Contrast in the composition calls for a subtle accompaniment, accompanying nuances - without this, the composition, as a rule, becomes rigid and primitive. How to Use Contrasts in Graphic Design

Definition of composition.

Composition - an organizing element artistic form, giving any work unity and integrity, subordinating its components to each other and the whole.
In floristry, the method of placing plants and materials is based on knowledge of the laws of constructing an artistic and decorative composition and the characteristics of each type of plant.

Laws artistic composition. Proportions.

metric repetition (multiple alternation of any element at the same interval);

rhythm (in rhythm, in contrast to rhythmic repetition, the sequence of elements is not the same, but varied. Rhythm is distinguished by the presence of accents.);

dynamism (a technique that creates a feeling of tension);

static (in the interior there is a visual state of rest)

tectonics (reflection in the form of its constructive beginning, how reliable and stable the object is, how capable it is of creating for a person reliable protection);

volumetric-spatial structure (location of objects in space, interaction of objects and space);

proportionality (proportionality);

equilibrium (feeling of stability, balance);

symmetry (proportionality) (All elements of the page composition must occupy an area commensurate with their value in the composition as a whole. The sameness of elements in color, size or other qualities causes monotony.);

asymmetry (disproportion. Violation or lack of symmetry);

contrast (drawing attention to one specific element - use a contrasting color, size or style);

texture (in interior design composition this is primarily external feature material used in interior decoration)

plastic (coherence, flexibility, smoothness, connectedness of transitions from one part to another);

unity of character (the combination of all elements into a single whole; they must be so interconnected that the composition as a whole makes a harmonious impression.).

Proportions

Proportion is the relationship between parts of an object, between a whole object and the rest of the composition, between two objects. Proportion can be defined in terms of magnitude (size), quantity, or degree.

The law of proportions is used in design and floristry to create harmonious bouquets and compositions.

These works were built based on the principles of the golden ratio and Fibonacci numbers, which balance the various elements in the whole work.

In floristry, the ratio most often used is 2:3, 3:5:8 .

This means that, for example, when placing flowers in a vase, there should be three parts to the height of the vase, five parts to the height of the flowers above the vase, and the height of the entire composition will be eight parts. The parts in a bouquet held in hands should correspond approximately in the same way.
When creating a composition in a flat vase, the same ratios of individual parts are used, but instead of height, the diameter of the vase is usually taken.
It is imperative to take it into account at the 1st stage, when constructing all work, then this rule will “work” automatically.

Experienced craftsmen can find the correct proportions of parts by eye. It is useful for beginners to practice using vases and other containers of various heights and shapes.
Proportions in works:

We measure the height of the vase, determine how many parts it will be (1, 2, 3), calculate the height (3 parts, 5 parts or 8) of the future composition through proportions, mark the height with the material at hand. When creating a bouquet, the proportions are usually built relative to the place of the bunch, 5 parts go up, 3 parts go down.

For flowing compositions on stands, its height and the height of the vases are taken into account2) Along the length.

The length of the vase, or diameter, is measured, and the width of the future work is proportionally calculated.

3) In height and length.
The work has a horizontal direction, although the height of the vase is taken as the basis for calculations.
This ratio is often called law of leverage , those. the longer the segment, the more visually massive the center of gravity should be.

The main thing is to maintain optical balance so that the work does not “tilt over”. In the illustration - the height of the vase is 1 part, the length of the work is 5 parts.

4) In the distribution of material in work (mass of material). Most often observed in the formulation of the so-called asymmetric group, where main composition is 8 parts, the one next to it is 3 parts, and the far one is 5 parts. We observe in bouquets, grouping flowers and leaves, in collages, in compositions, in wreaths...

The ratio of numbers was found by the mathematician Leonardo of Pisa (or Fibonacci).

1: 1: 2: 3: 5: 8: 13: 21:34 ...

The size of an object depends on the relative sizes of other objects in the environment and the environment itself. So, for example, a tiny picture on big wall looks lost, while one large one or a group of small ones look proportional.

Mathematicians have developed several methods to determine perfect proportion of things. The most famous dosing system is the golden ratio, invented by the Greeks.

Golden ratio - this is a division into two unequal parts, one of which is smaller and the other is larger. The ratio of the larger part to the smaller must be equal to the ratio of the entire quantity to its larger part.

