What is color unity, the relationship of colors, harmony and the influence of the color environment on objects? Before answering this, I would like to ask the reader this question: what do you think, which of the painting options above is correct? I specifically wrote one of the sketches with an error so that it would serve as an illustration of how not to do it. There is no relationship between green and light brown in this image. They are written separately from each other and look different. Two versions of a still life with a ceramic mug show well why the relationship of colors is important. Well, now let's look at everything in order.
Color unity and the relationship of colors in painting
To better understand what color unity is in painting, imagine a still life illuminated by a red lamp. All the multi-colored objects of this still life, say, green, yellow, blue, will acquire a red tint. In real life, this happens when the orange light of sunset turns the green of the forest orange. Or the cold light of the blue sky in the window illuminates the interior of the room. That is, light affects the individual colors of individual objects. He brings them together. It's like looking through colored glass. Of course, in life this does not manifest itself as powerfully as in this example, but the principle is just that. Moreover, in addition to the unifying color, the following pattern will also appear: if the light has a warm tint, then the shadows will be colder than the light; if the light is cold, then the shadows will tend to warm shades. Such a color contrast of light and shadow brings a play of warm and cold colors into the painting. The dynamics of warm and cold enliven the painting. But at the same time, one must not forget about the unifying color of the lighting.
In addition to the light source, the color of individual objects will also be affected by reflected light. If we return to our still life with a ceramic mug, then brown will be reflected in the green drapery, and green will be reflected in the brown mug. Such a reflection of neighboring colors is called a reflex in painting.
The above examples show how the color of individual objects is affected. Therefore, in whatever colors objects are painted, in painting all colors must be subordinate to each other. Such subordination and consistency gives rise to color unity. Without it, the painting will be fragmented. She will lose harmony and become "decorated".
Moreover, even if in the depicted plot the objects are illuminated with “pure” white light, and the reflexes are almost imperceptible, then the relationship of colors still needs to be “invented”. That is, the artist needs to “fantasize” and bring reflections into painting from himself, relying on the above principle, and not only on nature. After all, the subordination of colors is dictated not only by nature or physics. This is a prerequisite for creating a harmonious and integral painting.
Color unity is very important, without it it is impossible to achieve color integrity. This is similar to how the parts of a complex mechanism must fit together. It cannot be assembled from randomly found parts. Such a mechanism will not work. All individual nodes and elements must function smoothly as a whole. Also, colors in painting should be subordinated.
But color unity does not mean that you always need to mix some color into all other colors. This does not mean that we should always write as if we were looking into stained glass. In painting, you can also meet a sharp, pure color, without mixing. However, it must be balanced by appropriate colors in other parts of the composition. Then it will look harmonious, and the painting will become both uniform in color and contrasting. In addition, sometimes in the work it is necessary to introduce an accent with the help of pure and saturated colors, without balancing. And it happens that somewhere the artist introduces reflexes, and somewhere leaves the color pure. In general, everything is not so simple. However, with all this, the relationship between the local color and the environment must be preserved.
This can also be compared with the figurative "immersion" of an object in a color environment. That is, the colors surrounding an object will affect its color, which is called the local color. Therefore, it is impossible to write objects separately from the environment or color environment. This is due not only to reflexes and reflection of light. This is also due to the need to harmoniously combine colors. Therefore, the artist should not work like a camera, he should not simply copy nature. The artist slightly transforms the image, takes into account the above principles, and is also based on a sense of color. But what does it mean to harmoniously combine colors? To answer this question, let's look at key color harmonies.
Color harmonies in painting
In addition to color unity based on reflections and uniform lighting, which I described above, it is worth mentioning the subordination of colors based on color harmonies. That is, on such combinations of colors that give rise to consonance and color consistency. But what are they? Let's take a closer look at the following types of color harmonies:
- harmony of related colors;
- harmony of contrasting colors;
- harmony of related-contrasting colors;
- harmony based on color repetition.
Harmony related colors
Related colors are colors that have one color in common. For example, orange and yellow are related because orange has yellow in it. Green and blue-green, red and purple are all related colors. They look alike, that's why they're called that. If colors from the related category are nearby, then they will always be in harmony with each other. These combinations can be called "win-win". However, such color relationships are most often “calm”, “soft”. Therefore, it may be necessary to add “a little pepper to this dish”, that is, contrasting colors. But this is another kind of harmony.
Harmony of contrasting colors
Contrasting colors are the following three pairs: red and green, blue and orange, purple and yellow. These colors reinforce each other. They contrast and create harmony. Harmony based on contrasting colors. Therefore, in some cases it is possible to use them in their pure form and at the same time they will form consonance and unity. They will be subordinated as complementary colors and blend well. However, caution must be exercised here. Success depends, so to speak, on the context. The quantitative ratio of colors plays an important role. That is, how much area is occupied by one color and how much by another. The environment also matters a lot. After all, painting rarely consists of two colors.
Harmony of related-contrasting colors
As the name implies, this harmony contains both related colors and contrasting ones. Therefore, this combination is probably the most difficult, but also the most interesting. Matching one contrasting color to another contrasting color is not a problem, as well as related to related. But, combining both groups is not so easy. Let's look at an example to help you understand this. Let's take yellow and purple as the central contrast pair. And let's introduce blue around. To make the impossible and bring blue and yellow together, we mix them. As a result, they will not become related, but a new color is formed - blue-green. And he will just become related to both of them and act as an intermediate link. As for blue and violet, they are initially related. As a result, we will get the following colors: yellow, purple, blue, blue-green, yellow-green.
