The golden ratio in bouquets arrangement. Color in the composition Bouquet for the bride
Buying a flower arrangement is not as easy as it seems. Even buying one rose, you should think about the correct and stylish design. Any gift should not look cheap or, on the contrary, too pretentious.
Odd or even?
How many colors should be in ? Among the Slavs, paired numbers are negative. Therefore, an even number is brought to the funeral ceremony. For a celebration or as a sign of attention, it is advisable to choose an odd number, even if the girl is not superstitious.
The total number of flowers is not important. How many flowers to give in a bouquet is determined by the budget and the affection the giver feels. It is undesirable to present unless 13 plants. is considered an exception to the rule, so you can buy two pieces instead of one. In Japan, each digit is assigned a specific meaning. One is attention, five is already love.
A different number of colors and we denote different degrees of feelings. 1 flower - attention, 3 - respect, 25 - declaration of love. However, not every girl knows these subtleties, and even more so, not every man. The strength of feelings hardly depends on the size of the flower bunch. It is quite possible to convey the admiration of your beloved and express adoration in words.
Selection and decoration
A bouquet of 1-5 elements does not need to be overloaded with bulk packaging. The rosette will look great without wrapping. Just add a curly ribbon in a contrasting color. If you can’t do without packaging, a non-shiny option will do. All sorts of twigs and inappropriate decorations reduce the cost of the view.
If there are 7 or more buds in a bouquet, additional packaging will be required. It will keep the composition intact and will not let it fall apart. The shade of floral paper must match the color of the buds. In order not to be mistaken, you can choose kraft paper - a universal option.
Number and type of buds
If you buy one rose for your sister, colleague or wife, the original color is selected. Then the present will not look too formal. In addition, the gentleman can present a rose in some unusual way.
Simple plants (tulips, chrysanthemums, gerberas, etc.) are presented in several pieces. It is better if there are at least 5 of them. A wrapper is required for a solemn atmosphere. On a date, a modest bouquet is presented to a girl if she is not a supporter of pretentiousness.
Bouquet for the bride
The wedding bouquet is a special occasion. It should not be big and beautiful, but easy to carry. Therefore, the number of colors is not so important. It is better to look at compact buds.
The number of buds must be odd. The most optimal choice is 11 medium-sized roses. A huge bouquet causes inconvenience to the bride and is inconvenient to move. In addition, the port bouquet is not designed for a small amount of water, and many flowers can wither.
How many flowers in a bouquet can be given to young people? It is worth giving the newlyweds 19 inflorescences - a symbol of love for life. The newly-made spouse gives a young armful of 29 roses - this would also be appropriate for the anniversary of marriage. 108 roses are presented as a marriage proposal.
Color combinations play an important role in creating harmonious compositions, although they, like the color of clothes, are subject to fashion. Some colors are perfectly combined with each other, others just "cut" the eye (for example, orange and burgundy). The designer should take care of color matching, color harmony. We must strive to create color chords, harmonic consonances, and each color should, supporting neighboring ones, increase their saturation, brightness or darkness in contrast. There are no strict laws of color harmony: the same combinations lead to different effects depending on the ratio in the composition of colors, the order of their alternation, as well as the size and shape of color spots. For example, a small element should be colored more brightly, otherwise its color will "disappear". Complex soft colors require more space, otherwise they will appear dirty and dull.
To determine the harmonious combination of different colors, color (colorimetric) circles are used. Let's consider one of them.
Figure 19 - Six-sector color wheel
All these types of related colors, their relationships and locations in the full color wheel are clearly shown in Fig. 19. It should be clarified that they are conditional and at the same time fundamental. Naturally, the composition can also use more complex (subtle) connections established when solving specific compositional problems and finding peculiar color combinations.
The goal of the designer is to achieve a harmonious combination of colors by using them together. The following types of color harmonies are most common: two-color monochrome, two-color contrast, three-color monochrome, three-color monochrome-contrast, and, as an exception, four-color.
Picture 20 - Oswald's large color wheel
In more multicolor compositions, random colors often cause variegation, a sense of anxiety and break the unity of the composition.
Knowledge about the properties of color and its effect on a person allows you to create disharmonious compositions that cause very strong feelings and emotions, which is especially important in design and advertising to attract attention.
Figure 20 shows a large Oswald color wheel containing 24 colors. The large Oswald color wheel is used to form harmonious combinations of two, three, four color tones. The principle of using the circle is similar to the principle of using the six-sector with the help of arrows.
Oswald's color wheel provides a more complete opportunity to make the necessary combinations. For example: if there is an object with a saturated color in the composition, then another object can be selected for it, the color of which would enhance the feeling of the saturation of the first color.
It must be remembered that with the help of the background you can enhance the sound of the composition as a whole, its individual parts or objects. Gray, black and white backgrounds often form a pleasing combination, but white objects on a light background disappear. Beige colors are lost on a gray background.
