Mechanical color mixing method. Color theory: color mixing Spatial color mixing

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Color mixing

All colors we see in natural conditions are the result of optical color mixing.

There are three main ways to mix colors: optical, spatial and mechanical.

Optical mixing. Optical color mixing is based on the wave nature of light. It can be obtained by very fast rotation of the circle, the sectors of which are painted in the required colors.

Remember how you rotated the top as a child and watched with amazement the magical transformations of color. It is easy to make a special top for optical color mixing experiments and run a series of experiments. You can make sure that the prism decomposes the white light beam into its component parts - the colors of the spectrum, and the spinning top mixes these colors back into white.

In color science, color is viewed as a physical phenomenon. Optical and spatial color mixing is different from mechanical color mixing.

Optically mixed primary colors are red, green and blue.

The main colors for mechanical color mixing are red, blue and yellow.

Complementary colors (two chromatic colors) when optically mixed give an achromatic color (gray). For example, lemon yellow and ultramarine blue, orange and blue.

The first law of color mixing

For each chromatic color, there is a different chromatic color, from mixing with which an achromatic color is obtained. Such pairs of colors, mutually neutralizing each other, are called complementary. Green is complementary to red, orange to blue, and violet to yellow. All complementary color pairs in the color wheel lie at opposite ends of the diameters.

Remember how you were in a theater or circus and enjoyed the festive mood created by colored lighting. If you carefully follow the three beams of the searchlights: red, blue and green, you will notice that as a result of optical mixing of these beams, you get white.

You can also conduct such an experiment to obtain a multicolor image by optical mixing of colors: take three projectors, put color filters (red, blue, green) on them and, at the same time crossing these rays, get almost all colors on a white screen, about the same as in the circus.

Areas of the screen lit both with blue and green at the same time will be blue. When blue and red are added together, the screen appears magenta, and when green and red are combined, yellow appears out of the blue.

By adding all three colored rays, we get white. If you install black and white slides in the projectors, then you can try to make them color using colored rays. Without such an experience, it is difficult to believe that a variety of color shades can be achieved by mixing three rays: blue, green and red. There are also more sophisticated optical color mixing devices such as televisions. Every day, including a color TV, you get an image on the screen with many shades of color, and it is based on a mixture of red, green and blue radiation.

Spatial color mixing it turns out if you look at some distance at small, touching color spots. These spots will merge into one solid spot, which will have a color obtained from mixing the colors of small areas.

The fusion of colors at a distance is explained by light scattering, the structural features of the human eye and occurs according to the rules of optical mixing.

It is important to take into account the patterns of spatial color mixing when creating any composition, since it will necessarily be viewed from a certain distance. It is especially necessary to remember about obtaining the possible effects of mixing colors in space when performing works of significant size, designed for perception from a long distance.

This property of color was perfectly used in their work by impressionist artists, especially those who used the technique of separate brushstroke and painted with small colored spots, which even gave the name to the whole direction in painting - pointillism (from the French word "pointe" - point).

When viewing a picture from a certain distance, small multi-colored strokes visually merge and cause the feeling of a single color. Mixing orange with purple in this way, we get dark pink, green with orange - yellow.

The second law of color mixing

Optically blending non-complementary colors produces new colors in intermediate color tones. Yellow and red give orange, yellow and green - yellow-green, blue and red - purple.

Surfaces covered with small strokes of different colors are perceived at some distance as having an intermediate color. Smears of pure red and blue appear purple from a distance. When two colors of different lightness are optically mixed, the visible color will have an average lightness. A white surface covered with a small pattern is perceived from a certain distance as a gray surface.

Spatial mixing of colors is based on obtaining images of various color shades in the printing industry when printing raster forms. When examining from a certain distance the areas formed by small multi-colored dots, you do not distinguish between their colors, but see the color spatially mixed.

All color reproductions are printed using three primary colors (magenta, yellow, and cyan); during printing, these colors are mixed by sequentially superimposing them. Black is added as an outline or as needed, and unprinted white paper produces a white effect.

Mechanical color mixing. Mechanical mixing occurs when we mix paints, for example, on a palette, paper or other material. It should be clearly distinguished here that color and paint are not the same thing. Color is optical (physical), and paint is chemical.

The main means of color transfer are paints. Paints consist of a pigment (finely ground particles of different chemical composition and origin) and a binder.

Depending on the degree of transparency, paints are usually divided into two groups: body (covering) paints, which cover the surface with a completely opaque layer, and transparent (glaze) paints, in the paint layer of which the light flux passes through, is reflected from the base surface and passes through the paint layer again. ...

Basic concepts and definitions of pigments

Pigments are called highly dispersed inorganic or organic, substances insoluble in dispersion media, capable of forming protective, decorative silt decorative and protective coatings with film-formers.

Soluble substances that can color other materials are called dyes.

