Find the opposite color. Cheat sheet of color combinations

Color contrasts are the types of color combinations and the degree of their expressiveness. There are 7 types. How to exchange them? Photo

When two opposites are correlated, according to any quality, the properties of each of the group are multiplied. For example, a long strip appears even longer next to a short one. Expensive, designer items look even richer against the background of ruins.
The same principle applies when combining colors; a total of 7 contrast options are distinguished:

is a combination of different colors. Its construction is based on theory, which describes the most successful combinations and the method of creating them using geometric manipulations. Often this type is accompanied by other contrasts, 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. This difference is easily discernible by the eye. The main characteristic in it will be the clarity of the lines on the border of light and dark tones. To one degree or another, 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 color border will be indistinguishable.

Combinations built according to this type can add definition to an image or composition. Due to this effect, you can achieve three-dimensionality and realism of the image. It is easily perceived and recognized, which is why it is 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 the “snow queen” to the “fighter for justice.”

is a combination of colors whose waves add up to the gray spectrum. If you mix paints of two complementary colors, we get a dirty, brown tint. Such opposite colors are the brightest 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 in the same way as the warm-cold one (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 from it may be too vivid.

But in painting this tool is very appropriate.
– it does not exist outside of our perception. It appears in combination with gray color of another rich (not monochrome or neutral) shade, when in gray we see an additional tone to it. That is, for example, red and gray, with a quick glance at the gray. in such a neighborhood, we can see a green tone. This is very important, especially when creating small patterns, for example, in textiles. A red and gray tie is an acceptable, formal 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 even female) look.
To neutralize the simultaneous contrast, a bit of the neighbor's tone is added to gray; in the case of red, gray will have a warm, subtle lilac undertone. We will not notice this change, but our eye will not misinterpret the neutral color.

This contrast, more than others, confirms the desire of our consciousness for the golden mean.
Check it out for yourself: if you look intently at each gray rectangle in turn, waiting for your eye to get tired, the gray will change shade to a complementary one in relation to the background.

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

They call it a combination of pale and bright shades. It can be composed of shades of one tone, one of which will stand out, as if glowing against the background of the others. The more saturated the hue, the closer it is to the spectral color. However, against a background of pale tones, even just a pronounced midtone will stand out.
Contrast in saturation is present not only in one range, it can also be a combination of different shades, among which there is one that attracts attention.

This contrast can be classified as 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 to achieve harmony there should be less light than dark. This effect was suggested to us by nature and the feeling of relief when seeing light in the dark.

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

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

Mixing two PRIMARY colors produces SECONDARY colors. By mixing all PRIMARY and SECONDARY colors in varying quantities, you are able to obtain natural and imaginary fancy, unusual colors.

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

This physical phenomenon can be especially well illustrated with OSWALD'S STAR: a diagram showing the opposition of colors.

Explanations for the color table

The color chart 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 may correspond to paints of the same row, but different in tone.

You may not see 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 client in choosing the color of the subsequent coloring.

Let's take a look at 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 blond

10 platinum blonde

Hue

Hair color can have not only a basic base tone, but also many different shades. If you explore light colors, you will find a variety of shades: it can be gold, red, slight greens, etc.

So, the basic tones have shades.

The simplest combinations of shades can be represented according to the six-color STAR OF OSWALD, with which you are already familiar.

In the practical work of a hairdresser, numbering helps to correctly determine the color scheme:

01 ash blonde

2 purple

3 golden blonde

33 warm gold

4 golden-red (copper)

5 mahogany

6 red

32 beige

23 cariocas

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 about to color a client's hair, you must compare the color of his natural hair with the color you want, but first you must test the condition of his skin and hair.

What is important to pay attention to:

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

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

– number of gray hairs;

– psychological contact with the client;

– correspondence between the client’s requirement and the real opportunity;

– choice of color and peroxide

Mechanism of action

GREEN LIGHT can perform double duty as coloring and tinting thanks to its 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 dyeing occur simultaneously. In order for this to happen, we need three elements: AMMONIA - COLOR PRESENTER - OXIDANT.

Johannes Itten's color wheel was developed in accordance with the laws of color theory, therefore it is an indicator of the correct combination of colors. This article will help you understand color combination schemes. Using this understanding, you can easily use

The basis of the Itten circle is red, yellow and blue. All other colors and shades are obtained by mixing. Purple, green and orange - the colors that, when combined, give the outer circle in Itten's scheme (12 colors), are themselves obtained from a combination of the basic ones. This is clearly depicted in the diagram:

In any field (design, fashion, photography), combining three colors according to the principle (60 × 10 × 30) is considered correct. This allows products of any profile to look organic and expressive.

