Primary secondary tertiary colors in merchandising. What are Primary Colors, Secondary Colors, Tertiary Colors? Primary colors - red, yellow, blue

Since the beginning of this academic year, I have a new resolution - to write regularly in LiveJournal. Let's see how long I can take.
To start somewhere, I decided to start with color. It is the color that catches the eye in the first place when we look at something.
If you start from the very beginning, then color is electromagnetic waves of different lengths. The eye captures them, and the brain converts them into color sensations. Since the perception of color is a subjective characteristic, each person sees colors in his own way. At the same time, the visual apparatus of everyone is arranged in the same way, therefore we see colors, albeit in our own way, but very similarly. By itself, a light wave has no color. Color occurs only when this wave is perceived by the eye and brain. This or that color arises in the process of absorption of light waves. Black absorbs all light waves, while white reflects all waves. A blue cup, for example, absorbs all light rays and reflects only blue.
Color is chromatic and achromatic. An achromatic color has no hue, it is white, black and grey. Accordingly, the chromatic color is all other colors.

Primary, secondary and tertiary colors.

Many colors and shades can be obtained by mixing a small amount of paints. At one time, the desire to decompose everything into elements led to the selection of primary colors. Primary or primary colors are colors that cannot be obtained by mixing. There are three primary colors: red, yellow and blue. If you mix them, you get black.

Secondary colors are obtained by mixing two primary colors:
Red + blue
Red + yellow
Yellow + blue

Tertiary colors are obtained by mixing a primary and an adjacent secondary color.

Thus, twelve colors were obtained, from which countless different shades can be obtained.

Color circle
The color waves blend seamlessly into each other, creating a continuous color spectrum.

And now, if we represent this spectrum as a circle, we will get a color wheel - a very important tool for artists, designers and everyone who works with color. Including stylists.
The most used is the two-dimensional Itten circle.

and the 3D Munsell circle

In a two-dimensional circle, you can clearly see how the colors are located in relation to each other. This is such a memo that helps in the preparation of various color combinations.
You can see the color change in the 3D circle. This brings us to color characteristics.

There are three generally accepted color characteristics:

tone (Hue) - determines the color. Red, orange, green, etc. It is here that we are talking about warm and cold colors.

i brightness (Saturation) - determines the addition of gray to the main color. The pure color is bright, with the addition of gray - soft.

with lightness - determines the admixture of white or black in the main pigment.

Next time we will analyze these characteristics in detail and try to understand why it is so important to choose colors and harmonious appearances. And also we will find out why a consultant who says something like “This is such a contrasting color suits you” or “You are a contrasting summer” has a very poor idea of what kind of nonsense he is talking about.

INTRODUCTION

Hi all. My name is Sasha Stowers (or just sashas) and this tutorial is all about color and how to use it effectively in your art. I'll touch on color theory a bit, but most of the lesson I'll be talking about using color to create an attractive composition, how color is perceived, and how it's made. I will also touch on some common "mistakes" that can lead to poor color matching. I must warn you right away, the lesson is not short. But (hopefully) full of useful information for you.

WHAT IS COLOR?

Color is perception. When light hits our eyes, special light receptors collect all the information about this light and record all the data about whether it is bright or subdued, whether it has a hue (red, blue, yellow, green, etc.). After collecting all this data, the eye sends a signal to our brain. The brain reads all the information sent and tells us "The apple is red."

Thus, in order to perceive color, we need to:
1. our eyes were sensitive to light and collected information about it
2. our brain processed the information we receive from the eyes.
Particular attention should be paid to the second point. Our brain does a lot of work; it makes up for different light situations, letting us know that the apple is red, even if it is lit with blue light; it allows us to determine the shape of an apple, the distance between objects, and more. In this lesson, we will understand how our brain works to understand color, and how this can be used for our artistic purposes.

