Hexagons may be prepared in two different ways.
In dvenadtsatichastny color circle can instead of a triangle or a square inscribed hexagon. And then a harmonious sixth set will be based on three pairs of complementary colors. It is possible to enter two of the hexagon consisting of yellow, purple, blue, red, green and yellow-orange, blue-violet, red-orange, red-violet, yellow-green and blue-green. These hexagons can be placed in a color ball, and rotating them get through bleached or darkened tones interesting color combinations. Another way to join the hexagon is black and white to four pure color. We put a square in the equatorial belt of the color of the ball and get chetyrёhzvuchie based on two pairs of complementary colors. Then, connect each corner of the square with white top and black at the bottom, as shown in Figure 56. As a result, we get the octahedron. Any four-color harmony that can be built in the equatorial zone can be converted to include a black and white in harmony of six colors. Instead, a square can also be used and a quadrilateral.
With the help of the triangle, which as the main figure is combined with white and black color, you can get a harmony of five colors. It may consist, for example, of the following colors: yellow, red, blue, black and white or orange, purple, green, white and black. After all that has been here, it is clear that the choice of color combinations and their modulation as the basis of the image can not be arbitrary. It is clear that all the starting points are determined by the selected artist subject or theme abstract works. However, the choice of color combinations and their development – an objective reality and manifestation of caprice or superficial speculation is inappropriate here. Each color and each color group – a special kind of personality that develops and lives by its own laws. The sense of color harmony is to correctly using contrasting colors, to be able to achieve the most dramatic effect of color. The main yellow-red-blue chord must show how the structural arrangement of harmonies, you can get different variations of different color impact. One option – it is when yellow is situated between red and blue, the other – when the red is between yellow and blue, or blue between yellow and red. The colors of the main harmonies can be combined with darkened tones of pure colors, creating a contrast of saturation. All three colors could be darkened and lightened based on the contrast of light and dark. If all three colors were similarly lightened and pure colors would be present here in the form of small strips, this combination would provide a contrast distribution. In the same case, when one starts to quantify the color prevail over the other, expressive sound is achieved by color. If you go so far as to change any pure color harmonies on the right and left of it, that is to replace the yellow yellow-green and yellow-orange or red – red-orange and red-purple, and blue – blue-green and blue-purple, the combination consisting of three colors become a chetverozvuchie that greatly enrich the opportunities of our variations. These examples show that the theory of harmonious chords not sought to limit the imagination, but rather opens up more opportunities to achieve different manifestations of expressive color.