The circle of natural colors according to Goethe is shown in fig. 21. On this circle, the SQZh triangle represents the primary colors - blue, red, yellow; - mixed colors of the second order.
Mixed colors of the first order are obtained by mixing the primary colors: purple - by mixing red and blue, green - yellow and blue, orange - red and yellow. When colors that are opposite each other are mixed, a gray color is obtained. Therefore, mixed colors of the first order are called complementary to the primary ones: green is complementary to red, violet is complementary to yellow, orange is complementary to blue.
When mixed, the direct and complementary colors cancel each other out, but the adjacent colors reinforce each other and create a harmonious combination.
Goethe's color wheel gives the following rules for choosing colors:
Contrasting combinations give colors located opposite each other (for example, F and F). Located side by side, they mutually reinforce each other, their combination is harmonious;
The combination of colors located at the corners of either the main or inverted triangle (for example, C and G) is less harmonious;
A combination of colors located in a circle at an angle of 90 ° is advisable for selecting "color chords" in two, three or four colors (for example, SF and 3 or ZHO and 3, or all together, or three of them).
Achromatic colors (white, black and all shades of gray) are absent in color circles, but they play an important role in building a color composition. White color brightens, makes "lighter" any other; black, on the contrary, darkens any chromatic, makes it more gloomy, solemn. The combination of shades of different intensities, obtained by adding white to the main color tone (for example, from red to pink, from blue to cyan), never leads to disharmony. "Color chord" is perceived as airy, calm.
Figure 21 - Goethe's color wheel
Chromatic color tones with achromatic ones are most harmonious in the following combinations: red, orange and yellow (warm) with black; blue, blue, violet (cold) with white.
2.3.2. The psychological impact of color on a person
In coloristics, such an important compositional and artistic property of color as its emotional impact on a person stands out. It is also subjective. However, certain general patterns of its manifestation have also been identified. The data given in the textbooks on color represent the following, rather detailed series of relationships between color and human feelings (Table 4).
Table 4 - Emotional properties of color
| Color | Feelings evoked |
| red | anxiety, anxiety |
| Orange | energy, enthusiasm, enthusiasm |
| yellow | joy, cheerfulness, delight |
| bright green | balance, hope |
| blue | elevation, aspiration |
| blue | silence, rest |
| black | bitterness, loneliness, fear |
| dark grey | fatigue, lethargy, hopelessness |
| medium gray | serenity, uncertainty |
| light green | lightness, tenderness |
| dark green | despondency, depression |
Table 5 - Psychological and figurative-aesthetic properties of color
These relationships can serve as a starting point for building a figurative color graphic composition.
In addition to what has been said, psychological and figurative-aesthetic properties of different colors can be distinguished (Table 5). They come down to this:
Knowledge of the above properties of color allows a more meaningful approach to solving certain color problems in the construction of graphic compositions.
Although the perception of color is subjective, it depends on the psychological state of the person. There is also feedback. Since ancient times, the specific effect of color on a person has been known. Color affects appetite, performance, attention, blood pressure, and much, much more. According to psychologists, a person endows each color with certain properties, and this is very important to consider in design.
In a room lit by a lamp under a red shade, it is cozy and warm; Imagine now what happens if you change the lamp to blue. The light walls of classrooms and school corridors remain clean longer, because they do not "provoke" students to get dirty.
Color has emotional expressiveness, it can give the impression of lightness and heaviness, triumph and despondency, sadness and joy. The perception of the size and depth of space also depends on the color: some colors "come forward", others "go back". Red, orange, yellow colors and their shades a person feels as warm; blue and purple - both cold. Green is a neutral color, it has cold and warm shades. Warm colors, as a rule, cause a cheerful mood - they are called active; cold (passive), on the contrary, soothe.
Each color has a certain psychological and physiological effect on a person. At the same time, a person's preference for certain colors speaks of some features of his psychology.
Red - heavy, rich, hot, active, dynamic, anxious, is the color of leadership. It increases muscle tension, quickens breathing and increases blood pressure, stimulates the brain, and improves mood. excitatory effect on the nervous system. On the other hand, red-orange color improves mood. Preference for the red color is given by physically strong people who live, first of all, for today. These people are very excitable, energetic, loving and enterprising. These people are too practical, without a twinkle.
Purple - earnings, spirituality, nobility, ceremony, incomprehensible, transformation, wisdom, enlightenment, cruelty, arrogance.
Orange - light, warm, bright, dynamic, promotes slight excitement, improves digestion, blood circulation and increases sexual activity;
Orange is the most dynamic, youthful and cheerful color. Stimulates the senses and speeds up the heartbeat, sharpens perception and helps resolve difficult situations, tasks and problems. Cheerful and improvised. The excitatory action is less intense than that of red, therefore more pleasant. Color slightly accelerates the pulse without increasing blood pressure, creating a feeling of well-being and happiness. It has a beneficial effect on performance, subject to periodic rest from it. However, prolonged exposure to orange can cause fatigue and even dizziness.
