They create the most contrast and therefore greatest visual tension by virtue of how dissimilar they are.

Despite the development of color models based on the physics of color production, such as RGB and CMY, and those based on human perception, such as Munsell and CIE L*a*b*, the traditional RYB color model (common to most early attempts at codifying color) has persisted among many artists and designers for selecting harmonious colors.Ĭomplementary colors exist opposite each other on the color wheel. Different models yield different pairs of complementary colors and so forth, and the degree of harmony of sets derived from each color space is largely subjective. One difficulty with codifying such patterns is the variety of color spaces and color models that have been developed. Several patterns have been suggested for predicting which sets of colors will be perceived as harmonious. Types The traditional RYB (red–yellow–blue) color wheel, often used for selecting harmonious colors in art The RGB (red–green–blue) color wheel, matching most technological processes, but exhibiting different complementary colors The Munsell color wheel attempts to divide hues into equal perceptual differences. Artists and designers make use of these harmonies in order to achieve certain moods or aesthetics. Color harmony has been a topic of extensive study throughout history, but only since the Renaissance and the Scientific Revolution has it seen extensive codification. These combinations can be of complementary colors, split-complementary colors, color triads, or analogous colors. These combinations create pleasing contrasts and consonances that are said to be harmonious. In color theory, color harmony refers to the property that certain aesthetically pleasing color combinations have.

The color wheel primary colors