Harmony from the Greek harmonia, which means consonance, agreement, the opposite of chaos. In a color composition, harmonization methods can also be used, there are many theories with the help of which they tried to achieve harmonious combinations of colors, many scientists worked on this problem, and not only and not so much scientists studying the physics of color and light worked, but as a rule those minds who tried to comprehend how color affects the human psyche, trying to achieve a certain perception through a combination of colors. Rudolph Adams and Albert Munsell can be called among the first to take significant steps in in this direction. After them there were many, to name a few who, in my opinion, are currently the most relevant B. M. Teplov in his theory was based on a circle with three primary colors yellow, blue, red. Shugaeva V.M. and Kozlova V.N. These authors relied on a circle with four primary colors. Accordingly, we will consider harmonies based on the indicated color circles, and do not forget to mention color combinations where one shade of color is used, that is color circle not needed.
Harmonious combinations of achromatic colors.
As we have already found out, we call shades of gray, which range from white to black, achromatic. How can you achieve a harmonious combination between these colors? Here it is appropriate to divide the process into harmonization of the colors themselves, that is, building a certain series of colors combined according to one principle or another, which will be used in the composition, and the ratio of the areas on which these colors will be located.
To harmonize achromatic colors, use stepwise gray scale, or if the composition is monochrome, then a scale of shades of a certain tone. There can be a different number of steps in the scale; it is important that the steps divide the segment from black to white into equal parts, that is, the scale must be equally stepped.
Next, the required number of shades is selected from this scale, that is, the composition can consist of two, three or more shades of gray. Compositions of three shades are considered the most harmonious. What you need to understand is that even when a composition consists of a large number of shades, often at the stage of sketch and compositional searches, they try to reduce it to three shades, for example, a landscape is often divided into three spots, the foreground, middle and distant plans, which they try to harmoniously connect with each other by means of tonal relationships. And then, within these spots, develop more subtle gradations, while trying not to violate the integrity of the three main spots and the relationships between them.
Shades for a composition from the gray scale are chosen either with the inclusion of black, white and one or more grays, or only black and white, this harmonic scheme is called full.
If you choose white and light shades of gray, then this scheme is called light gray.
Black and dark shades gray, dark gray.
When shades are taken from the middle of the scale, then this medium gray harmonic circuit.
Of course, all these schemes are quite arbitrary, for example, a color combination can be medium gray, but at the same time be quite dark. And the statement that a composition divided into three tones is the most harmonious is also not indisputable; there are different opinions on this matter.
Sometimes the gray scale is compiled in such a way that it can be divided into dark shades and light ones, for example, if there are about ten steps, then you can clearly draw the line between dark and light.
It is believed that if you choose shades located on the gray scale at equal intervals, then this scheme is the most harmonious, that is, it is perceived as the most calm. If the intervals between the selected shades are not equal, then a more expressive harmony is obtained.
If in practice it is necessary to use a gray or monochrome scale for harmonization, then it is desirable to have a large enough scale with as many steps as possible in order to have more room for maneuver.
For example, in etching there is such a tool as an etching scale, this is a type of gray scale that is used to obtain certain shades when etching an etching board. So, etchers try to make more shades on the etching scale than they will use when etching, and this is done in order to be able to more flexibly and widely adjust the etching process, that is, lightness ratios.
As for the ratio of the distribution of selected shades in the composition, there may also be different approaches.
For example, in a composition of three shades, you can go this way by dividing the area of the composition, so that one shade occupies 50%, the second 32%, and the last 18%. We get a ratio close to the golden ratio, which will be perceived as a very calm composition.
Or another example, when it is proposed to divide a composition of four tones, thus 1/6 white, 1/6 black, 2/6 first gray, 2/6 second gray, such a distribution allows you to get a fairly calm, balanced composition.
In principle, in this case you can use any harmonious combinations numbers that both mathematics and geometry offer, which we will probably talk about someday in more detail, in the corresponding article.
I would also like to say that in fact, the harmonization of shades of gray is the first stage in the harmonization of chromatic colors, that is, artists, before starting to create a color composition, often create a black and white sketch. Many photographers also cannot do without a sketch, and often there is more than one sketch. There is a whole technology for gradually solving all possible artistic problems, from compositional searches, including harmonization, to detailed elaboration of the entire composition in a monochrome or achromatic version, and then they move on to creating a color composition as the final stage of work. Moreover, such largely similar approaches exist in both traditional artistic technologies, and digital, and photography also does not shun such approaches and uses them effectively, especially in retouching and collaging.