Harmony based on color repetition
Very often, color unity is based on a simple repetition of color. When women choose an outfit for themselves, they are often guided by just such a repetition: a red handbag or a red scarf is selected for a red hat ... In painting, such a repetition of color also gives rise to harmony and coloristic integrity. This is especially true when the color of the picture consists of completely different, “foreign” colors. This technique is realized in painting in two ways. Consider them on the example of a still life with an orange.
The first way: the repetition of color in its purest form in different parts compositions
Orange orange stands out too much against the blue drapery. To form the relationship of these opposite colors, we introduce orange into blue. For example, in the form of an ornament on this blue drapery. The ornament is simple - it's just stripes of yellow and orange. They seem to “invade” or “weave” into a large mass of blue and dilute it with warm colors. This repetition of orange in a blue environment creates their relationship and harmony.
You can also write in a manner similar to impressionism. That is, we introduce orange into blue in the form of strokes of paint, like a mosaic. The Impressionists loved to compose the desired shade from pure colors. They placed strokes of paint of different colors side by side, as a result of which they combined and mixed in the eyes of the viewer. This is called optical color mixing. Similar way will also help to combine our orange with blue.
But what if we don't write like the Impressionists? If the plot does not imply any ornaments in drapery? If we need a solid uniform background? In this case, you can use the addition of orange to blue by literally mixing them mechanically.
The second way: adding color to neighboring areas by mixing it with other colors
The easiest way to achieve unity in objects painted in opposite colors is to add one color to another so that they mix and form a “something in between”. The main thing is to avoid dirt in such mixtures. In our case, I mix a drop of yellow and orange into blue. We get blue with a warm tint. That is, the blue color will not be in its pure form, but in mixtures with warm colors. We do the same with orange orange. Adding to Orange color a little bit of blue or cyan, we get orange with a cold tint. Thus, orange and blue “merge” into each other, which creates color unity and coloristic integrity. And this does not mean that all blue fabric should be with a warm tint. You can leave its fragment in a pure blue-blue color. This will create an appropriate contrast between the drapery and the orange. But in some fragments of this fabric we will add yellow and orange, and then the blue in these places will become warmer. Then these areas will become "support" for the orange.
In the illustration, I posted a study with the introduction of yellow into blue and blue into orange, as well as a study without such mixing, where the background and orange are written in pure colors. As you can see, the difference is not big. But she is. In the first version, the yellow-blue mixture of colors is barely perceptible. However, this is enough to link the background color and the orange color.
In the second version, as I said, the orange with the background are written in pure yellow-orange and pure blue. However, the painting did not collapse, but remained intact. Why? As you may have noticed from the previous paragraphs, this pair of colors forms a contrasting harmony. That is, these colors, although contrasting, are harmonious at the same time. Therefore, the second etude does not look ornamented and fractional. And this means that such an option is also acceptable. However, it borders on embellishment, and if other combinations and a different composition were chosen here, then there could be no question of any harmony.
Color or color scheme
Speaking about the relationship of colors in painting, one cannot but say about color. There are two opinions about the meaning of this word. In the first case, coloring means a system of color combinations in painting, built on consonance. In the second case, color is understood as the overall color of the picture, or the totality of the prevailing colors. Therefore, one can often hear how some work is said to be done in warm colors, or, conversely, in cold colors. There is also a warm-cold color, etc.
Once I came across the formulation that color is an orchestra of colors. I like this definition the most. It emphasizes the importance of color consonance, color unity and subordination of colors. By the way, one of the meanings of the word “harmony” is unity in diversity. Thus, we see that colors in painting should not "live" separately from each other, but should create a single whole.
In view of the importance of this topic, let's summarize and repeat key points, which will help novice artists to work on the color of their works. We have considered coloristic integrity and unity based on unifying color added to the rest of the colors in the picture. We also discussed the relationship of colors in the form reflexes (reflections) from neighboring items. In addition, we thought about the subordination of colors based on key color harmonies . In addition, we saw how harmony and unity can be achieved through color repetition . All this is the foundation of painting. But in addition to these principles and logic, the artist must also be guided by a sense of color. This feeling is somewhere innate, and somewhere developed over years of practice. Without it, there is no way in painting. Therefore, it can be called ideal when feelings and reason are inseparable and guide the artist in the process of creating beauty.
We begin a cycle of lectures on the harmony of color, without which it is impossible to achieve the unity of the color of a person and the color of clothing. Before presenting the material, I’ll immediately add on my own behalf that our task, as researchers and practitioners of the color type, is complicated by the fact that we need to know the laws of harmony in general, see the harmony of a person’s color and be able to reduce the color of a coat of arms, if I may say so about it, and the color of a person into a single, coloristically and stylistically harmonious whole.
Many will object that harmony is subjective. However, the laws of color harmony have been known since antiquity, they exist as objective reality within the subjective human perception, are well studied and tested in practice. And even if we mentally disagree with some particular case of harmony, our eyes will still demand a balance of power.