Pigments fill polymer organic coatings and give them color, opacity - "hiding", increase the hardness, weather resistance, improve protective, decorative and other properties. Along with pigments, fillers are used to fill polymer films.

Fillers are called white or weakly colored highly dispersed natural or synthetic substances that differ from pigments in a lower refractive index of light (n 0 D = 1.45 - 1.75) Fillers do not have protective and decorative properties, cannot partially replace expensive pigments and improve the properties of paints and coatings. Fillers often perform specific functions (for example, change the rheological properties of paints, reinforce films), therefore they are sometimes called functional pigments or filler pigments.

Pigmented paints and varnishes are called dispersions of pigments and fillers in solutions or emulsions of film-forming substances or their dry mixtures. Paints and varnishes may also contain solvents, thinners, plasticizers, desiccants, hardeners and other auxiliary substances. Pigmented paints and varnishes - paints, enamels, primers and fillers are intended for the formation of colored opaque protective and decorative coatings or various layers in multilayer paint coatings. They are used for painting products made of metals, wood, plaster, fabrics, leather, plastics, paper and other materials. Standard terminology for paints and varnishes is not yet installed.

Paints - this general term refers to all types of pigmented paints and varnishes. It is customary to classify and designate paints by the type of film-forming substances or by purpose.

Oil paints made on the basis of drying oils or drying oils in the form of thick-grated pastes or ready-to-use suspensions

Enamel paints, or simply enamels dispersions of highly dispersed pigments and fillers in organic or aqueous solutions or dispersions of film-forming agents. After curing ("drying"), enamels form opaque colored films with various gloss and micro-texture on painted surfaces. Designed for upper layers of coatings resistant to weathering to water, and special grades to gasoline, oils, acids or alkalis.

Enamels are also called coatings based on fusible glasses colored with heat-resistant inorganic pigments. They are used for application to a product made of metals and ceramics at high temperatures. Give products color, durability, electrical insulating properties and gloss; used to cover sanitary equipment (baths, sinks), dishes, equipment for the food and chemical industries, etc. These enamels do not belong to paints and varnishes.

Water-borne paints are made on the basis of dispersions (emulsions, latexes) of lyophobic polymers or micellar solutions of lyophilic film-formers in water.

Powder paints mixtures of pigments, fillers and dry oligomeric or polymeric organic film-formers, which, when melted, form continuous film coatings.

Primers - dispersions of anticorrosive pigments, sometimes with fillers, in film-forming substances with high adhesion to the painted surface. Primers are designed to create a strong adhesion of the coating to the substrate and to the overlying layers, to protect metals from corrosion, including tread, to fill the pores of wood and plaster, to make fabrics and other materials waterproof and airtight, to protect against wood decay or the transformation of rust of ferrous metals ... Primers are applied directly to the surface of the products prepared for painting, and after they have hardened, putty or enamel is applied to the primer layer.

Putties - pasty or viscous highly filled paints and varnishes intended for leveling rough and porous surfaces, sealing grooves, potholes, seams, joints and other surface defects before painting. Putties consist of film formers, fillers and cheap, most often natural, pigments and small amounts of solvents. They are applied, as a rule, on previously primed surfaces with a layer up to 300 microns thick; before applying the paint layers, the filler layer is subjected to dry or wet sanding.

The value of pigments and pigmented paints and varnishes in the national economy

The most accessible and widespread method of corrosion protection is the application of protective or protective and decorative paint and varnish coatings. The durability of professionally painted products and structures is increased by 2-10 times. Pigments in protective organic coatings not only delay metal corrosion, but also protect the polymer coating itself from premature aging and destruction, which gives a huge economic effect.

A significant part of paints and varnishes, and therefore pigments, is consumed for painting the external and internal surfaces of buildings. The correct choice of colors and textures for finishing residential and industrial premises and periodic restoration of color have not only aesthetic, but also great sanitary and hygienic and psychophysiological significance, reducing fatigue and increasing the performance of people.

Up to 40% of all produced pigments are used in the production of plastics, synthetic fibers, industrial rubber goods, linoleum, artificial leather, building materials, ceramics, as well as medical and cosmetic products. Lead oxides are used for the manufacture of crystal and optical glass, batteries and other products.

Purpose of pigments. Pigments are solid components of composite paints and varnishes - paints, enamels, primers, putties and powder compositions. Interacting with organic film-formers, pigments create structural networks with them, increasing the strength and durability of coatings. Pigments and especially some types of fillers of needle and scaly form reinforce the film, reduce its gas and water permeability, increase the mechanical strength and weather resistance of paints and varnishes.

