Subjective Colour.
Colour and Contrast (Part two).
(The Interaction of Colour - Albers/ The Art of Colour - Itten).
Tertiary neutral - when the colours cancel out its chromatic value (for example, mixing colour complimentaries). Optical principles still apply to neutral colours.
- dependent on purity of hue, tone and saturation.
- we always see full spectrum colour, the colours are just mixed in different proportions.
Itten's colour contrasts:
1. Tone - can be monochromatic/ spatial quality allowing us to read tonal colours in text.
2. Hue - the greater the distance between hues on a colour wheel, the greater the contrast/ juxtaposition of different hues (isolated colour on different backgrounds, for example, yellow on black, stand out because of this greater contrast)/ the proximity of colour and tone.
3. Saturation - the juxtaposition of light and dark values and their relative saturation.
4. Extension - assigning proportional field sizes in relation to the visual weight of a colour (balance).
5. Temperature - the juxtaposition of hues considered 'warm' and 'cool' (theoretical value, for example, certain colours will start to warm up others).
Slight gradients start to appear when colours are used next to each other - black borders between creates pure colour - optical mixing causes gradients that do not exist.
6. Complementary - for example a high contrast between black and white/ optical effects can be created, for example, 'vibration' (opposite = colour harmonies - when colours sit comfortably together).
7. Simultaneous - formed when boundaries between colour perceptually vibrate (for example, red and green - simultaneous contrast forcing colours onto neutrals).
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