Harmonious combinations of chromatic colors.
The point is that there are a great many different schemes for combining chromatic colors; they are based on different theories and using all possible color wheels.
Here, first of all, we will consider several of the most used schemes based on the twelve particular color wheel, where the main ones are yellow, red, blue colors, although these schemes can be more or less successfully used on any other color wheel.
First of all, it must be said that any harmonious combinations are divided into two categories, contrasting and nuanced combinations. Accordingly, any combinations where a clear contrast of colors or shades is used are contrasting. And close combinations, usually located side by side on a circle and not forming an obvious contrast, are nuanced.
And so are the schemes of harmonic combinations.
Single color (monochromatic); monochrome color harmonies - the use of several shades of the same color. This combination is analogous to the combinations of achromatic colors described above. Such combinations consist of at least two colors. Only instead of shades of gray, shades of any of the spectral colors are used here. And a color wheel is not needed to build this harmony, but a monochrome scale is needed, passing from white to black through the required spectral color. Harmony can be contrasting or nuanced depending on the chosen shades.
Harmony of Analogous Colors or Related Triad; This color scheme uses adjacent colors on the color wheel and blends them. This harmony is most often used as a nuanced one, but contrast is also possible here. White or black can be used as an additional color.
Harmony of complementary colors (complementary); A complementary color scheme uses colors that are opposite. In this case, the contrast is obvious, and compositions built on the basis of this harmony can be very contrasting, perceived as dynamic, expressive, even flashy. It's very easy to put accents here.
Broken additional; This is again a complementary scheme. But at one end it is divided in two, breaking into two related colors complementary to the third. The combination is even more complex than the previous one and also contrasting.
The colors lie at the vertices of an isosceles triangle at equal distances from each other. The combination is quite impressive, even if you use pastel colors. Moreover, this scheme can be based on primary colors, as well as secondary and even tertiary ones.
The proposed color combinations are used quite often in all directions visual arts not only in painting and graphics, but also in photography, design, architecture, and even makeup artists and hairdressers work with harmonious combinations.
But there is an opinion that there are not three, but four primary colors. This point of view is justified by a number of arguments, for example, it is argued, and not without reason, that a mixture of blue and yellow does not give pure green. A color researcher like Michael Wilcox even called his book “Blue and Yellow Don’t Make Green.”
So, color wheels based on the four primary colors are also used to harmonize a color composition.
Let's consider ways of harmonization using this circle.
First, let's describe the color wheel, using the example of the circle proposed by Shugaev.
A color wheel in which the four main colors are blue, yellow, red, and green.
Between the primary colors there are four groups of intermediate ones:
Based on this circle, a system of color harmonization was developed.
Four groups of harmonic combinations have been identified:
Single-tone harmonious color combinations; everything that has been said about Single-color (monochromatic) combinations described in previous models, about combinations of achromatic colors, fully applies to this group; in fact, this is the same group, only the names in different models and among different authors vary.
Harmonic combinations of related colors; Related colors are located in one quarter of the color wheel, between the two primary colors. Shugaev has four groups of related colors: yellow-red (orange), red-blue (purple), blue-green, yellow-green.
In this way, nuanced color combinations are obtained, calm and restrained, although a certain contrast and emotionality can be introduced into them by adding a lightness scale.
Harmonic combinations of related and contrasting colors; Related-contrasting colors are located in adjacent quarters of the color wheel, and not all combinations of these colors are harmonious. There are several schemes using which you can choose the desired harmony:
As a rule, if necessary, a light scale is added to these combinations.
Harmonious combinations of contrasting colors; Contrasting colors are those that are located in opposite quarters of the color wheel.
The two colors farthest from each other and respectively located at the ends of the diameter are contrasting and complementary. This type harmony, the most contrasting, potentially very emotional and expressive, in general, has the same properties as “Harmony of complementary colors (complementary)” described above. As in other schemes, it can be supplemented with a lightness scale.
And here it should be noted that the circles are different, and the schemes that are applied to them are in many ways similar, not in details, but in the main points there is undoubtedly a similarity, which is what I mean. In fact, there are much more harmonization schemes, and many can easily work on any color wheel. It will still not be possible to formalize the combing to the end; you will still have to use your instincts and compare the colors obtained using the schemes with your taste, and adjust what you get and the result may be very different from the one that was obtained using all possible schemes.
Get creative with your combing.
