3 color. The nature of color. Three primary colors. Color mixing. Different shades of the same color will give a special chic and elegance to the decor.

We all know the technique of memorizing the colors of the rainbow from a school article. Something like a nursery rhyme sits deep in our memory: To every about hotnik well does h nat, G de with goes f azan. The first letter of each word means a color, and the word order is the sequence of those colors in the rainbow: to red, about range, well yellow, h green, G blue, with blue, f purple.
Rainbows are created when sunlight is refracted and reflected by water droplets floating in the atmosphere. These droplets deflect and reflect light of different colors (wavelengths) in different ways: less red, more violet. As a result, white sunlight is decomposed into a spectrum, the colors of which smoothly transition into each other through many intermediate shades. The rainbow is the clearest example of what visible white light is made of.

However, from the point of view of the physics of light, there are no colors in nature, but there are certain wavelengths that an object reflects. This combination (overlay) of reflected waves, falling on the retina of the human eye, is perceived by it as the color of an object. For example, the green color of a birch leaf means that its surface absorbs all wavelengths of the solar spectrum, except for the wavelength of the green part of the spectrum and the wavelengths of those colors that determine its hue. Or the brown color of a blackboard our eye perceives as reflected wavelengths of blue, red and yellow wavelengths of varying intensity.

White, which is a mixture of all the colors of sunlight, means that the surface of an object reflects almost all wavelengths, while black reflects almost nothing. Therefore, one cannot speak of "pure" white or "pure" black colors, since complete absorption of radiation or its complete reflection in nature is practically impossible.

But artists can't paint with wavelengths. They operate with real paints, and even a rather limited set (they will not carry more than 10,000 tones and shades with them in an easel). Just like in a printing house, an infinite number of colors cannot be stored. The science of color mixing is one of the most fundamental for those who work with images, including airbrushing. A huge number of tables and guides have been compiled to obtain the desired colors and their shades. For example, these*:

or

The human eye is the most versatile mixing device. Studies have shown that it is most sensitive to only the three primary colors: blue, red-orange, and green. The information received from the excited cells of the eye is transmitted along the nerve pathways to the cerebral cortex, where complex processing and correction of the received data takes place. As a result, a person perceives what he sees as a single color picture. It has been established that the eye perceives a huge number of intermediate shades of color and colors obtained from mixing light of different wavelengths. In total, there are up to 15,000 color tones and shades.
If the retina loses the ability to distinguish any color, then the person loses it. For example, there are people who are unable to distinguish green from red.

Based on this feature of human color perception, the RGB color model was created ( Red red, Green green, Blue blue) for printing full-color images, including photographs.

A little apart here is the gray color and its shades. Gray is obtained by combining the three primary colors - red, green and blue - in equal concentrations. Depending on the brightness of these colors, the gray tone changes from black (0% brightness) to white (100% brightness).

Thus, all colors found in nature can be created by mixing the basic three colors and changing their intensity.

* Tables are taken from the public domain on the Internet.

Chapter 3. CIE COLOR SYSTEMS

In 1931 the committee CIE approved several standard color spaces describing the visible spectrum. With these systems, we can compare the color spaces of individual observers and devices based on repeatable standards.

The CIE color systems are similar to the other 3D models discussed above in that they also use three coordinates to locate a color in a color space. However, unlike the CIE spaces described above - that is, CIE XYZ, CIE L*a*b* and CIE L*u*v* - device independent, that is, the range of colors that can be defined in these spaces is not limited by the pictorial capabilities of any particular device or the visual experience of a particular observer.

CIE XYZ and Standard Observer

The main CIE color space is the CIE XYZ space. It is built on the basis of the visual capabilities of the so-called Standard Observer, that is, a hypothetical viewer whose capabilities have been carefully studied and recorded in the course of long-term studies of human vision conducted by the CIE committee.

The CIE committee conducted many experiments with a huge number of people, asking them to compare different colors, and then, using the aggregate data of these experiments, built the so-called color-matching functions (color-matching functions) and the universal color space (universal color space), in which the range of visible colors characteristic of the average person. Color matching functions are the values ​​of each primary component of light - red, green and blue - that must be present in order for a person with average vision to perceive all colors of the visible spectrum. These three primary components were assigned coordinates X, Y and Z.