To correctly combine colors using the Itten circle, you must use:

Let's take a closer look at choosing a color combination using the Itten color wheel.

Help in choosing a color will help you, the so-called. This is a generator. You enter the color you need, click on the color selection scheme and harmonious colors are generated for you.

When working with shades the following look favorable:

1. Achromatic combinations black with red, white or yellow, white with blue, red and black, gray with blue, red and fuchsia.
2. Monochromatic combinations using tones of the same color.
3. Combinations of contrasts (they can be found on the Itten circle using an X, square or rectangle diagram).

Usage warm colors based on:

• Red with white, black, yellow, blue, green.
• Orange with olive, faded green, lilac.
• Purple with grey, pale yellow, green and brown.
• Pink with white and black, shades of green and blue.
• Yellow with grey, black or blue.

Basis of use cool colors are:

• Olive with orange, light brown.
• Blue with yellow and red.
• Green with yellow, black and grey.
• Lilac with white, pink and yellow.
• Blue with white, gray, red and yellow, pink.

Cold and warm shades should be used with caution, because they are designed to evoke associations (snow and frost, sun and warmth). In design practice, the following color combinations are not recommended: black/brown, blue/green, red/lilac, deep blue/black.

Using the Itten circle and the basic laws of color theory will help you create amazing creations in any field and awaken the necessary feelings and emotions.

To start - organizational announcement - I remind you that we have paid color type analysis . Starting from the summer, I plan to add some items to the analysis as a 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 a terrible secret. There is one trick with complimentary flowers, which not everyone knows. The overwhelming majority of image consultants have never even heard of it, since they spend too little time studying color. And what we will talk about today will be a deep dive into color theory.
It seems to be common knowledge that complimentary colors- these are those that are opposite each other on the color wheel.
Complementary colors enhance each other and when mixed produce a neutral gray color without undertones.
If you use the usual 12 private Itten circle, then, for example, the intensifier of yellow will be violet

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

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

In fact, If you mix lilac and yellow, you won't get gray . And if you mix red and green, it won’t work either. But if you mix blue-lilac with yellow, it will work.
Why is this happening?
The fact is that The 12-part Itten circle, which is useful for combining multiple colors using geometric patterns, does not work for complementary colors. because it is... approximate, not accurate. The color spectrum is continuous, it can be divided into many parts, but let's see what color is opposite yellow on the continuous color wheel?
In the picture, red is highlighted, but yellow can also be traced - opposite it is blue-lilac. and opposite lilac is already yellow-green.

The fact is that the color space from red to yellow is smaller than from green to lilac - because 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 three-dimensional Munsell color tree is considered the most accurate representation of color. . Look, there is no orange in it, and there are only 10 colors.

Munsell believed that there were 5 primary colors and 5 additional ones, and the exact color wheel should look like this.

And from a scientific point of view, Munsell is right.
Munsell pairs of complementary colors 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 complementary colors look like red And turquoise -

And here green And red-violet

violet And yellow-green

And finally blue-violet With yellow


These result in more stable and interesting combinations, don’t they?

Well, the question remains, why is the Itten circle still the main circle for working with color, and not the more accurate Munsell circle?
The point is that Munsell himself had a dispute with one color researcher, a teacher named Henry Bailey. Henry agreed that Munsell's circle was theoretically correct. But I thought that it was extremely difficult to teach color to anyone, excluding the color orange; it was logically more difficult to explain a color wheel with 10 parts. especially since psychologically we perceive this color as separate and very strong. Probably based on similar considerations (although I can’t say for sure), the Itten circle of 12 parts is basically used everywhere. Besides, The Itten circle is convenient specifically for constructing geometric combinations that turn out to be 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 established tradition, I will refer to the usual 12th private circle of Itten. Moreover, the main terminology is built specifically on the 12th private circle.

As promised, I’m transferring the summary here...

It is believed that there are three primary colors, and all other colors can be obtained by mixing the primary ones in different proportions...

All spectral the colors are called chromatic
All rest colors are obtained by mixing primary colors.
Gray white and black are called achromatic

Complementary flowers are oppositely located colors in the spectrum.
When they are located next to each other, they strengthen and ignite each other.

main color characteristics:

1. Color tone (shade in relation to the main color of the spectrum)

2. Lightness (more or less closeness of color to white)

3. Saturation (the degree of brightness of a color, varies depending on the presence of gray in it)

4. Warmth-coldness (All chromatic colors and their shades are divided into warm and cold.
Warm colors include the colors of fire and sun - yellow, orange.
Cold colors include the colors of water and ice - blue, blue.)

