同时对比是指两种不同颜色相互影响的方式。理论上说,当两者并排放置时,一种颜色可以改变我们对另一种颜色的色调和色调的感知。实际颜色本身不会改变,但我们认为它们已经改变了。同时对比首先描述于19世纪。法国化学家MichelEugèneChevreul在他着名的色彩理论着作“和谐与对比原理”中解释了这一点,于1839年出版(1854年译成英文)。在书中,Chevreul系统地研究了颜色和颜色感知,展示了我们的大脑如何感知颜色和价值关系。 Bruce MacEvoy在他的文章中解释了这一方法,“Michel-EugèneChevreul的’色彩和谐和对比原理’”:“通过观察,实验操作和他的同事和客户实施的基本色彩演示,Chevreul确定了他的基本”法律“颜色的同时对比:“在眼睛同时看到两种连续颜色的情况下,它们的光学成分[色 调]和色调的高度[与白色或有时,同时对比被称为“同时颜色对比”或“同时颜色”.Chevreul开发了同时对比的规则。它坚持认为,如果两种颜色靠近在一起,每个颜色都会呈现出色调。为了理解这一点,我们必须看看构成特定颜色的基本色调.MacEvoy给出了一个使用深红色和浅黄色的例子。他注意到了这一点。在浅黄色的视觉补充是深蓝紫色和红色的补充是浅蓝绿色。当这两种颜色彼此相邻时,红色似乎具有更多的紫色色调,黄色更加绿色。 MacEvoy继续补充道,“与此同时,暗淡或接近中性的颜色会使饱和的颜色变得更加强烈,尽管Chevreul并不清楚这种效果。”当互补色并排放置时,同时对比度最明显。想想梵高在“阿尔勒论坛广场上的咖啡馆露台”(1888年)或“阿尔勒夜间咖啡馆”(1888年)中的红色和绿色画作中使用鲜艳的蓝色和黄橙色。在给弟弟西奥的一封信中,梵高描述了他在“阿尔勒夜间咖啡馆”中描绘的咖啡馆,“血红色,暗黄色,中间有绿色台球桌,四个柠檬黄灯,橙色和绿色的光芒。到处都是最不同的红色和绿色的冲突和对比。“这种对比也反映了艺术家在咖啡馆观察到的”人性的可怕激情“。梵高使用互补色的同时对比来传达强烈的情感。颜色相互碰撞,产生一种不舒服的强度感。大多数艺术家都明白色彩理论在他们的作品中起着非常重要的作用。然而,超越色轮,互补和和声是至关重要的。这就是同时对比理论的用武之地。下次你选择一个调色板时,想一想相邻颜色如何相互影响。您甚至可以在单独的卡片上绘制每种颜色的小样本。将这些卡片移到另一个上面以查看每种颜色的变化情况。在将油漆涂到画布之前,这是一种快速了解你是否会喜欢这种效果的方法。

英国巴斯大学艺术Essay代写:颜色对比

Contrast at the same time refers to the way in which two different colors interact with each other. In theory, one color can change our perception of the hue and hue of another color when placed side by side. The actual colors themselves will not change, but we think they have changed. At the same time, the comparison was first described in the 19th century. The French chemist Michel Eugène Chevreul explained this in his famous color theory, “Harmony and Contrast Principles”, which was published in 1839 (translated into English in 1854). In the book, Chevreul systematically studies color and color perception, showing how our brain perceives color and value relationships. Bruce MacEvoy explained this method in his article, “Michel-Eugène Chevreul’s ‘Color Harmony and Contrast Principle'”: “By observation, experimental operation and basic color demonstrations performed by his colleagues and clients, Chevreul identified his The simultaneous comparison of the basic “legal” colors: “In the case where the eyes see two consecutive colors at the same time, their optical composition [tonal] and the height of the hue [with white or sometimes, at the same time the contrast is called “simultaneously Color contrast” or “simultaneous color”. Chevreul developed a rule for simultaneous comparison. It insists that if the two colors are close together, each color will appear tones. To understand this, we have to look at the basic tones that make up a particular color. MacEvoy gives an example of using deep red and light yellow. He noticed this. The light yellow visual supplement is a dark blue purple and red supplement is light blue green. When the two colors are adjacent to each other, the red color seems to have more purple tones and the yellow color is greener. MacEvoy continues, “At the same time, dim or near-neutral colors will make saturated colors even stronger, although Chevreul is not aware of this effect.” When complementary colors are placed side by side, the contrast is most pronounced. Think of Van Gogh’s bright blues and yellows in red and green paintings in the “Cafe Terrace on Arles Forum Square” (1888) or “Arles Night Cafe” (1888). In a letter to his younger brother Theo, Van Gogh described his cafe in the “Arles Night Cafe”, “blood red, dark yellow, green billiard table in the middle, four lemon yellow lights, orange And the green light. There are conflicts and contrasts between the most different red and green. “This contrast also reflects the “terrible passion of humanity” observed by artists in cafes.” Van Gogh uses contrasting colors to convey strong emotions. The colors collide with each other, creating an uncomfortable feeling of strength. Most artists understand that color theory plays a very important role in their work. However, beyond the color wheel, complementarity and harmony are crucial. This is where the theory of contrast is used. The next time you choose a palette, think about how adjacent colors interact with each other. You can even draw small samples of each color on a separate card. Move these cards over the other to see how each color changes. This is a quick way to see if you like this effect before applying the paint to the canvas.

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