1 00:00:03,820 --> 00:00:12,340 The last thing I'd like to show you is Johannes Eden's Color Star. 2 00:00:13,020 --> 00:00:15,320 This is something that he invented at the Bauhaus, 3 00:00:15,860 --> 00:00:20,480 and it's actually a kit for working with color relationships. 4 00:00:21,720 --> 00:00:23,660 Here on the cover we see his color wheel, 5 00:00:24,660 --> 00:00:25,720 a slightly different form, 6 00:00:26,580 --> 00:00:28,720 where the pure colors are here. 7 00:00:30,140 --> 00:00:34,200 There's concentric circles of tints that move to the center, and then 8 00:00:34,600 --> 00:00:38,800 points of shades, all the way to black on the very outside tips. 9 00:00:39,840 --> 00:00:40,860 And you can imagine 10 00:00:40,860 --> 00:00:42,500 this now being cut out, 11 00:00:43,200 --> 00:00:44,800 and where all the points are gathered, 12 00:00:45,240 --> 00:00:46,080 you create a sphere. 13 00:00:47,320 --> 00:00:51,280 And that sphere becoming how we understand color, 14 00:00:51,760 --> 00:00:53,880 with lights at the top, 15 00:00:54,180 --> 00:00:54,980 darks at the bottom, 16 00:00:55,280 --> 00:00:56,640 and around the equator, 17 00:00:57,060 --> 00:00:58,200 the most vivid colors. 18 00:00:59,160 --> 00:01:01,040 When we open up this kit, 19 00:01:01,520 --> 00:01:06,380 we see a reproduction of the color star, the color wheel, 20 00:01:06,700 --> 00:01:07,560 that was on the cover, 21 00:01:09,280 --> 00:01:11,240 with a little bit of a spindle in the center. 22 00:01:12,980 --> 00:01:16,400 And then there are a series of discs, 23 00:01:16,860 --> 00:01:25,000 and each of these discs can be placed on top of the spindle and moved around. 24 00:01:26,820 --> 00:01:29,140 And this is where it gets really interesting. 25 00:01:30,340 --> 00:01:36,840 So Eden thought of color and color combinations as chords, like musical chords, 26 00:01:37,260 --> 00:01:40,160 where colors, when put together, 27 00:01:40,560 --> 00:01:45,820 would have a harmonic relationship similar to musical notes going together and 28 00:01:45,820 --> 00:01:47,060 having a harmonic relationship. 29 00:01:47,060 --> 00:01:51,040 So this is what he would call a triadic color chord, 30 00:01:51,320 --> 00:01:53,500 a triad, three colors that work together, 31 00:01:53,700 --> 00:01:54,800 and they're the primary colors. 32 00:01:55,340 --> 00:02:01,820 And I can spin this around and see all of these different triadic color chords, 33 00:02:02,060 --> 00:02:05,360 and each one of them has its own sensation, 34 00:02:05,620 --> 00:02:09,100 its own personality, just as if you were playing 35 00:02:09,120 --> 00:02:10,840 chords on a piano or on a guitar. 36 00:02:10,840 --> 00:02:13,800 If I take another disc, 37 00:02:14,280 --> 00:02:17,920 this one is a dyadic color chord, 38 00:02:18,380 --> 00:02:20,400 two notes, two colors. 39 00:02:21,940 --> 00:02:23,460 These are complementary colors, 40 00:02:23,700 --> 00:02:26,780 going back to that idea of complementary contrast, 41 00:02:27,120 --> 00:02:27,820 yellow and purple, 42 00:02:29,400 --> 00:02:30,700 orange and blue, 43 00:02:32,200 --> 00:02:33,100 red and green, 44 00:02:34,980 --> 00:02:36,820 and all the tertiary combination. 45 00:02:37,260 --> 00:02:43,180 Complementary colors are like go-to color palettes. 46 00:02:43,380 --> 00:02:44,220 They always work. 47 00:02:45,140 --> 00:02:48,500 There's always a sensation that exists in between them that's very specific. 48 00:02:50,800 --> 00:02:57,420 This is what's called the split complementary color chord. 49 00:02:58,140 --> 00:03:00,140 It's a triad, but a different kind of triad, 50 00:03:00,440 --> 00:03:03,880 not the same where the openings are placed 51 00:03:03,880 --> 00:03:05,260 in an equilateral relationship. 