Color combinations or color combinations are the territory of style and color. A play of contrasts. How to combine contrasting colors

Hi. In his book The Art of Color, Itten Johannes described 7 color contrasts:

1. Contrast color comparisons
2. Contrast of light and dark
3. Contrast of cold and warm
4. Contrast complementary colors
5. Simultaneous contrast
6. Color saturation contrast
7. Contrast of color spread.

Here we will focus on the fourth contrast. The following is a synopsis from the book The Art of Color.

We call two colors complementary if their pigments, when mixed, give a neutral gray-black color. The two complementary colors form an odd pair. They are opposite to each other, but they need each other. Located next to each other, they excite each other to maximum brightness and cancel each other when mixed, forming a gray-black tone, like fire and water. Each color has only one single color, which is complementary to it. V color wheel complementary colors are located diametrically to one another. They form the following pairs of complementary colors:

• yellow - purple
• yellow-orange - blue-violet
• orange - blue
• red-orange - blue-green
• Red Green
• red-violet - yellow-green.

If we analyze these pairs of complementary colors, we find that all three primary colors are always present in them: yellow, red and blue:

• yellow - purple = yellow, red + blue;
• blue - orange - blue, yellow + red;
• red - green = red, yellow + blue.

Just as a mixture of yellow, red and blue produces gray, so a mixture of two complementary colors also turns into a variant of gray. You can also recall the experience from the section "Physics of Color", when, when one of the colors of the spectrum was excluded, all the other colors, being mixed, gave its additional color. For each of the colors of the spectrum, the sum of all the others forms its complementary color. Physiologically, it has been proved that both the afterimage phenomenon and the simultaneous contrast illustrate the amazing and still unexplained fact that when we perceive a color, we simultaneously see another color that balances it out, which, in the case of its real absence, is spontaneously generated in our consciousness. This phenomenon is very important for everyone practically working with color. In the section "color harmony" it was established that the law of complementary colors is the basis for the harmony of the composition, because when it is observed, a feeling of complete balance is created in the eyes.

Complementary colors, in their proportionally correct ratio, give the piece a statically strong basis of impact. Moreover, each color remains unchanged in its intensity. The impressions produced by complementary colors are identical to the essence of the color itself. This statistical power of complementary colors is especially important for wall painting. However, in addition to this, each pair of complementary colors has other features.

So, a pair of yellow-violet represents not only a contrast of complementary colors, but also a strong contrast of light and dark. Red-orange - blue-green is also not only a pair of complementary colors, but at the same time an extremely strong contrast of cold and warm.

Red and green complementary to it are equally light and have the same color brightness.

In order to more clearly assimilate the elementary essence of the contrast of complementary colors, here are some of the following exercises.

Figures 23 ... 28 show three pairs of complementary colors and their mixtures, allowing to obtain a gray tone. The color gradation of the stripes formed by mixing each pair of complementary colors is determined by the gradual increase in the amount of color added to the main one. At the same time, in the center of each of these rows, that neutral gray appears, which indicates that this pair of colors is complementary. If this gray does not work, then the selected colors are not complementary.

Figure 29 shows a composition of red and green and the various modulations that occur when they are mixed. Figure 30 is made up of squares formed by mixing two pairs of complementary colors: orange and blue and red-orange and blue-green.

In many paintings, built on contrasts of complementary colors, these colors are used not only in their own contrasting qualities, but also form the basis of mixtures, which, on the contrary, serve as a means of tonal alignment of works.
Nature quite often shows us this color mixing. It can be seen on the stems and leaves of red rose bushes while the buds have not yet blossomed. The red of future roses is mixed here with green stems and leaves, resulting in beautiful red-gray and green-gray shades.
With two complementary colors, especially beautiful grays can be obtained. The old masters achieved such a colored gray tone, for example, due to the fact that the opposite color was applied to the main color with stripes or covered the first color layer with the thinnest layer of an additional color to it.

Pointillists achieved a color gray tone in a different way. They applied pure colors in tiny dots next to each other, and the appearance of the actual gray tone occurred already in the eyes of the viewer.

Examples of using the contrast of complementary colors are the following pictures:


"Madonna of Chancellor Rolen" by Jan van Eyck (1390-1441), Paris, Louvre;

work by Paul Cézanne "Mount Saint-Victor", Philadelphia, Museum of Art.