Pigment particles in the film, absorbing, reflecting and scattering uniformly or selectively rays of incident light, impart a white black or colored color to the film, completely covering the color of the substrate under the film. At the same time, pigments protect the organic polymer substance of the film from destruction under the influence of sunlight, delaying its destruction, and increase the durability of the coatings several times. Many pigments have anti-corrosive properties. Being in the composition of soils and directly adjacent to the surface of the painted metal, they have a passivating effect and delay corrosion. Some pigments have special specific properties and are only intended for printing, art, signal, luminous camouflage, thermal signal, heat-resistant paints, antifouling in sea water, bactericidal and other coatings.

Mass fraction of pigments and fillers in paints and enamels is 20 - 50%, in primers - up to 60%, in fillers - up to 70%

Classification of pigments. Generally accepted, reflecting everything features there is no classification of pigments. Inorganic pigments can be classified according to the following criteria.

1. By origin pigments are divided into natural, obtained by grinding, beneficiation or thermal treatment of rocks and minerals, and synthetic, obtained as a result of chemical reactions.

2. By appointment pigments are subdivided into decorative, protective-decorative, protective (anticorrosive) and special-purpose pigments.

3. By color distinguish achromatic(white, black, neutral gray) and chromatic(all colored) pigments.

4. By chemical composition pigments are divided into oxides, salts, metals; despite the seemingly greatest validity, the chemical classification is of no practical importance, since the chemical composition is not always the determining parameter.

Table 1 shows the most practical classification of the most important inorganic pigments, combining the principles of purpose and color, which allows you to correctly navigate when choosing pigments.

Table 1

Classification of inorganic pigments

Pigment color	Appointment of pmgments
	Decorative and protective	Anti-corrosive	Purpose *
Achromatic pigments
	Titanium dioxide Zinc white	White lead Zinc phosphate	Aluminum Hydroxide, Barium Sulfate Type Zinc aluminate, zinc sulfide Sv Titanates of magnesium, aluminum T Borate Barium B
	Carbon black (soot, black) Mixed iron oxide (II, III)		Titanates of iron (III), copper, cobalt T, X
Chromatic pigments
	Lead lemon crown Lead crown yellow Zinc crown painting Iron oxide yellow pigment Natural and synthetic ocher	Strontium crown Lead cyanomide Zinc crown primer Barium-potassium crown	Nickel, iron (II) titanates T, X Kadmopon T, X Cadmium sulfide X
	Synthetic iron oxide pigments Natural red lead, mummy Crown lead-molybdate	Red lead	Copper (I) P oxide Cadmium Selenide Sulfide
Orange		Lead orange crowns
	Iron azure Ultramarine		Cobalt aluminate T, X
	Chromium oxide Emerald green Mixed greens (yellow + blue)	Chromium phosphate	Chromium titanate T, X Cobalt chromate T, X Mixed oxides (for example, CoOnZnO) T, X

A type. typographic, Sv for lighting compositions, T heat-resistant, B bactericidal, X for artistic paints, P anti-fouling.

Organic pigments have only decorative properties and are classified by color and classes of organic compounds

The most important properties of pigments. Technical products used as pigments must have a set of properties that vary depending on the purpose of the pigments, the composition and properties of film-forming agents, the curing conditions and operation of pigmented paint coatings.

Physical properties: crystal structure, refractive index of light, color, density, hardness, shape and size of particles (dispersity), specific surface area, bulk density, solubility.

Chemical properties: pH of the aqueous extract, resistance to water and chemical reagents (acids, alkalis), reactivity, acid-base properties of the surface.

Physiochemical properties: wettability (hydrophilicity or olefilicity), density and strength of particle packing in aggregates, adsorption capacity (adsorption potential) of the surface, photochemical activity, light stability, phototropy, the ability to change the electrode potential of the surface (passivating effect).

Technological properties: hiding power (hiding power), coloring power (intensity), oil absorption, dispersibility, critical volumetric content, structuring ability, weather resistance, compatibility with other components of the paint system.

Environmental requirements: harmlessness, non-volatility, non-spraying, absence or complete use of waste and by-products in production.

Economic indicators: the availability of a raw material base for mass production, the possibility of implementing a waste-free technology, the lowest consumption of pigment to achieve the specified indicators, a long service life of pigmented coatings, minimal labor and energy costs both for the production of the pigment itself and for the pigmentation of paints and varnishes.

It is difficult to find substances that would combine the various properties listed, therefore the number of pigments is small - only a few dozen. Traditional carriers of pigment properties are oxides, hydroxides, medium and basic salts of metals of variable valence (iron, lead, chromium, titanium) and some others (zinc, aluminum, barium).

To obtain the desired crystal structure, shape and particle size during the synthesis of pigments, crystallization nuclei are introduced, as well as structure stabilizers. Ions of other metals are sometimes introduced into the crystal lattice.

In order to reduce the supply of surface energy and prevent coagulation of colloidal particles, photoactivity and other undesirable phenomena, external modifiers are introduced into the pigments, precipitating silicon dioxide, aluminum oxide, etc. on the surface of the particles.

