MGP said: "A chef for instance would know what ingredients give what flavours in order to balance a dish, this really is no different."

To follow your analogy, I think of the whole color balance thing as just one of the ingredients contributing to the balance, playing off some of the other "ingredients" mentioned in another post (fit, fabric, emotions, context, etc.).

To make things a little more murky, the importance of color relative to the other variables also varies upon circumstance, mood, etc.

Finally like all rules or guidelines (or systems, or whatever you might want to call them) artistry and stimulation are more often achieved by inspired undermining of such guidelines than by adherence to them.

So I am enjoying your color education and it will probably influence me at some level but I doubt consciously, as thinking too much about such things kinda kills the moment.

I'd also say that if you are interested, learn it, it is really not difficult, and the more you consider it, the more it tune your instincts, so you can enjoy creating on an intuitive level.

I think Bruce Lee's opinions on learning are worth considering, as I agree all this should be is a foundation to free expression, but an informed expression.

The Three Stages of Cultivation — The first is the primitive stage. It is a stage of original ignorance in which a person knows nothing about the art of combat. In a fight, he simply blocks and strikes instinctively without a concern for what is right and wrong. Of course, he may not be so-called scientific, but, nevertheless, being himself, his attacks or defenses are fluid. The second stage — the stage of sophistication, or mechanical stage — begins when a person starts his training. He is taught the different ways of blocking, striking, kicking, standing, breathing, and thinking — unquestionably, he has gained the scientific knowledge of combat, but unfortunately his original self and sense of freedom are lost, and his action no longer flows by itself. His mind tends to freeze at different movements for calculations and analysis, and even worse, he might be called “intellectually bound” and maintain himself outside of the actual reality. The third stage — the stage of artlessness, or spontaneous stage — occurs when, after years of serious and hard practice, the student realizes that after all, gung fu is nothing special. And instead of trying to impose on his mind, he adjusts himself to his opponent like water pressing on an earthen wall. It flows through the slightest crack. There is nothing to try to do but try to be purposeless and formless, like water. All of his classical techniques and standard styles are minimized, if not wiped out, and nothingness prevails. He is no longer confined.

Last edited by My Grandfather's Pants (2012-12-27 07:13:32)

You should read up on Pollock's work and fractals.

Also what you say is true, colour is only a factor in dressing, but I'd say quite a big one, just in the same way rhythm is important to melody.

Or a better analogy is cooking, texture, taste, colour. There is an array of things to balance. First probably being the fit, so proportions. But for me colour has a special appeal. It can ruin an outfit just as much as a poor fit.

Flusser! That's the one I meant was pre-op!

I've never read the book so I can't comment, I would say avoid dressing to your skin's natural tone, so I avoid, pinks and yellows (not jaundice). It's strange really cause my tailor at work is black and he also looks crap in the same colours I do, even though we have completely different complexions.

^They have been doctored, which utterly undermines the slim truth they are supposed to reveal. It's not total tosh though - some colour schemes are more flattering than others, dependant on complexion and hair colour etc. Still, not really to be considered unbreakable rules and to be allowed to dictate your choice of tie.