Types of color harmonies. Harmony of colors

garden equipment 23.06.2020

What is color unity, the relationship of colors, harmony and the influence of the color environment on objects? Before answering this, I would like to ask the reader this question: what do you think, which of the painting options above is correct? I specifically wrote one of the sketches with an error so that it would serve as an illustration of how not to do it. There is no relationship between green and light brown in this image. They are written separately from each other and look different. Two versions of a still life with a ceramic mug show well why the relationship of colors is important. Well, now let's look at everything in order.

Color unity and the relationship of colors in painting

To better understand what color unity is in painting, imagine a still life illuminated by a red lamp. All the multi-colored objects of this still life, say, green, yellow, blue, will acquire a red tint. In real life, this happens when the orange light of sunset turns the green of the forest orange. Or the cold light of the blue sky in the window illuminates the interior of the room. That is, light affects the individual colors of individual objects. He brings them together. It's like looking through colored glass. Of course, in life this does not manifest itself as powerfully as in this example, but the principle is just that. Moreover, in addition to the unifying color, the following pattern will also appear: if the light has a warm tint, then the shadows will be colder than the light; if the light is cold, then the shadows will tend to warm shades. Such a color contrast of light and shadow brings a play of warm and cold colors into the painting. The dynamics of warm and cold enliven the painting. But at the same time, one must not forget about the unifying color of the lighting.

In addition to the light source, the color of individual objects will also be affected by reflected light. If we return to our still life with a ceramic mug, then brown will be reflected in the green drapery, and green will be reflected in the brown mug. Such a reflection of neighboring colors is called a reflex in painting.

The above examples show how the color of individual objects is affected. Therefore, in whatever colors objects are painted, in painting all colors must be subordinate to each other. Such subordination and consistency gives rise to color unity. Without it, the painting will be fragmented. She will lose harmony and become "decorated".

Moreover, even if in the depicted plot the objects are illuminated with “pure” white light, and the reflexes are almost imperceptible, then the relationship of colors still needs to be “invented”. That is, the artist needs to “fantasize” and bring reflections into painting from himself, relying on the above principle, and not only on nature. After all, the subordination of colors is dictated not only by nature or physics. This is a prerequisite for creating a harmonious and integral painting.

Color unity is very important, without it it is impossible to achieve color integrity. This is similar to how the parts of a complex mechanism must fit together. It cannot be assembled from randomly found parts. Such a mechanism will not work. All individual nodes and elements must function smoothly as a whole. Also, colors in painting should be subordinated.

But color unity does not mean that you always need to mix some color into all other colors. This does not mean that we should always write as if we were looking into stained glass. In painting, you can also meet a sharp, pure color, without mixing. However, it must be balanced by appropriate colors in other parts of the composition. Then it will look harmonious, and the painting will become both uniform in color and contrasting. In addition, sometimes in the work it is necessary to introduce an accent with the help of pure and saturated colors, without balancing. And it happens that somewhere the artist introduces reflexes, and somewhere leaves the color pure. In general, everything is not so simple. However, with all this, the relationship between the local color and the environment must be preserved.

This can also be compared with the figurative "immersion" of an object in a color environment. That is, the colors surrounding an object will affect its color, which is called the local color. Therefore, it is impossible to write objects separately from the environment or color environment. This is due not only to reflexes and reflection of light. This is also due to the need to harmoniously combine colors. Therefore, the artist should not work like a camera, he should not simply copy nature. The artist slightly transforms the image, takes into account the above principles, and is also based on a sense of color. But what does it mean to harmoniously combine colors? To answer this question, let's look at key color harmonies.

Color harmonies in painting

In addition to color unity based on reflections and uniform lighting, which I described above, it is worth mentioning the subordination of colors based on color harmonies. That is, on such combinations of colors that give rise to consonance and color consistency. But what are they? Let's take a closer look at the following types of color harmonies:

harmony of related colors;
harmony of contrasting colors;
harmony of related-contrasting colors;
harmony based on color repetition.

Harmony related colors

Related colors are colors that have one color in common. For example, orange and yellow are related because orange has yellow in it. Green and blue-green, red and purple are all related colors. They look alike, that's why they're called that. If colors from the related category are nearby, then they will always be in harmony with each other. These combinations can be called "win-win". However, such color relationships are most often “calm”, “soft”. Therefore, it may be necessary to add “a little pepper to this dish”, that is, contrasting colors. But this is another kind of harmony.