52 00:03:05,260 --> 00:03:07,140 This is an isosceles triangle, 53 00:03:07,560 --> 00:03:13,420 and this is similar to a dyadic color chord, 54 00:03:14,020 --> 00:03:18,000 except instead of using the direct color opposite yellow, 55 00:03:18,360 --> 00:03:19,260 in this case, 56 00:03:19,840 --> 00:03:26,060 we split those two colors and use the analogous colors to the complement. 57 00:03:26,380 --> 00:03:27,840 So the complement would be purple, 58 00:03:28,600 --> 00:03:31,960 but here we have red-purple and blue-violet, 59 00:03:32,160 --> 00:03:35,000 the two colors that are adjacent or analogous. 60 00:03:35,480 --> 00:03:40,180 This is one of the most useful color chords there is, 61 00:03:40,280 --> 00:03:41,900 and once you become tuned into this, 62 00:03:41,940 --> 00:03:43,880 you start to see this in a lot of people's work. 63 00:03:45,740 --> 00:03:48,300 Split complementary color chords. 64 00:03:49,700 --> 00:03:51,740 Very beautiful. 65 00:03:53,140 --> 00:03:54,200 So this is a great tool, 66 00:03:55,100 --> 00:03:58,560 and there are definite tools like this that are in use on the computer. 67 00:03:59,260 --> 00:04:01,280 Adobe has one that's very similar to this. 68 00:04:01,420 --> 00:04:04,220 It works with split complements and complements and triads. 69 00:04:04,680 --> 00:04:08,860 This idea has been put into different kinds of color instruments for our use, 70 00:04:08,980 --> 00:04:13,180 and we can use it as a daily tool for helping us make color decisions. 71 00:04:14,040 --> 00:04:15,400 And we have Iten to thank. 72 00:04:16,380 --> 00:04:20,900 Now I'm going to talk a little bit about Iten's color ideas, 73 00:04:21,080 --> 00:04:23,160 color contrasts, and show you some examples on the computer. 74 00:04:23,640 --> 00:04:32,280 So we've already taken a look at Johannes Iten's The Art of Color, 75 00:04:32,520 --> 00:04:39,720 where he describes the seven color contrasts using grids and examples of works of art. 76 00:04:40,440 --> 00:04:43,860 And now we're going to take a look at the seven color contrasts again, 77 00:04:44,400 --> 00:04:46,720 just briefly in this presentation, 78 00:04:47,200 --> 00:04:50,140 and then do a little bit of experimentation with color grids, 79 00:04:50,700 --> 00:04:58,080 where we actually demonstrate the seven color contrasts in a very simple way, 80 00:04:58,420 --> 00:05:00,420 using very simple forms, 81 00:05:01,100 --> 00:05:04,000 grids, where all the shapes are the same size, 82 00:05:04,400 --> 00:05:08,760 and all we're really dealing with is color interaction and color contrasts. 83 00:05:08,780 --> 00:05:13,060 So stripping away all the other possibilities of representation, 84 00:05:14,140 --> 00:05:16,540 trying to make things look like other things. 85 00:05:17,040 --> 00:05:17,360 We're not making a landscape. 86 00:05:17,360 --> 00:05:20,440 We're not making pictures of any kind. 87 00:05:20,960 --> 00:05:22,060 We're just working with color. 88 00:05:23,000 --> 00:05:24,280 Now, the great thing about color grids, 89 00:05:24,380 --> 00:05:26,940 of course, is that it allows you to work with patterns. 90 00:05:27,580 --> 00:05:32,300 It allows you to experiment with the idea of symmetry and asymmetry, 91 00:05:32,940 --> 00:05:34,880 and also thinking about visual hierarchy. 92 00:05:35,320 --> 00:05:35,940 We'll get into it. 93 00:05:36,340 --> 00:05:39,120 So Johannes Iten and the seven color contrasts. 