3 color. Cool color combination cheat sheet. Different colors can visually change the size of a room.

In most modern cables, the conductors are insulated in different colors. These colors have a certain meaning and are chosen for a reason. What is the color marking of wires and how to use it to determine where zero and ground are, and where is the phase, and we will talk further.

In electrics, it is customary to distinguish wires by color. This greatly simplifies and speeds up the work: you see a set of wires of different colors and, by color, you can guess which one is intended for what. But, if the wiring is not factory and it was not you who did it, before starting work, you must definitely check whether the colors correspond to the intended purpose.

To do this, they take a multimeter or tester, check the presence of voltage on each conductor, its magnitude and polarity (this is when checking the power supply network) or simply call where and where the wires come from and whether the color changes “on the way”. So knowing the color marking of wires is one of the necessary skills of a home craftsman.

Ground wire color code

According to the latest rules, wiring in a house or apartment must be grounded. In recent years, all household and construction equipment has been produced with a ground wire. Moreover, the factory warranty is preserved only if the power supply is supplied with a working ground.

In order not to be confused, it is customary to use a yellow-green color for the ground wire. A rigid single-core wire has a green base color with a yellow stripe, and a soft stranded wire has a main field of yellow color with a green longitudinal stripe. Occasionally there may be instances with horizontal stripes or just green, but this is not a standard.

Ground wire color - solid and stranded

Sometimes there is only a bright green or yellow wire in the cable. In this case, it is they who are used as "earthen". On the diagrams, the "earth" is usually drawn in green. On the equipment, the corresponding contacts are signed in Latin letters PE or in the Russian version they write "earth". A graphic image is often added to the inscriptions (in the figure below).

In some cases, on the diagrams, the ground bus and the connection to it are indicated in green

Neutral color

Another conductor that is highlighted in a certain color is neutral or “zero”. A blue color is allocated for it (bright blue or dark blue, occasionally blue). On color schemes, this circuit is also drawn in blue, signed with the Latin letter N. The contacts to which the neutral must be connected are also signed.

Neutral color - blue or light blue

In cables with flexible stranded wires, as a rule, lighter shades are used, and solid solid conductors have a sheath of darker, saturated tones.

Phase color

With phase conductors, it is somewhat more complicated. They are dyed in different colors. Excluded are already used - green, yellow and blue - and all the rest can be present. When working with these wires, you must be especially careful and attentive, because it is on them that voltage is present.

Wire color coding: what color is the phase - possible options

So, the most common color marking of phase wires is red, white and black. It can also be brown, turquoise orange, pink, purple, gray.

On the diagrams and terminals, phase wires are signed with the Latin letter L, in multi-phase networks there is a phase number next to it (L1, L2, L3). On cables with several phases, they have a different color. It's easier when distributing.

How to determine if the wires are connected correctly

When trying to install an additional outlet, connect a chandelier, household appliances, you need to know which wire is phase, which is zero, and which is grounding. If the connection is incorrect, the equipment fails, and careless touching of current-carrying wires can end sadly.

You need to make sure that the colors of the wires - ground, phase, zero - match their wiring

The easiest way is to navigate by the color marking of the wires. But it's not always easy. Firstly, in old houses, the wiring is usually monophonic - two or three white or black wires stick out. In this case, you need to understand specifically, and then hang tags or leave color marks. Secondly, even if the conductors in the cable are colored in different colors, and you can visually find the neutral and ground, the correctness of your assumptions must be checked. It happens that during installation the colors are mixed up. Therefore, we first double-check the correctness of the assumptions, then we begin work.

To check, you will need special tools or measuring instruments:

• indicator screwdriver;
• multimeter or tester.

You can find the phase wire using an indicator screwdriver; you will need a tester or multimeter to determine zero and neutral.

Checking with an indicator

Indicator screwdrivers are of several types. There are models on which the LED lights up when a metal part touches live parts. In other models, an additional press of a button is required for verification. In any case, when voltage is present, the LED lights up.

Using an indicator screwdriver, you can find the phases. We touch the bare conductor with the metal part (if necessary, press the button) and see if the LED is on. Lit - this is a phase. Off - neutral or ground.

We work carefully, with one hand. The second one does not touch walls or metal objects (pipes, for example). If the wires in the cable under test are long and flexible, you can hold them with your other hand by the insulation (keep away from the bare ends).

