Ok, so both contrasting colours and balancing of colours are important when creating colourschemes, in this third and last part of the colour theory summary, we look at how to position colours on your mocs.
Like with contrast and balance it is worth considering colour positioning as a linear scale from scattered to grouped. Both extremes have their possibilities and drawbacks:
Grouping: Mocs with extreme grouping of colours can easily end up breaking apart visually because the coloured sections simply don’t look as parts of the same whole: consider a moc with two strong colours in either end: the design have to be very homogenous to keep the isolated sections together.
The more dissimilar the colours are, the more pronounced this effect would be, while more harmonious colours will decrease it. Contrasting colours might go both ways as they are both attracting and repelling each other.
Scattering: While extreme grouping tend to polarize the design into isolated sections, too much scattering simply dissolves the moc into a flickr of colours that confuse the eye. Frankly I’m not sure that pronounced scattering is generally good for anything, although Peter L. Morris has made some pretty cool fighters with patchy colouring.
Both grouping and scattering of colours have their benefits, but how do you control it? Here’s two suggestions:
Patterning: is a good way to organize an otherwise messy-looking scattered colourscheme: arrange the colours into stripes or other designs repeated across the moc: bonus points for creating logos or symbols and repeating the colours at other sections of the craft.
Bleeding (or inter-penetration): is a good way to break up larger chunks of colours by infusing sections or lines from the surrounding areas or colour-chunks – like a jigsaw puzzle.
That should be the basics when it comes to colour positioning, I hope you’ll mix the concepts freely – how about a colourscheme with a few larger chunks of colours connected by stripes spreading all over the moc?
Simultaneous contrast: A final little trick from colour theory relevant to colour positioning is simultaneous contrast:
Basically simultaneous contrast is about how colours affect each other when placed in close proximity: as I mentioned in the last blogpost about colour balance, lighter and darker colours need to be added in unequal amounts to appear balanced – when you place a bright colour next to a darker one, the brighter colour will shine while the darker colour will vane. This effect is especially pronounced when it comes to contrasting colours:


Yellow sections within a larger purple block will shine, while the reverse will result in a dull greyish purple sections within the yellow, and the same thing happens when you position blue and orange next to each other.


Red and green doesn’t behave this way because they’ve almost got the same brightness, so the most pronounced effect here will be a vibrant, almost glowing seam between the colours (no it isn’t just bad jpg-compression ;-) – which is probably one of the reasons why The Lego Company haven’t changed the Octan stripe and logo for years.

Ok, that was all the colour theory I’d dug up, but as soon as I’ve figured out precisely what to search for and have the time, I’m planning to create a small collection of mocs with interesting colourschemes for inspiration. You can see the previous posts on the subject here:
Colours - bad or misunderstood? (why do we leave most of our collection unused?)
Colourscheme part 1 - Introduction and conttrast
Colourscheme part 2 - Colour balance
Eventually I hope to assemble and rewrite the whole lot into a five-part tutorial for the article-section, but I’m awfully busy with real life stuff, and other lego projects are queing up. Anyways, happy Christmas and keep building!