People use physical quantities to express it, so it is also called the physical effect of color.
As we all know, solar energy brings warmth to people. Over time, when people see red/orange and yellow, they will also feel warm. The sea and moonlight are refreshing. So when people see colors such as cyan and turquoise, they will also feel cool. The temperature sense of visible color is only a reflection of people's habits and the result of long-term practice.
People call red/orange a warm color and cyan a cool color. Red purple to yellow green are warm colors, cyan to cyan are cool colors, and cyan is the coldest. Purple is a combination of warm red and cool cyan, so purple and green are called warm colors. Colors such as black/white/gray/gold/silver are called neutral colors.
The temperature sense of color is relative. For example, non-color (such as black/white) is warmer than color (such as yellow and green). In terms of achromatic color itself, black is warmer than white; In terms of color, the same color is warmer when it contains red/orange/yellow, and colder when it contains blue. So it is absolutely inaccurate to say that a certain color is cold or warm.
The warmth and coldness of color are also related to lightness. Bright colors with white have a cool feeling, while dark colors with black have a warm feeling.
The temperature of color is also related to chromaticity. The higher the chroma, the warmer the moon feels. In the recooled color, the higher the chromaticity, the colder it is.
At the same time, the temperature of color is related to the smoothness of the surface. Generally speaking, the color is cold when the surface is smooth and warm when the surface is rough.
Echo of colors Any color should not appear in the layout in isolation, it needs the same or similar color blocks to echo each other in four aspects: up and down, front and back, left and right. There are two ways to echo colors:
(1) Local echo: If you click a red dot on a black background, the struggling red dot is surrounded by a large piece of black, which seems to be in danger of being swallowed up. Although it still exists tenaciously, it gives people a feeling of suffocation in the whole picture. At this time, it is necessary to add more red dots to accompany it, and this situation is broken. This is the echo relationship of the same color block in space distance. However, the distribution of these points needs to consider the density relationship, and the distance cannot be averaged, that is, the density relationship should be considered. When a point falls into the picture, it is a sound. Many points will produce many sounds, which are divided into density, speed and rest. The rhythm of natural scattering constitutes a beautiful rhythm in the picture, which is a natural rhythm that manual arrangement can't achieve. Xinjiang carpet pays great attention to the echo of internal and external colors, that is, it is necessary to take the color of the earth as the outermost color and lay out patterns on the whole color base, which is the echo relationship between internal and external.
Total echo: the total echo method of color is to mix all colors with the same pigment, so that there is an internal connection between all colors, which is an important method to form hue, that is, color tendency (if you mix them in space with a rotating disk, you can see them clearly). Nanjing Yunjin's makeup is "three halos", and the color matching method is an example of full-color reaction: water red, silver red with scarlet (all colors contain red), sunflower yellow, wide green with azurite (all colors contain blue), lotus purple with purple sauce (all colors contain purple), jade white, Gu Yue with sapphire blue (all colors contain blue), dense yellow with bronze (all colors) This is also the traditional "tendentious" tone.
The master-slave coordination of colors should be separated according to the content of the pattern. The relationship between dominant color and object color is master-slave relationship. The so-called "colorful display, there must be a main color, and its color is attached." The area of the main color is not necessarily the largest, nor is it necessarily equal to the main color, but it plays a key role. The main color is generally used in important parts to enhance the attraction to the audience. The power of the main color should be set off by the color of the object. As the saying goes, "red flowers need the help of green leaves", so red can appear redder. Large dark areas are surrounded by light colors; A large area of light color is surrounded by dark color; The contrast color in a large harmonious color can form the main color, and the guest color obeys the main color. The treatment of gray and bright light must also be controlled according to the main color, otherwise it will take the lead. For example, although the green area of "a little red among thousands of greens" is large, it is used to set off red. Red should be pure, and green might as well be heavier, so that red can become the theme color, that is, the main color.
Color hierarchy The color hierarchy and the sense of advance and retreat of color have been analyzed before. Warm colors, solid colors, bright colors and large-area colors generally have a sense of progress; Cool colors, including gray and dark colors, generally have a fading feeling in small areas. But this is not absolute. Bright colors are progressive on a dark background, dark colors are on a white background, yellow colors are on a red background, and red colors are on a yellow background. This is the level of color in composition, which is mainly related to the lightness of color, purity and warmth. I have talked about it before, so I won't go into details here.
Decorative color embellishment is a form of regional contrast, which can play a "finishing touch" role in color composition. If a dull or dull tone is embellished with a small amount of bright contrast color, such as hitting water with a stone, a pool of stagnant water will immediately become alive. "A candle shines through the whole body", and the use of embellishment color can achieve a breakthrough of "seeking novelty in the ordinary". The "finishing touch pen" requires that the layout position of the embellishment color should be appropriate, and if it is not on the "eye", it will become "adding feet". The "finishing touch" also requires that the area should be appropriate. If the area is too large, it will destroy the unified tone, and if the area is too small, it will be easily eaten by the surrounding colors and will not play its due role. Decorative colors are eye-catching and active. Experienced color matching always uses the most vivid and vivid colors in the most critical places with great care and treasure. Its law is:
(1) high purity;
(2) Strong tone contrast;
(3) Brightness contrast is strong, either bright or dark, or fresh in gray;
(4) the area is suitable;
(5) The location is appropriate.
Color foil depends on area contrast, without which there is no foil. The main forms of foil are:
(1) Contrast between light and dark: a large area of bright color sets off a small area of dark color, and a large area of dark color sets off a small area of bright color, making darkness transparent;
(2) Cold and warm contrast: a large area of cool color sets off a small area of warm color or a large area of warm color sets off a small area of cool color;
(3) bright gray background: a large area of gray sets off a small area of bright colors;
(4) Contrast between complexity and simplicity: a large whole color block is set off by variegated flowers all over the floor, or clusters of small broken flowers are set off by simple colors all over the floor.
The above four methods, namely, large-scale harmonious contrast against small-scale contrast, large-scale gray contrast against small-scale bright color, and large-scale static contrast against small-scale movement, are one of the commonly used techniques in design.