Yellow - warm, joyful, mobile. Visually increases volume, brings closer, stimulates mental activity. Gray-yellow and greenish-yellow shades cause discomfort.
Yellow cheerful color contributes to the solution of problems and problems. Based on the statement that yellow is a mixture of green and red, then it combines the properties of these colors. Yellow color stimulates the brain, causes an exciting tension that requires discharge. The preference for yellow means the desire for independence, expanding the horizon of perception. It is the brightest color in the spectrum. It is very flexible and adapts easily, it penetrates everywhere. With the help of the yellow beam, you can get to the origins of the problem. Yellow - loves to learn, is distinguished by quick wit, clarity of thought, accuracy. Yellow knows everything about life... and yet is full of optimism. This color is in constant struggle, does not yield without a fight.
Yellow is chosen by dreamers out of this world. They do not try too much to coordinate their actions with everyday realities and try to transform the wretchedness surrounding them into a kind of fairy tale.
Green color is preferred by self-confident and persistent people who direct all their perseverance to ensure a comfortable old age.
Blue - light, cool, calm, fresh, clean. This color calms, lowers blood pressure, in large quantities causes a feeling of coolness.
Blue, Blue colour creates a cool environment, relieves pain in neuralgia and inflammation, means disappointment and suspicion. In the perception of blue, time is greatly underestimated. Under the influence of this color, a person’s level of anxiety decreases, tension and blood pressure decrease. With too long exposure, fatigue and fatigue occur.
The blue color is chosen, as a rule, by phlegmatic people striving for order and stability.
Violet - distant, mysterious, cold, expressive. It reduces volume, stimulates the activity of the heart and lungs, increases resistance to colds. Requires careful selection of combinations with other colors.
Violet color is loved by people with an unstable character. It acts on the heart and blood vessels, as well as on the psyche. It is also called "the color of female loneliness".
Brown is the color of conservative people who do not want to change anything. Earth, hearth, home, reliability, convenience, endurance, stability.
Intense colors, acting for a long time, tire a person, irritate the eyes and bother. If a person has to deal with yellow objects, and the walls of the room are painted in the same color, then vision weakens.
Currently, scientists from many countries, experimenting with the effect of color on the psyche, give recommendations for its practical use in all areas of human activity. In the manufacturing sector, for example, this is an excellent means of optimizing production - to increase labor productivity, reduce fatigue; in medicine (psychotherapy) - a soothing, optimistic mood and conducive to recovery "medicine". When designing recreation areas, interiors of residential premises and offices, the necessary atmosphere is created precisely with the help of color: for a dynamic, active pastime, contrasting, bright combinations are used, and for a quiet, relaxing holiday, soft, pastel colors are used.
Black - motivated use of force, creation, learning, foresight, content, hidden treasures, destructiveness, use of force as a manifestation of weakness and selfishness, suppression, depression, emptiness, abstinence, restrictions. Black hides what he possesses. A person who prefers it seeks to hide his inner world from others. Black symbolizes the end. Every evening we are happy to return to the night to recuperate. But it is he who gives rise to everything new. Life begins with the unknown. Black is able to control the situation thanks to secret knowledge. Black seeks to retain his power by any means. On the other hand, this person feels the need for external control.
Power, sexuality, complexity, formality, elegance, wealth, mystery, fear, evil, anonymity, discontent, depth, style, sadness, remorse, anger, subway, good techno color, mourning, death, conservatism, fundamentality, traditions (western culture).
White - intactness, completeness, self-giving, unity, lightness, revealing the hidden and false, isolation, futility, stiffness, disappointment, stiffness, boredom. The main quality of white is equality. White seeks justice. He is impartial. White symbolizes innocence. This is the color of a real bride, a girl who does not yet know passion. White is characterized by a certain density. Holding a transparent crystal in your hands, you see Radiance in front of you. Picking up a white cotton sheet, you can’t see anything through it. White is one step below the flawless purity of Radiance. White contains all the colors of the spectrum equally, being the result of their mixing. Therefore, white can be used to create certain combinations. All colors in white are equal. In mythology, white is a symbol of unity. White seeks justice. The white wig on the judge's head speaks of his impartiality. White is a spiritual guardian. If white is present, then everything will be fine. A doctor in a white coat pulls a man out of the power of death. It is the color of life and spiritual exaltation.
Gray - security, reliability, intelligence, sedate, modesty, dignity, completeness, solid, conservative, practical, old age, sadness.
Grey, black and white (tones) are the link for colors. Have no effect. They act as a background for colors and increase the intensity of the adjacent color, and when added, they increase the lightness (light gray, white) or saturation (dark gray, black) of the color.