From these X, Y, and Z values, the CIE committee built Chromaticity Diagram xyY (xyY Chromaticity Diagram) and defined the visible spectrum as a three-dimensional color space. The axes of this color space are similar to the HSL color space. However, the space xyY cannot be described as cylindrical or spherical. The CIE committee found that the human eye perceives colors differently and therefore the color space representing our range of vision is somewhat skewed.

The xy-diagram shown in the illustration clearly shows that the color spaces of an RGB monitor and a CMYK printer are significantly limited. To proceed further, it must also be emphasized that the RGB and CMYK gamuts shown here are not standard. Their descriptions will change when moving from one specific device to another, and the XYZ gamma does not depend on the device, that is, it is repeatable standard.

CIE L*a*b*

The ultimate goal of the CIE committee was to develop a repeatable system of color rendering standards for manufacturers of paints, inks, pigments and other dyes. The most important function of these standards is to provide a universal scheme within which colors can be matched. This scheme is based on the Standard Observer and the XYZ color space; however, the unbalanced nature of the XYZ space (as shown in the xyY chromaticity diagram) made these standards difficult to address clearly.

As a result, CIE has developed more uniform color scales - CIE L*a*b* and CIE L*u*v. Of these two models, the CIE L*a*b* model is the more widely used. The well-balanced structure of the L*a*b* color space is based on the theory that a color cannot be both green and red, or yellow and blue. Therefore, the same values ​​can be used to describe the attributes “red/green” and “yellow/blue”.

When a color is represented in CIE L*a*b* space, the L* value denotes the lightness, a* the red/green component value, and b* the yellow/blue component value. This color space is a lot like 3D color spaces like HSL.

CIE L*C*H°

The L*a*b* color model uses rectangular coordinates based on two perpendicular axes: yellow-blue and green-red. The CIE L*C*H° color model uses the same XYZ space as L*a*b* but uses cylindrical coordinates Lightness, Saturation (Chroma) and angle of rotation Hue. These coordinates are similar to the coordinates of the HSL model (Hue, Saturation, Lightness - Hue, Saturation, Lightness). The attributes of both color models - both L*a*b* and L*C*H° - can be obtained by measuring spectral color data and directly converting XYZ values, or directly from colorimetric XYZ values. When a set of numerical values ​​is projected onto each of the dimensions, we can pinpoint the exact position of a color in the L*a*b* color space. The diagram below shows the relationship between L*a*b* and L*C*H° coordinates in the L*a*b* color space. We will return to these color spaces later when we discuss tolerances and ways to control color.

These three-dimensional spaces give us a logical scheme within which we can calculate the relationship between two or more colors. The "distance" between two colors in these spaces shows their "measure of proximity" to each other.

As you remember, the color gamut of the observer is not the only component of the color that changes depending on the specific viewing situation. Color appearance is also affected lighting conditions. When describing color with 3D data, we must also describe the spectral composition of the light source. But what source do we use? The CIE Committee in this case also tried to introduce standard light sources.

CIE standard light sources

Accurate characterization of a light source is an important part of color description in many applications. The CIE standards provide a universal system of predefined spectral data for several widely used types of light sources.

The CIE standard light sources were first established in 1931 and were designated A, B and C:

• Type A Color Source is an incandescent lamp with a color temperature of approximately 2856°K.
• Type B color source is direct sunlight with a color temperature of approximately 4874°K.
• Type C color source is indirect sunlight with a color temperature of approximately 6774°K.

Subsequently, the CIE added Type D and a hypothetical Type E, as well as Type F to this set of types. Type D corresponds to various daylight conditions with a certain color temperature. Two such sources - D50 and D65 - are standard sources widely used to illuminate special booths for viewing printing prints (indices “50” and “65” correspond to color temperatures of 5000°K and 6500°K, respectively).

Color calculations also take into account the spectral data of light sources. Although light sources are essentially emission (radiating) objects, their spectral data are practically no different from the spectral data of reflecting colored objects. The ratio of certain colors in different types of light sources can be found out by examining the relative distribution of the power of light waves with different wavelengths, presented in the form of spectral curves.

