The secondary colours of mixing RGB are CMYK and vice versa.
When we see red, we are saying It is the reddest thing we can see.
Additive colour:
RGB primaries - CYMK secondaries - When RGB are all added together they produce white light.
Subtractive colour:
CMY primaries - RGB secondaries - when CMY are all added together they produce black/ key.
Light contains different wavelengths in these wavelengths all these colours are available.
The Itten colour wheel helps us to understand the relationship between colours.
complementary colours are opposite each other in this colour wheel.
Because of physiological responses, the eyes can be fooled into seeing the full range of physical colours through the proportionate of the 3 colours RGB.
Itten's 7 contrasts.
Contrast of tone
Formed by the juxtaposition of light and dark values, these could be monochromatic (single colours)
Yellow has the lightest tone on the colour wheel.
Blue has the darkest and red is a mid tone.
The highest contrast we can see in the colour wheel is black and white.
The above images have the same level of redability because black and white are of equal distance away from the mid tone grey on the colour wheel.
The orange and red have are a small distance away from each other on the colour wheel and so they begin to blend together. The blue on red is easier to read as these colours are further away from each other on the colour wheel therefore indicating a high contrast.
Contrast of hue
The juxtaposition of different hues.
The greater the distance of hues on the colour wheel, the bigger the contrast.
The blue in the first image stands out the most, followed by the red and then yellow as blue is furthest away from white in the colour wheel, this followed by red, with yellow being the closest to white, therefore it stands out the least.
When the background colour is switched to black the results are reversed, Yellow stands out the most because it is furthest from the colour wheel, followed by red and then blue.
Contrast of saturation
formed by the juxtaposition of light and dark values and their relative saturations.
For example, when we see a blue, we are convinced this is the bluest thing we can see, however when placing a new blue with higher saturation against this, the original blue appears to become de saturated.
This sequence can be repeated where each blue added appears more saturated than its previous.
The same process can be repeated with other colours. Below the same experiment was repeated with yellow, where any yellow more spectral than its previous appeared more saturated.
Contrast of extension
Formed by assigning proportional field sizes in relation to the visual weight of colour. Also known as the contrast of proportion.
Blue is the heaviest - dark.
Blue is the heaviest - dark.
Yellow is the lightest - bright.
When colours stand out from one another they are out of balance, thus creating a hierarchy of visual weights.
When balancing a light and heavy colour different amounts are needed.
For example, we were shown to create a balance and imbalance.
For example, we were shown to create a balance and imbalance.
When considering yellow and violet, the violet tries to jump out from the yellow, when the violet is in one place as a block colour it is easier to look at.
When the violet is split into smaller sections and spread across the yellow, the yellow is then trying to jump out in several places, the composition becomes less bearable to look at.
Contrast of temperature
Formed by juxtaposing hues that can be considered warm or cool, also known as the contrast of warm or cool.
Blue and orange are the coolest and warmest colours and are directly opposite each other in the colour wheel.
In the demonstration we were shown an orange/red. Being quite orange the colour did seem particularly warm. However when I magenta (a cooler colour) was then placed to the left hand side, the red/orange appeared even warmer.
However When a warmer red is placed to the side of the original colour, the red/orange then appears cooler.
Contrast between warm and cold makes us change the way that we see colour.
For example looking at the sequence of colours above and focusing on the end blue and the violet/blue to the left of this colour we can see the way in which contrast of warmth of cool changes the way in which we perceive colour.
The left wall of the blue/ violet colour appears darker and much reflects the blue colour seen the the right. However this is just the way we perceive the colour. There is in fact no change in temperature in each individual colour. this can be proved by separating each colour with a black line.
Simultaneous contrast
Formed when boundaries between colours perceptually vibrate.
For example, when looking at green and yellow, the yellow finds the yellow within the green.
For example in this image, red, blue and yellow have been placed against a mid tone grey background.
The red pulls attracts green from the grey, the purple attracts violet, and the blue, orange.
Complementary contrast
formed by juxtaposing complementary colours from a colour wheel or perceptual opposites
Complimentary colours do not work well when placed together, then often make things such as text hard to read and unbearable to look at.
The red in the following image is unbearable to look at as it is placed on a green background (its complementary), the blue and yellow are much more bearable to look at as they are not complementary to green and they are closer to green on the colour wheel.
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