Completed, but I still want to return to it to make it easier to work with.
How to form color combinations in an ensemble?
Spring has begun, the sun and I really want COLORS!
How not to spoil your outfit, but to emphasize its harmony with the help of color?
Ethen's color wheel will help you:
This is because shades of yellow are colors similar to orange or harmonious. However, shades of purple and blue are contrasting colors that enhance yellow and vice versa. For some students, this concept can be somewhat complex. If so, show them what it is. The color wheel shows 12 colors - three primary colors, three secondary colors, and six tertiary colors. The colors are arranged on the wheel in accordance with the electromagnetic spectrum of light red, orange-red, orange, yellowish-orange, yellow, yellowish-green, green, blue-green, blue, reddish, reverting to red.
Consider 10 types of color combinations:
1. Achromatic
2. Basic
3. Composite
4. Complex
5. Contrasting
6. Additional
7. Monochramatic
8. Related
9. Neutral
10. Relatively contrasting
You will not find these colors in the spectral circle, these colors are obtained by mixing chromatic / color tones.
In nature, there are no pure achromatic colors, always black / gray will have some color subtone.
With a decrease in the brightness of the color hue, the color will tend to become black, and with an increase in the brightness, the color will tend to become white.
Working with contrasting colors
When the colors are positioned on the wheel, you can show complementary colors from opposite sides. One of the best ways to teach contrasting colors is to experiment with your own colors. Give a copy of the color wheel to each student. Then give each of two uncolored copies of the same image or coloring. You can give a different image to each student or the same. Tell them to harmonize the subject and background color, or the like. Then, again with the same blank image, they have to paint the object with the same color they used before.
The main
As we remember the main colors of the Itten color wheel: yellow, blue and red.
When mixed with them, you can create a ton of shades.
Composite
However, this time the background should be colored contrasting color... For example, if the uncolored image is a simple apple, the first image will have a red apple with a reddish orange or reddish purple background. The second image will also have a red apple, but the background will be green. Ask each student to study the two images and how the second, contrasting one, looks very different.
In an effort to bring useful items to the attendant bride, I got the idea to introduce you to one of my greatest allies in coordinating wedding flowers: the chromatic circle. Super, mega, blaster, friend of all watches, he helps in all cases. Yes, because you'll find that it works for everything from matching flower arrangement colors to towel colors and souvenirs.
Composite colors are the colors obtained by mixing the main colors: orange (red and yellow), green (yellow and blue) and purple (red and blue).
If we change the proportion of mixing colors to lighten / darken colors, we get a lot of new shades and a three-dimensional image of a color ball.
Three complex colors, example:
You can also mix not only three the main colors and based on them to make complex and composite, but always PURE chromatic colors, but you can also add achromatic colors to pure color shades (black / white color) and get colors that are muted or dark shades, for example: 
Actually, let's talk about color harmony. It is she who makes the decoration consistent and beautiful, with flowers adorning. The circle will serve precisely to achieve this harmony. The chroma circle is a diagram that brings all the colors in such a way that we can see the relationship between them. In the center, you will see the primary colors; in the second "layer" colors appear, formed by combining primary colors, the so-called secondary colors; and then there is a circle formed by primary, secondary and tertiary.
The first question you should ask yourself is whether you like hitting or softness. For each taste, a different kind of harmony: if you like punch, you can use contrasting colors, if you prefer softness, you can use additional colors.
Consider the arrangement of flowers on FULL color wheel in more detail:
Contrasting
Two colors located on the color wheel through THREE INTERMEDIATE colors are called contrasting. There are 6 pairs of them, according to the number of flowers in the main circle.
it NOT complementary colors, namely contrasting, example:
Contrasting colors are opposite colors. If you draw a line in color, your contrasting pair will be the color on the other side of the circle. It is also worth “bending” a small set, choosing, for example, yellow and blue. Complementary colors are adjacent colors in the chromatic circle. You can combine them as desired and have subtler results than contrasting colors.