To impart wettability, bond with film-forming agents, improve dispersibility and increase the stability of dispersions, the surface of the particles is modified with organic surfactants (surfactants). The introduction of various additives and modifiers reduces the mass fraction of the main substance in technical pigments to 85 - 95%, and sometimes even more. mixing color pigment paint

Posted on Allbest.ru

...

Mechanical mixing

Mixing of oil paints is usually done mechanically on a palette. Watercolors are mixed on a faience plate, a light plastic or enamel palette, on white paper and glass with white paper attached. Such mixtures make it possible to obtain the true color of paints.

The laws of optical connection of colors with mechanical combination are unacceptable. This is explained by the fact that the result obtained with the mechanical combination of colors differs from that which was formed due to optical mixing. For example, let's connect three spectral rays - yellow, red, blue. Thus, the color will turn out to be white.

By mechanically mixing paints of the same colors, a gray color can be obtained. Yellow can be obtained by optical combination of blue and red light rays, and when mechanically mixed, these two paints will give a dull brown color.

Optical mixing

To obtain the desired effect in optical color mixing, translucent paints are used, or, as they are also called, glazing paints. The palette of oil paints has translucent paints: golden yellow "LC", Van Dyck brown, cobalt blue spectral, cobalt blue, emerald green and volkonskoite, thioindigo pink. There are also semi-luster paints: light brown mars, manganese blue, natural sienna, dark ocher.

Oil paints were created for the body writing technique. Corpus letter is intended for displaying relief texture and transmission of light. Oil painting strokes often achieve the effect of a spatial combination of colors. This is when an optical mixture of a pair of colors located close to each other is used. Looking at them from a fairly large distance, you can see the new color. Most of the watercolors in the palette are glazed. They completely dissolve in water (these paints are prepared with dyes).

When these paints are applied to paper or originally applied paint, the colors shine through or whiten, changing the tone. Other watercolors are made with earth pigments. Paints are not able to dissolve in water, so the pigments are suspended.

The optical combination of colors has characteristic patterns. Note that for any optically generated chromatic colors, you can find other, so-called complementary chromatic colors. This kind of color, with an optical mixture with the first, taken in a certain proportion, will give an achromatic color - white or gray. Complementary colors in the spectrum are: cyan and orange, red and green-cyan, yellow-green and violet, yellow and blue, magenta and green. These colors are located on opposite sides of the color wheel. Two non-complementary chromatic colors result in a new color tone as a result of optical mixing. This tone in the color wheel is located between the compatible, non-complementary chromatic colors.

Always the color saturation obtained as a result of the optical connection of two non-complementary colors will be less than that of the mixed colors.

Spatial mixing

"Pointella" painting is a typical method of spatial combination of colors, in which dots or small strokes located nearby create the effect of optical color mixing. The mosaic technique is based on this principle. A mosaic set consists of small pieces of colored glass called smalta. When creating a picture, it is important for an artist to take into account the laws of the spatial connection of colors, since it will certainly be viewed from a distance.

When working on paintings of significant size, it is imperative to remember to achieve the possible effects of combining colors in space, which are designed for perception from long distances.

Impressionist painters used this color property in their work. Most often, this method was used by those who wrote in small multi-colored spots, using the technique of separate strokes. Looking at the paintings of such artists from a certain distance, there is a feeling of a single color, since small strokes of different colors visually merge.

In color science, three laws of optical color mixing are set forth, the knowledge of which is necessary for artists in their practical work.

Small dots, strokes or stripes of different colors, applied to the surface, appear monotonous from a certain distance, and different colors merge into one color.

First law optical mixing is as follows: for any chromatic color, a second chromatic color can be selected, which, when optically mixed with the first, in a certain quantitative ratio, gives an achromatic color.

Colors that can give an achromatic color in optical mixtures are called complementary colors. These can only be strictly defined colors. Additional to ultramarine is lemon yellow, to carmine red - bluish green (the color of emerald green), to lemon yellow - ultramarine and to bluish green - carmine red.

Second law optical mixing is that when optically mixing non-complementary colors, colors are obtained that are intermediate in their color tone between the colors being mixed. Mixing yellow with red produces orange, mixing yellow with green, blue, etc.

The third law optical mixing is that colors that look the same in optical mixtures give the same results no matter what the physical composition of the light fluxes that cause the perception of these colors. “For example, monochromatic orange of the same color, the wavelength of which is 610 microns, and the same orange tone, composed of waves of 590 and 630 microns, in optical mixtures with other colors give exactly the same results, although in one case the color is monochromatic, and in the other difficult". However, the results of optical color mixing differ from the results of mixing paints, which are used by artists in painting.

The results of optical color mixing are shown in Table 1, the results of paint mixing are shown in Table 2.