94 00:05:40,200 --> 00:05:43,400 The first color contrast is contrast of hue. 95 00:05:44,020 --> 00:05:45,140 And when we're talking about contrast of hue, 96 00:05:45,700 --> 00:05:49,440 we're really talking about the visible chromatic spectrum 97 00:05:49,440 --> 00:05:52,160 that we as human beings can see. 98 00:05:53,420 --> 00:05:55,300 And as we see here in this slide, 99 00:05:55,620 --> 00:06:01,780 the entire range of colors that we are aware of as humans is visible. 100 00:06:02,840 --> 00:06:05,400 And we can divide these colors into groups. 101 00:06:06,000 --> 00:06:09,240 And that's really the easiest way to understand contrast of hue 102 00:06:09,620 --> 00:06:13,080 and get a general sense of how we perceive color 103 00:06:13,220 --> 00:06:14,660 and how they relate to each other. 104 00:06:15,700 --> 00:06:18,420 So we'll talk about first the primary colors, 105 00:06:18,620 --> 00:06:19,780 red, blue, and yellow. 106 00:06:20,400 --> 00:06:24,400 And we see their relationship on the chromatic spectrum up here in the very top. 107 00:06:25,180 --> 00:06:26,660 And if we go down to the squares, 108 00:06:27,000 --> 00:06:28,160 we see them isolated. 109 00:06:29,560 --> 00:06:34,920 And the reason that they're called primary colors is because they can't be mixed. 110 00:06:35,560 --> 00:06:36,640 They are what they are. 111 00:06:36,760 --> 00:06:38,860 Red is red, blue is blue, yellow is yellow. 112 00:06:38,980 --> 00:06:45,620 And there's no two other colors that you can mix in order to make yellow or blue or red. 113 00:06:45,840 --> 00:06:47,340 So we call them primary colors. 114 00:06:47,800 --> 00:06:51,360 The secondary colors are mixtures of the primary colors, 115 00:06:51,540 --> 00:06:52,660 and they're in the second row. 116 00:06:52,980 --> 00:06:55,740 So purple is the mixture of red and blue. 117 00:06:56,860 --> 00:06:58,060 Green is the mixture 118 00:06:58,060 --> 00:06:59,380 of blue and yellow. 119 00:06:59,760 --> 00:07:02,540 And orange is the mixture of red and yellow. 120 00:07:03,000 --> 00:07:05,900 And then the third row at 121 00:07:05,900 --> 00:07:09,560 the bottom are the tertiary or in-between colors. 122 00:07:09,840 --> 00:07:12,540 And these are all mixtures of primaries and secondaries. 123 00:07:13,380 --> 00:07:17,120 So when we mix red as a primary with purple, the secondary, 124 00:07:17,700 --> 00:07:20,760 we get red-violet, sometimes called magenta, 125 00:07:21,920 --> 00:07:22,780 tertiary color. 126 00:07:23,680 --> 00:07:25,620 When we mix purple with blue, 127 00:07:26,020 --> 00:07:28,060 we get blue-violet or navy. 128 00:07:29,160 --> 00:07:31,740 Blue and green, we get blue-green, 129 00:07:32,020 --> 00:07:34,740 sometimes called turquoise or aqua. 130 00:07:35,340 --> 00:07:37,880 Green and yellow, we get yellow-green, 131 00:07:38,540 --> 00:07:40,040 sort of the color of a lime. 132 00:07:41,440 --> 00:07:43,940 Yellow and orange, we get yellow-orange. 133 00:07:45,680 --> 00:07:47,760 Then orange and red, 134 00:07:48,540 --> 00:07:50,020 and we get a red-orange, 135 00:07:50,500 --> 00:07:51,100 a warm red. 136 00:07:51,780 --> 00:07:52,920 So that's contrast of hue. 137 00:07:53,060 --> 00:07:54,060 Very simple idea. 138 00:07:54,560 --> 00:07:57,600 If you can memorize this concept of primaries, 139 00:07:57,820 --> 00:08:02,120 secondaries, and tertiaries, and visualize how they're related to each other, 140 00:08:02,380 --> 00:08:05,040 then you'll always have a sense of how color 141 00:08:05,040 --> 00:08:06,780 is related in a systematic way. 142 00:08:07,460 --> 00:08:12,360 Moving on to the second color contrast, contrast of value. 143 00:08:13,000 --> 00:08:14,660 So here we're dealing with light and dark, 144 00:08:15,160 --> 00:08:17,440 as if you're adding black or white 145 00:08:17,740 --> 00:08:18,340 to a color. 