Important tip: If you choose a bumpy composition with contrasting colors and want to add more color to the game, it is safer to use colors next to one of your chosen colors to avoid visual pollution. Keep reading the story on the next page!
Entirely.
Seven types color contrasts
We talk about contrasts when, comparing two colors, we find between them clear differences... When these differences reach their limit, we speak of diametrical or polar contrast. Thus, the oppositions big-small, white-black, cold-warm in their extreme manifestations are polar contrasts. Our senses function only through comparisons. The eye perceives a line as long only if, for comparison, there is a shorter one in front of it, but the same line is perceived as short when compared with a longer one. Likewise, the impression of color can be enhanced or diminished with other contrasting colors.
The bouquet above works with shades of blue, magenta and pink, all similar colors in a circle. Additional color harmony... Yellow contrasts with blue - which in turn contrasts with red. It's a bold combination, but here, as a trick, it works.
The first is a proposal that uses complementary colors of yellow, orange, and pink flowers... The palette is already below the rates on the contrast of mint green and pink neutral colors; since the tones used are very soft, the combination becomes more subtle.
Well, it was almost a simplified text to start talking about colors. It is very important for us to think about the circle. Who knows, he won't become a “hand in the wheel” for you either 😉. Help the future bride and groom make their dream wedding with the money they have. Today we will talk about colors.
Studying the characteristic ways of influencing color, we can state the presence of seven types of contrasting manifestations. They are so different in their fundamentals that each of them must be studied separately. Each of these contrasts, in their special character and artistic significance, visual, expressive and constructive action, is so unique and unique of its kind that thanks to them we can discover all the main artistic possibilities of color.
This is why color has been deliberately applied over time to all media: television, film, advertising, magazines, books, internet, architecture, art, etc. So let's start 🙂. "Go!". In this article, you will discover. In history, several scientists have studied colors. Aristotle, Pliny, Leonardo da Vinci, Le Blond and Goethe are certainly one of the most important, and we will also see in this series.
Goethe opposed the methodological and mathematical meaning of Newtonian optics, a polemical fact with sympathetic Newton, because he was in stark contrast to his theories. He noted that the prism is capable of dividing a beam of light into seven colors: red, orange, yellow, green, blue, indigo and purple. It is no coincidence that the colors of the rainbow.
Goethe, Bezold, Chevreul and Hölzel pointed out the meaning of various color contrasts. Chevreul devoted a great deal of work to "simultaneous contrasts". However, there is still no visual and practical introduction to the study of the peculiar manifestation of color contrasts, equipped with appropriate exercises. The exploration of color contrasts undertaken in this book is an essential part of my work on color. Let's start by listing seven types of color contrasts :
Colors are bands of waves that can be seen with the human eye. And the wavelength is what defines the colors, that is, what defines them, the green, yellow, blue that we see. Thus, the color does not perceptibly exist. Color is the sensation produced by the eye.
Jung and Helmholtz concluded that there are receptors inside the eyes that process light, “cones,” and that they are made up of three types of nerves. These three nerves are responsible for the perception of a certain region of the spectrum of light, respectively, they were red, green and blue, and the rest of the colors that we see really come from the sum of these three "primary" colors.
1.
2. Contrast of light and dark
3. Contrast of cold and warm
4. Contrast of complementary colors
5. Simultaneous contrast
6. Color saturation contrast
Contrast color comparisons
Contrast color comparisons - the simplest of all seven. It does not make great demands on color vision, because its can be demonstrated with all pure colors at their ultimate saturation.
Just as black and white form the strongest contrast between light and dark, so do yellow, red and blue colors have the most pronounced color contrast (Fig. 4).
Primary, secondary and tertiary colors
Simple, the color we see is the color that the object reflects. It takes in all colors and absorbs them, except for the red color, which it reflects for us. Primary colors are those that cannot be decomposed into other colors and, when combined, create different colors. They can be defined as additive and subtractive.
