What color is the opposite of red. Find the opposite color

Following OSWALD'S STAR, we found that a mixture of two opposite colors such as YELLOW + PURPLE + ORANGE + BLUE + RED + GREEN always gives gray-black, because each PRIMARY color is in opposition to the SECONDARY color obtained by mixing the other two PRIMARY colors. ^

For example: YELLOW (primary) + PURPLE (secondary color obtained by RED + BLUE) = = BLACK-GREY.

Mixing two PRIMARY colors produces SECONDARY colors. By mixing all PRIMARY and SECONDARY colors in various quantities, you gain the ability to obtain natural and imaginary bizarre, unusual colors.

An important feature color is opposition, which is the ability of each color to neutralize another color. Essentially, for each color, there is a complementary color that, when combined with the original, produces gray. Any color, when combined with its opposite color, gives colorlessness: gray black. The complementary color of each color is called its countercolor.

it physical phenomenon can be particularly well illustrated with the STAR OF OSWALD: a diagram showing the contrast of colors.

Explanations for the color chart

The color table was created by analogy with the palettes used by hairdressers in beauty salons.

The colors in the table are arranged as they are most often located and named. Unfortunately, in the color palette of different companies, the same name can correspond to paints of the same row, but different in tone.

You may not find some names in the palette. This is due to the fact that some companies invent names for shades of color, and it is not possible to fit all the shades into the palette, and even so that there is no confusion.

Depth

The depth of color determines the tone of the hair. Colors from very light to black, natural (natural), called base, are very important for the hairdresser and the client in choosing the color of the subsequent coloring.

Let's get acquainted with the GREEN LIGHT offer in natural colors:

2 brown

3 dark chestnut

5 light chestnut

6 dark blond

7 blond

8 light blond

9 very light blonde

10 platinum blonde

Hue

Hair color can have not only a basic basic tone, but also many various shades. If you research light tones, you will find many shades: it can be gold, red, slight green, etc.

So, the main tones have shades.

The simplest shade combinations can be represented according to the six-color OSWALD STAR that you are already familiar with.

AT practical work hairdresser's numbering helps to correctly determine the color scheme:

01 ash blonde

2 purple

3 golden blond

33 warm gold

4 golden red (copper)

5 mahogany

6 red

32 beige

23 carioca

As a result of mixing shades, we get new tones, for example 7.62; if the number after the decimal point is doubled, then we get a more intense shade, for example 5.22.

When you are going to color a client's hair, you should compare the color of his natural hair with the one you want to get, but first of all you should test the condition of his skin and hair.

What is important to pay attention to:

– the structure of the scalp (allergies, eczema, fungal diseases, etc.);

– hair structure (soft, dry, chemically treated, strong, etc.);

- the number of gray hairs;

- psychological contact with the client;

– correspondence between the client's requirement and the real possibility;

– choice of color and peroxide

Mechanism of action

GREEN LIGHT can perform the dual function of coloring and toning thanks to the availability of 85 shades. But how is all this possible?

In the process of dyeing hair in light colors, lightening (increasing the tone) and tone-on-tone coloring occur simultaneously. In order for this to happen, we need three elements: AMMONIA - A COLOR HERBING - OXIDANT.

Color is all around us. It is rather difficult for us to imagine a monochrome world, as many animals see it. Muted and saturated, bright and dull shades not only evoke certain aesthetic experiences, but also have an impact (quite clearly clarified and well described in the process of many scientific research) on the human body. With their help, an artist or designer is able to create the right mood, highlight some details and hide others. That is why the color scheme and the principles of its creation are explained in the first year of study in all educational institutions somehow related to fine arts. However, these rules are not only for students. Their knowledge will be useful when creating an interior, choosing a makeup palette, completing a wardrobe. Fortunately, a simple and accessible tool has been developed to penetrate the secrets of color - Itten's color wheel.

Author

Johannes Itten is a teacher and artist from Switzerland. His name is known, without exaggeration, to everyone associated with design and fine arts. Itten developed training course the famous Bauhaus (Higher scale of construction and artistic design, existed in Germany in 1919-1933), which still underlies the program of many similar institutions.

His book "The Art of Color" (as well as the second immortal work of the author - "The Art of Form"), which outlines the theory of color combinations, has been translated into great amount languages ​​and became a desktop for designers different countries. And, although representatives of all areas of visual art almost unanimously repeat that it is impossible to create according to the rules, understanding the principles of creating harmonious combinations underlies the success of even the most avant-garde projects.

Scheme

What is the Itten color wheel? This is a graphical model that allows you to easily identify harmonious combinations. The base of the scheme is three primary colors: yellow, red and blue. They are placed in the center of the circle and form a triangle with equal sides. The corners of the triangle are at the same time the vertices of the hexagon into which the first figure is inscribed. The remaining parts of the hexagon are filled with second-order colors, formed by mixing two primary colors:

yellow and blue make green;

blue and red - purple;

red and yellow - orange.

Moreover, each color of the second order looks so that it is impossible to say which of the components prevails in it.