Fibonacci series- progression of integers, where each number is the sum of the two previous ones (1, 1, 2, 3, 5, 8, 13, 21 ...). The relationship between two consecutive numbers is close to the golden ratio. You can create an attractive and harmonious fragment from squares whose sides along the length are consecutive Fibonacci numbers; if we connect the opposite edges of these squares, we get a spiral.

Since the Renaissance, several artists, architects and designers have used the golden ratio as a standard. These are, for example, Leonardo da Vinci and Le Corbusier. The golden ratio is also present in nature.

The proportion system can be useful tool for a harmonious composition, but the interiors are three-dimensional, not flat, like paintings or photographs. We also need to keep in mind that our perception of things is often inaccurate: distance, angle, and even cultural traditions can influence perception environment and influence the proportion.

When designing an interior, you need to look at the proportional relationship between:

• parts of design elements (pieces of furniture)
• several design elements (furniture arrangement)
• elements and their enclosure (furniture and the space in which it is located)

In general, if you feel that the elements are neither too small nor too large and the interior looks harmonious, then this means that you have achieved proportion.

A flower arrangement can be made up of plants of the same height or a combination of species that form several tiers. A multi-tiered composition usually includes tall, medium-tall and low-growing plants. You can choose a harmonious ratio of the height of plants included in the composition using the classical law of the “golden proportion” used in architecture and fine arts. Its essence is that the relationship between two parts of one segment should be the same as between the entire segment and its for the most part(3:5=5:8, a:b=b:(a+b)), as shown in the figure. Applying this principle, it is easy to determine the correct proportions between the high, medium-high and low elements of the created group. The same principle is used to determine the distance between copies.

The concept of contrast and nuance, color composition.

When composing a work, the florist must pay attention to color scheme and contrast to achieve the following:

• rich voltage,
• soft, subtly coordinated accentuation,
• expressive impact of work, for example, a joyful or sad occasion, etc.

Depending on the position in the spectral circle, there are main and mixed colors. The choice of color and its light intensity affects the emotional world of a person, enriching or impoverishing it.
Itten identified the primary colors or colors 1st order – red, blue, yellow.
These colors cannot be obtained by mixing other colors.

By mixing colors with each other we get colors 2nd order (orange, green and purple).

When we combine one primary color and one first-order color, we get colors 3rd order (yellow-orange, blue-violet, yellow-green, etc..)

Emotionally, colors differ from the point of view of excitement and rest, activity and rest.

Active colors(red and yellow) attract more attention and remain in memory longer than passive(blue and green).

TO warm colors These include colors that have red or yellow shades. Environment in which only cool shades, looks faceless, evokes a feeling of cold and emptiness. Warm tones bring objects closer, cold tones move them away. But you shouldn’t overuse warm colors.
Strong brightness excites and inspires a person, weakened brightness calms. A clear, bright and harmonious color composition awakens a feeling of joy and fun.
By changing the light tone of the same color, you can change the perception of space and objects, making them larger or smaller. Light colors expand the space and the works look large. At dark colors less work. This property is often used for deliberate illusory correction of the overall impression.

Contrasts are used in the design of stores, shop windows, restaurants, and interiors, but at the same time, the colors must be harmonious. Lightness, warmth and color saturation are taken into account.
Highlight:

• additional
• qualitative
• warm/cold colors
• strong
• quantitative

Contrasts and harmony of colors:
Strong contrast form first-order colors among themselves (red, yellow and blue). Used in children's bouquets or at exhibitions to achieve maximum effect. With prolonged and intense action, they tire the eyes, so use on a large scale and in large quantities Not recommended.

Extra Contrast – colors opposite each other (yellow and purple). It must be used in proportions (red and green 1:1, yellow and purple - ¼: ¾, blue and orange - 2/3: 1/3).
Strong and additional contrast look better as accents in small rooms.

Harmonious 3-color combination colors can be represented by colors that are determined by inserting a triangle into the color wheel (equilateral - yellow, red and blue; isosceles - yellow, red-violet and blue-violet).

Harmonious 4-color combination – when fitting a square (yellow-green, orange, red-violet, blue) or rectangle (yellow-green, yellow-orange, red-violet and blue-violet) into the color wheel.

5-color combination obtained by adding black and white to a 3-color combination.