* Within each color there can be warmer and cooler shades. For example, a red color can be cold if it has a bluish tint, and warm if it has a yellow tint. Green with a yellowish tint is warm, and with blue it is cold.

...Warm and rich e (bright) colors attract more attention and give the impression of closeness to the subject. They are also called approaching], protruding.

... Cool colors and desaturated give the impression of distance. That's why they are called removing, retreating.

Yellow color has the greatest approaching effect, blue has the greatest distance effect. Colors depicted on the same plane may appear closer or more distant from the viewer. Using this property of colors, you can convey volume and relief, bring closer and highlight some parts of the photo and push others into the background.
The ability to zoom in and out of colors depends on the background on which they are located. On a light background, dark tones stand out better, dark tones stand out, light ones are lost, and on a dark background, light and bright tones stand out more, and dark ones disappear.
All chromatic colors stand out better against a gray background.

Depending on the light source, colors tend to change. In daylight, all colors look purer and more transparent. Under artificial lighting, color may change. For example, white and gray colors turn yellow, blue becomes darker and appears black, and purple can turn red or blue.

Depending on how the object is located to the light source, there are sixtransitional degrees chiaroscuro:

highlight - a particularly highlighted part of an object.
light part - the part of the object facing the light source;
semitone part an object located at any angle to the light;
shadow part - part of an object located on the opposite side from the light source;
reflex - light reflected from any surrounding objects.
shadow, falling from an object to another illuminated part;

The harmony of colors obeys certain laws, and in order to better understand them, it is necessary to study the formation of colors. To do this, use a color wheel, which is a closed spectrum band.


At the ends of the diameters dividing the circle into 4 equal parts, there are 4 main pure colors - red, yellow, green, blue

By mixing each color separately with white and black paint, light and dark tones of the same color are obtained.

Light colors are placed on the inside of the color wheel, and dark colors on the outside.

Monochrome - colors that have the same name, but different lightness, that is, transitional tones of the same color from dark to light (obtained by adding black or white paint in different quantities to one color). These colors are most harmoniously combined with each other and are easy to select.

Related colors are located in one quarter of the color wheel and have one common main color (for example, yellow, yellow-red, yellowish-red). There are 4 groups of related colors: yellow-red, red-blue, blue-green and green-yellow.

Related-contrasting colors are located in two adjacent quarters of the color wheel at the ends of chords (that is, lines parallel to diameters) and contain one common color and two other color components, for example, yellow with a red tint (yolk) and blue with a red tint (violet) . These colors are coordinated (united) with each other by a common (red) shade and are harmoniously combined. There are 4 groups of related-contrasting colors: yellow-red and yellow-green; blue-red and blue-green; red-yellow and red-blue; green-yellow and green-blue.
Related-contrasting colors are harmoniously combined if they are balanced by an equal amount of the common color present in them (that is, red and green colors are equally yellowish or bluish). These color combinations look sharper than related ones.

Contrasting colors. Diametrically opposite colors and shades on the color wheel are the most contrasting and inconsistent with each other.

The more colors differ from each other in hue, lightness and saturation, the less they are in harmony with each other.

Color- a certain relationship between all the colors and tones of the work, subordinate to the general tone. Color, depending on the predominance of certain tones, can be light or dark, bright or gloomy, cold or warm. In artistic photography, it is necessary that each color, taken in combination with other colors, does not protrude or disappear, but creates the overall impression of the main, fundamental tone. The richness of color lies not in diversity, but in the variety of shades and color transitions.

There are several rules that will help you when choosing a harmonious combination of colors.

