Which Of The Following Color Combinations Represents Appropriate Contrast

Johannes Itten
Color

The 12-hue color circle

	Seven Kinds of Colour Contrast

	i. Contrast of hue
	2. Light-dark contrast
	three. Cold-warm contrast
	four. Complementary contrast
	5. Simultaneous contrast
	6. Contrast of saturation
	7. Contrast of extension

	Dissimilarity OF HUE Contrast of hue is illustrated by undiluted colors in their most intense luminosity. Some combinations are: yellow/cherry-red/blueish; scarlet/blue/dark-green; blue/yellow/violet; yellow/green/violet/red; violet/green/blue/orange/blackness Simply every bit blackness-white represents the extreme of light-nighttime contrast, then yellow/red/blue is the farthermost instance of contrast of hue. At to the lowest degree three conspicuously differentiated hues are required. The intensity of dissimilarity of hue diminishes equally the hues employed are removed from the iii primaries. Orange, green and violet are weaker in grapheme than xanthous, red and bluish, and the effect of tertiary colors is even so less distinct.

LIGHT-DARK Dissimilarity

The painter's strongest expressions of light and dark are white and black.
The effects are opposite with the realm of grays and chromatic colors betwixt them.

Chromatic light-dark dissimilarity are illustrated in twelve equidistant steps from white to black and take been repeated ford each of the twelve
hues of the color circumvolve, in brilliances equal to the corresponding grays. Pure yellow becomes the quaternary step. Orange is the sixth step, reddish
the eighth, blueish the ninth, and violet aht the tenth step in the scale of grays. The chart shows saturated yellow to exist the lightest of the pure
colors, and violet the darkest.




	Lite-Dark Contrast 11 Lite-dark composition in blackness, white, and grays 12 Same composition as Fig. 11, in blueish 13 Colors of equal brilliance 14 Colors of equal darkness

Cold-WARM Contrast

	cold-warm backdrop:	verbalized in a number of other contrary terms
	common cold	warm
	shadow	dominicus
	transparent	opaque
	allaying	stimulant
	rare	dumbo
	airy	earthy
	far	near
	lite	heavy
	wet	dry
These diverse impressions illustrate the versatile expresive powers of common cold-warm dissimilarity. It tin can be used to produce highly pictorial effects. In landscape, more than distant objects always seem colder in color because of the intervening depth of air. Cold-warm contrast contains elements suggesting nearness and distance.


	Cold-Warm Contrast
	sixteen The strongest common cold-warm contrast: red-orange / blue-greenish
	17 Inversion of proportions of Fig. 16
	18 Red-violet seems warm relative to blue
	19 Red-violet seems common cold relative to orangish
	20 Checkered composition contrasting cold and warm colors
	21 Cold-warm modulation in red
	22 Cold-warm modulation in greenish

COMPLEMENTARY Dissimilarity

Two colors are complementary if their pigments, mixed together produce a neutral gray-black. Physically, light of two complementary colors, mixed together, will yield white. Two such colors are a foreign pair. They are opposite, they reequire each other. They incite each other to maximum vividness when adjacent; and they annihilate each other, to gray-black, when mixed - like burn and water.
There is always only one color complementary to a given color. In the colour circle, complementary colors are diametrically reverse each other.
Examples of complementary pairs are:
yellow,	violet
blue,	orange
ruby,	light-green
In analyzing these pairs of complementaries, all three primaries - yellow, ruddy, bluish - are ever present:
yellowish, violet	= yellow, crimson + blueish
blue, orange	= blue, yellow + red
ruby-red, green	= ruby-red, yellow + blue


	Complementary Dissimilarity
	23 - 28 Mixture bands of six coplementary pairs
	29 Composition in the complementary pair crimson/dark-green and mixtures
	30 Mixture square of two complementary pairs, orange/blue and red-orange/blueish-green

SIMULTANEOUS Dissimilarity

Simultaneous contrast results from the fact that for whatsoever given color the center simultaneously requires the complementary color, and generates information technology spontaneously if information technology is not already present.

Simultaneous Contrast
31-36 Each of vi pure color squares contains a minor neutral gray foursquare, matching the background color in brilliance Each greyness square seems to exist tinged with the complementary of the blackground. The simultaneous effect becomes more intense, the longer the principal color of a square is viewed.
37 Iii small gray squares, surrounded by orange. Three grays barely distinct from each other take been used. The start greyness is bluish, and intensifies the simultaneous issue; the second gray is neutral, and suffers simultaneous modification; the tertiary greyness contains an admixture of orangish, and therefore fails to be modified.

SATURATION CONTRAST

Saturation, or quality, relates to the degree of purity of a color. Dissimilarity of saturation is the contrast between pure, intense colors and dull, diluted colors.

Contrast of Saturation
38-41 On a checky pattern of 25 squares, luminous yellow, orange, blood-red, or blue is placed in the center.
The 4 corners are neutral gray in the aforementioned luminescence every bit the pure color.
Graded admixture of grey with the pure color produces intermediate shades of low saturation.

Dissimilarity OF EXTENSION

Contrast of extension involves the relative areas of two or more colour patches. It is the contrast betwixt much and fiddling, or great and small.

Contrast of Extension
42-44 Harmonious proportions of surface area for complementary colors:
Yellow : Violet = 1/4 : three/four
Orange : Blue = one/3 : 2/3
Red : Green = i/ii : ane/ii
45 Circle of principal and seondary colors in harmonious proportion
46 Equal proportions of red and green
47 A footling carmine with a cracking bargain of dark-green makes the red highly active

Resource:
The Fine art of Color: The subjective experience and objective reationale of colour
Johannes Itten
various pages eighteen-47
The Elements of Color
A treatice on the color system of Johannes Itten based on his book The Art of Colour
Edited and with a forward and evaluation by Faber Birren
Translated by Ernst Van Hagen
various pages 30-61