Harmony of contrasting colors

Contrasting colors are the following three pairs: red and green, blue and orange, purple and yellow. These colors reinforce each other. They contrast and create harmony. Harmony based on contrasting colors. Therefore, in some cases it is possible to use them in their pure form and at the same time they will form consonance and unity. They will be subordinated as complementary colors and blend well. However, caution must be exercised here. Success depends, so to speak, on the context. The quantitative ratio of colors plays an important role. That is, how much area is occupied by one color and how much by another. The environment also matters a lot. After all, painting rarely consists of two colors.

Harmony of related-contrasting colors

As the name implies, this harmony contains both related colors and contrasting ones. Therefore, this combination is probably the most difficult, but also the most interesting. Matching one contrasting color to another contrasting color is not a problem, as well as related to related. But, combining both groups is not so easy. Let's look at an example to help you understand this. Let's take yellow and purple as the central contrast pair. And let's introduce blue around. To make the impossible and bring blue and yellow together, we mix them. As a result, they will not become related, but a new color is formed - blue-green. And he will just become related to both of them and act as an intermediate link. As for blue and violet, they are initially related. As a result, we will get the following colors: yellow, purple, blue, blue-green, yellow-green.

Harmony based on color repetition

Very often, color unity is based on a simple repetition of color. When women choose an outfit for themselves, they are often guided by just such a repetition: a red handbag or a red scarf is selected for a red hat ... In painting, such a repetition of color also gives rise to harmony and coloristic integrity. This is especially true when the color of the picture consists of completely different, “foreign” colors. This technique is realized in painting in two ways. Consider them on the example of a still life with an orange.

The first way: the repetition of color in its purest form in different parts of the composition

Orange orange stands out too much against the blue drapery. To form the relationship of these opposite colors, we introduce orange into blue. For example, in the form of an ornament on this blue drapery. The ornament is simple - it's just stripes of yellow and orange. They seem to “invade” or “weave” into a large mass of blue and dilute it with warm colors. This repetition of orange in a blue environment creates their relationship and harmony.

You can also write in a manner similar to impressionism. That is, we introduce orange into blue in the form of strokes of paint, like a mosaic. The Impressionists loved to compose the desired shade from pure colors. They placed strokes of paint of different colors side by side, as a result of which they combined and mixed in the eyes of the viewer. This is called optical color mixing. A similar method will also help to combine our orange with blue.

But what if we don't write like the Impressionists? If the plot does not imply any ornaments in drapery? If we need a solid uniform background? In this case, you can use the addition of orange to blue by literally mixing them mechanically.

The second way: adding color to neighboring areas by mixing it with other colors

The easiest way to achieve unity in objects painted in opposite colors is to add one color to another so that they mix and form a “something in between”. The main thing is to avoid dirt in such mixtures. In our case, I mix a drop of yellow and orange into blue. We get blue with a warm tint. That is, the blue color will not be in its pure form, but in mixtures with warm colors. We do the same with orange orange. By adding a little bit of blue or cyan to orange, we get orange with a cold tint. Thus, orange and blue “merge” into each other, which creates color unity and coloristic integrity. And this does not mean that all blue fabric should be with a warm tint. You can leave its fragment in a pure blue-blue color. This will create an appropriate contrast between the drapery and the orange. But in some fragments of this fabric we will add yellow and orange, and then the blue in these places will become warmer. Then these areas will become "support" for the orange.

In the illustration, I posted a study with the introduction of yellow into blue and blue into orange, as well as a study without such mixing, where the background and orange are written in pure colors. As you can see, the difference is not big. But she is. In the first version, the yellow-blue mixture of colors is barely perceptible. However, this is enough to link the background color and the orange color.

In the second version, as I said, the orange with the background are written in pure yellow-orange and pure blue. However, the painting did not collapse, but remained intact. Why? As you may have noticed from the previous paragraphs, this pair of colors forms a contrasting harmony. That is, these colors, although contrasting, are harmonious at the same time. Therefore, the second etude does not look ornamented and fractional. And this means that such an option is also acceptable. However, it borders on embellishment, and if other combinations and a different composition were chosen here, then there could be no question of any harmony.

