We do not see the individual dots printed in magazines or on our monitors, but we optically average those dots into a single color response. For example, a printer might use red and blue dots on a page and we observe the color magenta. When it comes to lighting, the uses of color in design for the theater are limitless. However, to create a color design that works harmoniously with the on-stage elements, a few fundamental questions need to be addressed first. In nature, where every possible hue as well as all the tints, shades and tones of these hues exists, there is no such thing as antagonistic color.
All colors are in harmony and are to be seen with all other colors without any unpleasant results.
If nature can do this then there should be no taboo against particular hues or colors and color combinations in our design work. We should be able to give free reign to our imagination within the broad limits of good composition. Generally speaking, there are two broad generalizations to keep in mind when using color. The opposite is also true, that complementary colors provide a vigorous, almost tonic sense to a look. And as a hue is saturated away from its brilliant state there is a growing affinity between all colors.