It is color due to the incidence of a ray of light. The sum of the three primary colors produces white. It is the color that comes from the absorption of light, that is, the visible color is the one that is not absorbed by the object. Pigment colors can be divided into opaque and transparent.
In order to be convinced of this, you need at least three bright and sufficiently distant colors. This contrast creates the impression of diversity, strength, decisiveness. The intensity of the color contrast always decreases as the selected colors move away from the main three. Thus, orange, green and violet in their contrast are already much weaker than yellow, red and blue, and the effect of third-order colors is even less pronounced. When each color is separated from each other by black or white lines, their individual character becomes more pronounced, and mutual radiation and mutual influences are thereby reduced. Each color in this case shows, first of all, its real concreteness. Although the main group of three colors yellow, red and blue represents the greatest color contrasthowever, all other pure colors can undoubtedly be presented in a series of strong color contrasts (Fig. 6).
It is a system widely used in plastics, household, weaving, etc. Primary pigment colors are yellow, blue and red. A mixture of three colors produces gray through subtractive synthesis. This system has no other equivalent system, so it is impossible to make an exact conversion to any other system, at most one approximation.
It is a system used by printers, graphics, graphics, etc. Primary colors are magenta, cyan, and yellow. And a mixture of three colors produces gray through subtractive synthesis. The addition of black is due to the fact that although a mixture of cyan, magenta and yellow flowers creates gray very close to black, it is still not feasible in materials of materials and unsatisfactory in terms of quality at the finish. All other colors that exist are a mixture of primary colors. When we combine the two primary colors we get a secondary color, and when we combine the secondary color with the primary color we get a tertiary color.
When the brightness of the color changes, the color contrast acquires many completely new expressive qualities (Fig. 7).
The number of variations here is very large and, in accordance with this, the number of their expressive possibilities is equally infinite. The inclusion of white and black in the palette depends on the theme and individual preferences of the artist. As shown in the figures related to the section "Color and color effects", white weakens the brightness of adjacent colors and makes them darker, black, on the contrary, increases their brightness and makes them lighter. Therefore, black and white are important elements of color compositions (Fig. 5).
Colors have three properties: hue, saturation, and brightness. This is the result of our perception of reflected light. Also known as chromaticity, it refers to the purity of a color. It is determined by the amount of ash that the color contains. Then the color saturation is adjusted by adding the amount of ash, so the purer the color, the more saturated it is.
One color can be brighter than another, for example, yellow is brighter than blue. And also the color can have a change in its own brightness by adding white or black. In fact, this question is more subjective and has much more to do with the experience and perception of those who see them. However, we can define them between hot and cold.
A play of free color spots could be used to perform these exercises. However, this method of work can lead to dangerous consequences. Students will immediately begin to get carried away with shapes, instead of studying the actual strength of color spots and their tension, and paint with spots. However, in this case, such a colored drawing becomes the enemy of all pictorial creativity. To avoid this, we mostly use simple stripes or checkerboard grid.
These are colors dominated by red and yellow. They are called warm because they create a feeling of warmth, closeness and are associated with the sun, fire, etc. These are colors dominated by blue and green colors... They are associated with ice, water and create a calm, cool and serene experience.
The temperature problem is also relative and depends on the combination made. For example: if yellow is applied in red, its temperature decreases, because red is more intense, but if it is combined with blue, it becomes warmer. To get a pleasing, effective look, you need to match colors well. There is no dogma about this, it all depends on the goal that you intend to achieve. But there are effective combinations that can help you do right choice.
In the exercise shown in Figure 8, where yellow, red, blue, white and black are given in a checkerboard pattern, the student is asked to arrange these colors in two directions in order to develop a sense of color intensity of spots.
The composition of Figure 9 consists of local colors with the highest luminosity, as well as their lightened and darkened gradations and included here white and black.
