Technically, it organizes colors by light wavelength (red has the longest wave, violet the shortest). But for most of us, it is easier to think of the color wheel as a circular rainbow — or simply a helpful way to understand how colors relate to one another.

Black, white, and gray are called achromatic colors (without hue). But do not underestimate them — when combined with other colors, they add depth and dimension to a design.

The Color Wheel is a Tool, Not a Rule

You’ll never find a purple statice that matches the purple on the color wheel. So what? The color wheel is just a guide. Adapt it to the materials you are using, and leave the concept of perfection to the likes of Plato.

The color wheel organizes colors into a logical system based on their relationships. This system begins with the aforementioned primary colors, which are the building blocks from which all other hues are derived. By mixing these essential colors, we can create a vast spectrum of shades, including the secondary and intermediate colors, which fill out the complete color wheel.

Primary Colors

These are the base colors. You can’t mix other colors to create them—but from these three, all other colors are made.

Secondary Colors

These are created by mixing two primary colors together.

Intermediate Colors

Also called “Tertiary Colors”, these come from mixing a primary color with a neighboring secondary color on the wheel.

Describing a Color

Ever tried to describe a color accurately to someone else? It can quickly turn into a rambling moment, where you find yourself saying things like “grasshopper green” or “a fun, purple kind of purple.” But with three basic terms — Hue, Value, and Chroma — you can speak about color with clarity and confidence.

Hue

The name to describe a pure color. Hue refers to a specific point on the color wheel — like red, blue, or violet. Red-violet is a hue. “Passionate purple” is not. Hue and color are often used interchangeably.

Value

The lightness or darkness of a color. A value of color is adjusted by adding white, gray, or black — your trio of achromatic tools. These combinations are called tints, tones, and shades. The Value Scale for a color is similar to a grayscale — from white to black.

The value scale goes from white to black.

Chroma

The brightness or dullness of a color. The chroma decreases as you move in either direction from the pure color. Translation: lighter doesn’t always mean brighter.

This comparative chromatic scale (Oh no, another scale! Drop that mum and run for your life!) shows the relation of the pure colors to the gray scale. Take the pure colors from the color wheel and make a set of playing cards. Arrange them like a game of solitaire. Squint your eyes as you find a color’s match on the gray scale. When you have played your hand of 12 cards, chances are it will look like our scale. Not surprising, yellow has more chroma than violet. But red, ­red-orange and green all share the same degree of chroma. Hey, it’s an equal opportunity scale. Check it out. Play a game of chromatic solitaire with assorted paint chips, scraps of ribbon or even flower petals.

A One-derful Concept

If you surround a pure color with its own tints, tones, and shades, the pure color appears less brilliant — while the surrounding variations gain intensity. This is the strength of monochromatic design. Curious? Look up the work of Jasper Johns.

Tame the Brightness

Light-colored Design Master sprays are a helpful way to soften deeper hues and adjust their color value. If a yellow feels as intense as a solar flare, a light mist of Honeycomb can tone it down — saving both your eyes (and your floral design).

From Canvas to Carnations

In paintings, if the same color appears at the top and bottom of a canvas, the lower one will appear heavier — the eye simply reads it that way. The same idea often applies in large floral arrangements: color placement affects how we perceive weight.

Weight Watching

Darker colors have more visual weight — and value is what determines that weight. Placing deeper tones lower in a composition creates a sense of visual balance and stability. But if creativity leads you elsewhere, do not be afraid to follow it.

Classic Color Harmonies

Sometimes, following a proven approach is the best choice. Great music, reliable recipes, a favorite chair — there is comfort in what works. Design has its own time-tested formulas too: five classic color harmonies. These are specific groupings of color that create pleasing combinations. When used well, they never fail to deliver.

Monochromatic

Tints, tones, and shades of a single hue. This approach creates unity with variation. It is perfect for designers who love exploring every nuance of one color, like red.

Lead Color

Every color harmony needs a leader. Choose a dominant key color then let the others enhance it. Skip that and the design can feel chaotic or unfocused.

Lead Color

Every color harmony needs a leader. Choose a dominant key color then let the others enhance it. Skip that and the design can feel chaotic or unfocused.

Analogous

One key color (a primary or secondary), plus the two hues directly next to it on the color wheel. These combinations are naturally harmonious, as they share a common hue.

Emotional Direction

When arranged thoughtfully, analogous harmonies evoke emotional qualities—warm and lively (like reds and oranges), or cool and calm (like blues and violets).

Emotional Direction

When arranged thoughtfully, analogous harmonies evoke emotional qualities—warm and lively (like reds and oranges), or cool and calm (like blues and violets).

Complementary

Two colors directly opposite each other on the color wheel. These pairings create strong contrast and visual energy. Think of them as opposites that balance each other out.

Bold Pairs Lose Drama when Overused

Complementary pairs create strong contrast and dynamic tension. Try combining any two hues opposite each other on the color wheel, including their variations in tint, tone, and shade. The result? Subtle drama and a refined impact to your design.

Bold Pairs Lose Drama when Overused

Complementary pairs create strong contrast and dynamic tension. Try combining any two hues opposite each other on the color wheel, including their variations in tint, tone, and shade. The result? Subtle drama and a refined impact to your design.

Split Complementary

One key color plus the two hues on either side of its direct complement. This creates contrast with more subtlety than a straight complementary scheme.

Let Nature Direct

Flowers and foliage often contain natural split complementary harmonies. Instead of resisting, use them to unlock a more refined and expressive use of color.