Color or color scheme

Speaking about the relationship of colors in painting, one cannot but say about color. There are two opinions about the meaning of this word. In the first case, coloring means a system of color combinations in painting, built on consonance. In the second case, color is understood as the overall color of the picture, or the totality of the prevailing colors. Therefore, one can often hear how some work is said to be done in warm colors, or, conversely, in cold colors. There is also a warm-cold color, etc.

Once I came across the formulation that color is an orchestra of colors. I like this definition the most. It emphasizes the importance of color consonance, color unity and subordination of colors. By the way, one of the meanings of the word “harmony” is unity in diversity. Thus, we see that colors in painting should not "live" separately from each other, but should create a single whole.

In view of the importance of this topic, let's sum up and repeat the key points that will help novice artists work on the color of their works. We have considered coloristic integrity and unity based on unifying color added to the rest of the colors in the picture. We also discussed the relationship of colors in the form reflexes (reflections) from neighboring items. In addition, we thought about the subordination of colors based on key color harmonies . In addition, we saw how harmony and unity can be achieved through color repetition . All this is the foundation of painting. But in addition to these principles and logic, the artist must also be guided by a sense of color. This feeling is somewhere innate, and somewhere developed over years of practice. Without it, there is no way in painting. Therefore, it can be called ideal when feelings and reason are inseparable and guide the artist in the process of creating beauty.

Color harmony

When people talk about color harmony, they are evaluating the impression of two or more colors interacting. Painting and observations of the subjective color preferences of various people speak of ambiguous ideas about harmony and disharmony. As a rule, the assessment of harmony or dissonance is caused by a feeling of pleasant-unpleasant or attractive-unattractive. Such judgments are based on personal opinion and are not objective.

The concept of color harmony should be withdrawn from the realm of subjective feelings and transferred to the realm of objective laws.

Harmony is balance, symmetry of forces.

The physiologist Ewald Hering owns the following remark: “The average or neutral gray color corresponds to the state of the optical substance in which dissimilation - the expenditure of forces expended on the perception of color, and assimilation - their restoration - are balanced. This means that the average gray color creates a state of equilibrium in the eyes. Hering proved that the eye and the brain need a medium gray, otherwise, in its absence, they lose their calm.

The processes that take place in visual perception cause corresponding mental sensations. In this case, the harmony in our visual apparatus testifies to the psychophysical state of equilibrium, in which the dissimilation and assimilation of the visual substance are the same. Neutral gray corresponds to this condition.

Two or more colors are harmonious if their mixture is a neutral gray.

All other color combinations that do not give us gray become expressive or disharmonious in nature. In painting, there are many works with one-sided expressive intonation, and their color composition, from the point of view of the above, is not harmonious. These works are irritating and too exciting with their emphatically insistent use of any one predominant color. There is no need to argue that color compositions must necessarily be harmonious, and when Seurat says that art is harmony, he confuses the artistic means and the goals of art.

The basic principle of harmony comes from the physiological law of complementary colors. In his work on color, Goethe wrote about harmony and integrity as follows: “When the eye contemplates a color, it immediately comes into an active state and, by its nature, inevitably and unconsciously immediately creates another color, which, in combination with a given color, contains the entire color wheel. . Each individual color, due to the specificity of perception, makes the eye strive for universality. And then, in order to achieve this, the eye, for the purpose of self-satisfaction, searches next to each color for some colorless-empty space on which it could produce the missing color. This is the basic rule of color harmony.”

The color theorist Wilhelm Ostwald also touched upon the issues of color harmony. In his book on the basics of color, he wrote: “Experience teaches that some combinations of some colors are pleasant, others are unpleasant or do not evoke emotions. The question arises, what determines this impression? To this we can answer that those colors are pleasant, between which there is a regular connection, that is, order. Combinations of colors, the impression of which we are pleased, we call harmonious. So the basic law could be formulated as follows: Harmony = Order.

It can be generally concluded that all pairs of complementary colors, all combinations of three colors in the twelve-part color wheel, which are connected to each other through equilateral or isosceles triangles, squares and rectangles, are harmonious.

Yellow-red-blue form here the main harmonic triad. If these colors in the system of the twelve-part color wheel are combined with each other, then we will get an equilateral triangle. In this triad, each color is presented with extreme force and intensity, and each of them appears here in its typically generic qualities, that is, yellow acts on the viewer as yellow, red as red and blue as blue. The eye does not require additional additional colors, and their mixture gives a dark black-gray color.