146 00:08:19,700 --> 00:08:22,220 So in the first row at the top, 147 00:08:22,300 --> 00:08:25,540 we have a typical grayscale broken into 12 units. 148 00:08:26,620 --> 00:08:30,900 And the reason that we break these into 12 units with a grayscale is because as humans, 149 00:08:31,260 --> 00:08:35,540 our eyes have a difficult time seeing differences after a certain point. 150 00:08:36,220 --> 00:08:37,960 And we found that 12 151 00:08:38,340 --> 00:08:45,560 separations of the grayscale is just about enough for us as human beings to clearly see differences. 152 00:08:45,920 --> 00:08:47,680 And as we look at this grayscale, 153 00:08:47,900 --> 00:08:48,660 we can see that. 154 00:08:49,220 --> 00:08:51,060 Each of these grays is distinct. 155 00:08:52,200 --> 00:08:56,980 So when we move down to the second row of yellow mixed with white and black, 156 00:08:57,480 --> 00:09:01,380 the purest yellow is very close to the lightest. 157 00:09:01,600 --> 00:09:02,220 So over here. 158 00:09:04,300 --> 00:09:05,920 And as we move toward white, 159 00:09:06,220 --> 00:09:07,660 we see very few tints. 160 00:09:09,760 --> 00:09:14,260 And lighter variants of colors are called tints. 161 00:09:14,480 --> 00:09:16,020 Darker variants, 162 00:09:16,340 --> 00:09:19,160 colors that are when they're mixed with black are called shades. 163 00:09:20,140 --> 00:09:21,240 So tints and shades, 164 00:09:21,400 --> 00:09:23,620 and that's a good terminology to always remember. 165 00:09:24,320 --> 00:09:26,820 A tint is a pure color mixed with white. 166 00:09:27,060 --> 00:09:29,700 A shade is a pure color mixed with black. 167 00:09:30,700 --> 00:09:31,440 So yellow, 168 00:09:32,320 --> 00:09:35,060 very close to white in its value, very light, 169 00:09:35,460 --> 00:09:36,660 has very few tints. 170 00:09:37,140 --> 00:09:38,260 But many shades. 171 00:09:38,440 --> 00:09:44,620 Takes a long time to get to black if you're mixing small amounts of black with yellow. 172 00:09:45,700 --> 00:09:47,620 Go down to the third row, we have purple. 173 00:09:48,480 --> 00:09:50,040 Purple is just the opposite of yellow. 174 00:09:50,620 --> 00:09:54,040 It's the color that is closest to black in value. 175 00:09:55,140 --> 00:09:55,900 And as we see, 176 00:09:56,440 --> 00:09:58,720 probably the purest purple is way, 177 00:09:58,820 --> 00:10:00,580 way, way down here on the right side. 178 00:10:00,800 --> 00:10:01,800 Very close to black. 179 00:10:02,660 --> 00:10:04,600 A lot of tints. 180 00:10:04,600 --> 00:10:06,240 So purple has many, 181 00:10:06,380 --> 00:10:07,840 many tints, the opposite of yellow. 182 00:10:08,060 --> 00:10:11,660 Takes a long time to get from a pure purple all the way to white. 183 00:10:12,960 --> 00:10:15,180 But purple is also very close to black, 184 00:10:15,280 --> 00:10:16,540 so it has very few shades. 185 00:10:17,840 --> 00:10:19,380 So all hues, 186 00:10:20,120 --> 00:10:21,600 yellow, orange, red, 187 00:10:22,100 --> 00:10:22,460 purple, 188 00:10:22,880 --> 00:10:27,340 blue, green, they all have relationships to black and white. 189 00:10:27,560 --> 00:10:28,960 And they're called light values. 190 00:10:29,240 --> 00:10:31,740 When we talk about contrast of value, 191 00:10:31,760 --> 00:10:32,580 we're really talking about that. 192 00:10:32,580 --> 00:10:35,300 The relative lightness or darkness of a color. 193 00:10:36,260 --> 00:10:38,640 Saturation, 194 00:10:39,100 --> 00:10:39,840 a little bit different. 