WIDE EYES

STICKS AND CONES

Our eyes have two types of light receptors - rods and cones. Sticks are good in low light. They recognize movement well and are located more on the periphery, forming our peripheral vision. Cones are responsible for color perception. There are three types of cones: L (long wavelength light), M (medium wavelength light), S (short wavelength light). They are responsible for the perception of red, green and blue colors by our eyes.*

*This is not quite the right term, because these cones provide much more than just the perception of red, green and blue colors.

So how, with just three receptors, can we recognize so many different colors? In fact, these cones do not work alone (unless you are colorblind due to having only one type of cone), they all work together to collect all the color information. Each cone receptor can recognize up to 100 color gradations. If you collect information from all three cones, it turns out that the human eye recognizes about 1,000,000 colors.

COLOR QUALITY

So we have a whole 1,000,000 colors to play with. That's quite a lot. And it would be nice to somehow sort this pile of information. Fortunately, there is such a way. Somehow, scientists and artists got together and began to think about how to separate the colors so that they could be given a clear description. And so, the colors were divided by tone, purity and saturation.

TONES LIKE BLUE

The first quality of color is tone. Hue refers to the name most associated with a color, such as yellow, yellow-green, blue, and so on. – and sets the position of colors on the visible light spectrum. This is what people think about when they talk about color. Below are a few swatches (swatches) of colors. On the HSB scale (Hue / Tone, Saturation / Saturation, Brightness / Lightness), colors differ only in Hue.

CLEAR AS TURQUOISE

The second quality of a color is its purity. This definition has other names such as intensity and chromaticity. Purity expresses the amount of saturation or dullness of a color compared to a neutral (white, black, or grey) color. A high purity color will be far from neutral, while a low frequency color will be much closer to a neutral color. Below you will see a scale where you can see how the purity of the color decreases as white is added.

Don't confuse color purity with saturation. A dark color can still be pure and far from grey.

If you want to reduce the purity of a color, you can do so by diluting it with black, white, or gray. You can also use complementary (complementary) colors for this purpose if you are painting with paints, because. Complementary colors sort of make gray, but the result is usually a more saturated color than if you just added a neutral gray or brown.

BRIGHT AS WHITE

The third quality of color is chiaroscuro, sometimes called brightness. Chiaroscuro is the lightness or darkness of a color. It is measured by how color reflects light on a scale from white to black.

Don't ignore chiaroscuro just because it's not as effective as other color qualities. Among mammals, it is rare to find individuals with color vision, but, nevertheless, all of them can contemplate the world in black and white. Why? Because saturation can give us as much information about a color as neither hue nor chroma can.

The figure above shows examples of what we would see if we separate the three color properties.** With tone and clarity, the object is almost impossible to recognize. It's just something that looks like a human figure. With chiaroscuro, we can make out such details of the picture that were not visible in any other case. We can already say exactly what is shown in the picture, we can recognize the scarf and the direction of the light - in general, we can clearly understand what we are looking at.

** It is impossible, of course, to divide these properties by 100%. In order to convey the tone and purity of the color, you definitely need to vary the saturation, just as it is impossible to get a pure color without the intervention of the tone.

ADVICE: if you're using Photoshop, you can put a black and white adjustment layer on your drawing that you can turn on and off to control the composition.

PREPARING PENCILS

THEORY

Now that we understand what color is and how to describe it, we can try to organize it for our convenience. Color theory is a way of organizing color in such a way that it is convenient for us to mix colors and create new color combinations in order to achieve a favorable composition. I will go over the most basic principles of color theory, as well as tell you how to use them.

WHEEL

Chances are you're already familiar with the color wheel. If not, then the definition of it is as follows: the color wheel is simply the colors of the visible light spectrum, grouped in a certain order (from red to purple) in a circle. Isaac Newton, founder of the many principles of light and color, was the first to organize colors in this order. Such an organization of colors helps to find, for example, complements (or complementary colors) (these are opposite tones), as well as other color combinations.

Alternative color wheel in CYM. The wheel (pictured above) in RGB colors is considered traditional.