Yellow, red-violet and blue-violet colors are united by the figure of an isosceles triangle. Harmonious consonance of yellow, red-orange, violet and blue-green are united by a square. The rectangle gives a harmonized combination of yellow-orange, red-violet, blue-violet and yellow-green.

A bunch of geometric shapes, consisting of an equilateral and isosceles triangle, square and rectangle, can be placed at any point on the color wheel. These figures can be rotated within a circle, thus replacing the triangle of yellow, red and blue with a triangle of yellow-orange, red-violet and blue-green or red-orange, blue-violet and yellow-green.

The same experiment can be carried out with other geometric shapes. Further development of this topic can be found in the section on the harmony of color consonances.

Types of color harmonies and principles of their construction

Harmony is a philosophical and aesthetic category, meaning integrity, unity, regular connection of all parts and elements of the form, i.e. this is a high level of orderliness of diversity and the correspondence of parts in the composition of a whole that meets the aesthetic criteria of perfection and beauty.

Color harmony is a combination of individual colors or color sets that form an organic whole and evoke an aesthetic experience.

Color harmony in design is a certain combination of colors, taking into account all their main characteristics, such as

- color tone;
- lightness;
- saturation;
- forms;
- the dimensions occupied by these colors on the plane, their mutual arrangement in space, which leads to color unity and has the most favorable aesthetic effect on a person.

Signs of color harmony:

1) Communication and smoothness. The connecting factor can be: monochrome, achromaticity, unifying submixtures or raids (mixture of white, gray, black), shift to any color tone, gamma.
2) The unity of opposites, or contrast. Types of contrast: by brightness (dark-light, black-white, etc.), by saturation (pure and mixed), by color tone (additional or contrast combinations).
3) Measure. Those. in a composition brought to harmony there is nothing to add and take away.
4) Proportionality, or the ratio of parts (objects or phenomena) to each other and to the whole. In gamma, it is a similarity to the ratios of brightness, saturation, and color tones. Consider the ratio of the areas of color spots:
1 part bright field -- 3-4 parts dark field;
1 part pure color - 4-5 parts muted;
1 part chromotic - 3-4 parts achromatic.
5) Balance. The colors in the composition should be balanced.
6) Clarity and ease of perception.
7) Beautiful, striving for beauty. Psychologically negative colors, dissonances are unacceptable.
8) Sublime, i.e. perfect combination of colors.
9) Organization, order and rationality.

Classical harmony should avoid color combinations in the middle interval of the circle: Orange-Green, Violet-Cyan, Purple-Orange; these colors are neither close nor far, they, according to Goethe, have no clarity of expression. Goethe's classic color combination:

harmoniously combined Orange-Blue, Yellow-Purple, Red-Green;

characterless juxtaposition: Yellow-Orange, Orange-Red, Red-Violet, Violet-Blue;

inharmonious combination: Yellow-Green, Green-Blue.

The combination of colors from the standpoint of decorativeness. Harmony is always higher and wider than the concept of "decorative". Decorativeness can be described as a certain maximum of aesthetic quality. From the position of decorativeness, the traditionally harmonious triad of colors is Red, White, Black.

Explanations:

- Badly
-- Very bad

Depends on the degree of harmonization.

Hi all! In this article we will try to highlight the topic of color matching as much as possible. As a theory, we suggest that you familiarize yourself with the translation of an article from the Adobe blog about color harmonies, the author Tony Harmer. And for practicing in practice, we have a video lesson: how to choose colors in adobe illustrator. The lesson will focus on the Color Guide panel, you will find the video at the end of this post.

Color harmonies

Color harmonies are combinations or combinations of colors that are pleasing to the eye. We use color harmonies all the time: when we choose clothes, when we decorate our homes or workplaces, and when we, as designers, want to convey some meaning or mood.

Color circle

The color wheel is a tool that allows the designer to select matching colors and create palettes. Johann von Goethe called it The Theory of Colors, but there is no real theory here. During the existence of the color wheel, many theories and ideas about color have been developed. But it is the color wheel that is quite convenient to use in practice when color matching. That is why it will be the starting point for our work.

Twenty-three color harmonies are built into Adobe Illustrator, all of which are available in the Color Guide (Shift+F3) and tool Recolor Artwork (Edit > Edit Colors > Recolor Artwork). Therefore, in this post we will look at them.

Features of the color wheel in Adobe Illustrator

Technically, the color wheel in Adobe Illustrator looks more like the LAB wheel, but visually it is closer to the RYB model, which has more in common with the traditional art model.