The secondary color of the primary is the sum of two other primaries in equal proportions, that is, the secondary color. These are combinations that have more contrast: red and green, blue and orange, yellow and purple. To find them in the chromatic circle, just check that the color is in the opposite position of the selected color.
Split colors. This harmony is a complementary change. It uses one base color and two adjacent colors as complements. This harmony has enough contrast, but it is more "gentle" than a direct addition. It is a combination with three consecutive colors in a color wheel. It usually consists of a base color and an adjacent color. Since the colors have the same base, this is a composition with little contrast.
Once the system of color combinations shown in Figure 6 has been mastered, you can quickly match the colors for the exercises in Figure 10.
Very interesting results are obtained if one of the colors is given the main role, and the rest are used in small quantities - only in order to emphasize the qualities of the main color. By emphasizing one color, we enhance the overall expressiveness of the work. After each geometric exercise, it is recommended to give tasks for performing free compositions in accordance with the nature of this contrast.
Within the limits of color contrast, many pictorial themes can be solved. This contrast gives a feeling of a special variegatedness of life generated by elemental force. Unshadowed colors of the first and second order always evoke in us the feeling of primordial cosmic-luminiferous forces and life-affirming materiality. Therefore, they are especially good both for the theme of "The Coronation of Mary" and for a realistic still life.
Folk art of different countries is based on color contrasts... The colorful embroidery, costumes and ceramics testify to the natural joy that bright colors evoke. In early medieval manuscripts decorated with miniatures, color contrasts are used in a variety of ways, and to a lesser extent in motives of the spiritual order, and more in order to create a joyful decorative variegation.
Color contrasts can often be found in stained-glass windows, especially early ones, where their elemental force prevails over the plastic forms of architecture. Stefan Lochner, Fra Angelico, Botticelli and other artists built their paintings using primarily the principle of color contrast.
Analogs plus additional. Uses a combination of three adjacent colors plus one complement. Adding another color gives more contrast to the combination, breaking the rhythm of similar colors. This harmony consists in choosing two analog colors and passing the third color to the right or left, adding the next color. It has more contrast than its simple counterpart.
This harmony lies in the choice of three colors interspersed in chromatic circles. This is a good contrasting scheme, but sometimes difficult to deal with. It consists in using three colors with the same distance in the chromatic circle. This is a combination that has high contrast with rich color.
Perhaps the most remarkable example of the manifestation of the semantic beginning of these contrasting relationships is the work Grunewald "The Resurrection of Christ"because here they convey the feeling of a kind of all-encompassing universal expressiveness.
In the picture Botticelli "Entombment" the color contrasts on which the painting is built give the artist the opportunity to show the captivating grandeur of the scene. Its general color scheme symbolizes the cosmically significant moment of this world event.
It should be recognized that the expressive possibilities of each individual color contrast can be manifested in a variety of ways. With their help, one can express wild joy, deep sorrow, earthly primacy and cosmic universality. A number of contemporary artists such as Matisse, Mondrian, Picasso, Kandinsky, Léger and Miro often worked using contrasts of color relations. Especially Matisse, who painted many still lifes and figural compositions, using the variegation and strength of this contrast. A good example of this is the female portrait "Amber Necklace", painted by him in pure colors - red, yellow, green, blue, red-violet, white and black. These combinations served him as an expressive characteristic of a young, lively and intelligent creature. The artists of the "Blue Rider" group - Kandinsky, Franz Marc and August Macke in the early periods of their work worked almost exclusively on color contrasts. From a huge number of possible examples I have selected the following works: "The Church in Ephesus" in the Apocalypse of Saint Sever, XI century, Paris, National Library; "The Coronation of Mary" by E. Sharonton, XV century, Villeneuve-les-Avignon;
"Walk on a May Day" from "The Richest Book of Hours of the Duke of Berry" Fields of Limburg, 1410, Chantilly, Condé Museum;
"Composition 1928" by Piet Mondrian, Collection of Mart Stam.
Additional reading about contrasts in N.N. Volkova "