Let Nature Direct

Flowers and foliage often contain natural split complementary harmonies. Instead of resisting, use them to unlock a more refined and expressive use of color.

Triadic

A set of three colors spaced evenly around the color wheel — such as the primaries (red, yellow, blue), secondaries (orange, green, violet), or intermediates (like red-orange, yellow-green, blue-violet). These combinations create balance with vibrancy.

Green is Always in the Room

When using the primary triad of red, yellow, and blue, you can express a playful, straightforward energy. Even their tints, tones and shades carry an honest, almost childlike charm. With secondary or intermediary triads, be mindful of green. Because we are constantly surrounded by it – trees, plants, grass – the eye may not register its presence unless it is missing. In fact, you may have used a triadic color scheme without realizing it. For example, green foliage combined in an arrangement of peach and lavender creates a soft triadic harmony. Train your eye to recognize the ever-present green.

Green is Always in the Room

When using the primary triad of red, yellow, and blue, you can express a playful, straightforward energy. Even their tints, tones and shades carry an honest, almost childlike charm. With secondary or intermediary triads, be mindful of green. Because we are constantly surrounded by it – trees, plants, grass – the eye may not register its presence unless it is missing. In fact, you may have used a triadic color scheme without realizing it. For example, green foliage combined in an arrangement of peach and lavender creates a soft triadic harmony. Train your eye to recognize the ever-present green.

Color Interactions

Classic color harmonies are helpful guides — they are not meant as rigid rules. Once you understand how colors interact, you can move beyond formulas and let your creativity lead the way.

Value Opposition

The greater the difference a color has from others on a value scale, the more it stands apart. The deep rose naturally separates from the lighter roses around it, even though they share the same hue.

Chromatic Opposition

Colors that are far apart on the chroma scale will appear far apart visually. The difference between red and purple might be subtle — but the gap between purple and yellow is wide and dramatic. Chroma contrast can create strong separation, even in small doses.

Contrast with Red-Violet

Red–violet is a rare kind of neutral. It is not warm or cool, bold or quiet — it sits in the middle. That makes it a powerful support color. Most hues will look stronger beside it. Think of it as the Switzerland of your palette: neutral, stable, and quietly effective.

Cool-Warm Contrast

Warm colors look hotter when placed next to cool colors — and vice versa. In the top photo, croton leaves paired with hydrangea feel intense and fiery. But the same croton leaves next to yellow lilies seem cooler. The same goes for cool hues: blue delphinium will appear cooler near purple statice, but warmer when used with red roses. Color temperature is always relative.

Complementary Contrast

Complementary contrast works by making each color appear stronger in the presence of its opposite. Pairing complementary colors enhances their intensity and adds vibrancy to your design. Keep in mind: all colors have complements — not just the twelve shown on the color wheel.

Simultaneous Contrast

Any time two colors are used together, each one shifts slightly in appearance. This interaction is what gives color combinations their energy. For example, Carnation Red next to Holiday Green feels bold and vivid — but the same red beside Burgundy becomes quieter and more subdued.

Contrast of Proportion

Small flowers can often make up for their size with concentrated color and strategic placement — sometimes even outshining larger blooms of the same hue. In this arrangement, notice how the small, round gomphrena draws the eye and visually overpowers the much bigger red gerbera — an example of how visual weight and boldness can outweigh sheer size.

Harmony Can Exist Without Symmetry

Asymmetrical color balance can add more interest to your work. Just because you’re using a classic color combination doesn’t mean your design has to be traditional.

The Big Picture

It is easy to get caught up in your design — but do not forget where it is going. If the colors do not work in the environment, the design will not succeed. Think about the vase, the table, the surrounding décor. Great color decisions go beyond the flowers themselves.

Glossary of Color Terms

Achromatic – Perceived as having no hue or color. Includes white, gray, and black.

Analogous – A color harmony created using three colors that are next to each other on the color wheel. It includes a key color — either a primary or secondary — and the two colors on either side.

Chroma – The intensity or strength of a color.

Chromatic – Perceived as having a hue or color.

Complementary – A color harmony made from two colors that are directly opposite each other on the color wheel.

Hue – The qualities that distinguish one color from another. The name of a color — for example, red or red-orange.

Intermediate Color – Sometimes called tertiary. A mixture of a primary and a secondary color — such as red-orange, yellow-orange, yellow-green, blue-green, blue-violet, or red-violet.

Monochromatic – A color harmony created from a single hue and all its variations (tints, tones, and shades).

Primary Color – The colors from which all other colors are derived: red, yellow, and blue.

Secondary Color – A color made by mixing two primary colors: orange, green, and violet.

Shade – Determines value. A hue mixed with black.

Split Complement – A color harmony created using a key color and the two colors on either side of its complement (direct opposite on the color wheel).

Tint – Determines value. A hue mixed with white.

Tone – Determines value. A hue mixed with gray.

Triad – A color harmony created using three colors that are evenly spaced on the color wheel.

Value – The lightness or darkness of a color. Includes tints, tones, and shades.

More Resources

Now that you have learned the fundamentals of color theory, explore our additional guides.

A Guide to Spray Techniques — Fresh Flowers

Applying Design Master® spray colors on fresh flowers requires special techniques for safe application. Follow these practices for best results.

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A Guide to Spray Techniques — Floral Products

From satin ribbons to silk flowers, ceramic planters to glass vases —Design Master® sprays give you the power to customize nearly every element of your design.

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A Guide to Color Shifting

Insights into color selection and the effective practices for achieving desired shifts of flower color – putting color control in your hands.

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