On the RGB color wheel, red is at zero degrees. At the same time, Cyan is on the opposite side, that is, 180 degrees. This is what the color wheel looks like in Adobe Illustrator.

At the same time, it can be seen with the naked eye that on this color wheel, the opposite of red is green, and blue is slightly aside nearby. But if you take the red color and rotate it 180 degrees using the sliders in the Recolor Artwork dialog box, you get Cyan! This is just a feature of the work of Adobe Illustrator, unlike, for example, the same Photoshop.

Color combinations, color harmonies

Here we will show you all the color harmonies using the example of color combinations, where red will act as the base.

Complementary colors

Complementary colors - everything is quite simple here, they are located opposite each other on the color wheel.

Adobe Illustrator has 4 variations for complementary harmony. They are no longer so strict in comparison with the classic complementary colors, that is, slight deviations from the opposite arrangement of colors are allowed.

Analogous colors (Analogous)

Analog Harmony generates four complementary colors with hues spaced 15 and 30 degrees clockwise and counterclockwise from the original color. The brightness and saturation of colors changes. There is a variation of analog harmony with 5 colors.

Monochromatic colors (Monochromatic)

This harmony generates variations in saturation and brightness. There are three of them: Monochromatic, Monochromatic 2 and Shades.

Triadic Colors

In triadic harmony, colors are arranged in 120-degree increments on the color wheel. As in the previous cases, there are variations with additional colors and changes in hue and saturation.

Square and Rectangular Pattern (Tetrads)

Tetrads are most commonly referred to as square or rectangular color combinations. You can also see a rhombus in the position of the flowers on the circle. The original Tetrad generates three complementary colors in 90 degree increments. But there are, of course, variations.

Compound colors (Compounds, secondary)

Compound colors are those that can be obtained by mixing the primary (red, yellow and blue). Harmony Compounds works in a similar way, producing compound colors that blend with the base color.

Contrasting colors (High Contrast)

High Contrast are essentially triadic harmonies that include the rules of some other color combinations.

Pentagram

And we will finish with the harmony of Pentagram. These are five colors in 72-degree increments on the color wheel. The saturation and brightness of the colors also change.

On this we can finish our journey into the world of harmonious colors. But we don't want you to be limited by these rules. People make rules, and they tend to make mistakes. That is why rules can and should be broken. Adobe Illustrator harmonies can be your starting point, and then amazing discoveries and creative experiments await. Any harmony can be edited through Recolor Artwork. So good luck with your color combinations and fruitful creativity!

How to Match Colors in Adobe Illustrator

In this video tutorial, you can take a closer look at the Color Guide panel (color guide). We will look at how to use the Color Guide panel to select color combinations based on harmonies. Also you will find a review of professional monitor for designers BenQ PD2700Q.

Another color matching video. This time we are considering such a tool as Recolor Artwork. Thanks to Recolor Artwork, you can choose colors in Adobe Illustrator right on the color wheel, recolor an illustration, adjust brightness and saturation. In addition, a review of the BenQ PD2700U professional 4K monitor.

And one more video for a snack. Useful scripts for working with color in Adobe Illustrator.

Want more practice?

As you know, all the colors that we see can be divided into achromatic (white, black, shades of gray - there are no color waves, there is only lighting.) and chromatic (colors of the spectrum, color waves that our eye perceives). Color waves smoothly transition into each other, creating color continuum- continuous smooth color change.

These two directions do not exist separately, chromatic colors (the whole continuum) are mixed with achromatic ones, which gives the whole gamut of shades that our eyes see. The whole gamut is most successfully represented in Munsell's three-dimensional "Tree".

Impurities of different achromatic colors form different tone directions.

If you mix a pure color with white, you get light colors with black dark.

If we talk about color as color waves, then gray is a mixture of color with its opposite (i.e., for example, orange and blue), two waves "extinguish" each other and color saturation is lost. Therefore, soft colors (mixed with gray pigment, with the opposite wave, in fact) look "complex, nuanced." So, blending with gray gives " soft colors".

If we talk about artistic color harmony, then not all chromatic colors of the continuum look good with each other, they are combined with a certain rhythm. Colors with a golden undertone are considered warm , colors with blue - cold . There are also neutral colors in terms of temperature characteristics, which are in a continuum between two shades.

