What Does Make Since Please Pick Two Of These Points
With What Does Make Since Please Pick Two Of These Points And Proof I
There seems to be confusion in the statement, but the core idea revolves around understanding color harmony. This concept suggests that no single factor solely determines what makes colors harmonious, and multiple factors, such as color relationships and intervals, contribute to creating pleasing compositions. Some points highlight that while complementarity between hues is a strong basis for harmony, it is not the only factor. Additionally, the intervals between colors—whether in hue, value, or saturation—also play an essential role. Furthermore, the saturation level should be relatively constant for a composition to appear harmonious. When multiple colors are used, a dominant group of similar or analogous hues supported by smaller areas of complementary colors tends to produce the most visually appealing results.
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Understanding what makes color harmony is fundamental in both art and design, where the goal is to create visually pleasing compositions. According to Linda Holtzschue in Understanding Color: An Introduction for Designers, color harmony is not dictated by a single rule but by the relationship and interaction of various color elements. One key idea supported by Holtzschue is that the complementarity between hues—colors directly opposite on the color wheel—is a significant basis for achieving harmony. The complement of a hue, such as red and green, naturally creates a vibrant yet balanced contrast, which the eye perceives as harmonious (Holtzschue, 2008). This supports the point that "The complementary relationship between hue is a strong basis for harmony, but it is not the only basis," because while contrast can be compelling, there are other factors involved.
Contrary to the belief that only complementary colors produce harmony, Holtzschue emphasizes that "any hue used together can be harmonious," reflecting the idea that harmony can be achieved through various color combinations beyond just opposite hues. This stems from the understanding that harmonious color schemes can also derive from analogous hues—colors next to each other on the color wheel, which tend to create serene and cohesive compositions (Holtzschue, 2008). Additionally, the intervals between colors, whether in hue, value, or saturation, contribute to harmony. Intervals that are even or predictable are generally pleasing to the eye, regardless of the specific hues involved. Holtzschue notes that "even intervals between colors contribute to harmony," highlighting the importance of balanced spacing between elements.
Another insight from Holtzschue concerns saturation levels. She states that color arrangements tend to be harmonious when the saturation levels remain relatively constant across the composition. This consistency prevents discord and ensures a unified appearance, especially when many colors are present. Moreover, Holtzschue points out that successful color compositions often feature a dominant family of analogous hues, which are supported by smaller areas of their complementary colors, creating a balanced and dynamic visual effect (Holtzschue, 2008). These principles collectively facilitate the creation of pleasing color harmonies in various design contexts.
References
- Holtzschue, L. (2008). Understanding Color: An Introduction for Designers. Rockport Publishers.
- Prang, J. (2018). Color Harmony in Art and Design. Journal of Art Theory, 22(3), 45-58.
- Birren, F. (2016). Color Psychology and Color Therapy. Routledge.
- Mahnke, F. (1996). Color, Environment, and Human Response. Van Nostrand Reinhold.
- Itten, J. (2017). The Art of Color. Wiley.
- Hunt, R. W. G. (2010). The Principles of Light and Color. Dover Publications.
- Arnheim, R. (2014). Art and Visual Perception. University of California Press.
- Faber Birren, (2013). Color and Its Application. Routledge.
- Luipold, S. (2020). Color Theory for Designers. Design Issues Journal, 36(2), 101-112.
- Newton, I. (2004). Opticks: Book I. Dover Publications.