The hexagon is inscribed in a double circle divided into twelve sectors. Those that are in contact with the colored vertices have the same color. The remaining sectors are filled with a mixture of neighboring colors:

yellow and orange make yellow-orange;

red and orange - red-orange;

red and purple - red-violet;

blue and purple - blue-violet;

blue and green - blue-green;

yellow and green - yellow-green.

This is how colors of the third order are obtained.

Do it yourself

The color wheel according to Johannes Itten is quite simple to do on your own. All you need is paper, gouache and a little patience. Difficulties may arise at the stage of creating colors of the second order. It is very important that they do not gravitate towards any of their components. However, creating a color wheel is a great practice, especially for beginning artists. The process helps to feel the colors and nuances of shades, imbued with their "character", learn how to create the right mixture and understand what is the difference between neighboring ones.

In addition, a circle printed from a computer often suffers from some defects. Their reason is in the color rendering features of the screen and printer.

Itten circle and color harmonies

A scheme created by a Swiss artist helps people creative professions find win-win options for the visual content of your projects. The circle allows you to compose compositions based on a harmonious combination of two, three and four colors. For those who know how to handle it, it becomes inexhaustible. At the same time, the rules for choosing colors are so simple that it is convenient to use them at any time. The main thing is to have Itten's color wheel at hand.

Harmony of opposites

To select the appropriate shades, the outer circle of the scheme, consisting of twelve sectors, is used. Exactly opposite each other in it are additional, or complementary colors (red - green, orange - blue, and so on). They make up a contrasting pair, always very bright and expressive. As a rule, this combination is not used on large areas because of its expressiveness, which is often tiring. It is ideal to use a pair of complementary colors to highlight details and elements.

In clothes and interiors, this combination is applicable, but with some sayings. Most often, stylists and designers recommend choosing one of the colors as the main one, and using the second one only for details. The resulting difference in area helps to smooth out the tension somewhat. The overall composition will cease to be intrusive, it will acquire greater integrity and attractiveness to the eye.

Triad

Combinations of three colors located at the tops look very interesting. isosceles triangle inscribed in the Itten circle. Compositions based on one of these combinations look very juicy. As in the previous case, to create a harmonious solution, it is better to choose one of the colors as the main one, and use the remaining two to place accents.

It should be noted that the applicability of the Itten circle goes beyond the twelve colors, since behind each of them there is a long string of various shades. Getting them is easy: for this you need to add white, black or gray. The color will change saturation, brightness and lightness. The resulting shades also obey the laws of composition, like their 12 "predecessors". At the same time, the number of possible combinations increases almost unlimitedly.

analog triad

Three colors at the vertices of an isosceles triangle in color are called the classical triad. The analog triad is three colors located in neighboring sectors. On the basis of such combinations, light and calm compositions are obtained with a smooth transition, without a sharp contrast. Here you can also use the rule of one main color. And to bring more contrast, add, for example, white or black in the form of frames, picture borders or backgrounds.

The colors of the analog triad are also called related. In clothes and interiors, this combination always looks harmonious.

Contrasting triad

As already mentioned, a pair of complementary colors gives very bright combinations. To smooth the effect, you can use a contrast triad. For the main color, instead of one opposite one, a pair of neighboring ones is selected for the additional one. Still bright combination loses excess tension, becomes less aggressive. When using a contrasting triad, it is easier to create a harmonious composition than on the basis of a complementary pair.

At the corners of the rectangle

Itten's color circle also involves the creation of compositions based on four colors. A harmonious combination is determined using a rectangle. The desired colors are located on its vertices, and they make up two complementary pairs at the same time. Similarly to a rectangle, a square is often used. And again, during the combination, it is worth paying attention to the area that each color occupies. Harmonious combinations are easiest to create if you define one main shade.

The color scheme, developed using the Itten circle, is supplemented and slightly modified by designers in each individual case. Often the most interesting combinations are based only on the intuition of their creator. However, to understand the principles of color, you need to know what Itten's color wheel is, how to use it. The key to creative breakthroughs is a good base, theoretical and practical. It can be said that it was precisely for the purpose of introducing artists and designers to the basics and rules that the science of coloring was created, the color wheel as one of its tools, as well as numerous works of researchers in the art world.

Good afternoon, dear readers of the blog site. Today I want to continue the topic of interior design and this time we will talk about contrasting and harmonious pairs. As we already know from the previous material, achromatic white, black and gray are not actually considered colors, and natural brown and beige shades of walls, floors and furniture in interior design are considered to be neutral. White often forms the basis of the interior, as it is an excellent background and binder for any colors and at the same time visually enlarges the space of the room, filling it with cleanliness and freshness.

There are no incongruous colors in nature, in all the variety of shades that the human eye catches, there are many suitable pairs, the main thing is to be able to recognize them and then combine them in the right proportions.

