1
00:00:08,780 --> 00:00:11,260
Joseph Edwards was a big influence on my teaching,

2
00:00:12,020 --> 00:00:13,660
but when I first started teaching color,

3
00:00:14,320 --> 00:00:18,100
the first book I looked at was The Art of Color by Johannes Itten.

4
00:00:22,960 --> 00:00:24,400
When we open The Art of Color,

5
00:00:24,560 --> 00:00:27,620
one of the first things we see is Johannes Itten's color wheel.

6
00:00:28,720 --> 00:00:33,560
And this particular color wheel is a wonderful invention.

7
00:00:33,980 --> 00:00:35,280
It teaches us all about

8
00:00:35,280 --> 00:00:40,280
the system of colors that we can see within the visible chromatic spectrum.

9
00:00:42,420 --> 00:00:44,340
Itten has isolated certain colors.

10
00:00:44,720 --> 00:00:46,520
So he has the primary colors in the center,

11
00:00:47,220 --> 00:00:47,500
yellow,

12
00:00:47,880 --> 00:00:48,500
blue and red.

13
00:00:49,000 --> 00:00:52,700
The secondary colors adjacent to those primaries,

14
00:00:53,380 --> 00:00:54,720
though yellow and red

15
00:00:55,660 --> 00:00:56,960
mixes to be orange,

16
00:00:57,580 --> 00:00:59,340
red and blue mixes to be purple,

17
00:00:59,940 --> 00:01:02,640
and blue and yellow mixes to be green.

18
00:01:03,660 --> 00:01:05,240
These are the secondary colors.

19
00:01:06,240 --> 00:01:09,480
They point to themselves on the color wheel.

20
00:01:11,040 --> 00:01:13,720
And then in between those primary,

21
00:01:14,220 --> 00:01:15,520
red, yellow, blue, and secondary,

22
00:01:15,940 --> 00:01:20,820
green, orange, and purple colors, are the tertiary, or in-between colors.

23
00:01:21,580 --> 00:01:23,080
Yellow-green, yellow-orange,

24
00:01:23,440 --> 00:01:24,780
red-orange, red-violet,

25
00:01:25,120 --> 00:01:26,580
blue-violet, blue-green.

26
00:01:28,520 --> 00:01:30,420
Altogether, we have these 12 colors.

27
00:01:31,300 --> 00:01:33,100
And of course, in a visible spectrum,

28
00:01:33,260 --> 00:01:34,880
there's continuous, with no breaks.

29
00:01:35,460 --> 00:01:38,240
But we can isolate them down to 12 distinct hues.

30
00:01:39,240 --> 00:01:41,140
Each hue has many lights,

31
00:01:41,340 --> 00:01:43,360
many darks, many tints, many shades,

32
00:01:43,760 --> 00:01:46,020
many vivids, and many dulls.

33
00:01:46,240 --> 00:01:49,460
An infinite number of different colors within each hue.

34
00:01:50,540 --> 00:01:54,240
But this is a really good way to simplify our perception of color,

35
00:01:54,700 --> 00:01:55,740
how we see color,

36
00:01:56,100 --> 00:01:57,500
in terms of primary colors,

37
00:01:58,180 --> 00:02:02,780
secondary colors, and then all 12 colors of the visible chromatic spectrum.

38
00:02:04,520 --> 00:02:11,100
Johannes Itten was one of the original teachers at the Bauhaus.

39
00:02:11,260 --> 00:02:17,280
And in fact, he created the foundation course that all students at the Bauhaus took.

40
00:02:18,080 --> 00:02:20,420
Joseph Albers was actually one of his students,

41
00:02:20,660 --> 00:02:22,220
and later taught the same course,

42
00:02:22,580 --> 00:02:24,380
after Itten was no longer at the Bauhaus.

43
00:02:25,800 --> 00:02:27,340
What Itten tried to do,

44
00:02:27,620 --> 00:02:29,300
in his teachings of the fundamentals,

45
00:02:29,820 --> 00:02:31,860
was to create a system of contrast

46
00:02:32,540 --> 00:02:34,660
that would allow students and teachers

47
00:02:35,380 --> 00:02:36,860
to have a universal language,

48
00:02:37,000 --> 00:02:38,380
a shared universal language,

49
00:02:39,240 --> 00:02:40,580
for talking about the art and design

50
00:02:40,580 --> 00:02:42,340
that they were looking at and working on.