By the way, the schemes proposed in this article are simply the most popular.
For example, V. M. Shugaev, mentioned here, on the 16th private circle identified 120 harmonious combinations of colors.
But in some areas of fine art, for example, in design, masters have to work with color literally according to the numbers in the catalogue, that is, within very narrow limits in which a free search for color combinations, as in painting, for example, is simply not permissible. For example, when creating a corporate identity, you need to very clearly link the corporate colors to the colors available in the catalog. And sometimes there are simply no options other than to strictly follow the harmonic patterns.
When using these schemes, you need to understand that by themselves, in isolation from the other principles and laws that are used in the composition, these schemes will not work properly, that is, the basic laws of composition - integrity, subordination, expediency - must be observed. No matter how many colors there are in a composition, one is always in one way or another the main one, all the others are subordinate to it, and the entire color system is built from it. Yes, there are compositions in which several can act as the main different colors, for example, in an ornament, but then this composition is divided into several others where in each individual one the main color is always the same.
And so we looked at several ways of harmonization with different color wheels and different harmonization schemes. The point is that nature does not formulate laws as formally as humans do, but they undoubtedly exist, and nature exists in accordance with these laws, and in order to comply with them, sometimes it is not necessary to use such rigid schemes.
The fact is that in practice and very often, artists or photographers do not use the color wheel, and not because it is a bad tool, but because with experience comes the habit of keeping the circle in your head and building color combinations almost unconsciously. Moreover, many generations of artists had no idea about the color wheel; they simply weren’t taught this, but they still managed to make their works harmonious, how did they manage it.
Even before the invention of the color wheel, there were methods of harmonization that did not require the use of a color wheel, and they are still used today. The very nature with which they wrote or drew suggested the necessary combinations of colors, for example, on a sunny day, all objects environment saturated with sunlight, with its inherent color, which creates a certain environment in which everything around is immersed, even deep shadows are still in this environment. And although shadows are usually colder than sunlit places, the environment in which they are immersed still makes them warmer. Or indoors, when everything is lit by an incandescent lamp and the environment is even warmer, but the window as part of the composition in which we see the night scene will still not be so cold that it falls out of the overall composition, it will still be immersed in the environment it creates lamp.
This means the environment, that is, any specific shade can work as a harmonizer.
So in Painting and graphics, as well as in photography, there are a number of techniques that allow you to imitate this effect. Let's start with painting, although similar methods also work in graphics, firstly, often when artists paint a scene and select the palette they will paint, they know in advance what color system they will use. Will this composition be cold or warm and, accordingly, if, for example, the composition is warm, then even the coldest shades will be warm to a certain extent, this is called warming or cold.
Often, if a painting has already been painted, if it seems to be falling apart in color, that is, there is no color harmony, then they can go over it with a transparent layer of paint (glaze), thus subordinating the remaining colors to the color that this glaze paint had.
Or, for example, a colored primer is made, and some composition is painted on it with a separate stroke, so the primer shines through from under the paint between the strokes and acts as a medium, subordinating the entire color structure of the picture.
And by the way, there are many similar methods, for example, watercolorists paint on tinted paper; it shines through the paint and also plays the role of a harmonizer.
And what methods the graphics offer, here you can use the contour as a harmonizer. For example, in easel graphics there is the concept of a drawing layer, often it is implemented in the form of a stroke (contour) around the main compositional elements, it can combine elements, the thicker it is, the more it subordinates all other elements to itself and under certain conditions it can work as a harmonizer , that is, permeating the entire composition, it can play the role of a unifying element that aligns the color system in the right direction.
In photography, similar techniques also take place, for example, color filters, which already at the shooting stage already build a color range and work as a harmonizer,
When processing a digital photo or when drawing digitally, there are also opportunities for similar techniques.
And another way of harmonization is a frame and mat, which can also work as a harmonizer, it’s no secret that the thicker the frame and mat or just a color outline around the picture, meaning the ratio of areas, that is, the thicker it is relative to the image that frames the outline, the more collects the picture more or, on the contrary, makes it freer; as a rule, if there is a darker and wider outline around the image (frame, mat), the more collected the composition seems. If the outline is lighter, then the composition feels more free, to the point that the composition may even fall apart.
So, a frame can work as a harmonizer if you skillfully select a combination of color and lightness of the frame. Moreover, the frame can fit the composition into the interior, work as a unifying, harmonizing element between the image and the interior of the room in which the image is located.