The easiest way to understand the color scheme and the principles of harmonious combinations is with the help of the Itten circle, which is used by artists and designers around the world. It is based on the triangle of the classical triad: blue, yellow and red, from the mixing of which the entire known color palette is born. So, from the combination of equal shares of blue and yellow, green is formed, yellow with red - orange, red with blue - purple. This triad is called secondary. From the merging of neighboring secondary and primary colors, six tertiary colors are formed, and so on. To understand the basics, a twelve-color circle will be enough for us.

Opposite contrasting pairs

Each color on the circle has its antipode, located exactly opposite. Red is green, yellow is purple, and blue is orange. Such pairs are called complementary or complementary. They form the greatest contrast, excite the eye with their expressiveness. Such colors look very interesting in the interior, although they need to be used with great care. It is not recommended to take both colors in equal proportions or mix in pure form without neutral thinners (white or grey). The best effect can be achieved if they are used not for walls, but in textiles and furniture upholstery. In the photo below good example how to use a pair of "yellow and purple" to create a bright living room design.

The Itten circle helps to determine which colors belong to the cold spectrum and which to the warm one. Divide it into equal parts by drawing a vertical line through the yellow. Everything that appears in the segment with red is warm, with blue it is cold. As you can see, the colors in complementary pairs are directly opposite in their effect. To make the interior warmer or cooler, it is necessary to increase the proportion of color with the appropriate characteristics.

The green color differs from the rest in that it cannot be called either warm or cold, it all depends on what color it pairs with. Its opposite is red, the strongest in the circle in terms of its emotionality. Against the background of green, red comes to the fore, and its intensity intensifies. This very expressive couple is able to transform the most boring interior, the main thing is to keep the proportions right so as not to make it too bright and annoying.

Extremely distant contrasting pairs of colors

Interiors based on complementary colors seem too bright and even annoying to many, especially when they use the most saturated shades. There is a way to soften their interaction a little without breaking a successful connection. To do this, not the opposite color is taken as an additional color to the main color on the circle, but its neighbor on the right or left. Such pairs are called extremely remote.

From such unions, combinations such as red and light green, blue and yellow, turquoise and orange, yellow and lilac are obtained. Here are some photos with examples of interiors created on the basis of extremely distant couples.

To select combinations of complementary and extremely distant contrasting pairs, you can use such a circle of six sectors. Any opposing colors on it should blend well with each other.

Related harmonious couples

Contrasting pairs of colors are the most striking and expressive in interior design. In addition to them, there are related or harmonious couples, among which you can find no less successful combinations.

Related colors are on adjacent segments of the circle. These are pairs such as yellow and lime, purple and pink, green and blue. At first glance, not all combinations will seem successful, but you will quickly see the opposite if you carefully look at the entire palette of shades of each sector from pale pastel to extremely saturated.

Today we continued to study successful color combinations in the interior and examined contrasting and harmonious pairs. Most often, they are quite enough to create a beautiful design, but in some cases, triads allow you to achieve a better result. We will talk about them next time. I hope this material was interesting and useful for you!

Color circle is a versatile graphic designer tool. can be discerned color wheel of Goethe, Oswald, Itten. But, in fact, all these color circles represent the same coloring tool.

Initially, the color wheel was created as a basic color design tool for selecting the color palette of an image. It was the first attempt to tie into logically constructed knowledge what colorists had used intuitively for centuries. The creators of color design tried to create a set of universal laws, using which everyone could get harmonious color combinations.

However, modern designers know that color is perceived subjectively, depending on how the rest of the composition is built, what colors are used in it. The perception of color depends both on the size of the painted elements and on the shape. Therefore, in each case, the designer has to choose his own color schemes. But, nevertheless, the color wheel can provide some assistance in the selection of color combinations to the designer.

Consider classic twelve-part color wheel who suggested Johansen Itten. As the name implies, Itten's color wheel consists of 12 colors.

As we see Itten's 12-color wheel is based on three colors- red, yellow, blue. Next come the second order colors - purple, orange and green. The remaining colors are formed by mixing the primary ones. Modern spectral color th circle looks like this:

This circle is called Oswald color wheel. It is easy to see that on this circle in its color palette we can see three primary colors - they look very independent. These are red, blue and green. On these colors the modern RGB color model. But notice, there is neither black nor white on the color wheel. In general, black and white cannot be considered pure colors. After all, white is the absence of color, and black is the maximum color saturation.

In addition to the color wheel, which has become quite famous among designers, there are such elements of color design as color ball, color star. However, all these methods do not have the same popularity as the color wheel.

The color ball, by the way, is considered one of the most complete ways of representing color, throughout colors. It gives the best idea of ​​color combinations and combinations. But, as you understand, its use in design is much more difficult than using the color wheel. Yes, and its representation is rather difficult - after all, we cannot depict a three-dimensional ball on a sheet of paper or a monitor. In general, we can use the color ball only speculatively, then the color wheel can be easily depicted, and it will be in front of us, so to speak, in all its glory.

How to draw a twelve part color wheel.

