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Let's continue with color theory.
Today we’ll talk about the remaining two color characteristics:
light -saturated
bright - soft

What these two characteristics are is easy to determine using any graphic editor.
First let's deal with chromatic flowers

Let's look at 2 diagrams:

Palette No. 1

By x axis (horizontal, who forgot math =)) goes brightness, By at - saturation, taken out separately z - actually, myself color, tone
Here it is clear that bright color- this is a color without adding gray , while soft color- color with added gray

Saturated, dark color - this is a color with the addition of black . The table could be extended upward by adding white, then it would be light color- color with added white .

Now let's look at the palette of the simplest graphics program - paint

Palette No. 2

About the same thing, just the coordinate system has swapped places
Taken outside the square saturation(adding black and white to the color). The spectral color itself in this series in the middle , closer to the bottom black is added to it and the color becomes saturated, closer to the top white is added to it and the color becomes light.
Squared by x axis the colors of the spectrum change, and y axis From top to bottom, brightness is lost, gray is added to the color - it becomes soft.

Here's another one more simple circuit brightness and softness, lightness and saturation

Upstairs - bright warm green color , below - the same color with the addition of gray, that is soft warm green color .
The color itself is in the middle. On the left are its lighter variants, on the right are its more saturated variants.

How can I do it? conclusion : and bright and soft colors there are light and dark.

Interestingly : When adding black and white, a color can change its “temperature” - the warm-cold characteristic, becoming colder. Because both black and white, as you remember, are considered cool colors. This is especially noticeable in bright colors. Compare the color itself, which is in the middle, its lightest and darkest shades. Therefore, if one of the color options suits you, it is far from a fact that all the variety of its light and dark shades will suit you.

In general, if we generalize the theory about the characteristics of color, we get:

warm - color with warm undertones
cold - color with cool undertones
bright - color without adding gray
soft - color with added gray
light - color with added white
dark - color with the addition of black

Concerning achromatic flowers then black And white- bright colors, grey- soft.
Black- saturated color, white- light, as for gray, then it depends on what is more in it - white or black. Average grey, which is obtained by mixing opposite colors, is neutral, since it contains 50% white and 50% black.

In color theory saturation- this is the intensity of a certain tone, that is, the degree of visual difference between a chromatic color and an achromatic (gray) color of equal lightness. A saturated color can be called rich, deep, a less saturated color can be called muted, close to gray. A completely desaturated color will be a shade of gray. Saturation is one of three coordinates in color spaces HSL and HSV. Saturation (chroma) in the CIE 1976 Lab and Luv color spaces is an informal quantity used in the CIE LCH representation (lightness, chroma, hue).

In physical terms, color saturation is determined by the nature of the distribution of radiation in the spectrum of visible light. The most saturated color is formed when there is a peak of radiation at one wavelength, while radiation that is more uniform across the spectrum will be perceived as a less saturated color. In the subtractive model of color formation, for example, when mixing paints on paper, a decrease in saturation will be observed when adding white, gray, black paints, as well as when adding paint of an additional color. ()

Purity is the degree of approximation of a given color to pure spectral color, expressed in fractions of unity.

The colors of the spectrum have the greatest purity. Therefore, the purity of all spectral colors is taken as one, despite their different saturation. The most saturated color is blue, the least saturated is yellow. Particularly rich colors are observed in the spectrum, which does not contain impurities of white or black.

A chromatic composition can be built by varying the saturation of one color of constant lightness. This is achieved by adding to the selected color required quantity equal in lightness to gray. As a result, the variants of the selected color form a pure series of saturation, in which the saturation changes naturally, the lightness remains unchanged, and the color tone becomes achromatized. ()

When black is added to a pure color, its lightness changes:

Another example of how the saturation of blue changes when adding gray to it:

Changing the saturation and lightness of orange and blue shades:

As you can see in the picture, when adding medium gray and black to shades of warm colors, reducing the saturation results in brownish shades of color, cool colors become grayish. In this picture, the change in pure color occurs in two parameters: saturation and lightness. Lightness decreases with the addition of black, saturation decreases with gray.

