COLORS

Ar. Diane A. Jose

Definition
Color
Derives from the spectrum of light (distribution of
light energy versus wavelength) interacting in the
eye with the spectral sensitivities of the light
receptors..
receptors
Mr. ROY G. BIV
A COLOR IS DESCRIBED IN
T HREE (3) WAYS :
 Shade, Tint and Tone
are terms that refer to a variation of a hue.

Tone: A hue produced by the

addition of gray.

Shade: A hue produced by Tint: A hue produced by the

the addition of black. addition of white.
SUBTRACTIVE COLOR. When we mix colors using paint, or
through the printing process, we are using the subtractive
color method. Subtractive color mixing means that one begins
with white and ends with black; as one adds color, the result
gets darker and tends to black.
ADDITIVE COLOR. If we are working on a computer, the colors we
see on the screen are created with light using the additive color
method. Additive color mixing begins with black and ends with
white; as more color is added, the result is lighter and tends to
white.
There are 12 colors in a standard color wheel that are divided
into three designations
designations:: primary colors, secondary colors, and
tertiary colors
colors..
Primary Colors

The next aspect to the color wheel is creating the

secondary colors. These colors are placed in
triangles above the corresponding primary color
combination. This system of color mixing is known as
the subtractive process, because the resulting
secondary color subtracts or absorbs even more
waves from the white light than the first color did.
Secondary Colors

The secondary colors are:

•orange (mix red + yellow)
•green (mix yellow + blue)
•violet (mix blue + red)

These secondary colors are also known as

The final step to creating the 12 step color wheel will be to create
a ring around the newly formed primary and secondary color
form. Divided into 12 equal segments, the primary and secondary
colors shall be repeated to their corresponding segment within
the surrounding ring. This will leave a blank segment between
every two colors. In these blank segments the tertiary colors will
be created.
Tertiary Colors

The are: yellow-orange, red-orange,

red-violet, blue violet, blue-green, and yellow-green.

The sequence of colors on the color wheel

should resemble that of the rainbow.

We can now use our color wheel as the basis

to understanding color and color
combination techniques.
In color theory, a color scheme is the choice of
colors used in design for a range of media.
 T YPES OF C OLOR S CHEME

Analogous:
Colors that contain a common hue
and are found next to each other on
the color wheel, e.g., violet, red-
violet, and red create a sense of
harmony. Remember adjoining colors
on the wheel are similar and tend to
blend together. They are effective at
showing depth.
 T YPES OF C OLOR S CHEME

Monochromatic:
One color. A monochromatic color scheme
uses only one hue (color) and all values
(shades or tints) of it for a unifying and
harmonious effect.
 T YPES OF C OLOR S CHEME

Neutral colors:
Contain equal parts of each of the
three primary colors - black, white, gray, and
sometimes brown are considered "neutral".
When neutrals are added to a color only the
value changes, however; if you try to make
a color darker by adding a darker color to it
the color (hue) changes.
 T YPES OF C OLOR S CHEME

Warm colors:
Suggest warmth and seem to
move toward the viewer and appear closer,
e.g., red and orange are the colors of fire.
 T YPES OF C OLOR S CHEME

Cool colors:
Suggest coolness and seem to
recede from a viewer and fall back, e.g.,
blue and green are the colors of water and
trees).
 T YPES OF C OLOR S CHEME

Complementary:
Two colors opposite one another on the color wheel,
e.g., blue and orange, yellow and purple, red and green.

When a pair of high intensity complements are

placed side by side, they seem to vibrate and draw attention to
the element Not all color schemes, based on complementary
colors are loud and demanding -- if the hues are of low-intensity
the contrast is not too harsh.

Intensity can only be altered by mixing a color with

its complement, which has the effect of visually neutralizing the
color. Changing the values of the hues, adding black or white,
will soften the effect.
 T YPES OF C OLOR S CHEME

Triard:
A color triard is composed of three
colors spaced an equal distance apart on the
color wheel. The contrast between triard colors
is not as strong as that between complements..

