الإنسجام بين الألوان المكملة لبعضها .. كتاب التصوير الملون ، الكاتب عبد الفتاح رياض

Red sausage and balanced colors are those that, if mixed with each other in equal proportions, would create a sense of a neutral color (gray.). This can be verified by painting a disk with two colors that are complementary to each other, so that each color occupies an identical space with what the other occupies. In order to conduct such an experiment, it is possible to benefit from a simple game that young boys prepare from a disc of cardboard or a button with a piece, a rolling pin in it, as shown in Figure (79), then paint the two halves of the disc in two complementary colors. If the rotary wheel is “twisted” hard and then left to return to its first state, the disk or button will rotate very quickly, causing the sensation of gray. Complementary colors would strengthen each other, and for this reason

It follows from their meeting that the contrast increases, and the higher the degree of saturation of the two colors (i.e. if the degree of chroma increases), the degree of contrast increases. It is not acceptable to combine two colors that are complementary to each other and occupy two similar spaces. Although such a composition guarantees the preservation of balance between them, it does not guarantee the harmony of colors, and their desirability increases if the value of the two colors is also similar, or if the degree of their saturation is similar (i.e. if the degree of color is the same). Chroma (or if they are similar in value and saturation together. That is because no
Of the two colors will work to attract the attention of the beholder to an equal extent, so that one of them will not have dominance over the other, and the unity of the composition of the colors collapses (Fig. 80).

It is that space with, and experiments have shown that many of the preferred color images in which low saturation colors occupy the largest area are small than a highly saturated color. It is not desirable to overlook the presence of this highly saturated color, as it confirms the presence of less saturated colors, and if we do not do that, then the image will certainly appear dull without a center to attract attention.

(fig. 80)

From the foregoing, we deduce that there are relationships between each of the origins of colors, their degree of saturation, and their value that must be taken into account. Therefore, a derived rule was established

From the study of public taste, it dictates that the area occupied by a color is inversely proportional to its degree of saturation, so the area occupied by the most color decreases. Saturation increases the area of ​​less saturated color. (Figures 82, 81, 83)

Even if the combination of more than two colors in the picture gives it a variety, which is an element of suspense and getting rid of boredom, which some may do well if the colors of the picture are limited to one or two colors that differ in each of the degrees of value and chroma, but the possibility of falling into mistakes

The harmony of colors increases as their number increases.

Experiments have shown that complementary colors are very harmonious

A group of interconnected colors come together, such as: (1) Interconnected colours. Red, yellowish-red, orange, yellow. (b) Complementary color: blue.
If the interconnected colors are desaturated (i.e. mixed with neutral colors such as white - gray - black), and the complementary color is highly saturated, then such an arrangement ensures that the viewer's attention is drawn to the last color, and therefore it is better for this color to be representative of the main subject in the image. Although the vast majority of artists tend to combine interrelated colors with others that are complementary to them, especially in modern arts, given that this method allows making the work of art dull and rich in color, which allows some colors to be strengthened when they are adjacent to others that complement them. The error when combining related colors with complementary ones increases the probability of the error occurring if he used only analogous colors, unless the acceptable relationships between the origin of the color, its value and its saturation (i.e. the degree of chroma) are taken into account.

the value

Chroma

A chroma

blue

one part

1432

red yellow

blue

yellow . red.

one part.

(Fig. 81) If we combine the origins of two colors that are complementary to each other, such as (yellow-red) with (blue) and have equal degrees of value and chroma, with equal space occupied by each, then the two colors will be balanced, but this does not indicate at all that There is no combination between them that makes the composition harmonious and acceptable. On the contrary, it is a composition in which each of the two colors struggles to attract the visionary's attention in an equal measure. Therefore, one of the two methods shown in Figures 82 or 83 must be followed
In order to converge with the error referred to in (Fig. (81), we find that one of the two colors must occupy an area different from that occupied by the other color, and assuming that we saw an increase in the area occupied by the blue color and made it double that occupied by the yellow-red color), then the balance between The two colors unless we work to modify any of the degrees of chroma or value. We will start in this case by keeping the degrees of value equal, while changing the degrees of chroma. Here we must note one of the important rules of color harmony, which requires that the space occupied by the color be inversely proportional to the degree of saturation.

And since the area occupied by the blue color has doubled (as shown above), therefore, the degree of predominance of the complementary color (which is yellow-red) must be halved.

If we use blue ( (that is, because its value = 4 and the degree of chroma = 2), and it occupies an area twice as large as that of the color that complements it, then the chroma degree of yellow must become red = 4, assuming that the value is kept as it is 4

Thus, the balance remains available, while eliminating to some extent the boredom that we feel

We took the configuration shown in Figure 81. It is noted (in the figure above) that if we multiply each of the X-values ​​of chroma for each of the two colors, the inverse ratio of the product is guaranteed to guide us to the percentage of space that each color should occupy. For example: blue 4 2 = 8, yellow red 4 4 17 ==

The ratio of the area of ​​blue to the area of ​​red yellow. (Note that this percentage has been reversed from what is shown above) = 16: = Y