Altogether, we have 6 color characteristics, 3 pairs of dichotomies .
Dichotomy is a scale. It's not so much a choice of either-or as being on that scale. For example, both colors can be warm, but one is a pronounced warm and the other is closer to neutrals.

Commonly recognized color characteristics are:
Lightness: light coloured (with white admixture) or dark (with black admixture).
Brightness (Saturation): bright (almost pure, rich pigment) or soft (little pigment, proximity to gray, gray impurity)
Hue (color's place in the continuum). This includes just the division of colors into warm (with a golden undertone) or cold (with blue undertone)

Any color is described by all three characteristics, however, they are expressed with different intensity.. This provides a variety of shades. The characteristic that is most pronounced has the strongest effect on the perception of color, the remaining characteristics make adjustments. If you combine all the color characteristics, you get 48 options - 48 color transitions . I have already told you how they pass into each other. This is an absolutely unique author's development, so I think there will be no questions about what system I work on - I work on MY "Color Harmony" system, built entirely on color theory, due to which it is more accurate than most other color theories, if not everyone.

All the colors of the continuum can be divided into these cells with blurry borders. However, in practical use 48 palettes is a lot, too many colors will be repeated. Therefore, it is best to reduce the number of palettes to 12. why to 12? I'll explain now. As I said, the most pronounced characteristic affects the perception of color and its compatibility with others. So, we have 6 directions - bright colors, soft, light, dark, warm, cold. In bright colors, first of all, you can see the purity of color, in soft colors - a gray impurity or "complexity" of color, in dark colors - depth, darkness, in light colors - whiteness, airiness, in warm ones - gold, warmth, in cold ones - ice, blue.

Compare cold soft coloring and soft cold. In the first case, blue, cold catches the eye. in the second - complexity, a gray impurity.

The temperature characteristic is also important to us - since it is precisely when the temperature subtone does not match that the skin optically reacts with unpleasant effects (yellowing, pallor, redness, colored shadows) - this is optics. The waves overlap each other and give an unnatural color.

Therefore, those areas where the temperature characteristic is not the first should be divided into two more subgroups.

It turns out bright warm, bright cold, soft warm, soft cold, light warm, light cold, dark warm, dark cold.

In the case of colors, where the temperature characteristic is leading, brightness is important - pure colors or complex ones. Therefore, they are divided in this way: warm bright and warm soft, cold bright and cold soft.

It turns out 12 colors, and Simplified color globe will look like this:

Some color schemes use the old "seasonal" color names, which do not affect anything other than terminology.

Each person falls into one color out of 12, but with certain amendments and individual transitions. All colors of a person's appearance have the same set of characteristics. , it doesn’t happen that the skin is cold, and the eyes are warm, everything is painted from the same palette, otherwise the colors of your appearance would not be harmonious. It's the law of nature =)

All colors within the main color are suitable for a person, and in addition to them, some colors of neighboring colors are suitable, which are simply added to the individual palette. These supplements vary from person to person.

And I present myself 12 colors that you, in principle, are already familiar with.

I will call them according to their characteristics, although let the seasonal names remain for the terminology correlation =)

And a small bonus - the palettes now have Pantone coordinates (Large resolution pictures can be downloaded from Google disk https://drive.google.com/file/d/0B2SlBFbzV-EYOHZYSFlRa19YY1E/edit?usp=sharing , reposting pictures in other places is welcome , but only if you link to us =)), in addition, I added some palettes. Pantone colors are requested very often. Although in domestic use it is easier for customers to use the classic 12 tone such.

And .. I present 12 colors. Each of them causes some associations, I will also give them, but color is not limited to these associations - they will only let you feel the "spirit" of flowers, that make up the palette. But in any particular case, colors can carry different associations (!) depending on their use. But I hope I will be able to show all the colors from their best side =) After the name of each palette there will be links to my pinterest, where I will gradually collect colors and associations, this will help you imagine the colors "in action".

Bright cold colors. ("Bright Winter") "Impressive" palette - "impressive" .

Leading characteristic - brightness, additional - neutral - cold. It can be both relatively light and relatively dark. Often contrasting in lightness. The colors are pure, either without obvious impurities, or with a bluish impurity.

The overall impression of the palette is brightness, catchiness, although there is also some restraint due to the blue undertone.

The palette is reminiscent of a winter landscape on a bright day with color contrasts of pure colors, whites, blacks, reds and cool greens, or tropical islands with vibrant birds, flowers, turquoise water, blue skies and emerald greens.