Least saturated and most light colors- pastel:

There are several qualitative characteristics of color saturation:
- live (vivid) saturation;
- strong saturation;
- deep saturation.
Unsaturated colors are characterized as dull, weak or washed out.

An example of color change depending on its lightness (value) and saturation (chroma), using the example of red from the Munsell color book:

And this is what green looks like with the same lightness, but with different saturation (the percentages of primary colors in the CMYK system are given).

Every color has three basic properties: hue, saturation, and lightness.

In addition, it is important to know about such color characteristics as lightness and color contrasts, get acquainted with the concept of local color of objects and experience some spatial properties of color.

In our minds, color tone is associated with the color of familiar objects. Many color names come directly from objects with a characteristic color: sand, sea ​​wave, emerald, chocolate, coral, raspberry, cherry, cream, etc.

It is easy to guess that the color tone is determined by the name of the color (yellow, red, blue, etc.) and depends on its place in the spectrum.

It is interesting to know that a trained eye, in bright daylight, can distinguish up to 180 color tones and up to 10 levels of saturation. In general, a developed human eye can distinguish about 360 shades of color.

67. Children's holiday colors

Color saturation is the difference between a chromatic color and a gray color of equal lightness (ill. 66).

If you add any color gray paint, the color will fade and its saturation will change.

68. D. MORANDI. Still life. Muted example color range

69. Changing color saturation

70. Changing the saturation of warm and cool colors

The third sign of color is lightness. Any colors and shades, regardless of color tone, can be compared by lightness, that is, it can be determined which one is darker and which one is lighter. You can change the lightness of the color by adding white or water, then red will become pink, blue - cyan, green - light green, etc.

71. Changing the lightness of color using white

Lightness is a quality inherent in both chromatic and achromatic colors. Lightness should not be confused with whiteness (as the quality of the color of an object).

It is customary for artists to call lightness relationships tonal, so one should not confuse lightness and color tone, light and shadow and color structure of a work. When they say that a painting was painted in light colors, then, first of all, they mean lightness ratios, and in color it can be gray-white, pinkish-yellow, light lilac, in a word, very different.

Differences of this type are called valers by painters.

You can compare any colors and shades by lightness: pale green with dark green, pink with blue, red with purple, etc.

It is interesting to note that red, pink, green, brown and other colors can be both light and dark colors.

72. Difference in colors by lightness

Thanks to the fact that we remember the colors of the objects around us, we imagine their lightness. For example, yellow lemon lighter than the blue tablecloth, and we remember that yellow lighter blue.

Achromatic colors, that is, gray, white and black, are characterized only by lightness. Differences in lightness consist in the fact that some colors are darker and others are lighter.

Any chromatic color can be compared in lightness with an achromatic color.

Consider the color wheel (Fig. 66), consisting of 24 colors.

You can compare colors: red and gray, pink and light gray, dark green and dark gray, purple and black, etc. Achromatic colors are matched in lightness to be equal to chromatic ones.

The color of an object constantly changes depending on the conditions in which it is located. Lighting plays a huge role in this. Look how the same object changes beyond recognition (ill. 71). If the light on an object is cold, its shadow appears warm and vice versa.

The contrast of light and color is most clearly and clearly perceived at the “turn” of the form, that is, at the place where the shape of objects turns, as well as at the boundaries of contact with contrasting background.

73. Light and color contrasts in still lifes

Artists use contrast in lightness, emphasizing the different tones of objects in the image. By placing light objects next to dark ones, they enhance the contrast and sonority of colors and achieve expressiveness of form.

Compare identical gray squares located on a black and white background. They will seem different to you.

