Johannes Itten: The Elements of Color 7 types of colour harmony & contrast Johannes Itten (1888-1967) -painter, designer, teacher (http://www.johannesitten.com/ ) Space Composition, I [Raum Komposition I] – Itten (1944) Art of the Color (Kunst der Farbe) Itten Itten’s colour wheel 1. contrast of hue Painting with Three Spots Wassily Kandinsky (1914) (hue) Improvisation 31 (Sea Battle) Wassily Kandinsky (1913) Hue The Gate – Hans Hoffman (1960) 2. light/dark contrast The Black Feather Hat - Gustav Klimt (1910) warm colours cool colours 3. cold/warm contrast Landscape - Cezanne Mounte Sainte Victoire – Cezanne (c. 1885) A red-violet juxtaposed to blue looks warm (left), while the same red-violet juxtaposed to red looks cool The narrow red bars advance toward the viewer, while the cooler blue recedes. 4. complementary contrast Christ on the Lake of Gennesaret- Delacroix Y-P: strongest value contrast R-G: equal value contrast 5. simultaneous contrast Marilyn Andy Warhol ANDY WARHOL/SUPERNOVA: Stars, Deaths, and Disasters, 1962 - 1964 are the reds the same? simultaneous contrast also occurs with value contrast 6. contrast of saturation Portrait of Franz Marc – Macke (1910) Contrast of saturation: This is the degree of purity of the color, so it is possible to contrast a pure, intense color with a dull, diluted color. There are four ways to dilute a color: 1. 2. 3. 4. Tint (add white). Shade (add black). Add gray (heading toward neutrality) Add the complementary color Adding gray to a pure color demonstrates one way color can be desaturated. The grays in the corners of each pattern are the same neutral gray 7. contrast of extension Starry Night – Van Gogh (1889) relative areas of complementary colours for balance to the eye A red/green checkboard pattern looks static compared to a green field sprinkled with small red squares, illustrating one way to manipulate contrast of extension other harmonies: monochromatic Woman Darning Vuillard analogous or adjacent Orange and Yellow – Mark Rothko (1956) Head of a Man – Paul Klee
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