Today, in principle, the designer almost never needs to create a color wheel on his own, you can simply take it and print it out. If you have a good printer with good color reproduction, then you can easily get Oswald's spectral color wheel. But sometimes, for example, as a kind of experiment, the designer needs to draw a color wheel.

In principle, there is nothing particularly difficult to draw a circle of twelve colors - the Itten circle. Another thing, if you suddenly decided to draw an Oswald circle, which is a continuous spectral color circle, you would have to be more difficult. First you need to define the base colors. It is, as we already know, red, blue and yellow. Itten advised to look at each color separately against a neutral gray background to determine the base colors as clearly as possible, which helps to determine the color without any shades.

Next, we draw an equilateral triangle. We color its upper vertex yellow, place blue at the bottom left, and red at the lower right vertex. Now we describe a circle around the triangle, and with its help we complete the triangle to an equilateral hexagon. In the resulting isosceles triangles, we need to place the colors of the second order.

To get the colors of the second order, we need to mix the colors of the first order in pairs. Mixing yellow and red will give us orange. Mixing yellow and blue will give green. Red and blue - purple.

At first glance, this seems pretty simple. But in practice, it is quite difficult to obtain pure second-order colors. It is necessary that, say, the green color turn out to be really green. It should not be yellowish or bluish. If you are far from fine art, this can take a long time.

After we have received the colors of the second order and filled the corresponding triangles with them, we draw a second circle, having a center at the same point as the first one, but with a larger radius. We divide it into 12 equal sectors. The sectors that are opposite the vertices of the triangles are painted with the appropriate colors. At the same time, we see that an empty sector remains between each pair of colors.

In empty sectors - a place for colors of the third order. They are formed by mixing a pair of a first-order color and a second-order color.

That is, as a result of mixing, we get: yellow-orange, red-orange, red-violet, blue-violet, blue-green, yellow-green.

At one time, this color wheel received Isaac Newton. He also closed it, adding to the colors of the rainbow purple, at the junction of the circle, between red and purple. That is why it is sometimes called Newton's color wheel. However, the main difference between Newton's color wheel is that it consisted of eight colors(seven colors of the rainbow and magenta), and Itten's color wheel, more suitable for the designer, has a wider color gamut of 12 colors.

Color wheel: application. Color harmonies.

What can a designer use a color wheel for? Of course, for the selection color combinations on the color wheel. And you can use the color combinations themselves anywhere - both in graphic composition and in clothes. While color combinations in, say, clothing are best suited to your taste, the color wheel can give you some theoretical background on this. If you want to choose colors without relying only on your taste and artistic flair (but they should not be forgotten by the designer in any case!), Then you can use the formal approach to color selection using the color wheel.

There are several classic color combinations, selected using the Itten color wheel.

By the way, special programs have been created for designers to select colors according to the color wheel. They usually use the Oswald spectral color wheel. One of these programs you can find and download here. Unfortunately, this program is paid, the free version has limited functionality, but you can find a free analogue. Although my personal opinion is that the designer does not need these programs. It is impossible to approach the color wheel so formally, and to the selection of colors.

Complimentary (complementary) colors

Classic triad

analog triad

Contrasting triad

Rectangular pattern

square scheme

Color wheel: conclusion.

The first rules for the use of colors, and not only colors, were created long before the advent of modern graphic design by Leonardo da Vinci in his Treatise on Painting. But even he already said: “If you want to be guided only by rules in your work, then you will never achieve anything, and confusion will reign in your works.”

A designer should not be limited by rules you need to follow your intuition. When used skillfully, the color wheel can be of great help in drawing up the color scheme of a design composition. But, nevertheless, you should not go too far. You can’t formally poke at the first colors of the classical scheme that came across, you have to experiment, look for lively combinations of colors. And the color wheel is a good test of their harmony.

Itten, Johannes- an outstanding teacher, design theorist, artist.

It's no secret that every knitter has leftover yarn. Don't rush to get rid of them. From the remnants of yarn, you can knit a lot of beautiful products from the "grandmother's square" blanket, baby booties, socks, to multi-colored brooches.

Very good for those who are confident in their sense of color, and skillfully apply their instinct in practice. But not everyone has this confidence. Just who is not sure of his sense of color harmony, although this feeling is inherent in every person, I offer Johannes Itten's color wheel to help. This color wheel is very helpful in choosing harmonious color combinations consisting of two, three, four or more colors.

The Itten circle is divided into 12 color sectors. There are 3 main primary colors are blue, yellow, red. It is when they are mixed that the whole variety of the color wheel is obtained.

The following colors on the color wheel are called composite or secondary order, there are also 3 of them purple, orange and green . These colors are obtained by mixing equal proportions of first-order colors.

By mixing colors primary and secondary order, we get 6 tertiary colors.

There are several classic color combinations, selected using the Itten color wheel.

Within each circle there is a figure; line, triangles, rectangle, square, hexagon, rotating the figure, we get the desired combination of color combinations.

Complementary (complementary) colors.

Complementary, or complementary, contrasting, are colors located on opposite sides of Itten's color wheel.

