Composition of artistic color

& ltI > Basic Types of Tone Contrast

After more than two kinds of color matching, the color contrast effect caused by hue difference is called hue contrast. It is a basic aspect of color contrast, and its contrast intensity depends on the distance (angle) between hues on the color ring. The smaller the distance (angle), the stronger the contrast, and vice versa.

1 .0 degree contrast

(1) Although the contrast between achromatic color and achromatic color is colorless, their combination is very valuable in practical use. Such as black and white, black gray, medium gray, light gray, or black and white gray, dark black gray, light gray. The contrast effect feels generous, solemn, elegant and modern, but it is also easy to feel too simple and monotonous.

(2) achromatic colors contrast with black and red, gray and purple, or black and white and yellow, white and gray and blue. The contrast effect feels generous and lively. When the area of achromatic color is large, it tends to be elegant and solemn; when the area of color is large, the sense of liveliness is strengthened.

(3) The contrast of the same hue with different lightness or purity, commonly known as sister color combination. Such as blue and light blue (blue+white), orange and brown (orange+gray) or green and pinkish green (green+white) and dark green (green+black). The contrast effect feels unified, quiet, elegant, implicit and steady, but it is also prone to monotonous and inflexible disadvantages.

(4) Compared with the same colors, such as white and dark blue and light blue, black and orange and brown, achromatic colors have the advantages of (2) and (3). On a certain level, I feel generous, lively and steady.

Harmony and contrast

(1) Two or three adjacent colors on the adjacent hue contrast color ring have a hue distance of about 30 degrees, which belongs to the weak contrast type. For example, the contrast between red, orange, yellow and orange. The effect feels soft, harmonious, elegant and quiet, but it also feels monotonous, fuzzy, boring and powerless. It is necessary to adjust the brightness difference to enhance the effect.

(2) Similar hue contrast hue contrast distance is about 60 degrees, which belongs to weak contrast type, such as red and yellow-orange contrast. The effect is rich and lively, but it does not lose the feeling of unity, elegance and harmony.

(3) The contrast distance of middle contrast hue is about 90 degrees, which belongs to middle contrast type, such as yellow and green contrast. The effect is bright, lively, full, exciting and interesting. The contrast is quite strong, but there is no loss of harmony.

3. Strong contrast

(1) contrast hue The contrast hue distance is about 120 degrees, which belongs to strong contrast type, such as yellow-green, red-purple contrast. The effect is strong, eye-catching, powerful, lively and rich, but it is not easy to be unified and messy, stimulating and causing visual fatigue. Generally, various reconciliation methods are needed to improve the contrast effect.

(2) The contrast distance of complementary color contrast hue is 180 degrees, which belongs to extreme contrast types, such as red and turquoise, yellow and blue-purple. The effect is strong, dazzling, loud and powerful, but if it is not handled properly, it is easy to produce childish, primitive, vulgar, unstable and uncoordinated feelings.

< second > the basic types of lightness contrast

After two or more hues are combined, the color contrast effect caused by different lightness is called lightness contrast. It is an important aspect of color contrast, and it is also the key to determine whether the color matching feeling is bright, clear, dull, soft, strong and hazy.

Its contrast depends largely on the color levels with equal brightness differences. Generally, 1-3 is classified as low brightness area, 8- 10 is high brightness area, and 4-7 is medium brightness area. (Figure) When selecting colors for combination, when the interval between the primary color and the contrast color is greater than 5 levels, it is called long (strong) contrast, 3-5 levels are called medium contrast, and 1-2 levels are called short (weak) contrast. According to this, it can be divided into nine basic types of lightness contrast.

(1) long key, such as 10: 8: 1 etc. , where 10 is a large area of light primary color, 8 is a large area of light color matching, and 1 is a small area of deep contrast color. Tone contrast between light and dark, feeling exciting, bright, positive, lively and strong.

(2) High school keys, such as 10: 8: 5, have moderate contrast between light and shade, and feel bright, pleasant, clear, vivid and stable.

(3) High and low key, such as 10: 8: 7, the contrast between light and shade is weak, the image is vague, and it feels elegant, light, soft, noble, weak, hazy and feminine.

(4) Medium-long tune, such as 4: 6: 10 or 7: 6: 1 etc. , with medium brightness color as the main color, with light or dark color, it feels strong, steady, vivid and masculine.

(5) The middle key, such as 4: 6: 8 or 7: 6: 3, is in sharp contrast and rich in feeling.

(6) Medium and short tones, such as 4: 5: 6. , is a weak contrast of medium brightness, feeling subtle, dull and fuzzy.

(7) Low and long tones such as 1: 3: 10, etc. In contrast, it is dark and strong, and it feels dignified, deep, alert and explosive.

(8) Low alto, such as 1: 3: 6, etc. This color tone is dark and moderate in comparison, and it feels conservative, heavy, simple and masculine.

(9) Low and short tones, such as 1: 3: 4, appear dark and weak in contrast, and feel dull, melancholy, mysterious, lonely and scary.

In addition, there is the longest song 1: 10, which has the strongest contrast and strong feeling, simple, blunt, sharp and dazzling.

< Third > Basic types of purity comparison

After two or more kinds of color matching, the color contrast effect caused by different purity is called purity contrast. It is another important aspect of color contrast, but because it is hidden and internal, it is easy to be caught. In color design, purity contrast is the key to determine whether the color tone feels gorgeous, elegant, simple, vulgar and subtle.

The intensity of its contrast depends on the distance between colors on the color scale such as purity. The longer the distance, the stronger the contrast, and vice versa.

If the gray to pure bright color is divided into 10 arithmetic progression, 1-3 is usually divided into low purity areas, 8- 10 is divided into high purity areas, and 4-7 is divided into medium purity areas (as shown in the figure). When choosing hue, when the distance between the primary color and the contrast color is above 5 levels, it is called strong contrast; Grade 3-5 is called medium contrast; 1-2 is called weak contrast. According to this, nine basic types of purity comparison can be divided.

(1) fresh emphasis, such as 10: 8: 1, feels bright, vivid, lively, gorgeous and strong.

(2) A fresh midrange such as 10: 8: 5 is more exciting and vivid.

(3) Fresh and elegant colors, such as 10: 8: 7, are harsh, tacky, naive, primitive and hot because of their high color purity. If the distance between them is large, this effect will be more obvious and intense.

(4) It is appropriate and popular to emphasize such as 4: 6: 10 or 7: 5: 1.

(5) If the middle key is 4: 6: 8 or 7: 6: 3, it feels gentle, static and comfortable.

(6) Moderately weak sounds such as 4: 5: 6. I feel dull, vague and monotonous.

(7) Gray emphasis, such as 1: 3: 10, feels generous, elegant and lively.

(8) The hue in gray is as high as 1: 3: 6, which makes them feel mutual, calm and generous.

(9) The gray tone is weak, such as 1: 3: 4, and it feels elegant, delicate, attractive, subtle, hazy and powerless.

In addition, there is the weakest achromatic color contrast, such as white: black, dark gray: light gray and so on. Because the purity of each color is zero, it feels generous, solemn, elegant and simple.

< Fourth > Comparison of areas and positions of colors.

As the carrier of visual color, form always has a certain area. Therefore, in this sense, area is also an indispensable feature of color. In the practice of art design, although the choice of color is appropriate, it often leads to mistakes due to improper control of area and position.