Composition of color space effects

A color space effect can be composed of several components. The power that plays a role in depth lies in the color itself. This kind of power can be shown in light and shade, cold, warm, shade or area contrast. In addition, spatial effects can also be produced by diagonal lines and overlaps.

The six hue - yellow, orange, red, purple, blue and green - are placed on the black back and forth without gaps. The bright yellow is obviously moving forward, while the purple is lurking in the deep black back. Department. All other hues are between yellow and purple. Change to a white back, the depth effect will change. At this time, purple seems to move forward from the white back. However, the white back silences yellow with its similar lightness. These observations indicate that the back-silence color acts like a color on the depth effect.

As early as 1915, the study of the effect of color depth led the author to conclude that the gradual change of the depths of the six basic hues on the black back and the back of the mountain conforms to the golden ratio.

To decompose a line segment by golden points, the ratio of the shorter portion to the longer portion must be equal to the ratio of the longer portion to the full length. Set the golden section point of line segment AB to C, then AC (shorter section) than CB equals CB ratio AB. AC is called "short segment" and CB is called "long segment."

When orange is placed in a depth interval from yellow to red, the ratio of the depth interval from yellow to orange and the depth interval from orange to red is equal to the short segment to long segment of the golden section. Similarly, the ratio of the depth interval from yellow to red orange and the depth interval from red orange to blue is also equal to the short segment to the long segment of the golden section. The ratio of yellow to red and red to violet is the same. The ratio of yellow to green and green to violet equals long to short.

Yellow, reddish orange, and blue appear on black; the same color appears on white. The deep motion on the black base is: Yellow pushes forward strongly, followed by red and orange, while blue is almost as deep as black. The effect is reversed on a white background: blue protrudes forward from the white, followed by red and orange and yellow more.

Any bright hue on the black bottom will advance in accordance with their bright progression. On a white background, the effect is the opposite; the bright shades cling to the back-silent plane, while the dark shades close to black project forward in the corresponding progression.

In the cool and warm shades of the same brightness, the warm tone is forward and the cool tone is backward. If there is a simultaneous light and dark contrast, the power in the depth direction will increase, decrease or cancel. The same light blue-green and red-orange lined back-to-back with black, the blue-green back, red and orange forward. If you lighten red and orange, it will move more forward. If the blue-green fades, it will advance to the same level as red-orange; if it is fully diluted, it will move forward more, red-orange will be more backward.

The depth effect of chroma contrast is: Compared with the dark color with the same brightness, the purity color advances, but if there is a light contrast or a cold and warm contrast, the depth relationship will change accordingly.

Area is another factor of depth effect. When a large red color gamut has a small yellow patch, red plays a back-static effect and yellow goes forward. When yellow is enlarged and red is invaded, it reaches the point where yellow becomes dominant; at this time, it expands into a back static color, while red highlights forward.

Even if we can analyze all the depth effects possible in color matching, we cannot guarantee the space balance of color composition. The artist's personal discernment and intentions should play a major role.