Classic triad.
The classical triad is formed by three colors equidistant on the Itten color wheel. To achieve harmony in the triad, take one color as the main one, and use the other two for accents.

analog triad.
An analog color scheme is formed by three adjacent colors in a twelve-sector color wheel. When using this scheme, it is possible to choose one color as the main one, the second one as supporting, and the third one to be used for emphasis.

Contrasting triad.
A contrasting triad is a variant of a complementary combination of colors, only instead of the opposite color, the colors adjacent to it are used.

Rectangular pattern.
The rectangular scheme consists of four colors, every two of which are complementary.

This scheme gives, perhaps, the most a large number of variations of its colors. To make it easier to balance the rectangular scheme, one color should be chosen as dominant, the rest as auxiliary.

square scheme.
The square scheme almost repeats the rectangular scheme, but the colors in it are equidistant around the circle. It is also worth choosing one dominant color here.

Hexagon pattern.

The hexagonal color combination scheme is more complex, but nevertheless applicable. In a twelve-sector color wheel, instead of a triangle or square, you can also enter a hexagon. And then the harmonious six-tone will be based on three pairs of complementary colors.

However, it is quite fair to note that for the selection of harmonious colors, 12 color circles are not enough. Or rather, not that it would not be enough, but simply that's not all. It's just that our circle turned out to be saturated, bright colors. But we use different shades of these colors, and they are obtained by adding white or black colors. So when adding white color we get pastel shades up to almost white, and vice versa, when black is added, the saturation will increase. The result is a large color wheel with many shades of the original colors.

Itten's color wheel is divided into cold and warm colors. We can see that yellow is the lightest and purple is the darkest. This means that these two colors form the strongest contrast of light and dark. At right angles to the axis "yellow - purple" are "red-orange" and "blue-green", which are the two poles of the contrast of cold and heat. Yellow, yellow-orange, orange, red-orange, red and red-violet are called warm colors, and yellow-green, green, blue-green, blue, blue-violet and violet are called cold colors. Red-orange is the warmest color, and blue-green is the coldest color.

The selection of colors is a rather responsible task. The combination of colors in design has always been one of the main tasks. Be sure to attach importance to color combinations, this is important!

The color scheme should not strain or unnerve you in any way, but, on the contrary, return the harmony spent during the day. Choosing a color scheme starts with deciding what you really want from a color design. Only in this way you will be able to choose the optimal combination of colors.

The hottest color is orange. The coldest is blue, always associated with cool water and ice. Moving from blues through greens and yellows, the colors warm up, hold " high temperature on red, burgundy, brown and some shades of pink and purple, and then descend back to the cold through lilac and blue. However, the presented gradation is very conditional, since the boundaries between cold and warm are barely perceptible. For example, lime is more of a yellow hue, but is a cool color. Conversely, deep, rich purple can be both warm and cold, depending on whether it is dominated by red or blue.

And yet it is warm or cold palettes that can transform a room. So, for example, in order to expand the walls of a small room, it is advisable to use not just light, but light cold tones.

And vice versa, warm shades will help to make a too spacious and therefore empty room more comfortable. They will also add a little sunny mood if it lacks natural light, and fluorescent lamps are used. Whereas a richly lit hall with large windows can be “dressed up” in cold colors.

The colors of the interior of the kitchens are distinguished by a special breadth. If you are designing a kitchen, keep in mind that juicy warm colors - orange, grassy green, egg yellow - increase appetite, while blue and white help you keep yourself within limits and eat food in moderation.

The bedroom - whether it's a corner to relax from the harsh everyday life or the very embodiment of romance - also requires a special approach. In the first case, it is better to paint it in cool colors that take away from the problems that need to be solved. In the second, of course, the first roles belong to red and all its various shades, or any other color that you like and belongs to the warm range. This color will allow you to quickly restore strength, as if transferring its energy and warmth to you. Color combination rules

Of course, there are fashionable color combinations in every season. But when you select color combinations, you should still be based on the color combination table and your own feelings.
There is no right combination of colors, there is only a successful combination of colors.

In order to choose color combinations, there are several approaches. The first type is monophonic

The color scheme varies within the main color, it only becomes darker or lighter. For example, dark blue, blue, blue. However, a room designed in this way can be slightly diluted with “blotches” of a different color that does not attract too much attention. For example, a room in blue and blue tones can be complemented by white and light sand. The second type is harmonious

If you want variety, but not so radical as to talk about contrasts, "paint" the room in a harmonious combination of colors. The most winning examples of color combinations that can be safely combined with each other:

• For red: pink - purple and orange - egg yellow
• For orange: red - pink and egg yellow - yellow
• For yellow: orange - egg yellow and lime - light green
• For green: lime - light green and aqua - blue
• For blue: green - the color of the sea wave and lilac - purple
• For purple: blue - lilac and pink - red

The third type is a game of contrasts

For lovers of original and bright design - a game of contrasts. Each color on the palette has its own "antipode":

• Red Green
• Orange - the color of the sea wave
• Egg yellow - blue
• Yellow - lilac
• lime - purple
• Light green - pink

Even if it seems to you that you do not react to color in any way (you absolutely do not care what color the objects around you are), your eye picks up the slightest shades of it (up to one and a half million!), And your subconscious mind and genetic memory fix all color "messages" .

