"The complementary-harmony school of colorists is based primarily on specific color systems or concepts, namely, the and Itten's color circle, Ostwald's color system... uses a more subjective criterion... Harmony is in the eye of the beholder. Opposites on the Ostwald color circle will neither mix into grays nor lend themselves to s... equal harmony equals balance, according to the traditional school... Noncomplementary colors equal assymetry equal tension, according to the modern school. But... these two frameworks do not take into consideration the eclectic approach, which utilizes neither... but, rather, is based on the demands of the space, subject matter, light, sequence of... applications and... interpretation of the overall tasks. ...[A] whole new generation of designers and colorists appears to have heard nothing of these rules. The increasing use of asymmetry... is creating a new design idiom."