And about the color wheel, we did not touch on the topic in this article practical work with a circle, the fact is that there are color circles not only as diagrams, but there are, for example, mechanical dried apricots, or programs based on the color wheel that are specially created so that with their help you can select harmonious combinations of colors. I plan to write a separate article on this topic, and in it I promise to talk about such devices and programs.
The topic of color harmony, of course, does not end there; there is much more that can be said on this topic, but it is not the purpose of this article to tell everything, but rather to identify some aspects and arouse interest in this topic.
I’ll say it again, approach the process creatively, and it will be interesting!
Each of us has “comfortable” colors in clothing and personal items; everyone has noticed that it is pleasant for him to be in one room, but uncomfortable and depressing in another. Scientists have long proven the effect of color on heart rate, breathing rate, arterial pressure and muscle tension.Based on emotional associations, the impact of color is divided into positive, negative and neutral. Exciting colors include red, orange and yellow. For depressing ones - purple, dark gray and black. For calming ones - green and blue. Equally important are the physical associations of colors: weight (light, heavy), spatial (protruding, deep), acoustic (quiet, loud) and texture (soft, hard, smooth).
IMPACT OF COLOR: There is no friend for taste and color
This proverb reflects the reality of the effects of color like nothing else. It has been found that different psychotypes prefer certain colors, as shown in the figure below.
For example, we can recall the colors of the youth movement “emo”, based on experiences, emotions and suffering in creativity, music and style. Their main colors are depressing black combined with pink, giving a melancholic state.
It was also found that the same colors can be associated differently by people. The purer and brighter the color, the more intense and stable the reaction. Complex, low-saturated, medium-light colors cause different (unstable) and relatively weak reactions. The most unambiguous include temperature, weight and acoustic associations. 
Yellow and green colors cause the greatest variety of associations, and therefore the different effects of color. This happens because the eye distinguishes the greatest number of shades in a given spectrum. In nature, these colors are most abundantly represented. Each shade of yellow or green is associated in the mind with a specific object, phenomenon, taste, hence the wealth of associations. Also, the color purple causes ambiguity due to its duality.
IMPACT OF COLOR: Color Harmony
It's no secret that some color combinations seem harmonious to us, while others, on the contrary, are ridiculous. Creating a harmony of colors in the interior is the key to the success of a harmonious life in the house.
The picture on the left shows simple models color combinations in the form of four harmonious colors. To build harmonies with other colors, you need to turn these shapes with their vertices in the desired color.
The principle of color harmony is built on diametrically distant pairs and triads, so you can find not only four harmonious colors, but also less and more, using halftones. For example, if you do not take into account purple, then a classic triad is formed in the top figure, and a contrasting one in the middle.
Do not apply colors in equal quantities. Harmony of colors is achieved through the main color (the background, usually less saturated) and accents. Contrast, brightness and saturation do not affect the rule of color harmony in any way; the principle remains the same.
Colors are divided into two large groups: chromatic and achromatic. Chromatic - “colored”. Achromatic - white, gray, black.
Chromatic colors that are part of white daylight, are distributed in a certain order, depending on the wavelength.
Primary colors: yellow, red, blue. Composite colors: orange, purple, green.
Composite colors are made by mixing two primary colors:
■ Orange = red + yellow.
■ Purple = red + blue.
■ Green = yellow + blue.
All other colors consist of a mixture of these colors in different proportions. Plus the difference in saturation and lightness.
Colors are conventionally divided into warm and cold.
Warm colors are colors containing yellow and red. Cool colors are colors located from the violet to green zones of the color wheel.
Warm colors are more dynamic, prominent and voluminous than cool colors. Cool colors seem to recede as the tone increases.
Color has three characteristics: hue, lightness and saturation.
Color tone - the presence of a primary color in complex color, which determines its place in the color wheel.
The color tone is determined by the name of the color: scarlet, crimson.
Saturation is the difference between a chromatic color and a gray color of equal lightness.
Contrasts in clothing have great importance. Ornamental and rhythmic compositions are built on contrast.
Great contrast comes from colors located on opposite diameters of the color wheel: red-green, orange-blue.
Low contrast - colors that are at a 90 degree angle to each other.
Harmony is the basis of beauty. Color harmony = color balance.
10. Harmonies of combinations of chromatic colors of different hue, saturation and lightness (pure, whitened or blackened), with various achromatic ones. 