51
00:02:43,120 --> 00:02:46,360
One very important part of that universal language,

52
00:02:46,520 --> 00:02:47,360
in terms of color,

53
00:02:48,240 --> 00:02:49,800
that Itten created,

54
00:02:50,280 --> 00:02:51,420
or devised,

55
00:02:52,400 --> 00:02:53,760
was the seven color contrast.

56
00:02:54,620 --> 00:02:58,020
His way of describing what goes on when we look at color.

57
00:02:59,040 --> 00:03:02,520
It allowed him to talk about color in very specific terms,

58
00:03:02,980 --> 00:03:04,840
and allowed students to understand color

59
00:03:04,840 --> 00:03:06,280
in a very systematic way.

60
00:03:07,260 --> 00:03:10,120
So the first of the seven color contrasts

61
00:03:10,120 --> 00:03:11,220
is contrast of hue.

62
00:03:12,260 --> 00:03:13,420
Think back to that color wheel.

63
00:03:13,540 --> 00:03:14,920
There are 12 different hues.

64
00:03:15,500 --> 00:03:17,520
So if we're just talking about contrast of hue,

65
00:03:17,600 --> 00:03:20,020
we're really talking about the contrast of all colors.

66
00:03:21,240 --> 00:03:23,400
But you can break that down into the contrast

67
00:03:23,400 --> 00:03:24,480
of the primary colors,

68
00:03:25,340 --> 00:03:27,060
contrast of the secondary colors,

69
00:03:27,740 --> 00:03:29,520
or the contrast of all colors together.

70
00:03:30,600 --> 00:03:32,360
And here we see a pretty good example of that.

71
00:03:32,560 --> 00:03:34,340
We have the primaries, red, yellow, blue.

72
00:03:35,100 --> 00:03:37,420
We have green, which is the secondary color.

73
00:03:37,540 --> 00:03:39,660
And then we have the blacks and the whites.

74
00:03:40,860 --> 00:03:41,840
So kind of reduce,

75
00:03:41,980 --> 00:03:43,100
oh, we have one more color here,

76
00:03:43,220 --> 00:03:45,820
sort of a desaturated red-violet.

77
00:03:46,320 --> 00:03:49,080
But it's a good demonstration of contrast of hue.

78
00:03:50,500 --> 00:03:53,040
Itten also used grids,

79
00:03:53,460 --> 00:03:57,200
color grids, like this, to describe these color contrasts.

80
00:03:57,200 --> 00:04:01,160
And his students would perform experiments with color using color grids.

81
00:04:02,160 --> 00:04:06,020
The great thing about a color grid is that it takes away the burden of representation.

82
00:04:06,020 --> 00:04:11,840
You're no longer consumed with making a landscape or making a portrait or a vase of flowers.

83
00:04:12,660 --> 00:04:14,640
You're just thinking about the interaction of colors,

84
00:04:14,900 --> 00:04:16,320
how one color relates to another,

85
00:04:17,540 --> 00:04:20,460
usually with these edges that exist in between the colors.

86
00:04:24,520 --> 00:04:28,940
Itten would always take his students on field trips.

87
00:04:29,180 --> 00:04:30,980
Now, you can imagine, this is Germany,

88
00:04:32,140 --> 00:04:33,560
early 20th century.

89
00:04:33,920 --> 00:04:36,000
There were a lot of places to look at art.

90
00:04:36,260 --> 00:04:38,500
You could go to a church and look at real art.

91
00:04:39,580 --> 00:04:40,560
They didn't have slides.

92
00:04:40,680 --> 00:04:42,960
They didn't have digital technology to show this stuff with.

93
00:04:43,100 --> 00:04:46,400
So he would actually take his students and look at this stuff in person.

94
00:04:46,700 --> 00:04:47,820
And here we see an example.

95
00:04:48,980 --> 00:04:50,380
This is 11th century.

96
00:04:51,840 --> 00:04:53,620
Primary colors, red, yellow, and blue.

97
00:04:54,300 --> 00:04:55,420
So Itten would look at this,

98
00:04:55,460 --> 00:04:55,960
and he would say,

99
00:04:56,100 --> 00:04:59,140
look how the primary colors are exemplified

100
00:04:59,140 --> 00:04:59,840
in this piece.

101
00:04:59,840 --> 00:05:05,300
How this artist was able to isolate just those three colors with a little bit of green,

102
00:05:05,860 --> 00:05:07,020
a little bit of brown,

103
00:05:07,220 --> 00:05:10,280
but mostly the primaries, red, yellow, blue.