I will try to quote in these chapters as much as possible useful material, not skimping on volume, because it is very important, and it is better to assimilate the postulates of harmony slowly but surely. We will figure it out together, including myself, relying on the works of authoritative experts.
Today I'll start with a large amount of lyrics for the seed, there will be few pictures today, read the text carefully.
Below I quote the work of Valentin Zheleznyakov, already mentioned in the previous chapters on contrast, "Color and Contrast"
In the era of Greco-Roman antiquity, color became the subject of attention and reflection of philosophers, but the views of florist philosophers can be called artistic rather than scientific, because aesthetic and even ethical prerequisites were at the heart of their worldview. Ancient philosophers considered it necessary to classify colors - to single out the main and derivatives, but they approached this mainly from mythological positions. In their opinion, the main colors should correspond to the main elements (air, fire, earth and water - white, red, black and yellow). Nevertheless, Aristotle was already aware of the phenomenon of color induction, simultaneous and sequential color contrast, and many other phenomena, which later formed the basis of physiological optics. But the most important thing is the doctrine of color harmony.
Antique color aesthetics became the same foundation for all European art of the Renaissance, as ancient philosophy for the science of the Enlightenment. Harmony was considered a universal principle of the universe and was applied to a wide variety of phenomena: to the structure of the Cosmos, to the social structure, to architecture, to the relationship of colors and numbers, to music, to the human soul, and so on. In the very general view harmony meant the principle of a higher, “divine” order, instituted not by man, but by higher forces, but, despite this, such an order should be completely accessible to human understanding, since it is based on reason. This, by the way, is the difference between the Western concept of harmony and the Eastern one, in which there are always elements of mysticism and unknowability.
Here are some provisions of ancient harmony in relation to color:
1. Communication, combination individual elements systems with each other. Harmony is a connecting principle. This is expressed in color. unity of color When all colors are brought together as if by a common bloom, each paint is either whitened (in the background), or blackened, or softened by mixing in another paint. Apelles, according to Pliny, after finishing the picture, covered it with something like a grayish varnish in order to bind all the colors into a harmonious unity.
2. The unity of opposites, when there are certain opposite principles, called contrasts. In monochrome, this is the contrast of light and dark, chromatic and colorless (for example, purple with white, red with black), saturated colors with low-saturated ones. Or are these contrasts in color tone - a comparison of red and green, yellow and blue, etc., i.e. connection of additional, complementary colors.
3. Harmonious can only be related to the measure, and the measure is human sensations and feelings. According to Aristotle, every sensation is a definition of correlations. The brightness and strength of the color should be neither too strong nor too weak. Bright color, sharp contrasts were considered barbarism, worthy of "some Persians" (the original enemies of Hellas). The civilized Greek appreciates beauty more than riches, the subtlety of art pleases him more than the high cost of material.
4. The concept of measure is relative, it means the ratio of the measured quantity to the unit of measurement, therefore it includes such definitions as proportionality, proportion, relationship. Aristotle believed that in "beautiful" colors, the proportions in which the primary colors are taken are not accidental: "Those colors in which the most correct proportion is observed, like sound harmonies, seem to be the most pleasant. These are dark red and purple ... and some others of the same kind, which are few for the reason that musical harmonic consonances are also few.
The whole practice of ancient applied art proceeds from the principle that in color mixedness is more valued than purity.
5. The harmonic system is stable because it is balanced. The Universe is eternal because it is harmoniously arranged, the opposing forces in it cancel each other out mutually, creating a stable balance. If the figures in the picture are dressed in bright cloaks, then these relatively saturated spots occupy no more than one-fifth or one-sixth of the entire picture in area. The rest of the colors are undersaturated. Light to dark is taken in approximately the same ratio. Thanks to this proportional system, an overall balance of the color composition is achieved: strong, but short pulses of bright and pure colors are balanced by longer, but weak fields of dark and mixed ones.
6. A sign of harmony is its clarity, the evidence of the law of its construction, simplicity and consistency both in general and in parts. The classical color composition does not set difficult tasks for the viewer, juxtapositions of close or opposite colors are preferred in it and are almost never used as a color dominant in the juxtaposition in the middle interval, since they have neither obvious connection nor opposition (more on this will be discussed in the example color wheel).
7. Harmony always reflects the sublime. According to Aristotle, "mimesis" is a reflection of reality in the forms of reality itself, art only imitates nature, but does not reproduce the ugly and ugly - this is not part of the task of art.
8. Harmony is conformity and expediency, as well as order. In this principle, in the most general form, the attitude of ancient aesthetics to the world is expressed: the goal of human cultural activity is to transform the formless and ugly world of chaos into a beautiful and orderly cosmos. Any harmonious color composition is so organized and ordered that it is easily comprehended by the human mind and lends itself to logical interpretation.
From this enumeration of the main features of ancient color harmony, it is clear that many of them have not lost their significance to this day.
The German poet Wolfgang Goethe wrote: “Everything that I have done as a poet does not at all fill me with special pride. Excellent poets lived at the same time as me, even better ones lived before me and, of course, will live after me. But what am I in my age? the only one who knows the truth about the difficult science of colors - I cannot but attach importance to this, it gives me the consciousness of superiority over many.
Goethe fundamentally, ideologically diverged from the position of Newton and believed that he must fight against his "delusions". He was looking for the principle of color harmonization not in physical laws, but in the laws of color vision, and we must give him his due, he was right in many ways; No wonder he is considered the founder of physiological optics and the science of psychological impact colors.
