COLOR PLANNING FOR INTERIORS JOSHIMA V.M., UON.

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1 COLOR PLANNING FOR INTERIORS JOSHIMA V.M., UON.

2 COLOR CONCEPTS & SYSTEMS 1. Additive mixing 2. Subtractive mixing 3. Munsell color system 4. Pantone System 5. Artist s circle 6. Traditional color schemes 7. Itten s contrast

3 ADDITIVE MIXING This describes color mixing with light in medias like televisions and computer monitors. When combined, the additive colors create white light, reflecting all wavelengths. RGB makes digital imaging possible. Eg: Mobile phones, Laptops, TVs etc. YELLOW MAGENTA WHITE CYAN

4 SUBTRACTIVE MIXING Subtractive mixing happens in pigments, dyes and printing processes. Subtractive colors mix to be black, absorbing all wavelengths. Red- Green-Yellow are the primary colors for pigments. Which when combined together give brown instead of black. So for printing purposes, another 4 primary colors are used. CMYK- Cyan-Magenta-Yellow-Black CMYK makes color printing possible.

5 PIGMENT COLORS YELLOW ORANGE

6 PRINTING COLORS

7 MUNSELL COLOR SYSTEM Alber Munsell proposed a color system to standardize color measurement and communication. Munsell color system is a color space that specifies colors based on three color dimensions: hue, value (lightness), and chroma (color purity).

8 Munsell system contains 5 principle colors- red yellow green blue purple. And 5- intermediate hues. This system defines Tint, Shade and Tone in relation to value and chroma.

9 PANTONE SYSTEM The company Pantone offer commercial specification guides for printing inks and other color related services like paints and fabrics. Company is noted for its Pantone Matching System (PMS). Pantone has combines pigments to make colors that is not possible with CMYK process.

10 ARTIST S CIRCLE Artist s circle is also known as color wheel is an example of a subtractive system containing primary pigments of Red, Yellow and Blue.

11 TRADITIONAL COLOR SCHEMES Artist s circle is used to create color schemes based on principles of balance.

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14 ITTEN S CONTRAST More insightful observation of color were formulated by Bauhaus instructor Johannes Itten. Itten created his own variation of the artist s circle. He enumerated 7 types of color contrast found in 2-dimensional applications.

15 7 TYPES OF COLOUR CONTRASTS 1. Hue contrast 2. Temperature contrast 3. Value contrast 4. Saturation 5. Compliments 6. Simultaneous contrast 7. Extensions

16 1. HUE CONTRAST Alternating different hues to create contrast in the interior. The greater the distance between hues on a color wheel, the greater the contrast. A great is example is black-white or even yelllow-red-blue.

17 2. TEMPERATURE CONTRAST Colour temperature refers to the perceived warmth or coolness of a hue. Temperature contrast refers to creating contrast by evenly distributing cool colours and warm colours. It s greatest effect is achieved with the colours orange-red and blue-green.

18 TEMPERATURE CONTRAST Warm colours are made with orange, red, yellow and combinations of them all they remind us of sunlight. Cool colours, such as blue, green and light purple have the ability to calm and soothe and they remind us of water and sky

19 3. VALUE CONTRAST It is based on the use of different brightness and tone values of the colours. All colours can be lightened with white, and darkened with black. Eg: Contrast of light and dark between colours in a room is used to create visual patterns.

20 4. SATURATION CONTRAST This is a contrast between luminous and dull colours. Some colours by nature are more saturated than others. eg. Yellow is more saturated colour than purple. A highly saturated hue creates focal point in many natural and built environment.

21 5. COMPLEMENTS In the colour wheel, the complementary colours occupy opposite positions. Complimentary colours placed side by side creates contrast. Example: Yellow-violet Blue -orange Red-green

22 6. SIMULTANEOUS CONTRAST Its effect is derived from the law of complementary colours, according to which each pure colour physiologically demands its opposite colour its complement. If this colour is absent, the eye will produce it simultaneously. Eg: Strong green makes neutral grey next to it appear reddish-grey, whereas the effect of strong red on the same grey is a greenish-grey appearance.

23 7. EXTENSIONS Contrast of extension emphasis colours in relation to one another. This is also known as contrast of proportion. It involves the proportion of colours used. Two factors determine the force of a pure colour> its brilliance lightness of value and its extent.

24 PSYCHOLOGY OF COLOURS RED Red is the colour of fire and blood, so it is associated with energy, war, danger, strength, power, determination, as well as passion, desire and love. It is a very emotionally intense colour and enhances the human metabolism, increases the respiration rate and raises the blood pressure. In decorating, red is usually used as an accent.