104
00:05:11,380 --> 00:05:18,680
Another painting, obviously, a religious theme painting,

105
00:05:19,220 --> 00:05:19,940
15th century.

106
00:05:21,140 --> 00:05:25,620
Heavy emphasis on reds and oranges,

107
00:05:26,140 --> 00:05:28,280
some desaturated colors down here.

108
00:05:30,600 --> 00:05:31,000
1410,

109
00:05:31,980 --> 00:05:32,380
Paul D.

110
00:05:32,440 --> 00:05:32,860
Limburg.

111
00:05:33,700 --> 00:05:35,140
The blue,

112
00:05:35,840 --> 00:05:37,880
some yellows, some reds,

113
00:05:38,260 --> 00:05:39,000
greens at the bottom,

114
00:05:40,160 --> 00:05:40,960
blues at the top.

115
00:05:43,960 --> 00:05:46,680
And then his last example, of course, Mondrian,

116
00:05:47,700 --> 00:05:48,820
who was a contemporary.

117
00:05:48,820 --> 00:05:51,140
This painting was done in 1928,

118
00:05:51,700 --> 00:05:54,480
long after Itten was gone from the Bauhaus.

119
00:05:55,640 --> 00:05:55,860
Mondrian,

120
00:05:56,740 --> 00:06:01,720
painting, of course, very popular at that time amongst avant-gardists.

121
00:06:03,140 --> 00:06:05,260
Very simple compared to others,

122
00:06:05,360 --> 00:06:07,380
but still using those same ideas.

123
00:06:07,760 --> 00:06:09,060
Primary colors, red, yellow, blue,

124
00:06:09,640 --> 00:06:11,540
in this case, mixed with black, white, and gray.

125
00:06:12,260 --> 00:06:18,240
I always like to think that one can learn everything they need to know about basic color and composition

126
00:06:18,240 --> 00:06:19,500
from looking at Mondrian.

127
00:06:20,460 --> 00:06:21,900
The second color contrast,

128
00:06:22,040 --> 00:06:23,200
contrast of light and dark,

129
00:06:23,780 --> 00:06:25,740
or we say value,

130
00:06:26,540 --> 00:06:28,540
value meaning light value, light and dark.

131
00:06:29,460 --> 00:06:30,820
But we start with contrast of hue,

132
00:06:30,920 --> 00:06:32,420
now we have contrast of light and dark.

133
00:06:33,020 --> 00:06:35,460
This is really talking about the possibilities

134
00:06:35,500 --> 00:06:39,440
for any color to have tints or shades.

135
00:06:40,500 --> 00:06:42,100
But first we start with black and white.

136
00:06:42,780 --> 00:06:50,300
And Itten shows us many different examples of works simply in black and white,

137
00:06:50,440 --> 00:06:52,360
in which value, or light and dark,

138
00:06:52,560 --> 00:06:55,120
is an essential factor in how we see the work.

139
00:06:56,980 --> 00:07:01,100
Beautiful Seurat.

140
00:07:01,860 --> 00:07:03,620
So much about light and dark.

141
00:07:04,200 --> 00:07:05,200
And then from there,

142
00:07:05,660 --> 00:07:06,500
he says, well,

143
00:07:06,900 --> 00:07:09,320
every hue has light and dark variants.

144
00:07:09,880 --> 00:07:13,040
The interesting thing about this chart is,

145
00:07:13,200 --> 00:07:15,500
again, one of the most effective ways of looking at color

146
00:07:15,760 --> 00:07:17,980
is to see its relationship to other colors.

147
00:07:18,860 --> 00:07:22,400
But note that when we look at each of these columns,

148
00:07:23,160 --> 00:07:24,340
each column is a hue.

149
00:07:25,720 --> 00:07:26,400
We have purple,

150
00:07:27,340 --> 00:07:28,400
blue-violet, blue,

151
00:07:28,720 --> 00:07:29,700
blue-green, green,

152
00:07:30,220 --> 00:07:36,220
yellow-green, yellow, yellow-orange, orange, red-orange, red, and red-violet, and then gray on this side.

153
00:07:37,500 --> 00:07:40,140
We can also note that what we consider

154
00:07:40,140 --> 00:07:41,680
to be the purest of the colors,

155
00:07:41,900 --> 00:07:42,940
the colors that we identify

156
00:07:43,260 --> 00:07:45,580
most with the identity of the color,

157
00:07:46,000 --> 00:07:49,880
actually lies in different parts of those columns.