Checking with a multimeter or tester

We set the scale on the device, which is slightly larger than the estimated voltage in the network, connect the probes. If we call a household single-phase network 220V, we set the switch to the 250 V position. With one probe we touch the bare part of the phase wire, the second - to the intended neutral (blue). If at the same time the arrow on the device deviates (we remember its position) or a number close to 220 V lights up on the indicator. We perform the same operation with the second conductor - which was identified as “ground” by color. If everything is correct, the readings of the device should be lower - less than those that were before.

If there is no color marking of the wires, you will have to sort through all the pairs, determining the purpose of the conductors according to the readings. We use the same rule: when the “phase-ground” pair rings, the readings are lower than when the “phase-zero” pair rings.

Color gamut Color gamut is a range of harmonically interrelated shades of color used in the creation of artistic works. There are warm, cold and mixed scales. Cold color spectrum. This is a gamma obtained by using colors with a cold tint. fig.1 Warm color spectrum. This is a gamma obtained by using colors with a warm undertone. fig.2 mixed or neutral colors (we combined these two concepts). This is a balance in the composition of warm and cold (mixed) or the absence of warm and cold (neutral) shades. It is important that there is no outweighing of cold or warm shades. fig.3 Color composition A color composition is a set of color spots (on a plane, volumetric form or in space) organized according to some regularity and designed for an aesthetic impression. Depending on the number of colors and shades included in the color composition, the following types of composition are distinguished. one) monochrome. This composition is dominated by one color tone (+ several neighboring colors perceived as shades of the main one). Monochrome options: color + tone shift (slightly); color + achromatic color (White, Black, Grey); color + blackening or whitening. What does a monochrome composition express: a) Classical simplicity and clarity of artistic language (example: ancient Greek painting, red-figure and black-figure vases). fig.4 b) Strongly directed to a certain extent impact. This method of influence is adopted by religion. Example: the icon of the Vladimir Mother of God, the Savior Not Made by Hands (see Fig. 5), and other icons, decoration of churches, Rembrandt (see Fig. 6). fig.5 Savior Not Made by Hands fig.6 Rembrandt Harmenszoon van Rijn Self-portrait c) Concentration on the inner world (painting of China and Japan). fig.7 Chinese painting fig.8 Painting of Japan d) Old age, fading of vitality, tragedy (late Titian) Fig. 9 Vecelio Titian e) Simplicity, intelligibility and catchiness. Examples: heraldry, (not always), items of popular culture. fig.10 f) Advertising. One, even if not very bright, color stands out against the background of a monochrome composition. fig.11 2) Polar composition. The dominant is a pair of opposite contrasting colors (polar in the color wheel): complementary from a 10-step circle or a pair of contrasting colors from a 6-, 12-step one. The polar composition consists of only 2 colors. What does the polar composition express: a) The decorative effect, which is based on the physiological need of the eye to balance impressions. Fig.12 b) Reveals oppositions (figure-background, big-small, good-evil, woman-man...) fig. dissane with each other, then such a composition is used to achieve conflict, tension, tragedy (expressionist painting) 3) tricolor composition. The basis of a three-color composition can be: - a triad of primary colors with their subjunctive mixing. It's Red, Green, Blue. - a triad of primary colors in their subtractive mixing. Red, Yellow, Blue. See Fig.14 - any three colors at the vertices of an equilateral triangle inscribed in a 12-step circle. Example: Red-Orange, Yellow-Green, Blue-Violet.
fig.14 The three-color composition is considered the most difficult type of color composition, because. it is the most difficult to harmonize. For perception, it is no less difficult, but nevertheless it is the most optimal type of color composition. It is used for: depicting the clothes of saints, to emphasize their holiness (Red and Blue clothes indicate their connection with the Lord, and the green hem emphasizes their earthly origin). multicolor. This color composition is dominated by 4 or more chromatic colors. Usually: Red, Yellow, Green, Blue. Or two main pairs from a 12-step circle taken crosswise. Used: - In nature, in temples, in clothes (especially royalty, although there are exceptions here too) - Where a large number of figures and objects are depicted; where they strive to convey the "cosmic" work, i.e. where the work serves as a model of the world (temple, frescoes, large multi-figure icons depicting God, heaven, earth, dungeons .., housing). - Where the world crumbles into splits, chaos reigns or cheerful confusion (drunken brawl): fairground design, carnival art, etc. Multicolor with a shift to one color tone. This is a synthesis of multicolor and monochrome. An example is landscape painting. Achromatic composition. Consists of White, Black, and intermediate gray shades. Small spots of chromotic color may be included in it. Used to reveal the form, i.e. when there is a desire to focus on form. Semi-chromatic composition. Gray is replaced by brown. TASK: Draw 2 monochrome compositions on one sheet. One in warm shades, the other in cold ones, use one color. Work examples

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.

