How to use accent colors, how to improve the use of colors

1.It is used when mixing the color hue.

For example: red dye paste + reinforced blue = purple, purple red, red purple. Gold + Reinforced Red = Red-orange, orange, yellow-orange.

2.When the light dye is deep, it is added to the dye paste as a pigment base.

For example, if 7 8 degrees of yellow should be made of 5 degrees of fuchsia, you can add some strengthening blue to the base color of 5 degrees + 5 degrees of fuchsia of the formula, so that the purple flavor in the base fuchsia is more obvious.

3.It is used when doing complementary colors, correcting colors, canceling colors, and contrasting colors.

For example: 6 degrees of red + 6 degrees of green + plus some reinforced yellow = brown-yellow contrast. 6 degrees of red + 6 degrees of green + plus some reinforcement blue = brown complementary.

4.It is used when mixing special colors.

For example: brightener + reinforcing blue = light blue, light blue. Brightener + Booster Red = Pink, light red.

5.Use when dyeing gray hair black to enhance coverage.

For example, 70% of gray hair should be dyed with a base color of 3 or 4 degrees, and you can add some strengthening blue to the base color, which can help cover gray hair and slow down fading.

6.It is used when dyeing a fashionable blue-black.

For example, if you want to dye a fashionable blue-black, you must use a reinforced blue to make a cool and attractive color. In addition to the above uses.

In addition, it is necessary to pay attention to the use of fashion:

1.Because the coverage of the general strengthening color is weak, try not to use it alone, and it is better to mix it with other dyeing pastes. Even if it is used alone, it will color quickly, but it will fade quickly.

2.There is no limit to the concentration of hydrogen peroxide, and it can be used together.

3.The degree of pigment concentration varies from manufacturer to manufacturer, so the dosage is also different.

4.The use of accent color is an increase in chroma, and in light colors, the chroma will increase and the brightness will decrease. These systematic collations, in addition to understanding the function of strengthening colors, can help designers use it more handily in the field.

What I did was done on black hair [undyed] and when I did it, I added a third of it to come out like . .And then there was another guest who had just done it, and I used the same dye and added a third of it, and it still didn't come out, it was orange-red, I really don't know what's going on, why didn't the strengthening color work?

Very simple.. You want to strengthen 4 colors. I still want to strengthen the color of 5.

You have to know what color 7 45 comes out of. If you want to do a reddish dot. You can add 7 4 to go in.

I want to make a color with a little brown. You add 5 5 5 to go in. Hydrogen oxygen concentration is important.

If you have a high concentration. The colors of 7 45 cannot come out. What comes out is a yellowish color.。。

It is best to use 9 of the dioxide.

The undertone of the hair is black, so how do you do it if you have a color?

1. Lack of contrast and change of cold and warm will lack the beating sense of color.

2. The richness of color is not the number of color types, and several colors can also be blended to create a rich color relationship.

3. Brushstrokes are for color, don't put the cart before the horse.

4. Make full use of contrast factors such as color contrast, brightness contrast, purity contrast, cold and warm contrast, and complementary color contrast.

5. Don't one-sidedly pursue the richness of color and destroy the simplicity of the whole.

6. Don't one-sidedly pursue conditional colors and make the inherent colors unrecognizable.

7. Make full use of the two mediums of white and water "powder" is not equal to "powder".

8. Look at a painting from the color tone. Other people's gray tones are not all gray, and you can't use gray in parts to achieve the effect. Pure tones aren't all solid colors either.

Everyone should start from the color of the color and look at the color of others comprehensively. Copying a color model with gray tones can't be blended in with gray right away. There's a process in between, where the tone is like a film in a potion, and it's gradually revealed.

Without the contrast and change of cold and warm, there will be a lack of the dynamism of color.

The richness of colors is not the number of color types, and several colors can also be blended into rich colors.

Color relationship baseband.

Brushstrokes are at the service of color, don't put the cart before the horse.

Make full use of color contrast, brightness contrast, purity contrast, warm and cold contrast, complementary color contrast, etc. Contrasting factors.

Don't one-sidedly pursue the richness of color and destroy the simplicity of the whole.

Don't fight Li Lumian to pursue the conditional color and make the inherent color unrecognizable.

Make the most of the two mediums, white and water, "powder" is not the same as "powder".

To look at a painting, you have to look at it in terms of hues. Other people's gray tones are not all gray, they can't be partial.

Use grey to achieve the effect. Pure tones aren't all solid colors either. Everyone should start with the color tone.

Look at other people's colors in a comprehensive way. Copying a color model painting in gray tones cannot be one.

Go up. Tone the grey. There's a process in between, where the tone is like a film in a potion, and it's gradually revealed.

The ** color in the color is the soul of the graphic work. a.Keynote.

Just as you can't find a fixed note on an instrument, the note "1" changes position depending on the key, and different keys convey different emotions and are suitable for different instruments and voices. This is the same as the principle of our use of color, the tone and mood of the whole picture are conveyed through the warmth and coldness of the color. But since childhood, the relationship between warm and cold colors in our minds has been fixed.

Red tends to be warm, blue is cold. Actually, this is a wrong concept. Like musical notes, colors change their tonality with the bending of their surroundings (the relationship between cold and hunger and warmth).

Knowing this truth, blue can also be used by us? & Rendered to look warm. b.

Chords and melodies play musical instrument friends understand another truth, it doesn't matter which sound is good or bad, the notes must be put together in order to be called **, otherwise "nag" "nag" "nag" "nag" must be noise all the time pressed down, "nag" "mi" and "whoosh" put together become a chord "c". It's like a combination of red, blue and white in a color, always harmonious. Once we understand this, we will understand more directly that colors should be used in groups.

The basis of these combinations should be towards the chords c, d, e, f...In the same way, there is a most primitive combination, and the designer wants to constantly change, so he seeks change in these combinations. Using chord principles to understand color, you will immediately jump out of the misconception of poor color, and realize that there are too many colors available in front of you. Whether it is a poster or a brochure, there is a question of what to see first, what to see later, what to see, what to remember, and what to reminisce about.

These constitute the melody of the graphic work, so that the audience's eyes when to nervous, when to rest, and where to stay in the end, this is the most important question that designers need to think about. c.The rhythm of the original use of color and the rhythm in the **, the need for proportion, many good-looking color combinations also need a reasonable color proportion control, under specific conditions the use area of a certain color must be large, a certain color must be small, some just for breathability, some is for sinking, it is certain that the plane work must need a rhythm control!

Learn more about the hue ring and have a higher understanding of color matching! Warm and cold colors and contrasting colors, the more you know about neighboring colors, the better it is.

After drawing a good sketch, he has nothing in common with color except for different methods of expression, and more color mixing.

Go by feeling, add whatever color you have.

Observe more, feel more color.