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But late when the color was determined in three
dimensions tint-clarity-saturation got up three-dimensional schemes. It
regularly exists a difference between the color schemes, and those of irregular
form that we have to our disposition in our days. These systems destined to
serve two aims: to obtain that any color can be identified objectively and
indicate as colors they harmonize between if. The harmony is essential since if
is to be related between if all the colors of a composition, must adjust to all
unified. Fundamental objections exist in the beginning but on which the rules of
the harmony of the color are based. This principle conceives a composition of
colors like a set where everything adjusts to everything. The traditional theory
of the harmony of the color talks about single the obtaining of connections and
to the fact to avoid separations and therefore in the best one of the cases, it
is incomplete. In all the chromatic harmonies three colors can be observed:
• One dominant one: that he is but the neutral one and as greater extension,
serves to emphasize the other colors that conform our graphical composition,
especially to the opposite one? The tonic: he is the complementary one of the
dominion color; it is but powerful in color and the value, and the one that is
used as note of animation or boldness in any element (it carpets, curtain,
etc.). The one of mediation: that it acts like conciliator and way of transition
between each one of both previous, usually has a situation in I circulate
chromatic near the one of tonic color. For example: in a harmonic composition
whose dominant color is the yellow, and the violet is the tonic, the mediator
can be the red one if the sensation that we want to transmit is of warm, or a
blue one if we want that she is but well cold. Of general way the color of value
but dark wrath to the ground, the intermediate value to the walls and but the
clear one to the ceiling. |