195 00:10:40,420 --> 00:10:40,800 Here, 196 00:10:41,180 --> 00:10:44,080 you're taking a pure color and you're mixing it with, 197 00:10:44,240 --> 00:10:45,460 rather than black and white, 198 00:10:45,620 --> 00:10:46,480 mixing it with gray. 199 00:10:47,580 --> 00:10:48,260 In reality, 200 00:10:48,840 --> 00:10:52,720 any time you mix a pure color with something else, another color, 201 00:10:53,860 --> 00:10:55,140 even black and white, 202 00:10:55,520 --> 00:10:56,260 it's complement, 203 00:10:56,640 --> 00:10:57,280 it's opposite, 204 00:10:57,760 --> 00:10:59,200 you're always desaturating. 205 00:10:59,380 --> 00:11:04,640 Saturation is really the identity of the color. 206 00:11:05,280 --> 00:11:08,540 So a fully saturated color is fully identifiable. 207 00:11:09,560 --> 00:11:14,020 It's the color we think of most prominently when we think of, 208 00:11:14,200 --> 00:11:15,220 say, the name of a color. 209 00:11:15,300 --> 00:11:16,220 When we say red, 210 00:11:16,620 --> 00:11:18,200 we're thinking of a very pure red, 211 00:11:18,720 --> 00:11:19,720 most of the time. 212 00:11:20,000 --> 00:11:20,860 Same thing with yellow, 213 00:11:21,040 --> 00:11:21,820 same thing with blue, 214 00:11:21,960 --> 00:11:24,080 same thing with all the primaries and the secondaries, 215 00:11:24,420 --> 00:11:25,180 and even the tertiary colors. 216 00:11:25,900 --> 00:11:27,840 When we say yellow, green, 217 00:11:28,200 --> 00:11:30,340 an image comes into our mind that's very specific. 218 00:11:31,520 --> 00:11:35,700 So as that identity goes away through the mixing process, 219 00:11:35,820 --> 00:11:37,160 either by mixing it with gray 220 00:11:37,160 --> 00:11:39,000 or mixing with its complement, 221 00:11:39,540 --> 00:11:40,840 talk about a little bit later, 222 00:11:41,640 --> 00:11:42,960 you desaturate. 223 00:11:43,620 --> 00:11:46,600 And eventually, all of the identity of the color goes away. 224 00:11:47,280 --> 00:11:50,080 So as we look at these chromatic scales, 225 00:11:50,620 --> 00:11:53,000 we see magenta or red-violet here right in the center, 226 00:11:53,500 --> 00:11:55,180 in the top row. 227 00:11:55,900 --> 00:11:57,620 And as we move toward either end, 228 00:11:58,120 --> 00:12:00,360 there's a gradual mixing that happens 229 00:12:00,360 --> 00:12:02,980 between that color, that pure color, and gray. 230 00:12:04,080 --> 00:12:06,180 And as you can see what happens down here, 231 00:12:06,300 --> 00:12:08,420 when we're very, very close to the pure grays, 232 00:12:08,520 --> 00:12:09,660 which are on the very ends, 233 00:12:10,700 --> 00:12:13,220 colors that are next to them are called chromatic grays. 234 00:12:13,960 --> 00:12:14,980 They're these beautiful grays that have notes or tints, 235 00:12:15,420 --> 00:12:20,100 very small amounts of the parent color. 236 00:12:20,940 --> 00:12:25,160 So this gray right here has a very small amount of the magenta. 237 00:12:25,560 --> 00:12:27,660 Go down to the second row where we have orange, 238 00:12:27,980 --> 00:12:28,980 pure orange in the middle. 239 00:12:29,760 --> 00:12:31,320 And as we move to the outsides, 240 00:12:31,500 --> 00:12:34,040 that pure orange becomes desaturated. 241 00:12:34,240 --> 00:12:35,400 It loses its identity. 242 00:12:36,460 --> 00:12:39,800 And then we see these beautiful chromatic grays that are the second steps in from the ends. 243 00:12:40,480 --> 00:12:43,940 There we have sort of a warm gray, 244 00:12:44,620 --> 00:12:50,840 very different than the gray that's made from mixing with purple or violet or magenta. 