PRIMARY COLORS

The first thing we need to do is familiarize ourselves with some key color wheel terms. The very first and most important thing we need to remember is our primary colors. There are three primary colors: red, yellow and blue.*** They are called primaries because they cannot be formed by mixing other colors, but you can form most other colors by mixing these three.

***Purple, yellow, and teal (see above) are considered by some to be primary colors, but "true" versions of these colors in paint are extremely difficult to find. In any case, using only these three colors, you can create so many new colors that you don't even need to buy new paints.

SECONDARY COLORS

Secondary colors are those colors that result from mixing primary colors. Yellow and blue make green. Blue and red make purple, and mixing red with yellow makes orange. If you suddenly forget about it, you can just look at the color wheel. The result of mixing two colors will be located directly between them.

TERTIARY COLORS

Tertiary colors are located on the color wheel between primary and secondary colors (often shades of brown and gray are attributed to tertiary colors, despite the fact that they are not on the traditional color wheel). The names of these colors are usually written with a hyphen (yellow-green, blue-green, red-violet). Some define tertiary colors as a combination of primary and secondary colors, but I prefer to say that they are the result of an uneven addition of primary colors. This way you won't get the feeling that you can only add green to get yellow-green.

SHADES

You may notice that even with this color organization, we lose sight of many other colors. The main thing in primary, secondary and tertiary colors is hue, not purity or saturation. To create a lighter, darker, or less saturated color, we need to create lighter tones, tones, and darker tones (you can also add a complementary color to neutralize another color, but we can't call it a tone because we didn't use a neutral color) . Light shades (tints) appear as a result of adding white. Tones are the result of adding gray. And dark shades (shades) are obtained by adding black. Note that even when you add neutral tones, you may get changes in color. White shades shift the color more towards a blue tone. Black - to green (try with yellow). When you add a neutral color to any other color, you will get a decrease in color purity.

A COLOR SCHEME

Color wheels aren't just pretty wheels to help you mix colors. We can use color wheels to create color schemes and find colors that harmonize with each other.

COMPLEMENTARY COLORS

Complementary (or complementary) colors are those that are opposite each other on the color wheel. They are called complementary because they COMPLETE each other. Such colors increase their intensity and purity, because it is simply impossible to find a more distant tone. This is the same as putting black next to white on the cut-off scale.

SPLIT COMPLEMENTARY COLORS

Split complementary colors are almost the same as complementary. The only difference between them is that you take shades that are adjacent (neighboring), and not just opposite. For example, instead of creating a color scheme of orange and blue, you'll use orange, blue-violet, and blue-green. Instead of two shades drawing attention to each other, we get a combination of two shades that work to enhance the effect of the opposite shade on the wheel.

RECTANGLE RULE

The rectangle rule selects complementary colors on both sides of the color wheel. Notice how we end up with two sets of complementary colors (red with green and yellow with purple). The main advantage of this approach is a wide range of colors. Instead of two or three colors, you have four at your disposal.

ANALOG COLORS

The analog color scheme is the exact opposite of the complementary color scheme. Instead of colors that contrast dramatically in tone, in the analog circuit we get similar hues located next to each other on the color wheel. Most often, analog colors are considered the most harmonious.

WARM AND COOL COLORS

The color wheel can be divided into two equal parts: warm colors and cool colors. Cold colors are mentally and emotionally associated with cold (shades of blue, green and purple). Warm colors are reminiscent of warmth (yellow, orange, red). Although, the mental and emotional associations associated with these colors are slightly different from the point of view based on physics. Red, for example, is the color of the coldest stars in the universe, while blue/violet is one of the hottest. It is also worth noting that purple and green can be both cold and warm colors, so the division of the wheel can be done in different ways.
Yellow is considered the warmest color (because it reflects the most light), so adding this color to any other color makes it warmer. Blue, on the other hand, is considered the coldest, so diluting some color with blue will make it colder.

MONOCHROME COLORS

Monochrome color schemes use only one tone. Many people think that this combination of colors is too boring, but this is not at all the case. Despite the limited variability of tone, this does not mean at all that the purity and lightness / darkness of the color will be limited.