11. Harmonies of mixtures and combinations of rich chromatic colors with achromatic colors of different lightness. 
For an artist, color harmony is a special pleasure. It can give birth to a whole range of feelings, emotions and images in his imagination. This is why many artists collect beautifully colored photographs.
There are many sites on the Internet that allow you to create similar photo color palettes. Here are some of them.
The owner of this wonderful site, Jessica, collects harmonious color combinations, illustrated with photographs of these flowers.
And these shades are so subtle and “tasty”, so different, that the imagination is immediately spurred on by the emotions generated by the color. I would like to create my own paintings using this color hint.
The Design Seeds website has a convenient search by color shades and subjects.
Winter, spring, minerals, succulents, flora and fauna..
This is what the search page looks like, everything is intuitive. 
A good Generator that allows you to compose color palette any photo from the Internet. For this Just insert the URL of the photo and click the “Color-Palette-ify!” button.
The generator creates two color scales - the basic natural colors of the photo and their more saturated analogues.
The downside of this generator is that not every user knows how to find the URL...
More useful materials:
On this site you can upload your photo and also get its main colors in two scales:
The downside here is that the original photo is not visible.
Click on the button “Select Image” and select a photo on your computer. We download and get this diagram, where you can select the number of shades. Their maximum number is 8. 
It’s more convenient now, right? And the colors are more natural and harmonious.
Select the file on your computer and click “Create palette”.
We get this scheme with fifteen shades:
It's a good toy, isn't it?
If you still don’t understand color well, then it can be used to select a shade for a painting. Separated from the landscape, it is more understandable.
But are these colors harmonious?
How to choose harmonious color combinations?
Other color generators will answer these questions.
They select colors according to color schemes.
Use your mouse to select a color on the color wheel. On the right you will see a diagram of monochrome harmony.
Above the wheel there are buttons for selecting other color schemes.
To get the result in the form of a scale, click on the color tables button at the bottom right.
Another similar generator, but with fewer colors in the results .
Choose a color on the color wheel.
We choose the number of colors to combine and the scheme. 
These generators are made for website and blog creators.
They allow you to quickly find shades that are harmonious in color and, by copying their digital name, use it.
For an artist, such sites can become a “toy” for developing a sense of color harmonies and for inspiration.
then you can learn all this in the course
This is how we study color harmonies there in practice: 
After all, in painting everything is somewhat more complex and multifaceted than in design...
I would be grateful for your comments on the article. And if you took my color science course, share your impressions and successes!
As you know, all the colors that we see can be divided into achromatic (white, black, shades of gray - there are no color waves, there is only lighting.) and chromatic (colors of the spectrum, color waves that our eyes perceive). Color waves smoothly transition into each other, creating color continuum- continuous smooth color change.
These two directions do not exist separately, chromatic colors (the entire continuum) are mixed with achromatic ones, which gives the whole range of shades
that our eyes see. The entire range is most successfully represented in Munsell's three-dimensional "Tree". 
Admixtures of different achromatic colors form different tonal directions.
If you mix pure color with white, you get light colors, with black - dark.
If we talk about color as color waves, then gray color is a mixture of color with its opposite (i.e., for example, orange and blue), the two waves “quench” each other and the color saturation is lost. Therefore, soft colors (mixed with gray pigment, with the opposite wave, in fact) look “complex, nuanced.” So, a mixture with gray gives " soft
colors". 
If we talk about artistic color harmony, then not all chromatic colors of the continuum look good with each other, they are combined with a certain rhythm. Colors with golden undertones are considered warm , colors with blue - cold . There are also colors that are neutral in temperature characteristics, located in a continuum between two shades.
In total, we have 6 color characteristics, 3 pairs of dichotomies
.
Dichotomy is a scale. It's not so much an either/or choice as it is being on that scale. For example, both colors can be warm, but one is distinctly warm and the other is closer to neutral.
The generally accepted color characteristics are:
Lightness: light
(with white admixture) or dark
(with black admixture).
Brightness (saturation): bright
(almost free of impurities, rich pigment) or soft
(low pigment, close to gray, gray admixture)
Hue (color's place on the continuum). This includes the division of colors into warm
(with golden undertones) or cold
(with blue undertone)
Any color is described by all three characteristics, however, they are expressed with different intensities. This provides a variety of shades. The characteristic that is most pronounced has the greatest effect on the perception of color, while other characteristics make adjustments. If you combine everything color characteristics, there will be 48 options - 48 colors that transform into each other
. I have already told you how they transform into each other. This is an absolutely unique author’s development, so I think there will be no questions about what system I work with - I work with MY “Color Harmony” system, built entirely on color theory, due to which it is more accurate than most other color theories, if not everyone. 