25 ORANGE Orange combines the energy of red and the happiness of yellow. It signifies joy, sunshine, enthusiasm, success, stimulation. Orange increases the oxygen supply to the brain, has an invigorating effect and stimulates mental activity. As red, orange in decorating is used most as an accent.

26 YELLOW Yellow is the colour of sunshine and it's associated with joy, happiness, intellect and energy. It produces an warming effect, arouses cheerfulness, stimulates mental activity and generates muscle energy. While it's considered an optimistic colour, people lose their tempers more often in yellow rooms and babie will cry more. It's a difficult colour for the eyes, so not to over use it.

27 GREEN Green is the colour of nature and it symbolizes growth, harmony, freshness and fertility. It has a great healing power and it's the most restful colour for the human eyes.

28 BLUE Blue symbolizes trust, loyalty, wisdom, confidence, faith and truth. It's considered beneficial for the mind and the body, it slows the metabolism and has a calming effect. It's a colour that produces tranquility and calmness. Blue can also be cold and depressing.

29 PURPLE Purple combines the stability of blue and the energy of red and it symbolizes power, nobility and ambition. It is often associated with wisdom, creativity, mystery and magic and it is rare in nature.

30 WHITE White is considered to be the colour of perfection. It means safety, purity and cleanliness and has o positive connotation. In decorating, white is popular because it is light, neutral and goes with everything.

31 BLACK Black is associated with power and elegance, but also with evil and death. It is a mysterious colour, associated with fear and the unknown. In decorating, it is used as an accent colour, because it darkens the room.

32 COLOR PLANNING FRAMEWORK 1. Color as Composition, shaping space. 2. Color as Communication, creating meaning. 3. Color as Preference, reflecting individuality or market trends. 4. Color as Response, arousing feelings and responses. 5. Color as Pragmatics, responding to resource parameters.

33 1. COMPOSITION To work with color as composition elements, one need to integrate color, lighting and materiality. eg: white color wall can be red based or blue based with reflecting or diffusing surface. Color grouping in composition can be effective in : 1. Unify the exterior with interior 2. Visually connect different interior spaces 3. Create focal points 4. Camouflage areas within interiors Key concepts for color composition are complexity, balance, contrast, relationships, interaction and integration.

34 2. COMMUNICATION Colors are used to communicate meanings to people. Symbolic meanings and subtle connections are also expressed through colour usage. Key concepts for colour communication are identity, concept, ambiance, time and place.

35 3. PREFERENCE Color preferences influence the design process. Individual preferences can also be influenced by market trends and cycles which encourage selection of current color and finishes. Key concepts: signature colors, personal identity and market color.

36 4. RESPONSE Relationship between color and human response is tangible and not fully understood. It can be from arousal of emotions to navigation of buildings. Key concepts: physiological, psychological and behavioral responses.

37 5. PRAGMATICS Color in design also reflects practical reality. Resource constraints makes to use less expensive materials and finishes in given color range. Preconditions in reuse buildings and maintenance issues also effect. Key concepts: resources, preconditions, maintenance and sustainability factors.

38 CASE STUDIES

39 1. COLOUR PROGRESSION & TRANSITION Colours can enliven transitional spaces through which people move to their destinations. O Hare Airport in Chicago contains an automated walkway between terminal 1 and 2. designed the space with kinetic optical lights that pulsate in rhythm with music. Contains angled mirrors and coloured lights, and filled with sounds of native birds.

40 2. INTEGRATED COLOUR Project: BellSouth Corporation, Atlanta Colour is used to unify, create progressions and spatially zone the large building on several levels. 1. Connect with urban setting. 2. To develop a sense of progression within interiors. 3. Unify areas and create areas of emphasis. 4. Communicate corporate mission. 5. Spatial zoning by activity and function.

41 The exterior glass walls exposes the red walls to visually connect with the passer by and contrast the surroundings.

42 This red band is connected to a stripped band of yellow, orange and green. In the less public areas the red bands leads to a more complex colour and material palette. Red continues into the selfservice area of the cafeteria as one hue in a tile mosaic of green and neutrals.

43 Transitional spaces has more neutral colour appearance with red toned wood, glass and metallic finishes.

44 In the deeper formal areas green is more predominant with red used in the ceilings.

45 CONFERENCE ROOM Conference rooms are more subdued to support the lower lighting levels.

46 3. BOLD COLORS Project: Mexican Grocery Colour was used to clearly demarcate product zones and circulation pathways with strong accent colors, bold graphics and signage.

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49 4. PRAGMATICS Project: K8 school, New Jersey Focus of this project was to educate children regardless of income. No expensive finishes or installations were used.

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51 Different traditional warm and cool color schemes were employed for different grades of classes. Materials were left with less finishes.

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