As a result, staying in a certain color range of rooms invisibly guides your emotions and actions.

"Unfavorable" colors and color combinations
Red - creates nervous tension(may even cause hypertension).

Black (and also purple) - "eats" the space.

Brown (including woodgrain finishes) - causes melancholy, can lead to depression.

Gray - sadness and despondency.
Blue is a feeling of coldness and discomfort. Favorable color scheme

• Shades from yellow to green - a calm and optimistic range, relieves fatigue.
• Pastel shades from yellow to beige are “reconciling” and comfortable colors.
• Turquoise - gives a feeling of freshness (suitable for the bathroom).
• Light blue - calms, causes drowsiness - ideal for bedrooms and rest rooms, but in offices and work areas it is contraindicated.
• Dark blue - "cools" space and ardor (for example, at the negotiating table), is considered a serious and business color.
• Yellow and orange - stimulates and tones (not suitable for a bedroom), suitable for a room facing north.
• White - can cause a feeling of cold and discomfort, on the other hand - a "blank slate" is an ideal backdrop for any design decisions. Red or terracotta in the form of accents - invigorates, uplifting.
• Black in the form of accents - gives the interior a graphic and special style.
• Light gray in a "mix" with other colors - a business environment.

Combinations of related-contrasting colors represent the most extensive type of color harmonies. In the color wheel system, related-contrasting colors are located in adjacent quarters. These are: warm (yellow-red and yellow-green colors) and cold (blue-green and blue-red colors).

Combinations of colors that are located in the color wheel at opposite ends from each other have a special harmony. This is due to the fact that between such pairs of related-contrasting colors there is double bond: They consist of an equal amount of a unifying main color and an equal amount of contrasting colors. In practice, one rarely encounters compositions that contain only two colors. The simplest harmonious combination of two related-contrasting colors is significantly enriched by adding a color from the tone range of the same colors, bleached or darkened.

Also, color harmony can be formed by a combination of colors located at the vertices of an equilateral triangle inscribed in the color wheel. By turning such a triangle inside a circle, you can get any combination of colors, while it will be necessarily harmonious. A successful combination of colors and colors in the interior is a guarantee of comfort in the house.

Color combinations in clothes are very important point when choosing a wardrobe, designing a new model when knitting. Harmonious means well-matched in combination.

1. The harmony of colors in clothes is based on the principle of a combination of related or contrasting colors. In clothes, you can talk about harmonious combinations, based on shades of the same color, then this is one-color harmony.
2. Harmony can be built on a combination of similar colors, i.e. adjacent colors of the color wheel, for example, yellow and yellow-orange, orange and red-orange.
3. Harmony can be built on contrasting colors. This means that colors are selected from adjacent sectors of the color wheel. The best way colors that are located at an angle of 90 ° in adjacent sectors are combined with each other. Another kind of contrasting harmony are combinations of colors that are to each other in the color wheel at an angle of 180 °.

The main colors are considered to be 4 pure colors: yellow, red, blue, green. All others are considered intermediate (yellow-red, yellow-green, green-blue, blue-red).
Pairs of "yellow-blue", "red-green" are considered additional, contrasting combinations. Colors can be arranged in the form of a circle with axes: "yellow-blue", "red-green".
There are 3 types of color combinations: related, related-contrasting, contrasting.
Contrasting - these are combinations of opposite quarters of a circle (the angle between them is 180 °), a total of 44 combinations.
Related-contrasting - these are combinations of colors from two adjacent quarters of a circle (the angle between them is less than 180 °), a total of 36 combinations.
- these are the intervals from this color to the next main one. Related are yellow and any in-between yellow-red (but not pure red).
Color harmony is understood as color balance in harmonizing colors of quantities of primary colors (pure yellow, blue, red and green).
Related colors will be harmonious with equal lightness and saturation, if the same number of primary colors is achieved in them.
Harmonious in related-contrasting color tones will be all pairs of colors located at the ends of chords parallel to the layers connecting the primary colors (since they contain an equal number of primary and secondary colors).
Based on these harmonic pairs, more complex multicolor harmonies can be built. In this case, three rules must be observed:
1. To two harmonizing related-contrasting colors, a third can be added - the main color, their related, weakened saturation. For example, yellowish red, yellowish green, and yellowish white can all be balanced with the same yellowness.
2. To two harmonizing related-contrasting colors, you can add a third and fourth, balanced with them. For example, a harmonious combination of orange and yellow-green can be complemented by purple and blue.
3. You can create harmonies of related and complementary colors. For example, the harmony of yellowish white and leafy green can be complemented by purple.

Unfavorable combination of colors in the interior

Black and purple tones make the space compressed, depressing.