On black, gray appears lighter, and on white, it appears darker. This phenomenon is called lightness contrast or lightness contrast (Fig. 74).

74. Example of contrast in lightness

We perceive the color of objects depending on the surrounding background. A white tablecloth will appear blue if you put orange oranges on it, and pink if there are green apples on it. This happens because the background color takes on a shade of complementary color to the color of the objects. A gray background next to a red object appears cold, and next to a blue and green object it appears warm.

75. Example of color contrast

Examine the silt. 75: all three gray squares are the same, on a blue background grey colour acquires an orange tint, on yellow - violet, on green - pink, that is, it acquires a shade of additional color to the background color. Against a light background, the color of an object appears darker; against a dark background, it appears lighter.

The phenomenon of color contrast is that a color changes under the influence of other colors surrounding it, or under the influence of colors that were previously observed.

76. Example of color contrast

Complementary colors next to each other become brighter and more saturated. The same thing happens with primary colors. For example, a red tomato will look even redder next to parsley, and a purple eggplant next to a yellow turnip.

The contrast of blue and red is a prototype of the contrast of cold and warm. It underlies the coloring of many works of European painting and creates dramatic tension in the paintings of Titian, Poussin, Rubens, A. Ivanov.

Contrast as the juxtaposition of colors in a painting is the main method of artistic thinking in general, says N. Volkov, a famous Russian artist and scientist*.

In the reality around us, the effects of one color on another are more complex than in the examples discussed, but knowledge of the main contrasts - in lightness and color - helps the painter to better see these relationships of colors in reality and use the acquired knowledge in practical work. The use of light and color contrasts increases the possibilities visual arts.

77. Umbrellas. Example of using color nuances

78. Balloons. Example of using color contrasts

Particularly important for achieving expressiveness in decorative work acquire tonal and color contrasts.

A. M. ZVIRBULE. Tapestry “Together with the Wind”

b. Peacock feather. Photo

V. Autumn leaves. Photo

g. Field of poppies. Photo

d. ALMA THOMAS. Blue light of infancy

Look at the objects in your room, look out the window. Everything you see has not only a shape, but also a color. You can easily identify it: the apple is yellow, the cup is red, the tablecloth is blue, the walls are blue, etc.

The local color of an object is those pure, unmixed, unrefracted tones that, in our minds, are associated with certain objects, as their objective, unchanging properties.

Local color is the primary color of an object without taking into account external influences.

The local color of an object can be monochromatic (ill. 80), but it can also consist of different shades (ill. 81).

You will see that the main color of roses is white or red, but in each flower you can count several shades of local color.

80. Still life. Photo

81. VAN BEYEREN. Vase with Flowers

When drawing from life, you need to transfer from memory characteristics local color of objects, its changes in light, partial shade and shade.

Under the influence of light, air, combination with other colors, the same local color acquires a completely different tone in the shadow and in the light.

At sunlight the color of the objects themselves is best seen in places where the penumbra is located. The local color of objects is less visible where it is lying on full shade. It lightens and discolors in bright light.

Artists, showing us the beauty of objects, accurately determine changes in local color in light and shadow.

Once you have mastered the theory and practice of using primary, secondary and complementary colors, you will be able to easily convey the local color of an object, its shades in light and shadow. The shadow cast by or on the object itself will always contain a color that is complementary to the color of the object itself. For example, in the shadow of a red apple there will definitely be a green color as a complement to the red. In addition, each shadow contains a tone slightly darker than the color of the object itself, and a blue tone.

82. Scheme for obtaining shadow color

We should not forget that the local color of an object is influenced by its environment. When there is a green drapery next to a yellow apple, a color reflex appears on it, that is, the apple’s own shadow necessarily acquires a shade of green.

83. Still life with a yellow apple and green drapery

Every object in nature can be seen by a person as an object of one color or another.
This is due to the ability various items absorb or reflect electromagnetic waves of a certain length. And the ability of the human eye to perceive this reflection through special cells in the retina. The object itself has no color, it only has physical properties– absorb or reflect light.

