Pure colour contrasts
They result from the juxtaposition of saturated colours that are
clearly different. These contrasts are peak when the three primary
colours are juxtaposed to one another.
Light-dark contrasts
They are produced by the juxtaposition of a pale and dark colour
or of a clear and dark colour. In a monochromatic palette, the use
of such contrasts adds depth to the entire palette. In a palette
made up of different colours, however, the absence of such
contrasts, or the use of hues of equivalent lightness, help to link
the different colours.
Warm-cold contrasts
They result from the juxtaposition of warm and cold colours,
which makes warm hues appear warmer, and vice versa. This type of
contrast, which helps balance colour schemes, can be found in many
of the Harmony Collection™ palettes.
In AF-8, the yellow (warm) makes the greens look rather cold,
whereas in AF-6, the blue (cold) makes them look warmer.
Complementary contrasts
They refer to the juxtaposition of diametrically opposed colours
on the chromatic circle. Such contrasts contribute to the
fundamental and natural balance of chromatic composition.
Simultaneous contrasts
They flow from the juxtaposition of two colours that are not
exactly complementary. In such cases, colours seem to repel one
another and vibrate as the eye tries to bring them closer to their
precise complementary colours. The use of such contrasts makes
chromatic compositions livelier and more interestin
Quality contrasts
They are the result of juxtaposing saturated and unsaturated
colours, or bright and gray-tinted colours (to which gray or its
complementary colour was added). This contrast exists only if
unsaturated colours are considerably dominant.
In this example, the red (232-7), relatively more luminous,
contrasts with the other colours which are more attenuated.
Quantity contrasts continued
They are the result of the juxtaposition of little and much,
small and large. The surface devoted to each colour influences
their impact on compositions. Creating balanced compositions calls
for more than devoting equal space to each colour. The brightness
and saturation of each hue must also be taken into account. The
lighter a hue, the greater its impact and the lower its need for
space. The more saturated or bright the colour is, the more
powerful is its effect.
References: Itten, Johannes; Kunst der farbe, studienausgabe;
Dessain & Tolra, Paris; 1973; 95 pages.