Artists often apply the laws of optical color mixing in painting. It is known that the work of the post-impressionists Paul Signac and Georges Seurat is based on the laws of optical summation of colors and the laws of contrast. Referring to the laws of optical color mixing outlined in Chevreul's book, Paul Signac insisted on the advantages of optical color mixing in painting over conventional color mixing. In the program book of Post-Impressionism, Paul Signac wrote: "Any material mixture leads not only to darkening, but also to discoloration, any optical mixture, on the contrary, leads to clarity and brilliance."

But as can be seen from Table 1, with optical mixing of complementary colors and those close to them, color discoloration also occurs.

The laws of optical mixing in the practice of art were known not only by post-impressionists, but also by masters of Fayum painting, Pompeian paintings, masters of the Venetian school of painting of the High Renaissance, Diego Velazquez and many other artists.

Colored strokes on the local color spot of the frescoes of Theophanes the Greek and his students testify to the knowledge of the laws of spatial color mixing, which revive the color in the icons of the Russian school.

You can create a comfortable and harmonious interior not only by choosing the design of the space, but also by correctly combining colors in the interior. It is they who are able to influence the emotional and physical state of a person. Thanks to correctly selected color relationships, the house and its owner become a whole organism.

The color wheel is one of the important tools for creating the right color combinations in the interior. Issac Newton was the first to systematize the spectrum by decomposing a white ray of light into red, orange, yellow, green, blue, blue, violet. This was the first color scheme.

Today, color wheels are made up of one, two and three discs. They show what is the relationship between the colors located in a circle. All colors of the spectrum - primary, secondary and tertiary - are located on the axis of the circle. For example, Itten's color wheel:

Primary colors

All colors, with the exception of white, are derived from primary colors. Blue, yellow and red (triangle in the center of the circle) are the primary tones. Combinations of these three colors make up the secondary colors.

Secondary colors

The next six colors of the circle are obtained by mixing two primary (primary) colors. For example, purple is obtained by mixing red and blue, and green is blue and yellow, but orange is a combination of red and yellow.

Tertiary colors

If you mix one primary color with a secondary color, you get a tertiary tone. There are 12 colors in total. You can also get a tertiary color by mixing a base tone with a lot of another base tone to create a tertiary color. For example, one part of blue with two parts of red will create a red-purple color.

Advice :
It is important which colors are located next to the tone that interests you, as well as those that lie opposite the color you have chosen. For example, yellow goes well with the opposite lying purple, and light green is harmonious with the color of bright pink or fuchsia. Next to yellow are two colors with which you can create harmonious chromatic combinations.

Shades and midtones

Shades are derived from the base color. For example, blue has a light blue and dark blue tint.
... Hue is the result of adding white and black (gray) to the base color. The tone, in contrast to pure pigment, makes the color softer and more pleasing to the eye.

How to mix colors

The perception of color depends on the distance of the color spot from the human eye. For example, as the distance increases, green looks bluish, yellow turns orange, and orange turns red.
... The saturation of the color tone of the interior depends on the interior illumination. The illumination level ranges from light to dark on a gray scale. Floor and walls are capable of reflecting light, so light tones of surfaces in a room brighten up, while dark tones dampen tones, making them dull.

Advice :

.The quality of brightness or color depth depends on the light and shade in the interior. Therefore, adding a gray tone to a room can significantly soften the effects of different color combinations.
... If you need different shades of blue, dilute the color combination with a black shade. And then the cold tones of blue will sparkle with tonal gradations.
... To change the shade of any paint in the interior, add white. It will dilute and extinguish unnecessary brightness in the combination of colors.

Scale for determining the proportions of color

On this scale, you can determine the proportions of tones and semitones. Safe ratio for color combinations in interiors 70/20/10.
70% tertiary shades in a neutral base
20% - secondary colors
10% - primary color

Advice :
Use moderation in mixing colors! Try not to mix more than a few shades. Two or three colors in a neutral base are considered the safest.

Various color schemes

Color schemes and triads are collections of interior color combinations that work together to create a visually appealing palette. The color combinations given in color schemes can be considered classic. Of course the color combinations are endless. But experienced designers get a feel for which scheme to apply in practice.

Classical triad

A combination of three colors that are equidistant from each other. Using such contrasting combinations will create a harmonious palette. Choose one primary color and use the other two as accents.

Analog triad

Combinations of 2 to 5 colors, located side by side, make up similar or related combinations. For example, yellow-orange, yellow, yellow-green, green, blue-green.

Complementary combinations

A complementary color (also known as a contrast color) that is opposite the second on Itten's color wheel. The combination of these colors creates a bright and exciting effect, especially at maximum saturation.

Rectangular diagram

A four-color combination is a scheme that consists of one primary color and two complementary ones. The company includes another additional tone to highlight accents. For example, blue-green, blue-violet, orange-red, orange-yellow.

Square scheme

A combination of four equally spaced colors. Dynamic colors are different in tone and, at the same time, complement each other. For example: purple, orange-red, yellow, blue-green.

