Contrast and Harmony

Contrast and harmony

Color and light are two closely related subjects – in many ways, they are actually the same thing, since light is what makes color possible. However, to break down these complex subjects into more manageable sections, we will first discuss how color works before moving on to light behaviors.

In this first article about Color, we will examine the different dimensions and interpretations of color, how we perceive it, the different ways to understand it, methods for controlling it, and how we can apply this knowledge to both digital media and physical pigment mixing. 

CONTRAST AND HARMONY

This dichotomy is known by many names: unity and variety, order and disorder, but they all refer to the same thing: contrast and harmony. To harmonize means to bring together similar elements, while to contrast means to bring together different elements. To clarify this concept, here is a series of simple gradients (A–G).

A. This gray has perfect harmony. It is simple, created and even boring, with no variation to observe.

B. Changing the values adds contrast. Dividing gray into black and white is a common approach for beginners to create contrasts.

There is a fundamental balance between harmony and contrast. Perfectly harmonious elements appear orderly — but boring to our eye, while infinitely contrasted elements appear chaotic and difficult to look at.

C. Varying the sizes of each shape further increases contrast.

D. Fragmenting the configuration into two shapes creates even more contrast.

E, F, G. Contrast can connect shapes by changing angles and adding colors, and so on.

Contrast is the fundamental driver of interest, and it is a powerful tool for directing the viewer’s eye through a work. As we will see throughout this book, keeping this concept in mind for each element — should it harmonize or contrast? — helps design more interesting compositions.

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IDEAS ON CONTRAST AND HARMONY

Exploring ways to balance contrast and harmony is a lifelong journey, forming the heart of how we create works, consciously or not. The more we can become aware of it, the more we can explore it thoughtfully and intentionally.

An excellent habit is to keep in your sketchbook a list of all the ways you can imagine contrasting and harmonizing a work. The more unique ways you find to do this, the more unique your aesthetic will become.