Goethe worked on his "Teaching about Color" from 1790 to 1810, i.e. twenty years, and the main value of this work lies in the formulation of subtle psychological states associated with the perception of contrasting color combinations. Goethe describes in his book the phenomena of color induction - luminance, chromatic, simultaneous and successive - and proves that the colors that appear in successive or simultaneous contrast are not accidental. All these colors seem to be embedded in our organ of vision. The contrasting color arises as the opposite of the inducing one, i.e. to the imposed eye, just as inhalation alternates with exhalation, and any contraction entails expansion. This manifests the universal law of the integrity of psychological being, the unity of opposites and unity in diversity.
Each pair of contrasting colors already contains the entire color wheel, since their sum is White color- can be decomposed into all conceivable colors and, as it were, contains them in potency. From this follows the most important law of the activity of the organ of vision - the law necessary shift impressions. "When the eye is offered the dark, it demands the light; it demands the dark when the light is presented to it, and it manifests its vitality, its right to grasp the object by giving rise to something opposite to the object."
Goethe's experiments with colored shadows showed that diametrically opposite (complementary) colors are precisely those that mutually evoke each other in the mind of the viewer. Yellow calls for blue-violet, orange calls for cyan, and magenta calls for green, and vice versa. Goethe also built a color wheel (Fig. 13), but the sequence of colors in it is not a closed spectrum, like Newton's, but a round dance of three pairs of colors. And these pairs are additional, i.e. half generated by the human eye and only half independent of man. The most harmonious colors are those that are located opposite, at the ends of the diameters of the color wheel, it is they who evoke each other and together form integrity and completeness, similar to the fullness of the color wheel. Harmony, according to Goethe, is not an objective reality, but a product of human consciousness.
According to Goethe, in addition to harmonic combinations, there are "characteristic" and "characterless". The former include pairs of colors located in the color wheel through one color, and the latter - pairs of adjacent colors. Harmonic color, according to Goethe, occurs when "when all neighboring colors are brought into balance with each other." But harmony, Goethe believes, despite all its perfection, should not be the ultimate goal of the artist, because the harmonious always has "something universal and complete, and in this sense devoid of character." This unusually subtle remark echoes what Arnheim later said about the entropic nature of the image perception process and that images that are harmonized in all respects often lack expressiveness and expression.
Goethe's book contains several very subtle definitions of color. For example, in painting there is a method of shifting all colors to any one color, as if the picture were viewed through colored glass, for example, yellow. Goethe calls such coloring false. "This false tone arose from instinct, from a lack of understanding of what to do, so that instead of integrity, they created uniformity." Such color glazing, which is often considered a sign of good taste in color cinema, does not at all deserve such a respectful attitude, and that there are other, more perfect ways of obtaining color harmony, which, however, require more work and a higher visual culture.
Harmony is a philosophical and aesthetic category, meaning integrity, unity, regular connection of all parts and elements of the form, i.e. this is a high level of orderliness of diversity and the correspondence of parts in the composition of a whole that meets the aesthetic criteria of perfection and beauty.
Color harmony is a combination of individual colors or color sets that form an organic whole and evoke an aesthetic experience.
Color harmony in design is a certain combination of colors, taking into account all their main characteristics, such as
color tone;
Lightness;
saturation;
The dimensions occupied by these colors on the plane, their relative position in space, which leads to color unity and the most favorable aesthetic effect on the person.
Signs of color harmony:
1) Communication and smoothness. The connecting factor can be: monochrome, achromaticity, unifying submixtures or raids (mixture of white, gray, black), shift to any color tone, gamma.
2) Unity of opposites, or contrast. Types of contrast: by brightness (dark-light, black-white, etc.), by saturation (pure and mixed), by color tone (additional or contrasting combinations).
3) Measure. Those. in a composition brought to harmony there is nothing to add and take away.
4) Proportionality, or the ratio of parts (objects or phenomena) to each other and the whole. In gamma, it is a similarity to the ratios of brightness, saturation, and color tones. Consider the ratio of the areas of color spots:
1 part of the light field - 3-4 parts of the dark field;
1 part pure color - 4-5 parts muted;
1 part chromatic - 3-4 parts achromatic.
5) Equilibrium. The colors in the composition should be balanced.
6) Clarity and ease of perception.
7) Beautiful, the pursuit of beauty. Psychologically negative colors, dissonances are unacceptable.
8) Sublime, i.e. perfect color combination.
9) Organization, order and rationality.
Picture for variety and reflection from the same site:
So, today we also mentioned the concept of color, but we will consider colors and scales in more detail later. In the next lecture, we will consider the general provisions of Itten's theory of harmony, and then first briefly, and then in detail for 1 lecture on the type of harmony, we will consider how color harmony relationships are practically solved on the color wheel.
Homework will be of a philosophical nature, I ask you to speak in the comments: what is color harmony for you, on what grounds do you conclude what is harmonious and what is not, and what is beautiful for you and what is not?
