Okay, let's just review what we have.
So this is complementary contrast.
Here we have saturation.
Here we have light and dark value.
Here we have hue.
Hue is the most intense.
Now remember with hue you can actually use all the colors of the visual spectrum.
You don't have to stay with just primary colors like I did.
So let's keep going.
I think I'm going to go back to the 5x5 color grid.
Yeah I'll go back to the 5x5.
And I'll do a save as.
I'll call this value one.
We'll call this saturation one.
Complementary one.
And the 9x9 I'm going to save for something else.
So I'm just going to go back to hue one.
And I'm going to rename this temperature one.
And this time I'm just going to try to focus
on contrast of temperature.
So let's start over.
Make all the grid units black.
Turn the outlines on again.
Just make them white so I can see them.
So temperature,
again warm and cool so we know that orange
is really the warmest color.
So I know I'm going to use that.
And in the opposite corner
I'm going to put blue because I know that that's the coolest color or maybe blue green.
There we go.
In the center I'll just put yellow.
Yeah this is a possibility because I'm thinking about temperature contrast.
Maybe one part of the composition can be all about that sensation of temperature contrast.
Warm and cool colors.
Warm in the upper left up here.
And cool on the right side.
And we'll just stick a few maybe like a green color which is sort of a neutral color in between.
Let's turn off the white grid lines.
Make it a little bit cleaner.
Let's make a few little variations here.
It's pretty nice.
Split half and half.
Warm and cool with one strong focal point.
This red over here and the yellow also very commanding.
Yeah this actually stays pretty cool.
A little bit of warmth coming down here now.
That pumps up the red a little bit more.
That's nice.
Contrast of temperature.
With this one green
square down here really kind of calling attention to itself.
Acting a bit of as a focal point.
Now remember that you can use any hues in between those warm and cools.
Doesn't have to be the one
straight out of the palette like I've done.
Here you can make blends of warm and cool.
Become a little bit more say specific about being really warm or really cool or all warm or all cool.
It's all about experimentation.
Okay on the last one I'm going to go back to the 7x7 grid and I only
say last one because we're going to be dealing with contrast of extension here.
This one is the one that requires the proportions.
Call this extension one.
Get rid of this band.
Black.
Bring back the white outline so I can see what I'm doing.
Now here we really want to have this idea of proportion.
So I'm going to be dealing with
those same proportional equivalents.
Those ratios that we talked about with contrast of extension.
One part yellow to three parts purple.
One part orange to two parts blue.
Equal parts red and green.
And those are going to create sensations of either balance or imbalance depending on how much
I want to stay within those proportional ranges or stray out of them.
So initially I'm just going
to deal with maybe the most extremes.
So yellow and purple.
I know that I want to have one part or the equivalent of one part yellow and three parts purple.
In a group of 7x7 I've got 49 units and I can think about dividing that into four parts
which I believe so four is going to go in there.
10, 11,
12 times is 48.
Something like that.
So if I put in 12 squares of yellow and 36 or 37 squares of purple
I'm in a pretty good sense of balance.
So let's just see what happens if I just select
let me just select these and just go for the yellow.
And this of course is going to be an asymmetrical composition.
1, 2, 3, 4, 5, 6, 7, 8.
9.
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13.
Okay I can take one away.
I'll start adding in my purples now.
In fact I can select all of these.
Yeah so the goal here is to create a balance of color where the yellow doesn't dominate.
Let's just see.
Again 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
12 units of yellow and out of 49 squares that leaves me with 6,
7 units of purple I believe which is about right about the right proportion.
And let's just see what happens if I add in one more yellow square.
If I just change this to yellow let's just see what happens.
You can see how quickly the yellow starts to take over.
And as I'm doing this you know the purple still has a pretty good chance of dominating
but the yellow is really starting to take over.
So let me just undo all that.
And getting back to this.
I could even take one more of these yellows away probably and stay within this.
So there you have a nice sense of balance between the purple and the yellow.
As I reduce the yellow even further it becomes less of a factor.
Now the purple is starting to take over a little bit.
This is very subtle.
You can try the same experiment with say blue and orange,
red and green.
See what happens as you change these colors and as you merge the
colors into certain proportions.
You begin to judge for yourself how far can
you stretch the color in one proportion before it starts to take over too much.
So we see here this contrast of yellow and purple and how the yellow is not quite dominating.
It's almost there.
Just a few more squares and it would really dominate the composition.
The purple just has enough to keep it balanced.
Not too much, not too little.
Okay so we've gone through the seven color contrast.
Not the seven, we've gone through six of the color contrasts.
And the seventh color contrast is simultaneous contrast.
And that idea is most effectively demonstrated in the Albers
color studies.
So we're going to move from Johannes Itten's approach to color
studies and studying color contrast,
hue values,
saturation,
temperature,
complementary extension.
And then we're going to move on from there into simultaneous contrast.
And we're going to change the way we think about the composition.
So we go back to Albers working with making three colors look like two,
making five colors look like six,
and take it from there.
In this lesson we looked at the teachings of Joseph Albers and Johannes Itten.
In the next lesson we'll go in-depth into simultaneous contrast.