For most, color combinations, colloquially called "harmonious", usually consist of tones that are close to each other or of different colors that have the same luminosity. Basically, these combinations do not have strong contrast. 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. 1/1) the teaching of the physiological side of color vision brings us closer to solving this problem. So, if you look at the green square for a while, and then close your eyes, then a red square will appear in our eyes. And vice versa, observing the red square, we will get its "return" - green. These experiments can be made with all colors, and they confirm that the color image that appears in the eyes is always based on a color complementary to that actually seen. The eyes require or generate complementary colors. And this is a natural need to achieve balance. This phenomenon can be called sequential contrast. Another experiment is that on a colored square we overlay a smaller gray square, but of the same brightness. On yellow, this gray square will appear to us as light purple, on orange - bluish-gray, on red - greenish-gray, and green - reddish-gray, on blue - orange-gray and on purple - yellowish-gray (Fig. 31 ... 36). Each color causes gray to take on its successive and simultaneous contrasts, indicating that the eye receives satisfaction and a sense of balance only on the basis of the law of complementary colors. Let's look at this from the other side as well. The physicist Rumfoord first published in 1797 in Nicholson's Journal his hypothesis that colors are harmonious if their mixture produces white. As a physicist, he proceeded from the study of spectral colors. In the section on the physics of color, it was already said that if you remove any spectral color, let's say red, from the color spectrum, and the remaining colored light rays - yellow, orange, violet, blue and green - put together with the help of a lens, then the sum of these residual colors will be green, that is, we will get a complementary color to the removed one. In the field of physics, a color mixed with its complementary color forms the total sum of all colors, that is, white, and the pigment mixture in this case will give a gray-black tone. The following remark belongs to the physiologist Ewald Hering: “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. If we see a white square on a black background and then look the other way, we see a black square as an afterimage. If we look at a black square on a white background, the afterimage will be white. We observe in the eyes the desire to restore the state of balance. But if we look at a medium gray square on a medium gray background, there will be no afterimage in the eyes that differs from the medium gray color. This means that the medium gray color corresponds to the state of equilibrium required by our vision.

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. I can get the same gray color from black and white, or from two complementary colors, if they include the three primary colors - yellow, red and blue in the proper proportion. In particular, each pair of complementary colors includes all three primary colors:

red - green = red - (yellow and blue);

blue - orange \u003d blue - (yellow and red);

yellow - purple = yellow - (red and blue).

Thus, it can be said that if a group of two or more colors contains yellow, red and blue in appropriate proportions, then the mixture of these colors will be gray.

Yellow, red and blue are the total color sum.

To satisfy the eye, this common color bundle is required, and only in this case the perception of color reaches a harmonious balance. 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 a 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 goals of art. It is easy to see that not only the arrangement of colors relative to each other is of great importance, but also their quantitative ratio, as well as the degree of their purity and brightness.

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 the given color, contains the entire color wheel. Each individual color, due to the specifics 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. Do you show in this? 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, those. 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 .

In order to determine all possible harmonious combinations, it is necessary to find a system of order that provides for all their options. The simpler this order, the more obvious or self-evident the harmony will be. Basically, we found two systems capable of providing this order: color circles connecting colors that have the same degree of brightness or dimming, and triangles for colors representing mixtures of one color or another with white or black. Color circles allow you to determine the harmonious combinations of different colors, triangles - the harmony of colors of an equivalent color tone.

When Ostwald asserts that "... colors, the impression of which we are pleased, we call harmonious", then he expresses his purely subjective idea of ​​​​harmony. But the concept of color harmony must be moved from the area of ​​subjective attitudes to the area of ​​objective laws. When Ostwald says: “Harmony is Order”, he proposes color circles for different colors of the same brightness and color-tone triangles as a system of order, he does not take into account the physiological laws of afterimage and simultaneity.