Lecture 5. Types of color harmonies. Color color
Target:
theoretical acquaintance with the variety of color harmonies and features of color color for the subsequent implementation of practical work
4.1. Color harmony. Types of color harmony
The problem of color harmony belongs to the most difficult problems of aesthetics, because a person's attitude to color is formed under the influence of many different factors. There is also a scientific theory of color harmony. The term "harmony" as an aesthetic category originated in Ancient Greece. This category is associated with such concepts as connectedness, the unity of opposites, measure and proportionality, scale with a person.
The harmony of colors implies a combination of common and different, taken in certain respects. For a large amount of time, due to changes in trends, styles, the influence of individuals in art, the system of aesthetic categories has been radically rethought, and this comprehension is taking place at the present time. The concept of color harmony is also undergoing qualitative changes.
For artists, designers, whose professional activity is directly related to color, with the need to think through harmonious color combinations, knowledge of the basic principles of creating color harmonies helps to solve the issues of designing a color environment, coloring any thing intended for a person, his color preferences.
Color harmony in design is the consistency of colors among themselves as a result of the found proportionality of the areas of colors, their balance and consonance, based on finding a unique shade of each color. It should evoke certain positive feelings and sensations in a person.
There is a close relationship between the individual color spots of the work: each individual color balances or reveals the other, and two colors taken together affect the third. A change in any one color leads to a violation of this connection and the destruction of harmony. . Regularity is the main sign of harmony. It is assumed that due to harmony, we perceive an ordered combination of colors as an aesthetically positive wholeness. All attempts to formulate the laws of color harmony based on the alternation of balance, similarity, position in the color wheel, etc. follow from this premise. But, nevertheless, it happens that color combinations, built according to all the rules, are evaluated by the viewer as inharmonious. The combination of colors in itself, considered separately, can be both harmonious and inharmonious, but in overall structure work of art it may not be noticed.
The theory of color harmony, in the final analysis, cannot be reduced only to the solution of the question of which color is in harmony with which. General principles color harmony cannot be defined without regard to content, composition, space, form and texture.
Color harmony - a combination of colors that is pleasing to the eye, suggesting a certain consistency between them; proportionality and proportionality.
F. Hodler writes about color: “The effectiveness and significance of colors depend on their intensity, the place they occupy on the canvas, and on their position among others that strengthen or weaken them, depending on their greater or lesser proximity to white and black. The color of objects depends on the color of the lighting. It is known that it is color that often quarrels the artist with the public. For a long time she could not understand that the rosy face in the air blue sky may turn purple; if it is illuminated by the rays of the setting sun, then even orange and bright red. Due to lack of observation, mainly due to lack of experience, these nuances of the artist are incomprehensible to the eye, they seem terrible exaggerations. The beauty of colors lies, first of all, in their chords, in the repetition of nuances of the same color.
The first theories of harmonic color combinations.
1. The theory of Rudolf Adams. In 1865, R. Adams invented a chromatic spectrum, consisting of a circle with 24 sectors, and its 6 degrees of lightness.
2. The theory of Albert Munsell. Munsell saw the basic law of harmonization in the related proximity of colors: “A simple and practically unmistakable series of color harmonies can be obtained within the same color tone. So, we can associate the low lightness of any color tone with increased lightness, or weak saturation with stronger saturation. He identified 3 types of harmonic combinations: monochromatic harmonies based on the same color tone of different lightness; harmonies of related colors of the color wheel (red and orange); harmonies of complementary colors (yellow and purple, orange and blue).
3. Classification of color harmonies by the German physiologist Brücke:
A) isochromia- a composition made in one color spot, tone (for example, on the basis of red);
b) homeochromia– composition within a small color interval (for example, yellow, orange and yellow-orange);
V) merochromia- a composition where colors are subordinate to one main one (for example, orange, purple and violet are subordinate to red);
G) poikilochromia- a method of complete crushing of color masses, a large variety of colors, where there is no main one and all colors are equally significant. Experience is needed to use this harmony.
4. Bezold's theory. Bezold built theories of color harmonies within the intervals of the color wheel. In a 12-step color wheel, colors are four tones apart, i.e. between them there should be an interval of 3 tones.
5. Theory of B. F. Ostwald. Ostwald believed that all colors containing an equal admixture of white and black are harmonious. And of the saturated ones, those that are spaced from each other at an equal number of intervals are harmonious.
6. Classification of color harmonies according to B. M. Teplov:
a) monophonic, built on one main color or a group of closely related colors (yellow, orange-yellow, orange - they contain yellow in different quantities);
b) polar, built on complementary colors (red with green, orange with blue);
c) tricolor, built on the opposition of three primary colors (yellow, red, blue);
d) multicolor, in which, with a wide variety of colors, it is impossible to single out the main one (difficult to use).
7. Theory of V. M. Shugaev based on the research of Munsell and Bezold. It is based on the color wheel, which is based on 4 primary colors 3 - yellow, red, blue, green. The author offers 4 types of color combinations:
a) a combination of related colors (yellow, orange-yellow, orange);
b) a combination of related-contrasting colors (from yellow to purple in the spectrum);
c) a combination of contrasting (mutually complementary) colors (blue - orange, red - green);
a combination of colors that are neutral in relation to kinship and contrast: yellow, blue, red (meaning pure colors without whites and blackouts).