TRIAD (TRIANGLE RULE)

As the name implies, this scheme includes colors chosen according to the rule of a triangle (equilateral, to be precise). Thus, the wheel is divided into three equal parts with an extensive choice of colors. Note that our primary colors are part of this triad.

TETRAD (SQUARE RULE)

According to the tetrad rule, an equilateral square is formed inside our color wheel. This color scheme is considered harmonious because it includes two cold and two warm tones that complement each other perfectly. Although these colors are a combination of complementary colors (in this case, red with green and yellow-orange with blue-violet), they are more common than split complementary colors and offer the opportunity to reduce tone contrast.

OTHER THEORIES

Like so much in art, the color wheel classification system is not the only method. Although the color wheel is suitable for defining color combinations, it does not capture the other two aspects of color - purity and saturation (lightness/darkness). Consider another popular color organization system - the Munsell system. Unlike the color wheel, the Munsell system is three-dimensional. On one axis we have purity/chroma, on the second axis we have saturation (lightness/darkness), and on the third axis we have tonality.

Notice the "gaps" in this 3D model of the Munsell system, which is based on the perception of tone, chroma, and saturation. Some colors, such as yellow, naturally appear much brighter than others; some colors always look darker than others, and it is because of this difference in perception that these "gaps" appear.

In contrast to the three primary colors identified on the traditional color wheel, Munsell divides hue into five principal colors—red, yellow, green, blue, and purple—but, as on the traditional color wheel, complementary colors are placed opposite each other.

LIMITED EDITION

If you are an artist (in any craft), you have probably noticed that there are colors that are very difficult to reproduce. And it doesn't matter if you're using paint, computer screens, or printouts, your colors just don't pull. Most often this is due to the fact that your color gamut is limited. Gamma is the full range of possible colors in a particular medium, whether it be a computer, or a set of inks, or a cartridge in a printer.

The computer screen works by optically mixing Red, Green and Blue (RGB) colors. The printer mixes Cyan, Magenta, Yellow, and Black (CMYK). When it comes to colors, Red, Yellow and Blue colors are mixed. But, despite the fact that when mixing these paints, we get a wide range of new colors as a result, the range still remains limited.

Look at the picture below. Gray highlights the range of colors visible to the human eye. The letters A, B, and C represent the colors that a CRT monitor can display: red, green, and blue. These colors form a triangle. Why isn't the whole range of colors included here? When mixing two colors, we get a new color that will be located directly between them. We cannot mix blue with green and get a color more blue than the original blue, or a color greener than our green. Because we can only work with colors between A, B, and C, our monitor will never be able to produce a D color that is far outside this gamut.

EXTENDED EDITION

So how can you expand the gamut of colors if you draw with paints or print on a printer? Easily. Add new colors. When you limit yourself to red, yellow, and blue, you also limit the range of colors you can use. Sometimes you need sky blue or turquoise. Sometimes pink just doesn't work when you need purple. Don't be afraid to go beyond the primary colors.

Note: Today you can buy a printer with more than four standard colors (CMYK) of ink. If I'm not mistaken, my printer has six of them: blue, cyan, yellow, red, magenta, black and matte black. You can also use the colors of the Pantone system (Pantone) - these are specialized tones for printing.

LET THERE BE LIGHT

ONE MINUS ONE

Up to this point we have been talking about mixing colors by mixing pigments. When we mix pigment, dye or ink, we use a certain way of mixing colors - subtractive. This method is called so because our colors are created by absorbing (or subtracting) certain colors while reflecting others. If you shine white light on a red apple, the surface of that apple will absorb most of the rays, but will reflect long wavelengths of light around the red end of the spectrum to our eyes. This is why the apple turns red, and this is why traditional paints and pigments take on the colors they are.

ONE PLUS ONE

As you probably noticed, in the last definition we touched only on the ability to absorb and reflect light. And what about those things that are painted according to a different principle? I'm talking about objects that emit light. Mixing the colors of light is called additive mixing. This name comes from the fact that different light sources add colored light to produce color. Additive color mixing is used in light emitting devices.

