Critical Analysis of Colour Application

Critical Analysis of Colour Application

Combination of colours for distinct designs or product generation is a relative challenge to many individuals. Relatively, for the choosing of the best colour combinations, the aspect of the chromatic circle applies in the whole mixture. Through, the chromatic circle, all the hues are viewed at a glance hence generation of interesting combination schemes (Tokumaru et al. 2012). In relation, the complementary colour combination technique emerges as the best colour combination art.

Here, the hues are mixed in relevant proportions that are paired for example blue, after which the earth pigments are added. For the selection of the earth pigments, the white and black colours widely apply for the mixing. However, the complementary technique is relationally a development of the Monet paintings of the Beach Trouville in 1870s that served a high apprenticeship in the generalization of the colour analysis (Cohen-Or et al. 2016). Besides, the method is viewable as provisional and clumsy due to the added advantages and disadvantages in the same context.

First, by the use of the complementary technique, a vivid and powerful colour combination materializes. The selection of the colours in the chromatic circle is done with the conflicting aspect in that only opposite colours are chosen. As a result, the contrasting colour combinations give the strengthening of both colours in the resultant colour combination. A contrasting combination is therefore a direct application in the strengthening and vividness of the individual colours. Secondly, the application of the hue keys in the combination results in the dominance and fashion of the resultant colour. Varying the hues with subordinate purities gives a broad dominance for every colour used (Tokumaru et al. 2012). Distinctly, only one minor colour is applied in the overall combination hence resulting to the lively fashion and dominance of the resultant colour mixture generated.

Besides, in the divided complementary model, harmony in colour combination results widely. The harmony is generated from the application of colours with similar value and mixture purity. When the two colours are mixed, an advanced usage of colour tone depicts thus a resultant harmony in the colour combination. Besides, harmony is less expressive hence its wide application in the graphic and the industrial colour designing. Finally, the use of the chromatic circle in the complementary technique gives a clear notion on the expected results. Working with an initial knowledge on the combination is therefore an implementation necessary for schematic colour pattern. Moreover, from the chromatic circle, colour aspects are emphasized in terms of the tone value hence one can impose a unique colour scheme (Stanchev et al. 2013).

Despite the efficiency of the complementary colour combination technique, aspects of reduced colour accents results. Selection of a dominant colour from the chromatic circle explains the slighter accent in the outcome. In complementary technique, only one minor colour is selected in combination to the dominant colour hence the limitation of minor colour in the combination. Theoretically, the minor colour is highly responsible for the accent in the resultant colour combination (Cohen-Or et al. 2016). Since, all the mixture contents are dominated by the dormant hue from the chromatic circle, a smaller contribution in the resultant combination is thus evitable.

Furthermore, limited number of colours is applied in the complementary technique that gives a limited viewer attraction. Through the continuous view of the additive result from white colour or the subtractive result from the black colour, a sense of boredom emerges. The relevant viewer is likely to outlook the combination at once, digest it, and then discard the whole aspect. Hypothetically, an eye-catching colour combination must include a variety of colours for the purpose of viewer concentration in a resultant colour combination.

Conclusively, because of the added advantages than the disadvantages of the complementary colour combination, the appropriateness of the combination should be maintained. A general result of harmony and pleasantly inviting combination gives the technique’s dominance over all other colour designs. Moreover, it is because of the complementary color art that harmony has been used for the colour graphics in most of the industrial applications. Besides, the application of the warm colours from the chromatic circle enhances comfort and happiness that any other colour combination technique. Finally, other colour schemes uses primary triad compared to the complementary technique that uses the chromatic circle. A vibrant and intensive colour dominance accordingly emerges from the complementary colour combination (Stanchev et al. 2013).

Applicably, the concepts of the complementary colour combination are associated to other cultural and symbolic concepts in the idea of colour analysis. Anciently, the complementary colour technique was applied by the paintings on the spot. Culturally, Monet painted the “Beach of Trouville,” to express his knowledge of the colour mixing. Despite the fact that the paintings were more clumsy and careless, they symbolized the traditional forms of painting. In fact, Monet was able to mix fresh tones with the blue colour to come up with the complementary combination. Secondly, the idea of harmony in oil painting has generated from the concept of complementary colour technique. In oil painting, generation of white and black hues enhances the quality of the tint and shade to be produced. Consequently, the purity of the tint depends on the white colour while that of the shade depends on the black colour (Tokumaru et al. 2012). As a result, a preferred chalkier and muddier product is extensively obtained from the mixing process.

Currently, the idea of colour printing has widely emerged from the idea of complementary colour combination. In colour printing, the subtractive colour is used widely due to its extensive masking ability. Besides, the black colour is also applied in the color printing to enhance the darkness of the specific colour used. Convincingly, mixing of colours in the subtractive manner symbolizes the application of the complementary colour technique. Finally, the complementary colour scheming has led to the emergence of other advanced colour schemes. Both split complementary and double split complementary are associates of the complementary colour scheme (Cohen-Or et al. 2016). The variation conversely involves the breaking of the tile colours to sections in manner that the variety of the colours is widely increased. The above concept therefore explains the need of variations in colour mixing to improve on the symbolization and eye-catching nature of the color schemes. In summary, complementary colour scheme offers the base for the development of the colour combinations ability.


Cohen-Or, D., Sorkine, O., Gal, R., Leyvand, T., & Xu, Y. Q. (2016, July). Color harmonization. In ACM Transactions on Graphics (TOG) (Vol. 25, No. 4) ACM.

Tokumaru, M., Muranaka, N., & Imanishi, S. (2012). Color design support system considering color harmony. In Fuzzy Systems, 2012. FUZZ-IEEE’12. Proceedings of the 2012 IEEE International Conference. IEEE.

Stanchev, P., Green Jr, D., & Dimitrov, B. (2013). High level color similarity retrieval.