Types of color harmony. The three main characteristics of color - hue, lightness and saturation - can act among themselves in various relationships, forming various harmonious combinations:
1) similarity in color tone, but difference in lightness and saturation (what Mansell wrote about);
2) similarity in lightness, but difference in hue and saturation;
3) similarity in saturation, but difference in hue and lightness;
4) similarity in hue and lightness, but difference in saturation;
5) similarity in lightness and saturation, but difference in color tone;
6) a combination in which colors differ in all three parameters (this is the most difficult case).
From the enumeration of these combinations, often used in design practice, it is clear how arbitrary the standards from the field of color harmony are, taking into account only the color tone.
When talking about color harmony, they evaluate the impressions of the interaction of two or more colors. Despite the apparent subjectivity of such an assessment, the harmony of colors has its own objective patterns.
On the basis of experiments, it was found that the main colors of subtractive mixing: yellow, red and blue represent a common color summation. Moreover, each of these colors cannot be obtained by mixing other colors. Therefore, the color wheel is built precisely on these colors (the main triad) (Fig. 8).
By mixing the primary colors, a secondary triad is obtained (Fig. 9). The circle (Fig. 10) is an image obtained by overlaying the image of the main and secondary triad. If you pad the spaces intermediate colors, we get a 12-step color wheel (Fig. 7) which, in turn, can be increased to a 24-part (Fig. 11).
1. "Monochromatic" or single tone color harmony built on the basis of one color tone; created by combining one color tone with its dark and light shades. As a result, it is possible to achieve, on the one hand, a strong tonal contrast, and on the other, subtle color relationships (Fig. 12).
2. "Opposite" (additional) color harmony, built on the basis of two color tones; created by using any two color tones that are exactly opposite each other on the color wheel (Fig. 13). This technique is usually used to create accents, because. Opposite colors are very contrasting with respect to each other. This allows one color to complement another in such a way that one of them attracts attention and the other is the background.
In the case of introducing into various harmonious color combinations achromatic colors, the contrast obtained by combining them is enhanced. Especially - with the introduction of white or black. combination of red and white flowers, for example, is so tense that it's no wonder how often these colors are used without the use of pastels to tie them together for formal occasions. To be absolutely precise, a harmonious tricolor combination looks like this because of the contrasting red and green colors with achromatic black or white.
The combination of a "double" color (for example, red-orange) and an achromatic is a harmonious three-color combination, where black or white will play the role of a lighting factor. At the same time, black or dark gray color makes the colors glow, and white color seems to illuminate the composition. This combination is quite common. The play of colors becomes richer, and, consciously executed, the color composition is more pronounced. Of course, it is not so easy to practical application, since when creating a harmonious combination, it is necessary to find suitable color nuances.
Tricolor harmony - "triad" created by using three colors that lie at equal distances from each other in a circle. It also shows distinct and strong color combinations, but is the most difficult to create correctly.
3. "Similar" color harmony built on the basis of three colors - achieved through the use of any three colors that are nearby (in one of the four sectors of the circle). Due to the proximity of the location, these colors are easily combined. This harmony has depth, it is distinguished by a rich originality, an elegant look (Fig. 14).
Creation of color harmonies with the help of models of geometric shapes. « Harmony of an isosceles triangle» is achieved by using any color and colors adjacent to its complementary color (the top is one of the primary colors, and the base connects the adjacent colors to its complementary color) (Fig. 15). The combination of such colors looks softer than the combination of just two complementary colors.
"Harmony of a Right Triangle" is achieved by using some color located at the top of a right triangle and colors located in the corners at its base (Fig. 16). The combination of these colors is quite expressive, and at the same time - well balanced.
A quadrilateral can be inscribed in a circle, the sides of which are parallel to the diameters of the circle. It can be a square or a rectangle. The sides of the rectangles in this case are connected by two related-contrasting colors, and complementary colors are placed diagonally.
In the process of searching for color harmonies, you need to remember:
bright colors go well with muted colors;
warm colors with cold;
dark colors with light colors;
the introduction of achromatic colors enhances contrast (warm colors are best combined with in black, cold - with white or gray);
highlighting the main (dominant) color contributes to accentuating, strengthening the overall ideological content of the composition, its streamlining;
the use of variable shades of pure colors helps to remove sharpness and find softer color combinations.
Based on the generalization of data from various studies, the following types of color harmonies can be named:
1. monochromatic or single color, sustained in the same color tone with a difference in lightness and saturation: used for strong tone contrast, for subtle color relationships.
2. bicolor(opposite or additional) contrast (contrast of two primary colors or two groups of colors): used to create accents, to complement one color with another;
3. tricolor(triad): used to create depth and elegance and for distinct color combinations;
4. four-color;
5. six-color;
6. gamut limited by the limits of a small interval in the color wheel;
7. gamut, the colors in which are subordinate to one main color;
8. achromatic harmony
9. combination of achromatic and chromatic scale
In order to quantitatively and qualitatively balance the colors in harmony with each other and create an artistic image using the selected color combinations, it is necessary to develop a coloristic flair and intuition.
Color harmony is the most important means of artistic expression in painting, along with composition, drawing, perspective, chiaroscuro, texture, etc. The term "harmony" comes from Greek word hamionia, which means consonance, harmony, the opposite of chaos, and is a philosophical and aesthetic category, meaning "a high level of ordered diversity, optimal mutual correspondence of the various in the whole, meeting the aesthetic criteria of perfection, beauty" . Color harmony in painting is the consistency of colors among themselves as a result of the found proportionality of the areas of colors, their balance and consonance, based on finding a unique shade of each color. There is an obvious relationship between the different colors of the painting, each color balancing or bringing out the other and the two colors together influencing the third. Changing one color leads to the destruction of the coloristic, color harmony of the work of art and makes it necessary to change all other colors.