Often a white tone is defined as "non-paint". It is, as it were, a symbol of the world where all colors, all material properties disappear. Therefore, the white tone acts on our psyche as silence. But this silence, as it were, is not dead, but rather full of possibilities. The black tone, on the contrary, acts as something without possibilities, as a dead spot, as silence without a future. The balance of white and black gives rise to gray, a naturally gray tone cannot give either movement or sound. Gray is soundless and motionless, but this immobility is of a different nature than that of green, born of two active colors - yellow and blue. Therefore, the gray tone is an inconsolable stillness.
Studies show that of all the spectral diversity, violet-blue is the most tiring for the retina, red is a little less, and green is the least.
The color of rooms for younger children should be warm orange-yellow tones; for children 10-14 years old - various shades of green, and for high school students - blue or neutral light gray.
The psychological impact of color on a person affects his physical condition. The effect of color on human physiology has been experimentally confirmed and depends on the amount of color, color quality, exposure time, characteristics of the nervous system, age, gender and other factors. A direct physiological effect on the entire human body explains the phenomena caused by red and blue colors, especially when they are maximally saturated.
Red excites the nervous system, increases breathing and heart rate, and activates the muscular system.
Blue color has an inhibitory effect on the nervous system.
Red, yellow, orange are the colors of extraversion, i.e. outward impulse. Blue, purple, green opposite for passive introversion and inward impulses. Orange and red colors, exciting along with the visual and auditory center of the brain, which causes an apparent increase in the volume of noises. It is not without reason that these active colors are often called "screaming".
Green and blue, soothing colors, weaken the excitation of the auditory center, i.e. as if attenuate or compensate for the volume of noise.
Yellow-brown (ocher) color seems dry, greenish-blue (cobalt) - wet, pink - sugary, red - warm, orange - flashy, purple - heavy, yellow - light. This action of color is caused by synesthesia, i.e. stimulation of one sense organ while stimulating another.
With the psychological impact of color, we are talking about feelings of experience that we can experience under the influence of a particular color.
This influence is very closely related to the optical properties of color. Primary colors have characteristics presented in Table 6.
Below, in table 7, the main characteristics of the apparent effect of colors are given.
Table 6 - Characteristics of primary colors
Table 7 - Apparent effect of colors
Absolutely green- there is the most calm color. He is not going anywhere and has neither joy nor sorrow. This constant lack of movement is beneficial for tired people, but can also become boring over time. When yellow is introduced into the green color, it revives, becomes more active. When blue is added, on the contrary, it becomes more serious, thoughtful. On the other hand, the yellow color worries a person, pricks him, excites him. Compared with the state of the human soul, it could be used as a colorful expression of madness, blind rage (Dostoevsky's yellow color). Blue tends to deepen. The deeper, darker the blue color becomes, the more it calls a person to the infinite, awakens in him a hunger for purity and the supersensible. A very dark blue gives an element of peace. Brought to the side chapels of black, the blue color receives an overtone of sadness. Becoming lighter, blue acquires an indifferent character and becomes distant and indifferent to a person, like a blue sky. And, becoming lighter, more and more soundless, until it reaches soundless peace - it will become white.
Red color, we perceive as a characteristically warm color, acts internally as a vital, lively, restless color, which, however, does not have the frivolity of yellow. Unlike yellow, the red color seems to glow within itself. But the ideal red color changes its influence very much when the color changes. When black is added to red, a dull, hard brown that is not capable of movement is produced. In a colder shade of red, the activity of the flame disappears. By becoming orange, red acquires the radiance of yellow, but always retains a seriousness.
Purple- it's like a chilled red, so it sounds a little painful, like something extinguished and sad.
The choice of a preferred (favorite) color by a person is determined by his character and also depends on the social factor. Based on sociological research, the following series of colors was obtained as preference decreases: blue - violet - white - pink - purple - red - green - yellow - orange - brown - black.
The nature and expressiveness of color can vary significantly depending on various associations. Each of us tries to explain the emotional characteristics of a particular color by the nature of the objects on which we usually perceive this color. This is a very individual feature of each person, depending on the experience he has gained. It is very difficult to establish any rules here, but with some probability it can be assumed that red is associated with fire and blood, yellow with the sun, blue with the sky, water, green with forests and meadows. Finally, there is such a thing as hearing color, i.e. Each color is associated with a musical note. This phenomenon cannot be accurately described for any particular color, but there is not a single person who would look for the impression of a bright yellow on the bass keys of a piano.
2.3.3 The psychological impact on a person of color combinations
Not only individual colors, but also color combinations have a psychological impact on a person. And here the arrangement of flowers in space is of great importance. For example, red excites, and green calms, but located next to the same spots, they are completely balanced, and peace is achieved. On the contrary, when an extraneous visual is included in the composition, it leads to the emergence of a dynamic color combination of contrasting colors (Fig. 22).
The psychophysiological effect of color largely depends on: greater or lesser saturation of the color, the size of the color spot, the distance and direction from which the color acts. A color located vertically is perceived as light, a diagonal - dynamics, a horizontal - stability. Color tension at the bottom - the composition is natural and stable. Above - unnatural position, high pressure. From any edge - the instability of the composition.
