Six--"Two" color form beauty techniques
1. Color balance (1) Color symmetry symmetry is a structural aesthetic form, with symmetry, radial symmetry, and convolutional symmetry. In the center of the axis of symmetry and the right and left sides of the color of the corresponding point in the form of equal distance, called the color of the symmetry, the color of the combined image as reflected by the mirror as the same effect as the symmetry point as the center, both sides of the corresponding color Points are equidistant, according to a certain point of the original configuration placed in the form of points arranged around the form, known as the color of the radiation symmetry. When the rotation angle is 180 degrees, the two wings are propelled into a propeller-like shape called the swirling symmetry of color.
Symmetry is an absolute balance. The symmetry of color gives people a sense of solemnity, generosity, stability, seriousness, stability, calmness, etc., but it also tends to produce a bad impression of dullness, dullness, monotony and lack of vitality.
(2) Equalization of color balance is another form of form beauty. Although it is asymmetrical, it shows a relatively stable visual physiology and psychological feeling due to the fact that the mechanical fulcrum shows left and right displays of isomorphism, the same amount of inequality, color strength, and severity. This form is not only lively, abundant, changeable, free, lively, interesting, etc., but also has a good balance. Therefore, the most suitable for most people's aesthetic requirements is to choose the color commonly used methods and programs. The balance of color is also balanced from top to bottom and before and after balance. Attention should be paid to a proper layout and adjustment from a certain space, position, and attack.
(3) Color imbalance The color layout does not achieve an equilibrium form, which is called the color imbalance. There is a clear difference in the strength, severity, and size of the color displayed on the axis of symmetry or not. Visual psychological and psychological instability are shown. Because of its peculiar, trendy, sporty, and interesting features, it can be boldly applied in certain environments and programs and accepted by people as "asymmetric beauty." However, if it is handled improperly, it is easy to produce slanting, heavy, grotesque, unsteady, and uncomfortable feelings. It is generally considered not beautiful.
Unbalanced color design, there are generally two situations, first, the shape itself is symmetrical, and the color layout is asymmetric, such as the circus half-black and white clown. The other form itself is asymmetrical, such as the European and American dresses with a single shoulder and a half-breasted evening dress. There are up and down asymmetry methods.
2. Color ratio Color ratio refers to the proportional relationship between the local and local parts of the color combination design, the local and the overall, length, area size. It comes with the change of the form and the change of the location space, which plays a decisive role in the overall style and beauty of the color design scheme.
Commonly used ratios include arithmetic progressions, geometric progressions, Fibonacci progressions, Bell progressions, Plato's rectangular ratios, square root rectangular progressions, and golden sections.
(1) The ratio of gold is 1:1.618 to its simpler ratio. In practice, the relationship of color proportions is usually treated as a 2:3, 3:5, 5:8 sequence.
(2) The size of non-golden ratio color areas and the combination of primary and secondary colors are all considered to be rich in contrast and worthy of adoption. Because only one side is in a dominant position with a large area and one side is in a state of subordination in a small area, a clear tendency to form hue can be formed, showing a sense of harmony in contrasting beauty.
3. The color rhythm, which is obviously characterized by time and movement, can sense regular and repeated strengths and lengths, and is a form of orderly beauty. Through the dispersion, overlapping, repetition, and transformation of colors, the beauty of rhythm and rhythm is formed in the change of color and rotation. There are generally three forms.
(1) The repetitive rhythm reflects the orderly beauty through repeated appearances of color, such as points, lines, and surfaces. The simple rhythm has a short period of time and repetition to achieve a unified feature, a matter of mechanical and rational beauty.
(2) Gradual hue and rhythm will change the color according to a certain orientation rule, and it will gradually reduce the “beat†consciousness, have a longer period of time, and form a flashing color with obvious contrast, seeing in silence, and climax. effect. Gradual rhythm has a variety of modalities such as hue, lightness, purity, warm and cold, complementary colors, area, and synthesis.
(3) The pluralistic rhythm consists of a variety of simple and repetitive rhythms. Their turbulence, strength and weakness in the movement, as well as the undulations are also constrained by certain laws. They can also be called more complex rhythmic rhythms. It is characterized by a strong sense of color movement, a very rich level, and ups and downs. However, if it is handled and used improperly, it is prone to disorganized "noise" and bad effects.
4. Color echoes are also called color associations. In order to use one or more related planes and colors in different locations in space, they are connected to each other to avoid isolation. Using “you have me and I have you†to take care of each other, interdependence, and reuse, so as to achieve a unified Harmonious, rhythmic, rhythmic beauty. There are generally two kinds of color echoing techniques:
(1) The decentralization method applies one or more colors to different parts of the artwork at the same time, so that the overall color tone is unified in a certain style, such as light blue, light red, dark green and other color combinations, light colors for large area base color , Dark color for a small area of ​​contrast color, become a type of high-grade pastels. At this time, the dark green is best not to appear in only one place. Relatively concentrated, it may be appropriate to make some echoes in other places, so that it produces a state of mutual contrast. But the colors are not too scattered, so as not to make the screen appear flat, fuzzy, messy, cumbersome.
(2) The series method allows one or more colors to appear simultaneously in the different planes and spaces of works and products, and to form a series of designs that can produce a synergy and overall feeling.
5. Colors focus on the process of color matching, sometimes in order to improve the monotonous, dull, boring condition of the overall design and enhance the sense of vitality, usually in the works or a certain part of the product set emphasis, highlight the color, in order to play the dragon The role. In order to attract the viewer's attention, the key color should generally be arranged in the center of the screen or the main position
The use of key colors should pay attention to the following points in terms of moderation and appropriateness: (1) The key color area should not be too large, otherwise it is easy to conflict with main color correction and offset, and the overall sense of unity of the screen is lost. If the area is too small, it will be easily assimilated by the surrounding colors and will not be noticed by people. Only the correct color of the right area can be positively complemented and complemented by the main color palette, making the colors appear uniform and lively, and they complement each other. (2) The key color should be selected to be more intense or relative color than the base color. (3) The setting of key color should not be too much, otherwise multiple key points are not focused, and the multi-centered arrangement will become over-design, which will undermine the effect of primary and secondary, orderly, and disorderly and disorderly. (4) Not all works are set in key colors. (5) Focus color should be balanced with overall color matching.
(to be continued)