158
00:07:50,860 --> 00:07:52,360
So when we think of purple,

159
00:07:52,760 --> 00:07:54,900
we're thinking of a color that is down here,

160
00:07:55,240 --> 00:07:56,140
not up here.

161
00:07:56,500 --> 00:07:58,020
This might be a lavender,

162
00:07:58,280 --> 00:08:00,480
but it's not purple or violet.

163
00:08:00,700 --> 00:08:03,740
When we think of blue-violet or navy,

164
00:08:03,940 --> 00:08:05,840
we're really thinking about a color in this range.

165
00:08:06,760 --> 00:08:08,360
Blue here,

166
00:08:09,180 --> 00:08:12,880
blue-green here, green here, yellow-green, maybe here or here,

167
00:08:13,300 --> 00:08:14,060
yellow here.

168
00:08:14,820 --> 00:08:16,040
So we go from purple,

169
00:08:16,480 --> 00:08:19,680
which is really low on the value scale,

170
00:08:20,420 --> 00:08:21,920
very close to black,

171
00:08:22,280 --> 00:08:23,580
very far away from white,

172
00:08:24,320 --> 00:08:24,820
yellow,

173
00:08:25,300 --> 00:08:27,780
which is the lightest color on the value scale,

174
00:08:27,920 --> 00:08:28,920
very close to white,

175
00:08:29,480 --> 00:08:30,900
very far away from black.

176
00:08:32,460 --> 00:08:35,180
And then we proceed down, orange here,

177
00:08:35,760 --> 00:08:36,800
red-orange, red.

178
00:08:37,520 --> 00:08:40,580
Red and green are sort of in the middle of value scale.

179
00:08:41,480 --> 00:08:44,140
And then red-violet, again,

180
00:08:44,460 --> 00:08:47,960
marching down a little bit toward the area where purple and blue is.

181
00:08:49,020 --> 00:08:49,940
So right away you can start

182
00:08:49,940 --> 00:08:54,640
to say, oh, okay, so if I want to use a color that has many tints,

183
00:08:54,940 --> 00:08:59,960
going to be purple or blue, maybe blue-violet,

184
00:09:00,340 --> 00:09:01,120
maybe green,

185
00:09:01,560 --> 00:09:02,300
maybe red.

186
00:09:03,460 --> 00:09:05,440
If I want a color that has many shades,

187
00:09:05,860 --> 00:09:07,900
many darker variants, it's going to be a lighter color,

188
00:09:07,980 --> 00:09:09,100
like yellow or orange.

189
00:09:09,600 --> 00:09:11,180
Yellow has many shades,

190
00:09:11,400 --> 00:09:12,300
but very few tints.

191
00:09:12,800 --> 00:09:14,340
Purple has many tints,

192
00:09:14,500 --> 00:09:15,740
but very few shades.

193
00:09:16,740 --> 00:09:20,340
As we look further,

194
00:09:20,460 --> 00:09:22,920
we can see examples, again, historical examples,

195
00:09:23,600 --> 00:09:26,640
1598, where contrast of value,

196
00:09:26,800 --> 00:09:27,820
contrast of light and dark,

197
00:09:27,920 --> 00:09:29,440
is an essential part of the work.

198
00:09:30,180 --> 00:09:32,680
This painting is all about that idea.

199
00:09:33,440 --> 00:09:35,960
Intense light shining on these objects on a table

200
00:09:36,300 --> 00:09:37,960
with a very, very dark background.

201
00:09:39,240 --> 00:09:41,360
Some of you may know the term chiaroscuro,

202
00:09:42,140 --> 00:09:43,980
that idea of intense light and dark.

203
00:09:44,400 --> 00:09:45,840
This is a great example of that.

204
00:09:45,940 --> 00:09:46,860
So is Rembrandt,

205
00:09:47,200 --> 00:09:49,200
Rembrandt's work, 1606.

206
00:09:50,380 --> 00:09:52,100
Another great example of chiaroscuro.

207
00:09:52,100 --> 00:09:55,560
So all of our focus is up here on this lightest area.

208
00:09:56,260 --> 00:09:57,360
And then we go from there,

209
00:09:57,660 --> 00:09:59,240
the helmet, down to the face,

210
00:10:00,140 --> 00:10:01,520
a little bit of shininess down here,

211
00:10:01,580 --> 00:10:02,940
and then the rest of the composition,

212
00:10:03,200 --> 00:10:04,600
the rest of the painting is very dark.