Where do these same waves come from? Any light source consists of these waves. Thus, a person can see the color of an object only when it is illuminated. Moreover, depending on the light source (sun during the day, sun at sunset or sunrise, moon, incandescent lamps, fire, etc.), light intensity (brighter, dimmer), as well as on the ability of personal perception specific person, the color of the item may look different. Although the subject itself does not change, of course. So, color is a subjective characteristic of an object, which depends on various factors.
Some people, due to the developmental characteristics of the body, do not distinguish colors at all. But most people are able to perceive waves of a certain length with their eyes - from 380 to 780 nm. Therefore, this area was called visible radiation.

If sunlight pass through a prism, this beam will decompose into separate waves. These are exactly the same colors that the human eye can perceive: red, orange, yellow, green, blue, indigo, violet. These are 7 electromagnetic waves of different lengths, which together make up white light (we see it with the eye White color), i.e. its "spectrum".
So, each color is a wave of a certain length that a person can see and recognize!

The apparent color of an object is determined by the way that object interacts with light, i.e. with its constituent waves. If an object reflects waves of a certain length, then these waves determine how we see this color. For example, an orange reflects waves with a length of approximately 590 to 625 nm - these are orange waves, and absorbs other waves. It is these reflected waves that are perceived by the eye. Therefore, a person sees an orange as orange. And grass looks green because, thanks to its molecular structure, it absorbs waves of red and of blue color and reflects waves in the green part of the spectrum.
If an object reflects all waves, and as we already know, all 7 colors together form white light (color), then we see such an object as white. And if an object absorbs all waves, then we see such an object as black.
Intermediate options between white and black are shades of gray. These three colors - white, gray and black - are called achromatic, i.e. containing no "color" color, they are not included in the spectrum. Colors from the spectrum are chromatic.

As I already said, the perceived color depends on the light source. Without light there are no waves and nothing to be reflected; the eye sees nothing. If the lighting is insufficient, then the eye sees only the outlines of objects - darker or less dark, but all in the same gray-black range. Other areas of the retina are responsible for the eye's ability to see in poor lighting conditions.

Thus, depending on the nature of the light falling on an object, we see different variants the colors of this item.
If an object is well lit, we see it clearly, the color is pure. If there is too much light, the color appears washed out (think of overexposed photographs). If there is little light, the color appears darker, gradually tending to black.

Each color can be analyzed according to several parameters. These are the characteristics of color.

Characteristics of color.

1) COLOR TONE. This is the same wavelength that determines the position of the color in the spectrum, its name: red, blue, yellow, etc.
It is necessary to distinguish between the concepts of “tone” and “subtone”.
Tone is the main paint. Undertone is an admixture of another color.
Due to the difference in undertones, different shades of the same color are formed. For example, yellow-green and blue-green. The main tone is green, the subtone (in smaller quantities) is yellow or blue.
It is precisely the undertone that defines such a concept as TEMPERATURE colors. If you add yellow pigment to the main tone, the color temperature will feel warm. Associations with red-yellow-orange colors are fire, sun, warmth, heat. Items warm shades seem closer.
If you add blue pigment to the main tone, the color temperature will be perceived as cold (the colors blue and blue are associated with ice, frost, and cold). Objects in cool colors appear further away.

It is important to remember here and not confuse the concepts. There are two meanings of the phrases “warm colors” and “cool colors”. In one case, they talk about color tone, then red, orange and yellow are warm colors, and blue, blue-green and violet are cool colors. Green and lilac are neutral.

In the second case, we are talking about the undertone of the color, its predominant shade. It is in this meaning that this term will be used in the future to describe the colors of appearance - warm and cold color types. And speaking about color temperature in this meaning, we mean that Each color can have both warm and cold shades depending on itsundertone! Apart from orange, it is always warm (due to the peculiarities of its location in the spectrum). White and black are not included in the color wheel at all and therefore the concept of color tone is not applicable to them, but since we are talking about the temperature of all colors, I will immediately indicate that these two belong to cool colors.