And finally, a video about optical illusions.

Coloristics is a fascinating science that studies colors, their combinations and effects on humans. It would seem, what kind of science is it - to consider colors? However, a lot of attention is paid to the study of color in various fields: in interior design, web design, photography, clothing design, hairdressing, floristry, advertising, marketing, and even psychology.

What color studies

Studying the nature of color is not as easy as it might seem at first glance. Coloring connoisseurs can spend hours talking about basic, complementary, and composite colors. A lot will be said about characteristics, about contrasts, color harmony, color, color language, about spectra. This list can be continued endlessly.

Coloristics is a very important science, since the right choice is not only pleasing to the human eye, but also has a powerful effect on physiological processes and on the psychological state of a person. Skillfully combining colors, you can evoke the necessary associations, emotions, and form a certain image.

Colors. Human exposure

Employees of advertising agencies skillfully use such a color function as the formation of a certain image. With the help of psychologists, it was revealed that the advantage of certain colors in advertising can cause a certain feeling in a person.

• So, for example, red is identified with strong emotions, decisiveness, and danger. This color awakens desire.
• Green is both relaxing and invigorating. It symbolizes purity, freshness, nature, as well as a new beginning.
• Orange is the color of optimists.
• Blue is the color of stability, calmness, minimalism.
• Black is associated with luxury and elegance. No wonder many luxury goods, such as cars, watches or elite alcohol, are advertised in dark colors.

Types of color combinations

At the moment, coloristics has 10 types of color combinations:

• Basic.
• Difficult.
• Composite.
• Achromatic.
• Monochromatic.
• Neutral.
• Additional.
• Related.
• Contrasting.

One of the most common ways to combine colors is through contrasts. Even if you don't know what it is contrasting colors, you have definitely come across this phenomenon in your life. Have you noticed how harmoniously red ribbons and toys look on a Christmas tree? This is because red and green are contrasting colors. So what are contrasting colors?

Itten's color wheel

Professionals use special reference materials to help them determine the right color combination. There are hundreds of color combination tables, and each has its own advantages. But most often, creative people use Itten.

Johannes Itten is a true color expert. He devoted his entire life to the study of color. Itten gave this knowledge to the world in the form of a manual entitled "The Art of Color", which is the "bible" for artists, designers and everyone whose activity is related to colors and design.

The color wheel contains 12 shades of the three basic blue and yellow. Contrasting colors are those that are sharply opposite to each other and are on opposite sides of the circle.

If we turn to the image of Itten's circle, we immediately see that yellow is a contrasting pair with purple, blue with orange, and a contrasting color with red is green.

The right combination

Contrasting color combinations are often called complementary. What are these combinations used for?

This combination is often used in painting when it is necessary to highlight or emphasize some object of the painting. If you look around, you will notice that nature is full of contrasts: a scarlet flaming fly agaric against the background of emerald greenery beckons with its colors; bright yellow sun blazing in the blue sky; blue waves caressing the golden sandy shore.

Interior designers have long recognized that it is the complimentary one that will help you choose a harmonious color pair, but it is necessary to remember a few points that will help "squeeze the maximum" out of the range of shades:

• Contrast colors should not be in equal proportions - this will lead to imbalance. The best option is to use one color as the main one and complement it with accents of a paired shade.
• Another way to combine contrasting pairs is to use different shades of two colors. This will balance the color gamut.
• To dim the brightness complimentary colors, "dilute" them with white or cream. For example, if a set of and blue blouse looks too defiant, you can soften the look with white accessories.
• Professionals recommend using the main and complementary colors in certain proportions. For example, for a pair of red-green this proportion will be 1: 1, orange-blue - 1: 2, yellow-violet - 1: 3.

These rules will be useful if you use pure spectral colors. You can see them in the picture below.

How to use contrasting colors

If you're worried about using contrasts incorrectly, remember that muted colors are easier to use because they tend to "interrupt" each other less.

The main rule of combination contrasting colors: The more intense the color tone, the smaller the surface area on which it is used.

By following these rules, you can create the most harmonious image, be it clothing, bouquet, interior design or website. Otherwise, disharmony, negative perception will appear.

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:

Consider 10 types 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.
There are no pure achromatic colors in nature, always black / grey colour will have some kind of color undertone.
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.

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 lot of shades.