245 00:12:52,240 --> 00:12:55,660 And if we go down to the very bottom row where we have this blue-violet, 246 00:12:56,360 --> 00:12:57,580 we mix that with gray. 247 00:12:57,780 --> 00:13:01,500 Again, you move from the center to the outside edges, 248 00:13:02,360 --> 00:13:03,900 gradual mixtures of the gray, 249 00:13:04,100 --> 00:13:05,780 right down to this point here where it's right on the end. 250 00:13:05,980 --> 00:13:09,880 There's absolutely no chromatic effect. 251 00:13:10,100 --> 00:13:10,620 It's pure gray. 252 00:13:12,060 --> 00:13:14,460 And then we have the chromatic grays right next to it, 253 00:13:14,660 --> 00:13:16,400 here and here and here. 254 00:13:16,580 --> 00:13:17,100 Really beautiful. 255 00:13:17,640 --> 00:13:18,240 That's saturation. 256 00:13:19,440 --> 00:13:25,140 So the easy thing to remember is saturation has to do with the identity of the color. 257 00:13:25,620 --> 00:13:29,280 As soon as the identity becomes confusing or unclear, 258 00:13:30,240 --> 00:13:32,440 as soon as you lose the idea of the color, 259 00:13:32,600 --> 00:13:33,540 the identity of the color, 260 00:13:33,900 --> 00:13:34,760 it becomes less saturated. 261 00:13:35,220 --> 00:13:37,900 Complementary contrast. 262 00:13:38,660 --> 00:13:43,560 So when we mix two colors together that are on opposite sides of the color wheel, 263 00:13:44,000 --> 00:13:45,440 like green and red, 264 00:13:46,280 --> 00:13:48,200 blue and orange, purple and yellow, 265 00:13:48,600 --> 00:13:49,660 these are all colors that 266 00:13:49,660 --> 00:13:51,460 are opposite to each other on a color wheel. 267 00:13:51,720 --> 00:13:53,420 You can look at almost any color wheel. 268 00:13:54,000 --> 00:13:56,780 Not an RGB color wheel, because that's a different formulation, 269 00:13:57,140 --> 00:14:00,060 but a CMYK color wheel or a painter's color wheel, 270 00:14:00,060 --> 00:14:01,160 a traditional color wheel. 271 00:14:01,760 --> 00:14:02,760 And we can see this. 272 00:14:03,520 --> 00:14:06,220 We can see how these colors are opposite to each other. 273 00:14:07,260 --> 00:14:10,500 And that means that in order to get from one to the other, 274 00:14:10,820 --> 00:14:12,180 you go all the way around, 275 00:14:12,660 --> 00:14:14,640 halfway around the color wheel in order to get there. 276 00:14:14,740 --> 00:14:16,340 So they're as far away as possible 277 00:14:16,600 --> 00:14:17,460 in terms of hue. 278 00:14:18,460 --> 00:14:20,100 Red and green are complements. 279 00:14:20,980 --> 00:14:22,580 Blue and orange are complements. 280 00:14:23,120 --> 00:14:24,580 Purple and yellow are complements. 281 00:14:25,440 --> 00:14:29,720 Yellow, orange, and blue, violet are complements. 282 00:14:30,760 --> 00:14:31,680 Yellow, green, 283 00:14:32,020 --> 00:14:33,480 and magenta are complements. 284 00:14:34,260 --> 00:14:39,640 So try to visualize the color wheel and see the relationships of the opposite colors. 285 00:14:40,280 --> 00:14:42,420 When you mix complementary colors together, 286 00:14:42,820 --> 00:14:44,440 you produce a chromatic gray. 287 00:14:45,060 --> 00:14:46,860 And that's another form of desaturation. 288 00:14:47,380 --> 00:14:49,080 So as we look at these rows, 289 00:14:49,760 --> 00:14:52,360 the purest colors on the ends, 290 00:14:52,620 --> 00:14:53,320 those are the parents, 291 00:14:53,660 --> 00:14:54,900 those are the complements, 292 00:14:55,260 --> 00:14:55,440 right? 293 00:14:55,880 --> 00:14:56,640 Red and green. 294 00:14:57,080 --> 00:14:58,540 And as you move toward the center, 295 00:14:59,060 --> 00:15:00,720 on the red side, 296 00:15:00,820 --> 00:15:04,820 you get gradually less red until we get right to the middle, 297 00:15:05,560 --> 00:15:07,000 right into the middle area here, 298 00:15:08,000 --> 00:15:10,720 where the color has almost lost all of its identity. 