From the names "active" and "passive" it follows that certain colors have a greater or lesser power of emotional impact. To neutralize orange and blue, you need significantly more blue than orange.
Picture 22 – The psychological impact of color combinations
The concentration of the active color in the upper right corner activates the composition, everything increases in size, and the lower left creates the illusion of passivity and visual compression, backward movement.
The color represented by the circle increases the plane and creates forward movement, the impression is enhanced if it is a yellow, red or orange circle. A square painted in cold tones, on the contrary, gives the impression of concavity and compression.
The color as such and the color effect coincide only in the case of harmonic semitones. In all other cases, the color instantly acquires a changed, new quality. For example, it is known that a white square on a black background will appear larger than a black square of the same size on a white background. The white color radiates and goes beyond its limits, while the black leads to a reduction in the size of the planes it occupies. A light gray square appears dark on a white background, but the same light gray square on black appears light.
The more colors differ from each other in lightness, saturation and hue, the less they harmonize with each other. Exists concept of edge contrast (Mach phenomenon): a uniformly colored surface appears to be lighter or darker at the edge if it borders on a darker or lighter surface (Fig. 23).
Ri day 23 - edge contrast
On a light background, all colors darken, and on a dark background they brighten. The true lightness of a color can only be observed against a neutral background of medium lightness. Depending on the background, achromatic colors acquire an apparent chromaticity. So, a gray spot on a green background acquires a pink tint. Chromatic colors surrounded by highly saturated colors change the hue somewhat, for example, yellow on a green background becomes slightly orange, and red surrounded by green becomes more saturated. For example, a red dot on different backgrounds. The quality of the red dot is the same, but the visual perception is different.
This phenomenon is called simultaneous color contrast. causes the color of an object placed on a colored background to shift towards the largest difference from the background color.
In figure 24a, a yellow square is given on a white and black background. On a white background, it seems darker, giving the impression of a light gentle warmth. On black, it becomes extremely light and acquires a cold, aggressive character.
Picture 24 – Simultaneous color contrast
In figure 24b, the red square is shown on white and on
black background. On white, the red color seems very dark and its brightness is barely noticeable. But on black, the same red radiates bright warmth. If a blue square is depicted on a white and black background, then on white it will look like a dark, deep color, and the white surrounding it will become even lighter than in the case of a yellow square. On a black background, the blue color will brighten and acquire a bright, deep and luminous tone.
If a gray square is depicted on an icy blue and red-orange background, then on an icy blue it will become reddish, while surrounded by red-orange it will become bluish. The difference becomes quite noticeable if these compositions are viewed simultaneously.
Yellow appears more saturated on a red background than on a green background. Chromatic contrast - this phenomenon lies in the fact that the farther apart the colors on the color wheel are, the more saturated they are perceived when compared (an example is shown in Fig. 25).
Picture 25 – Chromatic Contrast
When a color and its impression (its impact) do not match, the color produces a dissonant, moving, unreal and fleeting impression. The fact of transforming the material given form and color into a virtual vibration gives the artist the opportunity to express what cannot be expressed in words. The above examples could also be considered as a manifestation of simultaneity. The possibility of simultaneous transformations makes us, when working on a color composition, begin with an assessment of the effect of color and then, in accordance with this, think about the nature and size of color spots.
If the theme of a work comes from the first emotional impulse, then the whole process of shaping must be subordinated to this initial and basic feeling. If the main expressive means is color, then the composition should begin with the definition of color spots, which will determine its design. One who starts with a drawing and then adds color to the lines will never achieve a convincing and strong color impact. Color has its own mass and radiant power and gives the plane a different value than lines do.
PLASTIC
CONCEPT AND TYPES
Plastic compositional means differ from graphic means in that they are expressed in forms developed not in two, as on a plane, but in three main coordinate directions: horizontally, vertically and in depth. The different development of the form in one direction or another causes its different plastic character - linear, planar, volumetric and spatial. Let us dwell on each of these types of plastic forms.
Color in landscape composition is the most important element of its construction and perception.
I. Newton came to the conclusion that the color of the spectrum can be viewed as a circle, where there are many successive transitions between colors.
Rice. 14. Color wheel
Primary colors- red, yellow and blue. They cannot be obtained by mixing other colors.
Composite- green, orange, purple. Each of these colors is a mixture of two primary colors.
Tertiary colors are located between the primary and secondary colors.
Warm the colors are to the right of yellow and purple, cold- on the left. Pure yellows and purples are neither warm nor cold.
chromatic the colors of the spectrum are called (conditional division, since there are no sharp color gradations in the spectrum). Achromatic colors - white, black, gray, which are characterized by lightness or a sense of brightness - as a percentage of the brightness of white. White color brings light and revitalization, creates the effect of volume in plant compositions, black - reduces volume, enhances warm tones.