Thus, three-dimensional color descriptions are highly dependent on standard CIE color systems and on light sources. In turn, the spectral description of color does not directly use this additional information. However, CIE standards play an important role in the process of converting color information from three-coordinate data to spectral data. Let's take a closer look at how the spectral and three-coordinate data relate to each other.

COMPARISON OF SPECTRAL DATA WITH TRI-COORDINATE COLORIMETRIC DATA

So, we have considered the fundamental methods for describing color. These methods can be divided into two categories:

• There are so-called spectral data, which actually describe the surface properties of a colored object, showing how that surface affects light (reflects it, transmits it, or emits it). These surface properties are not affected by environmental conditions such as lighting, the individual perception of each of the viewers, and differences in the methods of interpreting color.
• Along with this, there are so-called three-dimensional data, which in terms of three coordinates (or quantities) simply describe how the color of an object appears to a viewer or touch device, or how the color will be reproduced on some device, such as a monitor or printer. CIE color systems such as XYZ and L*a*b* specify the position of a color in color space in terms of three-dimensional coordinates, while color reproduction systems such as RGB and CMY(+K) describe color in terms of three dimensions, specifying the number of three components that, when mixed, give a particular color.

As a format for specifying colors and conveying color information, spectral data has a number of distinct advantages over three-dimensional formats such as RGB and CMYK. First of all, spectral data are the only objective description of a real object, painted in one color or another. In contrast, descriptions in terms of RGB and CMYK depend on the viewing conditions of the object - on the type of device that reproduces the color, and the type of lighting under which this color is viewed.

Device dependency

As we found out by comparing different color spaces, each color monitor has its own range (or gamut) of reproducible colors, which it generates using RGB phosphors. Even monitors made in the same year by the same manufacturer differ in this respect. The same goes for printers and their CMYK inks, which generally have a more limited color gamut than most monitors.

To accurately specify a color using RGB or CMYK values, you must also specify the characteristics of the specific device on which the color will be displayed.

Dependence on lighting

As we said earlier, different light sources, such as incandescent or fluorescent lights, have their own spectral characteristics. The appearance of color depends very much on these characteristics: under different types of lighting, very often the same object looks different.

In order to accurately specify a color by means of three values, it is also necessary to specify the characteristics of the light source under which the color will be viewed.

Independence from device and lighting conditions

In contrast to all of the above, measurements spectral data does not depend on devices, neither from lighting:

Spectral data shows the composition of light reflected from an object, until it is interpreted by the observer or device. Different light sources look different when their light reflects off an object because they contain a different amount of spectrum at each wavelength. But an object always absorbs and reflects the same percent spectrum for each wavelength, regardless of its volume. Spectral data is the measurements of this percent.

Thus, when measuring spectral data, only stable characteristics of the object surface are recorded “bypassing” those two color components that change depending on the viewing conditions - the light source and the observer or the observing device. In order to accurately specify a color, spectral data is needed, that is, something real, existing and stable. In contrast, RGB and CMYK descriptions are subject to “interpretation” by viewers and devices.

The phenomenon of metamerism

Another advantage of spectral data is the ability to predict the effects that will occur when an object is illuminated by different light sources. As mentioned above, different light sources emit different combinations of wavelengths, which, in turn, are affected by objects in different ways. For example, has it ever happened to you that you very carefully matched a pair of socks to your trousers under the fluorescent lights in a department store, and then came home and found that under the light of ordinary incandescent lamps, the socks did not match the trousers at all? This phenomenon is called metamerism.

The illustration shows an example of a metameric match between two shades of gray. In daylight, both colors look quite the same, but under incandescent light, the first gray takes on a noticeable reddish tint. The mechanism of this transformation can be demonstrated by plotting the spectral curves of both colors and light sources. Let's compare the spectra of these colors in relation to each other and to the wavelengths of the visible spectrum.

