Existing theories of colour harmony色彩和谐浅谈.docx

Existing theories of colour harmonyWhats colour emotion?Recent studies of colour emotionFundamentals of colorimetryQuantitative methodsAbout this websitehttp://colour-emotion.co.uk/harmony.html?Existing colour harmony theories can be categorised into several principles:Equal hue?- Coloursharmonise if they are of the same hue (Chevreul, 1839; Ostwald, 1916; Munsell, 1921; Moon and Spencer, 1944a; Nemcsics, 1993; H?rd and Sivik, 2001).Equal chroma?- Coloursharmonise if they are of the same chroma (Ostwald, 1916; Munsell, 1921; Moon and Spencer, 1944a; Nemcsics, 1993; H?rd and Sivik, 2001).Complementary hues?- Coloursharmonise if they are complementary in hue (Goethe, 1810; Chevreul, 1839; Munsell, 1921; Moon and Spencer, 1944a; Nemcsics, 1993).These theories are summarised in the following:-GoetheMoon and SpencerChevreul?IttenOstwald?Coloroid SystemMunsellNCSGoethes TheoriesJ. W. Goethe developed a colour harmony theory on the basis of his hue circle. In this circle, colours are categorised into two sides, the?positive?and the?negative. The former includes yellow, reddish yellow and yellowish red; the latter includes blue, reddish blue and bluish red. On the basis of these classifications, Goethe (1810) identified three types of visual effects:Powerful?– When component colours are all selected from the positive side of the hue circle, the colour combination generates powerful feelings, such as quick, lively and aspiring.Soft?– When component colours are all selected from the negative side, the colour combination generates soft feelings, such as restless, susceptible and anxious.Splendid?– When component colours are selected from both sides, the splendid effect is produced.Goethe believed that colours are harmonious if they are located opposite to each other on both sides of his hue circle, and that these colours will generate the splendid effect. He wrote (Goethe, 1810, Note 810),Yellow demands red-blue;Blue demands red-yellow;Red demands green;And contrariwise.Note t