Harmony Contrasts

Roman Liedl has coined the generic term harmony contrast for any of the contrasts mentioned before. The way to it is called the method of maximum contrasts. If a color composition shows all harmony contrasts, the color design is harmonic.
 
The method of maximum contrasts can be described with a single sentence: You have to place a small amount of shiny, bright pink into a large amount of deep, uncolorful green (compare: Die Pracht der Farben, p. 188). This sentence includes the following harmony contrasts:

• The quantitative contrast (large amount - small amount)
   
• The colorful-uncolorful contrast (by mixing green with gray, green is made uncolorful)
   
• The light-dark contrast (by mixing magenta with white (pink), magenta becomes a shiny, bright pink)
   
• The angular harmony (green - pink (pink = magenta))

All criteria of the method of maximum contrasts have thus been fulfilled.

More than two areas

If the colors are specified, you will often have to deal with more than two colors. The rules for more than two areas are as follows:

• At least two of the areas should have a light-dark contrast
   
• All three, four, five etc. areas should form an angular harmony
   
• At least two of the areas should form a colorful-uncolorful contrast
   
• At least two of the areas should form a quantitative contrast

The third, fourth etc. area do not necessarily have to be very big, but they can serve to accentuate e.g. with a dot, a dividing line or a small arrow.
 
There are some practical examples on the following pages: These work examples are to demonstrate how to create a color harmony with the help of the method of maximum contrasts.