Additional called colors located on the same diameter of the color wheel (opposite each other). When compared, such colors give the greatest contrast, enhance each other (for example, red - green, blue - orange, yellow - purple).
The color composition is created on the basis of contrast or nuance. largest contrast give mutually complementary colors, and in a three-color composition - located at equal distances in the color wheel. Contrast can be color - a combination of different tones with equal brightness - and brightness - a combination of different brightness, equal in color.
Nuance composition based on colors that are similar in hue and saturation. Nuance - combinations within the same color, distinguished by lightness. Contrast excites attention, and nuance calms, it takes more time to perceive.
Achromatic colors are in harmony with all colors, increasing their saturation, separating badly combined colors in the composition.
There are three main color characteristics:
1) color tone - a qualitative characteristic of color, the wave composition of the reflected stream
2) lightness (brightness) - a quantitative characteristic of color, the amount of reflected energy
3) saturation (intensity) - the degree of color, the ratio of pure spectral color with achromatic. The purity of the color depends on the degree of "dilution" of the color with achromatic. Saturation is reduced when a small amount of complementary color is added, when several colors are combined.
Color is perceived by a person in many ways, with the participation of all the senses. Color is able to create the impression of lightness or heaviness of an object, warmth or cold, evoke feelings of fun or sadness. Warm colors (red, orange) are exciting, cold colors (blue, cyan) are calming. Green provides balance. Color therapy, which was used in the Middle Ages, is based on the psychological and physiological effects of color.
The perception of color depends on the ratio of color and background, on the characteristics of lighting, on distance and aerial perspective. The connection between the phenomena of illumination and color is reflected in the concept of the color - light environment of the landscape - a combination of climatic and weather conditions, reflective properties of coatings (grass, sand, water, stone) and buildings, foliage colors of plants. Colors are neutralized in bright light, in shadows, in cast shadows, at long distances. The color of an object changes under different lighting conditions. For example, a green tree in sunlight is yellow-green, and in cloudy weather it is blue-green. Under electric lighting, red colors appear more saturated, while blue colors are vice versa. During the day, red colors are most perceived, at dusk - blue-blue.
Any color against a contrasting background is perceived as more saturated, so the combination of contrasting colors allows you to increase the saturation of the drawings. The saturation of colors decreases when combining several colors - the more, the closer the colors are located in the color wheel. Contrast increases as the difference in lightness and saturation of the colors used increases.
The main schemes for organizing colors in a composition:
1) Monochrome color scheme- use one color and its light, medium and dark shades. The scheme creates a mood of simplicity and clarity.
2) Adjacent color scheme- based on the use of adjacent colors located side by side on the color wheel. Colors harmonize because they share a common color (e.g. red, red-orange, orange). Three to five colors are usually used. The scheme gives the impression of simplicity, the emotional coloring of the composition depends on the colors used. Sometimes a color on the opposite side of the color wheel is included in an adjacent color scheme to enhance another color.
3) Complementary color scheme- based on the use of complementary colors, which act as amplifiers and determine the dramatic perception of the scheme. Warm and cold colors (for example, blue - red) also complement each other, but to a lesser extent.
4) Triple color scheme- use any three colors, when combined on the color wheel, an equilateral triangle is formed (for example, red - yellow - blue). The scheme creates a cheerful, cheerful mood.
The condition for creating colorful, harmonious color solutions is respect for color proportions each component in the overall composition. This allows you to enhance and reveal the dominant color that forms the basis of the composition and weaken the bright colors.
The most important means of creating harmonious color compositions is rhythm– reuse of the same color for different sizes and shapes of objects.
When creating a perspective, it should be borne in mind that warm tones visually reduce the distance, cold tones increase it. Pure tones in the distance are neutralized in a blue haze, while blues and cyan tones do not change color. To create the depth of space in the foreground, yellow, orange and red shades are used, in the far - blue and purple tones (dark-leaved species, blue and blue spots of flower beds). If the garden is too long and narrow, you can use bright colors in the background, soft colors in the foreground.
When designing color compositions, it is necessary to take into account the color of buildings, fences, paving and even the interior, which should be included in the overall color scheme of the landscape composition, and not break it. Seasonal and age-related color changes are also taken into account.
test questions
1. List the primary and secondary colors of the spectrum.
2. Which colors of the spectrum are warm and which are cold?
3. Name the achromatic colors and describe them.
4. What colors are called complementary?
5. How are contrasting and nuanced color compositions built?
6. Describe the main schemes for organizing colors in a composition.
Exercise 1. To develop a color scheme for the composition of abstract geometric shapes. Specify the color scheme and composition techniques used.
Task 2. Develop a mixborder color scheme using contrast and nuance, in warm and cold colors.