Color -----------------> Harmonizing colors

Color - Red
Harmonizing colors - Green, gray

Color - Raspberry
Harmonizing colors - Pearl gray, mauve

Color - Dark red (bardo)
Harmonizing colors - Black, blue, beige

Color-Scarlet
Harmonizing colors - Light blue, green

Color: Deep pink
Harmonizing colors - Various shades of blue

Color: Brown Pink
Harmonizing colors - Blue, cream

Color: Pale Pink
Harmonizing colors - Light green, pale lilac, blue

Orange color
Harmonizing colors - Violet, pale blue, bright blue

Color: Straw yellow
Harmonizing colors - Pale pink, grayish blue, green

Yellow color
Harmonizing colors - Purple, blue, green

Color-[Pale yellow
Harmonizing colors - Light lilac, grayish pink, pale green

Color-Golden
Harmonizing colors - Light gray, green, dark red

Color - Dark Green
Harmonizing colors - Brown, beige

Color: Grey-green (sea green)
Harmonizing colors - cornflower blue, orange

Color-Blue
Harmonizing colors - Yellow, sand, orange, pink

Color - Pale green
Harmonizing colors - Dark green, lilac pink

Color-Grey-blue
Harmonizing colors - Bordeaux, gray

Color-Purple
Harmonizing colors - Light and dark shades of green

Color - Pale lilac
Harmonizing colors - Green, gray, mauve

Color-Mauve
Harmonizing colors - Emerald green, dark red, brown

Brown color
Harmonizing colors - Orange, red, beige

Color: Gray
Harmonizing colors - Violet, crimson, pale lilac

Primary colors of the rainbow, arranged according to their position in the spectrum (1)
and in descending order of lightness (2).
3 - monochrome version of color range 2

Contrast of light and dark tones:
Our vision is most sensitive to changes in brightness - we perceive not only strong differences in light and dark, but also the subtlest nuances of changes in the lightness of tones.


Between complementary colors, the color contrast of which is considered very strong, there is a different contrast in brightness - between red and green it is the smallest, and between yellow and violet it is maximum.

A harmonious photo often contains, in greater or lesser quantities, a set of halftones of varying brightness from very light to very dark. Changing the distribution of halftones in a photo can often correct a dull photo.

color contrast:
It is believed that the simultaneous contrast of three main colors is the strongest.

A color image based on color contrast may lose its information content when converted to monochrome.

Color contrast enhances feelings of cheerfulness, purity, determination, and energy. It is used to convey strong emotions.

Author of the photoAndrey Turtsevich

Contrast of warm and cold:

Surprisingly, the warm and cool colors that are so naturally associated with temperature can also convey a sense of depth in space. The reason for this is the properties of the earth's atmosphere to color distant objects in bluish tones. The further an object is from us, the colder it appears. Artists use this to enhance the feeling of closeness of objects, deliberately painting them in warmer colors.

By using the contrast of warm and cold, you can enhance the sense of depth in landscape photography,
the contrast of warm and cold can be used to convey dynamics.

The situation when distant objects are shown in the frame in warmer colors can lead to dissonance.

Contrast in area of ​​color spots:
The principle of using color contrast over an area is that to enhance the sound of any color shade, it is used in smaller quantities. By changing the proportions of colors in the frame, you can create a new color effect. To correctly determine the proportion, it is necessary to take into account that the impact of color is determined not only by the occupied area, but also by other types of color contrast.

The lighter the color, the smaller its proportion should be to achieve the effect of contrast in area.

Here are the approximate values ​​of the degree of lightness of the main unbleached colors of the rainbow on a ten-point scale: red - 6, orange - 8, yellow - 9, green - 6, blue - 7, blue - 4, violet - 3.

A harmonious combination is provided by shades, the general perception of which corresponds to monochrome gray, however, to create a harmonious work, it is necessary to take into account both the color shade itself and the area it occupies.

For example, red and green are complementary colors. This means that their combination will be perceived as a harmonious neutral range if each color in the photograph takes up an equal area, for the reason that the degree of lightness of both colors is approximately the same.

The situation is different when using another combination of additional colors - purple and orange. Since yellow is three times lighter than violet, to achieve a harmonious monochromatic effect, it must be taken in three times less quantity.

If we correlate red and green colors in a 1:3 ratio, we will get a completely different perception of the gamut of red and green, where the effect of the area of ​​color spots will create a new effect.

Contrast of additional colors:

Unlike other types of contrast, this one appears between specific pairs of shades - for each color there is a single color that is complementary to it. Complementary colors are two colors that, when mixed, give a neutral tone. The theory of color harmony is based on the effect of additional shades - the most harmonious is considered to be such a combination of several shades, the general perception of which would correspond to a neutral tone.

The contrast of complementary colors is one of the strongest; when using it, it is necessary to take into account not only the psychology, but also the physiology of human perception of color. For example, looking at a monochromatic object will cause the sensation of an additional color to appear in the visual field. This effect must be taken into account when composing color photographs.

Thanks a lot Andrey Turtsevich for such an intelligible presentation of the topic!