All the colors of the continuum can be divided into these cells with blurred boundaries. However, in practical use, 48 palettes is a lot; too many colors will be repeated. Therefore, it is best to reduce the number of palettes to 12. Why 12? I'll explain now. As I said, the perception of color and its compatibility with others is most influenced by the leading characteristic, the most pronounced one. This means that we have 6 directions - bright colors, soft, light, dark, warm, cold. In bright colors, the purity of color is primarily visible, in soft ones - a gray admixture or “complexity” of color, in dark ones - depth, darkness, in light ones - whiteness, airiness, in warm ones - gold, warmth, in cold ones - iciness, blueness.
Compare cold soft coloring and soft cold. In the first case, the blueness and coldness catches the eye. in the second there is complexity, a gray admixture.
The temperature characteristic is also important to us - since it is precisely when the temperature undertone does not match that the skin optically reacts with unpleasant effects (yellowing, pallor, redness, colored shadows) - this is optics. The waves overlap each other and give an unnatural color.
Therefore, those directions where the temperature characteristic is not the first should be divided into two more subgroups.
The results are bright warm, bright cold, soft warm, soft cold, light warm, light cold, dark warm, dark cold.
In the case of colors, where temperature is the leading characteristic, brightness is important - pure colors or complex ones. Therefore, they are divided in this way: warm bright and warm soft, cold bright and cold soft.
It turns out 12 colors, and a simplified color globe will look like this:
Some color systems use the old "seasonal" color names, which does not affect anything other than terminology. 
Each person falls into one color out of 12, but with certain amendments and individual transitions. All colors of a person's appearance have the same set of characteristics , it doesn’t happen that your skin is cold and your eyes are warm, everything is painted from the same palette, otherwise the colors of your appearance would not be harmonious. This is the law of nature =)
All colors within the main color scheme are suitable for a person, and in addition to them, some colors of neighboring colors are suitable, which are simply added to the individual palette. U different people These "supplements" are different.
And I present myself 12 colors that, in principle, are already familiar to you.
I will call them by their characteristics, although seasonal names will remain for now to correlate terminology =)
And a small bonus - the palettes now have Pantone coordinates (Pictures in large resolution can be downloaded from Google drive https://drive.google.com/file/d/0B2SlBFbzV-EYOHZYSFlRa19YY1E/edit?usp=sharing, reposting pictures in other places is welcome , but only if there is a link to us =)), in addition, I have slightly supplemented some palettes. Pantone colors are often requested from me. Although in home use it is easier for clients to use classic 12 tone types.
And.. I present 12 colors. Each of them evokes some associations, I will give them too, but the color is not limited to these associations only - they will only let you feel the “spirit” of flowers, components of the palette. But in any particular case, colors can carry different associations(!) depending on their use. But I hope I will be able to show all the colors from their the best side=) After the name of each palette there will be links to my pinterest, where I will gradually collect colors and associations, this will help you imagine the colors “in action”.
Bright cold color. ("Bright Winter") "Impressive" palette - "impressive" .
The leading characteristic is brightness, the additional one is neutral-cold. It can be either relatively light or relatively dark. Often contrasting in lightness. The colors are pure, either without obvious impurities or with a bluish admixture.
The general impression of the palette is brightness and catchiness, although there is also some restraint due to the blue undertone.
The palette is reminiscent of a winter landscape on a bright day with its color contrasts of pure colors, white, black, red and cool green, or tropical islands with bright birds, flowers, turquoise water, blue skies and emerald greenery.
Bright warm color. ("Bright Spring"). Creative Palette - "Creative" palette.
www.pinterest.com/shahrazade/ch-bright-a nd-warm/
The leading characteristic is brightness. Additional - neutral - warm. It can be either relatively light or relatively dark in color. The colors are pure, either without obvious impurities or with a bright golden admixture.
The palette is associated with the world of South Asia, with the bright clothes of the inhabitants of this region, splashes of color in their manner of combining colors, with the cheerful colors of tropical nature.
Soft cold color ("Soft Summer") - Mysterious Palette - Mysterious palette
The leading characteristic is softness, the additional one is neutral - cold. It can be either relatively light or relatively dark. The colors are softened, with a hint of gray or grayish blue.