6-color combination – when adding a hexagon (yellow, orange, red, purple, blue, green).
Harmony of related colors is a combination of colors that in the color wheel lie between the colors of two primary colors; one primary color can also participate (yellow, yellow-orange, orange, red-orange).

Contrast- this is the difference.
Colors differ according to their properties. At the slightest difference, minor deviations appear and tension in perception arises. Large differences are very intense, and in this case we speak of polar contrast or opposition. The lightness of yellow, for example, looks very prominent next to dull black. And if yellow stands next to light green, its lightness will hardly be noticeable, only the change in color will catch the eye.

Nuance is a weakened contrast that plays the role of hue in the differences of the main contrast. The main contrast requires development, which is realized in nuance. If the main contrast is based, for example, on large (heading) and small (body text) fonts, then it is appropriate to use another font size that is slightly different from the main one to highlight important paragraphs. It will serve as a nuance that will emphasize the main contrast and maintain the unity of style.

When composing a harmonic (nuance) composition, different shades of any one color are used. The color range of plant leaves is very diverse: from silver-green to dark brown. Therefore, it is usually not difficult to select several species or varieties of plants with leaves of different shades of the same color or similar colors.
The possibilities for contrasting flower arrangements are much wider. When composing them, you can widely use variegated plants (royal begonia, dieffenbachia, coleus, arrowroot, etc.), using them to create color spots against the background of plants with uniformly colored leaves. If variegated plants form the basis of the composition, the selection of contrasting plants requires special attention. Against the restless background of variegated plants, plants with large dark green leaves stand out perfectly, but at the same time, species with small leaves can be completely lost.
Expressive floral arrangements can be created by introducing flowering plants into them, which will contrast with the restrained neutral background of decorative foliage plants.
The effect of contrast can be enhanced by combining plants with different textures of leaves and stems in a flower arrangement. The variety of textures of plant leaves and stems creates unlimited possibilities for achieving an artistic effect. Thus, the leaves can be smooth, glossy (ficus, monstera, aspidistra), velvety-pubescent (gloxinia, saintpaulia), folded and corrugated (curculigo).

Color contrasts are the types of color combinations and the degree of their expressiveness. There are 7 types. How to exchange them? Photo

When two opposites are correlated, according to any quality, the properties of each of the group are multiplied. For example, a long strip appears even longer next to a short one. Expensive, designer items look even richer against the background of ruins.
The same principle applies when combining colors; a total of 7 contrast options are distinguished:

is a combination different colors. Its construction is based on theory, which describes the most successful combinations and the method of creating them using geometric manipulations. Often this type is accompanied by other contrasts, for example, light, heat, etc. (see below)

This contrast affects the subconscious. If we consider color as a source of information about the world around us, then such a combination will carry an informational message. (and in some cases cause epilepsy).

Light shades and dark ones create a feeling of light and shadow. This difference is easily discernible by the eye. The main characteristic in it will be the clarity of the lines on the border of light and dark tones. To one degree or another, light-dark contrast is present in almost every combination, but it can be sharp or muted. Its absence can only be said if the combination can be converted to gray and the color border will be indistinguishable.

Combinations built according to this type can add definition to an image or composition. Due to this effect, you can achieve three-dimensionality and realism of the image. It is easily perceived and recognized, which is why it is considered one of the most attractive.

Based on the difference between “inhibiting” and exciting shades and our desire to achieve peace. together they create a harmony of integrity, although, as in any contrast, opposites reinforce each other: cold next to warm becomes even more icy, and warm becomes hot.

This contrast is good for creating images with different activity: from “ snow queen" to "fighter for justice."

is a combination of colors whose waves add up to the gray spectrum. If you mix the colors of two additional colors, then we will get a dirty, brown tint. Such opposite colors are the brightest combination of contrasts in tone. You can find an additional pair on the Itten color wheel: tones that are opposite each other will have the desired properties.

This contrast tends to stability in the same way as the warm-cold one (by the way, it is always present in an additional pair), but if the difference in temperature creates “movement,” then this pair achieves stability. Therefore, these combinations are rarely used in everyday life, since the impression from it may be too vivid.