2) The second characteristic of each color is BRIGHTNESS.
It shows how strong the light emission is. If strong, then the color is as bright as possible. The less light there is, the darker the color looks and the brightness decreases. Any color becomes black when the brightness is reduced to the maximum. Imagine the objects bright color in twilight conditions, the color appears dark, its brightness is not visible. Lowering the brightness by adding black makes the color more SATURATE. Dark red is a rich (deep) red, dark blue is a rich (deep) blue, etc. IN English language for thicker dark color synonymous words are used: deep (deep) and dark (dark). You will also find these terms in the names of color types.
Light brightness and color brightness - different concepts. Above we talked specifically about the color of an object in bright light. In graphics programs (including Painte), brightness is used precisely in this value. In the picture below you can see the decrease in the “brightness” parameter when darkening the color.
But there is also the term “brightness”, meaning “purity”, “richness” of color, i.e. the most intense color without any admixtures of black, white or gray. And it is in this sense that I will use this term further. If it says “brightness parameter”, then we are talking about changing the lighting (i.e. lightness/darkness).

3) The third characteristic of each color is LIGHTNESS.
This is a characteristic opposite to the saturation (darkness, strength) of color.
The higher the lightness, the closer the color is to white. The maximum lightness of any color is white. At the same time, the “brightness” parameter increases. But this brightness is not color (purity), but an increase in illumination, once again I emphasize the difference between these concepts.
Shades with increasing degrees of lightness are perceived as more and more bleached, pale, and weak. Those. with low saturation.

4) The fourth characteristic of each color is CHROMATICITY (INTENSITY). This is the degree of “purity” of color, the absence of impurities in its tone, its richness. When gray pigment is added to the main color, the color becomes less bright, otherwise it becomes muted and soft. Those. its chromaticity (color) decreases. With the chromaticity of color reduced to the maximum, any color becomes one of the shades of gray.
It is important not to confuse the concepts of “juicy” and “saturated” color. Let me remind you that saturated is a dark shade, and juicy is a bright tone, without impurities.
Often, when they say that a color is bright, they mean that it is as chromatic, pure, rich color. It is in this meaning that this term is used in the theory of color types, which will be discussed further.
If we talk about the “brightness” parameter in terms of illumination (a lot of light - higher brightness - whiter color, little light - lower brightness - darker color), then we will see that when the chromaticity decreases, this parameter does not change. Those. the chromaticity characteristic applies to objects with the same color tone under the same lighting conditions. But one object at the same time looks more “alive”, and the other more “faded” (faded - having lost its bright color).

If you increase the “brightness” parameter, i.e. add white color, then at this level of lightness you can make the color more muted in the same way by adding a gray tint.

It’s the same with more saturated (darker) shades - they also come in both purer and more muted shades. The main thing that we see in all cases as the chromaticity decreases is an increasingly pronounced gray undertone. This is what distinguishes soft colors from bright (pure) ones.

Another important nuance– when adding any achromatic color (white, gray, black) to the main tone, the color temperature changes. It does not change to the opposite, i.e. a warm color will not become cold in this way or vice versa. But these colors will approach the “temperature” characteristic to neutral shades. Those. without pronounced temperature. That is why representatives of soft, dark or light color types can wear some colors from neutral-cold or neutral-warm, regardless of their main color type. But I will talk about this later.

Thus, according to their main characteristics, all shades are divided into:
1) Warm(with golden undertones) / cold(with blue undertone)
2) Light(unsaturated) / dark(saturated)
3) Bright(clean) / soft(muffled)

And each color has one leading characteristic and two additional ones, which determines the name of some shades. For example, light pink - the leading characteristic is “light”, additional ones - can be both warm and cold, both bright and soft.