The palette is associated with twilight, fog, forest before rain, creating the impression of mystery, understatement, and riddle. The colors are very complex and nuanced.
Soft warm color ("Soft Autumn") - "Sensual Palette" - "Sensual" palette
The leading characteristic is softness, the additional one is neutral - warm. It can be either relatively light or rather dark in color. The colors are softened, with a grayish admixture or softened ocher.
The palette is associated with earthly sensual femininity, with the time before sunset, when the sun paints everything in soft golden tones, with the gifts of Mediterranean nature - the greens and gold of the fields, with grapes, cinnamon, olives, figs.
Dark cold color ("Dark Winter") "Luxorious Palette" - "Chic" palette
The leading characteristic is dark, the additional one is neutral - cold. It can be either quite bright or slightly softened. The colors are deep with a touch of black or dark blue.
Associated with the luxury of royal courts, with the velvet of deep burgundy, purple, lilac, blue shades, with rubies, emeralds, jade and malachite, as well as with the dark night and the depth of the dark blue sky.
Dark warm color (“Dark Autumn”) - “Exotic Palette” - “Exotic” Palette
The leading characteristic is dark, the additional one is neutral - warm. It can be either quite soft or quite bright. The colors are deep, with black or dark ocher admixture.
Associated with the colors of the Middle East - with the rich furnishings of Moroccan interiors, the gold of natural fires, the warmth of spices, the sensual complexity of colors, the rich colors of southern nature.
Light cold color (“Bright Summer”) - “Innocent Palette” (“Innocent” palette)
The leading characteristic is light, the additional one is neutral - cold. It can be either quite bright or quite soft. The colors are light, pastel, with white or light blue admixture.
The palette is associated with tenderness, freshness, childhood, as well as with a holiday at sea, with light turquoise water, light greenery, yellowish white sand, delicate flowers and carefree.
Light warm color (“Light Spring”) - “Tender Palette” - “Gentle” palette.
The leading characteristic is light, the additional one is neutral-warm. It can be either quite bright or quite soft. The colors are light, cheerful, with white or light golden admixture.
The palette is associated with youth, joy, blossoming fruit trees, all colors are permeated with delicate gold and are reminiscent of the rebirth of nature.
Warm bright color (“Warm Spring”) - “Lively Palette” - “Cheerful” palette
The leading characteristic is warm, the additional one is bright. It can be either quite light or quite dark. Colors with a clear bright golden undertone.
The palette is associated with a meadow at the height of spring with a variety of bright colors flowers - lilac, yellow, red, violet, with the golden color of the sun and the blue of the spring sky.
Warm soft color (“Warm Autumn”) - “Spicy palette” - “Spice Palette”
http://www.pinterest.com/shahrazade/ch-warm-and-soft/
The leading characteristic is warm, the additional one is soft. It can be either quite light or quite dark. Colors with a clear ocher undertone.
The palette is associated with spices - pepper, turmeric, cloves, saffron, mustard and with autumn nature, deep blue water and warm colors foliage.
Cold bright color (" Cold winter") - "Noble Palette", "Noble" palette
The leading characteristic is cold, the additional one is bright. It can be either quite dark or quite light. Colors with a bright blue undertone.
The palette is associated with the world Snow Queen- with icy luxury, detachment and some drama, this is a palette of precious stones.
Cold soft color - ("cold summer") - "Elegant Palette" - "Elegant" palette.
The leading characteristic is cold, the additional one is soft, it can be either quite light or quite dark. Colors with soft blue undertones.
The palette is associated with elegance, with the subdued colors of northern summer with the blue of cool water, bluish-green summer foliage and hints of berries.
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Path to Your Charm Project 2014, Color Harmony 2014
One-tone harmony (in color science literature it is also called monochrome) is based on a combination of colors of the same color tone, with differences in lightness and saturation.
The overall color tone gives this color composition a calm, balanced character. This type of harmony is very widely used in painting, decorative and applied arts, and clothing design. But it is undesirable to use it in the interior, since there is a monopoly of one color in space, and even in large quantities, calls in human body discomfort, up to the manifestation of psychophysical disorders.
On our color wheel, this is a combination of colors from 5 levels of color tone.
The number of steps, naturally, can be large. The achromatic equidistant color range (from white to black) is also harmonious.
Monochromatic harmony in hair color design:
Harmony of related colors (nuances).
The harmony of related colors is based on the presence in them of an admixture of the same main color.
