COLORS

Colour is not just a physiological reaction, a sensation resulting from different wavelengths
on receptors in our eyes, but has an effect on our feelings, behaviour, well-being and
preferences as well as choices.
“It is stimulating, calming, expressive, disturbing, impressionable, cultural, exuberant, and
symbolic. It pervades every aspect of our lives, embellishes the ordinary, and gives beauty
and drama to everyday objects”.
“Colour can sway thinking, change actions, and cause reactions. It can irritate or soothe your
eyes, raise your blood pressure or suppress your appetite. When used in the right ways, colour
can even save on energy consumption”.
The most important functions of colours are to provide visual and psychological information
that generates reactions from a viewer. As a powerful form of communication, colour is
irreplaceable. Red means “stop” and green means “go.” Traffic lights send this universal
message. Likewise, the colours used for a product, packaging, marketing, building interiors,
etc. cause powerful reactions. Hence, the artist, architect or designer can provoke various
responses and so become the controller of what that viewer perceives.

Colour Description: - Properties of color

To give a precise description of a colour can be difficult. Colour has four distinct properties:
hue, value, saturation and temperature. To understand colour you must understand how these
four properties relate to each other.

• Hue: The name of the colour

• Value: The lightness or darkness of hue
• Saturation or intensity (chroma): The purity of hue, brightness or dullness
• Temperature: The warmth and coolness of hue

Hue:
A hue name is the name of the colour which is used to describe a particular wavelength. The
average person can distinguish about 150 colours (hues) of light and everyone can be
described using one or two of only six words- Red, orange, yellow, green, blue and violet. A
colour is usually called by the name of its most obvious, or dominant, hue. A hue without any
white, black, grey or complementary in it is called a pure hue. Different hues can be obtained
by mixing two primaries, two adjacent colours or two complementary colours in equal or
unequal proportions.

• Chromatic: Having hue

• Achromatic: Without hue
• Polychromatic: Having many hues
• Monochromatic: Having one hue only

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Value:
Value is concerned with the light and dark properties of colour. All colours exhibit these properties. The
hues have a natural value where they look the purest. Some colours, like yellow, are naturally light.
Some, like violet, are darker. All hues can be made in all values. Adding white paint will make any
pigment lighter. Adding black paint will make most pigments darker, but will cause yellow paint to shift in
hue to green. Value can exist without hue (see achromatic). Black, white and gray are values without
colour. White is the highest possible value while black is the lowest. Gray as the midpoint between black
and white, is a medium value, neither dark nor light.

Tints, Shades & Tones:

• Tints and Shades:

Pure hues are often diluted to change their value to make them lighter or darker. A tint is a
hue that has been made lighter (by adding white). A shade is a hue that has been made darker
(by adding black). Tinting a colour retain the hue while making it more light-reflecting. In
contrast, shades reduce hue experiences. Black absorbs all wavelengths of light and hence,
reduces light reflectance, dull and muted.

• Tones:
There is no really satisfactory definition for “tone.” It is defined as “pure colour diluted by black or
white,” which we know as a tint or shade. A second definition states that tone is “one hue modified by
another” (as in “this is a blue tone that is a greener one”). The third meaning is given as “a hue muted
by gray.” Each definition means a modification of hue, but each means a different kind of modification of
hue. The first means dilution by changing value, the second means dilution by changing hue, the third
dilution by adding gray.

Intensity/ Chroma/ Saturation:

The third descriptive quality of colour is

saturation, or chroma or intensity. It defines
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the degree of purity of a hue or the contrast between dull and vivid (bright).The beginning of
a saturation scale is a colour that is hue- intense. The end step is a colour so muted that its
hue can just be identified.

Temperature:

The temperature of a colour is its relative

warmth or coolness. Cool and warm are two
opposing qualities of hue. Cool colours contain
blue or green: blues, greens, violets, and steps
between them. Promotes the feeling of
cleanliness, freshness, cold, calm serenity, trust

and relaxation.

Warm colours are reds, oranges, yellow, and steps between them. Colour temperatures affect
us both psychologically and perceptually. They help determine how objects appear positioned
in space. Suggest warm and heartfelt emotions. Evoke strong emotional response and
stimulate physical activities. Express an aggressive feel or to create and emphasis.
Warm colours are said to advance (they appear closer to the observer). Cool colours tend to
recede (they appear farther from the observer).

 Types of Colour Wheel:

The artist color wheel (based in blue, red, and yellow) predates modern science and was
discovered by Newton’s prism experiments.

There are two basic color models that art and design students need to learn in order to have an
expert command over color, whether doing print publications in graphic design or combining
pigment for printing. These two color models are:

1. Light Color Primaries (Red, Green, Blue)

2. Pigment Color Primaries (Cyan, Magenta, Yellow)

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The colour wheel is a visual representation of colour theory. The different types of colour
system/ wheels are:

 The Pigment wheel and The Process wheel ( additive and subtractive color)
 The Munsell system/ wheel
 The Prang color system/wheel

 The Pigment Wheel:

The pigment wheel works with

subtractive colours and gives
information about the colour
reactions when they are actually
mixed.
 The Process Wheel-

The Process Wheel has yellow,

magenta and cyan as the three
basic primaries that result in
purer hues when mixed as
contrast to Pigment Wheel. This
system is used in printing and
photography.