Primary - red, yellow, and blue

 T YPES OF C OLOR S CHEME

Triard:
Secondary - by mixing two primary colors,

green – orange - violet

 T YPES OF C OLOR S CHEME

Triard:
Intermediate - colors are created by mixing a
primary and a secondary: Red-orange, yellow-
orange, yellow-green, blue-green, blue-purple,
and red-purple.
 T YPES OF C OLOR S CHEME

Split-Complementary
Split complements - the
combination of one hue plus the
hues on each side of its
complement. This is easier to work
with than a straight complementary
scheme. It offers more variety,
e.g., red-orange, blue, and green.
 T YPES OF C OLOR S CHEME

Double-Complementary
Double complementary - two
adjacent hues and their opposites. It
uses four colors arranged into two
complementary color pairs. This
scheme is hard to harmonize; if all
four colors are used in equal amounts,
the scheme may look unbalanced, so
you should choose a color to be
dominant or subdue the colors.
 COMPOSITIONAL
EFFECTS OF COLORS

• Spatial Effects

• Balance and Proportion

 Saturation is the relative brilliance or vibrancy of a color. The more saturated a
color, the less black it contains.

S PATIAL E FFECTS

Hues that are lighter at maximum saturation (yellows, oranges) appear larger

than those that are darker at maximum saturation (e.g., blues and purples).
B ALANCE AND P ROPORTION

Generally speaking, less saturated or busily detailed areas will draw attention

and therefore seem to carry more weight than highly saturated or visually

simpler areas.
E MPHASIS

An area in a work of art that attracts the viewers attention first. The element

noticed first is called dominant; the elements noticed later are called

subordinate.
U NITY

Allows the viewer to see a combination of elements, principles, and media as a

whole. Unity is created by harmony, simplicity, repetition, proximity, and

continuation. For example, you could use the repetition of a color scheme to

unify a composition.
M OVEMENT

Color can create a sense of movement. When the values in a work jump quickly from very

high-key to very low-key, a feeling of excitement and movement is created. When all of

the values are close together the work seems much calmer. When you want to create

movement with color remember to use values of pure hues as well as those of tints and

shades. Movement creates the illusion of action or physical change in position.

RHYTHM

The use of repeated elements to create the illusion of movement. Visual

rhythm is perceived through the eyes, and is created by repeated positive

spaces separated by negative spaces. There are five types of rhythm: random,

regular, alternating, flowing, and progressive.

Color Effects (Architectural Implications)

USES AND PSYCHOLOGICAL

EFFECTS
Physiological Effects
Mystics have long held we emanate a
colored glow, or aura, which is
thought to effect the state of a
person's health and spirituality.
Today, chromotherapy is used to heal
with colors. This form of treatment
dates back thousands of years to the
ancient "color halls" of Egypt, China,
and India. A more prominent use of
color therapy occurs in
environmental design (the effect of
color on health and behavior).
Color Symbolism
Our responses to color are not just
biological. They are also influenced
by color associations from our
culture.
Personal Color Preferences
Not only have we inherited cultural associations, but we also
respond to colors in individual ways. Research has revealed some
variables that help explain individual differences in color
responses. One thing remains the same in color and that is our
own color preferences are important to us.
Emotional Effects
The actual emotional effect of a specific color in an artwork
depends partly on its surroundings and partly on the ides
expressed by the work as a whole. To be surrounded by blue
lighting in an installation is quite different from seeing a small
area of blue in a larger color context. For many of us the
emotional effects of art may be difficult to articulate.
Local and Expressive Color
There are two opposite ways of using color in representational
art. At one extreme is the local color - the color that something
appears from nearby when viewed under average lighting
conditions. We think of the local color of a banana as yellow, for
example. At the other end of the extreme is the expressionistic use
of color, whereby artists use color to express an emotional rather
than a visual truth.
SYMBOLISM AND PSYCHOLOGY
RED
the warmest and the most energetic color of the spectrum. Red is
associated with love thus it is he color of Valentine ’s Day. It could
also mean danger which is why most warning labels, emergency exit
and stop signs come in red. Red represents anger, speed, violence
and strength.

