COLOUR

THE COLOUR WHEEL

HUE: A pure hue is an undiluted colour, with no addition of white, grey or black. Three hues are

primary colours: red, yellow and blue.

Three other hues, each resulting from mixing two primary colours, are secondary colours: violet
(red + blue), green (yellow + blue) and orange (yellow + red).
VALUE: Each pure hue can become lighter or darker. These graduations are called values. Adding
white to a hue produces the lighter values referred to as tints; the addition of black results in
darker shades.
SATURATION: Hues can be bright or dull, a condition described as degree of saturation (also
called intensity). Differences in saturation result from the amount of grey added to a hue; the
more grey you add, the duller and less saturated the colour. Grey values are called tones.
WARM VERSUS COOL COLOURS: When you draw a line across the colour wheel between green
and yellow-green on one side, between red and red-violet on the other, you divide the colours into
two groups; one warm, the other cool. The warm colours are yellow, orange and red; the cool ones
are violet, blue and green.
COLOUR COMBINATIONS: The colour wheel enables you to view all sorts of colour combinations
at a glance. Three possible schemes are monochromatic, harmonious and contrasting (also called
complementary). Also discussed are white and grey, two colours not represented on the wheel but
widely found in flowers and foliage. Both can be used in virtually any colour combination.
MONOCHROMATIC: The simplest colour scheme is centred on a single hue blue, for example
and includes flowers in all that hues tints, shades, and various saturations. The result is almost
automatically pleasant, though monochromatic schemes based on warm colours run the risk of being
overassertive. To avoid monotony, select plants with different forms and a variety of foliage
colours, textures and shapes.
HARMONIOUS: On the colour wheel, harmonious colours are those that lie between any two
primary hues. Moving from yellow to red, for example, youll find yellow-orange, orange, and orangered. A broadly harmonious composition includes the full range of colours between the two primaries
as well as one of those two hues; the most limited harmonious scheme encompasses just two
adjacent colours on the wheel (yellow and yellow-orange, for example). Thanks to the close
relationship between the colours used, harmonious combinations are pleasing to the eye. And
because two hues are involved rather than just one, theyre a bit livelier than monochromatic
schemes.

CONTRASTING: Colour contrasts occur between two totally unrelated colours. The primary hues
provide an obvious example of vivid contrasts. Another contrast is formed by complementary
colours those opposite each other on the colour wheel, such as blue and orange or yellow and
violet.
In most cases, youll be aiming for contrasting flower colours; but note that the complement to red
is green. Vivid red scarlet sage (Salvia splendens) against a backdrop of green foliage creates as
true a contrast as blue delphiniums behind orange daylilies ( Hemerocallis).
Contrasts involving fully saturated colours are most effective when used in moderation, as accents
or foils for quieter, more harmonious schemes. Used in large quantity, these vivid contrasts both
jar the eye and lose their impact. Also keep in mind that contrasting colours are typically more
effective if used in unequal amounts; rather than composing a planting bed of half yellow iris and
half violet ones, use one colour sparingly, as an accent to greater amounts of the other.
Contrasting colours need not be bright. For a softer look, use tints: cream and lavender, for
example, instead of yellow and violet. You can also mix values when you create contrast, combining a
fully saturated colour with a softer, paler one intense blue with pale peach, for instance, or
bright green foliage as a foil for soft pink flowers.
WHITE: Gardeners think of white as a colour, but to colour theorists, its atonal the complete
lack of colour. As white is added to a colour, it produces lighter and lighter tints. White then, can
assort with all colours, light or dark. Combined with lighter values, it is harmonious; its lack of
colour seems closely related to the paleness around it. Used with fully saturated colours or darker
shades, it offers a sharp contrast. (Use it sparingly in this role overuse of contrast will give the
planting a discordant, uneasy feel.)
GREY: Though you wont find truly grey flowers, there are plenty of grey-leafed plants. Usually
thought of as cool colour, grey actually results from mixing any two complementary colours.
This explains its unique ability to fit into virtually any scheme, warm or cool. Grey is the great
moderator: its soft neutrality tones down brilliance, highlights every colour, and imparts softness
to the overall picture.

PRIMARY COLOURS
COMPLEMENTARY (CONTRASTING)

SHADE- HUE-TINT-TONE
ANALOGOUS or HARMONIOUS

CHOOSING COLOUR: Its much easier to pick one plant that you like than to choose many that
work well together. If youre in doubt about mixing colours, try one of the following simple themes.

Cool colours blue, purple, rose, pink and white create a quiet, restful mood.
Warm colours red, orange, and yellow stimulate the eye and produce a sense of

excitement.
Contrasting colours add interest to the cool colours and tone down the warm colours. Yellow

brightens a blue and purple garden, whereas blue calms a bed of red or orange flowers.
One colour, in many shades, is always more interesting than a solid band of flat colour.

White complements other colours, and helps unify mixed colours.

White, grey & silver create a sense of space, coolness and serenity. Do not plant the whole
garden this way but use them in an area which is not immediately apparent, so that on

turning a corner, a display of relaxing colours comes as a surprise.

Green foliage plants harmonise with white and silver plants.
Reds are the most dominant of all colours when seen against a mid-green background.
Densely red flowers such as poppies, have a three dimensional effect and appear to stand

out from the foliage and stems. Most reds however appear as shades.
Gold & yellow are the brightest colours in a garden and can overpower and subdue demure
and light colours, therefore use carefully. Soft yellows however, happily blend with white,
silver and grey. But ensure that the total area given to yellow is less than that allocated to

the white.
Blue & purple range from soft and gentle blue to strong and dominant purple. Shades at the
pastel end of this range blend with less dominant shades of yellow. Do not try to blend
dominant reds, purple and yellows.