But in painting this tool is very appropriate.
– it does not exist outside of our perception. It occurs in combination with gray another rich (not monochrome or neutral) shade, when in gray we see an additional tone to it. That is, for example, red and gray, with a quick glance at the gray. in such a neighborhood, we can see a green tone. This is very important, especially when creating small patterns, for example, in textiles. A red and gray tie is an acceptable, formal element of a suit, but if you see a red and green pattern in such a product, the first thing you will feel is confusion, since such a combination is unacceptable for a strict male (and even female) look.
To neutralize the simultaneous contrast, a bit of the neighbor's tone is added to gray; in the case of red, gray will have a warm, subtle lilac undertone. We will not notice this change, but our eye will not misinterpret the neutral color.

This contrast, more than others, confirms the desire of our consciousness for the golden mean.
Check it out for yourself: if you look intently at each gray rectangle in turn, waiting for your eye to get tired, the gray will change shade to a complementary one in relation to the background.

On orange, gray will take on a blue tint;
on red - green;
on violet - yellowish.

They call it a combination of pale and bright shades. It can be composed of shades of one tone, one of which will stand out, as if glowing against the background of the others. The more saturated the hue, the closer it is to the spectral color. However, against a background of pale tones, even just a pronounced midtone will stand out.
Contrast in saturation is present not only in one range, it can also be a combination of different shades, among which there is one that attracts attention.

This contrast can be classified as accentuating. It can be very bright, or it can be moderate. It is used in the creation and selection of various accessories.

7 Contrast in the size of color spots. Based on the quantitative difference between colors. In this contrast, balance or dynamics can be achieved. It has been noted that to achieve harmony there should be less light than dark. This effect was suggested to us by nature and the feeling of relief when seeing light in the dark.

The design layout of any website presupposes the presence of a certain set of elements, from which the interface is made up).

All these elements, based on the interface tasks and user needs, should be located in the layout. It is clear that users, when solving their problems, will consistently pay attention to different elements. It is clear that there are elements that are more important, and others that are less important. To solve precisely this problem - managing user attention - you need to know and be able to apply the basic rules of contrasts.

Your users:

• Not enough button clicks?
• Can't see important information?
• Don't understand where to click?
• Do they leave without taking targeted actions?

Or maybe it's a matter of contrast? Are they simply not paying attention to important elements?

Read simple rules contrasts and look at your website, I’m sure you can find options for improving your interfaces.

And so: contrasting elements on the site can attract more user attention. Let's look at the main types of contrasts.

Size Contrast

Larger objects on the site are perceived better by users, they attract more attention than small ones.


An example of using size contrast is different fonts. More important information appears in large font.

In the example, the heading is in a larger font, so it is more noticeable and readable than the rest of the text. Another example of size contrast can be seen in this same example. The target action is important, implemented by the “Yes” button, larger than the “Cancel” button. This increases the desire to click on it. It is better to make refusal options less contrasting, including due to their smaller size.

Color Contrast

Color contrast is the difference between the brightness of colors. Contrast shows how light or dark a color is.


Contrasting color on websites is used to highlight the main action.
The picture shows the first screen home page AskUsers website, the “Register” button is highlighted in red, it contrasts with the main colors of the first screen - green, black and white.

Shape Contrast

Complex objects evoke more of our reaction than simple ones. We focus our gaze on complex objects longer.

If you need to concentrate attention on an object, you can make it more complex than others, and it will definitely be noticed!

An example of using contrasts of color and shape:

Motion Contrast

Moving objects attract more user attention and will never go unnoticed. To control the user's attention, effectively use animation.


An example is the callback “bouncing tube” that you've probably seen on commercial websites that encourages users to click on it.

Send your good work in the knowledge base is simple. Use the form below

Good work to the site">

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Similar documents

Contrast of statics and dynamics. Tonal contrast (contrast between light and dark). Practical application of contrast in design, its pros and cons. Contrast in graphic design based on the work of Noma Bar, with interior design by Kelly Hoppen.

course work, added 12/30/2013


Contrast emerald in color tone and warmth and coldness. The brightness of achromatic contrast with differences in lightness. Types of color harmonies. Basic principles of color composition. Optical illusions. Figure-ground relationship and depth perception.

presentation, added 01/11/2014


Formal features of the composition of the painting. Integrity, subordination of the secondary to the main. Balance (static and dynamic). Types and forms, techniques and means of composition and their characteristics. The aesthetic aspect of formal composition.