213
00:10:05,940 --> 00:10:07,720
So we see how value,

214
00:10:08,220 --> 00:10:09,500
contrast of light and dark,

215
00:10:10,420 --> 00:10:11,620
creates visual hierarchy.

216
00:10:12,480 --> 00:10:14,080
Such an important part of design,

217
00:10:14,200 --> 00:10:14,360
right?

218
00:10:14,580 --> 00:10:16,000
Thinking about design fundamentals,

219
00:10:16,740 --> 00:10:19,080
directing the viewer's eye to a particular part of the composition.

220
00:10:19,900 --> 00:10:24,740
Rembrandt here was trying to describe something about this helmet as being important.

221
00:10:25,860 --> 00:10:26,980
And that's what we look at first.

222
00:10:27,700 --> 00:10:28,900
Of course, we're going to look at the face,

223
00:10:29,360 --> 00:10:30,720
but we're going to look at this helmet first,

224
00:10:30,800 --> 00:10:31,780
because it's the lightest.

225
00:10:35,040 --> 00:10:35,740
Picasso,

226
00:10:36,500 --> 00:10:37,900
great collage.

227
00:10:38,160 --> 00:10:39,800
It's a painting, but it looks like a collage,

228
00:10:40,300 --> 00:10:42,260
perhaps based on a collage.

229
00:10:42,680 --> 00:10:44,440
And we see here,

230
00:10:44,580 --> 00:10:51,200
again, how color can produce the idea of light and dark,

231
00:10:51,320 --> 00:10:53,920
contrast of value, just with color.

232
00:10:55,000 --> 00:10:58,980
So we have, obviously, the lighter areas, the white here and here,

233
00:10:59,880 --> 00:11:01,320
but we also have a light green.

234
00:11:02,940 --> 00:11:04,400
So like we saw on that chart,

235
00:11:04,820 --> 00:11:06,460
a color can be light or dark,

236
00:11:06,960 --> 00:11:09,360
just like this green is light compared to the blue, which is dark.

237
00:11:09,700 --> 00:11:12,980
So chroma can be light or dark,

238
00:11:13,080 --> 00:11:15,000
but also pure black and pure white,

239
00:11:15,080 --> 00:11:16,580
and the grays that exist in between,

240
00:11:16,980 --> 00:11:18,280
which include these browns.

241
00:11:18,760 --> 00:11:20,240
Brown is kind of like a gray.

242
00:11:22,020 --> 00:11:25,280
So Picasso is using contrast of value,

243
00:11:25,480 --> 00:11:26,520
contrast of light and dark,

244
00:11:27,080 --> 00:11:30,020
to control how our eyes move through this composition.

245
00:11:31,120 --> 00:11:32,660
We see the light areas first,

246
00:11:32,720 --> 00:11:33,820
because they stand out the most.

247
00:11:35,880 --> 00:11:39,140
Third contrast, we see the light areas.

248
00:11:39,140 --> 00:11:41,760
Third contrast, contrast of temperature, warm and cool,

249
00:11:42,420 --> 00:11:47,120
how colors can actually create the sensation of temperature change,

250
00:11:47,180 --> 00:11:49,280
warm and cool, simply by looking at colors.

251
00:11:49,440 --> 00:11:52,480
This has a lot to do with our experiences in life, right?

252
00:11:52,800 --> 00:11:53,540
Associations.

253
00:11:54,300 --> 00:11:57,380
We associate coolness with water and warmth with fire.

254
00:11:57,700 --> 00:12:02,080
So of course, orange is going to seem warm and blue is going to seem cool.

255
00:12:02,880 --> 00:12:06,320
But there's also just that idea that they're extreme contrasts.

256
00:12:06,620 --> 00:12:08,320
Blue and orange are complementary.

257
00:12:08,600 --> 00:12:10,060
They're on different sides of the color wheel.

258
00:12:10,320 --> 00:12:13,740
They're as far away from each other as you could possibly get in terms of hue.

259
00:12:15,120 --> 00:12:20,140
And they also have that added idea that we associate them with warm and cool sensation.

260
00:12:21,460 --> 00:12:22,760
As we see down here,

261
00:12:23,340 --> 00:12:27,920
one hue or adjacent hues, analogous hues,

262
00:12:28,440 --> 00:12:29,820
can also seem warm and cool.