The main colors are:red, blue, yellow and green. This is a relatively restrained color scheme. For example, on our color wheel these are red and red-orange, yellow and yellow-red, but not red and yellow. That is, related colors are colors taken from the intervals from a given color to the next main one.
In the color wheel, or more precisely, in the color wheel system, there are 4 groups of related colors: yellow-red, blue-red, yellow-green, blue-green.
Let's look at how you can harmonize three related colors - pure red, red-orange and orange. The combination of these colors taken from circle III does not produce a subtle color combination. To achieve harmony in a given color combination (and this is a balance of shades), it is necessary to balance the colors by changing their saturation or lightness. Therefore, it is better to take red from circle III, red-orange from circle II, orange from circle I (or II). You can also add a darkened rather than a lightened color to the two colors, that is, take them from circles 4 and 5.
Thus, equally saturated color tones of the same lightness cannot form subtle color combinations. But if you add a darkened or highlighted color to one or two colors out of three, the colors begin to combine harmoniously, focusing attention on the third, most saturated color.
Polar harmony.
Polar harmony is built on the opposition of two main colors, which can be either complementary or contrasting.
For example, red and green, blue and yellow, yellow and purple. In polar harmony, not only two colors can be combined, but more. For example, pink, light green and dark green. The main thing is that these colors are varieties of the two main polar colors.
Many researchers consider this harmony to be the most comfortable for the eyes. A special combination of contrasting colors, since the phenomenon of consistent contrast is the law of our body’s desire for balance and self-defense.
Physiologist E. Hering proved that the eye and brain require medium gray, otherwise, in its absence, they lose calm. A mixture of complementary or contrasting colors produces a neutral gray color. A mixture of pure spectral colors produces white. On our color wheels, all diametrically located colors give a gray color in the mixture, that is, they form harmony. All color combinations that do not add up to gray, for example, red and blue, yellow and red, are expressive.
The combination of polar colors is characterized by the greatest activity, dynamism and tension. If you combine polar colors of the same lightness, then such a combination will dazzle your eyes.
There are several ways to bring them into a harmonious combination:
1. One of the colors should be smaller in area.
2. Add white or black to one of the colors;
3. Take all colors whitened or darkened;
4. Add a contrasting color to one of the colors. For example, if in pure contrast. For example, if you add a little green to pure red, it will become gray-red and will harmonize well with green;
Let's look at point 1 in more detail. Since proportionality is the main condition for balance (remember that Proportion is the daughter of Harmony!), Itten, based on Goethe’s conclusions, proposed in his book “The Art of Color” the following proportional approximate ratios of spots of contrasting colors:
Yellow: purple = ¼: ¾
Orange: Blue = 1/3: 2/3
Red: green = ½: ½
The presented quantitative relationships are valid only when using colors in their maximum saturation. As can be seen from the proportions, warm colors, which have a greater lightness, should be smaller in area than cold colors, since the power of their influence is much more active than cold ones. Compliance with this rule will help create polar color harmony that is comfortable for our eyes.
Harmony built on the principle of constructive construction (colors are located at the ends inscribed in the color wheel geometric shapes: triangles, rectangles, pentagons, etc.)
Summarizing all that has been said, we can formulate the basic principles for constructing color harmonies:
The principle of uniformity of colors (monochromatic harmonies);
The principle of subordination of colors (related harmonies);
The principle of complementarity (polar harmonies of complementary colors);
The principle of opposition (polar harmonies of contrasting colors);
The principle of constructive construction (colors are located at the ends of geometric shapes inscribed in a circle: triangles, pentagons, etc.).
Let's take a closer look at the last principle. Many artists and designers adhere to the “good old” rule - not to combine more than 2-3 colors in a composition. Then you get very harmonious combinations. The strongest harmonious consonance is created on the basis of equilateral triangles. If three colors are taken at the ends inscribed in the color wheel of isosceles triangles, then they will also form a harmonious unity.
And if you still need to combine more than three colors, then to avoid a cacophony of colors, you can follow several methods:
*Combine colors according to the principle of constructive construction;
*Add one color to all colors;
Make one color dominant in the composition. This color will dominate in its total area in the color composition, and in its distribution on the plane it will become “all-encompassing”, that is, it will surround all the colors on all sides;
A color composition is created from equally small color spots. This method used by French impressionistic artists of the 19th century - pointillists (J. Seurat and P. Signac), who created their harmonious paintings with small strokes and dots.
Harmony of complementary colors on the color wheel
Split complementary scheme
Tertiary scheme of color harmony