Composite

Composite colors are the colors obtained from mixing the main ones: 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:

Let's take a closer look at the arrangement of colors on the FULL color wheel:

Contrasting

Two colors located on the color wheel through the 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:

Entirely.

Seven types of 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. So, 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, color impressions can be enhanced or diminished with other contrasting 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 peculiar and unique of its kind that thanks to them we can discover all the main artistic possibilities of color.

Goethe, Bezold, Chevreul and Hölzel pointed out the meaning of various color contrasts. Chevreul devoted a great deal of work to "simultaneous contrasts". However, up to the present time, there is 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 :

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).

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 our chosen 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. In this case, each color shows, first of all, its real concreteness. Though the main group of three colors yellow, red and blue represents the greatest color contrast however, all other pure colors can undoubtedly be presented in a series of strong color contrasts (Fig. 6).

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 just as 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 color compositions (fig. 5).

A play of free color spots could be used to perform these exercises. However, this method of operation 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 usually use simple stripes or a grid. chess board.

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.

Once you have mastered the system of color combinations shown in Figure 6, you can quickly match the colors for the exercises in Figure 10.

Very interesting results are obtained if one of the colors is assigned the main role, and the rest are used in small quantities - only to emphasize the qualities of the main color. By emphasizing a single 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 variegation of life generated by elemental force. Unshadowed colors of the first and second order always evoke in us a 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... Colorful embroidery, costumes and ceramics testify to the natural joy that bright colors evoke. In early medieval manuscripts decorated with miniatures, contrasts in color are used in the most different options, and to a lesser extent in the motives of the spiritual order, and to a greater extent - 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.

Perhaps the most remarkable example of the manifestation of the semantic beginning of these contrasting relationships is the work Grunewald "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 common color solution symbolizes a 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, Leger and Miró often worked using contrasts of color relations. Especially Matisse, who painted many still lifes and figural compositions, using the variegation and power of this contrast. A good example here can serve as a 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 creativity worked almost exclusively on color contrasts. From a huge number of possible examples I have selected the following works: "The Church at 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, Museum of Condé;

"Composition 1928" by Piet Mondrian, Collection of Mart Stam.

Additional reading about contrasts in N.N. Volkova "

Was devoted to contrast in clothing, Itten's color wheel, and types of contrast. In this post, we continue to talk about the types of contrast.

Let me remind you that Itten proposed a model of a twelve-part color wheel and described seven types of color contrasts.

The first two (the contrast of color comparisons and the contrast of light and dark) were discussed in the previous part of the article. Now I propose to get acquainted with the other 5 types of contrast.

Contrast of cold and warm

The contrast of cold and warm, or, as it is also called, temperature contrast is obtained by combining warm and cold shades. It can be warm and cold shades of the same color, or different colors... If you look at the twelve-part color wheel, you can see that at right angles to the axis of yellow and purple flowers(the most contrasting in terms of lightness) are red-orange and blue-green colors.

Red-orange is the warmest color and blue-green is the coldest. These colors are two poles of contrast between cold and warm. The colors that are located on the color wheel between them can be either cold or warm, depending on which colors they contrast with.

In the picture above, we can see how the same purple-burgundy color combined with cold tones (top row) appears warmer, and in combination with warm tones (bottom row) has a cool tint.

Temperature contrast is extremely difficult to handle and is therefore not commonly used in clothing. The need to combine both warm and cold shades in one ensemble at the same time may arise if you want to use a color that you really like, but does not suit your appearance in terms of the temperature of the colors. In this case, it is recommended to combine this color with one that suits you in terms of paint temperature. It is easier, of course, to use ready-made designer prints to create a contrast between warm and cold.

Contrast complementary colors

The contrast of complementary colors is the contrast of colors that are directly opposite each other in the twelve-part color wheel. It is yellow with purple, yellow-orange with blue-violet, orange with blue, red-orange with blue-green, red with green, red-violet with yellow-green. Notice that in all of the third-order color pairs listed, there are three first-order colors: yellow, red, and blue. For example, a pair of yellow and violet is decomposed into yellow and red with blue (purple consists of these colors). Or, for example, blue with orange, it is blue with yellow and red (since these colors consist Orange color). And red with green is red with blue and yellow (it is these colors that green is decomposed into). If we mix yellow, red and blue, we get gray. Therefore, mixing any two additional

shade, we also get gray.