The primary colors for additive color are red, blue, and green, which should remind you of something if you've read the section on how our eyes work. The secondary colors for this kind of color mixing are magenta, yellow and teal. To be honest, I've only touched the surface of additive color mixing since most light emitting fixtures that work on the RGB scale can convert color to CMYK or HSB, which work inside an additive mixing system.

OTHER DYING METHODS

So, we have defined the following methods of creating color - absorption / reflection and emission, but these methods are not the only ones. The following ways to create color are rare, so I will talk about them briefly:

DIFFUSION

When passing through a material, light tends to scatter. So our sky turns blue. With minimal scattering, it will turn blue. If you diffuse the light more, you can get deeper colors, such as red or orange. When the sun is directly overhead, it travels through less atmosphere than when it forms an acute angle, such as at sunset or dawn. If you want to test this theory in practice, try adding milk to a glass of water and shining a light on it.

IRISING (RAINBOW)

Sometimes when you look at an object, its colors begin to change (for example, on soap bubbles, peacock feathers, or the wings of some butterflies). This phenomenon is called irisation. This is due to the fact that thin translucent and transparent layers shift colors. The angle at which you look at the object changes your interaction with the layers, so the colors change as well.

FLUORESCENCE (GLOW)

This effect occurs when an object absorbs different wavelengths of light and emits different wavelengths of light. You can shine with ultraviolet light (which is not visible to the human eye), but the result will be green. In effect, the object is translating the light into a different frequency than the one you started with. A good example is uranium glass.

END OF PART ONE

So you've made it through the most boring part of the tutorial. I didn't really mean to go into color theory that much, but you should get the basics down first before moving on to the other points about color. In the next part, I will touch on the topic of color perception itself.

passion for color

What is the color wheel for?

The color wheel shows how subtractive colors interact with each other.
This is the main colorist's tool for working with color.

The color wheel is a colorist's color model that allows you to understand how colors interact with each other, and use this knowledge in your work. The better you understand the color wheel, the more you study it, the more and more interesting it becomes to work with color. Checked!
The study of the color wheel is the basis of all further knowledge about hair coloring. Understanding the color wheel determines your perception of color.
The color wheel shows primary and secondary subtractive colors and describes how they interact with each other. This makes it the main tool in working with color. We all studied the color wheel at the beginning of our careers, but not everyone paid enough attention to this, considering this information to be secondary.

Primary and Secondary Colors

Primary colors are colors that cannot be obtained by mixing others.

By mixing these three colors, you can get all the other colors and their shades. In the subtractive color model in question, the primary colors are Cyan, Magenta, and Yellow.

In the description of the theory of color, in relation to hair coloring, it is impossible to use pure cyan and pure magenta (they are not used in the production of dyes), therefore, the blue and red colors that are closest to them are used.

Secondary colors are obtained by mixing primary colors in equal proportions.

These six colors form the basis of the color wheel.

3. Tertiary colors

Mixing one primary and one secondary color in equal proportions gives a color called tertiary: yellow-orange, red-orange, red-violet, blue-violet, blue-green, yellow-green. These colors are also called intermediate.

Color circle

Primary colors do not have the same intensity

On the color wheel, you can see that not all primary colors have the same intensity.

The influence of red on the color result of the composition will always be more noticeable than the influence of yellow.
There will be fewer intermediate colors visible to the eye in the yellow-orange spectrum than in blue-green.

Colors that have different tones, other things being equal, are perceived by us with different lightness. The yellow tone itself is the lightest, and blue or blue-violet is the darkest.

Complementary colors have 2 conflicting effects:
- Mutual neutralization
- Enhance each other's brightness

Each color has a complementary color to it. This is the color that occupies the opposite position on the color wheel.
Both effects can be used in color design. The ability to use these effects expands the possibilities of the colorist.