263
00:12:29,980 --> 00:12:31,600
So a red can be warm,

264
00:12:31,740 --> 00:12:35,440
like red-orange, or cool, like red-violet or pink.

265
00:12:35,440 --> 00:12:39,020
A green can be warm,

266
00:12:39,140 --> 00:12:41,520
like yellow-green, or cool, like blue-green.

267
00:12:43,200 --> 00:12:49,760
And again, a grid showing the composition of warm and cool colors interacting together, a painting,

268
00:12:50,460 --> 00:12:52,120
and stained glass windows,

269
00:12:52,360 --> 00:12:56,580
where blue and red are used in extreme contrast.

270
00:12:57,280 --> 00:12:59,160
Not so much to suggest warm and cool,

271
00:12:59,480 --> 00:13:01,060
but just in terms of severe,

272
00:13:01,280 --> 00:13:03,640
intense contrast to set off one another.

273
00:13:05,580 --> 00:13:07,980
And this detail,

274
00:13:08,680 --> 00:13:09,180
Renoir.

275
00:13:10,160 --> 00:13:11,740
So here in this case,

276
00:13:11,860 --> 00:13:15,940
the face is warm and the surrounding areas are cool.

277
00:13:17,340 --> 00:13:21,920
So he's using color temperature to create contrast within the composition.

278
00:13:23,400 --> 00:13:25,640
Also to create a sensation of warmth,

279
00:13:26,300 --> 00:13:26,980
skin tone,

280
00:13:27,620 --> 00:13:28,640
a body, a human.

281
00:13:28,800 --> 00:13:31,400
And then the background is cool, the environment.

282
00:13:32,760 --> 00:13:38,000
Finally, warm and cool with Cezanne,

283
00:13:38,240 --> 00:13:40,180
this great still life with fruit.

284
00:13:40,620 --> 00:13:42,040
The fruit itself is orange,

285
00:13:42,460 --> 00:13:43,720
the ground around it,

286
00:13:44,100 --> 00:13:46,140
different mutations of blue,

287
00:13:46,580 --> 00:13:47,040
green.

288
00:13:50,060 --> 00:13:52,380
Another contrast, complementary contrast.

289
00:13:52,780 --> 00:13:54,620
Colors that are truly opposite each other,

290
00:13:55,000 --> 00:13:55,880
that when mixed together,

291
00:13:56,340 --> 00:13:57,540
produce a neutral gray,

292
00:13:57,680 --> 00:13:58,580
as we see down here.

293
00:13:59,820 --> 00:14:01,060
So yellow and purple,

294
00:14:01,340 --> 00:14:02,500
opposites on the color wheel.

295
00:14:03,880 --> 00:14:05,920
Blue and orange, opposites on the color wheel.

296
00:14:06,940 --> 00:14:09,200
Red and green, again, opposites on the color wheel.

297
00:14:10,020 --> 00:14:11,380
And when we mix them together,

298
00:14:11,620 --> 00:14:14,520
and this is something we're going to experiment with on the computer,

299
00:14:15,000 --> 00:14:15,860
when we mix these

300
00:14:16,000 --> 00:14:18,660
colors together, we produce a neutral gray in the middle.

301
00:14:19,000 --> 00:14:19,500
That's kind of the

302
00:14:19,500 --> 00:14:21,240
proof of complementary color.

303
00:14:22,500 --> 00:14:24,760
It would say that these two colors,

304
00:14:24,940 --> 00:14:26,460
they attract each other,

305
00:14:26,840 --> 00:14:30,100
and they also incite each other to maximum potential.

306
00:14:31,060 --> 00:14:33,040
They also repel each other at certain

307
00:14:33,040 --> 00:14:34,040
times, like red and green.

308
00:14:35,700 --> 00:14:43,580
Here's complementary colors, red and green, used in this painting.

309
00:14:45,240 --> 00:14:46,960
Della Francesca, 1410.

310
00:14:49,480 --> 00:14:51,080
Cezanne again,

311
00:14:51,800 --> 00:14:54,020
orange and blue.

312
00:14:56,360 --> 00:15:00,140
Simultaneous contrast, another contrast.

313
00:15:00,540 --> 00:15:03,700
We're going to talk in depth about this when we go back and talk

314
00:15:03,700 --> 00:15:05,180
about Elbers later in the course.

315
00:15:05,720 --> 00:15:07,500
But right now, we can just think about this.

