I recently gave this presentation on color to our creative team. It was originally done in a conversational presentation format…which I will try to recreate here. And I owe credit heavily to worqx.com for the formalized info and graphics to support my informal and intuitive comprehension of color in combo with a formal education in the Swiss style on the subject.
Johannes Itten was a strange fellow. In addition to his background in psychology and teaching, he was also an instrumental member of 
the Bauhaus (not the band), a fervent vegetarian who thought nothing of running his design students through meditation and exercise routines within his art practice. When he wasn’t working out, he was working on formalizing color. Itten gave us the first formalized color wheel. He is quoted as saying… “Color is life, for a world without color seems dead. As a flame produces light, light produces color. As intonation lends color to the spoken word, color lends spiritually realized sound to form.” Wow. I think I’d rather work out some more.
Regardless, he left an indelible imprint on any craft that deals with color by creating the first color wheel and the extended thinking around color that allows us to understand more clearly how and why color works (or doesn’t). We now have a language and alphabet to help in discussing color issues that we still use everyday.
You have to start somewhere. Let’s start here.
Color Basics.
Color is the perceptual characteristic of light described by a color name. Specifically, color is light, and light is composed of many colors—those we see are the colors of the visual spectrum: red, orange, yellow, green, blue, and violet. Objects absorb certain wavelengths and reflect others back to the viewer. We perceive these wavelengths as color.
How do we describe color?
A color is described in three ways: 1. By its name 2. How pure or desaturated it is. And 3. Value or lightness.
Although pink, crimson, and brick are all variations of the color red, each hue is distinct and differentiated by its chroma, saturation, intensity, and value.
We have a wonderful problem. Color systems.
Online or off. Color is still color…but each system acts differently.
Additive Color.
If we are working on a computer, the colors we see on the screen are created with light using the additive color method.
Subtractive Color.
When we mix colors using paint, or through the printing process, we are using the subtractive color method.
Now that we know some basics.
I’d like to introduce the color wheel. 
The color wheel is a visual representation of colors arranged according to their chromatic relationship. Bask in its glory for a moment. OK. Moving on.
The color wheel can be broken down into many descriptions depending on the associations you are creating.
Primary Colors:
Colors at their basic essence; those colors that cannot be created by mixing others.
Secondary Colors:
Those colors achieved by a mixture of two primaries.
Tertiary Colors:
Those colors achieved by a mixture of primary and secondary hues.
Complementary Colors:
Those colors located opposite each other on a color wheel.
Analogous Colors:
Those colors located close together on a color wheel.
The color wheel can be further divided into ranges that are visually active or passive.
Active colors will appear to advance when placed against passive hues.
Passive colors appear to recede when positioned against active hues.
So remember Itten? And what does it have to do with my day job?
Well the biggest take away here from Itten is that any color palette, approach, or system relies on one thing. Contrast. Itten studied this in great detail through a series of paintings that were identical, save for color arrangements. The result? The exposure of successes and faults in color combinations.
Anyone working with color regularly must understand this.
I have developed my own 4 simple rules. (Remember these are my rules, and well, anyone who has ever followed me on a bike or snowboard would know what works for me sometimes sends others to the hospital.)
Rule #1
Have a color strategy.
Using color strategically is an important trait to learn and use to defend design choices. Good color strategies help lessen subjectivity when dealing with color. Pick a palette that makes sense for your project.
Simple color strategies:
De-saturated blues =Traditionally represents dependability and establishment. Saturated reds = Often conveys energy and strength etc.
Rule #2
Be aware of color and contrast.
When we create visuals that are intended to be read, offering the viewer enough contrast between the background (paper or screen) and the text is important. Text presentations ideally offer at least an 80% contrast between figure and ground.
Rule #3
Don’t re-invent the wheel.
You wouldn’t expect a creative to say that. Look to nature for inspiration. And I don’t mean limit yourself to plants and animals…look at what’s out in there in the world. You’d be surprised where you find great palettes. I often look to fashion and culture.
Rule #4
Develop a limited palette.
I know. I know. Sounds weird. But unless you’re doing a design that requires a rainbow, say for the revival of “My Little Pony,” here less is more. Remember the box of 64 crayons? It’s too much. I often will look at 4-6 colors (with 1 or 2 of those being accents) and 3 to 4 neutrals (ranging from light, mid and dark hues) max to establish a palette.
That’s it. Go make things good.