How it works?
1. If you mix 2 complementary colors of equal intensity, then they mutually neutralize each other, the color result should be neutral, gray-brown.
This effect is very useful in the daily practice of the hairdresser and is often referred to as the neutralization effect.
2. However, if you place these two colors next to each other in a sector coloring so that they do not mix, then the effect will be the opposite: the colors will visually appear brighter than they are, and you will get maximum contrast. In this way, one color can be highlighted as much as possible by placing it “against the background” of another color that is complementary to it.

Chromatic and achromatic colors

Chromatic colors are pure colors that do not contain white, black and gray.

The color wheel shows only chromatic colors.

When mixing 2 primary colors, another chromatic color is obtained. Chromatic colors are colors that do not contain impurities of white, black and gray.

achromatic colors

White and black are primary achromatic colors; all shades of gray obtained by mixing white and black are secondary achromatic colors.

White and Black are achromatic colors. These colors are not included in the color wheel.

According to their characteristics, they have the status of primary colors.
All shades of gray obtained by mixing white and black are secondary achromatic colors. Using achromatic colors, we add depth to chromatic colors.

How is depth of tone created?

By mixing all three primary colors or two primary colors with black, the desired depth is achieved. We can get any shade by mixing chromatic and achromatic colors: red and yellow with black or gray.

By mixing three primary colors or two primary colors with black, the desired depth of tone is achieved. In theory, the end result of mixing the three primary colors in maximum concentration will be black. In practice (whether in hair coloring or printing), this mixing will result in a very dark gray-brown color, since the pigments used are not pure primary colors.
Adding depth to a color inevitably reduces the brightness of the pure primary color. Therefore, colors that have depth can be called dull.
All artificial hair colors, as well as natural ones, are dull colors.
The more we add depth, the darker the result will be and the less brightness the tint will be.
Natural hair color is also a combination of chromatic and achromatic colors (pheomelanin and eumelanin).
On the color wheel, neutral chromatic colors are located in the center.
When coloring hair, you need to understand the effect of tone depth on color. The character of any color will change as its depth changes.

Hint: reproducing the Itten table helps to train color perception.

This table allows you to evaluate the change in hue when changing its depth and compare different colors of the same tone depth. You can reproduce the table using cut cards or using strands of hair from the palette.

For example: the shade that we used to call Chocolate, in fact, is a dark orange color.
Rich chocolate tone is a combination of color and depth. If there is not enough depth, the color will become close to orange.
If you apply a "medium chocolate brown" shade to a light base, such as 7-0, then the lack of depth will result in a brighter, more orange shade.

Green, blue and purple conditionally belong to the group of cold (matte) shades. Red, orange and yellow - to the group of warm (fashionable) shades.

Grey/Blue Violet = Sandre

Grey/Blue = Ash

Olive/Blue = Matte

Yellow = Golden

Orange = Copper

Red = Red

Magenta = Violet

The color wheel has changed to reflect modern terminology and practice, and more accurately reflect the rules for working with color. The names of some colors differ from the original names to match the results. For example, coloring with ashy shades gives a muted ashy result, rather than a bright blue color.

Knowing the exact positions of the shades on the color wheel helps in formulating the coloring formula.

By learning how to work with this tool, you will be able to create staining formulas, accurately predicting the final color result. But do not forget that not only the formula you have compiled will affect the result of staining, but also the lightening background, to calculate which you need to understand what will happen to natural pigments during the staining process.

primary colors(Figure 1) separates the primary natural colors of light and the primary colors of pigments (used in painting and printing). These are colors that are not created by mixing. If you mix the primary red, blue and green rays, you get white light. If you mix the primary magenta, cyan and yellow - the colors of the pigments - we get black.

Picture 1 - Natural colors

secondary colors(picture 2) are obtained by mixing two primary colors. Secondary colors of light include magenta, yellow, and cyan (greenish blue). The secondary colors of the pigments are red, green and purple.

Figure 2 - Secondary colors

Tertiary colors: are formed by mixing primary and secondary colors. These include - orange, crimson, light green, bright blue, emerald green, dark purple.