abstract, added 11/20/2012


Problems of composition, its patterns, techniques, means of expression and harmonization. Examples of asymmetrical composition construction. Asymmetry as a way to achieve balance. The subordination of parts is a means of unifying an asymmetrical composition.

abstract, added 10/14/2014


History of floristry, bouquet styles. Forms, rows and types of surfaces in floristry. Grouping of parts of a composition, optical weight and balance, the law of leverage. Symmetry and asymmetry in composition. Characteristics of plant material for flower arrangements.

course work, added 04/30/2014


Methods for creating a composition on a plane using a computer. Characteristics and visual arts compositions. The importance of form for enhancing the emotional impact of a work. Basic principles of its construction, means of achieving harmony.

test, added 02/14/2011


Features of the concept of composition by Volkova N.N. Characteristics of the concept of "composition". The importance of space as a compositional factor according to Volkov’s theory. Time as a composition factor. The role of the subject construction of plot and words according to Volkov’s theory.

test, added 12/20/2010


Ancient Egypt and Greco-Roman antiquity, attitude to color. The era of Empire and classicism, color solutions. Color contrast effect. Color composition: concept, main types. Features of the combination of shades in the interior. General concept about colorism.

Contrasts and nuances in composition

Contrast nuance is the thread that holds all sections of the “composition” together. We are able to see only what is different from the background. The line along the light line is drawn with the dark line, otherwise it will not be visible.

Gradually loosen the pressure on the pencil so that, as it dissolves, the line gently fits into the space of the paper. A line of variable tonality and width receives spatial characteristics. Dark areas that are contrasting to the background seem close to us, but as the contrast weakens, the line moves away. As you can see, contrast and nuance work together here.





The texture of a line can be created artificially, but in most cases it depends on what we draw with and what we draw on. Black charcoal on paper with a rough roughness will produce a jagged line with a characteristic grain. A fountain pen on coated paper will produce a line with smooth edges. There will be a separate conversation about artificial texture.
The textured line contrasts with the smooth one. Both black lines are contrasting to the white paper, and to each other in thickness.

Start listing the types of contrasts. No matter what you mention, there will be two sides of the same coin.
Shape - large and small, simple and complex, dark and light, smooth and rough, transparent and dull...
Color - bright, rich, and dull, colorless, dark, and light, warm and cold...
Mood - calm and excited, grief and joy...

If you are a philosopher, then a different list of contrasting pairs will pop up in your head: light and shadow, truth and lies, order and chaos, life and death. One contrasts with the other and is not separable from the other.























But there are shades, there are nuances of the same phenomenon. They are located between the extreme (contrast) points of this phenomenon. Contrast and nuance are always explored in interaction with each other. We move towards contrast, moving away from nuance, and vice versa, we move towards nuance, moving away from contrast.

It is necessary to highlight the compositional center - enhance the contrasts and soften the surroundings.
You need lyricism and peace, do not overuse contrasts, build the composition on nuances.
Exuberant joy is unthinkable without contrasts of color and tone.
And the depth of space, without the contrast of foreground and background in size, tone, color, detail.

And so, while working on a composition, we remember that we always have a choice between a whisper and a scream, and the whole range of voices in between. We are learning to make choices against the backdrop of established rules! All of life consists of our attempts to break the stereotypes of the past. If it works, you will gain creative freedom and the lifetime contempt of others. But then you can count on immortality.

Basic information about the phenomenon of contrast is provided on a separate page (see link -).







The lines themselves can become the object of the game. You can make them thick, you can tear their edges, change the color or tone.
It may be chaos, but it is organized chaos. The space is evenly filled and limited by a frame. Notice that the straight lines of the frame contrast with the curves inside the frame. The lines of the lower drawing are “picturesquely” distorted, and try not to repeat themselves in their direction.

How can work on this composition develop further? And this is a composition, it has no plot meaning, but there is a decorative beginning.
Does contrast play a role here?
It would seem that the last thing we need is contrast when creating texture (the proposed compositions so far look more like samples of textures).


Consider a very common technique for organizing tangled elements (tree branches, nets, masses of wood shavings, or piles of bricks) into something memorable.








The problem is that a person is able to keep 4 - 7 elements in RAM. Anything beyond that is perceived by the unorganized masses. The despondency caused by apparent monotony must be made expressive and unforgettable.
In such cases, visual division of the composition into two or three large parts is used, absorbing particles of chaos, and spatial stratification. In this form they are accessible to our perception.