Rules for using the color scheme

Color combinations in the interior are conventionally divided into warm and cold. Thanks to them, you can visually enlarge or reduce the room. It all depends on the chosen basic tone. Therefore, the selection of complementary colors is so important. They are located opposite each other on the color wheel. Each tone brings out the wealth of the other. When using complementary colors, one color should be soft and weak in tone, while the other should be more dominant. For example, intense dark purple should be paired with light yellow hues.

Decorate adjoining rooms in a similar color scheme. Plan your color scheme based on how much each room is viewed from the other. Look for related colors. For example, related tones are located next to each other on the color wheel. These colors produce less contrasting effects than complementary colors. For example, the dark tones of a blue-green room combined with the light blue of an adjacent room can give the impression of floating in a blue lagoon.

Choose a base color that you like best and use as many shades of it as you can think of. For example, they give maximum effect when adding related or complementary colors. Contrary to popular belief, monochrome is not a black and white duo or a single color. True monochrome combinations often consist of one main tone and several adjacent tones. For example, green can look completely independent and self-sufficient. It fills the entire interior space, but this is only at first glance. If you look closely, you will see the tones of apple and grass, young greenery and marshy mud in shades of khaki, juicy lime and pistachios, transparent candy in yellow-green tints and olives. All these shades are successfully accentuated by white, gray, as well as interspersed with tones in the colors of metal and wood. This is how, in general, you get monochrome!

Advice :

Choose one favorite color that will become the main one in the interior. And then add objects and accessories in shades and midtones of the same color to it, and dilute this complex monochrome range with things in neutral shades. But only a little - in order to shade the main palette.

First, decide where you are going to use the colors in the room. A general rule of thumb when decorating is to use three different meanings in color combinations: light, medium, and dark. Walls and floors are usually decorated in light colors, depending on the effect you are trying to create. The floors should be slightly darker than the walls to avoid a floating effect. Window sashes and large pieces of furniture are often created in the middle to connect light-colored walls and floors. Gloomy colors should be used as an accent color in the interior.

Color temperature

Some color combinations in the interior are warm, others are cold. Psychologists say that the color of a room can affect a person's mood and well-being, cause him an emotional response. Some color combinations in the interior create an overall feeling of calmness and physical satisfaction, while others cause inner tension and discomfort. Colors can be both an ideal partner and an enemy that you have to unknowingly fight.

Warm and cozy colors
for the interior are located on the right side of the color wheel. They radiate positive energy and strength that can unite people.

Red

radiates energy, strength and passion. Restaurants and bars often use this color of strong energies because it increases appetite and promotes communication. And it's a common choice for kitchens and dining rooms in the home. However, red in the bedroom should be avoided.

Orange

This color is considered exciting and imperious. Its presence in the kitchen and dining room is known to increase appetite and relax. Psychologists advise using orange in moderation. Orange is less aggressive than red. It creates warmth and a sense of joy. However, it is advised to use it only as an accent color.

Yellow

Sunny shades of yellow are associated with happiness and warmth, but rich and bright yellow tones can increase frustration and anger. Typically, yellow elevates the mood of the color. When overused, yellow can become distracting and overwhelming. Avoid this color in large quantities in the nursery, because babies are known to cry a lot. But using it in the kitchen in tandem with orange will cause positive emotions and even euphoria. Yellow has different effects depending on how and how much it is used.

Cool and soothing colors

Located on the left side of the color wheel, the cool and soothing colors provide a sense of calm and trust:

. Green... It is a soothing and refreshing color that reminds us of young greens, grass, pistachios and juicy limes. It easily takes root in any room. Green conveys a sense of renewal and growth. It is used in rest rooms such as bedrooms. It is not uncommon to see different shades of green in the kitchen. And, of course, in nurseries, because children are so fond of everything natural, especially colors associated with nature.

Blue

If you're trying to create a relaxed, spa environment, consider blue. Like green, it is a calming color and also good for bedroom decor. Iridescent and vibrant shades of blue are used in offices to increase productivity. Light blue can make a room appear vibrant and refreshing, while deep blue builds self-esteem.

Violet

This color has long been associated with royalty and wealth. It contains the calmness of blue and the energy of red. Combined with some active tones, it stimulates creativity and vitality. However, in large quantities and in tandem with red, it becomes hazardous to health, causing euphoria.

Advice :

Brown should be mentioned as the most common color in interiors. Brown is composed of several colors based on warm and cool tones: red, yellow and blue. Dark brown or wenge is obtained by adding black to this triad. Brown represents restraint, reliability and modesty. This is one of the most powerful tranquilizing colors, belongs to the warm colors of the earth, therefore it became the basis of a psychologically soothing palette.

Brown goes well with color combinations in the interior, for example, with gold, as well as tones close to it in shades, for example, with yellow. Aside from the interior, many people associate brown and red with warts. Follow some guidelines so they don't bother you.