Red is said to raise blood pressure or increase your heartbeat. Red

would not be ideal for hospitals, prisons or psychiatric wards.

The Chinese believe that red symbolizes luck and celebration. It is

used from birthdays to weddings.

For the Indians, red is the color of purity.

Blue
Blue means calm and tranquility. It may mean peace, stability, and harmony. Blue
is also the color of trust, truth, confidence, security, cleanliness, order, cold,
water, sky and loneliness.

Blue reduces one’s appetite, slows the pulse rate and lowers your temperature.
Blue is also commonly used for business because it communicates reliability and
trustworthiness.

The Chinese associate blue with immortality. In Colombia blue is associated with
soap. For the Hindus, it is the color of Krishna. The Jews believe blue is a holy
color. In the \middle East, blue is the color of protection. These may be the
reasons why blue is considered t be the safest global color.
green
The color of nature. It represents the environment, good health, luck, youth,
vigor, spring, fertility, envy, inexperience or misfortune.

The coolness of green soothes, calms and is said to have great healing powers.
Surgeons wear green in most operating rooms.

In India, green is the color of Islam. It also has religious significance for Catholics
in Ireland. In some tropical countries, green may mean danger.
yellow
Yellow is happiness, idealism, joy, imagination, hope, summer. Sunshine, gold,
dishonesty, cowardice, illness and inspiration.

The yellow rose symbolizes friendship. Asian see yellow as sacred and imperial.
black
The color of power, sexuality, sophistication, elegance, wealth, fear, evil, depth,
sadness, remorse and death. In fashion, black is a favorite color. It is associated
with formality and class. Clothes also look more expensive when they come in
black.

Black is said to be the absence of light or color.

orange
Orange is an energetic color. It is probably the most attention-getting color.
This is why most warning signs come in orange. It also means warmth, balance,
enthusiasm, vibrance and flamboyancy.
purple
Purple is the color of royalty, spirituality and nobility. It also represents wisdom
and mystery. Wizards in fairy tales often wear purple. Purple may also mean
arrogance, cruelty and enlightenment.

Purple is also associated with creativity.

white
When colors come together in perfect balance, we see white. It is the color if
purity, simplicity, cleanliness, precision, innocence, birth, winter, snow and good.
In visual representations of good and evil, white is usually associated with the
good guys.

In Japan, white carnations signify death. The Chinese likewise see white as a color
for mourning.
Color as an integral part of perceptual system which
help us to
to::

•Identify and define objects in space

space;;
•Acts as signaling device which is evidence of
certain conditions and
and;;
•Conveying information about the
surroundings..
surroundings
•Size
•Outline/contour
•Attention
•Feeling
Uses of color and lighting
in building
building::
1. To give direction
2. To warn or call attention to an object or
event
3. To modify or change structure
4. To establish a desired environment
5. For sheer physical relief
6. Simply for pleasure or enjoyment
7. To arouse human instinct (psychological)
Color serves many aesthetic
purposes in the design of the
building, namely
namely::
•It creates an atmosphere
•It suggests either unity or diversity
•It expresses character of materials
•It defines form
•It affects proportions
•It brings out scale
•It gives a sense of weight
•It projects value in physical properties
•It brings out composition/organization of
structures.
MIDTERM PROJECT Part 1:
 MOOD BOARD for a Tiny House (show Floor Plan
with furniture and fixture layout at scale 1:50M,
samples or swatches of building materials, design
concept.
 Use 20”x30” Illustration Board
 DEADLINE:
JAN. 29, 2019 for Tuesday Class
FEB. 01, 2019 for Friday Class
2:30PM, NO EXTENSION.