We take the first “motif” of tangled lines as a basis.
We didn’t get rid of texture, we made it an element of the composition. The drawing acquired a dynamic rhythm with straight lines contrasting with the grid.

The lower drawing is divided along a pattern curve into two parts in a contrasting tonality.


We use the second motif from the set of curved lines.







You can transform both the background and the decorative motif itself, trying to play up their relationship. And here contrast can play a key role, enhancing or weakening the visibility of certain areas of the composition.
The technique of dividing an array of scattered elements into several clearly readable objects was again used.
As you can see, the works bear little resemblance to multi-figure paintings. And yet, these are compositions.




Don’t be lazy to look at your work more often from a distance, when it completely falls within the field of your sharp vision.


Let's continue to savor the contrast with a group of parallel lines.




We have brought two opposites together, thick and thin lines, and placed them side by side. There was a contrast.




Now let’s squeeze a number of other gradually changing lines between the contrasting lines. The contrast in thickness is softened by intermediate steps; subtle nuances have arisen in the transitions from one line to another. The fading lines make us think about the depth of space. Why? Changing the thickness brightens the lines and makes the objects appear to be in perspective. Take this as a note, it is used often.

Let's try
study potential opportunities a bunch of lines of variable thickness.
We try to stay in the plane, without resorting to angles and light and shade (the specifics of children's drawings).

From a variety of easy-to-make shapes, I chose an oval to attach eyes to it (to me, like children, everything seems animate). This is how objects for creating a composition appeared.
We tried a lot of options and chose two.




In the initial stages of work, I am always drawn to creating a silhouette that is clearly perceived from a distance. Otherwise, after working out the details of the image, everything will be perceived from a distance as a faceless, barely understandable mess.






You can develop a composition using the appliqué technique, pencil, and watercolor, there are no prohibitions.
However, here I rely on a formal graphic language, which has greater clarity in presenting educational material.




Everyone is tired of its contrast, but what can you do, it is present here too, like a juxtaposition of a clear-shaped monolith and openwork-loose formlessness. Bright and dark, thin and dense. For now, let’s not ask ourselves what we are depicting.

At some point, there is a desire to concretize the image and introduce details. Start with the minimum, with something without which the image is simply not recognizable. For beginners, this is a terrible test; they are simply bursting with the desire to draw everything down to the smallest detail.










When the principle of constructing a composition is clear to you (a silhouette drawing and its location have been found), we proceed to the details.
We are trying to add a background in the form of light and thick ribbon lines. They fill the voids of the frame, creating a feeling of openwork. We feel how the space is stratified due to the multiple overlaps of some elements by others. Color also contributes to this. The brightest on foreground, the lightest and least saturated, in the background.





Everyone already understands that hair lines are needed to contrast the silhouette of the head. One large spot without the support of light elements looks dull and boring. Such impulsive ejections of matter from the silhouette are simply necessary; they enliven the picture. Is not special case, the contrast of the density of objects is used in most compositions. Look at the picture with a critical eye, imagine what tones and colors you would choose. It was no coincidence that I chose dark red. It does not break the overall silhouette, it merges with it into a single spot, creating a feeling of backlight.





As soon as the frame was removed, the graphics spread out on the paper. The effect will be enhanced if the graphics in some places exceed the boundaries of the invisible frame. In this form, the design fits well with the font, forming a single whole with it.





If I try to describe in detail each stage of the birth of a composition, it is solely for the convenience of readers. Real work is subject to the impulses of the soul, flashes of inner insight. Often, the imagination clings to an insignificant trifle, and following its will, you forget about the memorized sequence in your work, trying to quickly record a vaguely felt idea on paper. The idea is everything! If it exists, everything else is a matter of technique. The technique of “orchestration” associated with the design of an idea into a “marketable” form will be discussed on other pages.
I had to bring a few pictures “to mind”, but not to abandon the matter halfway.



_________________________________________________

Think about contrasts and nuances when considering works of art. We become smarter not only in the process of personal practice, but also in the process of studying the world's masterpieces. In our work, we rely on our ideas about correctness and incorrectness, and they are formed over the years. Learn to find the use of contrasts from masters, and learn to apply them yourself. Just remember, you have contrasts - faithful allies in work, companions of richness and brightness, antipodes of dullness and boredom.