The appearance of purple in brown tones is suggestive of subtle idealized relationships and feelings. Such combinations are appropriate in living rooms, dining rooms, where an environment is needed that gives pleasure to the body: delicious food, luxury goods, beautiful accessories and furniture.

Color combinations in different rooms

Before choosing a color for the kitchen, living room, bedroom or nursery, you should remember that white plays an important role in the palette.
White is the core of the spectrum. It really helps to freshen up the space and creates a sense of cleanliness. Therefore, this color is always appropriate in pastel colors, combinations of various colors of a neutral palette in the interior. But even the warm and pungent hues from Mexican interiors allow white to complement and accentuate blue and blue color combinations.

Pastel color combinations

Pastel colors are the result of adding a lot of white to various complementary color combinations. They create a comfortable, spacious feeling in any room.

Neutral color palette

Shades of white, beige, dark brown, gray and black form the basis of neutral color combinations. A neutral palette is the lightest and most airy for one obvious reason: all of these neutrals blend in with most of the colors in the circle. They can be stylish and dramatic. For example, black and white as neutral tones create a wonderful palette of complementary shades for different base tones.

Advice :
If you choose neutral color combinations in your interior, use bright accessories to accent the walls and make the room interesting. When you're ready for a change, simply change the color of your accessories.

Bedroom

The interior of the bedroom is usually created in soothing colors. However, thanks to various color combinations using additional tones, designers have opened up a lot of possibilities. For example, the combination of gray and beige colors in the interior of the bedroom creates the lightest and most weightless intimate spaces in which one could take a break from the hustle and bustle of the day.
For example, the bedrooms are magnificent, in which pearl-mother-of-pearl shades prevail, combined with a beige tone.

A bright bedroom is created when you choose one intense and colorful main color, for example, pink in shades of fuchsia. The selected color is matched with a light yellow color on the color wheel. They complement each other, but by introducing white, or khaki akin to yellow, you get a more balanced interior.

A bedroom in gray colors is a "refuge" for a person who wants to retire and get away from the hustle and bustle of the outside world. A bedroom in gray tones is indifferent to the bright and conflicting outside world.

Reddish shades between warm related yellows, peaches and oranges, complemented by combinations of blue, turquoise and blues. The impression of contrast is masked by grays and white, which actively participates in the overall palette.

A bedroom with color combinations, among which turquoise occupies a dominant position, looks optimistic. In such an interior, it is important to create a complex color scheme, consisting of several additional tones, for example, khaki, blue, light blue. And also the tones that are located opposite the blue-green on the color wheel, namely, beige, light yellow or even peach, but you need to feel the measure. Because with the introduction of warm, bright colors, the room will look like a guest room for socializing.

The trendy Scandinavian style is reflected in the bedrooms. The main tones in color combinations are brown and purple, which require support for calm shades of gray, lilac and grassy. The natural range is combined in such a bedroom with airy shades of frosty air.

A bedroom in blue tones gravitates towards peace and perfection. Nothing seems to distract from relaxation. With a minimal amount of furniture, it looks extravagant. If you add islands of white and cream to the blue, it will soften the pressure of the blue. In rooms that serve as a place for rest, splashes of optimistic pink are preferable. Bedroom in lilac tones

Raspberry color in the bedroom is for extravagant people. And to enhance the extravagance of purple helps partner yellow and neutral black in the colors of shiny nickel.

Living room

A room in gray-blue combinations is very calm, sustained and requires the introduction of neutral tones - black and white, which dilute the harsh atmosphere of two related tones.

Blue is practically incapable of getting bored, it is fresh, serene and promotes friendly relations between people. But dark blue combinations evoke nostalgia for the past. The situation will be corrected by small blotches of pink and purple, turquoise and white. The introduction of yellow will create a joyful atmosphere in the living room.

Color combinations in neutral tones are the most fertile theme in the interior. Indeed, in such rooms you can relax with your family and gather friends. You never get tired of combinations in neutral colors. The main range is wenge and adjacent colors: beige and gray - all colors of the earthy palette. And yet, two or three bright blotches will not hurt from the tones located opposite these combinations - orange and soft green, two color partners.

The living room in a green palette evokes pleasant sensations, recalling the young spring grass, the first summer apples. Fresh, juicy and delicate green tone in the interior should be supported by related shades. And if you succeed, your living room will become your family's favorite place to stay and popular with guests. And believe me, no one will want to leave you for a long time.

Two colors - pink and azure are just created to be together! Additional beige, white and gray keep the vibrant fuchsia in check. Together, they are included in the classic triad on the color wheel, complementing each other.

A bright room requires a combination of self-sufficient in brightness tones, the basis of which is red-pink and dark gray. Tertiary shades located on the opposite side of pink and red will be no less juicy.

