A Brief Analysis of the Comprehensive Contrast of Color and the Theory of Hue Tendency

After a variety of color combinations, due to different differences in hue, lightness, purity, etc., the overall effect produced is called comprehensive contrast. The effect of this multi-attribute and multi-difference comparison is obviously much richer and more complex than the single-item comparison. In fact, the situation of single color contrast is difficult to establish. They are just one aspect of color contrast. Therefore, they are rarely used in creative and design practice. Designers should emphasize and highlight the tendency of hue when carrying out comprehensive comparison of multiple colors, or mainly hue, lightness, or purity, so that a main surface is in a dominant position, emphasizing a certain contrast side. From the hue angle, it can be divided into light, dark and other color tone trends. From the perspective of lightness, it can be divided into light, medium and gray tones. From the emotional point of view, it can be divided into cold, warm, gorgeous, simple, elegant, light and so on.

Types and treatment of hue tendency

In summary, the color tone tendency can be roughly summarized into fresh color tone, gray color tone, light color tone, dark color tone, medium color tone, etc.

1. Fresh tone

After determining the angle and distance of the color contrast, especially when the contrast is above the medium difference (90 degrees), it must match with the colorless black, white, gray and gold, silver and other luster colors. The hues play a role of spacing, buffering, and adjustment to achieve the positive effect of being both bright and municipal, and both changing and unified. Feeling vivid, gorgeous, excited, free, active, healthy, etc.

2. Gray tone

After determining the angle and distance of the color comparison, mix different degrees and unequal amounts of gray in each hue, so that the overall color of a large area develops toward the direction of low purity. In order to strengthen this gray tone tendency, it is best to The color, especially the gray combination. Feel elegant, generous, calm, simple, weak, etc.

3. Dark tone

When determining the angle and distance of the color comparison, first consider more low-hue hues, such as blue, purple, blue-green, blue-violet, red-purple, etc., and then adjust an unequal amount of black or dark white in each hue At the same time, in order to strengthen this dark tendency, it is best to use it with black in achromatic color to feel sophisticated, full, quaint, simple, tough, steady, masculine, etc.

4. Light tone

When determining the angle and distance of the color contrast, it is not necessary to consider more high-brightness hues, such as yellow, orange, orange, yellow-green, etc., and then adjust an unequal amount of white or light gray among each hue. In order to strengthen this tendency of pink tones, it is best to use it in combination with white in achromatic color.

5. Midtones

It is the most commonly used and most numerous color matching tendency. After determining the angle and distance of the color comparison, a certain amount of black, white, and gray are added to each hue, so that the overall color of a large area is not too light or too light. An intermediate state that is too deep, not too fresh or too gray. Feel easy, simple, generous, stable and so on.

When optimizing or changing the overall color tone, the most important thing is to first establish the dominant area of ​​the base color tone. For a multi-color combination of works, if large areas and large quantities use fresh colors, heat will become a fresh tone, while large areas and large quantities use gray, it will inevitably become gray tones, and so on. This advantage can make the color tone produce a distinct sense of unity in the overall change, but if only the base color is adjusted, it does not feel monotonous and boring. If a small area with strong contrasting colors, accent colors, and eye-catching colors is set, the entire color atmosphere will be rich due to its different color sense and color quality. Get active. But the whole and the contrast are contradictory unifications. If the comparison, the change is too much or the area is too large, it is easy to destroy the whole and lose the unifying effect and appear chaotic. Conversely, if the area is too small, the colors surrounded by the surroundings will be assimilated and merged and lose the expected effect. [next]

Comparison of color area and position

As a carrier of visual color, form always has a certain area. Therefore, in this sense, area is also an indispensable characteristic of color. In the practice of art design, it is often the case that although the color selection is more suitable, it is caused by mistakes due to improper control of area and position.

1. The relationship between color contrast and area

(1) Tonal combination, only the colors of the same area can compare the actual differences, and compete with each other, the contrast effect is relatively strong.

(2) The attributes of both sides of the comparison remain unchanged. One side increases the area to obtain an area advantage, while the other side reduces the area, which will weaken the contrast of colors.

(3) The color attributes remain unchanged, and as the area increases, the stimulating power to the vision is strengthened, and vice versa. Therefore, a large area of ​​color contrast can cause a dazzling effect. For example, in environmental art design, high-brightness and low-purity colors are used for exterior walls and interior walls of general buildings to reduce the intensity of contrast, resulting in a bright and comfortable effect.

(4) Large-area color stability is high. In contrast, the influence of miscoloration on its color is large; on the contrary, it is less affected by the miscoloration of its color.

(5) The color of the same nature and area has a great relationship with the shape of the state of aggregation and dispersion. Its stability, the shape with a high degree of aggregation is less affected by its color, and the degree of attention is high, and the opposite is the opposite. Such as outdoor advertisements and posters, the general colors are more concentrated to achieve the effect of attracting attention.

2. The relationship between color contrast and position

(1) The closer the color distance between the two sides is, the more the contrast effect is, and the weaker it is.

(2) When the two sides are in contact and cut into each other, the contrast effect is stronger.

(3) When one color surrounds another color, the contrast effect is the strongest.

(4) In the works, the key colors are usually set in the central part of the vision, which is the most noticeable. For example, there are 4 intersections in the composition of the cross shape. [next]

Texture contrast of colors

The color is closely related to the material properties of the object and the surface texture of the image. It is the tactile texture and visual experience of the surface that affect the color perception.

(1) Compare the colors of the two sides. If materials with different textures are used, the contrast effect is more interesting.

(2) Matching the same color or the same color, you can choose to change the heterogeneous texture material to make up for the monotony. For example, if the same red roses are printed on thin nylon sand windows and thick sofa fabrics, the decorative effect formed by them is not only a series of matching, but also has the charm of changing materials.

(3) In painting and color expression, the application of various colors and paint tools can produce different texture effects, such as watercolor, gouache, oil painting, acrylic and other color pigments and crayons, McDonald's, fountain pens, brushes and other brushes.

(4) The same pigments use different techniques to create many wonderful texture effects to enhance the fun and emotional beauty of colors. Such as coloring methods such as extension, stagnation, chemical, anti, pull, spread, spread, spread, coat, dye, hook, spray, tie, drip, brush, bracket, and point. [next]

Continuous contrast of colors

(1) Color contrast that occurs at the same time and within the same field of view is called simultaneous color contrast.

In this case, color comparison, contrast, exclusion and influence are interdependent. If a small piece of gray is painted on yellow paper, the stronger this feeling is, the so-called complementary color illusion occurs. Another example is to paint a small gray square on black paper and a small gray square on the white paper with the same area and depth. At the same time, the contrasting visual experience is that the gray on the black paper is brighter, forming a so-called brightness illusion.

(2) Color contrast occurs at different times and different fields of view, but maintains fast time continuity. The natural number is the continuous contrast of colors.

When the human eye sees the first color and then the second color, the second color will misinterpret. The longer the first color is seen, the greater the impact. The second-color illusion tends to the complementary color obtained earlier. This phenomenon is caused by the instinct of visual afterimage and visual physiology and psychological self-balance. For example, the operating room environment in the hospital and the working clothes of the surgeon and nurses are all selected to be blue-green. Obviously to "neutralize" the blood red, cleverly use the continuous contrast of colors, so that the doctor can not only reduce and restore vision after watching the blue-green Fatigue, at the same time it is easier to see the small blood vessels, nerves, etc., which is conducive to ensuring the accuracy and safety of the operation.

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