Sample spectrum #1	daylight spectrum	Samples in daylight
Sample spectrum #2	Light spectrum of an incandescent lamp	Samples under incandescent light

When our samples are exposed to daylight, their colors are enhanced in the blue region (highlighted part) of the spectrum, where the curves are very close to each other. In the light of an incandescent lamp, a large power is shifted to the red region of the spectrum, where the two samples differ sharply from each other. Thus, in cold light, the difference between the two samples is almost invisible, while in warm light it is very noticeable. Consequently, our vision can be greatly deceived depending on the lighting conditions. Because 3D data is illumination dependent, these formats cannot detect these differences. Only spectral data can clearly recognize these characteristics.

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Scheme No. 1. Complementary combination

Complementary, or additional, contrasting, are colors that are located on opposite sides of the Itten color wheel. Their combination looks very lively and energetic, especially with maximum color saturation.

Scheme number 2. Triad - a combination of 3 colors

The combination of 3 colors lying at the same distance from each other. Provides high contrast while maintaining harmony. Such a composition looks quite lively even when using pale and desaturated colors.

Scheme No. 3. A similar combination

A combination of 2 to 5 colors located next to each other on the color wheel (ideally 2-3 colors). Impression: calm, relaxing. An example of a combination of similar muted colors: yellow-orange, yellow, yellow-green, green, blue-green.

Scheme No. 4. Separate-complementary combination

A variant of a complementary combination of colors, only instead of the opposite color, the colors adjacent to it are used. The combination of the main color and two additional. This scheme looks almost as contrasting, but not so tense. If you are not sure that you can use complementary combinations correctly, use separate-complementary ones.

Scheme number 5. Tetrad - a combination of 4 colors

A color scheme where one color is the main one, two are complementary, and another highlights the accents. Example: blue-green, blue-violet, red-orange, yellow-orange.

Scheme number 6. Square

Combinations of individual colors

• White: goes with everything. The best combination with blue, red and black.
• Beige: with blue, brown, emerald, black, red, white.
• Gray: with fuchsia, red, purple, pink, blue.
• Pink: with brown, white, mint green, olive, gray, turquoise, baby blue.
• Fuchsia (dark pink): with gray, tan, lime, mint green, brown.
• Red: with yellow, white, brown, green, blue and black.
• Tomato red: blue, mint green, sandy, creamy white, gray.
• Cherry red: azure, gray, light orange, sandy, pale yellow, beige.
• Raspberry red: white, black, damask rose.
• Brown: bright blue, cream, pink, fawn, green, beige.
• Light brown: pale yellow, creamy white, blue, green, purple, red.
• Dark brown: lemon yellow, sky blue, mint green, purplish pink, lime.
• Reddish brown: pink, dark brown, blue, green, purple.
• Orange: blue, blue, purple, purple, white, black.
• Light orange: gray, brown, olive.
• Dark orange: pale yellow, olive, brown, cherry.
• Yellow: blue, mauve, light blue, purple, grey, black.
• Lemon yellow: cherry red, brown, blue, grey.
• Pale yellow: fuchsia, gray, brown, shades of red, tan, blue, purple.
• Golden yellow: gray, brown, azure, red, black.
• Olive: orange, light brown, brown.
• Green: golden brown, orange, lettuce, yellow, brown, grey, cream, black, creamy white.
• Salad color: brown, tan, fawn, gray, dark blue, red, gray.
• Turquoise: fuchsia, cherry red, yellow, brown, cream, dark purple.
• Electrician is beautiful in combination with golden yellow, brown, light brown, gray or silver.
• Blue: red, grey, brown, orange, pink, white, yellow.
• Dark blue: light purple, sky blue, yellowish green, brown, gray, pale yellow, orange, green, red, white.
• Lilac: orange, pink, dark purple, olive, grey, yellow, white.
• Dark purple: golden brown, pale yellow, gray, turquoise, mint green, light orange.
• Black is versatile, elegant, looks in all combinations, best with orange, pink, salad, white, red, lilac or yellow.

When people talk about color harmony, they are evaluating the impression of two or more colors interacting. Painting and observation 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 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 states 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 you are not sure that the colors you have chosen 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 to the eye colors and shades, create a catalog that you can carry with you when choosing pieces of furniture, finishes and fittings.

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