Additive (Light) Color Primaries

Red, green, and blue are the primary colours of light—“They can be combined in different
proportions to make all other colours. For example, red light and green light added together
are seen as yellow light. This additive color system is used by light sources, such as
televisions and computer monitors, to create a wide range of colours. When different
proportions of red, green, and blue light enter your eye, your brain is able to interpret the
different combinations as different colours.”
Source: Harvard—Smithsonian Centre for Astrophysics
Additive (Light)-
 Color is transmitted through transparent media.
 All colours added together = white.
 The absence of light = true black.
 Because computer graphics, websites, and other digital presentations are
projected/transmitted with light, screen-targeted graphics should be saved in this color
model, or “RGB Mode.”

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 IMPORTANT: Note that when RGB’s primaries are mixed evenly that they
create the secondary colours of our next color model, CMY (Cyan, Magenta, and
Yellow)!

Subtractive (Pigment) Color Primaries

However, there is another set of primary colours with which you may be more familiar. The
primary colours of pigment (also known as subtractive primaries) are used when producing
colours from reflected light; for example, when mixing paint or using a color printer. The
primary colours of pigment are magenta, yellow, and cyan (commonly simplified as red,
yellow, and blue).
Pigments are chemicals that absorb selective wavelengths—they prevent certain
wavelengths of light from being transmitted or reflected. Because paints contain pigments,
when white light (which is composed of red, green, and blue light) shines on colored paint,
only some of the wavelengths of light are reflected. For example, cyan paint absorbs red
light but reflects blue and green light; yellow paint absorbs blue light but reflects red and
green light. If cyan paint is mixed with yellow paint, you see green paint because both red
and blue light are absorbed and only green light is reflected.
Source: Harvard—Smithsonian Centre for Astrophysics

Subtractive (Pigment)-
 These primaries are ultimately derived from the RGB model as secondary
colours. The main reason they are promoted to having their own color model is
because it is from CMY that we can create all other printable colours. Remember
that, ultimately, without the existence of RGB light wavelengths, we would see nothing.
 Color is absorbed by and reflected off of media.
 Because these colours are achieved via reflection, we assume a pure white ground as
the base filter for pure colours.
 All colours added together = near black.
 To achieve true black, pure black must be added, thus giving us the CMYK model
(K=black). This is the standard color model for most printing, thus graphics for print are
typically prepared in “CMYK Mode.”
 While most printers recognize this model as the standard pigment model, the
traditional artist Color Wheel substitutes blue as the Cyan primary and Red as the
Magenta primary, resulting in slightly different secondary and tertiary results.

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• The Munsell Wheel:

Munsell developed a Partitive colour

system based on five primary hues –
yellow, red, green, blue and purple. His
colour system was based on after image
perceptions that are derived from hues
that we see in nature. He set each after
image as the compliment to the primary
hues.

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 PRANG COLOR SYSTEM

In 1660, Sir Isaac Newtown directed a beam of

light through a prism which created a rainbow
effect – the light was split into a spectrum of
colours which was linear with red tones at one
end and violets at the other. By joining the two
ends of the spectrum Newton formed the idea of
the color wheel.
M. E. Chervil (1786-1889) was a French chemist
and head of dyestuffs at the Gobelin Tapestry
Works. In 1825 he published The Principles of
Harmony and Contrast of Colors, which
expanded on the color wheel theory.
In 1876, Louis Prang (1824 -1909) advanced color wheel theory and developed a color wheel
which is commonly known as the Artist's or Prang color wheel. Prang's system was the first
workable system to reproduce color in print.
The color wheel consists of three primary colours: red, yellow and blue, between the
primary colours there are three secondary colours: orange, purple and green. These
secondary colours are created by mixing the two neighbouring primary colours.

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Tertiary or intermediate colours are created by mixing a primary and a secondary color.
The tertiary colours are: yellow-orange, yellow–green, blue-green, blue-violet, red-orange,
and red- violet.
Working with the color wheel as a guide there are several types of color harmonies or
schemes that can be created:

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COLOR SCHEMES

Chromatic, Achromatic, Neutral:

 Achromatic Colours: in Greek it

means without colours: Black,
white and grey colours

 Chromatic Colours: chromatic

color is a color which has even the
slightest amount of hue that is any
colours other than white, grey and
black.

 Neutral colours: Mixture of chromatic

and achromatic colour will partially
neutralize the resultant colour. White
with any small amount of color is
considered neutralized.

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 Polychromatic colours- The term
polychromatic means having several
colours. It is used to describe light that
exhibits more than one color, which also
means that it contains radiation of more
than one wavelength. For e.g. Rich
colourful gardens are polychromatic. This
type of design can be festive.

