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Part 4 The Inside Story
Although such a sharp contrast is
fi ne for some rooms, most rooms are fi
more comfortable with less contrast.
Varying the values and intensities of
the colors can do this along with vary-
ing the amounts of the colors, 11-9. The
more one color dominates the other, the
less noticeable the contrast.
Split-Complementary Color
Harmony
Using one hue with the two hues
adjacent to its complement creates a
split-complementary color
harmony. For
example, if you choose the blue hue first, fi
you would look directly across the color
wheel to fi nd orange, its complement. You fi
would then select the colors on both sides
of orange to establish your split-comple-
mentary color harmony. The resulting
color harmony uses blue, yellow-orange,
and red-orange, 11-10. With this color
selection, blue will likely be the domi-
nant color, while yellow-orange and red-
orange provide lively contrast.
Double-Complementary
Color Harmony
Selecting two colors and their comple-
ments from the standard color wheel
creates a
double-complementary color
harmony. In this way, you use four colors
y y
to create the color harmony. One exam-
ple of a double-complementary color
harmony results from pairing red and
green with violet and yellow, 11-11. As
long as each pair is composed of comple-
mentary colors, you may use any combi-
nation of pairs.
Analogous Color Harmony
Selecting related hues from the stan-
dard color wheel creates an
analogous
color
harmony. These are hues that are
next to each other on the color wheel.
In an analogous color harmony, usually
three to five hues are used. Since they fi
are related, they blend together well.
One color seems to merge into another.
Even when the colors in an analogous
A
B
11-8
Green is the basis for this monochromatic color harmony.
Photography Courtesy of Kohler