Color harmony in the structure of a painting also has substantive validity, reveals the author's creative intent. For example, Van Gogh wrote: “In my painting “Night Cafe”, I tried to show that a cafe is a place where you can die, go crazy or commit a crime. In a word, I tried, pushing contrasts of pale pink with blood red and wine red, pale green and Veronese with yellow-green and hard blue-green, to reproduce the atmosphere of infernal hell, the color of pale sulfur, to convey the demonic power of the tavern - traps " . Various researchers dealt with the problems of color harmony - Newton, Adams, Mansell, Brucks, Bezold, Ostwald, V. Shugaev and others. Normative theories of color harmony are not directly applied in painting, but to artists working in painting, design, decorative and applied arts , it is necessary to know the range of scientific problems of the theory of color harmonies, which can contribute to a more deliberate and rational approach to solving practical problems of color harmony. Physicists and artists have always sought to bring all the variety of colors of the visible world into a system and, thanks to systematization, determine the patterns of harmonic combinations of color tones. The first attempt to bring colors into the system belonged to Isaac Newton.
Newton's color system is a color wheel made up of seven colors - red, orange, yellow, green, blue, indigo, violet. Later, purple colors, which are not in the spectrum, were added to the spectral colors, having obtained them by mixing the two extreme colors of the spectrum - red and violet. The colors of the red-yellow part of the circle were called warm, and the bluish-blue part of the circle was called cold. This was the first attempt at "color harmonization". In 1865, the artist Rudolph Adams invented an "apparatus for determining harmonic color combinations" - the "chromatic accordion". Adams' color accordion consisted of a color wheel divided into 24 sectors, and each of the sectors was divided into 6 degrees of lightness. Five templates were made for the color wheel, in which 2, 3, 4, 6 and 8 holes were cut symmetrically according to the size of the sectors. By moving patterns with holes, various color combinations could be obtained, which Adams called "symmetrical chords." At the same time, Adams believed that these “chords” may not necessarily turn out to be harmonious, but they are the basis for choosing various harmonic combinations of color tones (Fig. 1).
Adams formulated the basic principles of color harmony as follows:
- 1. In harmony, at least the initial elements of the diversity of the color area should be noticeable; red, yellow and blue. If they were indistinguishable, as it would be in black, gray or white, then there would be unity without diversity, that is, the quantitative ratio of colors.
- 2. Variety of tones must also be achieved through a variety of light and dark and through changes in color.
- 3. Tones should be in balance so that none of them stand out. This moment encompasses qualitative relationships and constitutes the color rhythm.
- 4. In large combinations, the colors should follow each other in order so that a natural relationship in their degree of relationship takes place, as in a spectrum or a rainbow. In the following of tones, the movement of the melody of color unity is expressed.
- 5. Pure colors should be used sparingly because of their brightness and only in those parts to which the eye should be directed in the first place.
Adams's theory of harmonic color combinations was of value to the practice of painting. Albert Henry Mansell's theory of color harmony was also directly related to the practice of painting. Mensell identified three types of harmonic combinations of color tones: monochromatic harmonies - built on the same color tone of different lightness, or saturation; the harmony of two neighboring colors of the color wheel, built on proximity, kinship of colors; harmonies built according to the principle of contrast between colors lying opposite each other in the color wheel. Mensell believed that color harmony would be more perfect if the artist took into account the ratio of colors in saturation and the ratio of the areas of color planes. The German physiologist Brücke also considered colors that lie within small intervals of the color wheel to be harmonious because of their similarity in color tone. In the theory of harmonic combinations of color tones, Brücke for the first time, along with paired combinations of different colors, singled out triads of colors that he considered harmonic. Brücke considered red, blue and yellow, as well as red, green and yellow, to be harmonic triads of colors. In his opinion, the colors of small intervals can be attached to these three colors. Bezold, like Brucke, built a theory of color harmonies on the differences in colors within small and large intervals of the color wheel. He believed that a harmonious combination of color tones is obtained only when, for example, in a twelve-membered circle, the colors lag behind each other by four tones, i.e. between them there should be an interval of three tones. Inharmonious color combinations, according to Brücke, are obtained when the interval between colors is only one color tone. Bezold was the first to point out the need to see the difference in the use of color and the harmonic combination of colors in painting and arts and crafts. Popular in the 19th century was the theory of color harmony by W. Ostwald, who tried to find the mathematical patterns of color harmony from the geometric relationships of the arrangement of colors within the color wheel. Ostwald believed that all colors containing an equal admixture of white or black are harmonious, and of those that do not contain such an admixture, those that stand apart from each other in the color wheel at an equal number of intervals are the most harmonious. Of interest is his doctrine of achromatic harmony, in which the author found a mathematical relationship between the change in the lightness of an achromatic color and the threshold sensitivity of the eye. Ostwald proved that when the lightness changes, the threshold sensitivity of the eye changes according to the law of the geometric mean value. Of great interest to artists working in the field of decorative and applied arts and design is the theory of harmonic combinations of color tones developed by V. M. Shugaev. The theory of harmonic combinations of color tones by V. M. Shugaev is based on the theories of Mensell and Bezold and is based on color combinations of the color wheel. According to the author, the circle is based on four colors: yellow, red, blue and green according to the principle of kinship and contrast. V. M. Shugaev systematized different kinds harmonic combinations of color tones and led them to the main four types:
- 1. combinations of related colors;
- 2. combinations of related - contrasting colors;
- 3. combinations of contrasting colors;
- 4. combinations of colors that are neutral in relation to kinship and contrast.
