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Compositional effects of color
Spatial effects - Such as, hues that are lighter at maximum saturation (yellows, oranges) appear larger than those that are darker at maximum saturation (e.g., blues and purples).
When a color expands visually, it may also seem closer to the viewer than those that seem to contract, leading to the common statement that warm colors appear closer and cool colors fall back.
Artists can bring any color forward or push it back, depending on what other spatial tricks they use. In addition, a large shape or form appears to be heavier than a small shape. Several small shapes or forms can balance on large one.
Remember that saturation is the relative brilliance or vibrancy of a color. The more saturated a color, the less black it contains.
Use highly saturated or high-intensity colors (a pure hue with no other colors mixed in) or busily detailed areas to draw attention and therefore give the appearance of carrying more weight than less saturated, low-intensity or visually simpler areas.
Balance and proportion - Generally speaking, highly saturated or busily detailed areas will draw attention and therefore seem to carry more weight than less saturated or visually simpler areas.
Balance - the two types of balance are formal (symmetrical) and informal (asymmetrical).
Proportion - the size relationship of one part to the whole and one part to another.
Emphasis - an area in a work of art that attracts the viewers attention first. The element noticed first is called dominant; the elements noticed later are called subordinate.
Unity - allows the viewer to see a combination of elements, principles, and media as a whole. Unity is created by harmony, simplicity, repetition, proximity, and continuation. For example, you could use the repetition of a color scheme to unify a composition. Another way to unify a composition is to simplify the color scheme by allowing one color to dominate the work. This is called tonality.
Movement - color can create a sense of movement. When the values in a work jump quickly from very high-key to very low-key, a feeling of excitement and movement is created. When all of the values are close together the work seems much calmer. When you want to create movement with color remember to use values of pure hues as well as those of tints and shades. Movement creates the illusion of action or physical change in position.
Rhythm - the use of repeated elements to create the illusion of movement. Visual rhythm is perceived through the eyes, and is created by repeated positive spaces separated by negative spaces. There are five types of rhythm: random, regular, alternating, flowing, and progressive.
Uses and psychological effects
Physiological effects - mystics have long held we emanate a colored glow, or aura, which is thought to effect the state of a person's health and spirituality. Today, chromotherapy is used to heal with colors. This form of treatment dates back thousands of years to the ancient "color halls" of Egypt, China, and India. A more prominent use of color therapy occurs in environmental design (the effect of color on health and behavior).
Color symbolism - our responses to color are not just biological. They are also influenced by color associations from our culture.
Personal color preferences - not only have we inherited cultural associations, but we also respond to colors in individual ways. Research has revealed some variables that help explain individual differences in color responses. One thing remains the same in color and that is our own color preferences are important to us.
Emotional effects - the actual emotional effect of a specific color in an artwork depends partly on its surroundings and partly on the ides expressed by the work as a whole. To be surrounded by blue lighting in an installation is quite different from seeing a small area of blue in a larger color context. For many of us the emotional effects of art may be difficult to articulate.
Local and expressive color - there are two opposite ways of using color in representational art. At one extreme is the local color - the color that something appears from nearby when viewed under average lighting conditions. We think of the local color of a banana as yellow, for example. At the other end of the extreme is the expressionistic use of color, whereby artists use color to express an emotional rather than a visual truth.
Evidence from.... (http://www.writedesignonline.com/resources/design/rules/color.html)
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