The contrast is formed by the juxtapositioning of light and dark values and their relative saturation.
Contrast of hue:
Contrast is formed by the juxtapostioning of different hues. The further away the hues on a colour wheel, the greater the contrast.
Contrast of compliments:
The contrast is formed by the juxtaposition of hues, warm and cool
Contrast of tone:
The contrast of light and dark, the contrast is formed by the juxtaposition of light and dark values
Contrast of extension:
Contrast is formed by assigning proportional field size, with regards to the visual weight of a colour.
Simultaneous contrast:
Contrast formed when boundaries between colours perceptually vibrate.
Source: https://guymanningphotography.wordpress.com/tag/contrast-of-extension/
1. Contrast of Hue
2. Light-Dark Contrast, or contrast of Value
3. Cool-Warm Contrast
4. Complementary Contrast
5. Simultaneous Contrast
6. Contrast of Saturation
7. Contrast of Extension or Contrast of Proportion
That section covered the first four types. Here we continue with the others.
Simultaneous Contrast
In the “real” world, the one defined by physics, objects have no inherent color. Instead, their surfaces contain materials that absorb some wavelengths and reflect others. Our eyes take in the reflected light waves and convert them into signals. Then, our brains translate the signals into color. If we see a green colored object, it is because the surface of the object absorbs all colors except green.
The only way to accurately describe any color is with an instrument like a spectrometer. Furthermore, the only way to accurately perceive a color by eye, with all of its qualities intact, is when it is isolated from other colors.
All colors interact with the colors adjacent to them. Simultaneous contrast is the name given to the effect colors exert on their neighbors. In the case of two colors side by side, the left will influence the one on the right. In turn, the right one will influence the one on the left. They influence each other simultaneously, therefore the term “simultaneous” contrast. The affect is not real in the physical sense but a result of the way the brain and eyes operate in the real world.
Below is a discussion of seventeen effects observed as colors interact. Keep in mind that some of these effects will be minor and difficult to perceive. If they are, keep looking by holding your gaze on the example, simultaneous effects will increase over a short time. In other samples, the effects should be readily obvious. When studying the samples, if you are sure that the examples are not accurate between the samples, copy them, and measure them in your photo-editing program. Use of the HSL scale will help you make the most sense of the comparisons. You will find the samples accurate.
Any color will change appearance when put in proximity of another color.
This is easiest seen using a neutral grey on a colored field. In the example below, the grey patches in the colored field are identical. However, there appears to be variations between them. In the next example, the identical blue-violet squares shift color even more dramatically than the greys did.
You will notice that the colored rectangles of the background between the two samples show a change in intensity. To see this best, move your gaze back and forth from one quadrant on the left to the same quadrant on the right. The colored squares interact with their colored backgrounds, creating a perceived difference between the backgrounds of the samples.
Dark colors and dark values look darker when exhibited against light colors and light values, than if against dark colors and values.
Light colors and light values look lighter when exhibited against dark colors and dark values, than if against light colors and values.
In this pair of samples, the four small squares are identical for each position between the two samples. In addition, the yellow squares on the left side of each sample are of the same hue, just as the blue squares in each sample are of the same hue. The difference between each hue pair is in the luminance/lightness measurements, one is lighter than the other is. Viewing the visual differences in value between the squares in the sample will prove the statements underlined above. For instance, when comparing the light blue squares, the one on the left will appear lighter. When comparing the dark yellow squares show the one on the right to appear darker.
Any color will influence an adjacent color’s hue in the direction of its own compliment. An adjacent color will be pushed toward the other colors direct compliment. Below, the light blue bars tend toward the compliment of the field color. The bar in the orange field picks up a slight bluish tint while the bar in the green field picks up a slight reddish tint.
This second pair of samples shows different bar colors on the same background. This illustrates how the complimentary push works regardless of the color associated with a given background. Looking closely you will notice how background colors are influenced by the bars, just as the bars are influenced by the backgrounds.
A non-complimentary color will create a shift toward its own compliment in the adjacent color’s hue.
This is something of a restatement of the one above. Colors push adjacent colors toward their own compliment. For example, a red field will push overlying colors toward cyan. Direct compliments cannot affect its opposite hue.
Any color will appear to gain intensity, and appear lighter, when exhibited against a black ground.
Any color will appear to loose intensity, and appear darker, when exhibited against a white ground.
These are pretty self explanatory, and commonly known to most image makers. To get the most intensity from a color, show it on a black background. To reduce the intensity of colors, show them on a white background. A mid grey background is used to show the image off in a neutral manner.
Dark colors on a dark complimentary ground will exhibit more intensity than when on a non-complimentary ground.
Light colors on a light complimentary ground will exhibit more intensity than when on a non-complimentary ground.
Any two complimentary colors will exhibit higher intensity contrast when side-by-side, than either color viewed alone.
In a section above it was mentioned that direct compliments do not affect each others hue. This is true but they will affect each others apparent contrast or brightness. The samples below exhibit more contrast when adjacent, than they do when alone in a field.
A high intensity color used with a lower intensity or toned down field of the same hue, will further reduce the intensity of the field.
In both sets of samples the colored field appears to be less intense when the smaller block of higher intensity color is included.
Intense colors next to less intense colors exhibit the strongest contrast when the colors are compliments.
In the two samples below the blue appears more intense on the degraded yellow compliment than it does on the split complimentary green or other colors. The backgrounds vary only in hue, the saturation and value settings are constant between them.
Light colors on light, non-complimentary backgrounds gain strength by use of narrow borders of black or dark complimentary colors.
Dark colors on dark, non-complimentary backgrounds gain strength by use of narrow borders of white or light complimentary colors.
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