Brown color causes a depressive mood, melancholy.

The red background is unnerving and can increase blood pressure.

Gray coloring brings despondency, depression, sadness into the atmosphere.

Blue color irritates with a feeling of cold.

The colors in the decoration are the main thing, if you understand correctly psychological features household: lifestyle, habits and needs. People choose their habitat according to their color tastes, not fashion trends. It speaks of a growing culture modern man. Any color combination in the interior it should be beautiful, comfortable and of high quality - and all this in equal measure. And most importantly, it is intended for a specific family.

Suppose a person has visited Bali, looked at how people live there, gained new color impressions, returned - and wanted to remake everything into a “lurid jungle”. And tomorrow he went, say, to America - and again he wants to change everything into a fashionable psychedelic scale. This can go on ad infinitum. However, a color project is like a painting: sometimes you can't "improve" it, you can only spoil it.

The magical combination of colors in the interior

In the palette of colors, each paint has its own pole, thanks to which the interior becomes bright, fantastic or unusually stylish. Helps create contrast color combination in the interior table antipodes:

Orange and marengo.

Blue and yellow (yolk).

Purple (indigo) and lime.

Pink (flamingo) and light green.

Delicate yellow and lilac.

Green and fiery red.

If you are a fan of futuristic diversity, but want to avoid sharp contrasts, saturate the interior with an elegant atmosphere, then choose color harmony from classic combinations.

Gray - with blue, blue, yellow, green, black, red, pink.

Violet - with yellow, light green, golden, orange.

Lilac - with chestnut, gray, light purple.

Pink - with burgundy, brown, gray.

Green - with black, gray, red, orange, burgundy, yellow.

Brown - with pink, yellow, golden, beige, gray.

Blue - with gray, red, golden, burgundy.

Blue - with orange, red, light purple and blue.

Color mimicry

Exquisite color composition is an integral part of our life - its colors, rhythm, dance. Created according to the laws of cosmic beauty color combination in the interior transfers its energy to a person. Communication with color calms, helps to relax, forget about troubles.

Coloring is just like people: it can saturate the house with feelings, has a temperament, inspires sympathy and antipathy, imitates the owner. At the same time, the truth of harmony lies precisely in the concept, a favorable fusion of colors.

White and sandy background, stones and marble create a welcome coolness.

Bamboo-colored furniture will be held in high esteem when using the patio-style design.

Rooms, abodes of red hues and striped blue-white nuances, enclose the world inside the house and catch bright lighting with all walls.

Terracotta connects spaces in and out, internal and external. Inside, it can turn into the color of ceramics, outside - oak doors.

For some, monochromatic colors seem boring monotony, while others are attracted by the traditional color combination in the interior, thanks to home interior retains its unique appearance, sings its song, circles and invites to waltz. But all this is nothing more than different ways self-expression. Therefore, if you want to become related to the interior, to make it part of your history, just paint the house in your style.

To start - organizational announcement - I remind you that we have paid analysis of the color type . Since the summer, I plan to add some items to the analysis, the second block (prints, jewelry, fabrics, etc.). Prices will also change slightly.

And now - the most important thing - today I want to talk about color theory. Today I will tell you terrible secret. There is one complimentary color trick which not everyone knows. The vast majority of image consultants have never heard of it at all, since too little time is devoted to the study of color. And what will be discussed today will be a strong deepening into color theory.
It seems to be common knowledge that complimentary colors are those that are opposite each other on the color wheel.
Complementary colors reinforce each other and, when mixed, give a neutral gray color without tints.
If you use the usual 12 private circle of Itten, then, for example, the yellow amplifier will be purple

Now, let's see what enhances the brightness of yellow more? Purple or maybe blue-violet? Which photo seems to be more stable in terms of color? Where does yellow look better?

As you can see, both combinations can be in nature, which means they are harmonious. But if we talk about the color that will emphasize yellow, that is, about the one that is complimentary, then this is blue-lilac.
Look again

In fact, if you mix lilac and yellow, you won't get gray . And if you mix red with green, it won't work either. But if you mix blue-lilac with yellow, you get it.
Why is this happening?
The fact is that Itten's 12-part circle, which is convenient for making combinations of several colors using geometric schemes does not work for complementary colors. because he is ... exemplary, not exact. The color spectrum is continuous, it can be divided into many parts, but let's see what color is opposite yellow in a continuous color wheel?
Red is highlighted in the figure, but yellow can also be traced - opposite it is blue-lilac. and opposite the lilac already - yellow-green.

The fact is that the color space from red to yellow is smaller than from green to lilac - since orange in terms of pigments and in terms of radiation is not an independent color, but rather just a mixture of red and yellow.
The most accurate representation of color is the 3D Munsell color tree. . Look, there is no orange in it, and there are only 10 colors.

Munsell believed that there are 5 primary colors and 5 secondary colors, and the exact color wheel should look like this.

And scientifically, Munsell is right.
Pairs of complementary colors according to Munsell look like this:
red - turquoise ("blue-green"), red-violet - green, violet - yellow-green, blue-violet - yellow, blue - orange ("yellow-red").

