T HE

SEVEN
C O L OR
C O NTRASTS
BASED ON THE WORK OF
JOHANNES ITTEN

Written and Designed by Peter Hoffer and Dennis Corrigan

Technical Assistance by Sarah Schanke
 The Seven Color Contrasts
Assignment Infomation and Materials
Materials
- Winsor Newton designer’s - Tracing paper, 11” x 14”
gouache, primary set of six, - Two watercolor brushes,
14 ml pointed
- Assorted lead pencils round, no. 4 and no. 6
- Kneaded erasers - Plastic paint storage containers
- Bristol, pad, vellum, 11’ x 14” with lids
- Metal ruler
Images
All color contrast projects are based on an original, 8” x 8” student created line drawing derived from a
black and white photography (to be explained). Projects consist of 4 parts: a preliminary color palette
strong, a painted grid composition, a line drawing, and a painted representational composition. Students
are expected to work closely with instructors in developing color palettes and line drawings. Students
should procure necessary supplies in advance of period scheduled for color projects.

Below is a representation of a typical 4 part color contrast project:

Process
Using Winsor Newton gouache only, two color compositions (one grid, on representational) will be
completed based on color palette developed for the specific color contrast studied. Painted compositions
on Bristol board will measure 8” x 8” and will allowed a 1” margin (with margin, board measures 10” x
10”). The color strip (palette) consists of fifteen (15) ¾” squares painted on Bristol and illustrate the color
contrast studied. It is important to understand the principle of each contrast in order to select and mix
appropriate palettes.

All finished compositions will benefit through preliminary work (quick color studies, thumbnails) that will
be suggested and guided by instructors. In addition to depicting successfully the contrast under study,
grade evaluation will be based on quality of craftsmanship, presentation, adherence to specifications,
and meeting due dates.

1 Copyright 2013 Peter Hoffer and Dennis Corrigan

 LIGHT/DARK
CONTRAST
LIGHT/DARK contrast refers to the relative lightness or darkness
of a color, the greatest contrast being the blackest black and the
whitest white.

DIRECTIONS:
Create a harmonious composition using a variety of tints, tones and
shades of a single hue. The single hue can be modified by adding
black, white, or gray to the hue or by adding a small amount of its
complement -in this case a small amount of orange. The idea is to
have the essential character of the chosen hue (blue) remain, resulting
in a monochromatic (one color) composition.

The two examples illustrated show two opposite approaches in terms of

light-dark progression. You may want to try something different.

2 3 4
2
 HUE CONTRAST
HUE refers to the name of a specific color (red, green, violet, etc.)
Distinguishing one form from another by hue is the most basic and
easily understood contrast. The greatest contrast of hue is evident
when comparing the primaries: red, yellow and blue.

DIRECTIONS:
Using a variety of primary, secondary and tertiary colors, create a
harmonious composition to illustrate this concept.

The two examples illustrate two of many different approaches. The one on
the left is high key, the one on the right is low key (see text, pg. 150). Notice
many of the hues are less than fully saturated or intense. These examples
also employ arbitrary or subjective color that conveys an exciting and
energetic mood (left) or a more passive, introspective feeling (right).

3
 C O L D / WA R M
CONTRAST
COLD/WARM refers to color temperature and its location on the
color wheel. The greatest contrast is between blue-green (cold)
and red-orange (warm).

DIRECTIONS:
Create a harmonious composition using a variety of cold and warm
hues. Generally the most successful color compositions create balance
and unity through an emphasis of one side of the color wheel over the
other. In other words, the palette consists mostly of cold colors or
mostly warm colors, one side dominant, one side supportive.

The examples below show different approaches in cold-warm contrast as

well as light-dark contrast. The example on the left illustrates the importance
of hue contrast that allows you to see closely aligned light-dark shapes that
would otherwise be difficult to distinguish.

4
 S AT U R AT I O N
CONTRAST
SATURATION refers to the purity and intensity of a color. Diluting
a color’s intensity can be accomplished by adding white, black,
gray, the color’s complement, or any other less intense colors.

DIRECTIONS:
Choose one primary color and apply it to one of the shapes in your
composition. Modify that color in various ways, as described above, for
the remaining shapes, to create a harmonious composition.

In both the examples illustrated the primary color is the basis of all color
used and is a unifying factor. Variety is created by modifying to different
degrees the purity or intensity (saturation) of the primary hue. In both
examples a mostly natural atmospheric value progression is achieved but
other approaches are possible.

2 3 4
5
 SIMULTANEOUS
CONTRAST
SIMULTANEOUS CONTRAST is the effect colors have upon each
other in a composition. This is most noticeable when gray tones are
surrounded by, or in close proximity to colors of significantly greater
intensity (saturation). For example a neutral gray will appear bluish
when surrounded by intense orange.

DIRECTIONS:
Mix one neutral gray tone, which should appear at least twice in your
composition, creating the illusion of two different grays, depending on
your choice of surrounding brighter colors.

The examples below left illustrates the effect surrounding colors have on an
identical gray used in two different parts of a composition. Before painting the
finished composition try making a series of thumbnail studies to see how the
same gray is affected by different surrounding color.

6
C O M P L E M E N TA R Y
CONTRAST
COMPLEMENTARY refers to colors that are direct opposites on
the color wheel. The greatest contrast is evident in the pairing of
secondary colors, such as yellow and violet, and red and green.
Color pairings tend to intensify both colors.

DIRECTIONS:
Create a harmonious composition using tints, tones (middle values),
shades and admixtures of complementary colors. This can be
achieved by mixing white, black, grays, or a color’s opposite.

The two examples below suggest different values (variations of white to

black) and saturation levels (intensity) of complements. The red-green
example does not adhere to the atmospheric perspective, the yellow-violet
one does. Any approach is valid if it achieves color harmony, or unity and
balance. In addition to aspects of complementary and light-dark contrast,
notice the use of cold-warm contrast. Often, as in this case, many
contrasts are working together in a color composition.

7
 EXTENSION
CONTRAST
EXTENSION One of the most important aspects of contrast by
extension is the ability of one color to be greatly intensified
because of the dominance by area of a dissimilar surrounding
color. In a general sense extension refers to the relative strength or
power of hues, but creating dominance or equality of color in a
composition depends on arrangement and placement of color.

DIRECTIONS:
Assign the smallest area in your design to a primary or secondary color.
Fill in the remaining shapes with tints, tones and shades of a
contrasting hue to create a harmonious composition.

In the examples illustrated the orange on the left and red on the right
command more dominance given their space allotment but do not
overbalance the surrounding hues that play a supportive and unifying factor.
Additional use of either color might jeopardize harmony.