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Okay, let's just review what we have.

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So this is complementary contrast.

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Here we have saturation.

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Here we have light and dark value.

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Here we have hue.

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Hue is the most intense.

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Now remember with hue you can actually use all the colors of the visual spectrum.

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You don't have to stay with just primary colors like I did.

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So let's keep going.

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I think I'm going to go back to the 5x5 color grid.

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Yeah I'll go back to the 5x5.

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And I'll do a save as.

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I'll call this value one.

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We'll call this saturation one.

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Complementary one.

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And the 9x9 I'm going to save for something else.

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So I'm just going to go back to hue one.

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And I'm going to rename this temperature one.

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And this time I'm just going to try to focus

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on contrast of temperature.

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So let's start over.

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Make all the grid units black.

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Turn the outlines on again.

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Just make them white so I can see them.

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So temperature,

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again warm and cool so we know that orange

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is really the warmest color.

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So I know I'm going to use that.

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And in the opposite corner

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I'm going to put blue because I know that that's the coolest color or maybe blue green.

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There we go.

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In the center I'll just put yellow.

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Yeah this is a possibility because I'm thinking about temperature contrast.

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Maybe one part of the composition can be all about that sensation of temperature contrast.

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Warm and cool colors.

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Warm in the upper left up here.

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And cool on the right side.

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And we'll just stick a few maybe like a green color which is sort of a neutral color in between.

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Let's turn off the white grid lines.

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Make it a little bit cleaner.

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Let's make a few little variations here.

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It's pretty nice.

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Split half and half.

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Warm and cool with one strong focal point.

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This red over here and the yellow also very commanding.

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Yeah this actually stays pretty cool.

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A little bit of warmth coming down here now.

48
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That pumps up the red a little bit more.

49
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That's nice.

50
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Contrast of temperature.

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With this one green

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square down here really kind of calling attention to itself.

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Acting a bit of as a focal point.

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Now remember that you can use any hues in between those warm and cools.

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Doesn't have to be the one

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straight out of the palette like I've done.

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Here you can make blends of warm and cool.

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Become a little bit more say specific about being really warm or really cool or all warm or all cool.

59
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It's all about experimentation.

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Okay on the last one I'm going to go back to the 7x7 grid and I only

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say last one because we're going to be dealing with contrast of extension here.

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This one is the one that requires the proportions.

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Call this extension one.

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Get rid of this band.

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Black.

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Bring back the white outline so I can see what I'm doing.

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Now here we really want to have this idea of proportion.

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So I'm going to be dealing with

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those same proportional equivalents.

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Those ratios that we talked about with contrast of extension.

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One part yellow to three parts purple.

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One part orange to two parts blue.

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Equal parts red and green.

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And those are going to create sensations of either balance or imbalance depending on how much

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I want to stay within those proportional ranges or stray out of them.

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So initially I'm just going

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to deal with maybe the most extremes.

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So yellow and purple.

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I know that I want to have one part or the equivalent of one part yellow and three parts purple.

80
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In a group of 7x7 I've got 49 units and I can think about dividing that into four parts

81
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which I believe so four is going to go in there.

82
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10, 11,

83
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12 times is 48.

84
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Something like that.

85
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So if I put in 12 squares of yellow and 36 or 37 squares of purple

86
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I'm in a pretty good sense of balance.

87
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So let's just see what happens if I just select

88
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let me just select these and just go for the yellow.

89
00:07:06,580 --> 00:07:21,840
And this of course is going to be an asymmetrical composition.

90
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1, 2, 3, 4, 5, 6, 7, 8.

91
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9.

92
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1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13.

93
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Okay I can take one away.

94
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I'll start adding in my purples now.

95
00:07:56,440 --> 00:08:00,180
In fact I can select all of these.

96
00:08:18,800 --> 00:08:28,660
Yeah so the goal here is to create a balance of color where the yellow doesn't dominate.

97
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Let's just see.

98
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Again 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.

99
00:08:36,880 --> 00:08:42,040
12 units of yellow and out of 49 squares that leaves me with 6,

100
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7 units of purple I believe which is about right about the right proportion.

101
00:08:49,440 --> 00:08:52,460
And let's just see what happens if I add in one more yellow square.

102
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If I just change this to yellow let's just see what happens.

103
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You can see how quickly the yellow starts to take over.

104
00:09:03,400 --> 00:09:10,780
And as I'm doing this you know the purple still has a pretty good chance of dominating

105
00:09:11,000 --> 00:09:12,840
but the yellow is really starting to take over.

106
00:09:13,320 --> 00:09:15,420
So let me just undo all that.

107
00:09:16,280 --> 00:09:18,280
And getting back to this.

108
00:09:19,180 --> 00:09:22,880
I could even take one more of these yellows away probably and stay within this.

109
00:09:23,360 --> 00:09:27,940
So there you have a nice sense of balance between the purple and the yellow.

110
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As I reduce the yellow even further it becomes less of a factor.

111
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Now the purple is starting to take over a little bit.

112
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This is very subtle.

113
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You can try the same experiment with say blue and orange,

114
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red and green.

115
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See what happens as you change these colors and as you merge the

116
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colors into certain proportions.

117
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You begin to judge for yourself how far can

118
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you stretch the color in one proportion before it starts to take over too much.

119
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So we see here this contrast of yellow and purple and how the yellow is not quite dominating.

120
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It's almost there.

121
00:10:08,680 --> 00:10:11,280
Just a few more squares and it would really dominate the composition.

122
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The purple just has enough to keep it balanced.

123
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Not too much, not too little.

124
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Okay so we've gone through the seven color contrast.

125
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Not the seven, we've gone through six of the color contrasts.

126
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And the seventh color contrast is simultaneous contrast.

127
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And that idea is most effectively demonstrated in the Albers

128
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color studies.

129
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So we're going to move from Johannes Itten's approach to color

130
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studies and studying color contrast,

131
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hue values,

132
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saturation,

133
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temperature,

134
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complementary extension.

135
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And then we're going to move on from there into simultaneous contrast.

136
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And we're going to change the way we think about the composition.

137
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So we go back to Albers working with making three colors look like two,

138
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making five colors look like six,

139
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and take it from there.

140
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In this lesson we looked at the teachings of Joseph Albers and Johannes Itten.

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In the next lesson we'll go in-depth into simultaneous contrast.