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LESSON 7 COLOUR HARMONY

STRUCTURE

7.0 OBJECTIVES

7.1 INTRODUCTION

7.2 COLOUR HARMONIES

7.2.1 ANALOGOUS COLOUR HARMONY 7.2.2 COMPLEMENTARY COLOUR HARMONY 7.2.3 SPLIT COMPLEMENTARY COLOUR HARMONY 7.2.4 TRIAD COLOUR HARMONY 7.2.5 MONOCHROMATIC COLOUR HARMONY 7.2.6 TETRADIC 7.2.7 ACHROMATIC 7.2.8 NEUTRAL 7.2.9 PRIMARY 7.2.10 SECONDARY

7.3 ASSIGNMENTS

7.3.1 CLASS ASSIGNMENTS 7.3.2 HOME ASSIGNMENTS

7.4 SUMMING UP

7.5 POSSIBLE ANSWERS TO SELF-CHECK QUESTIONS

7.6 TERMINAL QUESTIONS

7.7 SUGGESTED FURTHER READING

7.8 GLOSSARY

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7. COLOUR HARMONY

The previous two units opened a door to the amazing world of colours and let you work with a number of colours, shades, tints and blends and produce a variety of combinations for imparting a colourful meaning to your artwork.

This unit is based on the colour schemes which you have learnt to formulate by using the colours according to their significance and meaning. The first lesson will cover the various colour schemes based on different themes. The next lesson will provide some tips on the uses of colour and colour schemes. And the final lesson of the unit will present some practical situations which match with the special kinds of colour schemes.

7.0 Objectives

After going through this lesson, you will be able to know about

• Colour harmonies

• Material required for practising these colour harmonies on paper.

7.1 Introduction

The thematic colour schemes are termed as colour harmonies. Colour harmony is as much of a science as an art and follows very specific rules about hue, brightness and contrast. Harmony can be described as a pleasing arrangement of parts, whether it is poetry, colour or music. In visual experience, ‘harmony’ is something that is pleasing to the eyes. It engages the viewer and creates a sense of order and a balance in the visual experience. When something is not harmonious it is either boring or chaotic. All music from Mozart to Madonna consists of the same twelve notes and all graphic designs from Gutenberg to Glaser use the same palette of colours. If the science of colour harmony knows which colours to use, the art knows the order and the proportions of each colour to be used.

Colour harmony delivers visual interest and a sense of order. It is achieved by the use of the colour schemes that you will study in detail in this unit. That leaves a great many opportunities to think diversely and freely to materialize abstract concepts using colour psychology. In making a colour scheme, a number of combinations may be used effectively and these will be described in this lesson.

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7.2 Colour Harmonies

7.2.1 Analogous colour harmony

This colour harmony implies the use of colours lying close to each other on the colour wheel, such as red, mauve and purple (Fig. 7.1 and 7.2). Such colours harmonize well if not widely separated in spectrum, or else they may clash creating restlessness and stimulation. Use of judicious amount of colours lying adjacent to each other on the colour wheel implies dignity and spaciousness.

Analogous colour schemes use three colours that are next to each other on the colour wheel. They usually match well and create serene and comfortable designs. Analogous colour schemes are often found in nature and are harmonious and pleasing to the eye. Hues and tints of these three colours blend very well.

Tips for using the analogous colour schemes:

• Ensure that sufficient contrast is available (Fig. 7.3 and 7.4).

• Choose one colour to dominate, second to support and third to accent.

Let us revise what contrast and accent mean:

• Contrast - Here different colours are used as foils or background to flatter each other.

Fig. 7.1 Analogous colours Fig. 7.2 Analogous colours

Red, Mauve and Purple

Fig. 7.3 Analogous colours Fig. 7.4 An example showing Analogous colour scheme

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• Accent - Here gradations of one colour plus one sharp contrasting colour for shock value is used. This contrast effect may be obtained by use of complementary colours, light and dark shades, bright and dull and warm and cool colours, pure and greyed down colours.

7.2.2 Complementary colour harmony

This colour harmony is achieved by the use of two colours, which lie directly opposite to each other on the colour wheel such as yellow and purple or red and green. However, right judgement with regard to the selection of colours and their quantities is essential to get desirable results. One colour looks good in the presence of a small amount of its compliment rather than in equal proportion. The best rule to follow is to use the complement of a colour sparingly so as to set off the original colour.