Above, you see six pairs of third-order colors, which when mixed together produce a shade of gray (a square in the middle of each row). You can check if the colors are complementary by mixing them. If the gray color does not come out in the end, then the colors are not complementary.

In clothes, complementary colors emphasize and reinforce each other, especially if their shades in the color wheel are close to their originals. The dramatic contrast created by the complementary colors will suit bright girls with high contrast looks. Complementary colors are often used in clothing for summer holidays, they are associated with the sea, the beach, and look beautiful on tanned skin. You can also use complementary colors in your regular everyday casual by choosing them for shoes or accessories.

Simultaneous contrast

Simultaneous contrast, as such, does not exist in nature. It cannot be conveyed through a photo or image. This is a phenomenon, the essence of which is that when we perceive a certain color in combination with another, our brain and vision generate a different shade of this color. To understand what simultaneous contrast is, the following experiment can be carried out. It is necessary to place a small black square on a brightly colored plane, and on top of it put a sheet of thin transparent paper. If the plane is colored green, the square will visually appear reddish, if the plane is red, the square will appear greenish, on the violet plane it looks yellowish, etc. That is, the eye generates a non-existent complementary color.

Another simple example of simultaneous contrast is shown in the image below.

The square on the purple background and the lower square on the right have the same color - neutral gray. Simultaneous contrast gives the upper square a yellow-green hue, it becomes similar to the lower left square.

Experiments with simultaneous contrast have shown that color pairs that are not complementary to each other visually take on shades close to complementary. For example, the complementary color for violet is yellow, and simultaneous contrast will give us a hue shifted to the left or right of yellow, that is, orange-yellow, or yellow-green.

In clothes, simultaneous contrast allows you to emphasize the natural colors of the exterior. For example, a purple-lilac shade of a beret will make swampy green eyes look emerald. But there are also negative consequences of simultaneous contrast. For example, shades of red in clothing or accessories that are in close proximity to blonde hair can give it a greenish tint.

Color saturation contrast

Saturation contrast, or, as it is also called, saturation contrast, demonstrates the difference between pure, bright, saturated and paler, darker or lighter colors. There are four ways to darken or lighten a color:

1) mixing pure color with white;

2) mixing pure color with black;

3) mixing pure color with gray;

4) mixing a pure color with a complementary color for it.

The figure above shows examples of saturation contrast. We see four squares, each of which is drawn into twenty-five more squares. A solid color is placed in the center of each of the large squares. In the corners, gray squares of the same brightness are located. By mixing gray with pure, we will gradually get four diluted tones. To determine the saturation contrast of these tones, it is necessary to remove the contrast of light and dark so that the brightness of all squares is the same. If instead of a gray square in each corner of the large squares we place a color complementary to the color of the central square, we get brighter tones.

However, the definition of color saturation is very relative. Any color located with more pale color, will seem bright, saturated. If the same color is combined with even more bright color, against its background it will seem paler.

In clothing, contrast in saturation is used to create a sophisticated palette of soft colors. Using this contrast, you can emphasize the face with a bright scarf, for example, leaving the rest of the ensemble in soft, muted tones.

Contrast color spread

The contrast of color spread, or, as it is also called, the contrast of areas, demonstrates the dimensional ratios of two or more color planes. You can determine which color is stronger based on its brightness and size. This can be done by eye, or using the Goethe method. Goethe displayed the spatial relationships between colors in numbers, and found that two colors balance each other if they are taken in this proportion:

yellow / purple = 1/4: 3/4

orange / blue = 1/3: 2/3

red / green = 1/2: 1/2, etc.

But, for example, if you do not need to balance the colors, but, on the contrary, to highlight to a greater extent any one of them, then you can violate the proportions proposed by Goethe by increasing or decreasing the area of ​​the desired color. The smaller the area of ​​the color plane, the more attention it attracts to itself.

In clothing, the contrast of color distribution plays a special role. By changing the ratio of color areas, you can achieve a sense of balance in clothes, or, on the contrary, emphasize a certain detail with a strong contrast. Since the contrast of color areas draws attention to a smaller object and distracts from a larger one, it is used most often in prints, embroidery, appliqué, and decorative cut details. Also, this contrast is applied in relation to accessories (hats, jewelry, belts). For example, a dark belt on a light coat focuses on a thin waist, and a bright scarf around the neck, on the contrary, will divert attention from the problematic waist.