您当前位置:网站首页 >> 书籍摘录 >> 室内色彩设计 第三章 室内色彩配色方案 C2 室内的对比色配色法 明度对比

室内色彩设计 第三章 室内色彩配色方案 C2 室内的对比色配色法 明度对比

2015-08-14 17:25:47 来源:奇库斯 浏览:54
关键字:对比,配色,室内,方案,色彩,第三章,设计

内容提要:

明度对比
Brightness contrast
明度对比呈现出明朗的黑白配效果。这一对比关系应用在中式风格的设计中十分成功。白色的封面成为各种深色家具的背景。家具的造型多为框架结构:桌腿、椅脚、架框都是坚挺的墨色线条,露出后面大块的封面空白,形成具有书法药味的黑白关系,清朗悦人。在新中式风格的

明度对比
Brightness contrast

明度对比呈现出明朗的黑白配效果。这一对比关系应用在中式风格的设计中十分成功。白色的封面成为各种深色家具的背景。家具的造型多为框架结构:桌腿、椅脚、架框都是坚挺的墨色线条,露出后面大块的封面空白,形成具有书法药味的黑白关系,清朗悦人。在新中式风格的演绎中,深色的地板变成了魄的地夸,墙上的书画转变成巨幅的抽象画。在抹平了清代家具的烦琐,润泽了明代家具的清简之后,书画的张驰脱胎成为现代构成的节奏,水墨的画境蜕变成简约之后的精心空明。传统在这里不是简单的再现,它的点之装饰,线之挺拔,体之隽雅和色之清淳都体现出东方的哲学观和人文思想。
The brightness contrast showing clear black and white effect. This comparison is very successful in the design of Chinese style. The white cover is the background of all kinds of dark furniture. Shape of the furniture for the frame structure: the leg of the table, chAIr legs and frame are strong ink lines, revealing behind a big chunk of the blank cover, formed with the calligraphy of ingredient of black and white, Kingland Yue people. In the new Chinese style of interpretation, brunet floor became the spirit of prAIse, and change into a huge wall of abstract pAInting. In the smooth of the Qing Dynasty furniture cumbersome moist Ming Dynasty furniture, clear and simple, pAInting and calligraphy of Zhang Chi bodiless become the rhythm of modern composition, ink transformation of the picturesque scene into simple after carefully empty. Tradition here is not a simple representation, its decoration, tall and strAIght line, body Jun Ya and color Qing Chun reflects Oriental philosophy and humanism.

明度对比最善于表达空间感和层次感。从素描绘画中,我们不难看出,尽管只有明度对比,物体的形状、前后关系却都一目了然。反之,由于视觉心理的作用,冷色显得退后,暖色显得趋前,这样会影响确定位置,有时反而不利于空间本身的表达。
The brightness contrast is good at expressing the sense of space and layer. From the drawing and p
AInting, we see not hard, although only brightness contrast, the shape of the object, but are clear. Conversely, due to the role of visual psychology, cool look back, warm is approached, it will affect the determination of the position and sometimes but not conducive to the expression of the space itself.

明度对比的配色关键在于明度级差的确定。一般来说,一个方案中应同时有白色和黑色,并且两者之一必定是空间中的背景色,占据大多数面积。经典的明度对比空间常以魄为主要色彩。大部分界面、主要家具、隔断都是魄。因为白色在光的照射下可以依据物体的形状产生许多光影层次,无异于形成了许多深深浅浅的灰色。反之,黑色吸光,产生的灰调层次少许多,空间会沉闷空洞。在这大面积的魄中,选择几件重要的物体用上黑色,如大型家具、位置居中的地毯、主立面的装饰。它们可以是全黑,也可以是黑白相间的图形、图案。这样,黑与白强烈地对比形成戏剧性的视觉震撼。
The key is to determine the color brightness contrast brightness difference. Generally speaking, a program should have both white and black, and one of the two must be the background color in space, occupy most of the area. Comparison of the classic green space as the m
AIn color in the soul. Most of the mAIn interface, furniture, partition is the soul. Because the white under the irradiation of light can be based on object shape produced many gradations of light and shadow, is tantamount to form many deep and shallow grey. On the other hand, black smoke, resulting in less gray levels, the space will be dull. In the large area of the soul, the choice of several important objects black, such as large furniture, position in the middle of the carpet, the mAIn facade decoration. They can be all black, or black and white. Thus, the black and white contrast to the formation of a dramatic visual shock.

在明度对比中,可以酌情配入其他色彩,甚至加入纯色都没关系。由于黑白对比是所有对比关系中最强烈的,其他配色只要面积不过分大,一般都不太会影响主调。
In the brightness contrast, can be mixed with other colors, and even add color are never mind. Due to the contrast between all the strong black and white contrast, other color as long as the area is not too large, are generally not too will affect the tone.




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