Colours that are directly opposite each other on the colour wheel are complementary colours (Fig. 7.5 and Fig. 7.6). The high contrast of complementary colours creates a vibrant look .The colours must be managed well so as not to clash.

Tips for using complementary colour scheme:

• Should be used only in small quantities.

• Works well when prominence is required.

7.2.3 Split complementary colour harmony

The split complementary scheme is a variation of the complementary colour scheme (Fig. 7.7). This harmony involves the use of three colours. In addition to the base colour, it uses the two colours adjacent to its complement. This scheme has the same strong visual contrast as the complementary colour scheme. It consists of the use of a single hue, along with two hues lying adjacent on either side of its true complement on the colour wheel. Thus the use of true complement is omitted. For example, this harmony implies the use of Blue with red orange (lying to left of orange; the true complement of blue) and yellow orange (lying to the right of orange) (Fig. 7.8)

Fig. 7.6 Tie Dyed technique showing

complementary colour scheme

Fig. 7.5 Complementary colours

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Tips for using split-complementary colour scheme:

It is easier to work with and, therefore, less chances of messing up.

7.2.4 Triad colour harmony

A triad colour scheme uses colours that are evenly spaced around the colour wheel (Fig. 7.9). This is also quite a vibrant colour scheme. Here three colours are used together to get a harmonious effect. It is a harmony of colours which are at the vertices of an equilateral triangle, superimposed on the colour wheel, such as green, orange and purple. By moving the triangle on the wheel, the two triadic harmonizing colours of any hue can be determined. For example, if the triangle is moved so that one point is at yellow green, it is found that red-orange and blue purple are the colours to combine with yellow green for triadic colour harmony (Fig. 7.10).

Tips for using triad colour scheme:

• The colours should be carefully balanced.

• Let one colour dominate and use the other two for accent.

7.2.5 Monochromatic colour harmony

The monochromatic colour scheme uses only one colour with all its tints, shades and tones (Fig. 7.11). This harmony is achieved by the use of different tints or shades of one hue or colour. It is a colour harmony obtained by the judicious use of different amounts of a single colour. This colour harmony is often termed as monotonous. However, if effectiveness is achieved then it provides a subtle and glamorous background. Here the major colour is allowed to

Fig. 7.8 An example of Split complementary colours scheme

Fig. 7.7 Split complementary colours

Fig. 7.9 Triad colours Fig. 7.10 An example of Triad colour scheme

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predominate, and the sequence of shades and tints is gradual (Fig. 7.12). It is so usual to add a small amount of the complementary or contrasting colour for accent that it is suitable for a very vivid personality.

Tips for using monochromatic colour scheme:

• Difficult colour scheme; one has to try all possible shades, tints, tones while working with it.

7.2.6 Tetradic

The Tetradic colour scheme uses four colours arranged into two complementary pairs, such as red, purple, green, yellow (Nos. 1, 3, 7 and 9 on the colour wheel). This rich colour scheme offers plenty of possibilities for variations (Fig. 7.13).

7.2.7 Achromatic

This colour scheme uses only the different shades of black, white and grey without using any other colour (Figs. 7.14 and Fig. 7.15).

Fig. 7.11 Monochromatic colours Fig. 7.12 Picture with

monochromatic colour scheme

Fig. 7.13 Tetradic colours

Fig. 7.15 Picture with Achromatic colour scheme Fig. 7.14 Achromatic colours

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Tips for using the achromatic colour scheme:

• This is a very difficult colour scheme and requires a real balance of black and white

7.2.8 Neutral

In this scheme only one colour with its various shades and tints is used. Black and white is added to this colour to make combinations (Fig. 7.16). This is also a very soft colour scheme and gives a very serene effect. The colours, greys, browns, beiges and all the indeterminate ones are often dismissed as unimportant. However, they have a vital role to play; they act as a foil for the bright colours and provide a framework for them. The trouble with neutrals is that, it is hard to know which colours to start mixing, as they are often difficult to analyze.

A good way of neutralizing a colour is to use its complementary (Fig. 7.17). Complementary colours are those that are opposite each other on a colour wheel: red and green, violet and yellow; orange and blue. When these pairs of vivid opposite colours are mixed together they cancel each other out, making subtle neutrals that vary according to the proportions of the colours used. Successful neutrals always give a design much more impact.