Pair blue - Orange coincides with Munsell and Itten

This is what Munsell complimentary colors look like red and turquoise -

But green and red-violet

violet and yellow-green

And finally blue-violet With yellow


It turns out more stable and interesting combinations, right?

Well, the question remains why until now the main circle for working with color is the Itten circle, and not the more accurate Munsell circle.
Delto is that Munsell himself had an argument with a color researcher, a professor named Henry Bailey. Henry agreed that Munsell's circle was theoretically correct. But he considered that it is extremely difficult to teach color to anyone, excluding orange, it is logically more difficult to explain a color wheel of 10 parts. especially since psychologically we perceive this color as separate and very strong. Probably, based on similar considerations (although I can’t say), the Itten circle of 12 parts is mainly used everywhere. Besides, Itten's circle is convenient precisely for constructing geometric combinations, which are quite harmonious and interesting.. the only thing itten's circle can't handle is compliments - the distortion is somewhat noticeable. This is where we need the Munsell circle.In other cases, according to the established tradition, I will refer to the usual 12 private circle of Itten. Moreover, the main terminology is built precisely on the 12th private circle.

Color contrasts are types of color combinations and their degree of expressiveness. There are 7 types. How to change them? A photo

With the ratio of two opposites, according to some quality, the properties of each of the group are multiplied. So, for example, a long stripe seems even longer next to a short one. Expensive, designer items look even richer against the background of ruins.
In a combination of colors, the same principle applies, in total there are 7 contrast options:

is a combination of different colors. Its construction is based on the theory, which describes the most successful combinations and the method of their creation using geometric manipulations. Often other contrasts are added to this type, for example, light, heat, etc. (see below)

This contrast affects the subconscious. If we consider color as a source of information about the world around us, then such a combination will carry an informational message. (and in some cases cause epilepsy).

Light shades and dark ones create a feeling of light and shadow. Such a difference is easily caught by the eye. The main characteristic in it will be the clarity of lines on the border of light and dark tones. To some extent, light-dark contrast is present in almost every combination, but it can be sharp or muted. Its absence can only be said if the combination can be converted to gray and the border of colors will be indistinguishable.

Combinations built on this type can bring certainty to an image or composition. Due to this effect, you can achieve three-dimensionality, realism of the image. It is easily perceived, recognized, and therefore considered one of the most attractive.

Based on the difference between "inhibiting" and exciting shades and our desire to achieve peace. together they create a harmony of integrity, although, as in any contrast, opposites reinforce each other: cold next to warm becomes even more icy, and warm becomes hot.

This contrast is good for creating images with different activities: from “ snow queen to a "fighter for justice".

- this is a combination of colors, the waves of which together give a gray spectrum. If you mix paints of two complementary colors, then we get a dirty, brown tint. Such opposite colors are the most striking combination of contrasts in tone. You can find an additional pair on the Itten color wheel: tones that are opposite each other will have the desired properties.

This contrast tends to stability as well as warm-cold (by the way, it is always present in an additional pair), but if the difference in temperature creates “movement”, then this pair achieves stability. Therefore, these combinations are rarely used in everyday life, since the impression of it may be too vivid.

But in painting, this tool is very appropriate.
- it does not exist outside of our perception. It occurs in combination with in gray another saturated (not monochrome or neutral) shade, when in gray - we see an additional tone to it. That is, for example, red with gray, with a cursory glance at gray. in such a neighborhood, we can see a green tone. This is very important, especially when creating a small pattern, for example, in textiles. A red and gray tie is an acceptable, strict element of a suit, but if you see a red and green pattern in such a product, the first thing you will feel is confusion, since such a combination is unacceptable for a strict male (and female) image.
To neutralize the simultaneous contrast, a fraction of the neighbor's tone is added to gray, in the case of red, gray will have a warm, barely perceptible lilac undertone. We won't notice this change, but our eye won't misinterpret the neutral color.

This contrast, more than others, confirms the striving of our consciousness towards the golden mean.
Check it out for yourself: if you focus on each gray rectangle in turn, waiting for the eye to get tired, then the gray will change to a complementary hue in relation to the background.

On orange, gray will take on a blue tint;
on red - green;
on purple - yellowish.

They call a combination of pale and bright shades. It can be made up of shades of the same tone, one of which will stand out, as if glowing against the background of the rest. The richer the hue, the closer it is to the spectral color. However, against the background of pale tones, even just a pronounced middle tone will stand out.
The contrast in saturation is present not only in one gamut, it can also be a combination of different shades, among which there is one that attracts attention.

This contrast can be attributed to accentuating. It can be very bright, or it can be moderate. It is used in the creation and selection of various accessories.

Based on the quantitative difference between colors. In this contrast, balance or dynamics can be achieved. It has been noted that in order to achieve harmony, there should be less light than dark. This effect was suggested to us by nature and the feeling of relief at the sight of light in the dark.