Additional colors (picture 3): located on opposite sides of the chromatic circle. So, for example, for red, green is additional (obtained by mixing two primary colors - yellow and cyan (greenish-blue). And for blue, orange is additional (obtained by mixing yellow and magenta).

Figure 3 - Munsell Chromatic Circle

Munsell system

The Munsell system describes color based on three indicators: tonality, lightness and saturation (Figure 4).

Tonality - it is, for example, yellow or blue.

Lightness Shows at what level of grayscale (vertical axis) the color is.

Saturation: shows how far from the vertical axis in the horizontal plane is the tone.

Thus, in the Munsell system, the colors are arranged in three dimensions and look like a tree. The barrel (vertical axis) represents a gray scale (from black below to white above). The tones are located on the chromatic circle, which is, as it were, "imposed" on a vertical axis. The horizontal axes show the saturation of tones.

Figure 4 - Munsell system

Chapter 3

Color preferences

The impact of flowers is well known and recognized by most people. It has often been studied in serious scientific experiments. But this effect is not fully understood.

Speaking about the psychological impact of color, it is important to take into account the fact that different societies have different points of view. Even independent research on the effects of color sometimes bears the imprint of belonging to a particular cultural group of people whose opinions have been formed over the centuries.

Why is it impossible to stick to objective aspects when studying this issue? Partly because it is quite difficult to separate the psychology of color from its symbolism.

The symbolic meaning of flowers has evolved among certain peoples over the centuries. Take, for example, black and white. In the West, black is perceived as a serious, dramatic, sometimes sad color. When black is used in decoration, there are often warnings about its depressing effect. Traditionally, black is the color of mourning. White color, on the contrary, is associated with purity, peacefulness, optimism. Therefore, the wedding dress in Western countries is traditionally white. It would never occur to anyone to wear white clothes to the funeral ceremony, and the bride to attend the wedding in a black dress. However, in some countries of the East it is white, not black, that is the color of mourning...

But on the other hand, different societies attribute similar properties to the same color. So, for example, the opinion of feng shui experts on the properties of colors in many aspects coincides with the opinion of Western scientists. This suggests that each color has certain qualities that lie deep in its nature. It is these properties that have been identified by man and passed from culture to culture, starting from the moment of the great discovery of the Venetian Marco Polo.

According to what color we prefer at one time or another, what color we want to surround ourselves in the interior, all this can tell a lot about us.

Color preferences depend on many reasons. Among them are age, gender, cultural level, education, temperament and character, etc. For example, pure bright colors are preferred by people with a healthy psyche, among them are children, youth, as well as open direct natures.

Mixed, complex colors evoke ambiguous emotions. These colors are preferred most often by people with a fine nervous organization, sometimes with a rather tired nervous system.

warm colors - These are the colors located in the chromatic circle, starting with yellow and ending with red-violet. However, given the phenomenon of the influence of one color on another, for example, red-violet may appear warmer if it is located next to a cool green color, and colder if it is next to a warm color, such as orange.

Cold colors - These are colors ranging from blue-violet to yellow-green. However, yellow-green can appear colder next to red and warmer next to blue.

Light or pale colors - These are colors that contain some amount of white.

Dark colors - these are colors that contain black or complementary colors.

Bright or saturated colors - these are colors that, in principle, contain neither white, nor gray, nor black, nor complementary colors. But this concept is relative, since, for example, the bright colors of the blue gamut do not end with pure blue; blues containing white or black colors are also referred to as saturated colors. On the contrary, orange containing black is referred to as dull tones, as it becomes brownish.

dull colors - these are colors that contain some amount of gray or complementary colors.

The concepts of primary, secondary and tertiary colors

Figure 1 - Natural colors

(picture 2) are obtained by mixing two primary colors. Secondary colors of light include magenta, yellow, and cyan (greenish blue). The secondary colors of the pigments are red, green and purple.

Figure 2 - Secondary colors

Tertiary colors: are formed by mixing primary and secondary colors. These include - orange, crimson, light green, bright blue, emerald green, dark purple.