7.2.9 Primary

This is the combination of the pure hue of red, green and blue. A very vibrant scheme and has similar use of working as the complementary scheme.

7.2.10 Secondary

This is a combination of the secondary hues of green, purple, orange. This is less vibrant (a little softer) than the primary scheme.

Fig. 7.17 Picture using Neutral colours

Fig. 7.16 Neutral colours

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Self-check Questions

1. What is contrast in the context of analogous colour schemes?

2. Define the term accent in the context of analogous colour schemes.

3. Write the names of colours which fall in the family of red and yellow.

4. What is complementary colour harmony?

5. What is the difference between monochromatic and achromatic colours?

6. Give a) Neutral – list of colours b) Triad – list of colours

7. Fill in the blanks:

i) Two adjacent colours of the colour wheel are used in ________ colour harmony.

ii) __________ is an example of colour harmony based on one colour. iii) On the colour wheel ________ is the complementary colour of blue.

Activity

1. Take a¼ cartridge sheet and poster colours. On a sheet, make achromatic colour harmony, by moving black towards white and make 20 Tones of this colour scheme.

Materials required for this activity are:

• Paper (half imperial, white drawing paper) and poster colours – (red, yellow, blue)

• Compass, pencil, eraser, 6” ruler, paint brushes (round sable brushes) numbers 2 and 4.

• Small container for water

• A small rag

Using these materials try out the class assignment as you would approach a work of art.

7.3 Assignments

7.3.1 Class assignments

i) Make ten colour harmonies (schemes) about which you have learnt in this lesson into individual wheels or in squares.

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7.4.2 Home assignments

i) Take a ¼ cartridge sheet, choose one primary colour (say Blue) and on this make a composition with analogous colour harmony.

7.4 Summing Up

This lesson describes in detail the science of making a colour scheme effectively and skillfully. Colour harmony refers to pleasing arrangement of colours by judicious selection of colours in right proportions. Ten types of colour schemes are described in this lesson to achieve colour harmony. On completion of this lesson, you should be adept at using the following colour harmonies.

• Analogous

• Complementary

• Split-complementary

• Triad

• Monochromatic

• Tetradic

• Achromatic

• Neutral

• Primary

• Secondary

7.6 Possible Answers to Self-check Questions

1. In in the context of analogous colour schemes, contrast implies that different colours are used as foils or background to flatter each other.

2. in the context of analogous colour schemes, accent means that gradations of one colour plus one sharp contrasting colour for shock value is used. This contrast effect may be obtained by use of complementary colours, light and dark shades, bright and dull and warm and cool colours, pure and grayed down colours.

3. The colours Red, Yellow, Orange, reddish orange anh yellowish orange

4. In this colour harmony two colours which lie directly opposite to each other on the colour wheel are used like, yellow and purple or red and green etc.

5. The monochromatic colour scheme uses only one colour with all its tints, shades and tones while the achromatic colour scheme uses only the different shades of black, white and grey without using any other colour.

6. Neutral-Grey, Brown, Beige, Black

Triad-Red, Yellow, Blue, or Yellowish green, red-orange, blue-purple.

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8. Fill in the blanks:- Analogous, Monochromatic, Orange colour.

7.7 Terminal Questions

1. What is colour harmony?

2. How many colours are used in Analogous colour harmony?

3. Write about neutral colour harmony.

4. Give some tips for analogous colour harmony.

5. Describe tetradic and triad colour harmonies.

7.8 References and Suggested Further Reading:

1. Chijiiwa, H. 1987. Colour Harmony: A guide to creative colour combinations. Rockport Publishers, Rockport.

2. Stockton, J. 1984. Designer’s Guide to Colour-2. Chronicle Books, San Francisco.

3. Sutton, T. and Whelan, B.M. 2005. The Complete Colour Harmony. Rockport Publishers, Rockport.

4. http://www.tigorcolor.com

7.9 Glossary

1. Adjacent Side by side

2. Chaotic Disorderly

3. Harmony Absence of discord

4. Judicious Sensible, Wise

5. Monotonous Of a single colour

6. Omit Miss, Neglect, leave out

7. Prominence Relative importance

8. Vibrant Vigorous and active