The ocher tonality of the living room accepts brick and orange, as well as additional tones of gray, khaki and light blue. Orange can be added to the decoration in accessories.

Bathroom
A tiffany or sea breeze bathroom is a pleasant color scheme, composed of related tones, the primary of which is blue.

Pink is not typical for a wet room, but if you have a pink bathtub, then the whole room should be dressed in pastel shades of pink, diluted with a gray tone.

Green combined with related tones and white gives a stunningly refreshing sensation.

Children
A children's room in beige tones must be combined with pink and light green flowers in delicate shades. White does not hurt to create complete harmony.

A lilac room is usually made for girls. Lilac is a tertiary color formed by two tones: secondary pink and primary blue. Lilac brings a touch of playfulness and carelessness.

Kitchen

The peach dining room seems bright only at first glance, if you look closely, you can see a combination of several primary, secondary and tertiary colors in the interior. Primary yellow found partners among tertiary peach (yellow + orange), secondary light orange and beige.

Olive is a complex secondary color formed by two primary colors: yellow and green. It is included in the spectrum of green, which carries freshness, youth and vitality. Yellow, participating in combinations with green, softens this tandem. The resulting yellow-green with a high percentage of yellow symbolizes peace and contemplation.

Conclusion

The perception of color is purely individual. Therefore, when composing the palette of your interior, do not restrain yourself with the framework of the generally accepted, focus on your own perception of the world and the desire to do something special. Remember that only your favorite colors will bring joy. And to make up color combinations in the interior, using the primary color as a basis, the color wheel will help you.

In theory, two methods of color mixing are distinguished: a) adjective, or optical, when two colors merge on the retina of our eye into one total color; b) subtractive (mechanical), when paints are mixed on a palette or superimposed on one another with a thin transparent layer - glaze

Mechanical color mixing

got its name due to the fact that the colorful medium through which the white ray passes absorbs (takes away) a certain fraction of the spectral colored rays. Therefore, the resulting color will be the one that is skipped by the paint medium.

Mixing methods are used to achieve maximum visual effects, that is, to create the impression of multicolor with minimal use of paints. So, for example, it is already known that only three colors: yellow, purple and blue - you can get many colors.

From the optical mixing of two small colored strokes or strokes placed side by side, we get a new, third color. So, for example, red and yellow will give orange; green and blue - aquamarine; red and blue - purple, etc.

The technique of painting, printing and printed textile production is mainly based on the use of the mechanical mixing method.

Mutually complementary color pairs

We have already said that two colors that give white or gray when optically mixed in certain proportions are called complementary.

The main mutually complementary color pairs are:

red - bluish green;
orange - blue;
yellow-blue (ultramarine);
yellow-green - purple;
green - purple;
bluish green - red.

When mixing them new color tones

does not occur, since at arbitrary quantities one of the mixed colors is obtained.
The table clearly shows pairs of colors, when optically mixed, a gray color is obtained. It is very easy to check if two circles of complementary colors are placed on the Maxwellian disk (we repeat once again - only in certain quantitative ratios) and the disk begins to rotate quickly.

The color pairs listed above lie opposite each other in the Ostwald color wheel. They are slightly shifted in the color wheel.

Spatial mixing of non-complementary colors (yellow, red, blue)

If we take a couple of non-complementary colors and get an optical mixture from them, then they will give not achromatic colors - gray, but new colors - chromatic. This spatial mixing task is based on obtaining a purely visual effect as a result of an optical mixture of two colors located close to each other, when viewed from a sufficiently large distance. We will not see a painted plane of two different colors, but only one solid color - the total, as a result of their mixture. It is this kind of color mixing (addition) obtained at the appropriate distance that is called spatial and is one of the types of optical.

This method is widely used in the textile industry, in particular in the weaving industry (cotton, silk, woolen) in fabrics of multi-colored yarn when weaving the warp and weft, when twisting two thin multi-colored threads into one (floss) or mixing separate dyed elementary fibers ( melange).

A typical example, where you can see clearly effective use and application of this method of mixing colors, is the widespread plaid dress fabric "tartan", as well as woolen blankets, headscarves, scarves and other products.
Mosaic monumental painting is based on this principle, that is, wall or plafond painting, in which colored planes are laid out from individual smallest colored particles (tiles), merging at a distance into one color.

Mechanical color mixing method. Color theory: color mixing Spatial color mixing

Send your good work in the knowledge base is simple. Use the form below

Similar documents

Mechanical mixing

Optical mixing

Spatial mixing

Primary colors

Secondary colors

Tertiary colors

Shades and midtones

How to mix colors

Scale for determining the proportions of color

Various color schemes

Color temperature

Cool and soothing colors

Color combinations in different rooms

Pastel color combinations

Neutral color palette

Bedroom

Living room

Kitchen

Conclusion

Mechanical color mixing

When mixing them new color tones