Rice. 15. Schemes of mixborders
Explanations for completing the task. The chosen color scheme should be clear and easy to see. For the correct color solution of a mixborder, it is necessary to know the structure of the mixed border, which includes: 1) a focal plant or several dominant plants, 2) complementary plants and 3) filling plants that create a background. The focal plant is the center of the composition and has a bright color that determines the tone of the entire mixborder. You can use several dominant plants, located pointwise and linking the border into a single whole. Complementary plants should not compete with dominant plants in terms of brightness. Fill plants, usually painted in neutral tones - gray, silver, green - are used to create a background and fill free spaces.
When designing a mixborder, repetition and rhythm are used - both individual, focal plants, and groups. Combining plants into groups becomes the most important element of the composition, and repetition creates the effect of the integrity of the flower garden. In this case, plants can be located in separate clumps with clear boundaries, or the contours of different colors can have blurred outlines, which is created by the mixing and interpenetration of individual plant species.
In a mixborder, foreground, middle ground and background are distinguished. The center of the mixborder should have the brightest color. They also use the laws of aerial perspective - plants with red flowers are placed in the foreground, blue - in the far. The colors should be arranged in the order of the light spectrum - from red to yellow and from green to blue, moving from the foreground to the far.
Contrasting combinations are separated by neutral tones - green, silver. White color is used to emphasize the shade.
In the schemes of mixborders (Fig. 15), individual contours correspond to one type of plant, they are painted over in the color of flowers (or leaves in decorative leafy plants).
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The harmony of color in the composition is one of the elements of unity, completeness of the composition. To achieve this effect, you should use the so-called color wheel. The color wheel contains shades of the solar spectrum, passed through a prism, as well as transitional tones. Colors are divided into warm and cold. There is an erroneous opinion that red is always warm, and, for example, purple is always cold. This is not entirely correct, because the coldness or warmth of a color is determined by its shades.
If there is a shade in the color, as if interspersed with yellow, then this color will be warm. If there is a shade of blue, then the color will be cold. Traditionally, in floral arrangements, preference is given to warm tones.
Warm tones enliven the composition. Pure colors in this part of the spectrum are very effective and draw attention away from cool colors - shades do not look so sharp.
An important property of warm colors is to visually bring the flowers painted in them closer. Cold tones are soothing.
The pure colors of the cold part of the spectrum bring peace on hot sunny days, but bright warm colors overwhelm them. An important property of cold colors is to visually distance the flowers painted in them.
Color combination
Arrangements harmoniously combine the following colors and shades: colors that are at an equal distance from each other in one half of the color wheel. For example, green, yellow, orange; opposite colors on the color wheel.
For example, red and green, orange and blue, yellow and purple; adjacent colors on the color wheel.
For example, yellow, yellow-orange, red; blue, blue-blue, blue; light green, yellow, orange; different shades of the same color, harmonious in the similarity of coloring. For example, from dark pink to pale pink.
In this case, in a combination of three tones, one of them should dominate. The other two colors must be in equal amounts. This means that if, for example, green, yellow and red tones are used in the composition, then one of them should be, for example, 50% of the color of the composition, the other two - 25% each.
In addition, the background for the composition is maintained in neutral colors (white, black, gray). Or the background includes a shade of the main color of the composition (for example, if the composition is dominated by pink, and the background for it is white, then the background will be white with a pink tint). The background is dark for bright colors, the background is light for dark colors.
Subtleties of choice
When choosing colors, consider the lighting of the room in which the arrangement will be located. Blue or purple flowers in the light can "play", but in a poorly lit place they will simply not be visible - choose light colors for shaded corners. Evening artificial lighting changes colors.
Under a fluorescent lamp, cool colors appear brighter and warm colors appear more subdued. Under an electric lamp, cool colors look more muted, while warm colors look brighter.
By candlelight, cool colors appear darker and warm colors take on a yellow tint.
By the way, in Japan, the color of plant material is chosen depending on the season, in Western world there is also seasonal flower symbolism. Spring is the time of yellow and blue, summer is a riot of colors, autumn is brown, orange and yellow, and the Christmas period is associated with white and bright red. Color combinations create monochrome, contrasting (complementary), similar (neighboring) or polychrome (multi-color) compositions.
In a monochrome composition, different shades of the same color are used. This is the easiest way to convey the right mood - red creates a dramatic effect, yellow is bright and cheerful, blue conveys a sense of peace, etc.
In such a composition, it is ideal to use all shades of the main color - from the palest to the darkest, for example, from pale pink to burgundy. Stems and/or leaves come in different shades of green, brown, or white, so a truly solid color combination can only be achieved within these colors.
Contrast and polychrome
In contrasting compositions, colors opposite in the color wheel are used. We just talked about such colors above. Contrasting combinations should not be too bright. Combinations of light shades of the selected color look good in a composition designed in pastel colors.
For example, pink with soft blue, lilac with tan. You can also use a combination of a light shade of one color with a dark shade of a contrasting color.
In similar compositions, two, three or four colors are used side by side inside the color wheel. It is not necessary to use only pure colors. You can and should use their shades. Similar combinations in blue and purple tones can be muted and restrained, in red and purple - bright, active. As we remember, one of the colors should be dominant.