316
00:15:08,420 --> 00:15:11,500
And thinking back to Elbers and relativity of color,

317
00:15:12,160 --> 00:15:14,520
simultaneous contrast is basically that.

318
00:15:14,900 --> 00:15:18,140
The fact that the same color can look different on different grounds.

319
00:15:18,940 --> 00:15:21,100
Iden shows us the example here

320
00:15:21,100 --> 00:15:26,220
of how the same gray will shift slightly based on its ground.

321
00:15:30,360 --> 00:15:36,440
And he shows us these blue figures existing on different backgrounds,

322
00:15:37,260 --> 00:15:39,820
and we see different levels of contrast based on that.

323
00:15:41,500 --> 00:15:43,940
Van Gogh, of course,

324
00:15:44,560 --> 00:15:47,700
the complements of yellow-orange and blue-violet.

325
00:15:48,120 --> 00:15:50,300
Extreme contrasts of warm and cool,

326
00:15:50,500 --> 00:15:52,380
extreme contrasts of light and dark,

327
00:15:53,200 --> 00:15:54,500
and of complementary contrast.

328
00:15:55,680 --> 00:15:57,000
Contrasts of saturation,

329
00:15:57,680 --> 00:15:58,360
vivid and dull.

330
00:15:59,840 --> 00:16:01,580
So in the centers of these grids,

331
00:16:01,660 --> 00:16:02,840
we see the most pure,

332
00:16:03,160 --> 00:16:04,800
the most saturated forms of these colors.

333
00:16:05,740 --> 00:16:07,080
And as we move to the outside,

334
00:16:07,440 --> 00:16:08,840
we see them mixed with gray.

335
00:16:09,200 --> 00:16:11,780
So some students will say,

336
00:16:11,920 --> 00:16:15,180
what's the difference between contrast of value and contrast of saturation?

337
00:16:15,400 --> 00:16:16,240
Aren't they kind of the same?

338
00:16:16,320 --> 00:16:17,420
Well, they are sort of the same.

339
00:16:17,500 --> 00:16:19,440
There's a lot of overlap between these contrasts.

340
00:16:20,080 --> 00:16:27,820
But a way to distinguish saturation is to think of a mixture with gray or a mixture with this complement.

341
00:16:28,360 --> 00:16:30,300
Whereas when you're thinking about value,

342
00:16:30,460 --> 00:16:31,580
you're really thinking about mixtures

343
00:16:31,780 --> 00:16:33,020
with pure black and pure white.

344
00:16:34,340 --> 00:16:36,520
Over here, we see this small grid,

345
00:16:37,460 --> 00:16:39,920
intense saturation change from the background,

346
00:16:40,140 --> 00:16:40,980
which is very dull,

347
00:16:41,920 --> 00:16:44,800
very desaturated, to the foreground colors,

348
00:16:44,980 --> 00:16:47,440
the blue, the green, and the purple being very,

349
00:16:47,540 --> 00:16:48,920
very visible, very identifiable.

350
00:16:49,920 --> 00:16:51,540
That's how I like to think about saturation,

351
00:16:51,740 --> 00:16:52,800
the identity of color.

352
00:16:52,920 --> 00:16:54,620
If it's easily identifiable,

353
00:16:54,980 --> 00:16:56,840
it's highly saturated.

354
00:16:56,840 --> 00:16:58,580
If you have a hard time naming it,

355
00:16:59,320 --> 00:17:01,380
it's gray or brown, desaturated.

356
00:17:02,200 --> 00:17:04,280
Here we see intense saturation of this orange.

357
00:17:05,980 --> 00:17:08,060
The saturation goes down as it gets darker.

358
00:17:10,880 --> 00:17:12,560
Matisse, one of my favorite paintings,

359
00:17:13,340 --> 00:17:18,300
great example of saturation change, from these greens,

360
00:17:18,620 --> 00:17:19,880
the orange, and the blue,

361
00:17:20,320 --> 00:17:21,700
to the grays of the background.

362
00:17:21,700 --> 00:17:25,400
They're using contrast of saturation to,

363
00:17:25,500 --> 00:17:27,300
again, create a very beautiful,

364
00:17:27,700 --> 00:17:29,840
very structured composition.

365
00:17:31,520 --> 00:17:33,280
Paul Klee,

366
00:17:33,820 --> 00:17:35,620
intense contrast of saturation,

367
00:17:36,260 --> 00:17:37,480
intense, vivid, and dulls.

368
00:17:38,680 --> 00:17:39,800
Contrast of extension.