The author counted 120 possible harmonic color combinations for a 16-member circle with three intermediate colors, three intervals between the main colors. V. M. Shugaev believed that harmonic color combinations can be obtained in three cases: 1) if the harmonized colors contain an equal number of primary colors; 2) if the colors have the same lightness; 3) if the colors have the same saturation. The last two factors play a significant role in the harmonization of colors, but are not the main ones, but only enhance the mutual influence of colors, providing a closer harmonious relationship between them. Conversely, the more different colors differ from each other in lightness, saturation and hue, the more difficult they are to harmonize. The exception is complementary colors. The harmony of complementary colors is confirmed by numerous examples in painting and arts and crafts. V. M. Shugaev defined color harmony as follows: “Color harmony is color balance, color balance. Here, under the color balance (primarily of two colors) is understood such a ratio and such qualities of them, in which they do not seem alien to one another and none of them predominates unnecessarily. "Harmonic include combinations that give the impression of coloristic integrity, the relationship between colors, color balance, color unity."
"Colors, mutually influencing each other, causing each other, turn into a kind of unity, called color and expressed by harmony," wrote I. Itten.
Contrast - when two or more colors are compared, there are distinct differences. When these differences reach their limit, one speaks of a diametrical or polar contrast. Thus, for example, oppositions large-small, white-black, cold-warm in their extreme manifestations are polar contrasts10.
Color harmony is the consonance of colors, their compatibility, beautiful ratio. Often artists achieve harmony in their works, relying on intuition and an inner sense of color. This feeling develops in the process of constant work. However, harmony in color is based on certain laws. In order to understand these patterns, you need to use the spectral circle or color wheel.
Three primary colors.
The color wheel is a scale of color shades arranged around a circle. These colors are arranged in a certain sequence - just like in the rainbow. Therefore, the color wheel for the artist is almost the same as the periodic table for the chemist. Among all the colors of this circle, there are three that are called primary: yellow, red and blue. The whole huge variety of other colors is formed by mixing these three (this is applicable for the CMYK color model reflected from objects; if the light is emitted like on a monitor, then this is the RGB color model and here the mixing occurs according to other laws, between green, red and blue) . But in practice, it is not always possible to achieve the desired sound of color, because the pigments of paints have certain limitations. For example, if you mix red (scarlet) and blue (azure), you get a dirty purple color. If red (kraplak) and blue (ultramarine), then already pure purple. But this is not always enough, so they also produce cobalt violet or kraplak violet. Its color is very intense and pure. Thus, despite the fact that in theory you can get all the colors from just three primary colors, in practice, artists use a large number of colors. However, the main ones are blue, red and yellow. On the color wheel, their positions form an equilateral triangle. These colors cannot be obtained by mixing others.
Saturation and brightness of color.
Every color has a number of characteristics. The main things for the artist can be called saturation and brightness. These are different concepts. Brightness refers to how bright the selected color is. That is, any color can be lighter or darker with the same saturation (closer to white or black). Saturation refers to the strength of the color, so to speak, its "juiciness". It can be different for the same color brightness (or illumination). The lower the color saturation, the more it approaches gray shades. This can be clearly seen in the color chart below.
Harmony of contrasting colors.
On the color wheel, there are colors that are opposite each other. These are contrasting colors. They form the most contrasting combinations. For example, if red is placed next to orange, then it will not stand out much. But if the same red color is adjacent to green, then it will seem to “burn”. That is, green and red reinforce each other, create a contrast. If you look closely, red and green are located exactly opposite each other on the color wheel. There are three pairs of contrasting colors: red-green, yellow-violet, orange-blue. These are opposite colors that form the most contrasting combinations.
Harmony of related colors.
Colors located within one quarter of the color wheel and having one common shade are called related. They seem to be "related" by the common color contained in them. There are many related flowers. For example, red, red-orange, orange-yellow. They all have red in them. This unites them. That is why they are called relatives. There are the following four groups of related colors: yellow-red, red-blue, blue-green, green-yellow.
Harmony of related-contrasting colors.
Contrasting colors are called related-contrasting colors, containing one common color that unites them. Related-contrasting colors are located in two adjacent quarters of the color wheel. There are four groups of related-contrasting colors: yellow-red and red-blue, red-blue and blue-green, blue-green and green-yellow, green-yellow and yellow-red.
Chromatic and achromatic colors.
All colors are called chromatic, except for black, white and gray shades. Accordingly, achromatic colors are gray shades, white and black.
Warm and cold colors.
Warm colors are yellow, orange, red, brown, beige and many similar shades. These colors are associated with the warmth of fire. Cool colors: blue, cyan, purple, green, and a large number of colors derived from them. Cold colors are associated with cold, freshness, spaciousness…
