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La terìa del color de Itten para RGB
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There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues. (4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
Johannes IttenA Theory of Colour
from
"Design and Form: the Basic Course at the Bauhaus 1963"
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues. (4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
There are seven different contrast
effects in the world of colours:
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues. (4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues. (4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues. (4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues. (4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
(4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues. (4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
(4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
(4) The complementary contrast:
In the colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
(4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
(4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
(4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
(4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
(4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
(4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
There are seven different contrast effects in the world of colours:
(1 ) The pure colour (hue) contrast:
This results when pure colours are used in random combinations. White and black can further enhance the vivid effect.
(2) The light dark contrast:
This is based on the use of different brightnesses and tone values of the colours. All colours can be lightened with white, and darkened with black. Tone scales which correspond to the light-dark scale (page 17) should first be made of each colour.
(3) The cold-warm contrast:
Its greatest effect is achieved with the colours orange-red and blue-green. All other colours appear cold or warm depending on their contrast with warmer or colder hues.
(4) The complementary contrast:
In my colour circle the complementary colours occupy opposite positions. When they are mixed, the result is a neutral grey-black. When adjacent, complementary colours mutually intensify their luminosity to a maximum; when mixed, they extinguish each other to produce grey-black.
(5) The simultaneous contrast:
Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour - its complement. If this colour is absent, the eye will produce it simultaneously. Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.
(6) The contrast of quality (colour saturation):
This is the contrast between luminous and dull colours. Colours can be subdued by the addition of black, white, grey, or complementary colours.
(7) The contrast of quantity:
This is based on the opposition of coloured areas of different sizes.
saturation
density
hue
colour printing
PLACE NEGATIVE IN ENLARGER
60
40
00
CYAN
YELLOW
MAGENTA
DICHROIC COLOUR HEAD
5.6 . 8 . 11 . 16 . 22
do not usecyan
Step Wedge
Take an 8x10 piece of colour paper.
Use a negative containing both a grey card and skin tone.
Make a step wedge in the usual way, setting your timer to about 2 seconds and making about 6 steps in the usual way.
Process & inspect. The colour will be incorrect but don't worry, the main thing is the exposure, gauged by skin tone and grey card
2
seconds
4 6 8 10 12
exposure
skin tonegrey card&
INSPECT YOUR TESTS UNDER WHITE LIGHT
AFTER MAKING YOUR STEP WEDGEMAKE CHANGES TO EXPOSURE
ONLY WITH THE APERTURE
NOW CONCENTRATE ON COLOUR BALANCE
DEALING WITH COLOUR CASTES
BEFORE
AFTER
magentared
yellow
greencyan
bluebalanced
colour triads
VIEWING FILTER WILL HELP JUDGE COLOUR BALANCE
USE VIEWING FILTERS IN WHITE LIGHT(DAYLIGHT OR DAYLIGHT BALANCED FLOURO LIGHT)
HOLD THE FILTER NEAR YOUR EYE AND 'FLICK' IT BACK AND FORTH ACROSS THE PRINT
EACH FILTER HAS SUGGESTED ADJUSTMENT UNDER EACH WINDOW
60
90
00
CYAN
YELLOW
MAGENTA
DICHROIC COLOUR HEAD
5.6 . 8 . 11 . 16 . 22
PRINT TOO YELLOW?
60
90
00
CYAN
YELLOW
MAGENTA
DICHROIC COLOUR HEAD
5.6 . 8 . 11 . 16 . 22TAKE YELLOW OUT OFTHE PRINT...
60
115
00
CYAN
YELLOW
MAGENTA
DICHROIC COLOUR HEAD
5.6 . 8 . 11 . 16 . 22
...ANDPUT YELLOW INTO THE COLOUR HEAD
(INCREASE YELLOW FILTER)
to reduce magentaincrease
magenta filtration
to reduce yellowincrease
yellow filtration
to reduce a colour castin a printINCREASEthat colourin the head
to reduce cyanincrease magenta and yellow
20R
10R
10M
20M
20Y
10Y
10B
20B
10C
10G
20G
20C
AN INCREASE IN
FILTRATION IN THE HEAD
WILL INCREASE THE CAST
IN THE PRINT
![Palette-based image decomposition, harmonization, and ...templates from Itten’s color theory [Itten 1970] (see Figure 2). We also propose new color operations using this axes-based](https://img.pdfslide.us/doc/110x75/5ece3bb20572bf38c2568ab0/palette-based-image-decomposition-harmonization-and-templates-from-ittenas.jpg)