299 00:15:11,660 --> 00:15:13,500 There's still a little bit of a chromatic effect, 300 00:15:14,040 --> 00:15:15,660 but it's very difficult to say 301 00:15:15,960 --> 00:15:17,540 what the parents are at this point. 302 00:15:17,920 --> 00:15:19,200 And as we move toward green, 303 00:15:19,600 --> 00:15:21,680 we gradually build back up. 304 00:15:22,260 --> 00:15:25,920 To the point where the green is fully saturated on the ends. 305 00:15:26,100 --> 00:15:27,360 Go down to the second row, 306 00:15:27,500 --> 00:15:28,940 we have orange and blue. 307 00:15:29,620 --> 00:15:31,620 Again, you move in from the outside edges, 308 00:15:31,740 --> 00:15:32,740 move in from the blue, 309 00:15:33,420 --> 00:15:35,420 you move in from the orange to the center. 310 00:15:36,360 --> 00:15:38,920 And the center area is the chromatic grays, 311 00:15:39,100 --> 00:15:40,760 the mixtures of those two complements. 312 00:15:42,580 --> 00:15:43,620 Same thing with purple. 313 00:15:44,220 --> 00:15:46,320 As we move from the outside, the pure yellow, 314 00:15:47,560 --> 00:15:48,880 pure purple or violet, 315 00:15:49,120 --> 00:15:50,260 we move to the center, 316 00:15:50,400 --> 00:15:52,020 we become less and less saturated. 317 00:15:52,640 --> 00:15:56,420 You get to this perfect sort of beautiful chromatic gray in the center. 318 00:15:57,380 --> 00:16:04,460 Now, the true test of whether colors are truly complementary is if you can produce a perfectly 319 00:16:04,820 --> 00:16:05,280 neutral gray. 320 00:16:05,540 --> 00:16:06,740 And it's really hard to do, 321 00:16:06,820 --> 00:16:08,400 but it's a really interesting idea. 322 00:16:08,640 --> 00:16:12,440 And maybe we'll try that when we get to our color grids and we do a little bit of color mixing. 323 00:16:12,680 --> 00:16:15,680 Contrast of temperature. 324 00:16:16,240 --> 00:16:18,300 So far we have contrast of hue, 325 00:16:18,680 --> 00:16:19,660 contrast of value, 326 00:16:20,200 --> 00:16:21,200 contrast of saturation, 327 00:16:21,980 --> 00:16:24,440 complementary contrast, now contrast of temperature. 328 00:16:25,120 --> 00:16:34,420 Contrast of temperature is all about the sensation of warm and cool that colors seem to emit or suggest. 329 00:16:35,300 --> 00:16:35,980 And in some cases, 330 00:16:35,980 --> 00:16:38,860 there's a physical sensation of temperature change. 331 00:16:39,040 --> 00:16:40,100 If you are in 332 00:16:40,100 --> 00:16:43,460 a room that's fully painted with a warm color like red, 333 00:16:43,640 --> 00:16:46,120 your body temperature will increase very slightly. 334 00:16:46,700 --> 00:16:48,280 Same thing with a cool color. 335 00:16:48,380 --> 00:16:52,160 If you're in a room that's painted blue or blue-green, 336 00:16:52,300 --> 00:16:54,260 your body temperature is going to sink a little bit, 337 00:16:54,520 --> 00:16:55,680 get a little bit cooler. 338 00:16:55,880 --> 00:16:58,640 Again, almost imperceptible, but measurable. 339 00:17:01,040 --> 00:17:05,600 So warm and cool colors are associated with warm and cool ideas. 340 00:17:06,000 --> 00:17:07,560 Fire and water. 341 00:17:08,260 --> 00:17:15,120 Now think about how long those ideas have been part of human culture and just our way of thinking and dealing with the world. 342 00:17:15,480 --> 00:17:22,660 Every night we see a sunset that's produced by the complements of blue and orange, 343 00:17:22,840 --> 00:17:25,340 which are also the warmest and the coolest colors. 344 00:17:25,660 --> 00:17:28,160 So we're very used to seeing that idea. 345 00:17:28,420 --> 00:17:30,040 We're also used to seeing fire, 346 00:17:30,260 --> 00:17:31,580 which is red or yellow or orange. 