Polychrome compositions are otherwise called multi-color, or iridescent. They use colors from different or even all parts of the color wheel. Here it is important to avoid excessive brightness, bombast, loudness. This not the best effect can be formed when combining many shades of red and purple, yellow and blue, orange and purple. Therefore, it is better to use more muted shades.
In a polychrome composition, an even distribution of colors should be avoided, otherwise it will turn out to be not harmonious, but spotty. Several primary colors should be emphasized, complemented by others. These additional colors may not be in the plants themselves, but in the dishes for the composition, the filler material, the background.
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When choosing flowers, each person thinks about how many flowers should be in the bouquet. After all, in addition to the type and shade of plants, their number plays a big role in the bouquet. With the help of special developments, scientists managed to find out that already in the 5th-6th centuries BC, a certain numerical symbolism was observed. This fact suggests that numbers have a long-verified value, so the number of flowers for a gift should be taken seriously.
Even and odd numbers
According to ancient Slavic traditions, an even number of flowers in a bouquet has the meaning of mourning and charges the bouquet with negative energy.
That is why a paired amount is brought to funerals, to graves or monuments. But residents of Eastern, European countries and the USA have a completely different point of view on this matter. Their even number is a symbol of luck, happiness and love.
The luckiest number in a German bouquet is eight, despite the fact that it is even.
In the United States, 12 flowers are most often given together. Residents of Tokyo will react calmly if you give them 2 flowers each, the main thing is not 4 - this figure is considered a symbol of death for them.
The Japanese, in general, have their own language of plants, and each number has its own meaning. For example, one rose is a sign of attention, three - respect, five - love, seven - passion and adoration, nine - worship. The Japanese present a bouquet of 9 flowers to their idols, and of 7 - to their beloved women. In our country, you can also give an even number of plants if there are more than 15 of them in one set.
The language of flowers
Few people know that the language of flowers determines the number of buds in a bouquet. This language needs to be known and taken into account by the one who makes the gift, so as not to regret their actions in the future. Suddenly, for the recipient, the number of flowers in the bouquet matters.
One flower for a beloved girl will mean that she is the only one, and you will never find another like it. Three stems speak of respect. Five is a sign of love, a manifestation of initiative in a relationship. When it is difficult for a man to confess his love in words, he can use the language of flowers by simply giving a bouquet of 5 roses.
A bouquet of 7 stems is usually bought for a wedding, on ordinary days it is not customary to give such a number of flowers. To strengthen partnerships or friendships, the number 9 is suitable. When a person wants to make a pleasant surprise for no reason, they take 10 stems for him. But the number 11, translated into the language of flowers, has the meaning of strong true friendship.
In case of a quarrel or misunderstanding, an optimistic person will give a bouquet of 12 buds, showing that he cares about this relationship, and he believes in the best. A bunch of 13 flowers can be presented, but only to the person who is unpleasant to you, in other cases it is better to choose a different number. A bouquet with fifteen flowers is presented to a close, beloved and highly respected person.
What the numbers say
An exception to the rule that forbids presenting an even number of flowers is roses, there may even be two.
There is a separate language for these beautiful plants, which defines the meaning for each of their numbers:
How to give a girl a rose
Of course, every woman dreams at least once in her life to receive from her beloved a large number of roses that will even be difficult to count.
But not always a composition of hundreds of elite plants is more important in terms of love for your chosen one than one beautiful red rose, especially if it is taught correctly.
You should not wrap the flower in a wrapper, and also add extra branches and plants to it, this will only reduce the cost of its appearance.
A rose decorated with a velvet or satin ribbon will look much better. Sometimes you can pack it in a transparent wrapper, but only without too much shine. The same can be said about a bouquet of three buds. If there are more than 7 flowers in the set, then they must be packaged and tied with ribbons so that the bouquet looks beautiful and does not crumble.
Quantity and type
In order to choose the right number of flowers in a bouquet, one should take into account not only the language of the plants, but also their appearance. Unusual, original plants such as gazania and orchids are usually given as gifts. a small amount. When ordering lilies, callas or chrysanthemums, it is better to consult a florist about the way they are decorated.
A flower with an original bright color looks good, even if it is alone.
Sometimes one plant is enough to express some thought or strong feelings, this is completely normal. But some girls may think that she has come across a gentleman who is stingy with money, so it is better to present such a modest bouquet in some unusual way.
More simple, but no less beautiful and fragrant plants, such as tulips, daffodils, hyacinths, gerberas, give several pieces. It is desirable that there be at least five of them in the composition. If there are less than seven flowers in one set, they can be presented without a wrapper.
Bridal bouquet
Preparing for an important event, the bride and groom are always worried about the number of flowers in the bride's wedding bouquet. Here it must be borne in mind that the hero of the occasion will walk with the attribute all day long, and the larger this wedding attribute is, the harder it is to wear it.