369
00:17:40,280 --> 00:17:42,440
This is the hardest one to really understand.

370
00:17:42,720 --> 00:17:44,440
It took me the longest to really understand it,

371
00:17:44,480 --> 00:17:45,680
and I actually didn't teach it for a long time.

372
00:17:45,680 --> 00:17:48,280
Now I have a better sense of this.

373
00:17:48,740 --> 00:17:53,520
This contrast is based on the idea that a color can have a value

374
00:17:53,520 --> 00:17:55,880
relative to black or white or light or dark.

375
00:17:56,020 --> 00:17:58,540
Now, we already talked about that in terms of value change.

376
00:17:59,820 --> 00:18:03,960
But this has to do with amounts and proportions used in the same composition

377
00:18:03,960 --> 00:18:08,140
to either produce a sensation of harmony or discord.

378
00:18:09,260 --> 00:18:09,900
Itten says,

379
00:18:10,240 --> 00:18:12,660
and this actually goes back to something he was,

380
00:18:12,660 --> 00:18:19,420
became aware of by studying the work of a color theorist that preceded him,

381
00:18:20,200 --> 00:18:22,080
Goethe, the great German philosopher, poet,

382
00:18:22,560 --> 00:18:28,060
color theorist, that colors have a mathematical proportion to each other.

383
00:18:28,240 --> 00:18:30,220
And when used in specific ratios,

384
00:18:30,420 --> 00:18:35,100
specific proportions, will produce either harmonic effects or discordant effects.

385
00:18:35,720 --> 00:18:37,180
So right up here,

386
00:18:37,280 --> 00:18:40,640
we see how yellow and purple have a certain relationship

387
00:18:40,640 --> 00:18:42,400
based on their light value.

388
00:18:42,500 --> 00:18:43,620
And over here in the color wheel,

389
00:18:43,700 --> 00:18:44,720
we see a similar thing.

390
00:18:46,520 --> 00:18:48,880
Orange and blue, red and green, each one of them,

391
00:18:49,840 --> 00:18:52,420
each set has a different relationship.

392
00:18:53,820 --> 00:18:54,880
And what Itten is saying,

393
00:18:55,120 --> 00:18:56,560
and what Goethe said before him,

394
00:18:57,300 --> 00:18:59,880
is that one part yellow and three parts purple

395
00:18:59,880 --> 00:19:02,460
will create a sense of harmony.

396
00:19:03,760 --> 00:19:06,680
That one part orange and two parts blue

397
00:19:06,880 --> 00:19:08,280
will create a sense of harmony.

398
00:19:08,700 --> 00:19:10,400
And that red and green,

399
00:19:10,540 --> 00:19:12,000
when used in equal amounts,

400
00:19:12,420 --> 00:19:17,000
will again, produce a harmonic relationship based on their light values.

401
00:19:17,300 --> 00:19:19,300
So you can actually try this in your compositions.

402
00:19:20,220 --> 00:19:23,000
Try using colors in those proportions.

403
00:19:23,220 --> 00:19:25,080
Maybe start with yellow and purple.

404
00:19:26,040 --> 00:19:28,980
And you'll find that if you put too much yellow into a composition,

405
00:19:29,200 --> 00:19:30,380
it immediately takes over.

406
00:19:31,420 --> 00:19:32,260
And you'll see how these proportions actually start to make sense.

407
00:19:33,080 --> 00:19:38,280
This color wheel is a great example of that.

408
00:19:38,520 --> 00:19:40,620
See how yellow has the least amount of extension,

409
00:19:40,960 --> 00:19:42,180
the least amount of proportion.

410
00:19:43,000 --> 00:19:43,980
Purple has the most.

411
00:19:45,500 --> 00:19:49,180
In order to create a sensation where all colors are balanced,

412
00:19:50,060 --> 00:19:51,220
there needs to be more purple,

413
00:19:51,800 --> 00:19:53,680
a little bit less blue.

414
00:19:54,380 --> 00:19:55,700
Red and green are about the same.

415
00:19:56,260 --> 00:19:56,440
Orange is less.

416
00:19:56,440 --> 00:19:57,260
And yellow is the least. Orange is less.

417
00:19:58,000 --> 00:19:59,060
And yellow is the least.

418
00:20:00,660 --> 00:20:04,940
And we can see here how that effect is used

419
00:20:04,940 --> 00:20:07,100
to create intense visual hierarchy.

420
00:20:07,520 --> 00:20:13,400
you