347 00:17:31,900 --> 00:17:35,580 And we're used to seeing the reflection of the sky and water, 348 00:17:35,740 --> 00:17:36,560 which is often blue. 349 00:17:36,760 --> 00:17:40,000 So we associate those ideas of water and fire, 350 00:17:41,020 --> 00:17:43,120 cool and warm, with those colors. 351 00:17:44,660 --> 00:17:45,920 So it can be very conceptual, 352 00:17:46,360 --> 00:17:49,640 but it can also be a really good idea just to, 353 00:17:49,940 --> 00:17:51,520 say, create contrast of color, 354 00:17:52,020 --> 00:17:52,900 warm and cool contrast. 355 00:17:53,920 --> 00:17:56,360 Certain hues can be warm or cool. 356 00:17:56,360 --> 00:17:59,720 Not all of them. So a red can be warm, 357 00:17:59,880 --> 00:18:01,500 like orange or red-orange, 358 00:18:01,720 --> 00:18:03,320 or cool, like red-violet. 359 00:18:04,280 --> 00:18:09,160 A blue can be slightly warmed up by moving toward green. 360 00:18:10,760 --> 00:18:11,860 It's a little bit more difficult, 361 00:18:12,320 --> 00:18:13,040 but possible. 362 00:18:13,800 --> 00:18:18,880 Green actually can be warmed up or cooled down by moving toward blue or moving toward yellow. 363 00:18:19,880 --> 00:18:20,340 So you can experiment with this. 364 00:18:20,480 --> 00:18:27,840 Look at one hue and look at the two analogous or adjacent colors on either side of that hue and say, 365 00:18:27,960 --> 00:18:29,920 how can we warm up or cool down this color? 366 00:18:30,720 --> 00:18:33,040 It's just another way of thinking about color contrast. 367 00:18:34,560 --> 00:18:41,120 Contrast of extension has to do with the proportions of colors used in different amounts together. 368 00:18:42,680 --> 00:18:45,100 So when we think about proportions, 369 00:18:45,380 --> 00:18:47,320 we're always saying, OK, how much yellow versus how much purple 370 00:18:47,320 --> 00:18:48,600 versus how much purple, 371 00:18:48,820 --> 00:18:51,100 or how much blue versus how much orange, 372 00:18:51,480 --> 00:18:53,500 how much red versus how much green? 373 00:18:54,640 --> 00:18:56,740 When we're looking at Itten's book, 374 00:18:57,440 --> 00:18:59,660 contrast of extension is so much about 375 00:18:59,660 --> 00:19:04,220 that idea of proportion and getting those proportions correct in order to create harmony. 376 00:19:04,940 --> 00:19:06,040 So one part yellow, 377 00:19:06,300 --> 00:19:08,740 three parts violet will create a sense of harmony. 378 00:19:09,420 --> 00:19:13,480 One part orange, two parts blue will create a sense of harmony. 379 00:19:14,280 --> 00:19:17,000 One part green, one part red will create a 380 00:19:17,000 --> 00:19:19,160 sense of harmony or stasis. 381 00:19:19,980 --> 00:19:22,180 As soon as you change those proportions, 382 00:19:22,900 --> 00:19:24,340 other forces come into play. 383 00:19:25,180 --> 00:19:27,380 So if we have more than one part yellow, 384 00:19:27,940 --> 00:19:30,860 all of a sudden it becomes so dominant. 385 00:19:31,420 --> 00:19:35,920 If you have a composition where you have three parts yellow and two parts purple, 386 00:19:36,100 --> 00:19:37,500 the yellow will certainly dominate. 387 00:19:38,120 --> 00:19:38,880 And this is something, 388 00:19:39,040 --> 00:19:40,960 again, to experiment with just on your own. 389 00:19:40,960 --> 00:19:42,880 This is a little bit subjective, 390 00:19:43,200 --> 00:19:45,580 but it also is relatively mathematical. 391 00:19:46,480 --> 00:19:48,080 Again, you remember those proportions, 392 00:19:48,680 --> 00:19:51,380 one to three for yellow and purple, 393 00:19:52,120 --> 00:19:53,880 one to two for orange and blue, 394 00:19:54,020 --> 00:19:55,780 and one to one for red and green.