An extremely important basis for any aesthetic color theory is the color wheel, as it provides a system for the arrangement of colors. Since the colorist works with color pigments, the color order of the circle must also be built according to the laws of pigment color mixtures. This means that diametrically opposite colors should be complementary, i.e. giving a gray color when mixed. So, in my color wheel, blue is opposite orange, and the mixture of these colors gives us gray. While in the Ostwald color wheel, blue is opposite yellow, and their pigment mixture gives green. This basic difference in construction means that the Ostwald color wheel cannot be used in painting or applied arts.

The definition of harmony lays the foundation for a harmonious color composition. For the latter, the quantitative ratio of colors is very important. Based on the brightness of the primary colors, Goethe derived the following formula for their quantitative ratio: yellow: red: blue = 3:6:8. 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.

The connection of all these figures in the twelve-part color circle is illustrated in Figure 2. 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 the utmost strength and intensity, and each of them appears here in its typical 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. purple 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 theme can be found in the section on the harmony of color consonances.

Properly selected colors of decor and finishes can transform any room, visually increasing its area and height, giving lightness and airiness to the atmosphere. Favorite colors incorrectly combined with each other can irritate, depress and spoil the mood. In order for the environment to please and create a positive mood, you should use the advice of professionals on the harmonious selection and combination of colors.

To find out what rules should be followed when choosing a color scheme, we asked the advice of practicing designer Maria Borovskaya.

For everyday wardrobe, things of the most pleasant colors and shades are usually chosen. Such clothes and accessories cheer up, give self-confidence, create a positive attitude. Therefore, the most common colors in the wardrobe should be used in creating the decoration of the room.

2. Law of three colors

There is a wide variety of colors and shades. Sometimes it can be quite difficult to give preference to a certain color, because everyone likes it. However, you should decide on the most attractive three and combine them in different decor elements.

3. Color formula 60/30/10

In order for the interior design of the premises to be complete and elegant, it is recommended to follow the color ratio formula 60/30/10:

• 60% should be given to the dominant color that will set the tone of the room. Usually walls and ceilings are decorated in this color.
• 30% is an additional color in which the pieces of furniture are painted.
• 10% is allocated to different shades, which place color accents with the help of small decor items and accessories.

4. Different shades of the same color will give a special chic and elegance to the decor

Using just three colors to furnish a room can make it look rather dull and featureless. The combination of lighter and darker shades of the primary colors will give the room personality and emphasize the refined taste of the owners.

5. Mandatory combination of warm and cold colors

To create a cozy room, you need to complement rich bright warm colors with light cold shades.

6. Color wheel - a guarantee of color compatibility

If there is no certainty that the colors chosen by yourself will perfectly harmonize and combine with each other, it is better not to risk it and turn to the color wheel system. Using this system, you can clearly define colors that are in harmony with each other, complement each other and incompatible combinations.

7. Different colors can visually change the size of a room.

When choosing a color scheme for the interior, you should take into account that different colors have different visual weights. The interior, designed in light or muted colors with medium-sized decorative elements, a simple pattern in the decoration, allows you to visually increase the space of the room, give it lightness and airiness.

Bright colors, massive decorative elements, large complex drawings visually reduce the room, deprive it of light and space. Therefore, such options for the situation are permissible only in spacious rooms.

8. Materials and fittings have their own color

Some materials and fittings have their own specific color, shade, gloss, which cannot be changed. This feature should be taken into account in the final selection of small, sometimes insignificant decor elements. Incorrectly selected handles on furniture, a picture frame or a candlestick material can disrupt the harmony of the overall environment.

9. The right combination of dark and light shades

The most harmonious combination of dark and light colors was created long ago by nature, the dark color of the earth and vegetation is at the bottom, and the bright sky and the luminous sun are at the top. This option is also ideal for interior design, when the floor and floor coverings are made in darker colors, and the walls and ceiling are much lighter.

10. Create your own color palette

Sometimes it is very difficult to describe in words the desired color to others or imagine a favorite shade in combination with other colors. Before you start decorating the interior of the room, you should create your own palette of the most attractive colors. Having picked up the most pleasing colors and shades, create a catalog that you can carry with you when choosing furniture, finishes and fittings.

Most importantly, remember that the right combination of colors will create an individual elegant interior.