 Monochromatic colour- this colour scheme uses

only one color from the wheel. It has many values
of a single colour. They are developed from a
single hue. Different tints and shades are used.
They May be enhanced by texture, metal, glass
and fabrics.

 Analogous color- schemes are also referred

to as Harmonious schemes; the colours used
are adjacent to each other on the color
wheel. Three to six colours are used with
one predominating. Success with this type of
scheme relies upon using a variety of values
and intensities and varying proportions of
each color.

 Complimentary schemes use colours that

are opposite on the color wheel, opposites
intensify each other. There are several
variations of complimentary schemes:

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Direct compliment –uses pairs exactly opposite such as red and green.

 Split compliment – the

base hue and the two
colours on each side of
the compliment such as
green, red-orange and
red-violet.

 Double compliment – would be two pairs

exactly opposite such as red and green
with blue and orange.

 Triadic complement – uses three

colours equidistant on the wheel such
as green, orange and violet.

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  Tetrad color scheme- The square or rectangle may be
rotated at will, with each resulting 4 colours creating
new harmonious tetrad colour schemes.

The result will also vary in boldness and sophistication based

on which pairs you choose. When you use pairs of Primary
Colours and Secondary Colours as we have here, the
resulting colour scheme will be more vibrant and bold.

It is believed that complimentary schemes more beautiful

than analogous schemes. All schemes are more aesthetically
pleasing when used in unequal proportions with one color
dominating.

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EFFECTS OF COLOR

Color by the Size

Color is the least expensive way to remodel a room to fit any lifestyle. Color is a subtle, yet
fundamental, design element. When used properly it changes the room from a space to an
experience. Color and harmony enhance the aesthetics of the home and provide cohesion of
design. Color schemes can be generalized in a few categories: geographic location, area of
the house, room style, mood, and light. Color choices can alter a room’s proportions.

COOL COLORS
Blues and greens recede, because walls painted in cool
colors appear more distant than they really are. Cool
colors can make a small room seem larger.
WARM COLORS
Reds and yellows advance a room. Walls covered in warm
colors seem to move inward making a large room appear
smaller. Warm colours are energetic and intense and
attract attention.

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LIGHT COLORS
Cool colours are calm and soothing. The lighter palette reflects more light and makes a
room feel more expansive.
DARK COLORS
 The darker hues can make the same room intimate.
 To create the illusion of raising a low ceiling, select a paint color that is lighter than
the walls. Conversely, a high ceiling can be lowered by not only selecting a tone that
is darker than the walls, but painting it down to either picture or plate rail height.
 To make a large floor surface seem smaller, paint or select a floor covering that is
darker than the room’s walls. The floor color will define the boundaries of the room
moving the eye downward.
 If you need to shorten a narrow room or a long hallway, paint the end walls in a
warmer or darker color than the side walls. The distance between the end walls will
appear to decrease. To widen a room or hallway, use light colors on the walls,
ceiling, and floor.
 To make a square room seem more interesting, paint one wall a focal or accent color.
A single dark wall will create the illusion of moving into the room; a single light-
colored wall will push outward. Window walls will appear darker because they
receive only reflected light.
 Paint’s finish will also influence the proportions of a room. A matte or flat finish will
reflect the least amount of light making a room seem slightly smaller. While high
gloss paint is the most durable and reflects the most light, it is seldom used to make a
room look larger because it also highlights surface imperfections. In a small room,
eggshell and satin finishes are often selected.
Consider the paint color in the context of the room’s lighting. Incandescent light
emphasizes the yellow and red spectrum making those colors more intense.
Fluorescent lights that are not color corrected to mimic daylight will have a cold,
blue effect on color. Daylight will influence color depending on the time of day.
Note- A room with southern exposure will feel cooler and larger when painted in
refreshing blues and greens. A room with southern exposure painted in warm colors will
appear warmer and smaller. A space with northern exposure will appear warmer and
smaller painted in yellows and reds.
Finally, keep in mind that the color on a paint chip will seem less intense or lighter than the

color applied to e3ntire wall

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COLOR IMPACTS MOOD

Artists and interior designers have

long believed that color can
dramatically affect moods, feelings,
and emotions. "Colours, like
features, follow the changes of the
emotions," the artist Pablo Picasso
once remarked.

Color is a powerful communication

tool and can be used to signal action,
influence mood, and even
influence physiological reactions.

Color Psychology as Therapy

Several ancient cultures, including the Egyptians and Chinese, practiced chromo therapy,
or the use of colours to heal. Chromotherapy is sometimes referred to as light therapy or
colorology and is still used today as a holistic or alternative treatment.

In this treatment:

 Red was used to stimulate the body and mind and to increase circulation.
 Yellow was thought to stimulate the nerves and purify the body.
 Orange was used to heal the lungs and to increase energy levels.

 Blue was believed to soothe illnesses and treat pain.

 Indigo shades were thought to alleviate skin problems.

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