COLOR The Seven Color Contrasts waligore99

Johannes Itten The Elements of Color

Josef Albers The Interaction of Color

HUE:

Hues are defined by wavelength. We break white light into the spectrum; the resulting colors have different wavelengths. When we connect both ends of the spectrum to form a circle, we create a color wheel. We can also locate hues in terms of their function as color primaries. The additive primaries of light are red, green, and blue. In the context of working with projected light, the additive primaries combine to make white light. The subtractive primaries of pigment are yellow, cyan, and magenta. These primaries that we observe through viewing reflected light combine to create black, or a nuetral color such as brown.

These two color triads, represented by the additive or subtractive primaries, create extreme contrast of hue when used in a composition. Contrast of hue would bring two or more different hues together in a single composition. Repetition of one or more hues can guide the viewer's eye through a complex composition. Color can be used to organize the picture plane.

VALUE / BRIGHTNESS / LIGHT & DARK:

We can change the value of a color by adding black (lowering the value) or adding white (raising the value). We consider the value of a color in relationship to its position on a scale from light to dark. A "tint" is a hue mixed with white. A "shade" is a hue mixed with black. A "tone" is a hue mixed with grey or with a complement. The apparent value of a hue can be altered through the presence or absence of light. When we employ "notan" or flat value pattern, we consider the distribution of dark and light values throughout the picture plane. Chiaroscuro (or light and dark) refers to the description of forms that emerge from deep space. This use of value emphasizes three-dimensionality. The portraits of Rembrandt rely on this method of rendering, using light to model form. The subject appears to have weight or volume and exists in an illusory space.

Contrast of value can be attained by using light and dark values that relate to a single hue as in the use of monochrome. (A composition comprised of only grey, black, and white is called achromatic or without color.)

Both high key and low key compositions are examples of contrast of value. A high key composition emphasizes light values and includes fewer dark values. A low key composition is dominated by dark values and includes a minimum of light values.

Contrast of value can be achieved by selecting colors with different values. Yellow is a light value color while purple is a dark value color. We need to make the connection between the actual color of the subject and its inherent value. Light values tend to advance and dark values will recede, affecting the spatial organization of the composition. The contrast of light and dark values in the foreground of a composition will jump forward while soft value gradations--as in atmospheric perspective in the background of a landscape--will drop back.

SATURATION:

The presence or absence of light affects the apparent relative intensity of a color. Saturation specifically refers to the amount of pigment present in a given color mixture or the degree of purity of a color. Usually the saturation level of a color is highest at its home value position on the color wheel. Pure color is color at its highest level of saturation. Adding grey, black, white, or any color to an existing color will lower its saturation. Contrast of saturation refers to the presence of different saturation levels of a hue in an image. Contrast of saturation can be achieved as well through the juxtaposition of a pastel color with a dayglo color. Saturated colors or pure colors--like the coloration of a stop sign or warning sign--attract attention. Saturated colors advance spatially while dull colors tend to recede. Color intensity is relative. A field of intense colors lacks contrast of saturation.

COMPLEMENTARY
The complement pairs are useful tools for the artist drawn to visual contrast. The pairs may be pure opposites (blue/yellow, red/cyan, green/magenta), near complements (blue-green & purple-blue VERSUS yellow-green & yellow-orange) or split complements (blue VERSUS yellow-green & yellow-orange). Unlike complementary colors, analogous colors represent hues that lie close to each other on the color wheel (i.e. yellow, orange, red). They create visual harmony in a composition.

TEMPERATURE / WARM & COOL

We consider warm colors to be those that we associate with heat--red, yellow, orange--while cool colors are those that we associate with ice--blue and purple. Warm colors advance and cool colors recede, affecting the perception of depth. This theory is based upon that fact that the eye adjusts when focussing on colors of different wavelengths. Red lightwaves have a longer wavelength than blue ones. However, Josef Albers points out that "optical and perceptual registration are not necessarily parallel." An image containing both cool and warm colors would demonstrate contrast of temperature or warm/cool contrast.

SIMULTANEOUS

Simultaneous contrast or afterimage refers to the production of a subtle optical effect based on a psycho-physiological response. When one stares at a single color, like red, the light sensitive cones in the retina begin to fatigue. Consequently, the remaining sensors for blue and green, become stimulated. When one turns to view a white screen, a cyan or blue-green afterimage is produced. One variation of simultaneous contrast refers to the induction of a complement in a nuetral color. When a nuetral such as grey or brown is located next to a saturated color, the nuetral color appears to acquire a subtle hint of the saturated color's complement. A grey field will appear slightly green if placed adjacent to a magenta field. The area and saturation of the color field will determine the degree of the induction of the complement in the nuetral tone. When two adjacent colors are not perfect complements, each color will begin to take on the complement of the other color. Color relativity is dynamic. Another manifestation of this psycho-physiological phenomenon occurs with vibrating boundaries. Color vibration will occur along the boundary separating contrasting hues of equal value.

EXTENSION / PROPORTION

The color contrast of extension / proportion relates to the respective values of colors and their distribution over an area of a composition. Extension / proportion involves an application of the relatives values of various colors to create harmony. For example, two colors of equal value (such as red and green) cover the same relative AREA of the composition. Consequently, they compete for visual dominance. When a large field of green includes a small area of red, then contrast is created. The red is emphasized.

Since yellow is a light value color and purple is a dark value color, every 3 sections of yellow in a composition should be balanced with 9 sections of violet in order to create harmony. Using primary and secondary colors one might assign the following numerical values: green (6), yellow (3), orange (4); red (6), violet (9), blue (8). These numbers are derived from the relative home value position of each hue. If white or black is added to a color, the home value position will be raised or lowered. Extension / proportion is the most difficult color contrast to understand. Try to become aware of the relative VALUE AND SIZE of color areas in the composition.

RELATED COLOR TERMS

Local color is the color normally associated with a given subject--i.e. green is the color used to represent grass.

Arbitrary color is a substitution of an unusual color for a local color--the application of purple or orange color might be used to transform green grass.

COLOR AND CULTURE:                                                   

Color is a part of our visual field.  Color can be used as a tool to organize space.  We assign color codes to file folders, traffic signs, and holidays.  Consider the power of color symbolism.  In different contexts and different cultures a specific hue may carry a different meaning.

Color is closely associated with mood.   Reflect on the connections between a particular hueãand its respective value and saturationãand the viewerπs interpretation of its symbolic role in the image.  Colors can have positive or negative attributes.

Warm colors:   fire, sunlight, blood, greater luminosity

Cool colors:    ice, cold, darkness

RED: excitement, emotion, ardent love, valor, passion, fever, cruelty, wrath, sin, (scarlet letter, red heart)

YELLOW: light, gold, church, sickness, treason, cowardliness,

(in China yellow is an imperial color)

GREEN: organic matter, fruitfulness, growth, contentment, tranquility, hope, sadness, decay, youth, springtime, jealousy, spirituality (blue-green)

ORANGE:  radiance, festivities, warmth, intimacy,

VIOLET: mystery, oppression, menace, terror, seduction, darkness, pietry, supersition, death, royalty

BLUE:  truth, divinity, eternity, loyalty, constancy, calm, shyness, death, coldness

WHITE:  light, triumph, innocence, purity, joy, divine power, regeneration, ghost, spirit, sickness, pallor, (symbol of death in some cultures)

BLACK: quiet, rest, strength, weight, richness, seclusion, absence of light, powers of darkness, mourning, death,  loss of innocence