Bright warm color. ("Bright Spring"). Creative Palette - "Creative" palette.

www.pinterest.com/shahrazade/ch-bright-a nd-warm/

The leading characteristic is brightness. Additional - neutral - warm. It can be both relatively light and relatively dark in color. The colors are pure, either without obvious impurities, or with a bright golden impurity.

The palette is associated with the world of South Asia, with the bright clothes of the inhabitants of this region, splashes of color in their manner of combining colors, with the cheerful colors of tropical nature.

Soft cold color ("Soft summer") - Mysterious Palette - Mysterious palette

The leading characteristic is softness, additional - neutral - cold. It can be both relatively light and relatively dark. The colors are softened, with a gray impurity or grayish blue.

The palette is associated with twilight, fog, forest before rain, creates the impression of mystery, understatement, riddle. The colors are very complex and nuanced.

Soft warm color ("Soft Autumn") - "Sensual Palette" - "Sensual" palette

The leading characteristic is softness, additional - neutral - warm. It can be both relatively light and rather dark in color. The colors are softened, with a grayish admixture or with a softened ocher.

The palette is associated with earthly sensual femininity, with the time before sunset, when the sun paints everything in soft golden tones, with the gifts of the Mediterranean nature - the greenery and gold of the fields, with grapes, cinnamon, olives, figs.

Dark cold color ("Dark Winter") "Luxorious Palette" - "Chic" palette

Leading characteristic - dark, additional - neutral - cold. It can be both quite bright and slightly softened. The colors are deep with a black admixture or with a dark blue.

It is associated with the luxury of the royal courts, with velvet of deep burgundy, purple, lilac, blue hues, with rubies, emeralds, jade and malachite, as well as with a dark night and the depth of a dark blue sky.

Dark warm color ("Dark Autumn") - "Exotic Palette" - "Exotic" Palette

Leading characteristic - dark, additional - neutral - warm. It can be both quite soft and quite bright. The colors are deep, with a black or dark ocher touch.

Associated with the colors of the Middle East - with the rich furnishings of Moroccan interiors, the gold of natural lights, the warmth of spices, the sensual complexity of colors, the rich colors of southern nature.

Light cold color ("Bright Summer") - "Innocent Palette" ("Innocent" palette)

Leading characteristic - light, additional - neutral - cold. It can be both quite bright and quite soft. The colors are light, pastel, with a white or light blue admixture.

The palette is associated with tenderness, freshness, childhood, as well as seaside holidays, with light turquoise water, light greenery, yellowish white sand, delicate flowers and carelessness.

Light warm color ("Bright Spring") - "Tender Palette" - "Delicate" palette.

Leading characteristic - light, additional - neutral - warm. It can be both quite bright and quite soft. The colors are light, cheerful, with a white or light golden admixture.

The palette is associated with youth, joy, flowering fruit trees, all colors are pierced with delicate gold and remind of the rebirth of nature.

Warm bright color ("Warm Spring") - "Lively Palette" - "Cheerful" palette

The leading characteristic is warm, the additional one is bright. It can be both quite light and quite dark. Colors with a clear bright golden undertone.

The palette is associated with a meadow in the midst of spring with many colors of bright colors - lilac, yellow, red, purple, with the golden color of the sun and the blue of the spring sky.

Warm soft color ("Warm autumn") - "Spicy palette" - "Spice Palette"
http://www.pinterest.com/shahrazade/ch-warm-and-soft/

The leading characteristic is warm, additional - soft. It can be both quite light and quite dark. Colors with a clear ocher undertone.

The palette is associated with spices - pepper, turmeric, cloves, saffron, mustard and with autumn nature, deep blue water and warm foliage colors.

Cold bright color ("Cold Winter") - "Noble Palette", "Noble" palette

The leading characteristic is cold, the additional characteristic is bright. It can be both quite dark and quite light. Colors with bright blue undertones.

The palette is associated with the world of the Snow Queen - with icy luxury, detachment and some drama, this is a palette of precious stones.

Cold soft color - ("cold summer") - "Elegant Palette" - "Elegant" palette.

The leading characteristic is cold, the additional characteristic is soft, it can be both quite light and quite dark. Colors with a soft blue undertone.

The palette is associated with elegance, with the restrained colors of the northern summer with the blue of cool water, bluish-green summer foliage and hints of berries.