Let's practice identifying the leading characteristic.

Or one leading and one additional.

The above examples clearly show the influence of halftone on the leading characteristic of the shade:
Dark colors– colors with the addition of black (saturated).
Light colors– colors with the addition of white (bleached).
Warm colors– colors with warm (yellow, golden) undertones.
Cool colors– colors with cold (blue) undertones appear icy.
Bright colors– clean, without adding gray.
Soft colors– muted, with the addition of gray.

Since ancient times, color theorists have developed their ideas and understanding of the interaction of colors. The first attempts to systematize views were made during the lifetime of Aristotle (384-322 BC), but the most serious research in color theory began under Leonardo da Vinci (1452-1519). Leonardo noticed that certain colors enhance each other and discovered contrasting (opposite) and complementary colors.

The first color wheel was invented by Isaac Newton (1642-1727). He divided a ray of white light into rays of red, orange, yellow, green, blue, indigo and violet, and then connected the ends of the spectrum into a color wheel. He noticed that when two colors from opposite positions are mixed, a neutral color is produced.

Thomas Young (1773-1829) proved that a white light beam actually splits into only three spectral colors: red, green and blue. These three colors are the original ones. Based on his work, the German physiologist Hermann Helmholtz (1821-1894) showed that the human eye perceives color as a combination of red, green and blue light waves. This theory proved that our brain "breaks down" the color of each object into different percentages of red, green and blue, and it is because of this that we perceive different colors differently.

Johann Wolfgang Goethe (1749-1832) divided colors into two groups. He included warm colors (red-orange-yellow) in the positive group, and cool colors (green-blue-violet) in the negative group. He found that positive group colors made viewers feel uplifted, while negative group colors were associated with a feeling of unsettledness.

Wilhelm Ostwald (1853-1932), a Russian-German chemist, in his book “The ABC of Color” (1916) developed a color system depending on psychological harmony and order.

Itten Johanns (1888-1967), a color theorist from Switzerland, developed color schemes and modified the color wheel, which was based on three primary colors - red, yellow and blue, and included twelve shades. In his experiments, he explored the relationship between color and visual effects.

In 1936, American artist Albert Munsell (1858-1918) created a new universal color model. It is called the Munsell Tree, where the shades are arranged along branches of varying lengths in order of their saturation. Munsell's work was adopted by American industry as the standard for naming colors.

Color harmony

A successful combination of colors can be referred to as “color harmony.” Whether they consist of similar colors that give a softer impression to the eye, or contrasting colors that attract attention, harmonious color combinations are a matter of personal taste. The practice of art and design puts forward color theories, principles for using color, which allow you to make decisions regarding the choice of a particular color.

Color evokes an emotional and physical response, however the nature of the response can be changed by placing the original color in combination with one or more colors. Color combinations can be varied to create combinations that are related or contrasting, thereby influencing the viewer's experience.

Basic Concepts

Complementary colors (optional)

The colors are located opposite each other in color wheel. They provide the most contrasting combination. Using two opposing colors will create visual vibration and excite the eye.

Similar colors + complementary (contrasting)

One color is accompanied by two colors located in the immediate vicinity of the color opposite the main one. Softening the contrast results in an intricate color combination.

Twin complimentary colors

They are a combination of two pairs of complementary colors. Since the colors involved in this combination enhance the apparent intensity of each of them, some pairs may be unpleasant to the eye. When using 4 colors, avoid color spots of the same area.

Similar colors

These are combinations of two or more colors that are in close proximity on the color wheel. They have similar wavelengths, making them easy to perceive.

Process colors

It is a combination of any three colors evenly spaced on the color wheel. Triads of primary colors are perceived more sharply, while secondary and tertiary triads provide a softer contrast.

Monochromatic colors

These are color schemes made up of shades of the same color. Use one color, explore variations in saturation and opacity.