7.1. Contrast of color comparisons

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Contrast color comparisons – the easiest of all seven. It does not impose large requirements for color vision, because it can be demonstrated by all the pure colors in their saturation limit.

Like black and white form the strongest contrast of light and dark, and yellow, red and blue color have the most strongly pronounced color contrast (Fig. 4). To verify this, you need at least three bright and quite distant from each other in color. This contrast gives the impression medley, strength, determination. The intensity of the color contrast is always reduced to the extent that we have chosen as the color removed from the main three. For example, orange, green and purple in its contrast is much weaker than the yellow, red and blue colors and third-order effects are even less apparent. When each color is separated from each other by black or white lines, their individual character becomes more pronounced sharply, and the mutual influence and mutual radiation thereby reduced. Each color in this case shows, first of all, its real concreteness. Although the main group three colors of yellow, red and blue represents the color contrast is large, but all other pure colors can certainly be represented in a number of strong color contrasts (Fig. 6).


If you change the brightness of the color contrast color gets a lot of brand-new expressive qualities (Fig. 7). The number of variations is very large, and in accordance with the equally infinite number of expressive possibilities. The inclusion of black and white colors in the palette depends on the topic and the individual preferences of the artist. As was shown in the figures relating to the “Color and color effects,” white brightness weakens the surrounding colors and making them darker, black, on the contrary, – increases their brightness and makes them lighter. Therefore, black and white color are important elements of the compositions (Fig. 5). For these exercises, it would be possible to use the free play of color spots. However, this method of working can lead to dangerous consequences. Students immediately begin to get involved in forms, instead of studying the actual effect of color patches and their voltage and draw spots. However, this color pattern in this case, the enemy of all the beautiful art. To avoid this, we use the most simple stripes or a checkerboard grid. In the exercise shown in Figure 8, with yellow, red, blue, white and black colors are staggered, to disciple seeks to arrange the colors in two directions, in order to develop a sense of the color intensity of spots. The composition of Figure 9 consists of local color, a high aperture ratio, as well as bleached and darkened gradations here and included white and black. When the system of color combinations, as shown in Figure 6, will be assimilated, you can quickly choose the colors for the exercise of drawing 10.

Very interesting results are obtained if one of the colors play a key role, and the rest is used in small quantities – only to emphasize the quality of the main color. Emphasizing any one color, we strengthen the overall expressiveness of the work. After each geometric exercises recommended to give the job to perform free compositions according to the nature of this contrast.

Within the color contrast can be solved many beautiful themes. This contrast gives the feeling of a special medley of life generated by the elemental force. Nezatemnёnnye colors first and second order always evoke in us a sense of the firstborn of space-luminous and life-affirming forces of materiality. Therefore, they are especially good for the theme “The Coronation of Mary”, and for a realistic still life.

On the color contrasts based folk art from different countries. Colourful embroidery, costumes and ceramics show the natural joy that cause the bright colors. The decorated with miniatures of early medieval manuscripts contrasts of color are used in a variety of versions, and in a lesser extent the motives of the spiritual order, and more – in order to create a joyful decorative medley.

Color contrast can often be found in the stained-glass windows, especially early, where their elemental force takes over plastic forms of architecture. Stephan Lochner, Fra Angelico, Botticelli and other artists built their paintings, using primarily the principle of color contrast. Perhaps the most remarkable example of the manifestation of the semantic data beginning contrasting relationships is the work of Grunewald “The Resurrection of Christ”, because here they convey a sense of some comprehensive universal expression. In Botticelli’s painting “The Entombment” color contrasts, which built the picture, gives the artist the opportunity to show the greatness of this exciting scene. Its overall color scheme symbolizes the cosmically-significant moment of this global event. It is recognized that the expressive possibilities of each individual color contrast can be manifested in many different ways. They can be used to express the high jinks, deep sorrow, earth and space firstborn versatility. A number of contemporary artists, such as Matisse, Mondrian, Picasso, Kandinsky, Miro and Leger often worked using contrasts of color relations. Especially Matisse, who wrote a lot of still lifes and figure compositions using the diversity and strength of the contrast. A good example of this is the portrait of a woman “Amber necklace”, written by him clean tones – red, yellow, green, blue, red, purple, white and black. These combinations were his expressive characteristic of a young, lively and intelligent creatures. The artists of the “Blaue Reiter” – Kandinsky, Franz Marc and August Macke in the early periods of the working almost exclusively on color contrasts. Because of the huge number of possible examples I have chosen the following works: “The Church in Ephesus” in the Apocalypse of the North in September, XI century, Paris, National Library; “Coronation of Mary” E. Sharontona, XV century, Villeneuve-les-Avignon; “Walk in the day in May” from “Rich Book of Hours Duc de Berry” Paul Limburg, 1410, Chantilly, Musée Condé; “Composition 1928” Piet Mondrian, the Assembly Mart Stam.