Johannes Itten

A Theory of Colour
from

"Design and Form: the Basic Course at the Bauhaus 1963"

 There are seven
different contrast
effects in the world
of colours:
(1 ) The pure colour (hue)
contrast:

This results when pure colours

are used in random
combinations. White and black
can further enhance the vivid
effect.
(2) The light dark contrast:

This is based on the use of

different brightnesses and tone
values of the colours. All colours
can be lightened with white, and
darkened with black.
(3) The cold-warm contrast:

Its greatest effect is achieved

with the colours orange-red and
blue-green. All other colours
appear cold or warm depending
on their contrast with warmer or
colder hues.
(4) The complementary contrast:

In the colour circle the complementary colours

occupy opposite positions. When they are
mixed, the result is a neutral grey-black. When
adjacent, complementary colours mutually
intensify their luminosity to a maximum; when
mixed, they extinguish each other to produce
grey-black.
(5) The simultaneous contrast:

Its effect is derived from the law of

complementary colours, according to which
each pure colour physiologically demands its
opposite colour - its complement. If this colour is
absent, the eye will produce it simultaneously.
Strong green makes neutral grey next to it
appear reddish-grey, whereas the effect of
strong red on the same grey is a greenish-grey
appearance.
(6) The contrast of quality (colour
saturation):

This is the contrast between

luminous and dull colours. Colours
can be subdued by the addition of
black, white, grey, or
complementary colours.
(7) The contrast of quantity:

This is based on the opposition

of coloured areas of different
sizes.
 hue

saturation

density
colour printing
PLACE NEGATIVE IN ENLARGER
 DICHROIC COLOUR HEAD

CYAN MAGENTA
do not use 00 60
cyan
40
YELLOW

5.6 . 8 . 11 . 16 . 22
 seconds
exposure
2 4 6 8 10 12
Step Wedge

Take an 8x10 piece of colour paper.

Use a negative containing both a grey

card and skin tone.

Make a step wedge in the usual way,

setting your timer to about 2 seconds
and making about 6 steps in the usual
way.

Process & inspect. The colour will be

skin tone incorrect but don't worry, the main
& thing is the exposure, gauged by skin
grey card
tone and grey card
INSPECT YOUR TESTS
UNDER WHITE LIGHT
AFTER MAKING YOUR STEP WEDGE
MAKE CHANGES TO EXPOSURE
ONLY WITH THE APERTURE

NOW CONCENTRATE ON
COLOUR BALANCE
 BEFORE

DEALING WITH COLOUR CASTES

AFTER
colour triads

red
magenta yellow

balanced
blue green
cyan
VIEWING FILTER WILL HELP JUDGE
COLOUR BALANCE

USE VIEWING FILTERS IN WHITE LIGHT

(DAYLIGHT
OR
DAYLIGHT BALANCED FLOURO LIGHT)

HOLD THE FILTER NEAR YOUR EYE

AND 'FLICK' IT BACK AND FORTH
ACROSS THE PRINT

EACH FILTER HAS SUGGESTED

ADJUSTMENT UNDER EACH WINDOW
DICHROIC COLOUR HEAD

CYAN MAGENTA
00 60

90
YELLOW

5.6 . 8 . 11.16 . 22

PRINT TOO YELLOW?

DICHROIC COLOUR HEAD

CYAN MAGENTA
00 60

90
YELLOW

5.6 . 8 . 11.16 . 22
TAKE YELLOW OUT OF
THE PRINT...
DICHROIC COLOUR HEAD ...AND
CYAN MAGENTA PUT YELLOW INTO
00 60
THE COLOUR HEAD
(INCREASE YELLOW
115 FILTER)
YELLOW

5.6 . 8 . 11.16 . 22
to reduce magenta to reduce yellow to reduce a
increase increase colour cast
magenta filtration yellow filtration in a print
INCREASE
that colour
in the head

to reduce cyan
increase magenta and yellow
 20Y
AN INCREASE IN

10Y
FILTRATION IN THE HEAD
20R 20G

WILL INCREASE THE CAST

10R 10G

IN THE PRINT 10C

10M

20M 20C

10B

20B